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"We Got the Beat" is a song by the American rock band the Go-Go's, written by the group's lead guitarist and keyboardist Charlotte Caffey. The band first recorded the song in 1980 for a single on UK-based Stiff Records, and later rerecorded it for their debut album Beauty and the Beat on I.R.S. Records.
Head Over Heels is a jukebox musical comedy with music and lyrics from the catalog of The Go-Go's. Jeff Whitty conceived the show and wrote the original book, which was then adapted by James Magruder after Whitty left the show due to conflict with incoming director Michael Mayer.
Charlotte Irene Caffey (born October 21, 1953) is an American guitarist and pianist, best known for her work in the rock band the Go-Go's in the 1980s, including writing "We Got the Beat". Career [ edit ]
Beauty and the Beat is the debut album from California new wave band the Go-Go's.Released July 14, 1981 [2] on the I.R.S. Records label, the album reached number one on Billboard's Top LPs & Tape chart in March 1982, bolstered by its two big Hot 100 hit singles: "Our Lips Are Sealed" (no. 20) and "We Got the Beat" (no. 2), released in 1980, but in a different version.
"Head over Heels" is a song by the all-female pop rock/new wave band the Go-Go's, released in 1984 as the first single from their third studio album, Talk Show.
"Our Lips Are Sealed" is a song co-written by Jane Wiedlin, guitarist of the Go-Go's, and Terry Hall, singer of the Specials and Fun Boy Three. It was first recorded by the Go-Go's as the opening track on their album Beauty and the Beat (1981) and was their debut American single in June 1981.
Rhythm changes is a common 32-bar jazz chord progression derived from George Gershwin's "I Got Rhythm". The progression is in AABA form , with each A section based on repetitions of the ubiquitous I–vi–ii–V sequence (or variants such as iii–vi–ii–V), and the B section using a circle of fifths sequence based on III 7 –VI 7 –II 7 ...
This is an A–Z list of jazz tunes which have been covered by multiple jazz artists. It includes the more popular jazz standards, lesser-known or minor standards, and many other songs and compositions which may have entered a jazz musician's or jazz singer's repertoire or be featured in the Real Books, but may not be performed as regularly or as widely as many of the popular standards.
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