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Canadian jazz musicians to record the song include Bert Niosi (1946), Peter Appleyard (1957), Ed Bickert (1979), and Oscar Peterson (1980). A version by doo-wop group the Larks is featured in the 1955 film Rhythm and Blues Revue. Takeshi Terauchi & Bunnys recorded an instrumental version of the song on their 1967 album, The World Is Waiting For ...
"Waiting for You" is a song by New Zealand singer and songwriter Sharon O'Neill. The song was released in June 1981 as the lead single from her forthcoming third studio album, Maybe (1981). O'Neill performed the song live on the Countdown on 2 August 1981. [1] The song peaked at number 50 in Australia.
"Waiting for You" (Thick D. vocal mix) – 7:45 "Waiting for You" (Machine Head remix) – 5:59 "Waiting for You" (29 Palms remix) – 8:18; UK 2x12" [5] A1 "Waiting for You" (Burnin' Thick D. vocal remix) – 7:45; A2 "Waiting for You" (Machine Head remix) – 5:29; B1 "Waiting for You" (The Passengerz remix) – 7:11; B2 "Waiting for You ...
David Bowie recorded a version of the song, which features Dave Grohl on guitar, for his album Heathen (2002). His version of "I've Been Waiting for You" was released as a single in Canada and reached number 11 in the single charts. [5] Bowie's band Tin Machine performed the song during their 1991-92 It's My Life Tour, sung by Reeves Gabrels. [6]
"Waiting for the Robert E. Lee" is an American popular song written in 1912, with music by Lewis F. Muir and lyrics by L. Wolfe Gilbert. The "Robert E. Lee" in the title refers to the steamboat of that name.
"Bro Hymn" is a song by American punk rock band Pennywise. It is the last track on both their 1991 self-titled debut album, and 1997's Full Circle as "Bro Hymn (Tribute)". Its lyrics are about the death of bassist Jason Thirsk's friends Tim Colvin and Carlos Canton (who both died in separate motorcycle accidents), and Tom Nichols (who drowned at Hermosa Beach Pier in 1988).
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"Awaiting on You All" is a song by English musician George Harrison, released on his 1970 triple album, All Things Must Pass. Along with the single "My Sweet Lord", it is among the more overtly religious compositions on All Things Must Pass, and the recording typifies co-producer Phil Spector's influence on the album, due to his liberal use of reverberation and other Wall of Sound production ...