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"Love Power" is a song by American singers Dionne Warwick and Jeffrey Osborne. It was written and produced by Burt Bacharach and Carole Bayer Sager for Warwick's studio album, Reservations for Two (1987), and features an appearance by Kenny G playing the alto sax solo.
The Power of Gloria Gaynor, also known as The Power, or The Power of Love, is the twelfth studio album by Gloria Gaynor, released in 1986, which is composed mostly of cover versions of other popular songs from the 1970s and 1980s, and is her only album to be released on Stylus Records.
Unearthed Arcana (abbreviated UA) [1] is the title shared by two hardback books published for different editions of the Dungeons & Dragons fantasy role-playing game.Both were designed as supplements to the core rulebooks, containing material that expanded upon other rules.
Q-Tex had several major hits on the Scottish Singles Chart and UK Singles Chart, their breakthrough and most well-known being "The Power of Love" which charted twice, first in 1994 (#13 Scotland, #65 UK) and again as a remix in 1997 (#10 Scotland, #49 UK). "Believe" is their highest Scottish charting single, peaking at #2, and "Let the Love" is ...
Power of Love is the second studio album by Hour Glass, issued in March 1968 on Liberty Records, the final by the group with the namesakes of The Allman Brothers Band.After the failure of their first album, Liberty Records allowed a greater independence for the group, who had been virtually shut out of the decision making for their first album by the label and producer Dallas Smith.
"The Power of Love" is a pop song co-written and originally recorded by American singer-songwriter Jennifer Rush in 1984. It was released in December 1984 by CBS Records as the fifth single from her debut album, Jennifer Rush (1984), and has since been covered by Air Supply, Laura Branigan, and Celine Dion.
Enjoy a classic game of Hearts and watch out for the Queen of Spades!
In a retrospective review for AllMusic, Mark Deming wrote that on The Power of Love, the playful side that made many of the songs on Sensible's first solo album so appealing, "fell by the wayside, and instead the album was a straightforward and overly slick exercise in electro-processed pop ... with Tony Mansfield's production so slick and clean you could fry an egg on it."