In 1978, five of his albums were on the best-selling charts simultaneously, a feat equalled only by Frank Sinatra, Michael Jackson, Bruce Springsteen and Johnny Mathis. He has recorded a string of Billboard hit singles and multi-platinum albums that have resulted in his being named Radio and Records number one Adult Contemporary artist and winning three straight American Music Awards
for Favorite Pop/Rock Male Artist. Between 1974 and 1983 Manilow had
three number 1 singles and 25 that reached the top 40.
Several
well-known entertainers have praised Manilow, including Sinatra, who was
quoted in the 1970s saying, "He's next." In 1988, Bob Dylan stopped Manilow at a party, hugged him and said, "Don't stop what you're doing, man. We're all inspired by you.
As well as producing and arranging albums for other artists, including Bette Midler and Dionne Warwick,
Manilow has written songs for musicals, films, and commercials. From
February 2005 to December 30, 2009, he was the headliner at the Las Vegas Hilton, performing hundreds of shows before ending his relationship with the hotel. From March 2010, he has headlined at the Paris Hotel in Las Vegas.
Tony Orlando was born Michael Anthony Orlando Cassavitis in April 1944.After almost a decade of singing and with only three Top 40
hits, two in 1961 and another in 1969 as the lead singer for the studio
group Wind, he had not had any further successes. He stopped singing
entirely, and by 1970 he was a retired cover singer. He began publishing music for April-Blackwood Music, a division of Columbia Records, instead.
A song was given to Orlando titled "Candida,"
and was brought to him after being turned down by other producers and
singers. Orlando was not able to originally lend his name to the song as
he was working for April-Blackwood, and recording under his own name
would be a professional conflict of interest. After an insistence by producer Hank Medress that he dub his voice over the male vocals on the original track, the single was released on Bell Records as being performed by the band "Dawn" in order to protect his position.
The background singers on the track were Sharon Greane, Linda November, Jay Siegel, and Toni Wine, who co-wrote the song. Phil Margo played drums on the original session and the arranger was Norman Bergen. After the single hit #3 on the BillboardHot 100
chart (#1 on the Cashbox Top 100), Orlando wanted to start performing
again. Together as the new band they then recorded the follow-up song "Knock Three Times" which also became to a major hit . Read more in early history
The group's next single, "Say, Has Anybody Seen My Sweet Gypsy Rose" (from their concept album Dawn's New Ragtime Follies) went to #3 on the Billboard Hot 100. CBS gave the group a television variety show in the summer of 1974, after The Sonny and Cher Comedy Hour
ended its run. The show was in the same vein as its predecessor (with
sketches featuring sarcastic back-and-forth banter between Orlando with
Hopkins and Wilson, similar to the sarcastic dialogue between Sonny and
Cher), and became a Top 20 hit. It ran until December 1976.
With a new name ("Tony Orlando and Dawn") and a new record label (Elektra), the group continued their string of hit singles during the show's run hitting the Top 10 on the Hot 100 and/or adult contemporary charts including "He Don't Love You (Like I Love You)" (a reworking of Jerry Butler's "He Will Break Your Heart") which went to #1. In 1976 a remake of the Sam Cooke song "Cupid" became the group's last Top 40 single on the Billboard Hot 100.
"Sing" reached #7 on the Adult Contemporary Chart in 1977 and was the
last Tony Orlando & Dawn single until 1991's "With Ev'ry Yellow
Ribbon (That's Why We Tie 'Em)". The group went their separate ways
later in 1977. Read more.
Donna Summer was the Queen of Disco in the 1970s with a pop/dance/rock
sound that was a hybrid of American soul and European synthesizer based
music. Summer's musical career was launched on stage in Munich, Germany,
in productions of Hair and Porgy & Bess.
In Germany, she hooked up
with producers, Giorgio Moroder and Pete Bellotte, and delivered the
orgasmic "Love to Love You Baby" which brought her worldwide fame.
Summer was the first female artist to garner back-to-back multi-platinum
double albums and the first female artist to incorporate synthesizers
as well as the first artist to create an extended play song. Musically,
she diversified into pop and rock, while career-wise, she appeared in
the disco dud, Thank God It's Friday (1978), for which the song, "Last Dance" won an Academy Award for Best Song, as well as numerous American TV music specials.
Her
career continued into the 1980s with the release of the album "The
Wanderer", a diverse fusion of rock and dance. Soon afterward, Summer
announced that she was a born-again Christian. She was then accused of
making anti-gay comments in relation to the AIDS epidemic. Although
Summer later claimed that she had been misquoted, thousands of her
records were returned to her record companies by angered fans and there
was a worldwide boycott of her music in dance clubs. Summer returned to
the charts in in the late 80s and early 90s with various dance hits. She
recently ended her longtime association with Polygram and moved to
Nashville to work on country music and to pursue her other passion,
painting. In 1998, she won a Grammy for Best Dance Single and has plans
to launch a Broadway musical, "Ordinary Girl", based on her life.
Donna Summer rocketed to international superstardom in the mid-1970s
when her groundbreaking merger of R&B, soul, pop, funk, rock, disco
and avant-garde electronica catapulted underground dance music out of
the clubs of Europe to the pinnacles of sales and radio charts around
the world.
Maintaining an unbroken string of hits throughout the
70s and 80s, most of which she wrote, Donna holds the record for most
consecutive double albums to hit #1 on the Billboard charts (3) and
first female to have four #1 singles in a 12 month period; 3 as a solo
artist and one as a duo with Barbra Streisand.
A five-time Grammy
winner, Donna Summer was the first artist to win the Grammy for Best
Rock Vocal Performance, Female (1979, "Hot Stuff") as well as the
first-ever recipient of the Grammy for Best Dance Recording (1997,
"Carry On"). In 2004, she became one of the first inductees, as both an
Artist Inductee and a Record Inductee (for 1977's "I Feel Love") into
the Dance Music Hall of Fame in New York City.
Born Donna Gaines
on New Year's Eve to a large family in Boston, she developed an early
interest in music. From the age of eight, Summer sang in church choirs
and city-wide choruses, and by her early twenties, was performing in
musical theatre in Germany, winning parts in such highly-acclaimed shows
as "Hair," "Showboat," "Godspell," and "Porgy and Bess" as well as
performing with the Viennese Folk Opera. She released her first single, a
cover of the Jaynett's girl group classic, "Sally Go Round The Roses,"
in 1971. While singing backup, she met producers Giorgio Moroder and
Pete Bellotte who produced her first single, "Hostage," which became a
hit in the Netherlands, France and Belgium.
In 1975, Moroder and
Bellotte produced the international hit, "Love to Love You Baby," which
rose to #2 on the Billboard Hot 100 and triggered Summer's triumphant
return to the United States as a key figure of the then-emerging disco
genre. "Love To Love You Baby" paved the way for such international hits
as "MacArthur Park," "Bad Girls," "Hot Stuff," "Dim All The Lights,"
"On The Radio," and "Enough Is Enough," as well as the Grammy and
Academy award winning theme song "Last Dance," from the film "Thank God It's Friday," which remains a milestone in Donna's career.
In
1980, Summer became the first artist to sign with David Geffen's new
label, Geffen Records, leaving her disco days behind and moving into the
next phase of her career ." In the years that followed, Summer
collaborated with writers and producers such as Quincy Jones, Michael
Omartian and England's dance-pop production compound Stock Aitken
Waterman and produced a steady stream of hits from "State of
Independence," featuring Michael Jackson on backing vocals, to the
abiding feminist anthem "She Works Hard For The Money," one of the
most-played songs of all-time, and the infectious "This Time I Know It's
For Real."
In 1994, she released "Endless Summer," a greatest
hits retrospective containing a new song, "Melody of Love," which became
Billboard's #1 Dance Record of the Year. She also released the
critically acclaimed gem "Christmas Spirit," a collection of Summer's
original songs and holiday standards recorded with the Nashville
Symphony Orchestra. Summer spent the '90s continuing to tour, performing
to sold-out audiences worldwide.
In 1997, when the new "Best Dance Recording" Category was created at the Grammy Awards, Donna Summer was the first winner with her fifth career Grammy award
for "Carry On." In 1999, Sony/Epic Records released "VH1 Presents Donna
Summer: Live & More - Encore!," an album and DVD of Summer's
critically acclaimed VH1 broadcast taped at New York's Hammerstein
Ballroom. The show premiered on VH1 as one of the network's highest
rated shows to date and featured live performances of Summer's top hits.
Donna Summer has earned five Grammy Awards, six American Music Awards,
three consecutive #1 platinum double albums (she's the only artist,
male or female, ever to accomplish this), 11 gold albums, four #1
singles, 2 platinum singles, and 12 gold singles. Donna is also the
first female artist to have a #1 single and #1 album on the Billboard
charts simultaneously ("Live & More;" "MacArthur Park" 1978) a feat
she also repeated six months later ("Bad Girls" & "Hot Stuff" in
1979). She has charted 22 #1 hits on the Billboard Disco/Dance charts,
over a period of 25 years a milestone solidifying her as The Queen of
Dance. (Read biography for other Donna Summer Bio)
In addition to her recording and performing career, Summer
is an accomplished visual artist whose work has been shown at
exhibitions worldwide including Steven Spielberg's "Starbright
Foundation Tour of Japan" and The Whitney Museum as well as a
prestigious engagement at Sotheby's in New York. Since 1989, she has
sold over 1.2 million dollars in original art - with her highest piece
going for $150,000. In 2003, Random House published her autobiography
"Ordinary Girl," co-authored with Marc Eliot. Also that year, Universal
released "The Journey," containing all of her original hits, as well as
two new songs.
In 2008, celebrating four decades of milestones,
Donna Summer adds another accomplishment to her list with the success of
her new album "Crayons." The album debuted at #17 on the Billboard Top 200 Chart making it Summer's highest debuting album ever. It also debuted
at #5 on the Billboard R&B chart - another personal best. "Crayons"
is Donna's first album of all new studio material in 17 years and is
her highest charting album since "She Works Hard For The Money" in 1983.
To date, the album has spawned three #1 Dance hits "I'm A Fire," "Stamp
Your Feet" and "Fame (The Game)."
A 2008 Rock & Roll Hall Of Fame nominee, it is estimated that Donna Summer has sold more than 130 million records worldwide.
With
a total of 31 #1 hits (singles and albums) on the Billboard
Pop/R&B,Disco/Dance, Album charts combined, over a period of 35
years, Donna Summer is ranked at #24 on Billboard Magazines 50th
Anniversary issue featuring the Hot 100 Artists of All Time.
Spouse
Bruce Sudano (16 July 1980 - present with 2 children
Chicago is one of the most successful rock bands in America and they are among the Top Ten best-selling US musical groups of all time. With hits such as ‘Hard To Say I’m Sorry’, ‘If You Leave Me Now’, ‘You’re the Inspiration’, and ‘Hard Habit to Break’, Chicago may well be most widely identified from the Peter Cetera and its era of radio-friendly power ballads, but its career spans further and wider than their string of No. 1's.
Chicago the band was formed, unsurprisingly enough, in Chicago the city, in Illinois, and the largest in the American Midwest. The city’s rich diversity in population and cultures meant that the band members were steeped in a rich goulash of musical styles and philosophies.
The Chicago blues was a wonderful movement in the 40s that melded Mississippi/delta black music, the “original” blues, with a new rock edge – Muddy Waters and Howlin’ Wolf were the most famous children of this movement, with other luminaries like Paul Butterfield, Buddy Guy, Sonny Boy Williamson and BB King.
But Chicago saxophonist and founding member Walter Parazaider cites the King of Swing, Benny Goodman, as being his primary influence to start playing. Parazaider was nine and a clarinetist to start with.
After studying and practising for a number of years, he was a classically proficient musician whose dream was to take his teacher’s place on the Chicago Symphony. However, he also picked up the saxophone along the way, as he “discovered that you could make a buck and get some girls playing a saxophone in a rock 'n roll band.” Parazaider enrolled in DePaul University, continuing his moonlighting gigs as well as continuing to take classical clarinet classes.
Trumpeter Lee Loughnane was also at DePaul, taking a teaching degree. He bumped into Parazaider through a mutual friend, future Chicago guitarist Terry Kath. Kath was a childhood friend of Parazaider and played with him in their band Missing Links, together with drummer Danny Seraphine. Kath and Seraphine, although lacking a formal musical education were talented musicians who learnt the ropes the hard way: on the stage.
The addition of Loughnane to Missing Links gave impetus to Parazaider’s vision of having a rock band with a horn section. R&B bands already had this concept, such as James Brown, and The Beatles paved the way with their ‘Revolver’ album. However, it had never been tried out in a rock context with the horn section as an integral part of the band’s sound.
They needed more musicians, and the first to be approached was James Pankow, a recent transferee to DePaul from Quincy College who played trombone. Pankow was not from Chicago; he was from St Louis, Missouri, another area with a proud tradition of the blues. Originally he had not wanted to play trombone, because it wasn’t cool, unlike sax, guitar or drums. It wasn’t easy either starting out: it was physically difficult for a ten year old to manoeuvre such a cumbersome instrument. But he persevered, and won a full musical scholarship to Quincy College.
They still needed bass and keyboards to round out the band. They thought they had found both in organist Robert Lamm. Born in Brooklyn, New York, Lamm was asked if he could fill in the bass lines on the organ pedals, and he lied, saying that he could. Thus, The Big Thing was born, consisting of Parazaider (sax), Seraphine (drums), Kath (guitarist), Loughnane (trumpet), Pankow (trombone) and Lamm (organ and bass). Rehearsing in Parazaider’s basement, they learnt a repertoire of James Brown and Wilson Pickett material. This was in 1967.
The Big Thing became a regular on the Midwest club circuit, and on one fortuitous evening, they opened for a band called the Exceptions, “the biggest club band in the Midwest”, according to Pankow. The Big Thing then had the audacity to nick the Exceptions’ bass player, Peter Cetera.
Cetera was also a Chicago boy, taking up the accordion at age 10. He later switched to bass and joined the Exceptions. Loughnane explains Cetera’s inclusion: “We needed a bass player at the time. Robert was playing the bass pedals on the organ…there just wasn't enough bottom with the bass pedals. You needed a real bass in the band. And we needed a tenor voice…When Peter joined the band, that solidified our vocals.”
The band was now renamed Chicago Transit Authority, perhaps aptly named as the band was asked to leave Chicago and relocate to LA, in late 1968. Kath, Pankow and especially Lamm were writing large amounts of original material for the band. Parazaider’s long time friend and producer Jimmy Guercio was trying to get the band signed on CBS; the band’s demo and Guercio’s persistence led to the CBS big-wigs signing them.
In January 1969, the band went to New York to record their first album. Finding that they had too much material, they suggested doing a double album, which CBS agreed to on condition that they cut their royalties. ‘The Chicago Transit Authority’ (1969) was an audaciously ambitious double album, with audible influences from the Beatles to Jimi Hendrix, from the soulful to the rock-out bash, from howling guitar solos to smooth horn passages. It eventually peaked on the Billboard chart at no. 17. Soon after the release, the band changed its name to simply Chicago.
Simply ‘Chicago’ (1970) was also the name of their second double album, and was just as ambitious as its predecessor. Perhaps the most adventurous recording so far was the 13-minute ‘Ballet For A Girl In Buchannon’, penned by the classical-leaning Pankow. As a result of a broken jaw and some quiet writing time, Cetera too contributed some material towards the album.
January 1971 came, and it was time to record their third double album, simply titled ‘Chicago III’ (1971) – Chicago were to use this system of naming their future albums, because they felt that the songs simply spoke for themselves. ‘Chicago III’ netted another cache of hit singles, including Cetera’s ‘Lowdown’ and Lamm’s ‘Free’.
In October 1971, CBS released a four-record box set that covered the band’s week-long sell-out shows at Carnegie Hall. The feeling about that performance was mixed: Cetera and Pankow hated the sound on it, but Parazaider felt a justifiable sense of pride at the band’s unique achievement. After a world tour, ‘Chicago V’ (1972) was recorded. It was also a milestone in that it was the band’s first single disc album. Famous for Lamm’s ‘A Song for Richard and His Friends’, the song seemed to foreshadow Nixon’s later impeachment for Watergate. The album marked a departure from the band’s earlier extended instrumental jam-oramas, featuring nine tightly crafted pop songs.
The band took a break from recording and touring by working on producer Guercio’s film, ‘Electra Glide in Blue’ (1973), starring Robert Blake and featuring Kath, Loughnane, Parazaider and Cetera. ‘Chicago VI’ (1973) was recorded on Guercio’s newly acquired ranch in Colorado. The solitude helped focus the band’s creative energies, with Pankow penning the two hit singles ‘Feelin’ Stronger Every Day’ and ‘Just You ‘N Me’.
Just a couple of months after the release of ‘Chicago VI’, the group gathered at Guercio’s ranch to record what would be their seventh album. The original intention was to do a jazz record, hence ‘Italian From New York’, ‘Aire’, and ‘Devil's Sweet’ were written by Lamm, Seraphine, Parazaider, and Pankow. Cetera however never saw himself as a jazz musician, which explains his diminished contribution songwriting-wise on ‘Chicago VII’ (1974). Despite this, he did pen one of Chicago’s most famous songs, ‘Wishing You Were Here’, which featured Carl and Dennis Wilson and Alan Jardine from the Beach Boys. The relationship between the bands was so good that they embarked on a sold-out nationwide tour the following summer. 1974 also saw the arrival of an eighth member, Brazilian percussionist Laudir De Oliveira.
1975 was a good year for Chicago. ‘Chicago VIII’ (1975) was released, and worldwide record sales for this single year were 20 million copies. A greatest-hits compilation, ‘Chicago IX’ (1975) was released in November. June 1976 saw the release of ‘Chicago X’ (1976), with the massive, instantly recognisable hit ‘If You Leave Me Now’, a song that barely made the final cut. ‘Chicago X’ won the band its first platinum record, selling a million copies in three months, and ‘If You Leave Me Now’ went to the top of the Billboard singles chart. The single won them a Grammy for Best Pop Vocal Performance by a Duo, Group or Chorus, but typecast the band into the saccharine ballad format that some members were unhappy about (especially Kath and Lamm).
‘Chicago XI’ was released in 1977, but tensions were mounting between producer Guercio and the band, resulting in a split. A few months later, tragedy struck when Kath died of an accidental self-inflicted gunshot wound. Devastated, the band tried to regroup by auditioning guitarists, eventually hiring Donnie Dacus.
Their new era started with them entering a new studio with a new producer and a new guitarist, resulting in ‘Hot Streets’ (1978). It was their first studio album not to follow the Roman numeral sequence, and also the first to feature the band on the cover instead of its famous logo. The album’s first single ‘Alive Again’ was a direct tribute to Kath.
Chicago was under pressure to change their sound; ‘Chicago 13’ (1979) contained a song called ‘Street Player’ which had a disco flavour. ‘Chicago 13’ did poorly by Chicago standards, with de Oliveira and Dacus leaving soon after to be replaced by Chris Pinnick. ‘Chicago XIV’ (1980) was disappointing as well, and another compilation album was released soon after, ‘Greatest Hits, Volume II’ (1981).
1981 saw the arrival of Bill Champlin, as the band needed someone to sing Kath’s gutsy vocals. Champlin knew Seraphine, and had a close working relationship with Canadian producer and songwriter David Foster. Foster contributed much to ‘Chicago 16’ (1982), co-writing eight of the album's ten songs, including ‘Hard To Say I'm Sorry’. The Foster-Cetera songwriting partnership marked a definite move along the easy-listening balladsy road.
‘Chicago 17’ (1984) was the band’s best-seller. Hits like ‘Hard Habit to Break’ and ‘You’re The Inspiration’ took album sales to over six million. However, Peter Cetera, writer of many of Chicago’s romantic ballads decided to leave in late 1985 to concentrate on his solo career. He was replaced by bassist and tenor singer Jason Scheff, son of the legendary bass player Jerry Scheff.
The band also hired guitarist Dawayne Bailey, from Bob Seger’s Silver Bullet band. ‘Chicago 18’ (1986) was a certified gold album, and after an autumn tour to break in their new singer and guitarist, Chicago recorded ‘Chicago 19’ (1988). ‘Greatest Hits 1982-89’ (1989) and a tour with the Beach Boys followed.
In 1990, Seraphine left to be replaced by Tris Imboden, an Orange County drummer who was Kenny Loggins’ drummer for several years, as well as touring with Chaka Khan and Al Jarreau. ‘Twenty One’ (1991) was recorded, with two Diane Warren contributions, ‘Explain It To My Heart’ and ‘Chasing The Wind’. In 1991, they were honoured with their own star on Hollywood’s Walk of Fame.
In 1993, the band began work on a new album, but one which reflected their weariness at the record companies’ insistence on top 40 hits. This resulted in the ‘The Stone of Sisyphus’, which was not released. Warner Bros. disliked the album so much that it parted ways with Chicago.
Forsaking their commercial sound, they then recorded ‘Night and Day (Big Band)’ (1995), which brought the focus back on big band jazz and swing. It contained numbers by the late great jazzman Duke Ellington, a major influence of the band, and featured guest appearances by The Gipsy Kings and Aerosmith’s Joe Perry. Keith Howland joined in early 1995 to replace Dawayne Bailey on guitar. Also in 1995, they secured the rights to their early Columbia material between 1969 and 1980. The catalogue is now reissued on the band’s own Chicago Records label.
In 1997, Chicago teamed up with the Hollywood Bowl Orchestra to perform an orchestral arrangement of Pankow's rock epic ‘Ballet for a Girl in Buchannon’. To commemorate their 30th anniversary, they released the compilation ‘The Heart of Chicago 1967-1997’ (1997), which had two new songs including the ballad ‘Here In My Heart’. The next year, they followed up with ‘The Heart of Chicago 1967 - 1998 Volume II’ (1998). That same year they released ‘Chicago XXV: The Christmas Album’ (1998) which went gold.
In 1999, they released their first live album for over two decades, ‘Chicago XXVI: Live in Concert’ (1999). More compilations and a tour with their good friends Earth, Wind and Fire followed, until ‘Chicago XXX’ (2006). The unreleased 1993 album ‘Stone of Sisyphus’ (2008) finally saw the light of day in 2008, the album once dismissed by Warner Bros. as “unreleased”.
Band
Robert Lamm – keyboards, vocals
Keith Howland – guitar, vocals
Jason Scheff – bass, vocals
Tris Imboden – drums
Bill Champlin – keyboards, vocals
James Pankow – trombone, vocals
Lee Loughnane – trumpet, vocals
Walter Parazaider - saxophone
Click here for more latest update : Visit ChicagoBand
Chicago - Hard To Say I'm Sorry
Hard To Say I'm Sorry lyrics
Everybody needs a little time away
I heard her say
From each other
Even lovers need a holiday
Far away from each other
Hold me now
It’s hard for me to say I’m sorry
I just want you to stay
After all that we’ve been through
I will make it up to you
I promise to
And after all that’s been said and done
You’re just a part of me I can’t let go
Couldn’t stand to be kept away
Just for a day
From your body
Wouldn’t want to be swept away
Far away
From the one that I love
Hold me now
It is hard for me to say I’m sorry
I just want you to know
Hold me now
I really want to tell you I’m sorry
I could never let you go
After all that we’ve been through
I will make it up to you
I promise to
After all that’s been said and done
You’re just a part of me I can’t let go
After all that we’ve been through
I will make it up to you
I promise to
Baby What A Big Suprise
Baby What A Big Surprise by Chicago
Right before my very eyes
I thaught that you were only faking it
And right before my heart was taking it
Baby what a big surprise
Right before my very eyes
ohhohohhoh
yesterday it seemed to me
my life was nothing more than wasted time
but here today you softly changed my mind
Baby what a big surprise
Right before my very eyes
ohhohohhoh ohhhohhoh
Just to be alone
Was a little more than I could take
Then you came to stay
Hold me in the morning
Love me in the afternoon
Help me find my way.
Now and then just like before
I think about the love I’ve thrown away
But now it doesn’t matter anyway.
Baby, what a big surprise.
If you leave me now, you’ll take away the biggest part of me
Ooo, ooo, ooo, ooo, no, baby please don’t go
And if you leave me now, you’ll take away the very heart of me
Ooo, ooo, ooo, ooo, no, baby please don’t go
A love like ours is love that’s hard to find
How could we let it slip away?
We’ve come to far to leave it all behind
How could we end it all this way?
When tomorrow comes and we’ll both regret things we said today
A love like ours is love that’s hard to find
How could we let it slip away?
We’ve come to far to leave it all behind
How could we end it all this way?
When tomorrow comes and we’ll both regret things we said today
If you leave me now, you’ll take away the biggest part of me
Ooo, ooo, ooo, ooo, no, baby, please don’t go
Mayumi Itsuwa(五輪 真弓,Itsuwa Mayumi?) (born January 24, 1951) is a Japanese vocalist, composer, lyricist, and keyboardist who made her debut in 1972.
Her first studio album entitled Shoujo was recorded in Los Angeles, produced by GRAMMY Award winner John Fischbach, with distinguished musicians such as David Campbell, Carole King and Charles Larkey who was King's husband at that time.
Owing to her introspective compositions, Itsuwa was often nicknamed "Japanese Carole King", along with other Japanese singer-songwriters like Yumi Matsutoya (who had worked under her birth name "Yumi Arai" during the mid 1970s) and Minako Yoshida.
Itsuwa gained moderate success on the Japanese albums chart in her early career, and received massive popularity and acclaim through a single "Koibito yo" released in 1980. A song topped the Japan's Oricon chart for three consecutive weeks, and won the 22nd Japan Record Award for "Gold Prize" in a same year. It was covered by the country's legendary singers including Hibari Misora and Noriko Awaya in later years, and became a signature song for Itsuwa.
After "Koibito yo" became a hit, Itsuwa gained popularity also in non-Japanese Asian countries during the 1980s.
In Indonesia,"Kokoro No Tomo" and "Amayadori" become the most popular songs ever released by her. In 2006, Mayumi Itsuwa and Delon Thamrin recorded an Indonesian and Japanese version of the song. This was later included on the 2006 compilation album "Duet Love Songs". Many of her songs would fall into the musical genre of "torch songs" because they often describe the lingering memory of past loves.
Furishikiru ame no naka o
Ashibaya ni toori sugita
Natsu no hi no inazuma no you ni
hakanaku kieta futari no koi
Aaaaahhhh...
Are hodo hageshiku moeta
Kokoro ga ima wa hai iro no ribaibaru
Aaaaahhhh...
Kurikaesu dake no omoide wa
yomigaeranu kako no monogatari
Yukizuri no hito naraba
Wasuraremo suru keredo
Namida gumu rasuto shin dewa
Ai no fukasa ni kizuite ita
Aaaaahhhh...
Arehodo yasashikatta anata no
Omokage ga ima wa aozametari ribaribaru
Aaaaahhhh....
Kurikaesu dake no omoide wa
Asu wo shiranu kako no monogatari
Aaaaahhhh...
Are hodo hageshiku moeta
Kokoro ga ima wa hai iro no ribaibaru
Aaaaahhhh...
Kurikaesu dake no omoide wa
Asu wo shiranu kako no monogatari
Aaaaahhhh...
Are hodo hageshiku moeta
Kokoro ga ima wa hai iro no ribaibaru
Aaaaahhhh....
Kurikaesu dake no omoide wa
Asu wo shiranu kako no monogatari
Carl Douglas (born 10 May 1942) is a Jamaican-born, UK-based former singer, best known for his song "Kung Fu Fighting", which hit number one in both the UK Singles Chart and the U.S. Billboard Hot 100 in 1974. It was awarded gold status by the RIAA on 27 November 1974, and won a Grammy Award for Best Selling Single in that year's event. It eventually went on to sell eleven million records worldwide,[2][3]best-selling singles of all time. making it one of the
The song, which is a homage to martial arts films, has overshadowed the rest of the Douglas' career, resulting in his appearance on cover versions of the song. He did release two other singles ("Blue Eyed Soul" and "Dance the Kung Fu", which was sampled by DJ Premier on his 2007 remix of Nike's 25th Air Force One anniversary single "Classic (Better Than I've Ever Been)", featuring Kanye West, Nas, KRS-One and Rakim) but he has ultimately become known in recording history as an example of a one hit wonder.
He was at one time managed by Eric Woolfson, later the primary songwriter behind The Alan Parsons Project.
In 1998, a re-recording of "Kung Fu Fighting", billed as 'Bus Stop featuring Carl Douglas', reached number 8 in the UK Singles Chart.
He now resides in Hamburg, Germany, where he runs Schacht Musik Verlage (SMV), a publishing company that coordinates films, documentaries, and advertisements Source : Wikipedia
Everybody was kung-fu fighting
Those cats were fast as lightning
In fact it was a little bit frightning
But they fought with expert timing
They were funky China men from funky Chinatown
They were chopping them up and they were chopping them down
It's an ancient Chineese art and everybody knew their part
From a feint into a slip, and kicking from the hip
Everybody was kung-fu fighting
Those cats were fast as lightning
In fact it was a little bit frightning
But they fought with expert timing
There was funky Billy Chin and little Sammy Chung
He said here comes the big boss, lets get it on
We took a bow and made a stand, started swinging with the hand
The sudden motion made me skip now we're into a brand knew trip
Everybody was kung-fu fighting
Those cats were fast as lightning
In fact it was a little bit frightning
But they did it with expert timing
(repeat)..make sure you have expert timing
Kung-fu fighting, had to be fast as lightning
Duran Duran are an English rock band, formed in Birmingham in 1978. They were one of the most successful bands of the 1980s and a leading band in the MTV-driven "Second British Invasion" of the United States. Since the 1980s, they have placed 14 singles in the Top 10 of the UK Singles Chart and 21 in the Billboard Hot 100 and have, according to the Sunday Mercury, sold more than 100 million records.
While they were generally considered part of the New Romantic scene along with bands such as Spandau Ballet when they first emerged, they later shed this image. The band worked with fashion designers to build a sharp and elegant image that earned them the nickname "the prettiest boys in rock." The band's controversial videos, which included partial nudity and suggestions of sexuality, became popular in the early 1980s on the then-new music video channel MTV. Duran Duran were among the first bands to have their videos shot by professional directors with 35 mm film movie cameras, which gave their videos a much more polished look. In 1984, the band were early innovators with video technology in their live stadium shows.
The group was formed by Nick Rhodes, John Taylor and Stephen Duffy, with the later addition of Roger Taylor and, after numerous personnel changes, Andy Taylor and Simon Le Bon. (None of the Taylors are related, and Roger Taylor is not to be confused with the Queen drummer of the same name.) The group has never disbanded, but the lineup has changed to include guitarist Warren Cuccurullo from 1989 to 2001 and drummer Sterling Campbell from 1989 to 1991. The reunion of the original five members in the early 2000s created a stir among the band's fans and music media.[4][5] Andy Taylor left the band in mid-2006, and London guitarist Dom Brown has since been working with the band as a session player and touring member.
Enjoy Music Videos
Lyrics :
"Ordinary World"
Came in from a rainy Thursday
On the avenue
Thought I heard you talking softly
I turned on the lights, the TV
And the radio
Still I can't escape the ghost of you
What has happened to it all?
Crazy, some are saying
Where is the life that I recognize?
Gone away
But I won't cry for yesterday
There's an ordinary world
Somehow I have to find
And as I try to make my way
To the ordinary world
I will learn to survive
Passion or coincidence
Once prompted you to say
"Pride will tear us both apart"
Well now pride's gone out the window
Cross the rooftops
Run away
Left me in the vacuum of my heart
What is happening to me?
Crazy, some'd say
Where is my friend when I need you most?
Gone away
But I won't cry for yesterday
There's an ordinary world
Somehow I have to find
And as I try to make my way
To the ordinary world
I will learn to survive
Papers in the roadside
Tell of suffering and greed
Here today, forgot tomorrow
Ooh, here besides the news
Of holy war and holy need
Ours is just a little sorrowed talk
And I don't cry for yesterday
There's an ordinary world
Somehow I have to find
And as I try to make my way
To the ordinary world
I will learn to survive
Every one
Is my world, I will learn to survive
Any one
Is my world, I will learn to survive
Any one
Is my world
Every one
Is my world
