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The song was first featured on the band's self-titled album Fleetwood Mac (1975). The original recording also appears on the compilation albums 25 Years – The Chain (1992), The Very Best of Fleetwood Mac (2002) and 50 Years – Don't Stop (2018), while a live version was released as a single 23 years later from the live reunion album The ...
"Landslide" is a song recorded by British-Australian singer Olivia Newton-John for her eleventh studio album, Physical (1981). Written and produced by John Farrar , the song was released in several countries as the third and final single in April 1982.
"And she said, 'I want to sing "Landslide.' And so she sang "Landslide" one last time," adds Xenos. In the clip, Powell, 62, sings as she rests in her bed, while in hospice care at her home in ...
The track was covered by The Crew-Cuts, who took the song to the top of the charts, arguably registering the first U.S. rock and roll number one hit record. [ 2 ] The enthusiasm doo-wop fans had for the Chords' music was dampened when Gem Records claimed that one of the groups on its roster was called the Chords; consequently the group changed ...
Life Becoming a Landslide E.P. is an extended play (EP) by Welsh alternative rock band Manic Street Preachers. The title track is taken from their second album, Gold Against the Soul . It was released by Epic on 31 January 1994 and reached number 36 on the UK Singles Chart .
"The Lost Chord" is a song composed by Arthur Sullivan in 1877 at the bedside of his brother Fred during Fred's last illness. The manuscript is dated 13 January 1877; Fred Sullivan died five days later. The lyric was written as a poem by Adelaide Anne Procter called "A Lost Chord", published in 1860 in The English Woman's Journal. [1]
"Love Letters in the Sand" is a popular song first published in 1931. It began life as a poem by Nick Kenny. J. Fred Coots read the poem in the New York Daily Mirror, and obtained Kenny's permission to set the poem to music. He went through 4 different melodies before settling on the published version known today.
"Everywhere" has been widely acclaimed by music critics. In The Guardian, Alexis Petridis dubbed it "peerless" and "bulletproof pop songwriting." [8] Ivy Nelson from Pitchfork called "Everywhere" the best song on Tango in the Night, writing that the tune "responds with warmth, empathy, and buoyancy, describing a kind of devotion so deeply felt that it produces weightlessness in a person."