“Superhero” is the second American single released from the American version of British singer-songwriter Gary Barlow’s debut solo album, Open Road. It was released on February 17, 1998, six weeks after the release of the album in America.
Whilst reworking Open Road for the American market, Barlow met with songwriters Kristian Lundin, Max Martin and Jolyon Skinner, and whilst recording alternate vocals for So Help Me Girl, wrote an entirely brand-new track, Superhero, exclusively for the American market. Barlow described the song as “Something designed to be suited to the kind of pop music in the American charts now, such as that of *NSYNC or the Backstreet Boys.” The song was not as successful as his first American single, only peaking at #23 on the Billboard Adult Contemporary Chart, and not even charting on the Billboard Hot 100.
“Stronger” is the first single from British singer-songwriter Gary Barlow’s second studio album, Twelve Months, Eleven Days. The single was released on July 5, 1999 and was Barlow’s first solo excursion into dance music.
According to his autobiography, Barlow objected to “Stronger” being released as a single. He believed that due to its dance-orientated background, it would prove less popular amongst fans. However, after much deliberation, Sony BMG decided to release the track as a single, believing that fans would enjoy something different, rather than Barlow’s regular pop-ballad style.
“Stronger” was performed live many times before it was announced as a single, most notably at 95.8 Capital FM’s Party in the Park, on the April 12 edition of Top of the Pops, and as the finalists’ dance track on Italian talent show Festivalbar.
“Sing” is a song written by Take That singer-songwriter Gary Barlow and composer Andrew Lloyd Webber, and performed by a number of artists assembled by Barlow from across The Commonwealth, to commemorate the Diamond Jubilee of Queen Elizabeth II of the United Kingdom. The track was released via digital download and CD single on 28 May 2012, and was performed as part of the Queen’s Diamond Jubilee Concert celebrations on 4 June 2012.
“Since I Saw You Last” is a song by British singer-songwriter Gary Barlow. It was released in the United Kingdom on 14 April 2014 as the third and final single from his fourth solo album, Since I Saw You Last (2013). It was written by Barlow and produced by Steve Power.
“Since I Saw You Last” tells the story of Barlow’s struggle to become a successful solo artist after Take That split in the 1996 and how the media backlash against him in favour of bandmate Robbie Williams left him in the verge of breakdown, leading to his eventual departure from his record label. Barlow described this song to Graham Norton as the song he always wanted to write but it was only now, after the success of Take That and his solo success that he felt it was time to record the song and release it as a single.
The song is described as one of survival against the odds and emerging stronger than before, where Gary passionately sings about being a ‘dead man walking’ and having to accept the events in the past and remember the lessons learned.
“Shame” is a song written and recorded by English singers Robbie Williams and Gary Barlow for Williams’s second greatest hits compilation album, In and Out of Consciousness: Greatest Hits 1990–2010 (2010). Produced by Trevor Horn, it was released as the lead single from the album on 27 August 2010 in most countries worldwide and on 1 October in the United Kingdom. “Shame” marks the first time Williams and Barlow collaborated on a song together solely and the first time they worked together since Williams left Take That in 1995. It is a pop song with country and electro music influences; two reviewers noted that it contains an acoustic guitar part similar to the one of The Beatles’ 1968 song, “Blackbird”. The lyrical content of the single revolves around singers’s broken relationship and fixing things up.
“Shame” received generally favourable reviews from music critics who praised the song’s sound and the melodic and lyrical skills of the performers. It reached the top-ten in seven countries worldwide including Hungary, Netherlands, Italy and Denmark. In the singers’s native United Kingdom, it peaked at number two on the singles chart and was certified silver by the British Phonographic Industry (BPI), denoting shipments of over 200,000 copies in the country alone. The accompanying music video for the song was directed by Vaughan Arnell in Los Angeles and premiered on 26 August 2010. It features Williams and Barlow dancing and singing the song in a bar and fishing on a pond. Multiple critics linked the storyline and the pair’s chemistry in the video to the 2005 film, Brokeback Mountain. To further promote “Shame”, the pair performed it on multiple occasions including on the Help for Heroes concert and Strictly Come Dancing.
“Open Road” is the fourth single released from British singer-songwriter Gary Barlow’s debut solo album, Open Road.
Following the release of “So Help Me Girl”, Barlow announced that ‘Open Road’ would be the last single to be released from the album in Europe. However, following its release, ‘Open Road’ peaked at #7 on the UK Singles Chart as well as becoming his third fourth consecutive top 2 single in Latvia and fourth song to chart in Ireland and Germany respectively. After the single was released Barlow’s record label began the process of preparing the recording of a second album. However, his next single, “Stronger”, only reached #16 on the UK Singles Chart, and as such, ‘Open Road’ is viewed as his last successful single, until the release of 2010 single Shame and Barlow’s third #1 single on the UK Singles Chart, “Sing” in 2012. Barlow himself regards Open Road as “the best song on the album”.
“Love Won’t Wait” is a song by English singer-songwriter Gary Barlow from his debut album Open Road. It was released as the second single from the album on 25 April 1997 by BMG and RCA Records. The song was written by Madonna and Shep Pettibone, and was an unreleased demo from her Bedtime Stories (1994) studio sessions. Barlow came by the demo in 1997, while looking to record more songs for Open Road. He changed the lyrics to represent a male point of view rather than Madonna’s, and recorded the track with Stephen Lipson as producer.
Barlow was apprehensive about releasing the track, but due to contractual obligations he had to release it. The song became Barlow’s second consecutive number one release on the UK Singles Chart, following “Forever Love”, and was certified silver by the British Phonographic Industry (BPI). Elsewhere it received moderate success. A music video for the song was directed by Rocky Schenck and showed Barlow singing “Love Won’t Wait” across different locations. He also performed the song at the 1997 pre-Grammy Award party, where his performance was negatively received.
“Let Me Go” is a song by British singer-songwriter Gary Barlow. It was released in Ireland on 15 November 2013 and in the United Kingdom on 17 November 2013 as the lead single from his fourth solo album, Since I Saw You Last (2013). It was written by Barlow and produced by Steve Power. “Let Me Go” peaked at number two in the UK Singles Chart, becoming Barlow’s sixth solo top 10 hit in the UK.
In November 2012, Barlow announced a concert tour, Gary Barlow: In Concert, which sold out minutes after going on sale. During these shows Barlow played across the UK, when he began to consider returning to the studio to write what would become his first full-length studio album in over 14 years. As he began writing material for the album, Since I Saw You Last, he wrote “Let Me Go” and knew it should be the lead single.
Barlow revealed in a TV documentary that “Let Me Go” was written about the loss of his stillborn daughter Poppy and the traumatic period in his life which left him and wife Dawn devastated. He said that the song keeps Poppy’s “flame” alive and is a “celebration” of her. Barlow added: “I don’t like there to be things that are unsaid really… and from that thing happening to my dad’s passing, there’s a lot of them in this record with me. “It should be a celebration that song, because in some respects, it’s alive that record and those lyrics and what it relates to. It keeps a life and a flame in the whole thing.”
“Let Me Go” has been described as an acoustic guitar-driven song with a catchy chorus. It represents a change in musical style to Barlow’s past material. He attributes this to his listening of musical influences such as Johnny Cash when deciding which direction he wanted to take his record. He said: “I’ve always liked folky, acoustic music but I’ve never fully explored it. I turned back time and was listening to Johnny Cash and early Elton John before I wrote ‘Let Me Go'”.
“Land of Hope and Glory” is a British patriotic song, with music by Edward Elgar and lyrics by A. C. Benson, written in 1902.
The music to which the words of the refrain “Land of Hope and Glory, &c” below are set is the “trio” theme from Edward Elgar’s Pomp and Circumstance March No. 1. The words were fitted to the melody on the suggestion of King Edward VII who told Elgar he thought the melody would make a great song. When Elgar was requested to write a work for the King’s coronation, he worked the suggestion into his Coronation Ode, for which he asked the poet and essayist A. C. Benson to write the words. The last section of the Ode uses the march’s melody.
Due to the King’s illness, the coronation was postponed. Elgar created a separate song, which was first performed by Madame Clara Butt in June 1902. In fact, only the first of the seven stanzas of the Ode’s final section was re-used, as the first four lines of the second stanza below. This stanza is the part which is popularly sung today.
“I Should’ve Followed You Home” is a duet sung by Swedish recording artist and former ABBA member Agnetha Fältskog and British singer-songwriter and Take That frontman Gary Barlow. Written by Barlow and producer Jörgen Elofsson, it was the third single taken from A.
“I Should’ve Followed You Home” was co-written by Gary Barlow and Jorgen Elofsson. Elofsson was looking for the ideal duet partner to match Agnetha for the album and was delighted to get his first choice: “To me Gary Barlow was the perfect partner,” he explained. “His warm and thick voice matched perfectly with Agnetha’s pop soprano voice. I must say I was nervous when I presented my favourite choice but luckily for me one of Agnetha’s favourite songs turned out to be “Back for Good” by Take That!”
Barlow and Elofsson have worked together in the past and recorded the song first with Barlow’s vocals. Fältskog loved the track and was delighted to turn it into a duet, feeling that the two voices together were a fantastic combination. Their recording sessions happened separately so the pair did not finally meet in person until she visited London in May and the two met for the BBC documentary Agnetha: ABBA and After… which was broadcast in June.
On 12 November 2013 Fältskog sang live “I Should’ve Followed You Home” at the BBC Children in Need Rocks 2013 concert in London. She sang a duet with Gary Barlow, the organiser of the event. It was her the first live performance for 25 years.
“Here Comes the Sun” is a song written by George Harrison that was first released on the Beatles’ 1969 album Abbey Road. Along with “Something” and “While My Guitar Gently Weeps”, it is one of Harrison’s best-known compositions from the Beatles era. The song was written at the country house of his friend Eric Clapton, where Harrison had chosen to play truant for the day, to avoid attending a meeting at the Beatles’ Apple Corps organisation. The lyrics reflect the composer’s relief at both the arrival of spring and the temporary respite he was experiencing from the band’s business affairs.
The Beatles recorded “Here Comes the Sun” at London’s EMI Studios in the summer of 1969. Led by Harrison’s acoustic guitar, the recording also features Moog synthesizer, which he had introduced to the Beatles’ sound after acquiring an early model of the instrument in California. Reflecting the continued influence of Indian classical music on Harrison’s writing, the composition includes a series of unusual time changes over the “Sun, sun, sun, here it comes” refrain.
“Here Comes the Sun” has received acclaim from music critics. Combined with his other contribution to Abbey Road, “Something”, it gained for Harrison the level of recognition as a songwriter that had previously been reserved for his bandmates John Lennon and Paul McCartney. Harrison played the song during many of his relatively rare live performances as a solo artist, including at the Concert for Bangladesh in 1971 and, with Paul Simon, during his appearance on Saturday Night Live in 1976. Richie Havens  and Steve Harley & Cockney Rebel each had hit singles with “Here Comes the Sun” in the 1970s. Nina Simone, George Benson, Booker T. & the M.G.’s, Peter Tosh and Joe Brown are among the many other artists who have covered the song.
“Hang on in There Baby” is a song written by Johnny Bristol as the title track from his first album. It was released a single in 1974, reaching no.8 in the US Pop and no.2 in the US R&B chart. The song also reached no.3 in the UK.
The song was later covered as a disco version by American singer and actress Bette Midler in 1979, British pop band Curiosity in 1992, which also peaked at number three on the UK Singles Chart. Johnny Bristol re-released the track as a duet with female American singer Alton McClain in 1980. In 1996 it was recorded by Gary Barlow for his debut solo album, Open Road. English boyband Blue released a version of the song on their album Colours in 2015.
“Forever Love” is the debut solo single released by British singer-songwriter Gary Barlow, taken from his debut album Open Road. The song was also used as the official theme for the film The Leading Man.
The song entered the UK Singles Chart at number one where it stayed for one week, before being dethroned by the Spice Girls’ debut hit Wannabe; thus making Barlow the first member of Take That to top the charts with a solo record. It remained in the Top 75 for a total of 16 weeks selling 512,294 copies and being certified as Gold by the BPI.
“For All That You Want” is the second single from British singer/songwriter Gary Barlow’s second studio album, Twelve Months, Eleven Days. The single was released on 27 September 1999. In 2003, footage of the music video was used in an Alton Towers advert, showing Gary and his friends driving bumper cars.
“For All That You Want” became Barlow’s final official release under Sony BMG. The following release, Lie to Me, was originally due to be released as the second single, but was pushed back due to work on the track being incomplete. “For All That You Want” was first recorded in 1997, and released in the United States under the title “Superhero”. It was Barlow’s second American release, failing to crack the American Market. “Superhero” appeared on Barlow’s debut album in the States. “For All That You Want” is a basic re-write of “Superhero”, albeit with a few different lyrics and a slightly slower beat.
“Face to Face” is a song by British singer-songwriter Gary Barlow featuring Sir Elton John. It was released in the United Kingdom on 20 January 2014 as the second single from his fourth solo album, Since I Saw You Last (2013). It was written by Barlow and John Shanks, and it was produced by Steve Power.
When writing Since I Saw You Last, Barlow came up with a song called “Face to Face”, and knew straight away that he wanted to try to get his friend Sir Elton John to sing it with him. Barlow says: “I called him and said I am going to email you this song. Literally, within an hour he was back saying let’s book a studio, let’s get in there and do it.” They both met up in Abbey Road Studios and recorded the vocals to the song in 10 minutes.
When speaking about the meaning behind the song, Barlow states that “Face to Face” is a thank-you note to Elton for sticking by him during his wilderness years and a pointed rejoinder to those who deserted him. “It’s a respect song” Barlow confirms. “I can count on the fingers of one hand the people who kept in touch with me when nobody else wanted to know me and he was one of them. I’ll never forget that.”
“Everybody Hurts” is a song by R.E.M., originally released on the band’s 1992 album Automatic for the People and was also released as a single in 1993. It peaked at number twenty nine on the Billboard Hot 100, and peaked within the top ten of the charts in Canada, Australia, the United Kingdom, Republic of Ireland and France.
Much of the song was written by drummer Bill Berry, although as R.E.M. shares songwriting credits among its members, it is unknown how much he actually wrote. Berry did not drum on the song—a Univox drum machine took his place—but he was responsible for the sampling of the drum pattern on the track. The string arrangement was written by Led Zeppelin bassist John Paul Jones.
“Cuddly Toy” was the first hit single release from British band Roachford, fronted by Andrew Roachford. It was the second single taken from their self-titled debut studio album.
“Cuddly Toy” was first released in June 1988 and peaked inside the UK Singles Chart at number 61, spending four weeks inside the UK top 75. In January 1989, the song was re-released and became the band’s biggest hit, peaking at number 4 and spending a further 9 weeks inside the top 75. The song was also the group’s biggest hit in the U.S., where it was re-titled “Cuddly Toy (Feel for Me)”, peaking at number 25 on the Billboard Hot 100 in June 1989. In Australia, “Cuddly Toy” peaked at number 73 on the ARIA Singles Chart in December 1988.
The song was featured in the 2009 video game Grand Theft Auto IV: The Ballad of Gay Tony.
The song also features prominently in the opening credits sequence of the 2013 film Alan Partridge: Alpha Papa.
Gary Barlow did a cover of the song for the B-side of his single “Love Won’t Wait”.
“So Help Me Girl” is a song written by Howard Perdew and Andy Spooner, and recorded by American country singer Joe Diffie. It was released in January 1995 as the third single from his fourth studio album, Third Rock from the Sun (1994). The song reached number 2 on the Billboard Hot Country Singles & Tracks chart and number 84 on the Billboard Hot 100.
The music video was directed by Gerry Wenner and premiered in early 1995.
“Amazing Grace” is a Christian hymn published in 1779, with words written by the English poet and clergyman John Newton (1725–1807).
Newton wrote the words from personal experience. He grew up without any particular religious conviction, but his life’s path was formed by a variety of twists and coincidences that were often put into motion by his recalcitrant insubordination. He was pressed (conscripted) into service in the Royal Navy, and after leaving the service, he became involved in the Atlantic slave trade. In 1748, a violent storm battered his vessel off the coast of County Donegal, Ireland, so severely that he called out to God for mercy, a moment that marked his spiritual conversion. He continued his slave trading career until 1754 or 1755, when he ended his seafaring altogether and began studying Christian theology.
Ordained in the Church of England in 1764, Newton became curate of Olney, Buckinghamshire, where he began to write hymns with poet William Cowper. “Amazing Grace” was written to illustrate a sermon on New Year’s Day of 1773. It is unknown if there was any music accompanying the verses; it may have simply been chanted by the congregation. It debuted in print in 1779 in Newton and Cowper’s Olney Hymns but settled into relative obscurity in England. In the United States, however, “Amazing Grace” was used extensively during the Second Great Awakening in the early 19th century. It has been associated with more than 20 melodies, but in 1835 it was joined to a tune named “New Britain” to which it is most frequently sung today.
With the message that forgiveness and redemption are possible regardless of sins committed and that the soul can be delivered from despair through the mercy of God, “Amazing Grace” is one of the most recognizable songs in the English-speaking world. Author Gilbert Chase writes that it is “without a doubt the most famous of all the folk hymns,” and Jonathan Aitken, a Newton biographer, estimates that it is performed about 10 million times annually. It has had particular influence in folk music, and has become an emblematic African American spiritual. Its universal message has been a significant factor in its crossover into secular music. “Amazing Grace” saw a resurgence in popularity in the U.S. during the 1960s and has been recorded thousands of times during and since the 20th century, occasionally appearing on popular music charts.