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"A Long and Lasting Love" is a song written by Gerry Goffin and Michael Masser and first recorded by Jane Olivor on her 1980 album, The Best Side of Goodbye. The following year, Billy Preston and Syreeta recorded it on their 1981 album, Billy Preston & Syreeta with slight changes in the lyrics.
"Everlasting Love" is a song written by Buzz Cason and Mac Gayden, originally a 1967 hit for Robert Knight and since covered numerous times. The most successful version in the UK was performed by Love Affair and the highest-charting version in the US was performed by Carl Carlton.
"Secret Lovers", released in 1985, is the third single from As the Band Turns, the sixth album from American group Atlantic Starr. "Secret Lovers" was Atlantic Starr's true breakthrough hit on the pop charts in both the US and UK, though the group had previously minor pop and R&B hits in both countries.
To clarify, Dornan doesn’t just love to karaoke. The actor, who plays Pa in Kenneth Branagh’s “Belfast,” performs the tune in the film. The scene, which ends in a dance between Pa and ...
The same year, Sandra contributed vocals for Enigma's Voyageur album, which would mark the last time she worked with the project. After several years' break, in 2006 Sandra teamed up with Swiss singer DJ BoBo for a duet "Secrets of Love" on his Greatest Hits album. The single was a big hit, reaching top 5 in Switzerland and top 20 in Germany.
"Secret" is a 1985 song by English electronic band Orchestral Manoeuvres in the Dark (OMD), released as the second single from their album Crush. Paul Humphreys sings lead vocals on the track. It became their second US Billboard Hot 100 entry, peaking at number 63, and also made number 34 on the UK Singles Chart .
"Everlasting Love" is a song by English singer and songwriter Howard Jones from his fourth studio album, Cross That Line (1989). Written by Jones, it was released as the album's first single on 20 February 1989.
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.