With the country on the brink of war, a family also faces struggles closer to home. Try a Little Tenderness is a moving wartime saga, which sees Joan Jonker weave her magic once again in an unforgettable tale that is sure to stay with you long after you have finished the last page. Perfect for fans of Lindsey Hutchinson and Dilly Court. Jenny and Laura Nightingale are as different as chalk and cheese. Jenny's pretty face and lively sense of humour make her everyone's favourite girl, whereas Laura is mean and moody and she's never out of trouble. Their mother, Mary, loves them both and frets about Laura's behaviour, but soon that's the least of her worries... Her father's new young wife, Celia, is about to bring shame on the family by leading Laura astray. Jenny attracts the attention of two young lads in her street who both want to court her. Mick and John have been mates since they were kids but now war is declared, and it's every man for himself! Meanwhile Laura's resentment begins to build and it's only a matter of time before things come to a head. Who will learn that a little tenderness goes a long way? What Amazon readers are saying about Try a Little Tenderness: 'Yet another hilarious and life like read. Growing up is not easy for anyone but this book shows that there is light at the end of the teenage years. The characters are so witty you can't help but wish you were their friend too! It shows that life is never easy, but there is always somebody there to lend moral support, a joke or a cup of sugar! Highly recommended' 'AMAZING. Always a pleasure to read. I always enjoy these books, you lose yourself in them every time you pick them up'

Try A Little Tenderness is the perfect choice for amateur choirs seeking an elegant and sophisticated centrepiece to their choral pop repertoire. Based on Otis Redding's smooth and soulful take on the song, this choral version is bursting with rich harmonies and jazzy chord progressions. Try A Little Tenderness has been arranged by Jeremy Bitchall for SATB Chorus with Piano accompaniment, this piece opens with a reasonable challenging intro, setting the scene for beautiful and tender song that will captivate and touch.

First broadcast on ITV's Playhouse in 1980, You're Not Watching Me, Mummy focuses on the hollowness of an actor's existence and was written as Osborne was separating from his then actress-wife.It is published here with Try a Little Tenderness which was written in 1978 but never produced.

Husband and wife Isaiah David Paul and Allyson M. Deese team up to bring a street-themed Christian romance to life. Amirah Dalton has accepted her calling to be in outreach ministry at her local church. The only problem is that she’s the only unwed female in leadership, and she feels the pressure to find a husband—fast. After serving time in prison for larceny and mail fraud, Mateo Valdez joins the newly formed Street Disciples Ministry in Asheville, North Carolina in an effort to atone for his sins and spread the word of Christ. Amirah and Mateo both join His-Love.com in an effort to meet someone of the opposite sex willing to give them a chance. Will they listen to God and connect, or will they let Satan allow their perceptions of one another get in the way?

A little tenderness goes a long way in heart-to-heart communication. It renews a right spirit and warms the hearts of all participants. Just a smile or a wave can make a good day for someone. Don't forget the hugs. The twenty-four chapters in this book provide examples of tenderness. Many of the chapters are devoted to family members. Other chapters are devoted to helping someone else, like neighbors. In one of the chapters, Emily shovels snow off a neighbor's walkway, and Kevin, her brother, who is resting on a couch, gets an inner feeling to go help Emily. He approaches Emily with a tear in his eye, and they work together shoveling snow. In several chapters, Emily and Kevin help a poor organ grinder and his little monkey. The organ grinder's house is more like a shack than a house. Emily and Kevin replace many sideboards on the exterior of the house and wallboard on the walls and ceiling inside the house. Emily and Kevin train five chimps to stand on one another's shoulders so that they are five chimps high with a paint can and brush in the hands of the top chimp. The bottom chimp moves sidewise, and when the topmost chimp is through painting his section, he hands the paint can and brush to the next chimp down. The top chimp then jumps down, and the remaining chimps continue this scenario until the entire house is painted.

Hits and Misses examines a selection of songs and recordings through the lens of textual criticism and delineates the creative process as it unfolds from the initial conception of a song to the final mix presented on disc. The book takes as its subject top 40 singles released between 1963 and 1971 in the USA, Britain, and Canada, and considers the songs themselves and their transformation in the studio. Robert Toft studies the methods by which recordists (songwriters, arrangers, band members, producers, and engineers) impart their ideas to audiences. The first part of the book concentrates on songs and examines lyrics and the strategies songwriters employ to develop a story, as well as the music that enhances the telling of those stories. The second part of the book investigates the sonic surface of recordings and considers how recordists fashion musical material into effective musical discourse. Hits and Misses will be an invaluable text for all those who are studying the sound, craft, and context of pop music.

From John Philip Sousa to Green Day, from Scott Joplin to Kanye West, from Stephen Foster to Coldplay, The Encyclopedia of Great Popular Song Recordings, Volumes 1 and 2 covers the vast scope of its subject with virtually unprecedented breadth and depth. Approximately 1,000 key song recordings from 1889 to the present are explored in full, unveiling the stories behind the songs, the recordings, the performers, and the songwriters. Beginning the journey in the era of Victorian parlor balladry, brass bands, and ragtime with the advent of the record industry, readers witness the birth of the blues and the dawn of jazz in the 1910s and the emergence of country music on record and the shift from acoustic to electrical recording in the 1920s. The odyssey continues through the Swing Era of the 1930s; rhythm & blues, bluegrass, and bebop in the 1940s; the rock & roll revolution of the 1950s; modern soul, the British invasion, and the folk-rock movement of the 1960s; and finally into the modern era through the musical streams of disco, punk, grunge, hip-hop, and contemporary dance-pop. Sullivan, however, also takes critical detours by extending the coverage to genres neglected in pop music histories, from ethnic and world music, the gospel recording of both black and white artists, and lesser-known traditional folk tunes that reach back hundreds of years. This book is ideal for anyone who truly loves popular music in all of its glorious variety, and anyone wishing to learn more about the roots of virtually all the music we hear today. Popular music fans, as well as scholars of recording history and technology and students of the intersections between music and cultural history will all find this book to be informative and interesting.

How do we know music? We perform it, we compose it, we sing it in the shower, we cook, sleep and dance to it. Eventually we think and write about it. This book represents the culmination of such shared processes. Each of these essays, written by leading writers on popular music, is analytical in some sense, but none of them treats analysis as an end in itself. The books presents a wide range of genres (rock, dance, TV soundtracks, country, pop, soul, easy listening, Turkish Arabesk) and deals with issues as broad as methodology, modernism, postmodernism, Marxism and communication. It aims to encourage listeners to think more seriously about the 'social' consequences of the music they spend time with and is the first collection of such essays to incorporate contextualisation in this way.

This volume is the first book-length study of hooks in popular music. Hooks - those memorable musical moments for listeners such as a riff or catchy melodic phrase – are arguably the guiding principle of much modern popular music. The concept of the hook involves aspects of melody, rhythm, harmony, production, lyrical and cultural meaning - and how these interact within a song’s topline and backing track. Hooks are also inherently related to the human capacities for memory and attention, and interact with our previous experiences with music. Understanding hooks in popular music requires a new interdisciplinary approach drawing from popular music studies, pop musicology, and music psychology, and this book draws from each of these disciplines to understand the hooks present in a broad range of popular music styles from the last thirty years.