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"The 59th Street Bridge Song (Feelin' Groovy)" is a song by folk rock duo Simon & Garfunkel, written by Paul Simon and originally released on their 1966 album Parsley, Sage, Rosemary and Thyme. [4] Cash Box called it a "sparkling, spirited lid".
Feelin' Groovy is the debut album by the American sunshine pop band Harpers Bizarre, released in 1967. The record peaked at #108 on Billboard' s Top 200 Albums chart in May 1967. Over on the Hot 100 Singles chart, " The 59th Street Bridge Song (Feelin' Groovy) " peaked at #13 in February 1967 and " Come to the Sunshine " peaked at #37 the ...
[2] [3] Her early-career songwriting outputs featured collaborations with Liz Rose, who co-wrote with Swift for the albums Taylor Swift (2006), Fearless (2008), and Red (2012). [4] She was the sole writer of the majority of Fearless and Red , [ 5 ] [ 6 ] and she wrote her third studio album, Speak Now , solely herself. [ 7 ]
Taylor Swift was the clear winner, with 32 percent of participants saying that her music has the most positive effect on mood. ... the simplest of melodies with a few chords will be what sticks ...
Taylor Swift Tom Cooper/TAS23/Getty Images for TAS Rights Management It’s Taylor Swift’s party, and she’ll repeat surprise songs if she wants to! “I want to be as creative as possible with ...
After the band's initial chart ascendancy with "The 59th Street Bridge Song (Feelin' Groovy)", none of Harpers Bizarre's subsequent singles achieved the same level of success. "Chattanooga Choo Choo" did reach No. 1 on Billboard 's Easy Listening chart, despite a drug reference ("do another number down in Carolina"). The band broke up shortly ...
Producer Ted Templeman said of the a cappella section of "Black Water": "I stole the idea from my old producer", [4] referencing his stint as lead singer of sunshine pop act Harpers Bizarre whose 1967 hit rendition of "The 59th Street Bridge Song (Feelin' Groovy)" had featured a harmonic a cappella section (Harpers Bizarre had been produced by ...
The progression is also used entirely with minor chords[i-v-vii-iv (g#, d#, f#, c#)] in the middle section of Chopin's etude op. 10 no. 12. However, using the same chord type (major or minor) on all four chords causes it to feel more like a sequence of descending fourths than a bona fide chord progression.