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Many of the earliest parlour songs were transcriptions for voice and keyboard of other music. Thomas Moore's Irish Melodies, for instance, were traditional (or "folk") tunes supplied with new lyrics by Moore, and many arias from Italian operas, particularly those of Bellini and Donizetti, became parlour songs, with texts either translated or replaced by new lyrics.
Bill Frisell recorded the song for his 2019 album Harmony. The song is performed by Petra Haden. Arlo Guthrie, Vanessa Bryan and Jim Wilson release a track of the song on July 31, 2020 (C) 2020 Rising Son Records & Jim Wilson [14] The Longest Johns released a recording of the song in 2021 as the first single of their 2022 album Smoke & Oakum.
However, Foster's output of minstrel songs declined after the early 1850s, as he turned primarily to parlor music. [12] Many of his songs had Southern themes, yet Foster never lived in the South and visited it only once, during his 1852 honeymoon. Available archival evidence does not suggest that Foster was an abolitionist.
This category contains songs that are Parlor music or Parlour music. Pages in category "Parlor songs" The following 17 pages are in this category, out of 17 total.
The opening line of the song is heard on a parlor piano in the 1998 television movie, The Love Letter. A variation of the title is used for Ellen Conford's "Genie with the Light Blue Hair". The song is included on the 1998 Prima Voce album Songs and Ballads by Richard Crooks. [4]
Early 1820s music trends The Boston 'Euterpiad becomes the first American periodical devoted to the parlor song. [5]The all-black African Grove theater in Manhattan begins staging with pieces by playwright William Henry Brown and Shakespeare, sometimes with additional songs and dances designed to appeal to an African American audience. [6]
2. "Come and Get It" by Badfinger. 1969 Written and produced by Paul McCartney, this song became a top 10 hit for Badfinger, a band signed to the Beatles’ Apple label.
The song was a hit record for Elsie Baker in 1912 (Victor B-12069). [9]It has since been recorded by numerous artists, including Sophie Braslau (1916), Dusolina Giannini (1926), Al Bowlly (1934), Bing Crosby (1934 and 1945), Erskine Hawkins (1942), Helen Traubel (1946), Jeanette MacDonald (1947), and as duets by Jo Stafford and Nelson Eddy (1951), and Pat and Shirley Boone (1962).