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Also in August, the single "Summer Days" was released, which would go on to become a staple at all Do As Infinity live concerts, and was used as a theme song for Fuji TV's OL Police. "Summer Days" is also notable for being Do As Infinity's most well-known all- English song (following their first, "Break of Dawn", from their debut album).
Free is the second studio album by English rock band Free, recorded and released in 1969. It saw the burgeoning of the songwriting partnership between Paul Rodgers and 16-year-old bassist Andy Fraser; eight of the nine songs are credited to the two. The album performed poorly, failing to chart in the UK and in the US. [2]
"Free & Easy" is a song written by Ayumi Hamasaki and Dai Nagao for Hamasaki's album Rainbow. The song, the first single from Rainbow and Hamasaki's 26th total, was released in Japan on April 24, 2002. The single was released with a photobook, Hamasaki Republic; the book, the song's booklet, and the song's music video depict Hamasaki as a "21st ...
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Neither album appeared in charts. [5] Free recorded Fire and Water from January to June 1970 in London, the group using the engineering facilities of Island Studios and Trident Studios. Mike Sida devised the album's cover image, with Richard Polak being the band's photographer. Free produced the work, with assistance from others. [9]
Free the Fire is the 33rd studio album by Christian music vocal group The Imperials released in 1988. This is their third and final album on the Myrrh label and after more than 10 years, their final album overall on Word Records. [1] The Imperials would switch over to Star Song Records for their next album Love's Still Changing Hearts (1990).
The album peaked at number 19 in the Billboard 200 and moved 785,000 units, achieving gold status by the Recording Industry Association of America on February 28, 2002. The recording won the 2002 Stony Award for Best Soundtrack. [4] Two singles were released from the album: "Bad Intentions" on January 7, 2002, and "The Wash", on March 18, 2002.
Reviewing the album for Pitchfork, Ryan Leas wrote that the album "plays less like an anxious lifeboat and more like a meditative breadcrumb trail from an old life to a new one, destination unknown" and that there is "nothing shaggy" about the music, as "most songs unspool slowly and with intent, as Savage takes time to refine both his melodies ...