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The song runs for a total length of three minutes and forty seconds. [10] Lyrically, the song discusses independence, female empowerment, and self-love, with the lyrics "I don't need your love to love me. Need my own celebration, yeah, Solo stimulation, yeah, Kiss my imagination. I don't need your love to love me" included in the song. [1] [9]
"Seasons of Love" is a song from the 1996 Broadway musical Rent, written and composed by Jonathan Larson. The song starts with an ostinato piano motif, which provides the harmonic framework for the cast to sing "Five hundred twenty-five thousand, six hundred minutes" (the number of minutes in a common year ).
The Power of Love" is a 1984 single released by British band Frankie Goes to Hollywood which was written by Holly Johnson, Peter Gill, Mark O'Toole and Brian Nash. It was released on 19 November 1984 as the third single from the album Welcome to the Pleasuredome (1984).
At slightly over 17 minutes, it occupies the entire second side of the album. The lyrics, a love song from the biblical Adam to his mate Eve, are simple and are heard only at the beginning and the end. The middle of the song features a two-and-a-half-minute Ron Bushy drum solo.
The song's advocacy of the all-importance of love followed Lennon's introduction of the idea in his lyrics to "The Word" in 1965 [18] [19] and George Harrison's declaration in "Within You Without You", from the band's recently released Sgt. Pepper's Lonely Hearts Club Band album, that "With our love, we could save the world". [20] [21]
"Funeral for a Friend/Love Lies Bleeding" is a medley of two songs written by English musician Elton John and songwriter Bernie Taupin, and performed by John. It is the opening track of the 1973 double album Goodbye Yellow Brick Road .
Loudersound.com ranks "Telegraph Road" 6th among Dire Straits' best songs, [11] while Return of Rock ranks it 5th, describing it as "A fourteen-minute masterpiece worth every second of its length, which it deserves to be on the list of the best long-form songs and progressive rock songs."
In 1975, Wonder brought the demo recording of the song to Crystal Sound studio in Hollywood, California, where he further developed its lyrics and chords. [2] Unlike the demo recording, Wonder decided to play the song in the key of E-flat, which he felt better suited his voice and overall "felt better, spiritually". [2]