Songs like At the End of the Day by Josef Locke
Based on a tempo of (+/- 10%) and a similar genre
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The Party Poppers
Nellie Dean
87 bpm • F Maj • 01:07 • -15db
10% Popularity • 22% Danceability • 44% Energy • 92% Liveness
0% Instrumentalness • 18% Positiveness
10% Popularity • 22% Danceability • 44% Energy • 92% Liveness
0% Instrumentalness • 18% Positiveness
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Jimmy Young
The Man from Laramie
87 bpm • G# Maj • 02:23 • -11.56db
15% Popularity • 81% Danceability • 28% Energy • 11% Liveness
0% Instrumentalness • 77% Positiveness
15% Popularity • 81% Danceability • 28% Energy • 11% Liveness
0% Instrumentalness • 77% Positiveness
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Ronnie Ronalde
In a Monastery Garden
87 bpm • F Maj • 03:11 • -9db
7% Popularity • 22% Danceability • 35% Energy • 11% Liveness
70% Instrumentalness • 4% Positiveness
7% Popularity • 22% Danceability • 35% Energy • 11% Liveness
70% Instrumentalness • 4% Positiveness
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Josef Locke
I'll Walk Beside You
87 bpm • G Maj • 03:10 • -13.38db
12% Popularity • 22% Danceability • 11% Energy • 35% Liveness
1% Instrumentalness • 14% Positiveness
12% Popularity • 22% Danceability • 11% Energy • 35% Liveness
1% Instrumentalness • 14% Positiveness
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John McCormack
When Irish Eyes Are Smiling
87 bpm • C Maj • 03:13 • -11.99db
11% Popularity • 38% Danceability • 26% Energy • 14% Liveness
0% Instrumentalness • 27% Positiveness
11% Popularity • 38% Danceability • 26% Energy • 14% Liveness
0% Instrumentalness • 27% Positiveness
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Calum Kennedy
Skyline Of Skye
87 bpm • B Maj • 02:49 • -18.91db
9% Popularity • 24% Danceability • 14% Energy • 16% Liveness
1% Instrumentalness • 18% Positiveness
9% Popularity • 24% Danceability • 14% Energy • 16% Liveness
1% Instrumentalness • 18% Positiveness
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Harry Secombe
I Believe
87 bpm • F Maj • 02:11 • -11db
16% Popularity • 26% Danceability • 37% Energy • 39% Liveness
0% Instrumentalness • 33% Positiveness
16% Popularity • 26% Danceability • 37% Energy • 39% Liveness
0% Instrumentalness • 33% Positiveness
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The Princeton Trio
Tenting Tonight
87 bpm • C# Maj • 02:07 • -24.6db
13% Popularity • 65% Danceability • 2% Energy • 11% Liveness
0% Instrumentalness • 25% Positiveness
13% Popularity • 65% Danceability • 2% Energy • 11% Liveness
0% Instrumentalness • 25% Positiveness
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Ezio Pinza
Some Enchanted Evening
87 bpm • C Maj • 02:57 • -17.83db
19% Popularity • 19% Danceability • 18% Energy • 14% Liveness
33% Instrumentalness • 25% Positiveness
19% Popularity • 19% Danceability • 18% Energy • 14% Liveness
33% Instrumentalness • 25% Positiveness
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Josef Locke
Count Your Blessings
87 bpm • D# Maj • 03:00 • -12db
12% Popularity • 29% Danceability • 17% Energy • 31% Liveness
0% Instrumentalness • 21% Positiveness
12% Popularity • 29% Danceability • 17% Energy • 31% Liveness
0% Instrumentalness • 21% Positiveness
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Jim McCann
Believe Me If All Those Endearing Young ...
87 bpm • C Maj • 02:38 • -8.43db
12% Popularity • 24% Danceability • 33% Energy • 14% Liveness
27% Instrumentalness • 29% Positiveness
12% Popularity • 24% Danceability • 33% Energy • 14% Liveness
27% Instrumentalness • 29% Positiveness
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Arthur Tracey
Pennies from Heaven
87 bpm • C Maj • 03:05 • -22.61db
16% Popularity • 31% Danceability • 6% Energy • 32% Liveness
89% Instrumentalness • 23% Positiveness
16% Popularity • 31% Danceability • 6% Energy • 32% Liveness
89% Instrumentalness • 23% Positiveness
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John McCormack
The Star of the County Down
87 bpm • G min • 02:00 • -15db
18% Popularity • 58% Danceability • 20% Energy • 15% Liveness
0% Instrumentalness • 63% Positiveness
18% Popularity • 58% Danceability • 20% Energy • 15% Liveness
0% Instrumentalness • 63% Positiveness
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Bernard Cribbins
The Bird on the Second Floor
87 bpm • C Maj • 01:49 • -14db
12% Popularity • 76% Danceability • 34% Energy • 19% Liveness
0% Instrumentalness • 81% Positiveness
12% Popularity • 76% Danceability • 34% Energy • 19% Liveness
0% Instrumentalness • 81% Positiveness
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Lawrence Welk
I Love To Tell The Story
87 bpm • F# Maj • 02:24 • -16db
9% Popularity • 18% Danceability • 26% Energy • 14% Liveness
0% Instrumentalness • 18% Positiveness
9% Popularity • 18% Danceability • 26% Energy • 14% Liveness
0% Instrumentalness • 18% Positiveness
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Josef Locke
The Rosary
87 bpm • F Maj • 02:26 • -11.7db
0% Popularity • 20% Danceability • 20% Energy • 10% Liveness
3% Instrumentalness • 12% Positiveness
0% Popularity • 20% Danceability • 20% Energy • 10% Liveness
3% Instrumentalness • 12% Positiveness
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Deanna Durbin
The Last Rose Of Summer
86 bpm • E Maj • 02:24 • -15db
17% Popularity • 26% Danceability • 19% Energy • 22% Liveness
0% Instrumentalness • 24% Positiveness
17% Popularity • 26% Danceability • 19% Energy • 22% Liveness
0% Instrumentalness • 24% Positiveness
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Harry Secombe
Amazing Grace
86 bpm • A Maj • 03:27 • -14db
11% Popularity • 21% Danceability • 30% Energy • 13% Liveness
0% Instrumentalness • 24% Positiveness
11% Popularity • 21% Danceability • 30% Energy • 13% Liveness
0% Instrumentalness • 24% Positiveness
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Barbara Ruick, Shirley Jones,The 20th Century-Fox Orchestra
You'll Never Walk Alone (Finale)
86 bpm • C Maj • 02:02 • -13.84db
24% Popularity • 24% Danceability • 25% Energy • 8% Liveness
0% Instrumentalness • 20% Positiveness
24% Popularity • 24% Danceability • 25% Energy • 8% Liveness
0% Instrumentalness • 20% Positiveness
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Dennis Canario Music
Hallelujah
88 bpm • C Maj • 03:41 • -11.31db
19% Popularity • 25% Danceability • 23% Energy • 15% Liveness
0% Instrumentalness • 11% Positiveness
19% Popularity • 25% Danceability • 23% Energy • 15% Liveness
0% Instrumentalness • 11% Positiveness
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Lawrence Welk
He Touched Me
88 bpm • C Maj • 02:43 • -18.57db
8% Popularity • 40% Danceability • 10% Energy • 11% Liveness
1% Instrumentalness • 23% Positiveness
8% Popularity • 40% Danceability • 10% Energy • 11% Liveness
1% Instrumentalness • 23% Positiveness
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Rhos Male Voice Choir
Myfanwy
88 bpm • C# Maj • 03:28 • -31.31db
14% Popularity • 22% Danceability • 9% Energy • 9% Liveness
97% Instrumentalness • 6% Positiveness
14% Popularity • 22% Danceability • 9% Energy • 9% Liveness
97% Instrumentalness • 6% Positiveness
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Josef Locke
Ireland Must Be Heaven
87 bpm • C# Maj • 03:01 • -11.92db
0% Popularity • 34% Danceability • 18% Energy • 20% Liveness
0% Instrumentalness • 33% Positiveness
0% Popularity • 34% Danceability • 18% Energy • 20% Liveness
0% Instrumentalness • 33% Positiveness
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Andy Stewart
The Battle's O'er
86 bpm • D Maj • 03:08 • -15.37db
19% Popularity • 53% Danceability • 19% Energy • 10% Liveness
0% Instrumentalness • 44% Positiveness
19% Popularity • 53% Danceability • 19% Energy • 10% Liveness
0% Instrumentalness • 44% Positiveness
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Windsor Davies
As Time Goes By
86 bpm • D# Maj • 02:58 • -8.83db
7% Popularity • 49% Danceability • 32% Energy • 16% Liveness
0% Instrumentalness • 55% Positiveness
7% Popularity • 49% Danceability • 32% Energy • 16% Liveness
0% Instrumentalness • 55% Positiveness
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Frank Patterson
Green Green Grass of Home
88 bpm • A# Maj • 03:22 • -11.2db
15% Popularity • 34% Danceability • 44% Energy • 18% Liveness
0% Instrumentalness • 38% Positiveness
15% Popularity • 34% Danceability • 44% Energy • 18% Liveness
0% Instrumentalness • 38% Positiveness
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幸福合唱團
櫻花樹下
86 bpm • E min • 03:32 • -27.16db
8% Popularity • 33% Danceability • 5% Energy • 10% Liveness
28% Instrumentalness • 14% Positiveness
8% Popularity • 33% Danceability • 5% Energy • 10% Liveness
28% Instrumentalness • 14% Positiveness
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Rhos Male Voice Choir
Llef
86 bpm • G min • 04:14 • -21.87db
12% Popularity • 9% Danceability • 10% Energy • 22% Liveness
87% Instrumentalness • 3% Positiveness
12% Popularity • 9% Danceability • 10% Energy • 22% Liveness
87% Instrumentalness • 3% Positiveness
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Josef Locke
Santa Lucia
86 bpm • D# Maj • 03:16 • -11.56db
1% Popularity • 23% Danceability • 13% Energy • 28% Liveness
2% Instrumentalness • 27% Positiveness
1% Popularity • 23% Danceability • 13% Energy • 28% Liveness
2% Instrumentalness • 27% Positiveness
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Andy Stewart
A Scottish Soldier
86 bpm • E Maj • 03:19 • -12.37db
15% Popularity • 46% Danceability • 27% Energy • 11% Liveness
0% Instrumentalness • 46% Positiveness
15% Popularity • 46% Danceability • 27% Energy • 11% Liveness
0% Instrumentalness • 46% Positiveness
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Harry Secombe
Moon River
85 bpm • E Maj • 02:36 • -11.48db
15% Popularity • 23% Danceability • 42% Energy • 40% Liveness
5% Instrumentalness • 19% Positiveness
15% Popularity • 23% Danceability • 42% Energy • 40% Liveness
5% Instrumentalness • 19% Positiveness
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Frank Patterson
The Fields of Athenry
89 bpm • G# Maj • 05:18 • -10.46db
11% Popularity • 25% Danceability • 35% Energy • 11% Liveness
0% Instrumentalness • 17% Positiveness
11% Popularity • 25% Danceability • 35% Energy • 11% Liveness
0% Instrumentalness • 17% Positiveness
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David Lloyd
My Lovely Celia
85 bpm • G# Maj • 02:49 • -22.04db
14% Popularity • 31% Danceability • 3% Energy • 14% Liveness
1% Instrumentalness • 20% Positiveness
14% Popularity • 31% Danceability • 3% Energy • 14% Liveness
1% Instrumentalness • 20% Positiveness
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The Morriston Orpheus Choir
Cwm Rhonda
89 bpm • C Maj • 03:00 • -17.49db
8% Popularity • 17% Danceability • 19% Energy • 35% Liveness
0% Instrumentalness • 30% Positiveness
8% Popularity • 17% Danceability • 19% Energy • 35% Liveness
0% Instrumentalness • 30% Positiveness
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Josef Locke
Strange Music
86 bpm • A# Maj • 03:14 • -9.67db
0% Popularity • 28% Danceability • 23% Energy • 14% Liveness
0% Instrumentalness • 17% Positiveness
0% Popularity • 28% Danceability • 23% Energy • 14% Liveness
0% Instrumentalness • 17% Positiveness
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Jane Froman
With A Song In My Heart
89 bpm • A# Maj • 02:28 • -12db
17% Popularity • 28% Danceability • 26% Energy • 33% Liveness
0% Instrumentalness • 13% Positiveness
17% Popularity • 28% Danceability • 26% Energy • 33% Liveness
0% Instrumentalness • 13% Positiveness
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Kenneth McKellar
My Love Is Like a Red, Red Rose
89 bpm • C# Maj • 03:51 • -19db
13% Popularity • 18% Danceability • 12% Energy • 8% Liveness
0% Instrumentalness • 14% Positiveness
13% Popularity • 18% Danceability • 12% Energy • 8% Liveness
0% Instrumentalness • 14% Positiveness
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Deanna Durbin
Beneath The Lights Of Home
85 bpm • D# Maj • 03:10 • -9db
18% Popularity • 28% Danceability • 28% Energy • 11% Liveness
0% Instrumentalness • 32% Positiveness
18% Popularity • 28% Danceability • 28% Energy • 11% Liveness
0% Instrumentalness • 32% Positiveness
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Sean Dunphy
Two Loves
89 bpm • A Maj • 03:47 • -14.32db
33% Popularity • 52% Danceability • 27% Energy • 18% Liveness
72% Instrumentalness • 38% Positiveness
33% Popularity • 52% Danceability • 27% Energy • 18% Liveness
72% Instrumentalness • 38% Positiveness
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Cast of Oh What A Lovely War
I Want To Go Home
85 bpm • F Maj • 01:38 • -15.73db
10% Popularity • 67% Danceability • 22% Energy • 65% Liveness
0% Instrumentalness • 24% Positiveness
10% Popularity • 67% Danceability • 22% Energy • 65% Liveness
0% Instrumentalness • 24% Positiveness
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Josef Locke
Will The Angels Play Their Harps For Me?
86 bpm • F Maj • 03:27 • -10.98db
0% Popularity • 27% Danceability • 27% Energy • 13% Liveness
0% Instrumentalness • 28% Positiveness
0% Popularity • 27% Danceability • 27% Energy • 13% Liveness
0% Instrumentalness • 28% Positiveness
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Tommaso Tritapepe
We Will Defeat
90 bpm • D Maj • 05:18 • -14db
19% Popularity • 34% Danceability • 19% Energy • 12% Liveness
0% Instrumentalness • 37% Positiveness
19% Popularity • 34% Danceability • 19% Energy • 12% Liveness
0% Instrumentalness • 37% Positiveness
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Andy Stewart
A Scottish Soldier
84 bpm • D# Maj • 03:31 • -15db
11% Popularity • 39% Danceability • 29% Energy • 14% Liveness
0% Instrumentalness • 57% Positiveness
11% Popularity • 39% Danceability • 29% Energy • 14% Liveness
0% Instrumentalness • 57% Positiveness
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Kenneth McKellar
The Star o Rabbie Burns (Bonus Track)
84 bpm • G# Maj • 02:57 • -6.28db
18% Popularity • 32% Danceability • 44% Energy • 12% Liveness
0% Instrumentalness • 34% Positiveness
18% Popularity • 32% Danceability • 44% Energy • 12% Liveness
0% Instrumentalness • 34% Positiveness
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Franz Lehár
Girls Were Made to Love and Kiss - 2003 ...
90 bpm • D# Maj • 03:15 • -14.66db
10% Popularity • 30% Danceability • 19% Energy • 7% Liveness
0% Instrumentalness • 32% Positiveness
10% Popularity • 30% Danceability • 19% Energy • 7% Liveness
0% Instrumentalness • 32% Positiveness
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Ronan Tynan
Danny Boy
90 bpm • F Maj • 04:48 • -10.76db
8% Popularity • 24% Danceability • 20% Energy • 71% Liveness
0% Instrumentalness • 13% Positiveness
8% Popularity • 24% Danceability • 20% Energy • 71% Liveness
0% Instrumentalness • 13% Positiveness
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Josef Locke
Charmaine
89 bpm • F Maj • 03:11 • -12.11db
5% Popularity • 23% Danceability • 17% Energy • 17% Liveness
1% Instrumentalness • 20% Positiveness
5% Popularity • 23% Danceability • 17% Energy • 17% Liveness
1% Instrumentalness • 20% Positiveness
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Jack Cottrell
She's Never Been Seen Since Then
90 bpm • A Maj • 02:37 • -14.89db
15% Popularity • 86% Danceability • 24% Energy • 8% Liveness
0% Instrumentalness • 83% Positiveness
15% Popularity • 86% Danceability • 24% Energy • 8% Liveness
0% Instrumentalness • 83% Positiveness
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Barnbrack
Danny Boy
84 bpm • D Maj • 03:20 • -13db
18% Popularity • 39% Danceability • 26% Energy • 11% Liveness
0% Instrumentalness • 17% Positiveness
18% Popularity • 39% Danceability • 26% Energy • 11% Liveness
0% Instrumentalness • 17% Positiveness
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MGM Studio Orchestra
I Remember It Well
90 bpm • D# Maj • 02:22 • -19.58db
12% Popularity • 45% Danceability • 5% Energy • 13% Liveness
0% Instrumentalness • 29% Positiveness
12% Popularity • 45% Danceability • 5% Energy • 13% Liveness
0% Instrumentalness • 29% Positiveness
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Finbar Wright
Morning Has Broken
83 bpm • D Maj • 02:45 • -13.61db
15% Popularity • 27% Danceability • 18% Energy • 16% Liveness
0% Instrumentalness • 31% Positiveness
15% Popularity • 27% Danceability • 18% Energy • 16% Liveness
0% Instrumentalness • 31% Positiveness
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Windsor Davies
I Don't Want to Set the World on Fire
83 bpm • F Maj • 03:42 • -12.86db
11% Popularity • 57% Danceability • 26% Energy • 9% Liveness
0% Instrumentalness • 39% Positiveness
11% Popularity • 57% Danceability • 26% Energy • 9% Liveness
0% Instrumentalness • 39% Positiveness
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Josef Locke
Cara Mia
89 bpm • C Maj • 02:47 • -9.77db
4% Popularity • 19% Danceability • 33% Energy • 37% Liveness
0% Instrumentalness • 30% Positiveness
4% Popularity • 19% Danceability • 33% Energy • 37% Liveness
0% Instrumentalness • 30% Positiveness
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Bernard Cribbins
Folk Song
83 bpm • F Maj • 02:59 • -12db
8% Popularity • 49% Danceability • 26% Energy • 48% Liveness
0% Instrumentalness • 62% Positiveness
8% Popularity • 49% Danceability • 26% Energy • 48% Liveness
0% Instrumentalness • 62% Positiveness
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Sean Dunphy
The Old Bog Road
83 bpm • D Maj • 03:09 • -10.9db
17% Popularity • 42% Danceability • 42% Energy • 11% Liveness
18% Instrumentalness • 24% Positiveness
17% Popularity • 42% Danceability • 42% Energy • 11% Liveness
18% Instrumentalness • 24% Positiveness
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Sonny Knowles
That's What Life Is All About
83 bpm • E min • 02:56 • -11.03db
8% Popularity • 39% Danceability • 30% Energy • 12% Liveness
18% Instrumentalness • 30% Positiveness
8% Popularity • 39% Danceability • 30% Energy • 12% Liveness
18% Instrumentalness • 30% Positiveness
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John McCormack
When You & I Were Young, Maggie
83 bpm • G# Maj • 03:02 • -14.62db
11% Popularity • 24% Danceability • 24% Energy • 29% Liveness
0% Instrumentalness • 38% Positiveness
11% Popularity • 24% Danceability • 24% Energy • 29% Liveness
0% Instrumentalness • 38% Positiveness
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The Fivepenny Piece
Pete Was a Lonely Dog Who Lived in Centr...
91 bpm • E Maj • 03:29 • -13.47db
10% Popularity • 65% Danceability • 43% Energy • 10% Liveness
0% Instrumentalness • 85% Positiveness
10% Popularity • 65% Danceability • 43% Energy • 10% Liveness
0% Instrumentalness • 85% Positiveness
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Josef Locke
When You're in Love
89 bpm • G Maj • 03:07 • -9.72db
0% Popularity • 27% Danceability • 20% Energy • 42% Liveness
0% Instrumentalness • 34% Positiveness
0% Popularity • 27% Danceability • 20% Energy • 42% Liveness
0% Instrumentalness • 34% Positiveness
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Johnny Ashcroft
It's The Same Old Story
83 bpm • C Maj • 02:49 • -13.79db
11% Popularity • 29% Danceability • 22% Energy • 13% Liveness
0% Instrumentalness • 24% Positiveness
11% Popularity • 29% Danceability • 22% Energy • 13% Liveness
0% Instrumentalness • 24% Positiveness
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Howard Keel
Yesterday When I Was Young
91 bpm • A min • 01:50 • -14.37db
14% Popularity • 53% Danceability • 39% Energy • 41% Liveness
0% Instrumentalness • 60% Positiveness
14% Popularity • 53% Danceability • 39% Energy • 41% Liveness
0% Instrumentalness • 60% Positiveness
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Dickie Rock
From the Candy Store on the Corner
83 bpm • A Maj • 02:38 • -17.09db
29% Popularity • 36% Danceability • 19% Energy • 14% Liveness
0% Instrumentalness • 28% Positiveness
29% Popularity • 36% Danceability • 19% Energy • 14% Liveness
0% Instrumentalness • 28% Positiveness
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John McCormack
Keep the Home Fires Burning
91 bpm • A Maj • 03:07 • -10.62db
15% Popularity • 41% Danceability • 11% Energy • 29% Liveness
0% Instrumentalness • 45% Positiveness
15% Popularity • 41% Danceability • 11% Energy • 29% Liveness
0% Instrumentalness • 45% Positiveness
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The Morriston Orpheus Choir
Swing Low Sweet Chariot
83 bpm • G Maj • 01:40 • -22db
13% Popularity • 26% Danceability • 9% Energy • 12% Liveness
0% Instrumentalness • 21% Positiveness
13% Popularity • 26% Danceability • 9% Energy • 12% Liveness
0% Instrumentalness • 21% Positiveness
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Josef Locke
Macushla
90 bpm • A# Maj • 02:31 • -12.99db
2% Popularity • 33% Danceability • 12% Energy • 11% Liveness
8% Instrumentalness • 18% Positiveness
2% Popularity • 33% Danceability • 12% Energy • 11% Liveness
8% Instrumentalness • 18% Positiveness
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Barnbrack
When I Was a Lad
91 bpm • G Maj • 02:44 • -12db
22% Popularity • 68% Danceability • 41% Energy • 30% Liveness
0% Instrumentalness • 71% Positiveness
22% Popularity • 68% Danceability • 41% Energy • 30% Liveness
0% Instrumentalness • 71% Positiveness
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Frances Black
After the Ball
83 bpm • D Maj • 08:19 • -17db
25% Popularity • 32% Danceability • 12% Energy • 8% Liveness
0% Instrumentalness • 30% Positiveness
25% Popularity • 32% Danceability • 12% Energy • 8% Liveness
0% Instrumentalness • 30% Positiveness
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Marti Webb
In One Of My Weaker Moments
91 bpm • G Maj • 03:46 • -15.8db
14% Popularity • 26% Danceability • 10% Energy • 6% Liveness
0% Instrumentalness • 23% Positiveness
14% Popularity • 26% Danceability • 10% Energy • 6% Liveness
0% Instrumentalness • 23% Positiveness
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Paddy Noonan and His Grand Band
When Irish Eyes Are Smiling / My Wild Ir...
83 bpm • G Maj • 03:20 • -9.06db
16% Popularity • 35% Danceability • 46% Energy • 66% Liveness
0% Instrumentalness • 61% Positiveness
16% Popularity • 35% Danceability • 46% Energy • 66% Liveness
0% Instrumentalness • 61% Positiveness
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Margery MacKay
Climb Ev’ry Mountain - 1965 Original S...
92 bpm • A# Maj • 02:19 • -10.66db
7% Popularity • 21% Danceability • 37% Energy • 12% Liveness
0% Instrumentalness • 13% Positiveness
7% Popularity • 21% Danceability • 37% Energy • 12% Liveness
0% Instrumentalness • 13% Positiveness
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Josef Locke
You Are My Hearts Delight (Land Des Lach...
91 bpm • C# Maj • 03:38 • -10.1db
4% Popularity • 19% Danceability • 24% Energy • 16% Liveness
5% Instrumentalness • 18% Positiveness
4% Popularity • 19% Danceability • 24% Energy • 16% Liveness
5% Instrumentalness • 18% Positiveness
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Flanagan & Allen
Underneath the Arches
92 bpm • F min • 03:27 • -21db
11% Popularity • 35% Danceability • 20% Energy • 38% Liveness
0% Instrumentalness • 41% Positiveness
11% Popularity • 35% Danceability • 20% Energy • 38% Liveness
0% Instrumentalness • 41% Positiveness
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Frank Patterson
Whispering Hope
82 bpm • D# Maj • 03:19 • -10.71db
8% Popularity • 24% Danceability • 38% Energy • 19% Liveness
0% Instrumentalness • 28% Positiveness
8% Popularity • 24% Danceability • 38% Energy • 19% Liveness
0% Instrumentalness • 28% Positiveness
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Harry Secombe
Falling In Love With You
92 bpm • D# Maj • 02:26 • -15.02db
14% Popularity • 28% Danceability • 23% Energy • 9% Liveness
2% Instrumentalness • 30% Positiveness
14% Popularity • 28% Danceability • 23% Energy • 9% Liveness
2% Instrumentalness • 30% Positiveness
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Irwin Kostal
Climb Ev’ry Mountain - Reprise
92 bpm • C Maj • 01:23 • -11.26db
11% Popularity • 13% Danceability • 29% Energy • 12% Liveness
0% Instrumentalness • 31% Positiveness
11% Popularity • 13% Danceability • 29% Energy • 12% Liveness
0% Instrumentalness • 31% Positiveness
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George Formby
Imagine Me on the Maginot Line
92 bpm • D# Maj • 02:46 • -15.48db
13% Popularity • 68% Danceability • 32% Energy • 20% Liveness
2% Instrumentalness • 90% Positiveness
13% Popularity • 68% Danceability • 32% Energy • 20% Liveness
2% Instrumentalness • 90% Positiveness
► Preview
Josef Locke
Galway Bay
83 bpm • F Maj • 03:16 • -13.53db
2% Popularity • 32% Danceability • 8% Energy • 19% Liveness
0% Instrumentalness • 18% Positiveness
2% Popularity • 32% Danceability • 8% Energy • 19% Liveness
0% Instrumentalness • 18% Positiveness
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Deanna Durbin
Always
82 bpm • G# Maj • 03:10 • -14db
12% Popularity • 22% Danceability • 26% Energy • 39% Liveness
5% Instrumentalness • 16% Positiveness
12% Popularity • 22% Danceability • 26% Energy • 39% Liveness
5% Instrumentalness • 16% Positiveness
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L. Reed
My Son
82 bpm • F# Maj • 04:55 • -13.79db
8% Popularity • 25% Danceability • 38% Energy • 92% Liveness
0% Instrumentalness • 33% Positiveness
8% Popularity • 25% Danceability • 38% Energy • 92% Liveness
0% Instrumentalness • 33% Positiveness
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Ernesto de Curtis
Torna a Surriento (Come Back to Sorrento...
92 bpm • D# Maj • 03:18 • -11.71db
0% Popularity • 26% Danceability • 20% Energy • 9% Liveness
32% Instrumentalness • 21% Positiveness
0% Popularity • 26% Danceability • 20% Energy • 9% Liveness
32% Instrumentalness • 21% Positiveness
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The Eric Rogers Chorale and Orchestra
We're Tenting Tonight
82 bpm • E Maj • 03:23 • -23.08db
8% Popularity • 12% Danceability • 13% Energy • 24% Liveness
0% Instrumentalness • 4% Positiveness
8% Popularity • 12% Danceability • 13% Energy • 24% Liveness
0% Instrumentalness • 4% Positiveness
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Mrs Mills
You Are My Sunshine
93 bpm • C Maj • 02:25 • -11.52db
14% Popularity • 69% Danceability • 42% Energy • 19% Liveness
49% Instrumentalness • 92% Positiveness
14% Popularity • 69% Danceability • 42% Energy • 19% Liveness
49% Instrumentalness • 92% Positiveness
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Josef Locke
When It's Moonlight in Mayo
83 bpm • D# Maj • 02:21 • -9.57db
1% Popularity • 33% Danceability • 34% Energy • 26% Liveness
0% Instrumentalness • 39% Positiveness
1% Popularity • 33% Danceability • 34% Energy • 26% Liveness
0% Instrumentalness • 39% Positiveness
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Harry Secombe
The Impossible Dream
92 bpm • D Maj • 02:29 • -10db
10% Popularity • 23% Danceability • 42% Energy • 35% Liveness
2% Instrumentalness • 38% Positiveness
10% Popularity • 23% Danceability • 42% Energy • 35% Liveness
2% Instrumentalness • 38% Positiveness
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Frank Patterson
Danny Boy
82 bpm • E Maj • 04:35 • -11.36db
30% Popularity • 15% Danceability • 28% Energy • 11% Liveness
0% Instrumentalness • 12% Positiveness
30% Popularity • 15% Danceability • 28% Energy • 11% Liveness
0% Instrumentalness • 12% Positiveness
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Alexander Brothers
These Are My Mountains
82 bpm • F Maj • 04:05 • -11.72db
18% Popularity • 50% Danceability • 43% Energy • 33% Liveness
0% Instrumentalness • 49% Positiveness
18% Popularity • 50% Danceability • 43% Energy • 33% Liveness
0% Instrumentalness • 49% Positiveness
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Finbar Wright
Whatever You Believe
81 bpm • C Maj • 04:32 • -14.7db
14% Popularity • 30% Danceability • 19% Energy • 7% Liveness
0% Instrumentalness • 19% Positiveness
14% Popularity • 30% Danceability • 19% Energy • 7% Liveness
0% Instrumentalness • 19% Positiveness
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Andy Stewart
Haste Ye Back
81 bpm • C# Maj • 01:21 • -12.54db
23% Popularity • 54% Danceability • 26% Energy • 10% Liveness
0% Instrumentalness • 76% Positiveness
23% Popularity • 54% Danceability • 26% Energy • 10% Liveness
0% Instrumentalness • 76% Positiveness
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Josef Locke
O Maiden My Maiden
92 bpm • G Maj • 03:01 • -10.3db
5% Popularity • 26% Danceability • 20% Energy • 14% Liveness
0% Instrumentalness • 20% Positiveness
5% Popularity • 26% Danceability • 20% Energy • 14% Liveness
0% Instrumentalness • 20% Positiveness
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Flanagan & Allen
Shine On, Harvest Moon
93 bpm • C min • 02:35 • -19.39db
13% Popularity • 50% Danceability • 7% Energy • 28% Liveness
76% Instrumentalness • 30% Positiveness
13% Popularity • 50% Danceability • 7% Energy • 28% Liveness
76% Instrumentalness • 30% Positiveness
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The Houghton Weavers
The Manchester Rambler
81 bpm • D Maj • 03:40 • -8.71db
11% Popularity • 55% Danceability • 40% Energy • 12% Liveness
0% Instrumentalness • 62% Positiveness
11% Popularity • 55% Danceability • 40% Energy • 12% Liveness
0% Instrumentalness • 62% Positiveness
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Sir Harry Lauder
Roaming in the Gloaming
93 bpm • F# Maj • 03:52 • -11.92db
9% Popularity • 72% Danceability • 32% Energy • 6% Liveness
0% Instrumentalness • 91% Positiveness
9% Popularity • 72% Danceability • 32% Energy • 6% Liveness
0% Instrumentalness • 91% Positiveness
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Kenneth McKellar
The Song of the Clyde
81 bpm • G Maj • 03:13 • -16.64db
11% Popularity • 63% Danceability • 21% Energy • 14% Liveness
0% Instrumentalness • 72% Positiveness
11% Popularity • 63% Danceability • 21% Energy • 14% Liveness
0% Instrumentalness • 72% Positiveness
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環球合唱團
輕搖可愛的馬車
94 bpm • F Maj • 04:17 • -26.9db
12% Popularity • 16% Danceability • 5% Energy • 10% Liveness
0% Instrumentalness • 4% Positiveness
12% Popularity • 16% Danceability • 5% Energy • 10% Liveness
0% Instrumentalness • 4% Positiveness
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Josef Locke
Bless This House
82 bpm • D# Maj • 02:50 • -11.34db
1% Popularity • 35% Danceability • 26% Energy • 15% Liveness
2% Instrumentalness • 25% Positiveness
1% Popularity • 35% Danceability • 26% Energy • 15% Liveness
2% Instrumentalness • 25% Positiveness
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John McCormack
There's a Long, Long Trail
94 bpm • A# Maj • 03:20 • -11.46db
13% Popularity • 38% Danceability • 15% Energy • 14% Liveness
0% Instrumentalness • 23% Positiveness
13% Popularity • 38% Danceability • 15% Energy • 14% Liveness
0% Instrumentalness • 23% Positiveness
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Florrie Forde
Take Me Back To Dear Old Blighty - 1917
94 bpm • F Maj • 02:31 • -14.12db
14% Popularity • 56% Danceability • 24% Energy • 19% Liveness
0% Instrumentalness • 68% Positiveness
14% Popularity • 56% Danceability • 24% Energy • 19% Liveness
0% Instrumentalness • 68% Positiveness
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The Red Army Choir
Наш Вождь
94 bpm • D# Maj • 05:19 • -12.42db
12% Popularity • 13% Danceability • 32% Energy • 15% Liveness
8% Instrumentalness • 32% Positiveness
12% Popularity • 13% Danceability • 32% Energy • 15% Liveness
8% Instrumentalness • 32% Positiveness
