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Glitter is the soundtrack to the 2001 film of the same title and the eighth studio album by American singer-songwriter Mariah Carey. It was released in the United States on September 11, 2001 by Virgin Records .
"2 Hearts" is a glam rock [15] and electro-rock [16] record. Its instrumentation consists of electric guitars, guitars, drums, keyboards and piano riffs. The song also features "whooo"'s towards its chorus. In the verses, the song follows the chord progression Am-D-G. [17] In the chorus, it follows the progression F-Dm7-Am-C. [17]
Gary Glitter (22 June) Terry Dactyl and the Dinosaurs (13 July) Alice Cooper (13 July) Electric Light Orchestra (27 July) Mary Wells (27 July) Blackfoot Sue (10 August) Lynsey de Paul (17 August) Duncan Browne (17 August) The Pearls (24 August) Roxy Music (24 August) Dandy Livingstone (14 September) The Drifters (21 September) Lieutenant Pigeon ...
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The Magic Chord is a chord and installation (1984) created by La Monte Young, consisting of the pitches E, F, A, B ♭, D, E, G, and A, in ascending order and used in works including his The Well-Tuned Piano and Chronos Kristalla (1990). [1]
(Oh Yeah)" is a song by English glam rock singer Gary Glitter, written by Glitter with Mike Leander and produced by Leander. It was released as the lead single from his second studio album, Touch Me (1973), peaking at No. 2 on the UK Singles Chart in January 1973, his third successive UK hit. The single also reached No. 9 in Ireland and No. 11 ...
"Rock and Roll" is a song by English singer Gary Glitter, released in 1972 from his debut studio album, Glitter. Co-written by Glitter and Mike Leander, the song is in two parts: Part 1 is a vocal track with a "Rock and Roll, Rock" chorus and some verses reflecting on the history of the genre, while Part 2 is an instrumental piece aside from the regular exclamation of the word "Hey" in ...
The vi chord before the IV chord in this progression (creating I–vi–IV–V–I) is used as a means to prolong the tonic chord, as the vi or submediant chord is commonly used as a substitute for the tonic chord, and to ease the voice leading of the bass line: in a I–vi–IV–V–I progression (without any chordal inversions) the bass ...