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Femme Fatale is the thirteenth studio album by Japanese singer Akina Nakamori.It was released on 3 August 1988 under the Warner Pioneer label. The album consist mainly of western arrangers that evokes to the listeners the danceable melody line in western style, which was not so well common and popular in Japan during late 80s.
The song was composed in the key of C major. [4] At the request of Andy Warhol, band frontman Lou Reed wrote the song about Warhol superstar Edie Sedgwick. According to Reed, the title was inspired by Warhol saying, about Sedgwick, "Oh, don't you think she's a femme fatale, Lou?" [5] [6] The song was recorded with vocals by Nico. [1]
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Femme Fatale is the fourth studio album by American R&B/jazz singer Miki Howard. Released in 1992 under Giant Records, the album peaked at No. 110 on the US Billboard 200 and No. 7 on Billboard's Top R&B Albums chart. The first single from the album, "Ain't Nobody Like You", reached No. 1 on the R&B Singles chart, her second number one on the ...
Femme Fatale is the debut studio album by American hard rock band Femme Fatale, released in 1988 through MCA Records. It peaked at No. 141 on the Billboard 200 the following year. [2] The song "Touch and Go" was featured on the soundtrack of the 1988 film License to Drive. The CD was reissued in September 2022 by Rock Candy Records with 4 bonus ...
Exit Eden is a symphonic metal supergroup that performs cover versions of well-known pop and rock songs, as well as releasing original songs (starting with their second album "Femmes Fatales"). History
MTV gave heavy airplay to the videos for "Waiting for the Big One" and "Falling in and out of Love" (not the same song as the Lita Ford one of the same name), the band's two signature songs. The airplay helped the album to sell nearly 225,000 copies, but Femme Fatale was unable to match the popularity of other bands in the glam metal scene. The ...
[9] Smith notes that Ellen is an atypical example of the femme fatale as, unlike with many of her contemporaries, her impulses to kill and wreak destruction are driven purely by a pathological yearning for love, whereas the prototypical femme fatale is often motivated by financial or other social reasons. [10]