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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.
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]
An instrumental or instrumental song is music without any vocals, although it might include some inarticulate vocals, such as shouted backup vocals in a big band setting. Through semantic widening, a broader sense of the word song may refer to instrumentals. [1] [2] [3] The music is primarily or exclusively produced using musical instruments.
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 ...
"William Tell Overture" is a single by musician Mike Oldfield, released in 1977. It is a rendition of the last movement (Allegro molto) from Gioachino Rossini's William Tell Overture, played in a deliberately much slower arrangement than Rossini's original piece.
"That's Old Fashioned (That's the Way Love Should Be)" is a song released in 1962 by The Everly Brothers. The song spent 11 weeks on the Billboard Hot 100 chart, peaking at No. 9, [ 3 ] while reaching No. 4 on Billboard 's Easy Listening chart, [ 4 ] No. 6 in the Philippines , [ 5 ] and No. 18 on Canada 's CHUM Hit Parade . [ 6 ]
"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 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.