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E1 Music released "Say Yes" as the album's third single on June 2, 2014. "Say Yes" marks the third time the trio collaborated as solo artists following the disbandment of their group in 2006. Musically, "Say Yes" is an uptempo gospel and pop song, which takes influence from dance music.
"Countdown" is a song recorded by American singer and songwriter Beyoncé Knowles for her fourth studio album, 4 (2011). The song was written by Knowles, Terius Nash, Shea Taylor, Ester Dean, Cainon Lamb, Julie Frost, Michael Bivins, Nathan Morris and Wanya Morris, and produced by Beyoncé, Taylor and Lamb. The song's conception was brought ...
The 2011 song Run the World (Girls)" samples Pon de Floor, a 2009 song performed by Major Lazer (pictured) – a collaborative musical project from DJ/producers Diplo and Switch. [27] On the 2011 song " Schoolin' Life ", Beyoncé channels the friskiness of American singer Prince ( pictured ) in his prime as she addresses many life lessons to ...
Sometimes, “a lot of great music is overlooked,” he said. “Just because she made one … just ’cause I make one, I don’t get any nominations… I think the CMA, they have their voting body.
The post also attributes to Strait a quote criticizing country singer Darius Rucker, and includes a fake statement from a PR representative explaining that “[Strait] means well,” and that ...
After the disbandment of Destiny's Child in 2005, [9] the single "Check on It" featuring Slim Thug was released for The Pink Panther soundtrack; the song also features Destiny's Child member Kelly Rowland singing the entire second verse and features Rowland singing the choruses with Beyonce, although Rowland is not credited on the song. [10]
Beyoncé’s new album “Cowboy Carter” arrives after what the Texas-born singer says was a five-year journey she embarked on after feeling rejected by the country music world. On her eighth ...
Pitchfork writer Matthew Strauss described the song as "a dance song that is intended to mark the start of a new era with new anthems". [3] [14] Mikael Wood of the Los Angeles Times called the track a "thumping 1990s-style house jam" with lyrics that connect the song "explicitly to its roots in Black and queer communities". [15]