Podcasts about i love you always forever

By Walt HickeyWelcome to the Numlock Sunday edition.This week, I spoke to Chris Dalla Riva, author of the new book Uncharted Territory: What Numbers Tell Us about the Biggest Hit Songs and Ourselves. Chris is a fixture here at Numlock, we're big fans of his newsletter Can't Get Much Higher and have been eagerly waiting for this book, which tracks the history of music by coasting along the top of the Billboard Hot 100. The book can be found at Amazon and wherever books are sold, grab a copy!This interview has been condensed and edited. Chris Dalla Riva, it is great to have you back on. Especially great this week, because you are finally out with a book that I know you've been working on for a very long time, Uncharted Territory. Thanks for coming back on.Yeah, thrilled to be back, but also thrilled to have the book come out. The book publishing world is one of the only worlds left in the world that moves slow enough where you're waiting for so long for something to happen.You have guest-written for Numlock before; you have been a staple of the Sunday editions in the past. You are definitely familiar to the audience at this point because you are doing some of the best music data journalism out there. You've been working on this thing for, I feel like, as long as I've known you, and it is just great to have it come out finally, man.Yeah, actually, I met you because I was working on this project. I was trying to track down some data that you'd used at FiveThirtyEight, and you responded to my email with your phone number. You were like, “This is easier to explain over the phone.”Yeah, I remember I had scraped the radio for months at FiveThirtyEight just to see where it went, and you hit me up with that. I think that you focused some of your energies on the newsletter, and that's been so fun to follow, but this is truly what you've been working at. It is great to get you on finally to talk all about it.What would you describe this book as? How would you describe it, either to folks who might be familiar with your newsletter or unfamiliar with your newsletter, about what you're setting out to do with this particular project?The subtitle, I think, is helpful. It's What Numbers Tell Us About the Biggest Hit Songs and Ourselves. My typical pitch is that it's a data-driven history of popular music that I wrote as I spent years listening to every number one hit song in history. You get a balance of music history, data analysis, just random music chart shenanigans. I wrote it over such a very long period of time that you get a little bit of how my life was intersecting with this book over the years as I tried to get it published.I love the angle on the No.1s being a place to go with, because it gives you a pulse on what's popular at the time and not necessarily what's the most influential at the time. You can see there's a lot of stuff that hit number one at one point or another that have no musical legacy whatsoever, but nevertheless are still interesting. It's dipping your toe in the stream, right? You can see that a lot of things that we assume about how the music industry works weren't always the case.You wrote a little bit about the early transition from big bands to singers as the front-facing people in their operation. That was informed in no small part by what was performing on the charts, but also, I think, labor action, right?An under-discussed part of music history in the last 100 years is that when thinking of any band now or any musical artist, you almost certainly think of the front person being the singer. But if you go look back at big bands of the 1930s and 1940s, anyone whose name was attached to the band was often not a singer. Some that come to mind are Glenn Miller, the Glenn Miller band. Glenn Miller was a trombone player. Artie Shaw was a clarinet player. If none of these names are familiar to you, that's okay. But you can ask your grandparents.Why does this transition happen: suddenly, the lead singer is always getting top billing in a band? There are a bunch of things that contributed to this. One thing I talk about pretty extensively is just the advent of better microphones. If a voice cannot be heard over the roar of an orchestra or a big band, you need a choir of people to sing. It makes the singer less identifiable. As we get better amplification, better microphones, you can get a wider range of vocal styles. Those vocalists can now compete with the sound of a ton of instruments.At the same time, something you mentioned that I think is a fun bit of history is how music used to be much better organized. They had better labor organization, the same way that Hollywood has much better labor organization than music these days. There still exists a group called the American Federation of Musicians. For two years, they had a strike for a work stoppage, when no new music was being recorded. This was during World War II. You weren't allowed to strike during World War II.They were frowned upon very much, it seems, yes.Yes, even if you were a musician. People were like, “Come on, why are the musicians striking?” There's a lot of interesting history there. One of the weird loopholes was that singers could not join the American Federation of Musicians. Because of that, some labels would get around the strike by just recording acapella songs or songs with instruments that were not eligible to be membership because they weren't “serious” enough, like the harmonica. There were weird harmonica songs that were popular at this time. By the time the strike ended, by the time World War II ended, suddenly, singers had a much more prominent role because they were the only ones allowed to perform.There is tons of weird stuff about this strike. Like, labels backlogged tons of recordings because they knew the strike was coming. “White Christmas,” maybe the best-selling record of all time, was one of those backlogged recordings — recorded in July of 1942 and put out however many months later.That's fun. That's basically why Tom Cruise is in a union but Bad Bunny isn't?I guess so. Music and labor have a history that I'm not an expert on. For some reason, musicians have had a much more difficult time organizing. It seemed to be a little bit easier back when there were these big bands that needed to be rolled out to perform in movie theaters or local clubs. You needed a tuba player and a trombone player and a sax player. I guess it was easier for those musicians to organize. Whereas now, things are so scattered and productions can be super small, and you could record something in your bedroom. They never got that level of organization. I think it's actually hurt artists to some degree because they don't have the protections that the film industry does.Because you're able to just coast along at the top of the charts throughout basically the century, you're able to get lots of different interweaving stories of labor and also legal disputes/legal outcomes, as well as this technological evolution. What are some of the ways that technology has informed how the music that we listen to changes or evolves over time? Or even some of the litigation that we have seen over the course of the century of musical creation. It just seems like it's a really fun way to track some of these bigger trends that we don't even know are really trends.Yeah, totally. I think one of the key themes of the book is that musical evolution is often downstream from technological innovation, which has a nice little ring to it. But in general, there's this idea that creativity is being struck by the muse, and you create something. Whereas in reality, there are usually physical constraints or technological constraints that shape the art that we make. One of the most basic examples is the length of songs. From the '40s up till the early, mid-60s, the pop song sits around 2.5 to three minutes. The reason for this is that vinyl singles could literally not hold more sound without degrading, which is completely backwards from the idea that there was an artist who chose to write a 2.5-minute song.I was like, “Well, you had to work within the constraint.” Then technology gets better, singles start to get longer. During the disco era, they actually made bigger discs to put out these long dance mixes. The single sat around like 3.5 to 4.5 minutes for decades until about 10 years ago, when it started to shorten again. People typically point to music streaming for this reason, because artists are paid if a song is listened to for more than 30 seconds, so it's really just a volume game. If you have a 14 minute song that someone listens to one time, they get paid once. But if I listen to a two-minute song seven times (which is again, the same amount of time spent listening), I will be paid out seven times. There is this financial incentive to shorten songs.I don't think artists are sitting in the studio thinking about this constantly. But what I see, what I saw again and again, is that artists were rational beings to some degree and would work within the constraints that they were given. They would usually push against those constraints. That's where a lot of great art comes out of.Even new mediums are offering new opportunities. You wrote a little bit about MTV and how that really changed a lot of what was able to be successful at the time. You had new types of acts that were able to really start competing there, and other acts that just weren't. Do you wanna speak a little bit about like what video did?Yeah, video certainly changed the game. There were artists who had visual presences earlier. The Beatles had a very visual presence. I think part of their success is tied to the fact that television was becoming a thing, and mass media was really becoming a thing. However, we associate musicians with visuals so much these days. That really emerged in the 1980s, where you needed your visual concepts to be as strong, if not stronger than, your musical concepts. I think because of that, you start seeing some artists break through who I don't think are considered great musicians.I always sadly point to the song, “Hey Mickey” by Tony Basil. If it's your favorite song, sorry. I don't think it's a masterful musical creation, but it had this fun music video where she's dressed up as a cheerleader. A lot of that song's success was just the fact that MTV was willing to put that in heavy rotation because it was a fun video to watch. We live in the shadow of that era where visuals matter just as much as anything else.When you think about the most popular artists, outside of maybe a handful, you think of their visual concepts. You think of what Beyoncé looks like, what her videos are like, same with Taylor Swift, as much as you think about their music. That really reshaped our relationship with popular music. We expect to know what artists look like. It's odd to think about that; it really wasn't a thing decades before. You could be a fan of an artist and not really know what they look like. How would you know? Maybe you saw them in a magazine. Maybe you caught them on one television show. The idea that we have access to what everyone looks like is a pretty new phenomenon.That's fun. It's just so interesting to see how a simple change, whether it's today an algorithm or then a medium of distribution, can just have material impacts on the popularity of British synth music in America.Yeah, that's the perfect example. There's a great book called I Want My MTV, and it's an oral history of MTV. They talked to one of the founders. Early MTV would play, as you're saying, all these British new wave acts. Think A Flock of Seagulls, Duran Duran or even someone like U2. They asked the founder, “Why were you playing so many British artists on early MTV?” He was like, “For some reason, British artists happened to make music videos. And there were about 200 music videos in existence. We had to fill 24 hours of programming.” A Flock of Seagulls was gonna get played a bunch of times just because they happened to make music videos.It is a weird thing. Why would anyone make a music video if there was nowhere to really play them? I don't know why specifically the British had more videos, but there were occasional times where television shows might show a video.They do love that over there, like Top of the Pops. I can see why.Music and television have always been connected. You even think Saturday Night Live still has musical acts. Back then, say your label didn't wanna send you out to Britain to go on Top of the Pops. Maybe they would send a video of you instead. There were videos that would float around on these variety shows, and some early videos were just concert footage. It was like, it was a chicken or the egg thing. Once some people had success on MTV, everyone started producing videos. MTV somehow pulled off the miracle of convincing labels that they needed to make videos and that they needed to front the cost for that. Then they had to give MTV the video for free. I don't know how MTV managed to do that.Well, all of Gen X can't be wrong. If you do wanna get it out there, you do have to get it out there. One really fun recurring thing in the book — which again, like I really enjoyed. I think it's a phenomenal work. I think it's a great history. I'm telling stories that I learned in your book to everybody. It is a really fun read in that regard, I wanna say.I do love how you occasionally clock a genre that really only exists briefly. There's one that always goes around for like the strangest things to hit number one, like the Ballad of the Green Berets. I think like there's a Star Wars disco track that I definitely have on vinyl at home about that. You wrote a lot about like teen tragedy songs. What are some of the fascinating like brief trends that only made a small splash and that all of us have forgotten ever existed, but nevertheless achieve some measure of immortality?Yeah, the teen tragedy song is a good one. That actually inspired the writing of this whole book because I got 50 No. 1s, and I was like, “Why are there so many number ones about teenagers dying? That's a little weird.” And then I did a little digging and tried to piece together why that was. The teenage tragedy song, late '50s, early '60s, there are all of these songs about two teenagers in love, usually high schoolers. One tragically dies often in a car crash, and the other is very sad and maybe says that they'll reunite again one day in the afterlife. Some of the big ones are “Leader of the Pack” by the Shangri-Las and “Teen Angel” by Mark Dinning.It's a very weird blip in popular music history. I won't say it has cast a long shadow, but there are some occasional people who pull from that tradition. The craziest teen tragedy song ever was “Bat Outta Hell” by Meatloaf, in which Jim Steinman tried to write a nine-minute motorcycle crash song. I think that's a really interesting one.Disco: bizarre in the amount of people that made disco songs. I really came to like disco and the best disco music, I'm like, “These are the greatest sounds that have ever been recorded.” But it got so big and so popular that everyone felt the need to record disco songs.Not everything is “I Feel Love,” right?No, most things are not. It strikes me that this happened with disco, but has not happened with other genres. Frank Sinatra recorded disco songs. Basically, every television theme song got a disco remix. I Love Lucy had a disco remix. The Rocky theme song had a disco remix.What? I'm sorry, Frank Sinatra did a disco song? Is it good?It's not good. It's “Night and Day” over a disco beat. And it's not clear to me if they just remixed it or if he actually recut the vocal because I just cannot imagine him doing that. In the mid-60s, there was a nun who topped the charts, The Singing Nun with a song called “Dominique.” Of course, during the disco era, it was remixed as a disco song. There are examples of this where people went sort of disco. The Rolling Stones record “Miss You” and it has the disco beat, or Pink Floyd does “Another Brick in the Wall” or Queen does “Another One Bites the Dust.”Everyone was gonna give it a try. There was so much money being made in the disco world at the time. You can always find some artists you would never think would do a disco song probably tried. They probably gave it their best.That's great. It's just fun because the things that hit number one for a week don't necessarily have to be good. They just have to be popular for like a week. Even the construction of the Top 40 chart, which you get into in the book, isn't exactly science. A lot of times, it's a little bit of intuition. It's a lot of what's selling and what's selling where specifically. It is a little bit woo woo, right?Yeah, definitely. The goal of this chart is “What's the most popular song in America in a given week?” Back in the day, that meant what were people buying? What were people listening to on the radio? What were people spinning in jukeboxes? Today, most music is done on streaming. It's consumption-based, rather than sales-based. So the chart's the same in name only, but it's really measuring very different things. The equivalent would be if we knew after you purchased your copy of “I Feel Love,” how many times did you actually play it at home? You could have purchased it, went home and never played it again. Something like that would not register on the charts these days.I respect the people at Billboard because they have an impossible task. It's like “We're gonna take all the information and we're going to boil it down into choosing or measuring what the most popular song is.” It's an impossible task to some degree.I have watched the evolution of the chart, and I go back and forth on whether they have given up on actually trying to rank stuff or if they are just ranking things in a different way. I think that the apples-to-apples between the era stuff is just so hard to do.One thing I really enjoyed about your book, in particular, is that it's not a story of why these songs are the best. It's a story of why these songs were popular at the time, just dipping the toe into the river of human sound. One thing that I'll ask as you wrap: as you were going through these eras, who did you hear a lot more of than you thought? Who did you hear a lot less than you expected?I joked with some people that if you just looked at the top of the charts, the greatest rock band of the 1970s is either Grand Funk Railroad or Three Dog Night because they both had three number one hits, and many other bands in the classic rock canon have none. Led Zeppelin does not really exist on the pop chart, the singles chart. Led Zeppelin really only put out albums. The Eagles were also big during the '70s on the music charts. But Three Dog Night, they're the legends.There are tons of people that I didn't realize how much I would see of them. Someone like Lionel Richie and Phil Collins, of course, they're tremendously popular, but they were so popular. Phil Collins was popular at the height of the bald pop star era, which I think is a thing of the past. You had multiple bald men who were regularly topping the charts in the mid-80s. You see a ton of Phil Collins, more than I was expecting, even though I know he's very popular.Who don't you see a ton of? Sometimes you don't see people until a bit later in their careers. This is actually an interesting phenomenon. Artists do not score a number one hit during their most critically acclaimed period, and then a decade later, they do. For example, Cheap Trick. They have a number one hit, but it's at the end of the '80s song called “The Flame.” Whereas if you hear Cheap Trick on the radio, it's probably their live album from the 1970s. This is a phenomenon you see again and again. Some old timer will get their number one much later in their career. Tina Turner gets her number one when she's probably in her 40s. It's always interesting to see that.There are also some artists where I feel like there's a divergence between what their most popular songs are these days and what was topping the charts. Elton John is a good example there. “Benny and the Jets” was a number one hit, still a tremendously popular song. But he's got a lot of weird No. 1s that I don't think have as much street cred these days. He has a song called “Island Girl.” Did not age like fine wine. I don't even think he plays it live anymore because it's considered somewhat racially insensitive. But it was a No. 1 hit at the time. “Philadelphia Freedom” is another one by Elton John. I feel like when people think of the Elton John catalog, it's probably not the first song that comes to mind. But it was a No. 1 hit, huge smash. His cover of “Lucy in the Sky with Diamonds” was a No. 1. Elton John has been very popular throughout the decades, but I feel like the reasons he's been popular have changed.People have just gravitated towards different songs as time has gone on. You get distortions at the top of the charts. But I think, as you mentioned, it provides a good sample of what was actually popular. You have the good, the bad, and the ugly. Whereas if you look at some other sources, people are just gonna be like, “Oh, listen to these records. These are the best records.” In reality, the bad records are important, too.Yeah, bad records are great. They're at least interesting. I imagine also some of this process must have been missing out on a lot of interesting music because one song was just dominating the charts. Were there any songs in particular that come to mind that wooled the roost for potentially a little bit too long?Yeah, the quintessential example is the “Macarena” in the ‘90s.Oh, no!I think it was No. 1 for 13 weeks.Christ!There's a great clip of people at the Democratic National Convention and '96 dancing the “Macarena.” It's so bad. Yeah, so a very popular song. There are tons of stuff that gets stuck behind it. There's a great No.1 hit in the '90s called “I Love You Always Forever.” It's a very nice song by Donna Lewis. It's stuck at No. 2 because it just happened to be popular during the “Macarena's” very long run. YYour life's work, your greatest accomplishment, being stymied by the “Macarena” feels like a level of creative hell that I have never envisioned before.Yeah, there are other artists who got unlucky. Bruce Springsteen never performed a No. 1 hit. He wrote a No.1 hit for another artist. His closest was “Dancing in the Dark” got to No. 2, but that was also when Prince released “When Doves Cry,” so it's a tough, tough week. Bob Dylan, similar thing. He wrote a No. 1 hit, but he only ever got to No. 2. I think he got to No. 2 twice. Once, he got stuck behind “Help” by the Beatles, and another time he got stuck behind “Monday Monday” by the Mamas and the Papas.This is another thing when I talk about the charts. There could be many fewer units sold in a given week, or there could be many more units sold. There's a lot of luck involved if you're gonna go all the way to No. 1. You could be Bruce Springsteen: you release the biggest record of your life, and Prince also releases the biggest record of his life at the exact same time.Incredible. So again, I have read the book. I really, really like it. People are doubtlessly familiar with the newsletter at this point, but I am also a big fan and booster of that. But I guess I'll just throw it to you. Where can folks find the book, and where can folks find you?Yeah, you can find me, Chris Dalla Riva, basically on every social media platform under cdallarivamusic. I'm most active on TikTok and Instagram. The book, Uncharted Territory: What Numbers Tell Us About the Biggest Hit Songs and Ourselves, should be available from every major retailer online. Amazon, Barnes & Noble, Walmart, Booklist, all that good stuff. Not available physically in stores, so definitely order it online.Like I said, I spent years listening to every No. 1 hit in history, built a giant data set about all those songs and used that to write a data-driven history of popular music from 1958 to basically 2025. So go pick up a copy, buy one for your mother for Christmas. Or your father, I don't discriminate. Yeah, check it out. I'm hoping people enjoy it, and I'm really excited to finally get it out in the world. It's been a long, circuitous journey to get it published.It's a really fun read, and I wish it nothing but the best. And yeah, congrats, thanks for coming on.Yeah, thanks for having me.Edited by Crystal WangIf you have anything you'd like to see in this Sunday special, shoot me an email. Comment below! Thanks for reading, and thanks so much for supporting Numlock.Thank you so much for becoming a paid subscriber! Send links to me on Twitter at @WaltHickey or email me with numbers, tips or feedback at walt@numlock.news. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.numlock.com/subscribe

My guest today is Jia Tolentino. Jia is the author of the essay collection Trick Mirror, which was named one of the best books of 2019 by The New York Times Book Review, NPR, The Paris Review, and more. She won a National Magazine Award for her work at the New Yorker, where she's been a staff writer since 2016. Her writing covers so many different topics, from Roe V. Wade to the internet to pop culture and music. And today, we're going to talk about the 1996 pop hit “I Love You Always Forever” by Donna Lewis. For more, visit songexploder.net/jia-tolentino.

Phil Allen is joined by co-host Jess to hear remixes of an absolute gem of a one hit wonder from 1996. The Donna Lewis ditty “I Love You Always Forever.”

The XX-Sängerin Romy veröffentlicht eine Neuinterpretation von Donna Lewis Pop-Klassiker „I Love You Always Forever“. Aus dem sanften 90s Hit macht sie eine tanzbare Dancefloor Nummer – Unser Song des Tages. Hier entlang geht's zu den Links unserer Werbepartner. >> Artikel zum Nachlesen: https://detektor.fm/musik/popfilter-romy-bringt-90s-hit-auf-den-dancefloor

The XX-Sängerin Romy veröffentlicht eine Neuinterpretation von Donna Lewis Pop-Klassiker „I Love You Always Forever“. Aus dem sanften 90s Hit macht sie eine tanzbare Dancefloor Nummer – Unser Song des Tages. Hier entlang geht's zu den Links unserer Werbepartner. >> Artikel zum Nachlesen: https://detektor.fm/musik/popfilter-romy-bringt-90s-hit-auf-den-dancefloor

The XX-Sängerin Romy veröffentlicht eine Neuinterpretation von Donna Lewis Pop-Klassiker „I Love You Always Forever“. Aus dem sanften 90s Hit macht sie eine tanzbare Dancefloor Nummer – Unser Song des Tages. Hier entlang geht's zu den Links unserer Werbepartner. >> Artikel zum Nachlesen: https://detektor.fm/musik/popfilter-romy-bringt-90s-hit-auf-den-dancefloor

The XX-Sängerin Romy veröffentlicht eine Neuinterpretation von Donna Lewis Pop-Klassiker „I Love You Always Forever“. Aus dem sanften 90s Hit macht sie eine tanzbare Dancefloor Nummer – Unser Song des Tages. Hier entlang geht's zu den Links unserer Werbepartner. >> Artikel zum Nachlesen: https://detektor.fm/musik/popfilter-romy-bringt-90s-hit-auf-den-dancefloor

The XX-Sängerin Romy veröffentlicht eine Neuinterpretation von Donna Lewis Pop-Klassiker „I Love You Always Forever“. Aus dem sanften 90s Hit macht sie eine tanzbare Dancefloor Nummer – Unser Song des Tages. Hier entlang geht's zu den Links unserer Werbepartner. >> Artikel zum Nachlesen: https://detektor.fm/musik/popfilter-romy-bringt-90s-hit-auf-den-dancefloor

1. Right Here Waiting by Richard Marx 2. First Love by Utada Hikaru 3. The Right Kind Of Love by Jeremy Jordan 4. I Adore Mi Amor by Color Me Badd 5. Crazy For You by Madonna 6. Sometimes by Britney Spears 7. A Shoulder To Cry On by Tommy Page 8. True by Spandau Ballet 9. Hold On by Wilson Phillips 10. That's The Way Love Goes by Janet Jackson 11. I Want It That Way by Backstreet Boys 12. I Just Can't Stop Loving You by Michael Jackson Feat. Siedah Garrett 13. Kokoro No Tomo by Mayumi Itsuwa 14. Do You Really Want To Hurt Me by Culture Club 15. Turn Back Time by Aqua 16. I Love You Always Forever by Donna Lewis 17. Sending All My Love by Linear 18. The Right Combination by Seiko 19. I've Been Waiting For You by Guys Next Door

Filmmaker, director, and Valencia guitarist Brendan Walter was one of thirty-two students sued by the RIAA for downloading music while he was attending Drexel University, and we have to wonder if one of the songs he LimeWired was the 1996 Donna Lewis pop gem “I Love You Always Forever”. This Welsh artist took a nursery rhyme chorus and made Billboard history, which was clearly a magical time full of exotic sweetness that made an impact on Brendan as he laid under a blue sky with pure white stars. If you like the show, be sure to rate, review, and subscribe. Email us at onehitthunderpodcast@gmail.com. Also, follow us on our social media: Twitter: @1hitthunderpod Instagram: onehitthunderpodcast Wanna create your own podcast? Contact us at www.weknowpodcasting.com for more information. Visit punchlion.com for Punchline tour dates, news, and merch. Sign up for more One Hit Thunder on our Patreon www.patreon.com/OHTPodcast Learn more about your ad choices. Visit megaphone.fm/adchoices

The best thing you can do is not ignore, but rather, LISTEN TO this episode of Las Culturistas because, bitch, BETTY WHO is the guest. One of Matt & Bowen's favorite artists joins them in person in LA to discuss naming wigs and hair as expression, hanging in there in the music industry through ups and downs, touring, the importance of rehearsal, and the question of WWBD (Beyonce...and Britney!) Also! Britney as formative culture, always getting the moms in the crowd on her side with Betty's cover of "I Love You Always Forever", playing every Pride in America, and queering up the lives of the straight men you know. All this, cannibalism fever, how TikTok is running the music industry, performing on The Bachelorette and how sometimes a Glee Cast Version can go all the way off. It's fucking Betty Who everybody! We woke up and chose violet for this one... STREAM THIS WOMAN. See omnystudio.com/listener for privacy information.

Cette semaine on parle d'une one-hit wonder qui s'est offert un tube hyper cul-cul mais terriblement efficace qui a pris le monde par surprise en 1996. C'est I Love You Always Forever de Donna Lewis!Si vous étiez parmi nous en 96, nul doute que vous avez chantonné ce refrain hyper-simple et feel-good en rêvant du grand amour. Au cœur de l'automne, une jeune auteure-compositrice-interprète nous arrive du pays de Galles sans prévenir et balance son tout premier single. La ritournelle aux paroles naïves et mélo sur l'amour, le vrai, le pur que l'on peut ressentir pour sa moitié, s'impose immédiatement comme un tube mondial. Liens et référencesClip I Love You Always Forever - Donna LewisClip I Love You Always Forever - Betty Who5 Seconds Of Summer - No ShameEve - Gotta ManDonna Lewis dans Beverly Hills (S7E15)_______CD2Titres est écrit, produit et incarné par Loïc Dumoulin-Richet.Retrouvez moi sur Twitter et Instagram @CD2Titres_podPlaylist et infos complémentaires sur www.cd2titres.comN'hésitez pas à donner 5 étoiles à ce podcast et à laisser un commentaire s'il vous a plu !Générique et jingles composés exclusivement pour CD2Titres par Rod Thomas @brightlightx2 

In this episode, rising indie-pop artist Claire George shares stories as an upcoming producer/ performer, and favorite production tools in the studio. She also shares workflows including vocal processing, favorite plugins, her dream live setup, and how her music was influenced by unexpected life experiences. Claire George is a songwriter, producer and vocalist originally from Seattle, WA. Following the release of Bodies of Water on Cascine in 2018, Claire toured the US & Canada with DRAMA, in addition to supporting Diane Coffee, The Midnight, and Kllo on shorter runs and headlining her own West Coast tours. In 2019 she released the stunning piano ballad “Alone, Together,” along with an alternate uptempo rework of the track produced by Josh Burgess of Yumi Zouma. Most recently, she released a lowkey, bubbly cover of Donna Lewis' 1996 classic “I Love You Always Forever.” Follow Claire below: Website: claire-george.com Facebook: facebook.com/clairegeorgeofficial Instagram: @clairegeorgeofficial Twitter: @clairegeorge EPISODE SUPPORTED BY MELODICS.COM Melodics is a desktop app that helps you build your skills playing MIDI keyboards, pad controllers, or electronic drums. Check out the free trial and start having more fun while practicing at: melodics.com/ Join the Ableton Live 11 Beta Online Event (11/11/2021) bit.ly/3H5HSi4 Save money purchasing the latest version of Ableton Live: liveproducersonline.com/buyableton Join Discord and connect with other Ableton nerds: discord.gg/ceb9CgAFFj Join the newsletter and be the first to receive new podcast episodes, as well as Ableton Live downloads, special events, and more: liveproducersonline.com/newsletter

Which 90s one hit wonder jam do you think was the better tune? Today we have I Love You Always Forever from Donna Lewis vs. Better Days by Citizen King. See omnystudio.com/listener for privacy information.

On this episode of Quantum Week it’s movie “Sleepers” and song “I Love You Always Forever”. One hidden classic, and one popular tragedy. Ebert and Donna Lewis both take their medicine. Plus headlines and stories.

Donna Lewis on the Rick Z Show. Think you know Donna Lewis?  Think again.  With one of the biggest hits of the last 25 years "I Love You Always Forever" it would be easy to misperceive Donna as merely a Pop Princess, but there is so much more to this multidimensional artist.  Penning nearly half a dozen diverse albums and side projects.  This angelic voiced singer influenced the likes of Taylor Swift though she was born in Cartiff, Wales.  She is the Hudson Valley's own Donna Lewis.

Donna Lewis on the Rick Z Show. Think you know Donna Lewis?  Think again.  With one of the biggest hits of the last 25 years "I Love You Always Forever" it would be easy to misperceive Donna as merely a Pop Princess, but there is so much more to this multidimensional artist.  Penning nearly half a dozen diverse albums and side projects.  This angelic voiced singer influenced the likes of Taylor Swift though she was born in Cartiff, Wales.  She is the Hudson Valley's own Donna Lewis.

We are joined by world-famous rocker and illustrator FRANK OKAY as we discuss our first installment for Pride month, the 2018 Portuguese surrealist-soccer-adventure film DIAMANTINO! In the latest episode of the docuseries on us losing our GD minds in quar, we go over fluffy puppies, the Undertaker, and bi-erasure as we break down one of the kookiest films in ScreenVomit history! Grab a full cup of bongo juice and join us for the ride! Find Frank on instagram @frankokay or at www.frankokay.com! Featured songs: "Can I Go Home?" by ohori-koen "I Love You Always Forever" by Donna Lewis About halfway thru the ep, we get a lil audio fuzz so if you hear that it's us not you! Find us on all the things @screenvomit, or email screenvomitpod@gmail.com.

It's the most adorable song of the 1990's on this week's episode! Bob your head and feel the warm hug that is "I Love You Always Forever," a song that is somehow amazing even though its title feels like it was made up by a random song generator that translates from English to Korean and back. In this episode: - We award this song the 1st ever (and highly prestigious) Cal Naughton Jr Memorial Bridesmaid Award. - We play “Name that Female One-Hit Wonder” and you can scream at Rob from your home or car as he struggles to think of Shawn Colvin!  -How old was Donna Lewis when this song came out? As always, leave us a review to help the show get in front of more folks, and connect with us for Shenanigans, merch, and more. greatsongpodcast.com Twitter/Instagram: @GreatSongPod Facebook.com/groups/greatsongpod --- Support this podcast: https://anchor.fm/greatsongpod/support

Being in love is the best feeling in the world. So this mix has lot's of lovin' going on "I Feel Love", "To Be Able To Love", "Crazy In Love", "Give Me Your Love", "I Love You Always Forever" So for all those people who's lover makes them crazy , happy and horny, here's my latest mix "Do I Make You Randy?" Track List: 001 - Carte Blanche (Mark Stereo Reconstruction) - Veracocha 002 - Put Em High (StoneBridge JJ Club 2016 Club Mix) - Stonebridge ft Therese 003 - Aftershock (Uriel Ramirez Rmx) - Cash Cash feat Jacquie Lee 004 - Treat You Better (JUNCE Rework) - Shawn Mendes, Edson Pride & Mauro Mozart 005 - Move Your Body (Yerko Molina & Fred Miller Mashup) - Leo Sampaio ft Sia 006 - Fire with Fire (Tristan Jaxx vs Rauhofer vs Hexell & Sixtho Mash) - Scissor Sisters 007 - Nothing Else Matters (Tristan Jaxx vs Lequ Mash) - Matt Nash 008 - Perfect Strangers (Chris Cox Remix) - Jonas Blue feat. JP Cooper 009 - Latch Try (Ludo Kaiser Private Mash Up Mix) - Disclosure vs Edson Pride 010 - Don't Hold Your Breath (Nylson Wash Club Mix) - Nicole Schezinger 011 - Everybody Dance (Bonnis Maxx & Marcelo Rivera Remix) - Tony Moran, Deborah Cox 012 - Heartbeat (Mauro Mozart Remix) - Tony Moran feat Deborah Cooper 013 - Want To Want Me (Yan Bruno Remix) - Jason Derulo 014 - You Give Love A Bad Name 2016 (Huffnpoofs Loaded Mix) - Bon Jovi 015 - Take Over Funky Town (Dark Intensity Mashup) - Afrojack vs Lipps Inc 016 - I Feel Love (Angelo Ferreri Edit) - Donna Summer 017 - We Stand United (Mr. Mig Remix) - Ray Isaac feat. Fly Young Red & Sydney Gay Lesbian Choir 018 - To Be Able to Love (Jay Santos & Bret Law Mighty Mix) - George Figares & DJ Blacklow (Ft. Brenda Reed) 019 - Nothing Stopping Me (Sagi Kariv remix) - Vicetone feat. Kat Nestel 020 - Giants (Extended Mix) - Breathe Carolina & Husman feat. Carah Faye 021 - Pray To God (Dooms Day Mix) - Jose Spinnin Cortes Ft Yadouin 022 - Never Be Like You (Double Face Brazil Club Mix) - Flume Feat. Kai 023 - Calabria (Roger Grey Private) - Kryder 024 - Calavera V5 (Bootleg Smasher) - Hardwell X Kura 025 - Enigma (Extended Mix) - Pep & Rash x Lucas & Steve 026 - Crazy In Love (Junior Senna & M Torrez Energy Mix) - Beyonce 027 - I Don't See Them (Rannys Peak Hour Mix) - SR 028 - Just Another U Turn (John Michael Spressin Himself Edit) - Icona Pop & Domenic Candela vs Michael T Diamond 029 - Caught In The Middle (Tommy Marcus Circuit Mix) - Juliet Roberts 030 - On My Mind, But Its Ok (Barry Harris ADHD Remix) - Ellie Goulding & Whitney Houston 031 - I Wonder (Morlando Remix) - BREE 032 - Give Me Your Love (The Rooftop Boys Remix) - Sigala Ft. John Newman & Nile Rodgers 033 - Living (Extended Mix) - Bakermat feat Alex Clare 034 - I Love You Always Forever (Hector Fonseca & Eduardo Lujan Remix) - Betty Who 035 - Can't Stop The Feeling (Acapella Stared) - Justin Timberlake 036 - All The Right Moves (Stase Remix) - One Republic 037 - Halo (Tom Siher & Hernan Maldonado 2k16 Remix) - Beyonce 038 - Anymore (Seamus Haji remix) - Melanie C 039 - Time After Time (J&C Remix) - Cyndi Lauper 040 - Feel What U Want (Cajjmere Wray 2014 Private Club Mix) - Kristine W

LOVE REVOLUTION - BY DJ HARRY K [TRACKLISTING] 1. No One – Alicia Keys 2. Telepathy – Christina Aguilera 3. Heathens – Twenty One Pilots 4. Kiss The Sky - Jason Derulo 5. Say It – Flume 6. Do It Right – Martin Solveig 7. Final Song – M0 8. Kill The Lights – Alex Newell, Jess Glynne & DJ Cassidy 9. Can’t Stop The Feeling – Justin Timberlake 10. Cold Water – Major Lazer Ft Justin Bieber & M0 11. Do You Want To Come Over – Britney Spears 12. Work It – Missy Elliot 13. In The Name Of Love – Martin Garrix 14. Give Me Your Love – Sigala Ft John Newman 15. Perfect Illusion – Lady Gaga 16. Gonna Make You Sweat – C&C Music Factory 17. Move Your Feet – Junior Senior 18. Someone Who Needs Me – Bob Sinclair 19. This Girl – Kungs Vs Cookin’ On 3 Burners 20. I Love You Always Forever – Betty Who 21. This One’s For You – David Guetta Ft Zara Larsson COMPILED & MIXED BY HARRY K [OCT 2016]

The mornings may be getting a bit cooler but the days are still sweltering up in the 90's. After another summer that beat record-breaking temperatures from 2015, don't tell me there isn't global warming. The good news from this hot mess, is that the circuit beats keep getting equally as hot as Party Favorz presents the 2016 Fall Edition. We kick things off with the Danny Verde progressive remix of Boys Like You by Who Is Fancy, who with some big names behind him (Scooter Braun and Dr. Luke) managed to rope in Meghan Trainor & Ariana Grande for additional vocal duties. The end result is a fun romp through camp that only WIF could pull off. Expect to be hearing this A LOT in clubs and circuit events this fall. The heat quickly builds up into a massive mashup with the infamous Lula in the mix before moving into the head-turning remix of Alicia Keys latest In Common. Barry Harris totally flips the script on this slow burner making it a cross between big-time Ibiza vs. tribal while throwing in a bit of George Kranz (Din Daa Daa) into the mix. I was totally blown away the minute I heard this; that is until we get to one of Barry's original mashups below. I am such a HUGE fan of Betty Who's remake of I Love You Always Forever, I was pleased to find out Toy Armada & DJ Grind remixed the song. With their big room sweeping sound, it just fits so perfectly it should have the boys singing along in unity. Currently, we have competing remakes of the Lovestation classic Teardrops running up the Billboard club charts by Cole Plante and Dawn Tallman. Both are equally good but Dawn gets the edge in that it's well... Dawn. We don't have a big room circuit-styled remix from her yet but I predict we will. In the meantime, Cole does an outstanding job with remixes by Chris Cox and Toy Armada & DJ Grind. He plays with the lyrics a bit to make them more suitable for a male singer, but there is no mistaking the classic seeds of the original. Skylar Stecker delivers a worthy remake of the Eurythmics' classic Sweet Dreams (#1 Billboard Club Dance a week ago) and Bent Collective (a.k.a. Steve Redant and Danny Verde) churn out a release for Swishcraft Get Up Stand Up. While I prefer the original, for the sake of cohesiveness I went with the more progressive mix by Louis Lennon, which scales back the vocals much to my dismay. Now, we get to one of Barry Harris' shiniest moments in circuit history. I guess a little musical education may be in order for those of you not old enough to appreciate the songs used in his mashup; so here it goes: Musique was a last minute throw-together by Bob Blank of four women (Jocelyn Brown, Angela Howell, Gina Tharps and Christine Wiltshire) of which Jocelyn Brown went on to greater things and became an artist in her own right. The four-song EP they released in 1978 was titled Keep on Jumpin'. The lead single, In the Bush (which is utilized extensively through Push) stalled on the top 40 due to it's uhh, rather sexual nature but still reached number one on the Billboard Disco Charts. In fact, the second single Keep on Jumpin' also reached number one on the disco charts and again in the 90's when Todd Terry enlisted Jocelyn Brown and Martha Wash to perform a new house version of the song. Are you ready? Are you ready for this?  Do you like it? Do you like it like this? Push, push in the bush.  I used to keep up with all the pop songs and remember this one being played at local radio. In sixth grade, I was sexually naive (except for masturbating) and had written the lyrics down and passed them to a girlfriend in one of my classes. That note, was intercepted by Sister Phyllis (I attended parochial school) and was chastised after class for writing such garbage. I was embarrassed but didn't know exactly what for. Sister Phyllis was a large burly woman known for beating the crap out of her students when they misbehaved but I skirted that by attempting to explain what it was I had written.

Play Pause DownloadShare var srp_player_params_67724d08ae7d4 = {"title":"","store_title_text":"","albums":[],"hide_artwork":"true","sticky_player":"true","show_album_market":0,"show_track_market":"true","hide_timeline":0,"player_layout":"skin_boxed_tracklist","orderby":"date","order":"DESC","hide_album_title":"true","hide_album_subtitle":"true","hide_player_title":"true","hide_track_title":"true","show_publish_date":"false","show_skip_bt":"false","show_volume_bt":"false","show_speed_bt":"false","show_shuffle_bt":"false","use_play_label":"true","use_play_label_with_icon":"true","progressbar_inline":"true","spectro":"","hide_progressbar":"true","main_settings":"||"} var srp_player_params_args_67724d08ae7d4 = {"before_widget":"","after_widget":"","before_title":"","after_title":"","widget_id":"arbitrary-instance-67724d08ae7d4"} if(typeof setIronAudioplayers !== "undefined"){ setIronAudioplayers("arbitrary-instance-67724d08ae7d4"); } The mornings may be getting a bit cooler but the days are still sweltering up in the 90's. After another summer that beat record-breaking temperatures from 2015, don't tell me there isn't global warming. The good news from this hot mess, is that the circuit beats keep getting equally as hot as Party Favorz presents the 2016 Fall Edition. We kick things off with the Danny Verde progressive remix of Boys Like You by Who Is Fancy, who with some big names behind him (Scooter Braun and Dr. Luke) managed to rope in Meghan Trainor & Ariana Grande for additional vocal duties. The end result is a fun romp through camp that only WIF could pull off. Expect to be hearing this A LOT in clubs and circuit events this fall. The heat quickly builds up into a massive mashup with the infamous Lula in the mix before moving into the head-turning remix of Alicia Keys latest In Common. Barry Harris totally flips the script on this slow burner making it a cross between big-time Ibiza vs. tribal while throwing in a bit of George Kranz (Din Daa Daa) into the mix. I was totally blown away the minute I heard this; that is until we get to one of Barry's original mashups below. I am such a HUGE fan of Betty Who's remake of I Love You Always Forever, I was pleased to find out Toy Armada & DJ Grind remixed the song. With their big room sweeping sound, it just fits so perfectly it should have the boys singing along in unity. Currently, we have competing remakes of the Lovestation classic Teardrops running up the Billboard club charts by Cole Plante and Dawn Tallman. Both are equally good but Dawn gets the edge in that it's well... Dawn. We don't have a big room circuit-styled remix from her yet but I predict we will. In the meantime, Cole does an outstanding job with remixes by Chris Cox and Toy Armada & DJ Grind. He plays with the lyrics a bit to make them more suitable for a male singer, but there is no mistaking the classic seeds of the original. Skylar Stecker delivers a worthy remake of the Eurythmics' classic Sweet Dreams (#1 Billboard Club Dance a week ago) and Bent Collective (a.k.a. Steve Redant and Danny Verde) churn out a release for Swishcraft Get Up Stand Up. While I prefer the original, for the sake of cohesiveness I went with the more progressive mix by Louis Lennon, which scales back the vocals much to my dismay. Now, we get to one of Barry Harris' shiniest moments in circuit history. I guess a little musical education may be in order for those of you not old enough to appreciate the songs used in his mashup; so here it goes: Musique was a last minute throw-together by Bob Blank of four women (Jocelyn Brown, Angela Howell, Gina Tharps and Christine Wiltshire) of which Jocelyn Brown went on...

Play Pause DownloadShare var srp_player_params_677258c0c887b = {"title":"","store_title_text":"","albums":[],"hide_artwork":"true","sticky_player":"true","show_album_market":0,"show_track_market":"true","hide_timeline":0,"player_layout":"skin_boxed_tracklist","orderby":"date","order":"DESC","hide_album_title":"true","hide_album_subtitle":"true","hide_player_title":"true","hide_track_title":"true","show_publish_date":"false","show_skip_bt":"false","show_volume_bt":"false","show_speed_bt":"false","show_shuffle_bt":"false","use_play_label":"true","use_play_label_with_icon":"true","progressbar_inline":"true","spectro":"","hide_progressbar":"true","main_settings":"||"} var srp_player_params_args_677258c0c887b = {"before_widget":"","after_widget":"","before_title":"","after_title":"","widget_id":"arbitrary-instance-677258c0c887b"} if(typeof setIronAudioplayers !== "undefined"){ setIronAudioplayers("arbitrary-instance-677258c0c887b"); } The mornings may be getting a bit cooler but the days are still sweltering up in the 90's. After another summer that beat record-breaking temperatures from 2015, don't tell me there isn't global warming. The good news from this hot mess, is that the circuit beats keep getting equally as hot as Party Favorz presents the 2016 Fall Edition. We kick things off with the Danny Verde progressive remix of Boys Like You by Who Is Fancy, who with some big names behind him (Scooter Braun and Dr. Luke) managed to rope in Meghan Trainor & Ariana Grande for additional vocal duties. The end result is a fun romp through camp that only WIF could pull off. Expect to be hearing this A LOT in clubs and circuit events this fall. The heat quickly builds up into a massive mashup with the infamous Lula in the mix before moving into the head-turning remix of Alicia Keys latest In Common. Barry Harris totally flips the script on this slow burner making it a cross between big-time Ibiza vs. tribal while throwing in a bit of George Kranz (Din Daa Daa) into the mix. I was totally blown away the minute I heard this; that is until we get to one of Barry's original mashups below. I am such a HUGE fan of Betty Who's remake of I Love You Always Forever, I was pleased to find out Toy Armada & DJ Grind remixed the song. With their big room sweeping sound, it just fits so perfectly it should have the boys singing along in unity. Currently, we have competing remakes of the Lovestation classic Teardrops running up the Billboard club charts by Cole Plante and Dawn Tallman. Both are equally good but Dawn gets the edge in that it's well... Dawn. We don't have a big room circuit-styled remix from her yet but I predict we will. In the meantime, Cole does an outstanding job with remixes by Chris Cox and Toy Armada & DJ Grind. He plays with the lyrics a bit to make them more suitable for a male singer, but there is no mistaking the classic seeds of the original. Skylar Stecker delivers a worthy remake of the Eurythmics' classic Sweet Dreams (#1 Billboard Club Dance a week ago) and Bent Collective (a.k.a. Steve Redant and Danny Verde) churn out a release for Swishcraft Get Up Stand Up. While I prefer the original, for the sake of cohesiveness I went with the more progressive mix by Louis Lennon, which scales back the vocals much to my dismay. Now, we get to one of Barry Harris' shiniest moments in circuit history. I guess a little musical education may be in order for those of you not old enough to appreciate the songs used in his mashup; so here it goes: Musique was a last minute throw-together by Bob Blank of four women (Jocelyn Brown, Angela Howell, Gina Tharps and Christine Wiltshire) of which Jocelyn Brown went on...

The mornings may be getting a bit cooler but the days are still sweltering up in the 90's. After another summer that beat record-breaking temperatures from 2015, don't tell me there isn't global warming. The good news from this hot mess, is that the circuit beats keep getting equally as hot as Party Favorz presents the 2016 Fall Edition. We kick things off with the Danny Verde progressive remix of Boys Like You by Who Is Fancy, who with some big names behind him (Scooter Braun and Dr. Luke) managed to rope in Meghan Trainor & Ariana Grande for additional vocal duties. The end result is a fun romp through camp that only WIF could pull off. Expect to be hearing this A LOT in clubs and circuit events this fall. The heat quickly builds up into a massive mashup with the infamous Lula in the mix before moving into the head-turning remix of Alicia Keys latest In Common. Barry Harris totally flips the script on this slow burner making it a cross between big-time Ibiza vs. tribal while throwing in a bit of George Kranz (Din Daa Daa) into the mix. I was totally blown away the minute I heard this; that is until we get to one of Barry's original mashups below. I am such a HUGE fan of Betty Who's remake of I Love You Always Forever, I was pleased to find out Toy Armada & DJ Grind remixed the song. With their big room sweeping sound, it just fits so perfectly it should have the boys singing along in unity. Currently, we have competing remakes of the Lovestation classic Teardrops running up the Billboard club charts by Cole Plante and Dawn Tallman. Both are equally good but Dawn gets the edge in that it's well... Dawn. We don't have a big room circuit-styled remix from her yet but I predict we will. In the meantime, Cole does an outstanding job with remixes by Chris Cox and Toy Armada & DJ Grind. He plays with the lyrics a bit to make them more suitable for a male singer, but there is no mistaking the classic seeds of the original. Skylar Stecker delivers a worthy remake of the Eurythmics' classic Sweet Dreams (#1 Billboard Club Dance a week ago) and Bent Collective (a.k.a. Steve Redant and Danny Verde) churn out a release for Swishcraft Get Up Stand Up. While I prefer the original, for the sake of cohesiveness I went with the more progressive mix by Louis Lennon, which scales back the vocals much to my dismay. Now, we get to one of Barry Harris' shiniest moments in circuit history. I guess a little musical education may be in order for those of you not old enough to appreciate the songs used in his mashup; so here it goes: Musique was a last minute throw-together by Bob Blank of four women (Jocelyn Brown, Angela Howell, Gina Tharps and Christine Wiltshire) of which Jocelyn Brown went on to greater things and became an artist in her own right. The four-song EP they released in 1978 was titled Keep on Jumpin'. The lead single, In the Bush (which is utilized extensively through Push) stalled on the top 40 due to it's uhh, rather sexual nature but still reached number one on the Billboard Disco Charts. In fact, the second single Keep on Jumpin' also reached number one on the disco charts and again in the 90's when Todd Terry enlisted Jocelyn Brown and Martha Wash to perform a new house version of the song. Are you ready? Are you ready for this?  Do you like it? Do you like it like this? Push, push in the bush.  I used to keep up with all the pop songs and remember this one being played at local radio. In sixth grade, I was sexually naive (except for masturbating) and had written the lyrics down and passed them to a girlfriend in one of my classes. That note, was intercepted by Sister Phyllis (I attended parochial school) and was chastised after class for writing such garbage. I was embarrassed but didn't know exactly what for. Sister Phyllis was a large burly woman known for beating the crap out of her students when they misbehaved but I skirted that by attempting to explain what it was I had written.

HEATHENS de la película SUICIDE SQUAD: 150 millones en VEVO; Nominada al MTV Music Award como mejor video Rock; Top 50 en 19 naciones, # 5 en Canadá y Portugal, 4 en Australia, # 4 del hot 100 y # 1 del Hot Rock de Billboard en USA. Por tercera vez es el Top de Global Hits. DE PIES A CABEZA con MANA Y NICKY JAM es fuerte rotación en estaciones top40 y Top 10 en el POP Latino USA de Billboard. TRUMPETS es un himno para hacer ejercicio en los gimnasios con SAK NOEL, SALVI y SEAN PAUL.BETTY WHO es el debut más alto en Australia esegún A Charts justamente con I LOVE YOU ALWAYS FOREVER.GIRLS IN LUV pega en PERU con 20 millones en YouTube. DJANE HOUSEKAT y el rapero ingles RAMEEZ. SISTEMA SOLAR CON RUMBERA llega al top 20 de las 40 principales Colombia. KALA CASHNA con 60 millones de visitas en YouTube India es # 1 de Asian Charts. COLD WATER del DJ MAJOR LAZER, JUSTIN BEABER Y MO es # 1 en Inglaterra, Australia, Holanda, Nueva Zelanda, Portugal y Canadá y # 1 mundial de Spotify. AMOR Y DOLOR de CARLOS BAUTE y Alexis y Fido supera 15 millones en redes de video y es top 5 de shazam España. BON FIRE del DJ FELIZ JAEHN Y ALMA es # 3 en Alemania según Billboard. Es WOLOLO de BABES WODUMO una chica de 22 años original de Durban es el tema # 1 en la radio de Suráfrica. LA CARRETERA de PRINCE ROYCE nuevo # 1 del mercado hispano de USA según Monitor Latino.

It's precisely 3:14 AM and I can't sleep. So, I thought I'd go ahead and drop this massive bomb on everyone as a little TGIF early morning gift when you wake up. The Summer Circuit Edition pt.2 picks right up where we left off with sizzling tribal beats for those hot sticky nights. Things kick-off with Offer Nissim's dark and divalicious We Can Make It and then just steam rolls through the rest of the set.  While not a huge radio hit, I Ain't Your Mama (Jennifer Lopez) has hit all the right notes with us gay folk and Danny Verde gets serious in his remix of the song. As you would expect, he uses deep and progressive beats while keeping the lively attitude of the lyrics intact. Score! Betty Who returns with an unexpected remake of I Love You Always Forever originally sung by one-hit wonder Donna Lewis. This is one of those songs I'd prefer to not remember from the 90's but it works surprisingly well. Even more so on the laid-back version coming up on the next installment of Summer Chill. Give it a few spins and you'll be singing along like a happy little love bird. It's Britney, BITCH! and she's back with a new single and new album in the works. Of course, leave it to Barry Harris to snatch that puppy up and work the shit out of it. Brazil's HenriqMoraes whips out a bootleg for Jason Derulo's Want To Want Me even after the label kinda didn't support it that much. We never got the full 7th Heaven version of this catchy pop tune but Henriq stays true his style, while maintaining the fun "pop" of the original. If his name is familiar from another recent post, it's because he also re-worked Madonna's Like a Virgin, which landed on her most recent Diva Hall of Fame set. This guy has a good ear and knows his shit and should be someone you should follow. I'm fairly certain he's got some tricks up his sleeves and will surprise us in the coming year. Not another all-girl group! Well, yes and frankly I'm really digging these chicks. Fourever1 are quadruplets picked up by Randy Jackson's label. I dropped an EDM version of All About Tonight on Summer Slammers pt. 2 and am now sending up Ranny's fantastic version. He stays in the framework of the original but gives it some super-juice by banging those beats pretty hard. Cheap Thrills by Sia should have made an appearance back in Spring but I forgot to include it. Then again on Gay Days and I forgot again. Then again on Summer Circuit Edition pt.1 and for some fucked up reason I forgot again. The good news is that the song has been one of those creeping up the pop charts making it one of the biggest summer hits for 2016. Relevance is key in this instance (even if I do pride myself on picking the hits before they actually are one). You know what, it's finally made it on to a mix; get over it (that 's me talking to my evil snarky twin). As long as he doesn't get political or even open his mouth, I've become a solid Bieber fan. Hey, I admit it. I like his music. Cold Water with Major Lazer is catchy and a great piece of work. I don't care who he fucks or the bro wars because I don't follow all that nonsense. If you write and sing catchy songs and display a semblance of maturity, then I'm on your side. He's definitely being well-served by taking advice from Usher in going from scrawny to hotty. I always new the transformation would come and welcome it since he looks great! Barry handled the song by making two versions. One hot and the other cold. I prefer the cold. I think he's unsure about the slowdown tempo change in the song before picking up again. I'll just say that he's the master at handling these songs that change tempo and it comes across effortlessly. Another score for Barry. Houston's Dirty Disco return with a HUGE winner in Fabulous by none other than Jeanie Tracy. I'd say this is the best use of her voice in some time and the sister just works it (2 snaps and a twirl). Ranny pops back in with his version of Adele's MOR adult-oriented slog Send ...

It's precisely 3:14 AM and I can't sleep. So, I thought I'd go ahead and drop this massive bomb on everyone as a little TGIF early morning gift when you wake up. The Summer Circuit Edition pt.2 picks right up where we left off with sizzling tribal beats for those hot sticky nights. Things kick-off with Offer Nissim's dark and divalicious We Can Make It and then just steam rolls through the rest of the set.  While not a huge radio hit, I Ain't Your Mama (Jennifer Lopez) has hit all the right notes with us gay folk and Danny Verde gets serious in his remix of the song. As you would expect, he uses deep and progressive beats while keeping the lively attitude of the lyrics intact. Score! Betty Who returns with an unexpected remake of I Love You Always Forever originally sung by one-hit wonder Donna Lewis. This is one of those songs I'd prefer to not remember from the 90's but it works surprisingly well. Even more so on the laid-back version coming up on the next installment of Summer Chill. Give it a few spins and you'll be singing along like a happy little love bird. It's Britney, BITCH! and she's back with a new single and new album in the works. Of course, leave it to Barry Harris to snatch that puppy up and work the shit out of it. Brazil's HenriqMoraes whips out a bootleg for Jason Derulo's Want To Want Me even after the label kinda didn't support it that much. We never got the full 7th Heaven version of this catchy pop tune but Henriq stays true his style, while maintaining the fun "pop" of the original. If his name is familiar from another recent post, it's because he also re-worked Madonna's Like a Virgin, which landed on her most recent Diva Hall of Fame set. This guy has a good ear and knows his shit and should be someone you should follow. I'm fairly certain he's got some tricks up his sleeves and will surprise us in the coming year. Not another all-girl group! Well, yes and frankly I'm really digging these chicks. Fourever1 are quadruplets picked up by Randy Jackson's label. I dropped an EDM version of All About Tonight on Summer Slammers pt. 2 and am now sending up Ranny's fantastic version. He stays in the framework of the original but gives it some super-juice by banging those beats pretty hard. Cheap Thrills by Sia should have made an appearance back in Spring but I forgot to include it. Then again on Gay Days and I forgot again. Then again on Summer Circuit Edition pt.1 and for some fucked up reason I forgot again. The good news is that the song has been one of those creeping up the pop charts making it one of the biggest summer hits for 2016. Relevance is key in this instance (even if I do pride myself on picking the hits before they actually are one). You know what, it's finally made it on to a mix; get over it (that 's me talking to my evil snarky twin). As long as he doesn't get political or even open his mouth, I've become a solid Bieber fan. Hey, I admit it. I like his music. Cold Water with Major Lazer is catchy and a great piece of work. I don't care who he fucks or the bro wars because I don't follow all that nonsense. If you write and sing catchy songs and display a semblance of maturity, then I'm on your side. He's definitely being well-served by taking advice from Usher in going from scrawny to hotty. I always new the transformation would come and welcome it since he looks great! Barry handled the song by making two versions. One hot and the other cold. I prefer the cold. I think he's unsure about the slowdown tempo change in the song before picking up again. I'll just say that he's the master at handling these songs that change tempo and it comes across effortlessly. Another score for Barry. Houston's Dirty Disco return with a HUGE winner in Fabulous by none other than Jeanie Tracy. I'd say this is the best use of her voice in some time and the sister just works it (2 snaps and a twirl). Ranny pops back in with his version of Adele's MOR adult-oriented slog Send ...

Play Pause DownloadShare var srp_player_params_67724d08af4ea = {"title":"","store_title_text":"","albums":[],"hide_artwork":"true","sticky_player":"true","show_album_market":0,"show_track_market":"true","hide_timeline":0,"player_layout":"skin_boxed_tracklist","orderby":"date","order":"DESC","hide_album_title":"true","hide_album_subtitle":"true","hide_player_title":"true","hide_track_title":"true","show_publish_date":"false","show_skip_bt":"false","show_volume_bt":"false","show_speed_bt":"false","show_shuffle_bt":"false","use_play_label":"true","use_play_label_with_icon":"true","progressbar_inline":"true","spectro":"","hide_progressbar":"true","main_settings":"||"} var srp_player_params_args_67724d08af4ea = {"before_widget":"","after_widget":"","before_title":"","after_title":"","widget_id":"arbitrary-instance-67724d08af4ea"} if(typeof setIronAudioplayers !== "undefined"){ setIronAudioplayers("arbitrary-instance-67724d08af4ea"); } It's precisely 3:14 AM and I can't sleep. So, I thought I'd go ahead and drop this massive bomb on everyone as a little TGIF early morning gift when you wake up. The Summer Circuit Edition pt.2 picks right up where we left off with sizzling tribal beats for those hot sticky nights. Things kick-off with Offer Nissim's dark and divalicious We Can Make It and then just steam rolls through the rest of the set.  While not a huge radio hit, I Ain't Your Mama (Jennifer Lopez) has hit all the right notes with us gay folk and Danny Verde gets serious in his remix of the song. As you would expect, he uses deep and progressive beats while keeping the lively attitude of the lyrics intact. Score! Betty Who returns with an unexpected remake of I Love You Always Forever originally sung by one-hit wonder Donna Lewis. This is one of those songs I'd prefer to not remember from the 90's but it works surprisingly well. Even more so on the laid-back version coming up on the next installment of Summer Chill. Give it a few spins and you'll be singing along like a happy little love bird. It's Britney, BITCH! and she's back with a new single and new album in the works. Of course, leave it to Barry Harris to snatch that puppy up and work the shit out of it. Brazil's HenriqMoraes whips out a bootleg for Jason Derulo's Want To Want Me even after the label kinda didn't support it that much. We never got the full 7th Heaven version of this catchy pop tune but Henriq stays true his style, while maintaining the fun "pop" of the original. If his name is familiar from another recent post, it's because he also re-worked Madonna's Like a Virgin, which landed on her most recent Diva Hall of Fame set. This guy has a good ear and knows his shit and should be someone you should follow. I'm fairly certain he's got some tricks up his sleeves and will surprise us in the coming year. Not another all-girl group! Well, yes and frankly I'm really digging these chicks. Fourever1 are quadruplets picked up by Randy Jackson's label. I dropped an EDM version of All About Tonight on Summer Slammers pt. 2 and am now sending up Ranny's fantastic version. He stays in the framework of the original but gives it some super-juice by banging those beats pretty hard. Cheap Thrills by Sia should have made an appearance back in Spring but I forgot to include it. Then again on Gay Days and I forgot again. Then again on Summer Circuit Edition pt.1 and for some fucked up reason I forgot again. The good news is that the song has been one of those creeping up the pop charts making it one of the biggest summer hits for 2016. Relevance is key in this instance (even if I do pride myself on picking the hits before they actually are one).

Play Pause DownloadShare var srp_player_params_677258c0cb8fa = {"title":"","store_title_text":"","albums":[],"hide_artwork":"true","sticky_player":"true","show_album_market":0,"show_track_market":"true","hide_timeline":0,"player_layout":"skin_boxed_tracklist","orderby":"date","order":"DESC","hide_album_title":"true","hide_album_subtitle":"true","hide_player_title":"true","hide_track_title":"true","show_publish_date":"false","show_skip_bt":"false","show_volume_bt":"false","show_speed_bt":"false","show_shuffle_bt":"false","use_play_label":"true","use_play_label_with_icon":"true","progressbar_inline":"true","spectro":"","hide_progressbar":"true","main_settings":"||"} var srp_player_params_args_677258c0cb8fa = {"before_widget":"","after_widget":"","before_title":"","after_title":"","widget_id":"arbitrary-instance-677258c0cb8fa"} if(typeof setIronAudioplayers !== "undefined"){ setIronAudioplayers("arbitrary-instance-677258c0cb8fa"); } It's precisely 3:14 AM and I can't sleep. So, I thought I'd go ahead and drop this massive bomb on everyone as a little TGIF early morning gift when you wake up. The Summer Circuit Edition pt.2 picks right up where we left off with sizzling tribal beats for those hot sticky nights. Things kick-off with Offer Nissim's dark and divalicious We Can Make It and then just steam rolls through the rest of the set.  While not a huge radio hit, I Ain't Your Mama (Jennifer Lopez) has hit all the right notes with us gay folk and Danny Verde gets serious in his remix of the song. As you would expect, he uses deep and progressive beats while keeping the lively attitude of the lyrics intact. Score! Betty Who returns with an unexpected remake of I Love You Always Forever originally sung by one-hit wonder Donna Lewis. This is one of those songs I'd prefer to not remember from the 90's but it works surprisingly well. Even more so on the laid-back version coming up on the next installment of Summer Chill. Give it a few spins and you'll be singing along like a happy little love bird. It's Britney, BITCH! and she's back with a new single and new album in the works. Of course, leave it to Barry Harris to snatch that puppy up and work the shit out of it. Brazil's HenriqMoraes whips out a bootleg for Jason Derulo's Want To Want Me even after the label kinda didn't support it that much. We never got the full 7th Heaven version of this catchy pop tune but Henriq stays true his style, while maintaining the fun "pop" of the original. If his name is familiar from another recent post, it's because he also re-worked Madonna's Like a Virgin, which landed on her most recent Diva Hall of Fame set. This guy has a good ear and knows his shit and should be someone you should follow. I'm fairly certain he's got some tricks up his sleeves and will surprise us in the coming year. Not another all-girl group! Well, yes and frankly I'm really digging these chicks. Fourever1 are quadruplets picked up by Randy Jackson's label. I dropped an EDM version of All About Tonight on Summer Slammers pt. 2 and am now sending up Ranny's fantastic version. He stays in the framework of the original but gives it some super-juice by banging those beats pretty hard. Cheap Thrills by Sia should have made an appearance back in Spring but I forgot to include it. Then again on Gay Days and I forgot again. Then again on Summer Circuit Edition pt.1 and for some fucked up reason I forgot again. The good news is that the song has been one of those creeping up the pop charts making it one of the biggest summer hits for 2016. Relevance is key in this instance (even if I do pride myself on picking the hits before they actually are one).

This month's special promo podcast for Chicago's annual Market Days celebration features over an hour of feel-good, summertime tracks, including my brand-new remix with Toy Armada of Betty Who's "I Love You Always Forever." And, to mark an incredible 15 weeks on the U.S. Billboard Dance Charts and our recent debut on the UK Club Charts, I've featured a new festival mix of our summer anthem with Inaya Day, "One Night in Heaven." Catch me on Saturday, August 13th at Chicago's Hydrate Nightclub for a 6-hour marathon set during one of the best weekends of the year! www.hydratechicago.com - - - - - July 2016 Mix | Hydrate Chicago Market Days Official Promo Podcast 1. Tell Me We're Ok (Robbie Rivera Club Remix) – DJ Hardwerk feat. Akon 2. Can’t Get Enough (Extended Mix) – Silverland vs. Soulsearcher 3. Gold (The Cube Guys Remix) – Gabry Venus 4. Ocean Drive (Nejtrino & Baur Remix) – Duke Dumont 5. Someone Who Needs Me (Kryder Remix) – Bob Sinclar 6. Misery (Steven Redant Club Mix) – Gwen Stefani 7. Vazilando (Kryder & Eddie Thoneick Remix) – Shorty 8. Paradigm (Brian Solis Club Mix) – CamelPhat feat. AME 9. No Money (Edson Pride Remix) – Galantis 10. Summer In Rio (Original Mix) – Kid Massive, Sevag 11. Cake By the Ocean (Leanh & Mauro Mozart Club Mix) – DNCE 12. Say Yay! (Tom Siher Remix) – Barei 13. Faded Crocodile Tears (Danny Verde Mash-Up) – Kryder vs. Alan Walker 14. I Love You Always Forever (Toy Armada & DJ GRIND Club Mix) – Betty Who 15. One Night In Heaven (Sven Kirchhof Festival Mix) – Toy Armada & DJ GRIND feat. Inaya Day www.djgrind.net | www.facebook.com/djgrindsf | www.twitter.com/djgrind | www.instagram.com/djgrindofficial

In this episode of the Casey Stratton Podcast I discuss the current state of the Health Care reform efforts in the US congress before taking 2 questions. I go on to explain some basic music theory, as promised on Facebook. The live performance is Sinead O'Connor's The Last Day of Our Acquaintance. Music recommendation is the Donna Lewis album Now in a Minute.This Welsh singer has a bright, breathy voice highlighted by a heart-tugging Celtic lilt. Her atmospheric, piano-driven pop sound, produced by Kevin (U2) Killen, is like a hybrid of the Corrs and Cranberries on the memorable lead single "I Love You Always Forever" (inspired by an H.E. Bates novel). The slightly edgier "Without Love" and the shimmering "Nothing Ever Changes" are other highlights. --Jeff BatemanVisit my DIGITAL MUSIC STORE and support my workBuy Donna Lewis' Now in a Minute on iTunesBuy Donna Lewis' Now in a Minute on AmazonEmail me a question at podcasts@caseystratton.comListen to Podcast #48