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"Been Away Too Long" is a song by the American rock band Soundgarden, which is featured on their sixth studio album King Animal (2012) as its opening track. It was released as the album's first single. [1] The song is featured in Sons of Anarchy, NHL 14 and Guitar Hero Live.
And all I have done for the want of wit, To memory now I can't recall, So fill to me the parting glass, Good night and joy be with you all. Chorus: Be with you all, be with you all Good night and joy be with you all So fill to me the parting glass, Good night and joy be with you all. All the comrades that e’er I had, They’re sorry for my ...
"Say Don't Go" is a new-age and pop rock power ballad with a production featuring 1980s-inspired drum beats, pizzicato arpeggios, and isolated vocal patterns. The lyrics are about a narrator attempting to maintain her unfruitful relationship. Critics were generally positive of the song, a multitude of whom viewed it as a highlight amongst ...
The song centers around a woman's longing for her former lover, a man named Nathan Jones, who left her nearly a year ago "to ease [his] mind." Suffering through the long separation ("Winter's past, spring, and fall") without any contact or communication between herself and Jones, the narrator is no longer in love with Jones, remarking that "Nathan Jones/you've been gone too long".
"Can't Wait Too Long" (also known as "Been Way Too Long") is a song written by Brian Wilson for the American rock band the Beach Boys. The song dates from 1967, and remains unfinished by the group. In 2008, a newly recorded "Can't Wait Too Long" was released for Wilson's solo album That Lucky Old Sun. [1]
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"I've Been Loving You Too Long" (originally "I've Been Loving You Too Long (To Stop Now)") is a soul music ballad written by Otis Redding and Jerry Butler. [2] Considered by music critics and writers to be one of Redding's finest performances and a soul classic, it is a slow, emotional piece with Redding's pleading vocals backed by producer ...
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.