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The song was first recorded by Jim Lowe, whose version reached number one on the US pop chart.The lyrics describe the allure of a mysterious private club with a green door, behind which "a happy crowd" play piano, smoke and "laugh a lot", and inside which the singer is not allowed.
Other songs from the same period also used the tune. The same notes form the bridge in the "Hot Scotch Rag", written by H. A. Fischler in 1911. [citation needed] An early recording used the seven-note tune at both the beginning and the ending of a humorous 1915 song, by Billy Murray and the American Quartet, called "On the 5:15".
"Revolving Door" is a song by Canadian singer Tate McRae from her third studio album So Close to What (2025). It was released through RCA Records on February 21, 2025, as the album's fourth single. McRae wrote the track with Julia Michaels and its producers, Grant Boutin and Ryan Tedder .
Illustration of the road by Kay Nielsen for the 1914 fairy tale East of the Sun and West of the Moon, whose title Tolkien uses in one of his walking songs for Aman, the desired other world. [1] "The Road Goes Ever On" is a title that encompasses several walking songs that J. R. R. Tolkien wrote for his Middle-earth legendarium.
From Christmas trees to stockings, the history behind these traditional items will surprise you.
The English band The Unthanks recorded a version of this song on their 2015 album Mount the Air, [16] and the song appeared in the BBC series Detectorists, and the 4th season of the HBO series True Detective. The American alternative rock band The Innocence Mission featured a song called "One for Sorrow, Two for Joy" on their 2003 album Befriended.
In the field of recorded music, a hidden track (sometimes called a ghost track, secret track or unlisted track) is a song or a piece of audio that has been placed on a CD, audio cassette, LP record, or other recorded medium, in such a way as to avoid detection by the casual listener. In some cases, the piece of music may simply have been left ...
These songs contain some of the singer-songwriter’s most biting lyrics, the kind that twist the emotional knife into anyone’s heart. Swift’s eleventh studio album is no different.