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"The Great Pretender" is a popular song recorded by the Platters, with Tony Williams on lead vocals, and released as a single in November 1955. The words and music were written by Buck Ram , [ 1 ] the Platters' manager and producer who was a successful songwriter before moving into producing and management.
The Great Pretender was released on DVD, Blu-ray and digital download through Eagle Vision Media on 24 September 2012. [6] It was released in the United States on 25 September from Eagle Rock Entertainment. [7] The length of the film on home media is approximately 1 hour 47 minutes. [8] All formats include the extended version that was not ...
It contained four tracks: [6] "Pretender" featured a single of Dolly Parton singing "The Great Pretender" progressively slowed down on a Lenco Bogen turntable so that she eventually sounds like a man; "Don't" was Elvis Presley's recording of the titular song overlaid with samples from the recording and overdubs by various musicians, including ...
The US album differs from its UK counterpart (aside from a different running order) by replacing the original versions of "The Great Pretender" and "Love Kills" with remixes, featuring a slightly altered ending of the "Mr. Bad Guy" remix, and replacing "Barcelona" with a remix of "My Love Is Dangerous".
Samuel "Buck" Ram (November 21, 1907 – January 1, 1991) was an American songwriter, and popular music producer and arranger. He was one of BMI's top five songwriters/air play in its first 50 years, alongside Paul Simon, Kris Kristofferson, Jimmy Webb, and Paul McCartney.
The Great Pretender, a 2014 novel by Craig McDonald; the fourth installment in the Hector Lassiter series The Great Pretender: The Undercover Mission That Changed Our Understanding of Madness , a 2019 book by Susannah Cahalan
The Interpretation of Music is a book by Thurston Dart. It is described by the Encyclopædia Britannica as "the best direct and concise account of the issues of performance". [ 1 ]
"In fact it considers the problems for the survival of music that are posed by the discrepancy between the music that results from the composer's life-long, professional's engagement with music and its advances, on the one hand, and the interests of the lay public on the other, a situation which was troubling then and has not become any less ...