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The Chords were one of the early acts to be signed to Cat Records, a subsidiary label of Atlantic Records. [2] Their debut single was a doo-wop version of a Patti Page song "Cross Over the Bridge", and the record label reluctantly allowed a number penned by the Chords on the B-side. [3]
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Additionally, they collaborate, play, and share resources. When cats communicate with humans, they do so to get what they need or want, such as food, water, attention, or play. As such, cat communication methods have been significantly altered by domestication. [1] Studies have shown that domestic cats tend to meow much more than feral cats. [2]
The song was written and first recorded on Atlantic Records' subsidiary label Cat Records by the R&B group the Chords on March 15, 1954, [4] and would be their only hit song. The group reportedly auditioned the song for famed record producer Bobby Robinson while he was sick in bed, but he rejected them, stating the song "wasn't commercial ...
A meow or miaow is a cat vocalization. Meows may have diverse tones in terms of their sound, and what is heard can vary from being chattered to calls, murmurs, and whispers. Adult cats rarely meow to each other. Thus, an adult cat meowing to human beings is generally considered a post-domestication extension of meowing by kittens: a call for ...
Such composers as Rodgers and Hart (in their 1934 song "Blue Moon"), and Hoagy Carmichael and Frank Loesser (in their 1938 "Heart and Soul") used a I–vi–ii–V-loop chord progression in those hit songs; composers of doo-wop songs varied this slightly but significantly to the chord progression I–vi–IV–V, so influential that it is sometimes referred to as the '50s progression.
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 ...
The hymn originally appeared in the second edition of Songs of Praise (published in 1931), to the tune "Bunessan", composed in the Scottish Islands.In Songs of Praise Discussed, the editor, Percy Dearmer, explains that as there was need for a hymn to give thanks for each day, English poet and children's author Eleanor Farjeon had been "asked to make a poem to fit the lovely Scottish tune."