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I'll Never Stop Loving You" is a popular music song, with music written by Nicholas Brodzsky and lyrics by Sammy Cahn for the 1955 film Love Me or Leave Me. The song was published in 1955. The recording by Doris Day was released by Columbia Records as catalog number 40505. [1] It first reached the Billboard magazine charts on July 23, 1955. On ...
A contrafact is a musical composition built using the chord progression of a pre-existing song, but with a new melody and arrangement. Typically the original tune's progression and song form will be reused but occasionally just a section will be reused in the new composition. The term comes from classical music and was first applied to jazz by ...
Peak chart positions Record label US [1] US R&B [2] 1977 Sunshine: 88 39 Stax: 1979 Chronicle: Greatest Hits — — 1996 Best of My Love: The Best of the Emotions — 77 Legacy: 1999 Love Songs — — 2004 Songs of Innocence and Experience...and Then Some! — — Stax 2016 Blessed: The Emotions Anthology 1969-1985 — — Big Break
The album peaked at No. 7 on the Billboard 200 and topped the iTunes album chart. Later that year, the band released an EP titled "Hallelujah" which included the hit single "Never Stop (Wedding Version)". The single has been featured in People Magazine with multiple celebrity weddings using it as the soundtrack for their first dance.
In 2021, British magazine Classic Pop ranked "You'll Never Stop Me Loving You" number 27 on their list of the "Top 40 Stock Aitken Waterman songs", adding: "18-year-old Sonia Evans was a complete unknown when she approached Pete Waterman for a break in the biz, and luckily SAW, er, saw potential in the effervescent, ginger-haired scouser ...
Maps and electoral vote counts for the 2012 presidential election. Our latest estimate has Obama at 290 electoral votes and Romney at 191.
The vi chord before the IV chord in this progression (creating I–vi–IV–V–I) is used as a means to prolong the tonic chord, as the vi or submediant chord is commonly used as a substitute for the tonic chord, and to ease the voice leading of the bass line: in a I–vi–IV–V–I progression (without any chordal inversions) the bass ...
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