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Young Sinatra: Welcome to Forever received critical acclaim from music critics. HipHopDX's consensus determined the project as a "free album," their highest possible praise for a mixtape on the site. [3] DJBooth agreed with HipHopDX in saying Young Sinatra: Welcome to Forever had top notch production and sounded like an album. [4]
Logic released his second mixtape, Young Sinatra, in September 2011, which included the song, "All I Do". [2] [3] He later released the mixtapes, Young Sinatra: Undeniable, in April 2012 and Young Sinatra: Welcome to Forever, in May 2013. [4] [5]
"Forever" is a song by Canadian rapper Drake, and American rappers Kanye West, Lil Wayne, and Eminem. Written alongside producer Boi-1da, the song was originally released on August 27, 2009, as the third single from the soundtrack to LeBron James's More than a Game documentary, and was placed on the Refill re-release of Eminem's album Relapse (2009).
Fleetwood Mac and its member Stevie Nicks were influences for the song, according to some critics. "Forever" was written by band members Alana, Danielle and Este Haim, who also produced the track along with Ludwig Göransson, [8] a Swedish composer who has helmed the music for the US TV series Community, Happy Endings, New Girl, and The Mandalorian, as well as the film Fruitvale Station. [9]
"Forever Young" is a song by German synth-pop band Alphaville from their first album Forever Young (1984). The single was successful in Scandinavia and in the European German-speaking countries in the same year. The single has been covered by numerous artists. It also formed the basis of Jay-Z's song "Young Forever".
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"Forever" is a song by Kenny Loggins from his 1985 album, Vox Humana. The song was written by Eva Ein and its producers Loggins and David Foster . It was released as the second single on May 12, 1985 by Columbia Records from the album, after " Vox Humana ", and became another top 40 hit on the Billboard Hot 100 for Loggins.
"Forever & Always" was the last song that Swift wrote for Fearless. She pleaded with Big Machine Records' head Scott Borchetta to let her include the track on the album a day before the track list finalized [5] because it was about "something really, really dramatic and crazy" that needed to be addressed via music, as she told Rolling Stone. [6]