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"We Can't Be Friends (Wait for Your Love)" is a synth-pop, [14] Europop, [15] electropop, [16] and power pop [17] song whose lyrics outwardly detail the demise of a relationship with the hope that an ex-lover will return and fall in love again. It has been speculated by fans and the media that the song describes Grande's symbiotic relationship ...
Why Can't We Be Friends? is the seventh studio album by American band War, released on June 16, 1975 by United Artists Records. Two singles from the album were released: the title track backed with "In Mazatlan", and "Low Rider" backed with "So". Both A-sides were nominated for the Grammy Awards of 1976.
We Belong Together (Randy Newman song) We Can't Be Friends (Wait for Your Love) We Used to Be Friends; We're Going to Be Friends; What a Friend We Have in Jesus; When She Loved Me; When You Got a Good Friend; Whenever I Call You "Friend" Where Everybody Knows Your Name; Who Knew; Why Can't We Be Friends? (song) With a Little Help from My Friends
"We Can't Be Friends" is a song by Canadian singer Deborah Cox, featuring American singer Robert Lavelle Huggar|Robert "RL" Huggar of R&B group Next. It was written by Shep Crawford and Jimmy Russell for her second studio album One Wish (1998), while production was overseen by Crawford.
"Can't We Be Friends?" is a 1929 song with lyrics by Paul James and music by Kay Swift, introduced on Broadway in The Little Show by Libby Holman. It was later recorded by many artists including Bing Crosby , Ella Fitzgerald , and Frank Sinatra .
The song’s positive themes about having fun with friends was allegedly inspired by many of Swift’s close pals. According to Genius , the album booklet features a hidden message which spells ...
"Can't Be Friends" is an R&B song by American recording artist Trey Songz. It was officially sent to U.S. urban radio on September 28, 2010 as the second single of Songz' fourth studio album, Passion, Pain & Pleasure. The song is produced by Mario Winans and written by Winans and Songz.
The song's original funk-flavored arrangement proves perfectly accessible to Smash mouth's pop/ska style. The heartfelt 'let's get along' tone of the lyrics remains as relevant as ever to today's social and political climate, and the band's rousing approach makes the message all the more user-friendly to the pop masses.