The Greatest Oldies Music

Oldies Musics

Engelbert Humperdinck – ‘Please Release Me’

About the Song

Engelbert Humperdinck is a British singer who rose to fame in the 1960s with his distinctive voice and romantic ballads. His signature song, “Please Release Me”, is a timeless classic that has been enjoyed by generations of music lovers.

“Please Release Me” was written by Robert Mellin and released in 1965. The song is a beautiful ballad about a man who is asking his lover to set him free. He knows that she no longer loves him and that he is holding her back from finding true happiness. The song’s lyrics are simple but powerful, and Humperdinck’s vocals deliver them with perfect emotion.

The song was a massive hit for Humperdinck, reaching number one in the United Kingdom and the United States. It also became a popular song in many other countries around the world. “Please Release Me” has been covered by many other artists, including Elvis Presley, Dean Martin, and Tom Jones. However, Humperdinck’s version remains the definitive recording.

“Please Release Me” is a classic example of a pop ballad. The song is simple, yet elegant, and it features a beautiful melody and heartfelt lyrics. Humperdinck’s vocals are the perfect match for the song, and he delivers them with passion and sincerity. “Please Release Me” is a timeless classic that will continue to be enjoyed by music lovers for generations to come.

Here are some interesting facts about the song:

  • The song was originally written for a British television show called “The Newcomers.”
  • Humperdinck was not the first choice to record the song. The song was originally offered to Matt Monro, but he turned it down.
  • The song was recorded in a single take.
  • The song was a commercial success, reaching number one in the charts in the United Kingdom, the United States, and many other countries.
  • The song has been covered by many other artists, including Elvis Presley, Dean Martin, and Tom Jones.
  • “Please Release Me” is considered to be one of the greatest pop ballads of all time.

If you’re a fan of classic pop music, then you should definitely check out “Please Release Me” by Engelbert Humperdinck. It’s a beautiful and timeless song that is sure to touch your heart.

Video

Lyrics: Please Release Me

Please release me, let me go
For I don’t love you anymore
To waste our lives would be a sin
Release me and let me love againI have found a new love, dear
And I will always want her near
Her lips are warm while yours are cold
Release me, my darling, let me go(Please release me, let me go)
For I don’t love you anymore
(To waste my life would be a sin)
So release me and let me love againPlease release me, can’t you see
You’d be a fool to cling to me
To live a lie would bring us pain
So release me and let me love again
(Let me love, let me love)

Related Post

Elvis Presley’s greatest musical gift was not putting words onto paper. It was hearing something inside a song that other people sometimes could not hear yet. Give him someone else’s melody and lyrics, and he could reshape the emotion through his phrasing, timing and voice until the recording felt intensely personal.

The musicians at RCA Studio B were ready to make records. They were not ready for the way Elvis Presley entered the room. During his celebrated Nashville sessions in 1970, bassist Norbert Putnam remembered Elvis appearing in dramatic fashion—wearing a flowing black cape and carrying an ornate cane. Putnam later recalled the impression that it was almost as though “a prince had walked into the room.”

STONEWALL JACKSON ASKED TOM T. HALL TO WRITE A PRISON SONG, BUT HALL COULD NOT DO IT BECAUSE HE HAD NEVER ACTUALLY BEEN TO PRISON. Tom T. Hall spent his early career turning out the kind of polished, commercial hits that Nashville publishers lived for. He could write what people expected, but he always felt like a fraud. When Stonewall Jackson approached him requesting a prison song—hoping to capture that rugged, authentic aura Johnny Cash was building—Hall hit a wall. He stared at his notepad, realized he had no genuine experience with a cell, and flatly refused to fake it. He was a songwriter, not an actor, and his pride kept him from writing about a world he didn’t know. His wife, Dixie, cut through the tension with a simple reminder: he had indeed spent a week in a county jail in Kentucky after a traffic violation. That memory was not cinematic or heroic. It was just mundane, quiet, and uncomfortable. It involved bad food, the sound of iron bars, and the slow, agonizing crawl of days where the jailer’s wife suddenly started looking like the most beautiful woman on earth. He stopped writing songs that invented generic situations and started reporting the people and places he actually encountered. The result was his first number one hit, written like a man telling a story across a kitchen table. Stonewall Jackson never got his song, but Hall finally found his own voice in the silence of that jail cell.

You Missed

Oldies Musics

Elvis Presley’s greatest musical gift was not putting words onto paper. It was hearing something inside a song that other people sometimes could not hear yet. Give him someone else’s melody and lyrics, and he could reshape the emotion through his phrasing, timing and voice until the recording felt intensely personal.

Oldies Musics

The musicians at RCA Studio B were ready to make records. They were not ready for the way Elvis Presley entered the room. During his celebrated Nashville sessions in 1970, bassist Norbert Putnam remembered Elvis appearing in dramatic fashion—wearing a flowing black cape and carrying an ornate cane. Putnam later recalled the impression that it was almost as though “a prince had walked into the room.”

Country

Lisa Marie Presley grew up in a house visited by some of the most famous people in the world, yet the person who mattered most to her was the man everyone else called the King. To millions, Elvis Presley was an untouchable superstar. To Lisa, he was the father who loved to spoil her, make her laugh and turn ordinary moments at Graceland into childhood adventures.

Country

BOB DYLAN AND JOHNNY CASH SHATTERED THE WALLS OF NASHVILLE WITHOUT FIRING A SINGLE SHOT. Columbia Studio A sat thick with the smell of stale coffee and cigarette smoke on a February morning in 1969. While the rock world was chasing ghosts in psychedelic haze, Bob Dylan stepped into the epicenter of American country music with a voice that sounded like it had been dragged across gravel. He wasn’t there to challenge the gatekeepers at the Opry; he was there to find the heartbeat of a sound he had loved from afar. Johnny Cash walked through the heavy studio doors, guitar in hand, and for two days, the rigid borders of genre simply dissolved into the air. They didn’t record some grand manifesto to change the industry. Instead, they sat on stools and tore through old folk standards and each other’s deep cuts, letting the microphones capture the loose, unvarnished truth of a collaboration that felt more like a porch gathering than a major label session. Carl Perkins added his own licks to the mix, blending the percussive snap of rock and roll with the lonesome ache of a country ballad. It was a deliberate, quiet rebellion that treated the traditions of both worlds as neighbors rather than strangers. When the tape stopped rolling, they walked away having proved that the lines drawn by radio programmers were mostly make-believe. The Ryman Auditorium stage eventually welcomed a new kind of guest, and the air in Nashville felt lighter, forever changed by two men who knew that music didn’t need permission to belong everywhere at once.