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In December 1996, Melody Maker ranked "Don't Look Back in Anger" number 31 in their list of "Singles of the Year". [23] In a 2006 readers' poll conducted by Q magazine, it was voted the 20th-best song of all time. [24] In May 2007, NME magazine placed "Don't Look Back in Anger" at No. 14 in its list of the "50 Greatest Indie Anthems Ever". [25]
Dont Look Back is a 1967 American documentary film directed by D. A. Pennebaker that covers Bob Dylan's 1965 concert tour in England.. In 1998, the film was selected for preservation in the United States National Film Registry by the Library of Congress as being deemed "culturally, historically, or aesthetically significant".
Don't Look Back in Anger" is a song by Oasis. Other meanings of this phrase include: Don't Look Back in Anger, Irish TV series "Don't Look ...
Don't Look Back in Anger is an Irish documentary television programme, first broadcast in 2018. [1] [2] Each episode covers a particular year in Irish history, using archive material (mostly from TV3 and Virgin Media Ireland), on-screen text in English and contemporary music to tell the story of a particular year.
Director D.A. Pennebaker's iconic "Don't Look Back," a 1967 documentary on the American rock 'n' roll bard, will launch the indie moviehouse's Direct Cinema: Then and Now miniseries.
As compensation, Noel decided he would sing lead vocals on "Don't Look Back in Anger". [ 38 ] 1995 also saw Gallagher play two songs for the charity album Help! : "Fade Away", accompanied by friend and Oasis fan Johnny Depp and Depp's then-girlfriend Kate Moss; and the Beatles' 1969 hit " Come Together ", along with Paul Weller, Paul McCartney ...
Don't Look Back (Harold Vick album), 1974; Don't Look Back (John Lee Hooker album), or the title song (see below), 1997; Don't Look Back (Nat Adderley album), 1976; Don't Look Back (Natalie Cole album), 1980; Don't Look Back – The Very Best of The Korgis, 2003; Don't Look Back, an album by Al Green, 1993; Don't Look Back, an album by Anelia, 2004
"Look Back in Anger" has a mixed reputation among Bowie commentators. NME critics Roy Carr and Charles Shaar Murray described it as "probably the low point" of the album, [2] while Nicholas Pegg considers it "one of Lodger's dramatic highlights" [4] and Chris O'Leary has called it "one of Bowie's strongest songs of the late Seventies". [5]