SONGWRITERS: ALEC R. CONSTANDINOS & STÉLIOS VLAVIANÓS
HOW: LIVE
COUNTRY: GRIECE
ALBUM: SOUVENIRS
LABEL: PHILIPS
GENRE: POP
YEAR: 1975
"From Souvenirs to
Souvenirs" is a song by Greek Singer Demis Roussos from his 1975 album Souvenirs.
It was also released as a single (in 1975 on Philips Records).
The song was written by
Demis Roussos' compatriots composer Stélios Vlavianós and poet Alec R.
Costandinos (by the same people who earlier wrote "Forever and Ever",
Roussos' biggest hit of all time).
In 1975, the same year
Roussos released the song, it was performed in Greek by Greek Singer Marinella,
but her version went unnoticed.
A
lonely room and empty chair
Another
day so hard to bear
The
things around me that I see remind me of
The
past and how it all used to be
From
souvenirs to more souvenirs I live
With
days gone by when our hearts had all to give
From
souvenirs to more souvenirs I live
With
dreams you left behind
I'll
keep on turning in my mind
There'll
never be another you
No
one will share the worlds we knew
And
now that loneliness has come to take your place
I
close my eyes and see your face.
DEAR
HEART
ANDY
WILLIAMS
SONGWRITERS:
HENRY MANCINI; JAY LIVINGSTON & RAY EVANS
COUNTRY: U.
S. A.
ALBUM: ANDY
WILLIAMS
LABEL: COLUMBIA
RECORDS
GENRE: EASY
LISTENING
YEAR: 1965
Andy Williams' Dear Heart is
the sixteenth studio album by American pop singer Andy Williams and was
released in the spring of 1965 by Columbia Records and was the last of his
Columbia releases that remained exclusively within the realm of traditional pop.
After covering two Beatles hits on his next non-holiday studio album, The
Shadow of Your Smile, he would try out samba music on In the Arms of Love, aim
for a much younger crowd with "Music to Watch Girls By" on Born Free,
and focus more on contemporary material on subsequent albums.
This album made its first
appearance on Billboard magazine's Top LP's chart in the issue dated April 10
of that year and remained on the album chart for 65 weeks, peaking at number
four. The name of the album was changed to Andy Williams' Almost There for its
release in the UK, where it became Williams's first album chart entry, spending
46 weeks there and peaking at number four. (Two of his previous albums, Days of
Wine and Roses and Other TV Requests—which was retitled Can't Get Used to
Losing You and Other Requests for its UK release—and The Great Songs from
"My Fair Lady" and Other Broadway Hits, appeared on the album chart
in the UK following the success of this album.).
Andy Williams' Dear Heart received
Gold certification from the Recording Industry Association of America on July
30, 1965. This was Williams's sixth album to receive this award as well as the
one to do so the fastest thus far in terms of the amount of time between chart
debut and certification, having accomplished this feat in less than four months
as compared to the previous recordholder, Days of Wine and Roses and Other TV
Requests, which did so in five months.
"Dear Heart" is
a song written by Henry Mancini, Ray Evans, and Jay Livingston and performed by
Andy Williams. The song reached #2 on the U.S. adult contemporary chart and #24
on the Billboard chart in 1964. It appears on the 1965 Andy Williams album, Andy
Williams' Dear Heart.
The song was the theme to
the 1964 movie Dear Heart. It was nominated for the Academy Award for Best
Original Song and also nominated for best song at the 22nd Golden Globe Awards.
Dear heart wish you were here to warm this night
My dear heart, seems like a year since you've been out of my sight
A single room, a table for one
It's a lonesome town all right
But soon I'll kiss you hello at our front door
And dear heart I want you to know
I'll leave your arms never more
(a single room, a table for one)
It's a lonesome town all right
But soon I'll kiss you hello at our front door
And dear heart I want you to know
I'll leave your arms never more.
WINTER WONDERLAND
JOHNNY MATHIS
SONGWRITERS:
FELIX BERNARD & RICHARD B. SMITH
COUNTRY: U.
S. A.
ALBUM: MERRY
CHRISTMAS
LABEL: COLUMBIA
RECORDS
GENRE: JAZZ
YEAR: 1958
Merry Christmas is the
first Christmas album by American pop singer Johnny Mathis and was released by
Columbia Records on October 6, 1958. The selections are a mix of traditional Christmas
carols ("Silent Night", "O Holy Night", "The First
Noel") and holiday hits ("The Christmas Song", "White
Christmas", "Silver Bells").
The album debuted on Billboard
magazine's list of the 25 Best-Selling Pop LPs in the US in its December 15,
1958, issue and got as high as number three during its initial four-week run. It
made additional appearances there each holiday season from 1959 to 1962 and on
the magazine's Christmas Albums and Pop Catalog Albums charts in subsequent
years. It received Gold certification from the Recording Industry Association
of America for sales of 500,000 copies in the US in December 1960 and in 2013
ranked as one of the top selling Christmas albums of all time with five million
copies sold.
Four songs from the album
– "Winter Wonderland", "Blue Christmas", "White
Christmas", and "Sleigh Ride" – were also released on the EP Merry
Christmas, Vol. 1, which reached number two during the 1958 holiday season and
number seven the following year on the magazine's Best-Selling Pop EPs chart. "Winter
Wonderland" also spent three weeks on the UK singles chart, where his
recording peaked at number 17 over the course of three weeks that began on
Christmas Day 1958.
Sleigh bells ring, are you list'nin?
In the lane, snow is glist'nin'
A beautiful sight, we're happy tonight
Walkin' in the winter wonderland
Gone away is the blue bird
Here to stay is a new bird
He sings a love song, as we go along
Walkin' in the winter wonderland
In the meadow we can build a snowman
Then pretend that he is Parson Brown
He'll say "are you married?"
We'll say "no man!
But you can do the job when you're in town"
Later on we'll conspire, as we dream by the fire
To face unafraid, the plans that we've made
Walkin' in the winter wonderland
Over the ground lies a mantle of White
A heaven of diamonds shine down through the night
Two hearts are thrillin'
In spite of the chill in the weather
Love knows no season, love knows no clime
Romance can blossom any old time
Here in the open
We're walkin' and hopin' together
Together, together, together
Sleigh bells ring, are you list'nin?
In the lane, snow is glist'nin'
A beautiful sight, we're happy tonight
Walkin' in the winter wonderland
Gone away is the blue bird
Here to stay is a new bird
He's singing love song, as we go along
Walkin' in the winter wonderland
In the meadow we can build a snowman
And pretend that he's a circus clown
We'll have lots of fun with Mister Snowman
Until the other kiddies knock him down
When it snows ain't it thrillin'
Tho' your nose gets a chillin'
We'll frolic and play, the eskimo way
Walkin' in the winter wonderland
Walkin' in the winter wonderland
Winter wonder, winter wonderland
Winter winter, wonder wonderland.
SEVEN
BRIDGES ROAD
THE
EAGLES
SONGWRITER:
STEVE YOUNG
COUNTRY: U.
S. A.
ALBUM: EAGLES
LIVE
LABEL: ASYLUM
GENRE: COUNTRY
ROCK
YEAR: 1980
"Seven Bridges Road"
is a song written by American musician Steve Young, recorded in 1969 for his Rock
Salt & Nails album. It has since been covered by many artists, the
best-known version being a five-part harmony arrangement by English musician Iain
Matthews recorded by the American rock band Eagles in 1980.
"Seven Bridges
Road" would have its highest profile incarnation due to a 1980 live
recording by the Eagles whose 4/4 tempo and close harmony vocal arrangement are
borrowed from a recording made by Iain Matthews from his August 1973 album
release Valley Hi. Matthews' album was recorded with producer Mike Nesmith at
the latter's Countryside Ranch studio in North Hills (LA): Nesmith would recall
of Matthews' recording of "Seven Bridges Road": "Ian and I put
it together and [we] sang about six or seven part harmony on the thing, and I
played acoustic. It turned out to be a beautiful record[ing]". On the
similarity of the Eagles' later version, Nesmith would state: "Son of a
gun if...Don [Henley] or somebody in the Eagles didn't lift [our] arrangement
absolutely note for note for vocal harmony for vocal harmony...If they can't
think it up themselves [and] they've got to steal it from somebody else, better
they should steal it...from me I guess." Ian Matthews would recall that,
in 1973, he and the members of the Eagles were acquainted through frequenting the
Troubadour: "we were forever going back to somebody's house and playing
music. Don Henley
had a copy of 'Valley Hi' that he liked, so I've no doubt about that being
where their version of the song came from."
The Eagles recorded
"Seven Bridges Road" for their Eagles Live concert album. According
to band member Don Felder, when the Eagles first began playing stadiums the
group would warm up pre-concert by singing "Seven Bridges Road" in a
locker room shower area. After,
each concert would then open with the group's five members singing "Seven
Bridges Road" a capella into a single microphone. Felder recalls that it
"blew [the audience] away. It was always a vocally unifying
moment, all five voices coming together in harmony." Following the release
of the Hotel California album, that set's title cut replaced "Seven
Bridges Road" as the Eagles' concert opener, and according to Felder, the
band "rarely even bothered to rehearse with it in the shower of the
dressing room anymore." The song was restored to the set list for the
Eagles' tour, prior to the band's 31 July 1980 breakup, with the band's
performance of the song at their 28 July 1980 concert at the Santa Monica Civic
Auditorium, which was recorded for the Eagles Live album released in November
1980. They issued it as a single, with "The Long Run" (live) as its B-side;
Eagles' "Seven Bridges Road" reached #21 on the U.S. Billboard Hot
100 becoming the group's final Top 40 hit until "Get Over It" by the
reunited band in 1994. "Seven Bridges Road" also became the third
Eagles' single to appear on the Billboard C&W chart, reaching #55 there. At
the time Eagles charted with "Seven Bridges Road" the song's composer
Steve Young commented: "I didn't like the Eagles' version at first. I thought it was tôo bluegrassy, tôo
gospel. But the more I hear it, the better it sounds."
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