Mon Pays (Version Disco)

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These are one-time Mon Pays (Version Disco) offers and are valid for one user only. Log in. Get the most effortless audio entertainment for you. Carly Rae Jepsen. RichmondCanada Studio Umbrella. Teen pop [ 1 ]dance-pop [ 2 ]. Production : Josh Ramsay. Classement hebdomadaire [ modifier modifier le code ] Classement Meilleure position Afrique du Sud Mediaguide [ 45 ].

Allemagne Media Control AG [ 46 ]. Australie ARIA [ 47 ]. Belgique Flandre Ultratop 50 Singles [ 49 ]. Belgique Wallonie Ultratop 50 Singles [ 50 ].

Canada Hot [ 51 ]. Danemark Tracklisten [ 53 ]. Espagne Promusicae [ 55 ]. France SNEP [ 61 ]. France Club 40 [ 62 ]. Finlande Suomen virallinen lista [ 63 ]. Honduras Top 50 [ 64 ]. Irlande IRMA [ 26 ]. Italie FIMI [ 66 ].

Japon Hot [ 67 ]. Luxembourg Digital Songs [ 68 ]. Malaisie Malay Muzik Official Chart. Malaisie Malay Muzik Pop Chart. Mexique International Airplay [ 69 ]. Pays-Bas Single Top [ 71 ].

December 24, Les classement single. Augsburger Allgemeine in Mon Pays (Version Disco). Retrieved March 6, GfK Entertainment Charts. Single Top British Phonographic Industry. Retrieved July 20, Smash Hits.

Evening Standard. November 26, Retrieved March 4, Digital Spy. September 8, Suomi soi 4: Suuri suomalainen listakirja in Finnish 1st ed.

Helsinki: Tammi. Irish Singles Chart. Top 40 Singles. Swiss Singles Chart. December 22, Music Week. March 2, Jovem Guarda. January 11, Retrieved July 5, Blog do Curioso, por Marcelo Duarte". January 2, Theatre Organ. ISSN Svensk mediedatabas. Tribute acts or bands are performers who make a living by recreating the music of one particular artist or band.

Some tribute acts salute the WhoThe Rolling Stones and many other classic rock acts. Many tribute acts target artists who remain popular but no longer perform, allowing an audience to experience the "next best thing" to the original act. The formation of tribute acts is roughly proportional to the enduring popularity of the original act; for example, dozens of Beatles tribute bands have formed and an entire subindustry has formed around Elvis impersonation. Many tribute bands attempt to recreate another band's music as faithfully as possible, but some such Mon Pays (Version Disco) introduce a twist.

Mon Pays (Version Disco) Zeppelin performs reggae versions of the Zeppelin catalog and Beatallica creates heavy metal fusions of songs by the Beatles and Metallica.

There are also situations in which a member of a tribute band will go on to greater success, sometimes with the original act they tribute. Cover acts or bands are entertainers who perform a broad variety of crowd-pleasing cover songs for audiences who enjoy the familiarity of hit songs.

Such bands draw from either current Top 40 hits or those of previous decades to provide nostalgic entertainment in bars, on cruise ships and at such events as weddings, family celebrations and corporate functions. Since the advent of inexpensive computers, some cover bands use a computerized catalog of songs, so that the singer can have the lyrics to a song displayed on a computer screen.

The use of a screen for lyrics as a memory aid can dramatically increase the number of songs a singer can perform. Revivalist artists or bands are performers who are inspired by an entire genre of music and dedicate themselves to curating and recreating the genre and introducing it to younger audiences who have not experienced that music first hand. Unlike tribute bands and cover bands who rely primarily on audiences seeking a nostalgic experience, revivalist bands usually seek new young audiences for whom the music is fresh and has no nostalgic value.

For example, Sha Na Na started in as a celebration of the doo-wop music of the s, a genre of music that was not initially fashionable during the hippie counter-culture era. The Blues Brothers' creed was that they were "on a mission from God" as evangelists for blues and soul music.

The Black Crowes formed ininitially dedicated to reviving s style blues-rock. They started writing their own material in the same vein. Since the Copyright Act ofUnited States musicians have had the right to record a version of someone else's previously recorded and released tune, whether it is music alone or music with lyrics. A similar service was provided by Limelight by RightsFlowuntil Januarywhen they announced they will be closing their service.

The U. Congress introduced the mechanical license to head off an attempt by the Aeolian Company to monopolize the piano roll market. Although a composer cannot deny anyone a mechanical license for a new recorded version, the composer has the right to decide who will release the first recording of a song. Bob Dylan took advantage of this right when he refused his own record company the right to release a live recording of " Mr. Tambourine Man ". Early in the 20th century it became common for phonograph record labels record companies to have singers or musicians "cover" a commercially successful "hit" tune by recording a version for their own label in hopes of cashing in on the tune's success.

Because little promotion or advertising was done in the early days of record production, other than at the local music hall or music store, the average buyer purchasing a new record usually asked for the tune, not the artist. Record distribution was highly localized, so a locally popular artist could quickly record a version of a hit song from another area Mon Pays (Version Disco) reach an audience before the version by the artist s who first introduced the tune in a particular format—the "original", "introductory" or "popularizing" artist—was widely available, and highly competitive record companies were quick to take advantage of these facts.

This began to change in the late s, when the growing record-buying public began including a younger age group. During the swing erawhen a bobby soxer went looking for a recorded tune, say " In the Mood ", typically she wanted the version popularized by her favorite artist se.

This trend was marked closely Mon Pays (Version Disco) the charting of record sales by the different artists, not just hit tunes, on the music industry's Hit Parades. However, for sound commercial reasons, record companies still continued to record different versions of tunes that sold well.

Most audiences until the mids still heard their favorite artists playing live music on stage or via the radio. And since radio shows were for the most part aimed at local audiences, it was still rare for an artist in one area to reach a mass audience.

Also radio stations tended to cater to broad audience markets, so an artist in one vein might not get broadcast on other stations geared to a set audience. So popular versions of jazz, country and western or rhythm and blues tunes, and vice versa, were frequent. Europe's Radio Luxembourglike many commercial stations, also sold "air time"; so record companies and others bought air time to promote their own artists or products, thus increasing the number of recorded versions of any tune then available.

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