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Peggy Lee included the song on her 1958 album Jump for Joy. [5] An instrumental version was recorded by Bill Haley & His Comets in 1959 and released as a single in 1960; it was the band's final release for Decca Records and was only a minor hit. In 1961, Ray Charles recorded an instrumental version for his album The Genius After Hours.
Rudolph Atwood (December 16, 1912 – October 16, 1992) was an American Christian music pianist, known primarily for his years as accompanist on the long-running Old Fashioned Revival Hour radio program led by Charles E. Fuller from 1937 to 1968 on the Mutual Broadcasting System and later on the ABC Radio Network.
Reflecting the cultures that settled North America, the roots of old-time music are in the traditional musics of the British Isles, [2] Europe, and Africa. African influences are notably found in vocal and instrumental performance styles and dance, as well as the often cited use of the banjo; in some regions, Native American, Spanish, French and German sources are also prominent. [3]
Fluid Ounces (often referred to as Fl. Oz.) were a piano-based, power pop band from Murfreesboro, Tennessee that garnered a cult following for their critically acclaimed records, which featured a distinctive blend of hooks, varied musical styles, clever wordplay, and intricate, complex arrangements.
In 2017 a reissue of the vinyl version of The Fragile was released, alongside an expanded, instrumental version, titled The Fragile: Deviations 1. This version of The Fragile contains all songs in either instrumental or alternate formats, and combines them with newly released songs written and recorded during the sessions for The Fragile.
"Good Old-Fashioned Lover Boy" is the eighth track from the British rock band Queen's 1976 album A Day at the Races, written by Freddie Mercury. It was also released as a single in 1977 on 7-inch vinyl. It was one of several British music hall-inspired songs composed by members of the band.
The terms breeches or knee-breeches specifically designate the knee-length garments worn by men from the later 16th century to the early 19th century. After that, they survived in England only in very formal wear, such as the livery worn by some servants into the early 20th century, and the court dress worn by others, such as King's Counsel ...
The 9:37 song, the fourth and final track of the album, was Rush's first entirely instrumental piece. The multi-part piece was inspired by a dream guitarist Alex Lifeson had, and the music in these sections correspond to the occurrences in his dream. The opening segment was played on a nylon-string classical guitar.