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American V: A Hundred Highways is a posthumously released studio album by Johnny Cash. It was released on July 4, 2006, by American Recordings. As the title implies, it is the fifth entry in Cash's American series. Like its predecessors, the album is produced by Rick Rubin. It was Cash's first No. 1 album in 37 years. [9]
American Hi-Fi initially formed under the name BMX Girl, [5] and Jones changed to a name personally suggested to him by Keith Richards of The Rolling Stones. [1] American Hi-Fi's released self-titled debut album through Island Records on February 27, 2001 which was produced by Bob Rock. It was an AllMusic 'Album Pick'. Critic Mario Mesquita ...
Hearts on Parade is the third studio album by American rock band American Hi-Fi.It was released on April 12, 2005, through Maverick Records.The album peaked at #129 on the US Billboard 200.
Hi-5 were an Australian children's musical group formed in 1998 in association with the ... In 2002, an American version of Hi-5 was created; the group filmed ...
American Hi-Fi peaked at number 81 on the US Billboard 200, and number 83 in the UK. [ 35 ] [ 36 ] Throughout 2001, the album would go on to sell over 750,000 copies. [ 8 ] " Flavor of the Weak" charted at number 5 on Alternative Airplay , [ 37 ] number 15 on Mainstream Top 40 , [ 38 ] number 35 on Adult Top 40 , [ 39 ] number 37 on Radio Songs ...
Fight the Frequency is the fourth studio album by American rock band American Hi-Fi, released on August 17, 2010. [3] Work on the album began in May 2007, when the band first entered the studio to record a follow-up to Hearts on Parade.
Stacy Glen Jones (born December 19, 1970) [1] is an American musician, songwriter, and producer. He is currently the musical director and drummer for Miley Cyrus and Life of Dillon, and is also known for being the lead vocalist, rhythm guitarist, and primary songwriter of American Hi-Fi, and as the drummer for Letters to Cleo.
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.
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