The most influential singers of the 20th century

The first time I heard “You’re So Sweet,” my eyes literally shot open.

It’s so catchy.

It sounds like a favorite song from the 80s.

The bassline screams, “Oh my God, I love you.”

The chorus: “I’m so happy I was born this way/You’re so sweet/I love you so much.”

I could hardly wait to hear what would happen next.

This is how I would hear the next few decades of my life.

That is, until I saw it play in a theater, in a concert hall, or in a movie.

The story of this song is a long one.

In 1928, the French-Canadian singer, guitarist, and composer Louis Pélissier began composing music for his own solo project.

The resulting recordings were recorded in Paris and were published in 1928.

The music was then put on the soundtrack to a French television program called L’Aigle des Lettres.

It quickly caught on, becoming a staple of French television programming.

The show became hugely popular, and was revived in 1969 for the 50th anniversary of the premiere of The Beatles album.

That album, entitled My Generation, was released in October 1969.

Péllissier was so impressed with the success of the show, he wanted to write his own songs.

“I wanted to make a song that would be like a Beatles album, but with the songs of my own generation,” he told Rolling Stone in 2014.

Pétélès’s idea was to create an instrumental, ambient pop song.

The lyrics were inspired by his favorite song: “My Generation” by Louis Pèliss.

The two ideas were joined by an orchestra and a piano.

PÉLISSE’S MUSIC When I heard Pélisse’s music on L’Amérique, I thought to myself, “I’ve always been a Beatles fan.”

I listened to the Beatles’ recordings and was enthralled.

It was a thrilling time.

Pèrelè’s music was unlike anything I’d heard before, and I wanted to hear it again.

So I called Péliès and asked him to compose his own album.

A few days later, I was introduced to Louis Pénissier and his family, who took me to his house in Montréal.

We were invited to an outdoor party.

It looked like an outdoor movie set with a tent.

A small group of people danced in the tent, while another group of friends and family played instruments.

It felt like a summer party.

I remember I was in the midst of being blown away by the energy of this gathering.

Pénis and his wife were sitting in the kitchen of their home, drinking coffee.

Pélis began to play his instrument: a mandolin.

He played this melody over and over, trying to build tension.

His wife, who had come to see him for the first time, said, “It’s all right, Pélasse.

It all works.

There’s no tension.”

It was so beautiful, I said, but then I started to feel that the piano was playing on top of me.

I couldn’t hear it at all.

PENIS’ VOICE Louis Pénisces had always been an avant-garde composer.

He wrote songs in the form of operas and orchestral pieces.

He also composed pieces for the film and television industry.

In 1926, he wrote the score for the French film “Les Amis” (The Man in the Black Suit), which won an Academy Award for Best Motion Picture Score in 1928 and 1931.

In 1932, Pénispes wrote the first music for a Broadway musical, the musical “Sally.”

It made its world premiere in May 1932.

The musical was later adapted into a film called “The Magic Flute” in 1939.

Pèlis continued composing for TV, film, and radio, as well as his own music.

His recordings were also released on albums by the French and American studios.

PEPLEIS’ WORKS Pénis’s first recordings were made during the Depression and the Great Depression, when he was a young boy living in Paris.

He grew up listening to the hits of the era, and he was drawn to music that reflected the times.

“In those times, I had never heard anything like this,” Pélinis told Rolling Stones in 2014, when I asked him about the influence of the Beatles on his work.

I think there was something about the way they sang about the present that I was attracted to.

I always tried to bring a certain modern sensibility to my compositions.

When I did my first recording, “Ce ceux qui n’est pas plus, tu vous, l’amour,” I was doing it because I felt that there was a sort of contemporary