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"Lulu's Back in Town" was popularized by Fats Waller in his recording of 8 May 1935 for Victor Records which made the US charts. Others who recorded it include Dick Powell, Mel Tormé, Mills Brothers, Wingy Manone, Chick Bullock, Bob Howard, Teddy Hill, Bert Ambrose, Ted Fiorito, Thelonious Monk, Art Tatum, Oscar Peterson, Booker T. & the M.G.'s, and Leon Redbone.
"Right on Track" is a 1987 hit single by the American band Breakfast Club. Written by the band's lead singer and drummer, Dan Gilroy and Stephen Bray respectively, the single climbed to number 7 on the US Billboard Hot 100 chart on May 30, 1987.
The members have dinner after a busy day, then return to their dormitory to train. After seeing the full choreography of their first song and learning several basic skills, the members visit Immortal Songs: Singing the Legend. Later on, they are assessed on their basic rap skills and perform lyrics they are asked to write.
"Right" is a song by the English musician David Bowie from his album Young Americans, released on 7 March 1975. Recorded on 14–18 August and 20–24 November 1974 at Sigma Sound Studios in Philadelphia, [ 2 ] "Right" is the last of four tracks on side one of Young Americans , [ 3 ] and the B-side of the single " Fame ", released in August 1975.
"Shut Up" is a song by Unnies, a special girl group comprising the cast members from the South Korean reality show Sister's Slam Dunk. Written and produced by Park Jin-young, it was released by KBS Media and LOEN Entertainment on July 1, 2016. As of 2021, the track was not made available on streaming services.
"I Gotta Right to Sing the Blues" is a popular song with music by Harold Arlen and lyrics by Ted Koehler, published in 1932 for the Broadway show Earl Carroll's Vanities (1932). [1] The song has become a jazz and blues standard. Popular recordings in 1933 and 1934 were those by Cab Calloway, Louis Armstrong and Benny Goodman. [2]
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According to Susan M. Doll in her book Understanding Elvis, the song "features a common characteristic of country music — the passive acceptance of the singer's fate and the subsequent melancholy it brings," as the person who sings the song "passively resigns himself to the fact" that his girl is gone. [8] Musically, it is a rockabilly ballad.