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Just call me Angel of the Morning…
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Juice Newton – Angel of the Morning Lyrics – Genius
[Intro] · There’ll be no strings to bind your hands · Not if my love can’t bind your heart · I’m old enough to face the dawn · Just call me angel of the morning, …Source: genius.com
Date Published: 4/1/2021
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Juice Newton – Angel Of The Morning Lyrics | AZLyrics.com
I see no need to take me home, I’m old enough to face the dawn. Just call me angel of the morning, angel. Just touch my cheek before you leave me, baby.
Source: www.azlyrics.com
Date Published: 11/21/2021
View: 1491
Just Call Me Angel Of The Morning Lyrics – Pro Lyrical
[Intro]. [Verse 1] There’ll be no strings to bind your hands. Not if my love can’t bind your heart. There’s no need to take a standSource: prolyrical.com
Date Published: 8/28/2021
View: 4386
Just Call Me Angel Of The Morning Lyrics – TopBestLyrics
[Intro]. [Verse 1] There’ll be no strings to bind your hands. Not if my love can’t bind your heart. There’s no need to take a standSource: topbestlyrics.com
Date Published: 4/14/2022
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Lyrics for Angel of the Morning by Merrilee Rush – Songfacts
Lyrics and veo for the song Angel of the Morning by Merrilee Rush – Songfacts. … Just call me angel of the morning, (angel) Just touch my cheek before …
Source: www.songfacts.com
Date Published: 1/30/2021
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Angel Of The Morning Lyrics – Juice Newton
not if my love can’t bind your heart. … for it was I who chose to start. I see no need to take me home,. I’m old enough to face the dawn. … just touch my cheek …
Source: www.stlyrics.com
Date Published: 3/30/2022
View: 6250
JUST CALL ME ANGEL OF THE MORNING LYRICS
Kyla Fletcher – Just Call Me Angel of the Morning Lyrics. There’ll be no strings to bind your hands Not if my love can’t bind your heart And there’s no need …
Source: www.songlyrics.com
Date Published: 1/3/2022
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주제와 관련된 이미지 song lyrics just call me angel of the morning
주제와 관련된 더 많은 사진을 참조하십시오 ANGEL OF THE MORNING – Juice Newton (Lyrics). 댓글에서 더 많은 관련 이미지를 보거나 필요한 경우 더 많은 관련 기사를 볼 수 있습니다.
주제에 대한 기사 평가 song lyrics just call me angel of the morning
- Author: Rachel Reyes
- Views: 조회수 9,477,517회
- Likes: 좋아요 59,028개
- Date Published: 2012. 2. 6.
- Video Url link: https://www.youtube.com/watch?v=NmxICK-4AG4
Who wrote Angel of the Morning lyrics?
Who first sang Just call me Angel of the Morning?
Jake Uitti. Just over 50 years ago, the song, “Angel of the Morning,” hit the national airwaves and turned Seattle’s Merrilee Rush into a household name. The song, composed in 1966 and released in 1968, rocketed up the charts and has since been recorded by dozens (read: countless) of other artists.
Who sang Just call me Angel of the Morning on friends?
25 years ago today (11/2/95), Chrissie Hynde of The Pretenders made an acting appearance as fictional character Stephanie Schiffer (and performed “Angel of the Morning” on acoustic guitar) on Friends on the episode “The One with the Baby on the Bus”.
Where is Juice Newton now?
Now divorced, Newton lives in San Diego, California. Besides continuing in the music business, Newton works as a horse trader.
How old is Merrilee Rush now?
What song did Merrilee Rush sing?
Who wrote Angel From Montgomery?
Who wrote the song Mary in the morning?
Who wrote Queen of Hearts?
Queen of Hearts is a country-pop song written by Hank DeVito, the pedal steel guitarist in Emmylou Harris’s backing group The Hot Band, and was first recorded by Dave Edmunds on his 1979 album Repeat When Necessary.
What song does Stephanie sing on Friends?
In 1995, Hynde made an acting appearance as fictional character Stephanie Schiffer on the US television comedy Friends on the episode “The One with the Baby on the Bus”, in which she performed “Angel of the Morning” and “Smelly Cat” (which she co-wrote) with Lisa Kudrow as Phoebe Buffay on acoustic guitar.
Who sang with Phoebe on Friends?
However, viewers were treated to an upgraded version of the much-loved ditty when Phoebe, played by Lisa Kudrow, was joined on the set by popstar Lady Gaga in the reunion special. Kudrow sat down at the recreated Central Perk and sang the song, strumming her guitar, almost 26 years since that first performance.
Who is Phoebe’s singing partner?
Trivia (4) Phoebe’s singing partner Leslie is played by Elizabeth Daily who turned smelly cats into a jingle. Daily also was the dubbed singing voice in Phoebe’s music video for the same song in an earlier episode. This is the only time the bathroom in Central Perk is seen.
Why do they call Juice Newton Juice?
When Juice Newton was launching her career in the music business, she was given a bad piece of advice: drop the nickname “Juice.” Born Judith Kay Newton in New Jersey, the then-aspiring singer-songwriter had been dubbed “Juice” by her extended family, and the moniker stuck.
What is Juice Newton’s age?
How did Juice Newton get the nickname Juice?
“It had nothing to do with orange juice or anything like that,” she says. “My family thought it was funny and it just stuck. Where I was raised in Virginia, there were lots of what they called ‘affectionate nicknames.
Seattle’s Merrilee Rush Looks Back at Her Hit “Angel of the Morning”
Just over 50 years ago, the song, “Angel of the Morning,” hit the national airwaves and turned Seattle’s Merrilee Rush into a household name.
The song, composed in 1966 and released in 1968, rocketed up the charts and has since been recorded by dozens (read: countless) of other artists. Rush, who came up in the Emerald City, singing popular teenage dances in local venues, lends her giant, golden voice to the track, which has since been placed in television and movie soundtracks like 1978’s Fingers, starring Harvey Keitel. We caught up with Rush, who recently turned 75, to talk about her origins as an artist in the Northwest, how she came to sing the iconic track and what she learned throughout her career.
When did you know you had real talent as a singer?
Oh gosh. I started out as a piano player and I was not a great – well, you know, I loved singing harmony and choruses and stuff. But I didn’t really think I was very good until later on in the late 60s – it finally took hold. But I didn’t think I was very good actually until I took singing lessons in the early 70s. I learned how to sing properly then. I was pleased with what I did.
Was there a technique you learned in those lessons that opened things up for you?
Resonating tone over the palate and not pushing. Of course, we pushed everything in the 60s. We wanted to be Wilson Pickett. I was doing teenage dances for three hours a night and we played as loud as we could and we had to sing over that. So, there was a lot of strain on the voice. When I finally took singing lessons, I had already started getting polyps on my vocal chords. So, you just back off and use proper technique and those polyps went away.
What was the most creatively inspiring thing about Seattle’s music community when you were coming up as an artist?
We had great bands and great venues. We had the teenage dances when they were in ballrooms and roller rinks and armories. But there was a band called the Wailers that were really the iconic band of the Northwest. That was really an inspirational band. At that time, it was a big rhythm and blues period in Seattle and in the Northwest. So, playing R&B, when Tina and Ike Turner and Bobby Bland and James Brown came to town, we would go see them. Every time they came to town. And every time we’d go to see these acts, the Wailers would be there too. So, we were all on the same page.
How did you get the gig singing “Angel of the Morning?”
I was put on a tour as an opening act for Paul Revere & the Raiders in the deep south. At the end of that tour we went to Memphis because they were finishing up their Goin’ to Memphis album. I was tagging along and I just happened to be asked to do an audition tape for the producer [of “Angel”] and he liked my voice. But leading up to that, there was a fellow named Jerry Williams who was tour managing for the Raiders and he came up to see me perform because an ex-roadie of ours was the roadie for Paul Revere and he suggested I be on this tour. So, they both came up and saw me work and that put me on the tour. At the end, I did this audition tape for the producer and I went back a month later and Jerry Williams had a demo of “Angel of the Morning” in his brief case and they played it for me. It was the writer, Chip Taylor, who also wrote “Wild Thing,” and he was the one doing the demo – just a voice and guitar. And he was terrible but the song was there and the lyrics were phenomenal. So, we cut it and a month later they released it. It did take about five-and-a-half months for it to take off nationally because it got a big order out of St. Louis. And Jerry Williams also hired independent promo men, which really helped at the time. If the label really couldn’t handle the promotion totally, if you put independent promo men on it around the country, they went in and pitched it big time. So, that really helped.
What did it feel like to record the song in real time?
Well, recording in the booth is nothing like performing on stage. That’s a real adjustment that I had to make because nothing is immediate and it’s very – oh, what’s the word? You don’t have the feedback from the audience. You hear the track but the building of the song as they produce it, as they create what they’re going to do. I was really lucky to be with the session guys. The session guys that were in that studio did tracks on The Box Tops and “Sweet Caroline,” they did the tracks on Elvis [records], they did “Son Of A Preacher Man,” they were just an iconic session band. And actually Reggie Young, the guitar player who you hear play the electric sitar on a lot of these tracks, he just passed away a couple months ago. But they didn’t read. They would listen to a demo and they would write down the chord numbers and then create the track that way. And they were really good. Bobby Evans, Bobby Woods, Gene Crimson on drums, Mike Leach on bass. Then Mark James, the great writer, was just coming up at that time working for the studio. He wrote the backside of “Angel” and went on to write hits for everybody. I was very lucky to be in that studio. But recording, for me, is quite an adjustment from performing on stage.
The song is about female and sexual empowerment. Did that message inspire you?
Oh yeah! But it was such a beautiful way of expressing it. It was really a very progressive song for its time. When I read the lyrics, I thought, “Well, if people really pay attention to this lyric, they’re going to want to hear this again.” Because it was really progressive. I’m very proud. I met this gal who, when in high school, they were going to sing “Angel of the Morning” for their school musical and they were not allowed to do it. And it was banned on a few stations, so I was very proud of that, too.
What did the song do for your career after it took off?
Well, it took me nationally. I did a lot of TV in L.A. It took me to places that I would not have gone outside of the Northwest. But, all in all, what I really enjoyed was coming back to the Northwest and playing the dances. It took me across the country, playing cities that I would probably never go to. TV was an experience because TV is so professional. They’re so good at what they do. In music, it’s kind of loose. But in TV, these are professional people who know their place and their job and they do it really well. I got to meet people that I never would have met.
What did you learn about yourself as you went through all the success?
The more experiences you have meeting other people and going to places you never would have gone, you expand. You expand your horizons. So, I found out that, boy, I had not grown. I realized the extent of my growth at that period and at that time. We are a culmination of all our experiences through life. So, I was a fledgling even though I’d been playing dances for, you know, eight years at that point. That was my experience over and over again but it was a wonderful experience. The Northwest just was the most wonderful playground for playing in front of hundreds of kids at these dances. And they were all over the Northwest. That was the most fun because my recording experience with producers – after Memphis I went on to record in New York for Scepter Records then I went on to do an album for United Artists in L.A. But the problem with recording is, I found that I didn’t have much control of what I was doing. In fact, the United Artist album, we picked tunes that were pitched to us but the tunes that were pitched to us weren’t tunes that I would prefer. I was very proud of this album because it was an incredible production. And I was able to put a 10-piece horn band together to do a showcase at the Troubadour for the United Artists staff and family. And after I did the show, the producer came up to me and said, “Oh my god, we’ve been cutting you all wrong.” I never felt that was something I could complain about. I just did the recordings. But if I could have complained I would have said, “This isn’t me.” In fact, you hear me doing a lot of ballads on recordings but that’s not what I did live.
What did you do live?
Rock. R&B. We did R&B in the early 60s but then we had to leave the R&B circuit and start a pop band because when the Beatles came along, they killed R&B. Just killed it. R&B was really big in this country but the Beatles came along and made it a pop world. So, we had to leave the R&B behind and go pop. That was a big transition from doing stuff that we really loved doing rather than doing it more for the audience, going pop for the audience. But what I always like to do is keep that R&B feel when doing pop. Tina Turner was my idol. What she would do, she would do pop tunes with an R&B feel. That’s what we tried to do.
Was it difficult being a woman at the top of your game in 1968?
Well, I found that there was sexual harassment in the recording field. Really, at that time, if you were a woman and you were sexually harassed, you could not talk about it. You would endanger your career because other people might not want to work with you after you expose somebody. So, that was another major problem that I had with the recording industry. It was a relief when I was able to come back and work on stage because that’s what I had control over. I did not have control over what I did in the recording world. It was very discouraging. I know that I could have done a lot more if it weren’t for that but everything happens because it’s supposed to. I could hold a grudge forever but, no, I have a great life. So, those things lead you to other things that you should be doing. So, that’s fine.
When you look back on those years, what memory first comes to mind?
Bigger audiences! Bigger audiences around the country. And being in L.A. was a groovy time. At that time, Hollywood, Sunset Strip, The Whiskey and Hamburger Hamlet – the lobster bisque at Hamburger Hamlet – I really have some wonderful memories about Hollywood at that time. Going back to Hollywood is not the same. It’s different. It’s kind of dingy. It’s not what I remember it being. It’s a different look. It’s, like, you can’t go back. But my memories of Hollywood at that time, it was still a cool place to be. But there was also a brashness about some of the people that I wasn’t ready for. Coming from Seattle – Seattle is, we’re mild people. We’re laid back and we’re not angst about anything. Whereas, Hollywood, there was a lot of that in the shopkeepers. I went into a shop one time and this woman was so pushy with me, I ended up buying the ugliest outfit I have ever bought in my life because I couldn’t say no to this woman! It was brown with big giant orange flowers on it. It was bellbottom and puffy sleeves like something Cher would have worn. It was awful! But that was [the down side] of L.A. Otherwise, it was all good. It was all feeding my journey.
Did you ever hear Shaggy’s version of “Angel?”
I love his cover! It really was a whole different take. It took the whole meaning out of the song. He completely changed it. The only thing that was left was, kind of, the melody. But I loved his version because he did something with it. The Juice Newton [version], I only could listen to it a couple times because I tend to hear something and then sing it that way, so I had to not listen to her version of it. She did a couple different things with it that I was in danger of singing. But the song was covered many, many times by country artists and others. And that’s great.
Do you ever sing “Angel of the Morning” around the house these days?
God no! “Angel of the Morning” has one of the biggest ranges – it’s like singing “The National Anthem.” You have to start fairly low and go very high. So, I don’t. In fact, if I’m out and about playing music and somebody asks me to sing it, I really have to decline, unless I’m really warmed up. It’s one of those tunes you just don’t sing out of the blue.
Chrissie Hynde Performs Juice Newton’s “Angel of the Morning” on ‘Friends’
25 years ago today (11/2/95), Chrissie Hynde of The Pretenders made an acting appearance as fictional character Stephanie Schiffer (and performed “Angel of the Morning” on acoustic guitar) on Friends on the episode “The One with the Baby on the Bus”. Check out Hynde’s “flawless” performance of the Juice Newton classic…..
Juice Newton
American pop and country singer (born 1952)
Musical artist
Judith Kay “Juice” Newton (born February 18, 1952) is an American pop and country singer, songwriter, and musician. Newton has received five Grammy Award nominations in the Pop and Country Best Female Vocalist categories – winning once in 1983 – as well as an ACM Award for Top New Female Artist and two consecutive Billboard Female Album Artist of the Year awards. Newton’s other awards include a People’s Choice Award for “Best Female Vocalist” and the Australian Music Media’s “Number One International Country Artist.”
Newton has several Gold and Platinum records to her credit, including Juice, Quiet Lies and her first Greatest Hits album. During the 1980s, she charted 14 Top-10 hits across the Billboard Country, AC, and Hot 100 charts, with many of the recordings achieving crossover success and six of the songs hitting the No. 1 position.[2]
Early years [ edit ]
Newton was born in Lakehurst, New Jersey,[3] and graduated from First Colonial High School in Virginia Beach, Virginia.[4] Her mother encouraged her interest in music, giving Newton a guitar for her 13th birthday. After high school graduation, Newton attended Foothill College in Los Altos Hills, California, where she also performed folk music in some local coffeehouses. She then formed a folk-rock band with guitarist and songwriter Otha Young, and toured bars in Northern California with her band.[5]
Early music career [ edit ]
In the early 1970s, Newton, Otha Young and Tom Kealey formed a band that would eventually be called Juice Newton & Silver Spur, which was signed to RCA Records. The group released two albums for RCA, in 1975 and 1976, but scored only one charting country single with “Love Is a Word.” The band was dropped by RCA, then joined Capitol Records in 1977. The band disbanded shortly after releasing just one more album.[5]
In late 1977, Newton went solo, continuing to record for Capitol, and until 1982 Silver Spur remained the name of her backing band. Newton also sang backing vocals for three tracks on Bob Welch’s platinum solo debut album, including his hit “Ebony Eyes”.
Near the end of 1977, “It’s a Heartache” became Newton’s first solo record and a major hit in Mexico, where it was eventually certified Gold, and 1978, she released it in the United States. “It’s a Heartache” became the first of what would eventually be her 11 “Hot 100” pop hits. Also in 1978, The Carpenters’ version of the Newton/Young-penned song “Sweet, Sweet Smile” reached the Top 10 on both the Country and Adult Contemporary charts, and #44 on the Billboard Hot 100 chart.[2] In 1978, Newton legally changed her name from “Judy Kay Newton” to “Juice Newton” (“Juice” having long been her nickname).
Newton’s solo debut album Well Kept Secret was released later in 1978. Neither Well Kept Secret nor its sole single “Hey Baby” charted, but Capitol Records did renew Newton’s contract. In 1979 Capitol’s investment in Newton began to pay off as Newton had her first Top-40 Country hit with “Let’s Keep It That Way” (another one-off single). Later that year, the album Take Heart featured five modestly-charting singles: “Until Tonight”, “Any Way That You Want Me”, “You Fill My Life”, “Lay Back In The Arms of Someone”, and “Sunshine”. In 1980, “Sunshine” became Newton’s second top-40 country chart single, “You Fill My Life” reached No. 41, and “Until Tonight” was No. 42.[2] Both of Newton’s initial solo efforts performed with modest success but failed to have lasting impacts on the album charts.
Early 1980s pop music success [ edit ]
In 1981, Newton’s third solo album, simply titled Juice, was released. It spawned three consecutive Top-10 pop hits, namely “Angel of the Morning” (written by Chip Taylor), “Queen of Hearts”, and an updated version of “The Sweetest Thing (I’ve Ever Known)” (the original version had appeared on the Silver Spur debut album) earned Newton the first of several No. 1 Country chart singles. A fourth single “Ride ‘Em Cowboy” from Juice was released in 1984 to support Newton’s first Greatest Hits album, reaching the Billboard Country Top 40 chart.[2]
In 1981, Newton’s video for “Angel of the Morning” was the first country-music video to air on MTV, and the 40th video to air on the channel overall. Newton was the third female solo artist to be featured on MTV’s first air date (after videos by Pat Benatar and Carly Simon).
Juice sold more than a million copies in the United States and went Triple-Platinum (300,000 copies) in Canada. “Angel of the Morning” and “The Sweetest Thing (I’ve Ever Known)” each reached #1 on the Billboard Adult Contemporary chart, where Newton would chart regularly for the next several years. In 1982, Newton received two Grammy nominations for Best Female Vocalist: one for “Angel of the Morning” in the Pop category, and another for “Queen of Hearts” in Country.[6]
These two singles became her biggest sellers in the United States, each earning an RIAA Gold certification. (Note: in 1981 and 1982, when these singles were certified, the RIAA standard for Gold singles was “more than 1 million copies sold”; in 1989, RIAA lowered the standard to 500,000 for Gold single certifications.) The songs were also sizable hits in Canada, Australia, Germany, the Netherlands, and other countries. For example, “Angel of the Morning” peaked at No. 1 in Canada and No. 43 in the UK Singles Chart in 1981.[7] While “The Sweetest Thing (I’ve Ever Known)” did not receive a U.S. certification, the song’s popularity propelled album sales from Gold to Platinum, and the recording remained in the Top 40 (of the Hot 100) for 18 weeks.[6] “Shot Full Of Love” was released as a single in the UK, but failed to chart.
In the spring of 1982 Newton released her fourth solo album, Quiet Lies, which sold 900,000 copies in the United States. The album went platinum in Canada (100,000 copies). From Quiet Lies came the Top 10 Pop and Adult Contemporary hit “Love’s Been a Little Bit Hard on Me” (which garnered her another Pop Female Vocalist Grammy nomination). “Break It to Me Gently” was the second single and hit #1 on the Billboard Adult Contemporary chart, #2 on the Billboard Country chart, as well as #9 in Cash Box and #11 on the Billboard Hot 100. The recording, a contemporary remake of a Brenda Lee hit from the 1960s, won Newton her first Grammy Award for Best Female Country Vocal Performance, beating out contemporaries Dolly Parton, Rosanne Cash, Emmylou Harris and Sylvia. The album’s third and final single, “Heart of the Night,” reached #4 on the Adult Contemporary chart in early 1983 and climbed to #25 on the Hot 100.[2]
The album also garnered Newton an award from Australia as the “Top International Country Artist” for the continent. In 1982, Newton toured with country band Alabama on the “Salem Spirit” double-headliner tour. (Various acts opened for Newton and Alabama.)
The direction for Newton’s sixth and final Capitol album, 1983’s Dirty Looks, was decidedly more rock-oriented and experimental than her usual blending of folk, pop and country styles. The album spawned a moderate-sized hit with “Tell Her No” (Hot 100 No. 27/AC No. 14) and the title track, a rock-edged number that charted low in the Hot 100. The single “Stranger at My Door” had a brief run on the country charts. The album was a moderate success, selling more than 300,000 copies in the United States and going Gold in Canada (50,000 copies).[8] (The song “Dirty Looks” was written by Dave Robbins and Van Stephenson, who would later become part of the Country group Blackhawk in the 1990s. The pair also wrote Newton’s 1984 country single “Restless Heart.”)
According to a 1984 front-page article in Billboard magazine, changes at Capitol led Newton to return to RCA. The 1984 album Can’t Wait All Night continued with a rock-oriented sound. The launch single, “A Little Love”, and the title track became Newton’s final charting pop singles to date, reaching No. 44 and No. 66, respectively; while “Restless Heart” made No. 57 on the country chart. “A Little Love” became Newton’s seventh and final Top-10 hit on Billboard’s Adult Contemporary chart, reaching the No. 7 spot.[2] Newton’s final double-header “Salem Spirit” tour with Alabama took place during this time, with Bill Medley of The Righteous Brothers as the opening act.[9]
From pop to country [ edit ]
Newton had always been moderately popular in country music; she responded to her waning popularity in the pop market by targeting her next album, 1985’s Old Flame, solely to country audiences. The strategic move was a success; the album revitalized her career, reached No. 12 on the Billboard album chart and featured six Top-10 country hits, including the No. 1s “You Make Me Want to Make You Mine”, “Hurt,” and “Both to Each Other (Friends and Lovers)” (with Eddie Rabbitt), none of which (unlike her previous efforts) appeared at all on the pop charts.[2] The duet was released to the public before the pop version “Friends and Lovers” by Gloria Loring and Carl Anderson; the pop version was released to radio and stores two weeks after Newton and Rabbitt’s version first appeared, even though it was recorded first. Newton’s version was originally available only on a special edition of the Old Flame album and on the Eddie Rabbitt album Rabbitt Traxx. The “Old Flame” album produced hit singles for more than sixteen months, with the final release being “What Can I Do with My Heart” (written by Otha Young), which reached the Top 10 in early 1987.
Newton returned to the Top 10 in 1988 with “Tell Me True” from her 1987 album Emotion. The album’s lead single, the progressive-country tune “First Time Caller,” stalled at No. 24. Her final album of the decade, Ain’t Gonna Cry (1989), was not promoted by the label and did not chart. But it did spawn her final Top-40 country hit to date, “When Love Comes Around the Bend,”[2] which RCA refused to release as a single because Newton’s contract had not been renewed.[citation needed]
After being dropped by RCA Records in 1989 (along with several other country artists, including Dolly Parton and Kenny Rogers, as country music as a whole was about to undergo momentous change), Newton took time to focus on her family life. Newton took a hiatus from recording albums, touring sporadically until returning to the music scene in late 1990s when she released the albums The Trouble with Angels (1998) and American Girl (1999).[10]
Juice Newton, San Diego, 2009
1990s to present [ edit ]
In 1994, Newton contributed the track “Lovers of One Day” to an Édith Piaf tribute album which also included songs by Pat Benatar and Donna Summer.[11]
In 1995, Newton recorded a double-album of pop duets (which was slated to be sold via infomercial), but the project was riddled with legal issues, resulting in a low-impact, “accidental” release of the “Platinum & Gold” series of duets in the early 2000s (the CD set was released without Newton’s permission). Subsequently, bootleg CDs including most of the duets turned up on U.S. store shelves as Gold & Platinum, Volumes 7 and 8. Those CDs also contain 1995 solo versions of three of Newton’s pop hits “Angel of the Morning”, “Love’s Been a Little Bit Hard on Me” and “Queen of Hearts”. Newton’s duet partners included Willie Nelson, Melissa Manchester, The Pointer Sisters and Frankie Valli. In 1998, Newton released “The Trouble with Angels”, a collection of seven re-recorded hits and three new songs, including the single “When I Get Over You”. The 1998 effort was quickly followed by American Girl in 1999, which was Newton’s first album of all-new material since 1989 and featured the single “They Never Made It to Memphis”. The collection featured tracks written by Otha Young, Freddie Mercury, Nanci Griffith, Tom Petty and Newton herself.[12]
Every Road Leads Back to You (which consists of live material and a bonus EP of four studio recordings of original songs) was released in 2002 with an accompanying DVD. American Girl Vol. II, which was originally sold exclusively at cdbaby.com and at Newton’s live shows, was released in 2003 and reissued in 2006 and again in 2011 by Brookside Records.[10]
In 2005, Newton appeared on the TV show Hit Me Baby, One More Time on which she performed a folk-rock rendition of Ashlee Simpson’s “Pieces Of Me” and a truncated version of “Queen of Hearts”; online voters selected Newton’s performance as their favorite of the five acts that appeared on the episode.[13] In the mid-2000s, Newton also contributed tracks to the albums An All-Star Tribute To Cher (“Reason to Believe”) and An All-Star Tribute to Shania Twain (“Come On Over”).
On November 15, 2007, Newton released The Gift of Christmas, her first Christmas album.[14] The 12-song album includes a new version of Newton’s “Christmas Needs Love to Be Christmas” and “Mary’s Boy Child”, as well as a special Christmas version of “For Believers”, an Otha Young-penned song first recorded in 1983 for the Dirty Looks album.
On August 6, 2009, Newton’s longtime musical partner Otha Young died of cancer. The pair worked together for 37 years.[15]
On October 26, 2010, Newton’s Duets: Friends & Memories album was released by Fuel 2000.[16] The album contained duets performed with Willie Nelson, Melissa Manchester, Frankie Valli and others. One single (“Funny How Time Slips Away”) has been released. In addition to the domestic album, an import edition was released on November 30, 2010.
On July 26, 2011, Fuel 2000 released Juice Newton: The Ultimate Hits Collection, which included her own version of the Carpenters’ 1978 hit “Sweet Sweet Smile,” which Newton and Otha Young wrote in the ’70s.[17]
On May 7, 2012, BGO Records issued a two-CD set containing Newton’s three 1970s Capitol albums: Come To Me, Well Kept Secret and Take Heart.[18] This marks the first time these albums have been available in the CD format. With the release of this set, all Newton’s 17 studio albums have been issued on CD.
In the 2016 film Deadpool, Juice Newton’s version of “Angel of the Morning” was used for the opening credits montage.[19] As a result, the track re-charted on the Billboard Country chart, reaching #43, and also hit #3 on Spotify’s World Music chart.
In 2021, Juice Newton’s version of “Angel of the Morning” was featured in the critically acclaimed, Oscar-winning film Promising Young Woman. Newton’s recording is played for longer than four minutes during the film’s climactic scene.
Personal life [ edit ]
Newton bought a thoroughbred gelding named Puppy in 1983 and stabled him at the Los Angeles Equestrian Center. The center’s manager was polo star and coach Tom Goodspeed. Newton married Goodspeed in 1985, and the couple had two children: Jessica and Tyler. Now divorced, Newton lives in San Diego, California.[4]
Besides continuing in the music business, Newton works as a horse trader. She deals mostly in European horses.[20]
Discography [ edit ]
Studio albums [ edit ]
Juice Newton – Angel of the Morning Lyrics
Chip Taylor (of “Wild Thing” fame) originally wanted Connie Francis to record his song “Angel Of The Morning” in 1966, but she declined. So Evie Sands instead was the first artist to record the track. However, her record label folded soon afterwards and the release never had the chance to find success.
Soon after, Merrilee Rush and the Turnabouts found top 10 success in the US with their version in 1968. Her version was only a minor UK hit, but PP Arnold released it the same year and scored a top 30 hit with it there. In 1977, Guys N Dolls reached the top 20 in The Netherlands and Belgium with their version. Other recordings found minor successes in the 1970s as well.
The most successful version of “Angel Of The Morning” was Juice Newton’s 1981 rendition, going to #4 on the US Pop Chart that spring and reaching the top 10 in Austria, Sweden & New Zealand around the world.
Later, rapper Shaggy topped the Hot 100 with his song “Angel” in 2001, which borrows heavily from “Angel Of The Morning”.
Fun fact: Chip Taylor is the brother of actor Jon Voight, uncle of Angelina Jolie. Merrilee Rush’s 1977 re-recording of “Angel Of The Morning” was included on the soundtrack of Jolie’s first major film Girl, Interrupted (1999).
Juice Newton – Angel Of The Morning Lyrics
“Angel Of The Morning” lyrics
(originally by Merrilee Rush And The Turnabouts)
There’ll be no strings to bind your hands
Not if my love can’t bind your heart.
And there’s no need to take a stand
For it was I who chose to start.
I see no need to take me home,
I’m old enough to face the dawn.
Just call me angel of the morning, angel
Just touch my cheek before you leave me, baby.
Just call me angel of the morning, angel
Then slowly turn away from me.
Maybe the sun’s light will be dim
And it won’t matter anyhow.
If morning’s echo says we’ve sinned,
Well, it was what I wanted now.
And if we’re victims of the night,
I won’t be blinded by the light.
Just call me angel of the morning, angel
Just touch my cheek before you leave me, baby.
Just call me angel of the morning, angel
Then slowly turn away,
I won’t beg you to stay with me
Through the tears of the day,
Of the years, baby baby baby.
Just call me angel of the morning, angel
Just touch my cheek before you leave me, baby.
Just call me angel of the morning, angel
Just touch my cheek before you leave me, darling
Just call me angel of the morning, angel
Just touch my cheek before you leave me, darling
Writer(s): Chip Taylor
Just Call Me Angel Of The Morning Lyrics
Just Call Me Angel Of The Morning Lyrics in English
[Intro] [Verse 1]There’ll be no strings to bind your hands
Not if my love can’t bind your heart
There’s no need to take a stand
For it was I who chose to start
[Pre-Chorus 1]I see no need to take me home
I’m old enough to face the dawn
[Chorus]Just call me angel of the morning, angel
Just touch my cheek before you leave me, baby
Just call me angel of the morning, angel
Then slowly turn away from me
[Verse 2]Maybe the sun’s light will be dim
And it won’t matter anyhow
If morning’s echoes say we’ve sinned
Well, it was what I wanted now
[Pre-Chorus 2]And if we’re victims of the night
I won’t be blinded by the light
[Chorus]Just call me angel of the morning, angel
Just touch my cheek before you leave me, baby
Just call me angel of the morning angel
Then slowly turn away, I won’t beg you to stay with me
[Bridge]Through the tears
Of the day
Of the years
Baby!
[Chorus]Just call me angel of the morning, angel
Just touch my cheek before you leave me, baby
Just call me angel of the morning, angel
Just touch my cheek before you leave me, darling
Just call me angel of the morning, angel
Just touch my cheek before you leave me, darling
Just Call Me Angel Of The Morning Lyrics
Song Details: Just Call Me Angel Of The Morning Lyrics by Juice Newton. The song name is Angel Of The Morning sung by Juice Newton.
Just Call Me Angel Of The Morning Lyrics
[Intro] [Verse 1]There’ll be no strings to bind your hands
Not if my love can’t bind your heart
There’s no need to take a stand
For it was I who chose to start
[Pre-Chorus 1]I see no need to take me home
I’m old enough to face the dawn
[Chorus]Just call me angel of the morning, angel
Just touch my cheek before you leave me, baby
Just call me angel of the morning, angel
Then slowly turn away from me
[Verse 2]Maybe the sun’s light will be dim
And it won’t matter anyhow
If morning’s echoes say we’ve sinned
Well, it was what I wanted now
[Pre-Chorus 2]And if we’re victims of the night
I won’t be blinded by the light
[Chorus]Just call me angel of the morning, angel
Just touch my cheek before you leave me, baby
Just call me angel of the morning angel
Then slowly turn away, I won’t beg you to stay with me
[Bridge]Through the tears
Of the day
Of the years
Baby!
[Chorus]Just call me angel of the morning, angel
Just touch my cheek before you leave me, baby
Just call me angel of the morning, angel
Just touch my cheek before you leave me, darling
Just call me angel of the morning, angel
Just touch my cheek before you leave me, darling
Video Song
This is the end of Just Call Me Angel Of The Morning Lyrics.
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Juice Newton – Angel Of The Morning lyrics
Angel Of The Morning by Juice Newton
There’ll be no strings to bind your hands
not if my love can’t bind your heart.
And there’s no need to take a stand
for it was I who chose to start.
I see no need to take me home,
I’m old enough to face the dawn.
Just call me angel of the morning, angel
just touch my cheek before you leave me, baby.
Just call me angel of the morning, angel
then slowly turn away from me.
Maybe the sun’s light will be dim
and it won’t matter anyhow.
If morning’s echo says we ve sinned,
well, it was what I wanted now.
And if we’re victims of the night,
I won’t be blinded by the light.
Just call me angel of the morning, angel
just touch my cheek before you leave me, baby.
Just call me angel of the morning, angel
then slowly turn away,
I won’t beg you to stay with me
through the tears of the day,
of the years, baby baby baby.
Just call me angel of the morning, angel
just touch my cheek before you leave me, baby.
Just call me angel of the morning, angel
just touch my cheek before you leave me, darline
just call me angel of the morning, angel
just touch my cheek before you leave me, darline
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사람들이 주제에 대해 자주 검색하는 키워드 ANGEL OF THE MORNING – Juice Newton (Lyrics)
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