(I Can't Make It) Another Day, Response
Following the leak, Kravitz discussed the song in a video he uploaded to the social networking site Twitter. He confirmed that he had written, produced and played instruments on the song, as well as record it with Jackson. Kravitz stated that he was not responsible for the unofficial release, as his copy "has been locked up in a vault". He noted that the two DJs on the snippet were not involved in the recording process, stating, "I don't know what their purpose is, but that person has nothing to do with the track."


(I Can't Make It) Another Day, Response
Kravitz reflected that working with Jackson had been "one of the most amazing musical experiences" that he had ever had. "It was done by two people who had respect for each other and who love music — that was it." The singer-songwriter concluded that "Another Day" had not been mixed or completed but added that he hoped the full song would be released and heard "the way me and Michael intended it to be". It later would be completed and officially released in 2010.


(I Can't Make It) Another Day, Critical reception
The song received generally positive reviews. Leah Greenblatt of Entertainment Weekly said the song "galvanizes him further", yielding the album (Michael)'s  "most genuinely fierce moment". Sarah Rodman of The Boston Globe review the song as "a faint echo of vintage rock-oriented Jackson tracks such as Dirty Diana and Beat It"., " Jody Rosen of Rolling Stone also draw a comparasion with this song and Dirty Diana. Jason Lipshutz with Gail Mitchell and Gary Graff from Billboard said the song developed an industrial rock groove that was a bit reminiscent of Nine Inch Nails, "Jackson bellows on the chorus, as guitars envelop his voice and Kravitz repeats the song title like a lullaby,"."


(I Can't Make It) Another Day, Critical reception
Negative reviews came from Alexis Petridis of The Guardian, he said "of exactly the standard you might expect from a track that failed to make the cut for his worst solo album." Michael Roffman of Consequence of Sound said that the "chalky riff tired 45 seconds into the song" and that "it doesn’t beg for a re-listen." Huw Jones of Slant Magazine thought the song "a gutless rock track with dull guest spots from Lenny Kravitz."


(I Can't Make It) Another Day, Critical reception, David Grohl controversy
Although Dave Grohl is credited as having played drums on the track "(I Can't Make It) Another Day", Grohl himself claimed in the November 2011 issue of The Red Bulletin that he does not perform on the track. According to Grohl, Lenny Kravitz asked him to play on the song but neither Kravitz nor Michael Jackson contacted him after he had recorded his drums and the version of the song that appears on Michael does not feature his playing. Grohl called the fact that he was credited in the album notes despite not playing on the record "not cool".


(I Can't) Forget About You
"(I Can't) Forget About You" (in the album version known simply as "Forget About You") is a song by American pop rock band R5, taken from their debut studio album, Louder. The song was released as the third single on December 25, 2013 (Christmas Day).


(I Can't) Forget About You, Reception
"(I Can't) Forget About You" received positive reviews, especially its music video. When Popstar Online posted the video to their website, they said it was "perfect" and "cool". DisneyDreaming.com commented that "[the video] is super fun, and you're definitely going to want to watch from start to finish."


(I Can't) Forget About You, Live performances
On October 21, 2013 the band performed an acoustic version in web show On The Charts, in ClevverTV. The song was performed on Disney Channel's summer special Disney's Aulani Resort in Hawaii, in November 16. On April 11, 2014, they performed the song in Live! with Kelly and Michael. It was performed also in Radio Disney Music Awards, on April 26. R5 also performed in Wango Tango, on May 10. On June 10, "(I Can't) Forget About You" was performed on Good Morning America with an exclusive interview.


(I Can't) Forget About You, Music videos
The official music video was shot over the Thanksgiving holiday in Tokyo. It was directed by Thom Glunt and released on January 15, 2014. In the video, after a night of drinking, the band members wake up alone in different parts of Tokyo — Rocky in a rolled up carpet on the streets, Riker in a hotel room full of girls, Rydel in a box with vegetables, Ratliff in a car and Ross on a bench next to a guy. They are hungover and don't remember the show that should do that night. They had to use clues given to them by people to reconnect to each other and remember the show. At the end of the video, the members agree again in different places alone after a new night of drinking.


(I Can't) Forget About You, Music videos
On the same day, a second version of the video was released exclusively on Disney Channel, showing the group only playing in a fictional concert. The second version was released because Ross was in the television series Austin & Ally, focused on teenagers, and Disney Channel thought it would be not good the star of the show on a hungover video, which suggests that they had been drinking.


(I Do It) For the Money
"(I Do It) For the Money" is a song written and recorded by Canadian country music artist Charlie Major. It was released in August 1995 as the first single from Major's album Lucky Man. The song reached number 1 on the RPM Country Tracks chart in October 1995.


(I Don't Know Why) But I Do
"(I Don't Know Why) But I Do" is an R&B song written by Paul Gayten and Bobby Charles (as Robert Guidry), and performed by Clarence "Frogman" Henry.


(I Don't Know Why) But I Do, Original version
It was Henry's biggest U.S. hit, reaching No. 4 in early 1961. The B-side on the single release was "Just My Baby and Me".


(I Don't Know Why) But I Do, Original version
On its initial release in December 1960, the U.S. release on the Argo record label was titled "I Don't Know Why". However, about ten weeks later, Argo announced that due to confusion arising from the song being mistaken for the 1931 song called "I Don't Know Why (I Just Do)", they changed the name of this song to "But I Do". The UK release on the Pye label and the Australian release on the Coronet label were both titled "But I Do". The UK version spent 19 weeks in the charts and peaked at No. 3 in the first week of May 1961.


(I Don't Know Why) But I Do, Original version
The song was made popular again after its use in a 1993 UK television commercial for the Fiat Cinquecento, appearances in the 1994 film Forrest Gump, the 1999 film Mickey Blue Eyes, and a 2019 commercial for Expedia and its ability to provide dog-friendly hotel accommodations.


(I Don't Know Why) But I Do, Bobby Vinton cover
Bobby Vinton covered "But I Do" in 1972. His version reached No. 82 on the U.S. Billboard Hot 100 and No. 71 on the Cash Box chart in early 1973. It also reached #27 on the Adult Contemporary chart.


(I Don't Know Why) But I Do, Bobby Vinton cover
The song also charted in Canada on both the Pop chart (#72) and Adult Contemporary (#23) chart, where it made its best showing.


(I Don't Need You To) Set Me Free
"(I Don't Need You To) Set Me Free" is the third single by alternative rock group Grinderman, and final single from their eponymous debut album, Grinderman. Much like their first single "Get It On", the single is a special a-side only release.


(I Don't Need You To) Set Me Free, Critical reception
The single did not receive as much acclaim as the band's previous two singles, with Pitchfork Media stating that:


(I Don't Need You To) Set Me Free, Critical reception
the measured soul of "(I Don't Need You to) Set Me Free" and the familiar melodrama [...] are prime Cave, but each marks a slight deviation from the Grinderman aesthetic. They're just a little too classy, too neat, despite the roaring undercurrent of musical violence in the last, which picks up right before the song cuts off.


(I Don't Want to Be) Second Best
"(I Don't Want to Be) Second Best" is a song from New Zealand singer Margaret Urlich. The song was released in March 1993 as the third single from her second studio album, Chameleon Dreams. The song peaked at number 39 in New Zealand.


(I Don't Want to Go to) Chelsea
"(I Don't Want to Go to) Chelsea" is a song written by new wave musician Elvis Costello and recorded by Costello with his backing band the Attractions. The song appeared on Costello's 1978 second album, This Year's Model. Written by Costello while working as a computer programmer, the song was lyrically inspired by films Costello had been watching as well as childhood trips to Chelsea. Musically the song featured influence from bands such as the Who and the Kinks and is notable for Bruce Thomas's prominent bassline.


(I Don't Want to Go to) Chelsea
"Chelsea" was released as the debut single from This Year's Model, reaching number 16 in the UK and charting in other countries. The release was accompanied by a music video. The song has since received positive reception from critics and remains a staple of Costello's live set.


(I Don't Want to Go to) Chelsea, Background and lyrics
"(I Don't Want to Go to) Chelsea" was written by Costello in the mid-1970s while working as a computer programmer. Costello recalled the night he wrote the song:


(I Don't Want to Go to) Chelsea, Background and lyrics
Early one morning, I snuck my guitar into the office, as I knew I'd be working late into the night. Once everyone else had gone home and I was alone in the otherwise darkened building, with just the hum and chatter of the computer terminal and the far-off light of a coffee machine next to the stairwell where murderers lurked, I wrote '(I Don't Want to Go to) Chelsea'.


(I Don't Want to Go to) Chelsea, Background and lyrics
Lyrically, the song was influenced partially by "a late run of '60s films set in London on the BBC" that Costello had been watching at the time. Costello was also inspired by trips he had taken with his father to Chelsea in his youth; Costello explained, "I'd gone with my Dad to a few of the more enduring clothing haunts of Chelsea on a rare outing together. ... Now Chelsea seemed even more of an unattainable neighborhood. It stood for both the groovy past and was reported in the papers as the hot-bed of the new punk ferment".


(I Don't Want to Go to) Chelsea, Background and lyrics
The song was recorded quickly; bassist Bruce Thomas recalled, "We literally did the best tracks on [This Year's Model]—"Pump It Up", "Chelsea"—in one afternoon. It was like Motown. We'd just go in, play them, and that was it".


(I Don't Want to Go to) Chelsea, Music
"(I Don't Want to Go to) Chelsea" was based on what Costello described as a "stop-start chord sequence borrowed from the Who" combined with a "clickerty-clackerty guitar figure off an old Rocksteady record by the Pioneers". In his album notes for Girls Girls Girls, Costello wrote that the song "[m]ight have been just a poor relation to 'All Day and All of the Night', 'I Can't Explain' or even 'Clash City Rockers' had it not been for Bruce Thomas' great bassline.


(I Don't Want to Go to) Chelsea, Music
Meanwhile I was trying to fit in this lick from an old Pioneers record, though which one I can't recall." Costello later commented on the song's combination of influences, "[ It] has effectively three hooks [Costello's guitar, Bruce Thomas's bass, and Thomas's drums] and you would have struggled to pinpoint where the ideas had originated".


(I Don't Want to Go to) Chelsea, Music
Pete Thomas said of his drum part on the song, "The precedent of some fancy drumming had been set. ' Watching the Detectives' had that drum intro. ' Chelsea' is me saying, 'If Elvis Costello is going to have fancy drum intros, I'm doing one'. It was one of the first few takes. If you really listen to it, I'm trying out stuff all the way through". Costello later claimed that Thomas had lifted the drum intro from Mitch Mitchell's performance on the Jimi Hendrix Experience's song "Fire".


(I Don't Want to Go to) Chelsea, Music
Organist Steve Nieve uses a deliberately out of tune Vox Continental organ on the song; Costello described the keyboard sound as "thin" and "evil". Costello cited the song as an example of This Year's Model's "spiky and sour" sound, which was created through "a solitary box of tricks to delay and detune" the instruments.


(I Don't Want to Go to) Chelsea, Release and reception
"(I Don't Want to Go to) Chelsea" was released as the debut single from Costello's second album This Year's Model on 3 March 1978. The B-side was "You Belong to Me", another song from This Year's Model. The single was Costello's second chart hit in the UK, peaking at number 16 on the UK Singles Chart over a chart stay of ten weeks. The single reached number 12 in Ireland and number 93 in Australia.


(I Don't Want to Go to) Chelsea, Release and reception
The song received glowing critical attention at the time, with the NME concluding, "The single's so good, the very act of releasing it amounts to bragging on a colossal scale". The song was released on This Year's Model on 17 March 1978, though it was omitted on US versions of the album for being too British.


(I Don't Want to Go to) Chelsea, Release and reception
Since its release, "Chelsea" has been praised by music critics. AllMusic's Stephen Thomas Erlewine praised the song for being "underscored with sexual menace", while the same site's Tom Maginnis called it a "brilliant ska-inflected rocker". Kit Rachlis of Rolling Stone praised Costello for the "precision" with which he described Chelsea, while Morgan Troper of PopMatters said, "It's almost not worth listening to Model unless it's a version that contains 'Chelsea', as the song's presence is essential to This Year's Model's overall impact".


(I Don't Want to Go to) Chelsea, Release and reception
Dave Lifton of Ultimate Classic Rock named the song as the 7th best Elvis Costello song, proclaiming it the "standout" from This Year's Model and calling it "a perfect example of the mixture of chaos and skill [the Attractions] brought". Martin Chilton of the Daily Telegraph named the song Costello's 15th best.


(I Don't Want to Go to) Chelsea, Release and reception
Costello has since performed the song frequently, including at his set for Woodstock '99. A live version of the song, described as "excellent" by Maginnis, appeared on the album Live at the El Mocambo.


(I Don't Want to Go to) Chelsea, Video
The video features the band performing in an unfurnished, light-drenched, wholly white set, and uses a simple shrinking square zoom effect. It was directed by Paul Flattery for Jon Roseman Productions. After a photo-montage effect with still photographs of Costello, the video opens with him playing the opening guitar riff in close-up. The video then alternates between the band playing together and shots of Costello singing in an increasingly contorted pose.


(I Don't Want to Go to) Chelsea, Video
The video for "Pump It Up" was shot the same day in London, and all the musicians can be seen wearing the same clothes, although drummer Pete Thomas sports a distinctive Union Jack tracksuit top. Bassist Bruce Thomas had cut his right hand on a bottle a few weeks previously and had needed eight stitches. His bandage can be seen clearly in both of the videos.


(I Don't Want to Love You But) You Got Me Anyway
"(I Don't Want to Love You But) You Got Me Anyway" is a song written by Iain Sutherland and performed by Sutherland Brothers and Quiver. It was released as a single in 1973, and is from the 1973 album Lifeboat.


(I Don't Want to Love You But) You Got Me Anyway, Chart performance
"(I Don't Want to Love You But) You Got Me Anyway" reached No. 20 on the Cashbox pop chart, No. 48 on the Billboard Hot 100, and No. 25 in Canada (RPM 100). The song also peaked at number 48 in Australia.


(I Don't Want to Love You But) You Got Me Anyway, Popular culture
The song is featured on volume 17 of the Rhino Entertainment compilation album, Have a Nice Day.


(I Got No Kick Against) Modern Jazz
(I Got No Kick Against) Modern Jazz is a 1995 tribute album by various jazz artists and bands from the GRP Records label. It consists of jazz cover versions of songs originally by The Beatles. The album's title comes from the lyrics of the Beatles's cover of the Chuck Berry song, "Rock and Roll Music", which was originally released on the studio album Beatles for Sale.


(I Got No Kick Against) Modern Jazz, Critical reaction
AllMusic found most of the tracks too similar to the originals, making it "predictable and quite forgettable". In contrast, BusinessWorld called it a "wonderful, delightful album" and praised it for mixing mainstream pop jazz with more adventurous sounds. The Record (New Jersey) called it "timeless music played with reverence and charm"; they also noted that all the guitarists on the record were far more skilled than George Harrison.


(I Got No Kick Against) Modern Jazz, Critical reaction
Chris Ingham praised Diana Krall's version of "And I Love Her", noting its "sultry approach" over "seven luxurious minutes" of music.


(I Got No Kick Against) Modern Jazz, Critical reaction
Dave Grusin was nominated for a Grammy for Best Pop Instrumental Performance for his cover of "Yesterday" on the album.


(I Got No Kick Against) Modern Jazz, Remixes
Groove Collective's "I Want You (She's So Heavy)" was released in a number of remixes for the dance floor in 1996.


(I Heard That) Lonesome Whistle
"(I Heard That) Lonesome Whistle" is a song written by Hank Williams and Jimmie Davis. It became his fourteenth consecutive Top 10 single in 1951.


(I Heard That) Lonesome Whistle, Background
Hank Williams was a Jimmie Davis disciple, who scored big hits on Decca Records with "You Are My Sunshine" in 1940 and "There's a New Moon Over My Shoulder" in 1945. It is unclear when he and Hank Williams wrote "(I Heard That) Lonesome Whistle"; on one of his Mother's Best radio shows, recorded between January and March 1951, Williams tells his audience that he's going fishing with Jimmie Davis the next week, so the song may have been composed then.


(I Heard That) Lonesome Whistle, Background
Containing two of country music's major themes, trains and prison, the song is notable for the way Hank mimics the sound of a train whistle on the word "lonesome." The song was likely an inspiration for Johnny Cash's "Folsom Prison Blues." It was recorded at Castle Studio in Nashville on July 25, 1951 with Fred Rose producing and backing from Don Helms (steel guitar), Jerry Rivers (fiddle), Sammy Pruett (lead guitar), Howard Watts (bass) and probably Jack Shook (rhythm guitar).


(I Heard That) Lonesome Whistle, Background
Acuff-Rose songwriter Helen Hudgins later recalled the stiflingly hot summer session: "Hank had his shirt unbuttoned all the way, and he was absolutely soaking wet. It seemed that all he was...was voice. It came up from I don't know where." In a June 2014 online Rolling Stone article, Joseph Hudak wrote of the song, "The sound is so stark, so unsettling, that it's easy to feel exactly what Williams was getting at in the performance: simple heartbreak." The song's title was truncated to "Lonesome Whistle" so that it could be listed on jukebox cards. It peaked at number 8 on the Billboard country singles chart. The B-side, Fred Rose's "Crazy Heart", outperformed it, peaking at number four.


(I Heard That) Lonesome Whistle, Cover versions
Little Feat recorded a version that appears on the compilation album "Hoy Hoy"


(I Just Wanna) B with U
"(I Just Wanna) B with U" was a single released by UK band Transvision Vamp in 1991 and was the first to be taken from their final studio album, Little Magnets Versus the Bubble of Babble. It was also the first of their singles to be co-written by Wendy James. After a two-year gap since their previous UK single "Born to Be Sold", it fared poorly on the UK singles chart reaching #30, although it fared better in Australia where it peaked at #16.


(I Just Wanna) B with U
The song was released in several versions and formats worldwide.


(I Just Want It) To Be Over
"(I Just Want It) To Be Over" is a song by American singer Keyshia Cole. It was written by the singer along with Alicia Keys, Taniesha Smith, and Kerry "Krucial" Brothers for her debut album, The Way It Is (2005). Production on the song was helmed by the latter. Released on April 5, 2005 as the album's second single, "(I Just Want It) To Be Over" became a moderate success on the US Billboard Hot R&B/Hip-Hop Songs chart, peaking at number 30. It also reached number one on the Bubbling Under Hot 100 Singles chart, which acts as an extension to the Hot 100.


(I Just Want It) To Be Over, Music video
A music video for "(I Just Want It) To Be Over" was directed by Benny Boom. It starts with Cole sitting on a bed, singing the first verse. She tries numerous times to escape the room she is locked in. She then breaks a mirror with a chair and steps through the mirror frame. The next scene shows broken glass on the floor. Cole is then seen wearing a sun dress.


(I Just Want It) To Be Over, Music video
As she walks down a hall she sees a man and two women in the room; when she approaches the next room she spots a man and a woman arguing. Cole walks into a nightclub in a black tank top and mini skirt, and performs the song with a band. The video ends by showing a montage of the preceding events.


(I Just Want It) To Be Over, Credits and personnel
Credits adapted from the liner notes of The Way It Is.


(I Just) Died in Your Arms
"(I Just) Died in Your Arms" is the debut single by the English pop rock band Cutting Crew, from their debut studio album, Broadcast (1986). It was first released on 25 July 1986 in the United Kingdom, and then released to the United States on 1 January 1987. The song was written by frontman Nick Van Eede, produced by Terry Brown, John Jansen and the band, and mixed at Utopia Studios in London by Tim Palmer.


(I Just) Died in Your Arms
The power ballad is the band's biggest hit, peaking at number one in the United States, Canada, Norway, and Finland, and reaching the top five in the UK, South Africa, Sweden, and Switzerland.


(I Just) Died in Your Arms
In early 2020, the song was rerecorded and reissued as in an orchestral incarnation as well as in several other versions as the lead single for the second Cutting Crew compilation album, "Ransomed Healed Restored Forgiven," accompanied by a new music video to have been uploaded on YouTube, through the official account of band's new label, August Day. The new release for the hit has been through an 8-track EP, available since on digital platforms such as Spotify and Apple Music. There is also a physical release, in CD, offered as a solo release and also included as part of the limited deluxe version of the new greatest hits album, both sold through the band's official webstore.


(I Just) Died in Your Arms, Background and writing
The words "I just died in your arms tonight" allegedly came to Van Eede while he was having sex with his girlfriend, the French phrase la petite mort, or "the little death", being a metaphor for orgasm. After writing down his version of the phrase, he later used it as the opening line to the song as well as using it as the chorus.


(I Just) Died in Your Arms, Music video
There were two music videos produced. The North American version featured artistic fragmented shots using a model, with the band performing to camera. The UK version was filmed both in color as well as in black and white in a film studio. The latter is so far the only one Cutting Crew video available for purchasing on Apple Music stores, from countries like Canada and Brazil.


(I Just) Died in Your Arms, Music video
On 29 October 2020, Van Eede announced, through Cutting Crew's official Facebook page, that a remastered HD edition of the "UK  version" music video was uploaded to the band's former Vevo official account on YouTube.


(I Just) Died in Your Arms, Chart performance
First released in Britain, the song peaked at number four on the UK charts in September 1986. Upon its release in the United States, the previously unknown band's debut single shot to number one on 2 May 1987, and stayed there for two weeks. It also reached number four on the Hot Mainstream Rock Tracks chart, number 24 on Billboard's Hot Adult Contemporary Tracks chart and (in a remix version) number 37 on the Hot Dance/Club Play chart. The song spent three weeks at number one in Canada.


(I Know I Got) Skillz
"(I Know I Got) Skillz" is the first single released from NBA star and rapper Shaquille O'Neal's debut album, Shaq Diesel.


(I Know I Got) Skillz
The song, which saw its official release on September 7, 1993, was produced by Def Jef and Meech Wells and featured a guest verse from Def Jef as well. "(I Know I Got) Skillz" was a success, peaking at 35 on the Billboard Hot 100, becoming Shaq's only solo top-40 hit in the US, although he managed to avoid one hit wonder status as he previously scored a hit as a featured guest on the Fu-Schnickens hit "What's Up Doc? (Can We Rock)". The single was certified gold by the RIAA on December 21, 1993, for shipping of 500,000 copies.


(I Know I Got) Skillz
The song sampled "It's My Thing" by EPMD and "Large Professor" by Main Source.


(I Know I Got) Skillz
"(I Know I Got) Skillz" was also featured on Shaq's compilation, The Best of Shaquille O'Neal and appeared in the film Pineapple Express. Shaq had performed this track at Lollapallooza 2019 in Grant Park, Chicago.


(I Know) I'm Losing You
"(I Know) I'm Losing You" is a 1966 hit single recorded by the Temptations for the Gordy (Motown) label, written by Cornelius Grant, Eddie Holland and Norman Whitfield, and produced by Norman Whitfield.


(I Know) I'm Losing You
The group performed the song live on the CBS variety program The Ed Sullivan Show on May 28, 1967, and in a duet with Diana Ross & the Supremes later that year, on November 19, 1967.


(I Know) I'm Losing You, Background
Billboard described the song as a "blues swinger with a solid dance beat and powerful vocal workout."


(I Know) I'm Losing You, Chart performance
"(I Know) I'm Losing You" was a No. 1 hit on the Billboard R&B singles chart, and reached No. 8 on the Billboard Pop Singles chart. In Canada the song reached No.21. While in the UK it reached No. 19


(I Like) The Way You Love Me
"(I Like) The Way You Love Me" is a song by American recording artist Michael Jackson included on his posthumous album Michael, which was released in South Korea as a digital single on January 18, 2011, and released in Italian radio stations on July 8, 2011. The song previously appeared on The Ultimate Collection (2004) with the title "The Way You Love Me" as an unreleased track, with that version also appearing on the French edition of the compilation King of Pop. Shortly before Jackson’s death, the song was re-arranged and more vocals were added. A clip of the song was remixed and released on the 2 disc deluxe edition of the Immortal album on November 21, 2011.


(I Like) The Way You Love Me, Background and release
The song was originally titled "Hanson" (working title) and was written by Michael Jackson. Work on the song began in mid 1998 and the song was considered for the Invincible album, but stayed in demo form, until it was included on Michael's 2004 box set, The Ultimate Collection with the title "The Way You Love Me".


(I Like) The Way You Love Me, Background and release
The song, along with several demos from the Invincible sessions, was rearranged in 2008. The new arrangement was produced by Theron "Neff-U" Feemster, as he mentioned, "Michael would express to me the importance of giving the world a gift. Giving them songs that would last forever. This song was released in its early stages of development. He wanted to revisit, nurture, and define the song more because MJ was a perfectionist at everything and nothing is ever done until he is smiling and dancing! It was like watching a flower grow and blossom in the spring."


(I Like) The Way You Love Me, Composition
In this new version, a phone message was introduced at the beginning in which Jackson explains the composition of the song to longtime collaborator, Brad Buxer, and in which he sang the hook and described the drum arrangement of the track. The song has been re-arranged and more vocals have been added, and the treatment of "(I Like) The Way You Love Me" has created a counter-rhythm from a leftover bit of vocal play.


(I Like) The Way You Love Me, Composition
Compared with the 2004 version, the 2010 mix has different instrumentation, such as having a piano backing instead of a synthesizer. The song's structure is the same but Jackson's lead vocals return as the song fades out.


(I Like) The Way You Love Me, Reception
The song received generally positive reviews from music critics. Leah Greenblatt of Entertainment Weekly called it a "sweet-toned swoon". Joe Vogel of The Huffington Post stated that the song was a "great new production by Neff-U", and "the new version retains all of the charm of the original while injecting some fresh elements, including new piano, bass, strings, and vocal effects." Jason Lipshutz, Gail Mitchell and Gary Graff from Billboard thought the song is "the simple sketch eventually led to this blissful love song with its layered vocals and gentle percussion".


(I Like) The Way You Love Me, Reception
Michael Roffman of Consequence of Sound praised the track's "incredibly rich instrumentation" and called it "probably the greatest highlight of the album" and "one that felt the most natural, too." Kitty Empire in The Observer said this song was "a breezy bit of froth on which Jackson sounds genuinely carefree". Joe Pareles of the New York Times noted that the new instrumentation compared to the 2004 mix made the "creamy vocal harmonies even more reminiscent of the Beach Boys." Pareles also questioned whether the ending vocals of the song were digitally altered from the original chorus but stated that he preferred the new version, describing it as more "transparent and uncluttered, a little more lighthearted."


(I Like) The Way You Love Me, Reception
Negative review came from Dan Martin of NME, he said this song "covers boring mid-tempo R&B territory".


(I Like) The Way You Love Me, Chart performance
The song was released as the fourth single from the album, Michael. It debuted on the Italian Airplay Chart on July 17, 2011 at number 86. It has not charted in any other major music charts.


(I Love You) For Sentimental Reasons
"(I Love You) for Sentimental Reasons" is a popular song written by Ivory "Deek" Watson, founding member of the Ink Spots, also founding member of The Brown Dots and William "Pat" Best, founding member of the Four Tunes.


(I Love You) For Sentimental Reasons
The credits and Leeds Publishing Company list Watson as a co-writer. Best later claimed that Watson had nothing to do with the creation of the song, but Watson maintained in his late 1960s autobiography that he and Best wrote the song together, lyrics and music respectively. Best was a member of Watson's group, the Brown Dots. The song was published in 1945 and released by Watson's quartet with Joe King as lead vocalist on the Manor Records label (catalog No. 1041A).


(I Love You) For Sentimental Reasons, Hit versions
The biggest-selling version by The King Cole Trio was released by Capitol Records as catalog number 304. It first reached the Billboard Best Seller chart on November 22, 1946 and lasted 12 weeks on the chart, peaking at number one.


(I Think I'm Over) Getting Over You
"Getting Over You" is a song written by Tony Hazzard in 1973, recorded by various artists, including the writer. Hazzard's original is from his LP 'Was That Alright Then?' and was included on his double album 'Go North - The Bronze Anthology'.


(I Think I'm Over) Getting Over You, Peter Noone cover
A version by Herman's Hermits lead singer Peter Noone charted in Canada, a track from his 1973 eponymous debut LP. The song reached #63 on the Adult Contemporary chart.


(I Think I'm Over) Getting Over You, Andy Williams version
Andy Williams recorded the most successful version of the song, entitled simply as "Getting Over You". It is a track from his Solitaire album.


(I Think I'm Over) Getting Over You, Andy Williams version
"Getting Over You" reached #35 in the UK during the late spring of 1974. The single was released from Williams' Solitaire LP. In the U.S., the song was featured as the B-side of "Remember," which was a hit for Williams on the Easy Listening chart.


(I Think I'm Over) Getting Over You, Other versions
Caterina Caselli covered the song in Italian in 1974 from her Primavera album.


(I Wanna Give You) Devotion
"(I Wanna Give You) Devotion" is a song by the English electronic group Nomad, released in 1991 as the second single from their only album, Changing Cabins. It was a number-one hit in Greece and a top 5 hit in the UK, where it reached number 2. In the US, it peaked at number-one on the Billboard Hot Dance Club Play chart in June 1991 and stayed there for one week. MTV Dance ranked the song number 32 in their list of "The 100 Biggest 90s Dance Anthems of All Time" in November 2011.


(I Wanna Give You) Devotion, Background and release
The track was produced by Damon Rochefort, who also shares writing credits with fellow Nomad member Steve McCutcheon and rapper MC Mikee Freedom. It also quotes from the earlier club hit "Devotion" by Ten City. Although Freedom and singer Sharon Dee Clarke were the featured artists on this track when it was released in the United Kingdom and other territories (even though Freedom was the only one to get his name credited), they were listed as uncredited in the US single version up until the act's full-length CD Changing Cabins was released Stateside in the autumn of 1991.


(I Wanna Give You) Devotion, Background and release
The song is notable for being the first song that Steve Mac ever wrote. When asked about the track and its success in an April 2010 interview, Mac said:


(I Wanna Give You) Devotion, Background and release
It was a real accident. I just remember struggling to get the drums right - I didn’t really know how to work the sequencer properly. I didn’t have that much knowledge of what I was doing, and I think if I had then it wouldn’t have been as good a track. I love the naiveté of what I was doing back then, and I miss that a little bit now.


(I Wanna Give You) Devotion, Background and release
In addition to the rap version, there is also a Soul Mix version that features Clarke's vocal performance without the rap. Both versions along with the Italo house version are included on the Changing Cabins CD.


(I Wanna Give You) Devotion, Critical reception
AllMusic editor Stewart Mason described the song as a "terrific dance club staple" and noted further that singer Sharon Dee Clarke has a "soulful, expressive voice", and writer/programmer Damon Rochefort gives the whole thing a "perky, bouncy feel". David Taylor-Wilson from Bay Area Reporter said it is "extremely enticing", complimenting Clarke's vocals as "superb". American magazine Billboard stated that the song recently topped dance charts "thanks to Sharon Dee Clark's belting vocals and Damon Rochefort's savvy beat and melody construction." Larry Flick complimented its "contagious melody, a slammin' groove, and a well-timed trade-off between rapid malerapping and diva-styled femme singing."


(I Wanna Give You) Devotion, Critical reception
James Hamilton from Music Week's RM Dance Update deemed it a "catchily honking political lurcher". Pop Rescue wrote that "its audience cheers as Sharon declares that she wants 'to give you devotion' before that familiar bassy synth follows and she lets out that unmistakeable 'heeee-eee-hooo-oooo' piece. Rapper MC Mikee Freedom joins in, in what is a great example of early 1990s chart rap – somewhat slower and devoid of the sexual violence that you'd expect in most rap now." Johnny Dee from Smash Hits noted the track as "utterlly brill".


(I Wanna Give You) Devotion, Chart performance
"(I Wanna Give You) Devotion" went on becoming a major hit on the charts in Europe, peaking at number-one in Greece. In the UK, it reached number 2 in its seventh week at the UK Singles Chart, on February 17, 1991. It was held off the top spot by The Simpsons' "Do the Bartman". The song became a top 10 hit also in Austria, Ireland, the Netherlands, Spain and Switzerland, as well as on the Eurochart Hot 100, where it hit number 6. Outside Europe, it peaked at number-one on the Billboard Hot Dance Club Play chart in the US, number 3 on the RPM Dance/Urban chart in Canada and number 37 in Australia. It earned a silver record in the UK, with a sale of 200,000 singles.


(I Wanna Give You) Devotion, Music video
The music video of "(I Wanna Give You) Devotion" was directed by Jerome Redfarn. It featured both MC Mikee Freedom and Sharon Dee Clarke, and had them dressed in body paint while they were performing the song at a rave concert.


(I Wanna) Love My Life Away
"(I Wanna) Love My Life Away" is a song written and sung by Gene Pitney, which he released in 1961. The song was Pitney's first charting single, and spent 8 weeks on the Billboard Hot 100 chart, peaking at No. 39, while reaching No. 23 on Canada's CHUM Hit Parade. In the United Kingdom, the song spent 11 weeks on the Record Retailer chart, reaching No. 26.


(I Wanna) Love My Life Away
Jody Miller released a version in 1978, which reached No. 67 on Billboard's Hot Country Singles chart.


(I Wanna) Testify
"(I Wanna) Testify" is the first hit single by the soul singing group The Parliaments.


(I Wanna) Testify, Background
The single was released at the beginning of the summer of 1967 by Revilot Records. It would be the only major hit for the group for the entire decade. The only member of the Parliaments to actually appear on the recording was group leader George Clinton, as the group was based in New Jersey at the time and only Clinton was able to travel to Detroit for the session. The recording was rounded off by session singers and musicians.


(I Wanna) Testify, Background
"(I Wanna) Testify" was reissued in 1969 on the Soultown label (Soultown 502-A). It was issued in Canada on the Transworld label (TW-1677) and on the Track label (Track 604032) in the UK. The first time that the single appeared on an album was the Track Records release Backtrack 6 in 1970 (Track 2407 006).


(I Wanna) Testify, Background
Group leader George Clinton later produced covers of both "(I Wanna) Testify" and its B-side "I Can Feel The Ice Melting". The former appeared on the 1974 Parliament album Up For The Down Stroke under the abbreviated title "Testify". Both "(I Wanna) Testify" and "I Can Feel The Ice Melting" were re-done by Otis Day and the Knights in 1989 (produced by George Clinton). Another P-Funk spin-off act, the Brides Of Funkenstein recorded a version of "I Can Feel The Ice Melting" in 1978, but the track wasn't released until the 1993 archival release "A Fifth Of Funk". That recording was produced by P-Funk production assistant Ron Dunbar.


(I Wanna) Testify, Chart performance
The single went to #3 on Billboard R&B chart and #20 on the Pop chart.


(I Want a) Rockin' Christmas
"(I Want a) Rockin' Christmas" is a Christmas song written by Jimmy Manzie and Glenn A. Baker and recorded by Australian band Ol' 55. The song was released in November 1976 and peaked at number 7 on the Australian Kent Music Report, becoming the band's second top ten single.


(I Want to) Come Home
"(I Want to) Come Home" is a song written and recorded by Paul McCartney for the 2009 film Everybody's Fine.


(I Want to) Come Home, Composition and recording
An early cut of Everybody's Fine was screened for McCartney, with Aretha Franklin's cover of "Let It Be" inserted as a place holder by director Kirk Jones. McCartney was inspired to write the song for the film after connecting with the protagonist, portrayed by Robert De Niro, a widower who "hits the road to visit his scattered children after they cancel a weekend gathering."


(I Want to) Come Home, Composition and recording
McCartney told USA Today, "I can very much relate to a guy who's got older children, who happens to have lost his wife, the mother of those children, and is trying to get them all together at Christmas. I understand that." After recording a demo version on cassette, McCartney received notes for the song from Jones requesting an intro for the song as opposed to its original "abrupt" start. McCartney then collaborated with the film's music composer Dario Marianelli on orchestrations for the song "resulting in an intimate ballad with piano, guitar and spare strings." "(I Want to) Come Home" was recorded with engineer Geoff Emerick along with 20 other tracks around this time.


(I Want to) Come Home, Release
The song was released as a single in online music stores on 1 March 2010. According to Amazon.com, the song is not included on the soundtrack to the film. The song was nominated for a Golden Globe Award for Best Original Song, but did not win, losing the award to "The Weary Kind", from Crazy Heart, by Ryan Bingham.


(I Want to) Come Home, Cover version
In 2012, Tom Jones released a recording of the song on his studio album, Spirit in the Room.


(I Wish I Knew How It Would Feel to Be) Free/One
"(I Wish I Knew How It Would Feel to Be) Free/One" is a song by Lighthouse Family, released as their first single from their third album, Whatever Gets You Through the Day, released in 2001. The song was originally written by Billy Taylor, with lyrics by Dick Dallas. Best known for its 1967 version by Nina Simone, and as the instrumental theme (performed by the Billy Taylor Trio) to the BBC Film... TV show, this version was produced by Kevin Bacon and Jonathan Quarmby.


(I Wish I Knew How It Would Feel to Be) Free/One
"(I Wish I Knew How It Would Feel to Be) Free/One" was successful in the United Kingdom, where it reached number six on the UK Singles Chart in November 2001 and stayed on the chart for nine weeks. It also reached number three in Portugal, number nine in Hungary, and number 10 in Germany.


(I Wish I Knew How It Would Feel to Be) Free/One, Content
"(I Wish I Knew How It Would Feel to Be) Free/One" is a cover song of Billy Taylor's "I Wish I Knew How It Would Feel to Be Free" and U2's One.


(I Would Do) Anything for You
(I Would Do) Anything for You is a 1932 jazz standard. It was written by Alex Hill, Claude Hopkins and Bob Williams. The first recording was by Claude Hopkins and His Orchestra (with vocal refrain) on May 24, 1932 for Columbia Records (No. 2665D). There have been many instrumental versions of the tune, notably by Benny Goodman (1936) and  Art Tatum (1934). Significant vocal versions include:


(I Would) Die for You
"(I Would) Die for You" is a song released by Antique, a duo consisting of Elena Paparizou and Nikos Panagiotidis, both born and raised in Sweden by Greek parents. It was the Greek entry in the Eurovision Song Contest 2001, performed in English and Greek (the first Greek entry not to be performed entirely in Greek).


(I Would) Die for You
Prior to entering the contest the group had had two Top 10 hits in both Greece and Sweden, "Opa Opa" and "Dinata Dinata". "(I Would) Die for You" was released as a CD single by Bonnier Music and EMI International following the contest. The CD single was certified platinum in Greece and gold in Sweden. The song was included on Antique's second album, Die for You, released as Die for You/Tha Pethaina Gia Sena in the Greek market.


(I Would) Die for You, Eurovision
The song was performed twenty-second on the night following Malta's Fabrizio Faniello with "Another Summer Night" and preceding Denmark's Rollo & King with "Never Ever Let You Go". At the close of voting, it had received 147 points (12 points from Spain and Sweden), placing 3rd in a field of 23.


(I Would) Die for You, Eurovision
The song, with lyrics by Antonis Pappas and music by Nikos Terzis, who would later compose "Love Me Tonight" for Belarus, is an up-tempo number inspired in part by Greek folk music. Lyrically, it deals with the realization on the part of the singers, who sing in unison for most of the performance, that their love is all that matters. They tell each other that "I would die for you/Look into my eyes and see it's true".


(I Would) Die for You, Eurovision
The contest performance was a relatively static affair, with both singers as well as the backing vocalists standing in front of microphones to sing. Elena Paparizou, however, wore a tight white outfit, standing out against the black-clad backing singers and her duet partner. While the contest had by this point embraced pre-recorded music, Nikos Panagiotidis performed with the traditional Greek instrument bouzouki throughout.


(I Would) Die for You, Eurovision
The third-place finish was Greece's highest place until 2005, when Paparizou, this time performing solo, won the contest with "My Number One".


(I Would) Die for You, Eurovision
It was succeeded as Greek representative at the 2002 contest by Michalis Rakintzis with "S.A.G.A.P.O. ".


(I'd Be) A Legend in My Time
"(I'd Be) A Legend in My Time" is a song written and recorded by Don Gibson in 1960. It appeared as the B-side of his hit "Far Far Away", from the album Sweet Dreams. Gibson re-recorded the song on the 1972 album Country Green.


(I'd Be) A Legend in My Time, Ronnie Milsap Recording
The song was recorded by Ronnie Milsap and released in November 1974 as the lead single from his album A Legend in My Time. This was Milsap's sixth country hit and his third number one. The single stayed at number one for a single week and spent a total of ten weeks within the top 40. Milsap's recording altered the song from its original 3/4 time signature to a 4/4 time signature.


(I'd Be) A Legend in My Time, Other cover versions
Frequently covered, the song is usually titled without the parenthetical lead. Versions have been recorded by


(I'd Like to Get You on a) Slow Boat to China
"On A Slow Boat to China" is a popular song by Frank Loesser, published in 1948.


(I'd Like to Get You on a) Slow Boat to China
The song is a well-known pop standard, recorded by many artists, including a duet between Rosemary Clooney and Bing Crosby (for their album Fancy Meeting You Here (1958)),  Ella Fitzgerald, Joni James, Frank Sinatra, Jimmy Buffett, Fats Domino and Liza Minnelli.


(I'd Like to Get You on a) Slow Boat to China
In the UK, the biggest hit version was recorded in 1959 by  Emile Ford and the Checkmates peaking at #3 in the official singles chart.


(I'd Like to Get You on a) Slow Boat to China
Ronnie Dove recorded the song for his 1966 album Ronnie Dove Sings the Hits for You.


(I'd Like to Get You on a) Slow Boat to China
Bette Midler and Barry Manilow recorded the song for Midler's album Bette Midler Sings the Rosemary Clooney Songbook (2003).


(I'd Like to Get You on a) Slow Boat to China
Miss Piggy performed the song with actor Roger Moore in an episode of The Muppet Show.


(I'd Like to Get You on a) Slow Boat to China, Idiom
Frank Loesser's daughter, Susan Loesser, authored a biography of her father, A Most Remarkable Fella (1993), in which she writes:


(I'd Like to Get You on a) Slow Boat to China, Idiom
"I'd like to get you on a slow boat to China" was a well-known phrase among poker players, referring to a person who lost steadily and handsomely. My father turned it into a romantic song, placing the title in the mainstream of catch-phrases in 1947.


(I'd Like to Get You on a) Slow Boat to China, Idiom
The idea is that a slow boat to China was the longest trip one could imagine. Loesser moved the phrase to a more romantic setting, yet it eventually entered general parlance to mean anything that takes an extremely long time.


(I'll Be with You) In Apple Blossom Time
"(I'll Be With You) In Apple Blossom Time" is a popular song written by Albert Von Tilzer and lyricist Neville Fleeson, and copyrighted in 1920. It was introduced by Nora Bayes, who also recorded the song.


(I'll Never Be) Maria Magdalena
"(I'll Never Be) Maria Magdalena", also known simply as "Maria Magdalena", is a song recorded by German singer Sandra for her debut studio album The Long Play (1985). The song, written by Hubert Kemmler, Markus Löhr, Michael Cretu and Richard Palmer-James, was released as the lead single from The Long Play in March 1985, by Virgin Records, and was a major chart hit in Europe, reaching number one in multiple countries. It remains Sandra's signature song.


(I'll Never Be) Maria Magdalena, Background and release
The song was composed by Hubert Kemmler, Markus Löhr and Michael Cretu. Cretu also arranged and produced the song. The lyrics were written by Richard Palmer-James. The allusion to the biblical figure Mary Magdalene was Kemmler's idea and came up when a name with seven syllables was needed for the chorus. Only the German version of the name would suffice, though, "Mary Magdalene" has five. Kemmler also provided co-lead vocals on this recording and a number of Sandra's subsequent songs.


(I'll Never Be) Maria Magdalena, Background and release
The song was first released in March 1985 as the lead single from Sandra's debut album The Long Play. It was her third single as a solo artist, but the first solo single to be released internationally. Initially unsuccessful in its bid to gain radio play, the label targeted DJs in Greece and their tourist audiences next, and the song subsequently became a big hit in Greece, where it topped the singles chart.


(I'll Never Be) Maria Magdalena, Background and release
Returning tourists requested the song at home, and it eventually reached number one on the official German singles chart for four consecutive weeks between 13 September and 4 October 1985. The single then peaked at number one in Austria, Switzerland, Sweden, Norway, the Netherlands and Finland. It also reached number 1 on the airplay chart in Germany as well as the top 5 in Austria. In the pan-European charts, it was a top 10 and a top 20 hit on the airplay and sales charts, respectively. The song was also a popular radio hit song in Brazil, the Middle East, Northern Africa and Eastern Europe.


(I'll Never Be) Maria Magdalena, Background and release
The song was re-released in a remixed version as a standalone single in 1993, but was not commercially successful, though it reached the top ten in Finland and the top twenty in Denmark. Music website AllMusic retrospectively rated it 2.5 out of 5 stars. In 1999, another remix of the song was released only in France as a promotional single in support of her compilation album My Favourites. The track was remixed again for her remix album Reflections (2006), and the original version was later sampled in the song "Kings & Queens" on her tenth album Stay in Touch (2012).


(I'll Never Be) Maria Magdalena, Music videos
A simple performance music video was filmed in 1985, which presents Sandra accompanied by a bassist/backing vocalist, a percussionist and a keyboardist. It was directed by Mike Leckebusch. The music video was released on Sandra's VHS video compilations Ten on One (The Singles) and 18 Greatest Hits, released in 1987 and 1992, respectively, as well as the 2003 DVD The Complete History.


(I'll Never Be) Maria Magdalena, Music videos
The industrial style video for the 1993 version was directed by Marcus Adams, and was also released on The Complete History DVD.


(I'm A) Stand by My Woman Man
"(I'm A) Stand by My Woman Man" is a song written by Kent Robbins, and recorded by American country music artist Ronnie Milsap. It was released in July 1976 as the second single from the album 20/20 Vision. The song was Milsap's sixth number one on the country chart. The single stayed at number one for two weeks and spent a total of eleven weeks within the top 40. It is an answer song to Tammy Wynette's Stand By Your Man. . Backing vocals were provided by The Holladay Sisters.


(I'm A) Stand by My Woman Man
According to Milsap, the song was "almost" a lawsuit because the opening piano melody, played by session musician Hargus "Pig" Robbins, sounded similar to Robbins' intro on "Behind Closed Doors".


(I'm Always Touched by Your) Presence, Dear
"(I'm Always Touched by Your) Presence, Dear" is a song by the American band Blondie, from their 1978 album Plastic Letters. Written by recently departed Blondie bassist Gary Valentine, the song was based on the telepathic connections that Valentine experienced with his girlfriend, journalist Lisa Jane Persky, while on tour. Though Valentine had left the band, drummer Clem Burke convinced the band to record the song for Plastic Letters.


(I'm Always Touched by Your) Presence, Dear
"Presence, Dear" was released in 1978 as the second single from Plastic Letters, reaching number 10 in the UK singles chart in May 1978. It was never released as a single in the US. The song has since seen critical acclaim and has been ranked by some music writers as one of the band's best songs.


(I'm Always Touched by Your) Presence, Dear, Background
It was written by Blondie bass player Gary Valentine for his then-girlfriend, the actress and journalist Lisa Jane Persky, before his departure from the band. Valentine had also written the band's first single, "X Offender". In a 2012 interview, Valentine jokingly explained that the song concerns a telepathic connection between him and Persky.


(I'm Always Touched by Your) Presence, Dear, Background
"That was about these paranormal experiences I was having with my girlfriend at the time. We were in telepathic contact with each other when I was on tour. We would discover we’d be having the same dreams and we always seemed to know what the other was doing, which sometimes proved uncomfortable!"


(I'm Always Touched by Your) Presence, Dear, Background
More seriously, in New York Rocker: My Life in the Blank Generation Valentine wrote: "During the Iggy [Pop] tour we discovered we were having the same kind of dreams or found we were thinking of each other at the same time. Although we were thousands of miles apart, we were still in touch. Thinking of this one afternoon, it all came together in a song." The lyrics include references to kismet, theosophy, R.E.M, levitation and the stratosphere.


(I'm Always Touched by Your) Presence, Dear, Background
Though Valentine had left the band by the recording of the band's second album, Plastic Letters, drummer Clem Burke convinced the band to record "Presence, Dear" for the album. Gary Valentine's version of the song was released on the 2003 compilation of his work in music, titled Tomorrow Belongs to You.


(I'm Always Touched by Your) Presence, Dear, Release
"Presence, Dear" was released as the second single from Plastic Letters. It was issued in both 7" and 12" formats in the UK, with two songs on the B-side, as were previous singles, "Rip Her to Shreds" and "Denis". One of the single's B-side tracks was "Detroit 442", and the other was Jimmy Destri's "Poets Problem", which was not on the original release of Plastic Letters. "Poets Problem" was first issued on CD on the 1993 rarities compilation Blonde and Beyond and later as a bonus track on both the 1994 and 2001 re-releases of Plastic Letters.


(I'm Always Touched by Your) Presence, Dear, Release
As the follow-up to the UK hit "Denis," "Presence, Dear" was a commercial success in the UK, reaching number ten. The single also reached number ten in the Netherlands and number 14 in Belgium. The single did not chart in the US.


(I'm Always Touched by Your) Presence, Dear, Release
Blondie performed the song on the BBC2 television show The Old Grey Whistle Test in 1978.


(I'm Always Touched by Your) Presence, Dear, Reception
"Presence, Dear" has seen critical acclaim since its release. Stewart Mason of AllMusic wrote, "It's one of the group's early highlights, a sweet little power pop love song that features a brilliantly starry-eyed lyric set to an addictive jangly guitar riff. The missing link between Big Star's #1 Record and the dB's Stands for Decibels, '(I'm Always Touched By Your) Presence, Dear' pulls off the difficult trick of being dryly ironic and utterly sincere at the same moment." The Rolling Stone Album Guide called the song a "catchy single" that "taps into Harry's emotional reserves."


(I'm Always Touched by Your) Presence, Dear, Reception
GQ ranked the song as Blondie's second best, writing, "If you ever doubted Blondie's ability to be funny, intelligent, culty and yet bubblegum, it's here in the lines of this song: 'We could navigate together, psychic frequencies / Coming into contact with outer entities / We could entertain each one with our theosophies.'" The Daily Telegraph ranked it as one of the band's ten best songs, praising Harry's "glacial" vocals and describing the melody as "so insistent, you might need an exorcist to get it out of your head." New Times Broward-Palm Beach named the song as one of Blondie's five most underrated, noting, "Harry made its sweet ode to infatuation convincing."


(I'm Always Touched by Your) Presence, Dear, Cover versions
Tracey Ullman covered the song in her 1983 album You Broke My Heart in 17 Places. In 1995, Annie Lennox covered it as the B-side of her single "A Whiter Shade of Pale". 10,000 Maniacs covered the song and released it digitally in 2000.


(I'm Gonna) Love Me Again
"(I'm Gonna) Love Me Again" is a song from the 2019 biopic Rocketman. Written by Elton John and Bernie Taupin, the song was performed by John and Taron Egerton, who portrayed John in the film. The song is heard in the end credits of the film. The official music video features both archival clips from John's early career as well as scenes from the film. The song won numerous accolades including "Best Original Song" at the 77th Golden Globe Awards, "Best Song" at the 25th Critics' Choice Awards, "Best Original Song" at the 24th Satellite Awards, and Best Original Song at the 92nd Academy Awards.


(I'm Gonna) Love Me Again
The song premiered on BBC Radio 2 on 16 May 2019.


(I'm Gonna) Love Me Again, Music video
The music video was directed by Kii Arens. It was uploaded to John's official Vevo account on 13 June 2019. The video features John and Egerton, with footage of Egerton as John in Rocketman, archival footage of the musician and clips of both John and Egerton recording the song in the studio. It also includes kaleidoscopic animation mixed with album artwork and concert posters from John's heyday.


(I'm Gonna) Love Me Again, Music video
The making of the music video was released on 4 July 2019 on John's Vevo account, with John and Taupin discussing the track in a behind-the-scenes video.


(I'm Gonna) Love Me Again, Live performances
"(I'm Gonna) Love Me Again" was performed by John and Egerton on Paramount Pictures' Rocketman: Live in Concert at the Greek Theatre, in Los Angeles, with the Hollywood Symphony Orchestra on 17 October 2019.


(I'm Gonna) Love Me Again, Live performances
John performed "(I'm Gonna) Love Me Again" at the 92nd Academy Awards on 9 February 2020 with a red Yamaha piano and full-band including backing singers in front of a screen with animated graphics to represent the film. The song won the Academy Award for Best Original Song.


(I'm Gonna) Love Me Again, Remix
The musical group Purple Disco Machine was responsible for a remix version of music from John and Egerton. The music was launched on download and streaming platforms on 19 December 2019. Remix cover illustration by Erin Goedtel.


(I'm Gonna) Put You Back on the Rack
"(I'm Gonna) Put You Back on the Rack" is a song written by Randy Goodrum and Brent Maher, and recorded by American country music artist Dottie West. The song peaked at number 16 on the Billboard Hot Country Singles chart. It was released in June 1981 as the third and final single from West's album Wild West. In addition, "(I'm Gonna) Put You Back on the Rack" peaked at number 22 on the Canadian RPM Country chart.


(I'm Gonna) Sing, Sing, Sing
"(I'm Gonna) Sing, Sing, Sing" is a hymn written by Hank Williams. He performed it as part of a radio show for Mother's Best Flour in Nashville from January to March 1951. MGM released the song as a posthumous single in 1954 with "Angel of Death" as the B-side. The A-side was recorded as a demo sometime in 1950.


(I'm Gonna) Sing, Sing, Sing, Sources
This 1950s single-related article is a stub. You can help Wikipedia by .


(I'm Not Your) Steppin' Stone
"(I'm Not Your) Steppin' Stone" is a rock song written by Tommy Boyce and Bobby Hart. It was first recorded by Paul Revere & the Raiders and appeared on their album Midnight Ride, released in May 1966.


(I'm Not Your) Steppin' Stone
The song is simple musically, with a repeating verse chord progression of E major, G major, A major, and C major, and a repeating bridge in cut time of E major, G major, A major, and G major.


(I'm Not Your) Steppin' Stone, Monkees version
It is best known as a hit for The Monkees (US #20), released in November 1966, (making it the first Monkees B-side to chart). Musicians featured on the Monkees recording are: Micky Dolenz (lead vocal); Tommy Boyce (backing vocal); Wayne Erwin and Gerry McGee (rhythm guitar); Louis Shelton (lead guitar); Bobby Hart (Vox Continental organ);  Larry Taylor (bass); Billy Lewis (drums); and Henry Lewy (percussion).


(I'm Not Your) Steppin' Stone, Monkees version
The various Monkees' versions differ across the single, stereo album, and mono album versions. In the stereo version, the track's title is sung just before the second verse, whereas on the single and mono album versions, this segment is left instrumental. Additionally, the stereo version has an edit in the fade out. The mono album version does not have this edit and therefore has a longer coda. The single also does not have the edit, but it fades the song earlier than the mono album. All Monkees' hits compilations through the mid-1980s used the stereo version, and afterward typically used the single version.


(I'm Not Your) Steppin' Stone, Monkees version
Their cover appeared in the 5th episode, "Fork", of the Netflix miniseries, The Queen's Gambit. It is also in the 6th episode of the second season "Sex, Lies and Jellyfish" of the Netflix series, Zoo.


(I'm Not Your) Steppin' Stone, Other versions
The song has been covered by many artists. Among the more notable is Modern Rocketry's version in 1983, which reached number 7 on the U.S. Hot Dance/Disco chart; and PJ & Duncan's version in 1996, which reached number 11 on the UK Singles Chart. Punk bands, The Sex Pistols, State of Alert and Minor Threat also have recorded versions of the song.


(I'm Settin') Fancy Free
"(I'm Settin') Fancy Free" (sometimes known as "I'm Setting Fancy Free" or simply "Fancy Free") is the title song written by Roy August and Jimbeau Hinson, and recorded by American country music group The Oak Ridge Boys. It was released in August 1981 as the second single from the album Fancy Free. The song reached No. 1 on the Billboard Hot Country Singles chart in November 1981, during The Oak Ridge Boys' peak of popularity, and it is considered one of their signature songs.


(I'm So) Afraid of Losing You Again
"(I'm So) Afraid of Losing You Again" is a song written by Dallas Frazier and A.L. "Doodle" Owens, and recorded by American country music artist Charley Pride. It was released in October 1969 as the first single from the album Just Plain Charley. The song was Pride's second number one on the country charts. The single stayed at number one for three weeks and spent a total of 15 weeks on the country charts.


(I'm So) Happy Happy (You're Mine)
"(I'm So) Happy Happy (You're Mine)" is the only single from the girl group, The Sheilas, released on 17 (download) and 24 September (CD), 2007.


(I'm So) Happy Happy (You're Mine)
The Sheila's are a novelty group, famous for promoting Sheila's Wheels, who advertised for ITV Weather. The song lyrics include many references to this, for example, "You're my blue sky and sunshine", "Everybody wants the sun, nobody wants the rain" and "You can bring about a change in the weather".


(I'm Watching) Every Little Move You Make
"(I'm Watching) Every Little Move You Make" is a song, written by Paul Anka and originally recorded in 1963 by Little Peggy March.


(I'm Watching) Every Little Move You Make
In the same year, it became (under the title I'm watching) a hit for French singer Sylvie Vartan, who released it both in English and in French (under the title "Je ne vois que toi" on her 1963 album Twiste et chante).


(I'm Watching) Every Little Move You Make, Track listings, Sylvie Vartan versions
7" EP I'm watching / Deux enfants / Ne t'en vas pas / Les clous d'or (RCA Victor 86.019, 1963)


(I'm a) Road Runner
"(I'm a) Road Runner" is a hit song by Junior Walker & the Allstars, and was the title track of the successful 1966 album Road Runner. Written by the team of Holland–Dozier–Holland, it was released on the Tamla (Motown) label in 1966 and reached the top twenty in the U.S. and the UK.


(I'm a) Road Runner, Background
Walker plays the distinctive tenor saxophone solo, backed by Mike Terry on baritone saxophone with Willie Woods on guitar. During the recording, it was discovered that Walker could play the song in only two keys. So Walker sang in a key that he couldn’t play, and after being recorded, the saxophone track was sped up to match.


(I'm a) Road Runner, Background
The pictorial single sleeve used a running bird similar to the Road Runner cartoon character.


(I'm in a) Dancing Mood
"(I'm in a) Dancing Mood" is an pop song written and recorded by Delroy Wilson.


(I'm in a) Dancing Mood, Jo Jo Zep & The Falcons version
"(I'm in a) Dancing Mood" was recorded by Australian blues, rock and R&B band Jo Jo Zep & The Falcons. The song was released in October 1977 as the lead single from their second studio album, Whip It Out (1977). The song peaked at number 90 on the Kent Music Report in Australia. It was recorded a few months prior by Australian reggae, R&B band Billy T, as a b-side.


(I'm) Stranded
(I'm) Stranded is the debut album by Australian punk rock group The Saints which was released by EMI on 21 February 1977. Their debut single, "(I'm) Stranded", was issued ahead of the album in September 1976, which Sounds magazine's reviewer, Jonh Ingham, declared was the "Single of this and every week". "Erotic Neurotic" was the second single, which was released in May 1977 and the group relocated to the United Kingdom. In June, bass guitarist Algy Ward replaced Bradshaw and the group issued a single, "This Perfect Day" in July, which peaked in the Top 40 on the UK Singles Chart.


(I'm) Stranded
In May 2001, Australasian Performing Right Association (APRA) celebrated its 75th anniversary and named "(I'm) Stranded" in its Top 30 Australian songs of all time. In 2007, 'I'm Stranded' was one of the first 20 songs added to the National Film and Sound Archive's Sounds of Australia registry. Their debut album was listed at No. 20 in the book, 100 Best Australian Albums, in October 2010.


(I'm) Stranded, Background
The Saints formed in Brisbane in 1973 with original members Chris Bailey (singer-songwriter, later guitarist), Ed Kuepper (guitarist-songwriter), and Ivor Hay (drummer). In 1975, Kym Bradshaw joined on bass guitar. Contemporaneous with Ramones, the group were employing the fast tempos, raucous vocals and "buzz saw" guitar that characterised early punk rock. Kuepper explained that they played faster and faster as they were nervous in front of audiences. According to Australian rock historian, Ian McFarlane, they had developed their "own distinctive sound as defined by Kuepper's frenetic, whirlwind guitar style and Bailey's arrogant snarl".


(I'm) Stranded, Background
In June 1976, The Saints recorded two tracks, "(I'm) Stranded" and "No Time" with Mark Moffatt producing. Unable to find an interested label, they formed Fatal Records and independently released the two tracks as their debut single in September 1976. Their self-owned Eternal Promotions sent discs to radio stations and magazines both in Australia – with little local interest – and the United Kingdom. In the UK, a small label, Power Exchange, issued the single. Sounds magazine's reviewer Jonh Ingham declared it, "Single of this and every week". EMI head office in London contacted the Sydney branch and directed that they be signed to a three-album contract.


(I'm) Stranded, Background
Over two days in December, the group recorded their first LP album, (I'm) Stranded (21 February 1977), with Rod Coe producing. Kuepper said later that the album was "basically our live set and were also the oldest songs. And in particularly with 'Nights In Venice' and 'Messin' With The Kid', they were the first two songs we ever did." It included a cover version of The Missing Links' track "Wild About You". On the single tracks "(I'm) Stranded" and "No Time", Kuepper's guitar was tuned up a semitone, to emulate Bo Diddley.


(I'm) Stranded, Background
The other eight tracks were recorded over a weekend in December 1976. Kuepper used Mark Moffatt's 1960 Fender Super amp with no effect pedals on (I'm) Stranded and No Time. On the remainder of the album he used a vocal PA as his guitar amp, after his live amp had "blown up", and an MXR Distortion Plus pedal. The band recorded the tracks live, though with the guitar amp in the corridor to avoid spill.


(I'm) Stranded, Background
The band supported AC/DC in late December 1976 and, early in 1977, relocated to Sydney.


(I'm) Stranded, Background
EMI re-issued the single "(I'm) Stranded" in February 1977 and it reached the Kent Music Report Top 100 Singles Chart. In May 1977, the band released their second single, "Erotic Neurotic" and then moved to the UK, where they differed with their label over how they should be marketed. EMI planned to promote them as a typical punk band, complete with ripped clothes and spiky hair – The Saints insisted on maintaining a more downbeat image.


(I'm) Stranded, Background
In 2007, (I'm) Stranded was reissued as a CD with bonus tracks including the EP One Two Three Four and the single version of "This Perfect Day".


(I'm) Stranded, Reception, Contemporary reviews
Kris Needs in ZigZag May 1977 called it a "rip-snorter of an album" and "one hell of an album, although it's a bit patchy."


(I'm) Stranded, Reception, Contemporary reviews
Robot A. Hull in Creem December 1977, reviewing the US edition released on Sire, said the Saints "easily match the savage revolt of bands like the Clash and the Jam" and called (I'm Stranded) "a pistol shot of an album worth getting stewed over."


(I'm) Stranded, Reception, Contemporary reviews
The Village Voice's Robert Christgau wrote, "intermittent hooks, droning feedback, shouted vocals, and oldie about incest, this album from Australia achieves the great mean of punk style".


(I'm) Stranded, Reception, Retrospective reviews
In his review of (I'm) Stranded, Jack Rabid of AllMusic declared that "[T]he Saints sparked the Far East punk rock movement with a blasting, blistering, scorching sound no one had heard before". Although eight of the tracks showed a "heavy, buzzing racket ... borders on unintelligible, they're so cheaply recorded".


(I'm) Stranded, Reception, Retrospective reviews
McFarlane described it as "full of rough, exhilarating rock'n'roll noise, and it remains one of the greatest debut albums of the era".


(I'm) Stranded, Reception, Retrospective reviews
John Ballon of MustHear writes the album is "a devastating listen, loaded with the same irresistible power ... [ and] has all the intense purity of a band hell bent on making a racket, regardless of its commercial viability".


(I'm) Stranded, Accolades
In May 2001, Australasian Performing Right Association (APRA) celebrated its 75th anniversary and named "(I'm) Stranded" in its Top 30 Australian songs of all time. In 2007, "I'm Stranded" was one of the first 20 songs stored on the National Film and Sound Archive's Sounds of Australia registry. The album was listed at No. 20 in the book 100 Best Australian Albums in October 2010. Fact ranked it the 20th best album of the 1970s in 2014, calling it "easily one of the best – and probably the noisiest – albums to emerge from punk’s first wave."


(I'm) Stranded, Accolades
The State Library of Queensland named it's copy of (I’m) Stranded as one of the treasures from its John Oxley Library collection, citing the 7” vinyl single represented a piece of Australian and Queensland music history, influencing generations of bands around the world.


(I'm) Stranded, Track listing
All tracks are written by Chris Bailey and Ed Kuepper except where shown.


(I'm) Stranded (song)
"(I'm) Stranded" is the first song released by pioneering Australian punk rock band The Saints. Issued in September 1976, it has been cited as "one of the iconic singles of the era", and pre-dated vinyl debuts by contemporary punk acts such as the Sex Pistols, Buzzcocks, The Damned and The Clash. In 2001, it was voted among the Top 30 Australian Songs of all time by APRA.


(I'm) Stranded (song)
Written by guitarist Ed Kuepper and vocalist Chris Bailey, the single was originally released on the band's own Fatal Records label, with an initial pressing of 500 copies. In the UK, where the single was at first available only on import, Sounds magazine called it "single of this and every week. ... The singing's flat and disinterested, the guitars are on full stun. ... It's fabulous." In 2007, Australian Musician magazine voted this the fourth most significant moment in the history of Australian pop/rock.


(I'm) Stranded (song)
On the strength of the single, The Saints were signed in November 1976 to a three-album deal by EMI in the UK. The single was then released in the U.K. on 31 December 1976. The band's first LP was also called (I'm) Stranded. As well as featuring on their debut album, both "(I'm) Stranded" and the single's B-side, "No Time", appeared on a split EP with Stanley Frank in 1977.


(I'm) Stranded (song)
In 2007, "(I'm) Stranded" was added to the National Film and Sound Archive's Sounds of Australia registry.


(I'm) Stranded (song), History
The Saints were formed in Brisbane in 1973, initially calling themselves Kid Galahad and the Eternals. They are considered to be one of the first and most influential punk groups. The Saints rehearsed in the front room of the rented house on Petrie terrace, Brisbane, which happened to be opposite the local police headquarters. By 1975, contemporaneous with the Ramones, The Saints were employing the fast tempos, raucous vocals and "buzzsaw" guitar that characterised early punk rock. Guitarist Ed Kuepper explained that they played faster and faster as they were nervous in front of audiences. The police would often break up their performances, and arrests were frequent. They found it difficult to get bookings in Brisbane and so formed their own promotion company, their own club (Hay's place became the 76 Club) and their own record label.


(I'm) Stranded (song), History
Their first single, "(I'm) Stranded", released in September 1976, came out ahead of the debut records by better-known punk acts like the Sex Pistols and The Clash. The film clip for the song was directed by Russell Mulcahy and filmed at an abandoned terrace house located in the suburb of Paddington. The Saints distributed the single themselves, on their own Fatal label, sending it to overseas record companies and magazines. In Great Britain, Sounds reviewer Jonh Ingham called it the "single of this and every week". He continued,


(I'm) Stranded (song), History
There's a tendency to blabber mindlessly about this single, it's so bloody incredible [...] for some reason Australian record companies think the band lack commercial potential. What a bunch of idiots. You like Quo or The Ramones? This pounds them into the dirt. Hear it once and you'll never forget it. The singing's flat and disinterested, the guitars are on full stun. There's no such thing as a middle eight. It's fabulous.


(I'm) Stranded (song), History
The song was played by influential DJ John Peel in a special punk-themed edition of his BBC Radio 1 programme, broadcast on 10 December 1976. Bob Geldof of The Boomtown Rats later said, "Rock music in the Seventies was changed by three bands—the Sex Pistols, the Ramones and The Saints". EMI Records in Sydney was contacted by its London head office and told to sign the punk band from Brisbane.


(I'm) Stranded (song), History
The Saints resisted being re-modelled into the English punk look and were generally ignored by the Australian press at the time, which reported that "a sinister new teenage pop cult, based on sex, sadism and violence, is sweeping Britain." They relocated first to Sydney and then to London, where they were received with excitement on their first regional tour. They did not share the spiky-topped, safety-pinned style of the leading UK punk groups and preferred to be described as "gutsy realists". Kuepper recalled that, nevertheless, they were swept up in the same punk packaging:


(I'm) Stranded (song), History
The band was a full thing by 1974. Two and a half years later, this incredibly fashionable movement comes along, only an arsehole would have associated himself with that.


(I'm) Stranded (song), History
On the strength of the single, The Saints were signed in November 1976 to a three-album deal by EMI in the UK. Their first LP was also called (I'm) Stranded. As well as featuring on their debut album, both "(I'm) Stranded" and the single's B-side, "No Time", appeared on a split EP with Stanley Frank in 1977.


(I'm) Stranded (song), History
The song "I'm Stranded" is the theme song for the Australian TV series "Spirited," about a British punk rocker who disappeared in 1982 and whose ghost has appeared in Australia in the late 2010s.


(I've Been) Searchin' So Long
"(I've Been) Searchin' So Long" is a song written by James Pankow for the group Chicago and recorded for their album Chicago VII (1974). The first single released from that album, it reached number 9 on the U.S. Billboard Hot 100. It also hit number 8 on the Adult Contemporary chart. In Canada, the song peaked at number 5.


(I've Got a Gal In) Kalamazoo
"(I've Got a Gal in) Kalamazoo" is a #1 popular song recorded by Glenn Miller and His Orchestra in 1942. It was written by Mack Gordon and Harry Warren and published in 1942. It was featured in the musical film Orchestra Wives and was recorded by Glenn Miller and His Orchestra, featuring Tex Beneke, Marion Hutton and The Modernaires, who released it as an A side 78 in 1942, 27934-A. The B side was "At Last".


(I've Got a Gal In) Kalamazoo, Background
The song popularized the city of Kalamazoo, Michigan. Although originally recorded by the Glenn Miller band with Tex Beneke on lead vocals, it was recreated by the fictional Gene Morrison Orchestra performing as the Glenn Miller Band and the Nicholas Brothers (performing the song as part of a dance sequence) in the 1942 20th Century Fox movie Orchestra Wives. The song was nominated for Best Music, Original Song at the Academy Awards, Harry Warren (music), Mack Gordon (lyrics).


(I've Got a Gal In) Kalamazoo, Background
The song was recorded on May 20, 1942 in Hollywood. The arrangement was by Jerry Gray. The personnel on "(I've Got a Gal in) Kalamazoo": Tex Beneke, Marion Hutton, the Modernaires (vocals), Billy May, John Best, Steve Lipkins, R.D. McMickle (trumpet), Glenn Miller, Jim Priddy, Paul Tanner, Frank D'Annolfo (trombone), Lloyd "Skip" Martin, Wilbur Schwartz (clarinet, alto saxophone), Tex Beneke, Al Klink (tenor saxophone), Ernie Caceres (baritone saxophone), Chummy MacGregor (piano), Bobby Hackett (guitar), Edward "Doc" Goldberg (string bass), and Maurice Purtill (drums).


(I've Got a Gal In) Kalamazoo, Reception
The Glenn Miller record was the year's best-selling recording in the United States, according to Billboard magazine. It spent nineteen weeks on the Billboard charts, including eight weeks in first place. The song was nominated for an Academy Award in the category of "Best Music, Original Song" in 1943.


(I've Got) Beginner's Luck
"(I've Got) Beginner's Luck" is a song composed by George Gershwin, with lyrics by Ira Gershwin, written for the 1937 film Shall We Dance, it was introduced by Fred Astaire. It's a brief comic tap solo with cane where Astaire's rehearsing to a record of the number is cut short when the record gets stuck. Astaire's commercial recording for Brunswick (No. 7855) was very popular in 1937.


(I've Had) The Time of My Life
"(I've Had) The Time of My Life" is a 1987 song composed by Franke Previte, John DeNicola, and Donald Markowitz. It was recorded by Bill Medley and Jennifer Warnes, and used as the theme song for the 1987 film Dirty Dancing. The song has won a number of awards, including the Academy Award for Best Original Song, the Golden Globe Award for Best Original Song, and the Grammy Award for Best Pop Performance by a Duo or Group with Vocals.


(I've Had) The Time of My Life, History
Singer-songwriter Previte was the lead singer of the band Franke and the Knockouts. He had success with the song "Sweetheart" in 1981, but by 1986 was without a recording contract. In late 1986 or early 1987, producer and head of Millennium Records, Jimmy Ienner, asked Previte about writing some music for "a little movie called Dirty Dancing". Previte initially turned the request down because he was still trying to get a record deal, but Ienner was persistent, and got Previte to write several songs for the film, including "Hungry Eyes", later recorded by singer Eric Carmen, which also became a top 10 hit.


(I've Had) The Time of My Life, History
Previte wrote the lyrics, and the music was written by John DeNicola and Don Markowitz. After getting further approval, Previte created a demo of the song, performing on it himself, along with singer Rachele Cappelli. The demo showcased how the harmonies were to be used, employing a "cold open", or a slow build-up of the song to its finale. This demo wasn't used in the final cut of the film − the more polished version with Warnes and Medley was.


(I've Had) The Time of My Life, History
However, because the Warnes/Medley track was not ready by the time the finale was filmed (it was shot first, due to the tight budget), Previte and Capelli's much lighter and more youthful version was used as a backing track, so that the actors, Patrick Swayze and Jennifer Grey, and the dancers, could have something to dance to (Swayze had later remarked it was his favorite version, even including all the subsequent remakes). The demo version finally appeared on the 1998 CD reissue of Previte's 1981 album Franke and the Knockouts, but is only listed as "Bonus Track".


(I've Had) The Time of My Life, History
The song was initially intended for Donna Summer and Joe Esposito, but Summer turned it down because she didn't like the title of the film. Bill Medley was approached by Jimmy Ienner repeatedly over two months to do the recording, but he also turned it down because his daughter McKenna was due to be born, and he had promised his wife he would be there. After the birth of his daughter, Medley was approached again, because Jennifer Warnes had indicated she would record the song if she could do the duet with Medley. Medley then agreed to record the track. To give emotional depth to the song, Warnes had a video playback machine and footage of the final scene brought in to synchronize her singing with the movie's ending scene, particularly "the lift".


(I've Had) The Time of My Life, History
The song was originally released on July 10, 1987; it was intended to be released alongside the film, but the film's producer Vestron Pictures had moved the American release date to August without notifying RCA Records. Ienner quickly edited the song from the original 6:46 to 4:50 for radio airplay. With the release of the film, it became a worldwide hit, and is one of the most frequently played songs on radio.


(I've Had) The Time of My Life, History
A song by Lionel Richie was initially planned to be used as the finale of Dirty Dancing, but choreographer Kenny Ortega and his assistant Miranda Garrison (who also played Vivian in the film) selected "The Time of My Life" instead.


(I've Had) The Time of My Life, Music video
A music video was produced for this song in October 1987. The video features several couples dancing like in the movie, and it also featured clips from it.


(I've Had) The Time of My Life, Chart performance
In the United States, the single topped the Billboard Hot 100 chart in November 1987 for one week and also reached number one on the Adult Contemporary for four weeks. In the United Kingdom the song had two chart outings: in November 1987, after the film's initial release, the song peaked at No. 6; in January 1991, after the film was shown on mainstream television, the song reached No. 8.


(I've Had) The Time of My Life, Awards
In 2004 AFI's 100 Years...100 Songs survey placed it #86 among the top tunes in American cinema.


(I've Had) The Time of My Life, Certifications
* Sales figures based on certification alone.^ Shipments figures based on certification alone. Sales+streaming figures based on certification alone.


(I) Don't Got a Place
(I) Don't Got a Place is an EP by American post-hardcore band Girls Against Boys, released on August 29, 1994 by Touch and Go Records.


(I) Don't Got a Place, Personnel
Adapted from the (I) Don't Got a Place liner notes.


(I) Get Lost
"(I) Get Lost" is a pop song written and recorded by the British rock musician Eric Clapton. The title was released as both a single on 23 November 1999 for Reprise Records and is featured as part of the compilation album Clapton Chronicles: The Best of Eric Clapton, which was released on 12 October 1999. It was written for the movie The Story of Us.


(I) Get Lost, Composition
The track was written during a period Clapton experimented with minimalistic guitar riffs and Pro Tools along with his collaborator Simon Climie, while being in the recording sessions for the 1998 Pilgrim studio album. "(I) Get Lost" starts with a guitar line that featured Clapton playing an acoustic guitar with nylon strings. As the song evolves, percussions, strings and synthesizers come into action. The recording was produced by Simon Climie and Clapton himself. The song starts out in a key of A major. The song's lyrics tell the story of a man, who is longing for his either his girlfriend or lifelong love and feels himself lost in tears and apprehensibility.


(I) Get Lost, Release
The song was originally written and recorded as part of the movie soundtrack to the 1999 film The Story of Us, where the song was featured along with the "Main Title" (also composed by Clapton for the movie) in the very beginning. It was later released with the soundtrack compact disc under Reprise Records. The pop title was also released as a compact disc and vinyl single on 23 November 1999. In Germany, the single was re-released in 2000. Besides being released in Europe and the United States, the CD single was also made available in Japan and Mexico.


(I) Get Lost, Reception
Music critic Dan Goldwasser of Soundtrack.NET calls the song an "upbeat song" which "immediately grabs the listener". Additionally, the "(I) Get Lost" has got an important part of making the movie soundtrack The Story of Us a "relaxing score". The music website AllMusic rates the single release with one and a half of five possible stars.


(I) Get Lost, Reception
Billboard magazine's Chuck Taylor thinks, "you will be speechless" after hearing the single, because the release is an "absolutely enchanting and bold effort by this timeless artist to step to the late–1990s plate instead of letting reflective ballads redefine his image as an aging AC balladier". Taylor goes on in his review for the music magazine, stating: "Every element of this song shines, from its light but intelligent lyric about being lost without the one he loves (though, at the same time implicationg her as less than the perfect mate) to an overwhelmingly catchy chorus.


(I) Get Lost, Reception
But it's the production that will elevate 'Lost' above the pop patter out there, with its dignified demeanor wrapped in a toe-tapping vibe that will delight the nation. Even the die-hards who look back to his simpler rock days will find an appreciation in this ditty, a sure step forward for an artist who demands to be noticed by the mainstream this time around. This is surprising, great fun and a sure-fire hit".


(ISC)²
The International Information System Security Certification Consortium, or (ISC)², is a non-profit organization which specializes in training and certifications for cybersecurity professionals. It has been described as the "world's largest IT security organization". The most widely known certification offered by (ISC)² is the Certified Information Systems Security Professional (CISSP) certification.


(ISC)², History
In the mid-1980s a need arose for a standardized and vendor-neutral certification program that provided structure and demonstrated competence in the field of IT security, and several professional societies recognized that certification programs attesting to the qualifications of information security personnel were desperately needed.


(ISC)², History
In June 1988, a conference was hosted by the National Institutes of Standards and Technology (NIST) and the Federal Information Systems Security Educators Association (FISSEA) at Idaho State University in Pocatello, Idaho to address the need for standardized curriculum for the burgeoning profession. Organizations in attendance included:


(ISC)², History
During the conference, the question was raised why virtually every group represented, save NIST and ISU, was creating a professional certification. The conference participants agreed to form a consortium that would attempt to bring together the competing agendas of the various organizations. In November 1988, the Special Interest Group for Computer Security (SIG-CS), a member of the Data Processing Management Association (DPMA), brought together several organizations interested in this. The (ISC)² was formed in mid-1989 as a non-profit organization with this goal in mind [8].


(ISC)², History
By 1990, the first working committee to establish something called the Common Body of Knowledge (CBK) had been formed. The work done by that committee resulted in the first version of CBK being finalized by 1992, with the CISSP credential launched by 1994, followed by the SSCP credential in 2001, the CAP credential in 2005, and the CSSLP credential in 2008, the CCFP and HCISPP in 2013 and the CCSP in 2015. [ 9]


(ISC)², History
In 2001, (ISC)² established its Europe, Middle East and Africa regional office in London. In 2002, (ISC)² opened its Asia-Pacific regional office in Hong Kong. In 2015, (ISC)² introduced its North America regional office in Washington, D.C.


(ISC)², History
Since 2011, (ISC)² organizes the annual  conference. The 2019 conference will be the first international iteration of the event and will be held in Orlando, Florida.


(ISC)², Professional certifications
(ISC)² maintains what it calls a Common Body of Knowledge for information security for the following certifications:


(ISC)², Professional certifications
It is certified by ANSI that (ISC)² meets the requirements of ANSI/ISO/IEC Standard 17024, a personnel certification accreditation program. That accreditation covers the CISSP, SSCP, CISSP-ISSAP, CISSP-ISSEP, CISSP-ISSMP, CAP, and CSSLP certifications.


(ISC)², Professional certifications, Continuous Professional Education
All (ISC)² certified professionals are required to earn Continuous Professional Education (CPE) credits on an annual basis in order to maintain their certifications. CPE credits can be obtained by attending industry events or conferences, writing articles/book reviews/books, etc.


(ISC)², Code of Ethics
All certified (ISC)² professionals are required to support the . Violations of the code of ethics are each investigated by a peer review panel, within the potential of revoking the certification. (ISC)² (along with other security certification organizations) has been criticized for lack of education in the area of ethics.


(If Loving You Is Wrong) I Don't Want to Be Right
"(If Loving You Is Wrong) I Don't Want to Be Right" is a song written by Stax Records songwriters Homer Banks, Carl Hampton, and Raymond Jackson. Originally written for The Emotions, it has been performed by many singers, most notably by Luther Ingram, whose original recording topped the R&B chart for four weeks and rose to number 3 on the Billboard Hot 100 in 1972. Billboard ranked it as the No. 16 song for 1972.


(If Loving You Is Wrong) I Don't Want to Be Right
In 1972–73, The Faces recorded the song as an outtake for Ooh La La (1973), their final studio album. In 1974, Millie Jackson released her version of the song which received two Grammy Award nominations. In 1978, Barbara Mandrell's version topped the U.S. country chart, reached number 31 on the Billboard Hot 100 (number 27 Cashbox), and was nominated for Single of the Year at the 1979 CMA (Country Music Association) Awards. Rod Stewart recorded the song for Foot Loose & Fancy Free (1977), his eighth album; as a single it peaked at number 23 on the UK Singles Chart in 1980.


(If Loving You Is Wrong) I Don't Want to Be Right, Content
The song is about an adulterous love affair, told from the point of view of either the mistress or the cheating spouse, depending on the gender of the performer. Regardless, both parties involved express their desire to maintain the affair, while at the same time acknowledging that the relationship is wrong according to conventional moral standards.


(If Loving You Is Wrong) I Don't Want to Be Right, Content
Millie Jackson, however, took a somewhat different approach. On both studio and live recordings, her version is typically divided into three parts: "(If Loving You Is Wrong) I Don't Want to Be Right", "The Rap", and "(If Loving You Is Wrong) I Don't Want to Be Right (Reprise)", which together have a running time of over 11 minutes. The first and third parts include the song more or less as originally written, while the second part was written by Jackson herself. Titled "The Rap", the middle segment is a monologue in which an unrepentant Jackson discusses her status as the "other woman" and why she loves it.


(If Loving You Is Wrong) I Don't Want to Be Right, Notable performers
It was first recorded by The Emotions (but their version has never been released), and by Veda Brown, whose version was finally released in 2008.


(If Loving You Is Wrong) I Don't Want to Be Right, Notable performers
Other notable singers to cover it include: country singer Jackie Burns (whose version made Hot Country Songs in 1972), Isaac Hayes, Millie Jackson, Rod Stewart, Percy Sledge, Bobby "Blue" Bland, David Ruffin, Barbara Mason, LeAnn Rimes, Renée Geyer, Ramsey Lewis, jazz chanteuse Della Reese, reggae singers Alton Ellis, George Faith and Glen Washington, Tom Jones, Cassandra Wilson, Nathan Cavaleri, Rania Zeriri, Barbara Mandrell and Johanne Desforges (French cover: Si je ne peux t'aimer a quoi bon exister).


(If Loving You Is Wrong) I Don't Want to Be Right, Notable performers
In 2020, electronic musician Nicolas Jaar (under his moniker Against All Logic) released his own version called "If Loving You Is Wrong" from his second album 2017-2019, which heavily samples Ingram's version, notably the chorus.


(If Paradise Is) Half as Nice
"(If Paradise Is) Half as Nice" is a popular 1968 song originally written by the Italian singer-songwriter Lucio Battisti for La Ragazza 77, alias Ambra Borelli, in 1968 as "Il paradiso della vita" ("The paradise of the life"), and later in 1969 for Patty Pravo as "Il Paradiso" ("The paradise").


(If Paradise Is) Half as Nice, Amen Corner version
The song was translated into English by Jack Fishman. When it was offered to The Tremeloes as a potential single, they rejected it. Dave Clark 5 also wanted to record it and they did record the song. It was also recorded by Amen Corner as their debut single for their new record label, Immediate Records, and was produced by Shel Talmy. The most successful of the band's six hit singles, it reached number one on the UK Singles Chart for two weeks in February 1969, and number 34 when it was reissued in 1976. There are two differing versions of the song by Amen Corner; one with orchestra and a prominent horn through the middle eight, and one version without either. However, the basic track and vocals appear the same in both.


(If Paradise Is) Half as Nice, Toby Jug version
The song was covered by Toby Jug and released in Australia in 1970, where it peaked at number 65.


(If There Was) Any Other Way
"(If There Was) Any Other Way" is a song by Canadian singer Celine Dion. It was included on her first English-language album, Unison (1990). "(If There Was) Any Other Way" was released by Columbia Records as the album's lead single in Canada on 26 March 1990. The next year, it was issued as the second single in other countries. The song was written by Paul Bliss, while production was handled by Christopher Neil.


(If There Was) Any Other Way
After its release, "(If There Was) Any Other Way" received positive reviews from music critics. The song peaked at number 23 in Canada and number 35 on the US Billboard Hot 100. Additionally, it became a success on the adult contemporary charts, reaching number eight in the United States and number 12 in Canada. Two accompanying music videos for the song were filmed. Dion performed "(If There Was) Any Other Way" during her Unison Tour (1990–91).


(If There Was) Any Other Way, Background and release
In 1990, Dion was preparing to issue her first English-language album, Unison. After releasing various French-language albums in Canada and France in the '80s, she recorded new English songs in London, Los Angeles and New York. At first, Unison was released in Canada, and "(If There Was) Any Other Way" was chosen as its lead single. Written by British musician, Paul Bliss, and produced by British record producer, Christopher Neil, it was issued on 26 March 1990.


(If There Was) Any Other Way, Background and release
One year later on 18 March 1991, "(If There Was) Any Other Way" was released as the second single in the United States after "Where Does My Heart Beat Now". For the US market the single was remixed by Walter Afanasieff.