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"Nightshift" is a 1985 song by the Commodores and the title track from their album of the same name. The song was written by lead singer Walter Orange in collaboration with Dennis Lambert and Franne Golde as a tribute to soul/R&B singers Jackie Wilson and Marvin Gaye, both of whom died in 1984.
The biggest song was its title track, "Nightshift".Written by Walter Orange, Dennis Lambert and Franne Golde, "Nightshift" was the band's biggest post–Lionel Richie hit, reaching No. 3 on the Billboard Hot 100, and No. 1 on Billboard's Hot R&B Songs.
"That's What Friends Are For" is a song written by Burt Bacharach and Carole Bayer Sager. It was first recorded in 1975 by The Stylistics, then covered by Rod Stewart in 1982 for the soundtrack of the film Night Shift, but it is best known for the 1985 version by Dionne Warwick, [1] Elton John, Gladys Knight, and Stevie Wonder.
"Nightshift" (song), from the album "Night Shift" (Jon Pardi song), 2016 "Night Shift" (Lucy Dacus song), 2017; The Night Shift (concert), a concert series by the Orchestra of the Age of Enlightenment; Night Shift, a 2007 album by Danish band Turboweekend "Night Shift", a 1976 song by Bob Marley & The Wailers from Rastaman Vibration
"Night Shift" is a song written by Tofer Brown, Phillip LaRue, and Billy Montana, and recorded by American country music singer Jon Pardi, released as the fifth and final single by Capitol Nashville from his second studio album California Sunrise (2016). It uses the term for working late hours as a description for loving someone so close after ...
Eilish, 22, said some people were surprised to hear she was writing a song for the “Barbie” soundtrack, given her music’s usual darker edge.
No, it’s not about the video game. “Fortnight,” the first single from Taylor Swift’s “The Tortured Poets Department,” is a duet with Post Malone.. Before we delve into the lyrics, let ...
"Night Shift" was released to critical acclaim. Andrew Marantz of The New Yorker described it as "a cathartic, bridge-burning, no-fucks-given breakup song." [5] Julien Luebbers of The Spokesman-Review wrote that the song was "a vibrant example of linear construction, the song building from soft guitar and vocals to headbanging passion and some seriously impressive singing," [6] and Layla ...