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The following songs achieved the highest positions in Joel Whitburn's Pop Memories 1890-1954 and record sales reported on the "Discography of American Historical Recordings" website during 1929: [2] Numerical rankings are approximate, they are only used as a frame of reference.
"I'll Always Be In Love With You" is a 1929 popular song written by Herman Ruby, Bud Green, and Sam H. Stept for the film Syncopation. The song soon became a hit, with a recording in that year by Fred Waring and His Pennsylvanians charting for 8 weeks, peaking at No. 3. [1]
Noël Coward "If Love Were All" is a song by Noël Coward, published in 1929 and written for the operetta Bitter Sweet. [1] [2] The song is considered autobiographical, and has been described as "self-deprecating" as well as "one of the loneliest pop songs ever written".
"3 Words" is an uptempo dance-pop song [1] [2] which features guest vocals from will.i.am who produced the song as well as, writing the lyrics with Cole and George Pajon. Serving as the opening and title song of Cole's debut album, the song is written in the key of C ♯ minor with a time signature in common time and a tempo of 129 beats per ...
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"Rockin' Chair is a 1929 popular song with lyrics and music composed by Hoagy Carmichael. Musically it is unconventional, as after the B section when most popular songs return to A, this song has an A-B-C-A 1 structure. Carmichael recorded the song in 1929, 1930, and 1956. Mildred Bailey made it famous by using it as her theme song. [1]
The song was recorded by Leo Reisman and His Orchestra, with vocals by Lou Levin in November 1929 [citation needed] and was featured in the 1930 film Chasing Rainbows. [3] The song concluded the picture, in what film historian Edwin Bradley described as a "pull-out-all-the-stops Technicolor finale, against a Great War Armistice show-within-a-show backdrop".
In October 1954, Howlin' Wolf recorded his version, titled simply "Forty Four", as an electric Chicago blues ensemble piece. Unlike the early versions of the song, Wolf's recording featured prominent guitar lines and an insistent "martial shuffle on the snare drum plus a bass drum that slammed down like an industrial punch-press", according to biographers. [7]