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Songs from American Graffiti

Old 06-11-21, 10:42 PM
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Garfield Cat
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Songs from American Graffiti

"Rock Around the Clock" is a rock and roll song in the 12-bar blues format written by Max C. Freedman and James E. Myers (the latter being under the pseudonym "Jimmy De Knight") in 1952. The best-known and most successful rendition was recorded by Bill Haley & His Comets in 1954 for American Decca. It was a number one single for two months and did well on the United Kingdom charts; the recording also reentered the UK Singles Chart in the 1960s and 1970s.

The recording is widely considered to be the song that, more than any other, brought rock and roll into mainstream culture around the world. The song is ranked No. 159 on the Rolling Stone magazine's list of The 500 Greatest Songs of All Time.

Sonny Dae & The Knights version


Bill Haley & The Comets version


MGM Studio (Movie Blackboard Jungle) version


The European Ensemble String Quartet version


Carl Perkins version


The Isley Brothers version


The Deep River Boys version


Rockabilly Bluegrass Instrumental version


The Ukulele Orchestra of Great Britain version

Philharmonic Wind Orchestra version


MC6 A Capella version


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Old 06-11-21, 10:55 PM
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I have this set as my phone's alert ring tone.


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Old 06-12-21, 08:10 AM
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The song: 16 Candles

"16 Candles" is a 1958 song performed by The Crests and written by Luther Dixon and Allyson R. Khent.

Luther Dixon (August 7, 1931 – October 22, 2009) was an American songwriter, record producer, and singer. Dixon's songs achieved their greatest success in the 1950s and 1960s, and were recorded by Elvis Presley, the Beatles, the Jackson 5, B.B. King, Jerry Lee Lewis, Dusty Springfield, Jimmy Reed and others. As a producer, Dixon helped create the signature sound of the girl group the Shirelles.

Also in 1958, Dixon and Allyson Khent wrote "16 Candles", which was recorded by the Crests and reached #2.

The Crests version


The Renowns version


Stray Cats version


Craig Duncan & The Appalachian Orchestra version


Sha Na Na version


Jackson 5 version


Frankie Valli & The Four Seasons version


Skip Stewart version


Bobby Vee version


Scotty Anderson version

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Old 06-12-21, 01:56 PM
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The song: Runaway

"Runaway" is a number-one Billboard Hot 100 song made famous by Del Shannon in 1961. It was written by Del Shannon and keyboardist Max Crook, and became a major international hit. It is No. 472 on Rolling Stone's list of the 500 Greatest Songs of All Time, compiled in 2010.

Del Shannon


The Cox Family version


Bonnie Raitt version


Elvis Presley version


The Sensational Alex Harvey Band version


The Krokodiloes version


The Zutons version


Tina Arena version


Dion DiMucci version

The Sidekicks version

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Old 06-12-21, 05:38 PM
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Wasn't "I only have eyes for you" in American Grafitti too? I guess it is more of a du-op song, but I like the mood it sets.
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Old 06-12-21, 06:32 PM
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American Graffiti and Boogie Nights - both produced great soundtrack albums containing some of the best tunes of the era portrayed in each movie.
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Old 06-12-21, 11:13 PM
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The song: Why Do Fools Fall In Love

"Why Do Fools Fall in Love" is a song by American rock and roll band Frankie Lymon & the Teenagers that was released on January 10, 1956. It reached No. 1 on the R&B chart, No. 6 on Billboard's Pop Singles chart, and No. 1 on the UK Singles Chart in July. Many renditions of the song by other artists have also been hit records in the U.S., including versions by the Diamonds (in 1956), the Beach Boys (in 1964), and Diana Ross (in 1981).

The song was included in Robert Christgau's "Basic Record Library" of 1950s and 1960s recordings – published in Christgau's Record Guide: Rock Albums of the Seventies (1981) – and ranked No. 314 on the Rolling Stone magazine's list of The 500 Greatest Songs of All Time.

Although early vinyl single releases of "Why Do Fools Fall in Love" credit Frankie Lymon, Herman Santiago, and George Goldner as co-writers of the song, later releases and cover versions were attributed only to Lymon and record producer George Goldner. Goldner's name was later replaced by Morris Levy when Levy bought Goldner's interest in Gee Records, the Teenagers' record company.

After a lengthy court battle, songwriting credits were awarded to original Teenagers members Herman Santiago and Jimmy Merchant in December 1992.

However, in 1996, this ruling was overturned by the Court of Appeals for the 2nd Circuit under the statute of limitations and authorship, because Santiago and Merchant did not bring the case to court soon enough. This gave the song rights back to Lymon and Levy. The current publisher of the song is EMI Music Publishing, which still lists these two as the songwriters.

Frankie Lyman & The Teenagers version


Judy Philbin – Adam Levine version


Frankie Valli & The Four Seasons version


Boys II Men – Jimmy Merchant version


The Overtones version


The Gallahads version


Kenny Rankin version


The Diamonds version


Linda Scott version


The Magnificent Mercury Brothers version


Joni Mitchell version


Under The Streetlamp version


Keli-Anne Brandt version

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Old 06-13-21, 05:15 PM
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The song: That'll Be The Day

"That'll Be the Day" is a song written by Buddy Holly and Jerry Allison. It was first recorded by Buddy Holly and the Three Tunes in 1956 and was re-recorded in 1957 by Holly and his new band, the Crickets. The 1957 recording achieved widespread success. Holly's producer, Norman Petty, was credited as a co-writer, although he did not contribute to the composition.

Many other versions have been recorded. It was the first song recorded (as a demonstration disc) by The Quarrymen, a skiffle group from Liverpool that evolved into The Beatles.

The 1957 recording was certified gold (for over a million US sales) by the Recording Industry Association of America (RIAA) in 1969. It was inducted into the Grammy Hall of Fame in 1998. It was placed in the National Recording Registry, a list of sound recordings that "are culturally, historically, or aesthetically important, and/or inform or reflect life in the United States", in 2005.

Buddy Holly version


The Quarrymen (predecessors to the Beatles) version


Gus MacGregor (Stage production The Buddy Holly Story)


Pat DiNizio version


Dillard-Hartford-Dillard version


Linda Ronstadt version


Skeeter Davis version


Everly Brothers version


Craig Duncan version


Tommy Allsup version


Lynn Anderson version


Pure Prairie League version

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Old 06-13-21, 06:09 PM
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Originally Posted by Garfield Cat View Post
"That'll Be the Day" is a song written by Buddy Holly and Jerry Allison. It was first recorded by Buddy Holly and the Three Tunes in 1956 and was re-recorded in 1957 by Holly and his new band, the Crickets.
Rock and Roll's been going downhill ever since Buddy Holly died.
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Old 06-13-21, 11:17 PM
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The song: At The Hop

"At the Hop" is a 50s pop song written by Artie Singer, John Medora, and David White and originally released by Danny & the Juniors. The song was released in the fall of 1957 and reached number one on the US charts on January 6, 1958, becoming one of the top-selling singles of 1958. "At the Hop" also hit number one on the R&B Best Sellers list. Somewhat more surprisingly, the record reached #3 on the Music Vendor country charts. It was also a big hit elsewhere, which included a number 3 placing on the UK charts.

The song returned to prominence after it was performed by rock and roll revival act Sha Na Na at the 1969 Woodstock Festival and featured in the 1973 coming-of-age teen comedy American Graffiti. Musically, it is notable for combining several of the most popular formulas in 1950s rock'n'roll, the twelve-bar blues, boogie-woogie piano, and the 50s progression.

The original version by Danny & the Juniors was included in Robert Christgau's "Basic Record Library" of 1950s and 1960s recordings, published in Christgau's Record Guide: Rock Albums of the Seventies (1981).

Danny & The Juniors version


Homer & Jethro version


Kingsmen version


Flash Cadillac & The Continental Kids version


Scooter Lee version


Steve Wingfield version


Sha-Na-Na version

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Old 06-14-21, 12:04 AM
  #11  
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My parents had this soundtrack on 8-track. In the fourth grade, I used to sit at their desk in the den, play the soundtrack, and act like Wolfman Jack. I had never actually seen the film. I knew the Wolfman from The Midnight Special, my favorite tv show at the time. At some point I finally got around to seeing the movie, and it became one of my favorites. Clearly, Lucas's best work by a long shot. And the soundtrack is one of the best of all time.
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Old 06-14-21, 08:44 AM
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Fun Easter Egg: Mllner's car's tag said THX 138. George Lucas's first movie was THX 1138.
Also, it was a "little deuce coup"... but Milner did not believe that the Beach Boys were "boss".

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Old 06-14-21, 09:06 AM
  #13  
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Originally Posted by Garfield Cat View Post
The song: Why Do Fools Fall In Love
80's LA girl band The Heaters



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Old 06-14-21, 09:49 AM
  #14  
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Whoa, I had no idea this even existed...



A sequel???

More American Graffiti is a 1979 American coming-of-agecomedy film written and directed by Bill L. Norton. It is the sequel to the 1973 film American Graffiti. Whereas the first film followed a group of friends during the summer evening before they set off for college, this film shows where they end up a few years later.

https://en.wikipedia.org/wiki/More_American_Graffiti
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Old 06-14-21, 10:58 PM
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The song: "The Stroll"

"The Stroll" is a song written by Nancy Lee and Clyde Otis and performed by The Diamonds. It reached No. 1 on the Cashbox chart, #4 on the U.S. pop chart, and #5 on the U.S. R&B chart in 1957.

The song was ranked #48 on Billboard magazine's Top 50 singles of 1958.

Nancy Lee Washington

US songwriter/singer mostly known for co-writing "The Stroll" with Clyde Otis (1957).

Released at least one 7" on ARC Recorders (California).

Clyde Lovern Otis (September 11, 1924 – January 8, 2008), was an American songwriter and record producer, best known for his collaboration with singer Brook Benton, and for being one of the first African-American A&R executives at a major label.

After serving in the Marines during World War II, Otis moved to New York City and inspired by fellow Marine Bobby Troup, best known for "Route 66", began writing songs. Otis' first success was Nat King Cole’s recording of his song "That's All There Is to That", which reached the Billboard Top 20 in 1956.

The Diamonds version


Brenda Lee version


Chubby Checker version


Brandi & The Bobcats version


The Smithereens version


Ken MacIntosh version


The Beatniks version


Jack Pleis & Owen Bradley version

Frankie Avalon version

Adriano Celentano version


Jimmy Nalls version


The Flares version


Trade Martin version


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Old 06-15-21, 07:45 AM
  #16  
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The song: See You In September

"See You in September" is a song written by Sid Wayne and Sherman Edwards. It was first recorded by the Pittsburgh vocal group The Tempos. This first version peaked at #23 in the summer of 1959. The most popular take on "See You In September" was by The Happenings in 1966, which reached #3.

Sid Wayne would recall the song's inception: "I was in the habit of going from my home on Long Island every day to Brill Building, in the Times Square area of New York City [to] meet with different songwriters there. We'd eat at Jack Dempsey's or The Turf Restaurant and then we'd go up to one of the publishers' offices and work in the piano room. We'd sit around saying to each other, 'What do you want to write today? A hit or a standard?'" At 11 a.m. on a Friday in June 1959 Wayne thus met up with Sherman Edwards: "he said, 'What do you want to write?' 'I'd like to write a song called See You in September,"' I said. We talked it back and forth and I think I may have contributed part of the opening music, but with Sherman it didn't matter, because he could throw me back half the lyric – that's how he worked. I think probably by two in the afternoon we got the song finished. It needed to be written; it was like boiling inside of us."

By 4:30 p.m. that day, Wayne and Edwards had reworked their composition, simplifying it so as to appeal to the teen demographic, and proceeded to make the rounds of publishers to pitch the song which, after one rejection, met with an enthusiastic reception from Jack Gold, owner of the local Paris label; by 8 p.m. he had telephoned the Tempos1 in their hometown of Pittsburgh. The group had been flown into New York City by the next day, Saturday. Sid Wayne: "By Monday the record was cut [with the Billy Mure orchestra], test pressings were Thursday, and by Friday the song was played on WNEW in New York. The thing took off like wildfire… Five hundred dollars to split between the two of us [i.e., Wayne & Edwards] … was a damn good week's pay in 1961."

In fact, the Tempos' "See You in September" failed to become a hit in the New York City area and despite breaking in San Francisco in June 1959, the single did not reach the national charts until that July. Despite a subsequent swift ascent of the Billboard Hot 100, the single's momentum fell sharply at the end of August 1959 with a resultant #23 peak. Although overshadowed by the Happenings' #3 remake, the Tempos' version of "See You in September" did gain considerable currency in 1973 by virtue of its inclusion on the American Graffiti soundtrack.

Bob Miranda of the Happenings recalls that he and the other members of the group considered the original version of "See You in September", which was "sort of a slow Cha-Cha – a great song and kind of a bad record. We always looked for that. If you want to revise something and put your own sound to it, I think you should look for a great song that was not a great record." Recorded in the spring of 1966, the Happenings' version of "See You in September" was produced by Bob Crewe for the B.T. Puppy label, though the label credits the producer to "Bright Tunes Productions. Breaking out in Boston, where the track reached the Top Ten that June, "See You in September" accrued enough national support to enter the Billboard Hot 100 that July to reach that chart's Top Ten the third week of August 1966. Despite peaking at #3 the first week of September 1966, the single had enough staying power to remain in the Top Ten throughout the rest of the month. That December, the Happenings were awarded a Gold disc for "See You in September’s selling a million units. The single became a hit in Brazil, appearing at #1 on the chart for Rio de Janeiro in January 1967. In June 1967 the Happenings were invited to participate in the Sanremo Music Festival, where they performed it in Italian as "Aria de Settembre".

The Tempos version




The Happenings version


Debby Boone version


Shelley Fabares version


Bobby Rydell version


The Mike Curb Congregation version


Gato version


The Happenings (Brazil-Portuguese) version


Les Surfs version


The Jordans version


The Symbols version

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Old 06-15-21, 06:58 PM
  #17  
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The song: Surfin' Safari

"Surfin' Safari" is a song by American rock band the Beach Boys, written by Brian Wilson and Mike Love. Released as a single with "409" in June 1962, it peaked at number 14 on the Billboard Hot 100. The song also appeared on the 1962 album of the same name.

The Beach Boys first recorded the song at World Pacific Studios on February 8, 1962 in what was the band's second ever recording session. However, the recordings from that session, engineered by Hite Morgan, would ultimately remain unreleased until the late Sixties. The only difference instrumentally on this early version as opposed to the officially released version was the presence of Al Jardine on guitar instead of David Marks.

The instrumental track as well as the vocals for the officially released version were recorded at Western Recorders on April 19, 1962. The session, produced by Brian, featured David Marks and Carl Wilson on guitar; Brian Wilson on bass guitar and Dennis Wilson on drums. The song features Mike Love on lead vocals with backing vocals by Brian, Carl & Dennis Wilson and Mike Love. Also recorded during that session were "409", "Lonely Sea" and "Their Hearts Were Full Of Spring". This session was recorded and given to Capitol Records as a demo tape. The label was impressed and immediately signed the band to their first major label contract. "Surfin' Safari" and "409" would be the band's first single to be issued under Capitol Records.

Beach Boys version


Jan & Dean version


Annette version


Grant Geissman, Jim Cox, Randy Landas, Tom Walsh, Fred Selden version


Ramones version


Rockapella version


The Challengers version


Super Ratones version


Janne Lucas version


Steel Drum Island version


The Surphonics version

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Old 06-17-21, 06:08 AM
  #18  
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The song: (He's) The Great Imposter

"(He's) The Great Imposter" is a 1961 song by The Fleetwoods. The song was written by Sharon Sheeley and Jackie DeShannon. It reached #30 on the Billboard Hot 100. One of the musicians on the song was session drummer Earl Palmer.

Sharon Kathleen Sheeley (April 4, 1940 – May 17, 2002) was an American songwriter who wrote songs for Glen Campbell, Ricky Nelson, Brenda Lee, and Sheeley's former fiancé, Eddie Cochran.

Jackie DeShannon (born Sharon Lee Myers, August 21, 1941) is an American singer-songwriter with a string of hit song credits from the 1960s onwards, as both singer and composer. She was one of the first female singer-songwriters of the Rock and Roll period. She is best known as the singer of "What the World Needs Now Is Love" and "Put a Little Love in Your Heart", and as the composer of "When You Walk in the Room" and "Bette Davis Eyes", which were covered by The Searchers and Kim Carnes, whose versions have been hits for both these acts.

Earl Cyril Palmer (October 25, 1924 – September 19, 2008) was an American drummer and one of the inventors of Rock and Roll.[1] He is a member of the Rock and Roll Hall of Fame.

Palmer was one of the most prolific studio musicians of all time and played on thousands of recordings, including nearly all of Little Richard's hits, all of Fats Domino's hits, "You've Lost That Lovin' Feelin'" by The Righteous Brothers, and a long list of classic TV and film soundtracks. According to one obituary, "his list of credits read like a Who's Who of American popular music of the last 60 years".

The Fleetwoods version


Lightspeed Champion version


P.J. Proby version

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Old 06-18-21, 07:53 AM
  #19  
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The song: Almost Grown

"Almost Grown" is a song written and recorded by Chuck Berry. It was released as a double A-side (1959) with "Little Queenie". The song is featured in the 1973 film American Graffiti.

The background vocals on Berry's recording are by Etta James and The Marquees aka Harvey & the New Moonglows, featuring the young Marvin Gaye.

Chuck Berry version


Ronnie Wood & His Wild Five version


Lovin’ Spoonful version


David Bowie version


Mary Kay Place version


Max Merritt version


The Ivy League version


Syndicate of Sound version


Eddie Angel & The Hi-risers version


Eddie Mitchell version

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Old 06-19-21, 10:09 PM
  #20  
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The song: Smoke Gets In Your Eyes

"Smoke Gets in Your Eyes" is a show tune written by American composer Jerome Kern and lyricist Otto Harbach for the 1933 musical Roberta. The song was sung in the Broadway show by Tamara Drasin. Its first recorded performance was by Gertrude Niesen, who recorded the song with orchestral direction from Ray Sinatra, Frank Sinatra's second cousin, on October 13, 1933. Niesen's recording of the song was released by Victor, with the B-side, "Jealousy", featuring Isham Jones and his Orchestra.[2]

Paul Whiteman had the first hit recording of the song on the record charts in 1934.

The song was reprised by Irene Dunne, who performed it in the 1935 film adaptation of the musical co-starring Fred Astaire, Ginger Rogers, and Randolph Scott. The song was also included in the 1952 remake of Roberta, Lovely to Look At, in which it was performed by Kathryn Grayson, and was a number 1 chart hit in 1959 for The Platters.

The Platters version


Gertrude Niesen version


Tamara Drasin version


Voctave version


Artie Shaw version


Giuni Russo version


Dinah Washington version


The Lettermen version


Ray Conniff Singers – Lacy Dalton version


Barbra Streisand version


Pearl Django version


Kitty Carlisle version


Claudio Villa version


Jo Stafford version


Bud Shank version


Connee Boswell version


Boots Randolph version


Maria Augusta version


Arturo Sandoval version


Emilie-Claire Barlow version

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Old 06-20-21, 07:53 AM
  #21  
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The song: Little Darlin'

"Little Darlin'" is a popular Top 40 song, made famous by the Diamonds.

It was written by Maurice Williams with both melody and doo-wop accompaniment strongly emphasizing the clave rhythm. It was first recorded by Excello Records in January 1957 and quickly released as a rhythm-and-blues song by Williams' R&B group, the Gladiolas. The song is noted for its spoken recitation by the lead singer ("My Darlin' I need you..."). The Gladiolas, featuring Williams, were from Lancaster, South Carolina, where they had been together since high school. Their original version of the song was on the small Excello label. (Excello primarily recording "swamp blues" songs in Crowley, Louisiana.) The Gladiolas song peaked at No. 11 on the R&B charts in April 1957, but barely dented the hot 100. By 1959, Williams' group became "Maurice Williams and the Zodiacs" with the rock 'n roll-R&B hit "Stay."

The Gladiolas' version was included in Robert Christgau's "Basic Record Library" of 1950s and 1960s recordings, published in Christgau's Record Guide: Rock Albums of the Seventies (1981).

The Diamonds' successful cover version followed a month later. The Diamonds were a Canadian pop group that evolved into a doo-wop group. The Diamonds' version reached number two in sales for eight weeks on the Billboard Hot 100. Billboard ranked this version as the No. 3 song for 1957.

The Diamonds' version is generally considered superior. Allmusic critic Stephen Thomas Erlewine argues that the Diamonds Little Darlin' is an unusual example of a cover being better than the original:

The Diamonds' take remained the bigger hit, and over the years, the better-known version. Normally, this would have been an outrage, but there's a reason why the Diamonds' version has sustained its popularity over the years: it's a better, fiercer recording. Both versions are good, even if they're a little silly, because it's a good doo wop song, giving each member of the quartet a lot to do. At times, the vocal phrases verge on self-parody – the "ai-ya-yi-yai-yai-ya"'s or the "wella-wella"'s – which may be why The Diamonds' version is superior.

On the Pop Chronicles, host John Gilliland claimed that their version was in fact a parody of the genre. Nonetheless, Little Darlin' (primarily the Diamonds' version, but to some extent the Gladiolas' version) remains an all-time rock 'n roll R&B classic.

The Gladiolas – Maurice Williams version


The Diamonds version


Wayne Fontana & The Mindbenders version


The Delltones version


The Four Seasons version


Dúo Dinámico version


Giganti version


Joan Baez version


Elvis Presley version


Conny version


Lana Bittencourt version


The Diamonds version


Betinho version


The Del Prados version

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Old 06-20-21, 09:25 AM
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Originally Posted by Garfield Cat View Post
The song: Little Darlin'

"Little Darlin'" is a popular Top 40 song, made famous by the Diamonds.
Probably the first time I ever heard the iconic Cuban clave rhythm (the 3-2 cowbell or sticks: X X X - XX )
Early R&R borrowed a lot from Latin music as well as Negro blues.
You can still spot that clave in new songs today.
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Old 06-20-21, 06:48 PM
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The song: Peppermint Twist

"Peppermint Twist" is a song written by Joey Dee and Henry Glover, recorded and released by Joey Dee and the Starliters in 1961. Capitalizing on the Twist dance craze and the nightclub in which Dee performed ("The Peppermint Lounge"), the song hit #1 on the U.S. Billboard Hot 100 in early 1962. The original recording of the song was considered too long for release on a 45-rpm single, so it was split into two parts. It was this first part, "Peppermint Twist (Part 1)", with a length of 2:03, which became the #1 hit; the mostly instrumental second half of the recording is rarely heard today.

"Peppermint Twist" replaced Chubby Checker's "The Twist," the song that sparked the Twist fad, at the #1 position. A version by Bill Haley & His Comets was recorded for Armed Forces Radio in 1962 but was not released until 2000.

The lead singer in the Starliters' version is David Brigati, whose brother, Eddie Brigati, was a singer for the 1960s pop group the (Young) Rascals. The other personnel on the record included Carlton Lattimore on organ, Billy Butler on guitar, Jerome Richardson on sax, and Don Martin on drums.

The song was covered by the 1970s glam rock band Sweet, whose version topped the Australian singles chart in 1974, and was included in their successful album Sweet Fanny Adams. Catarina Valente reached #8 in Germany with her cover version in 1962.



Joey Dee & The Starliters version


The Sweet version


Carlinhos Borba Gato version


The Rapiers version


Bobby Stevens version


Keely Smith version


Duane Eddy version


The Cousins version


Caterina Valente – Silvio Francesco version

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Old 06-22-21, 06:04 AM
  #24  
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The song: Barbara Ann

"Barbara Ann" is a song written by Fred Fassert that was first recorded by the Regents as "Barbara-Ann". Their version was released in 1961 and reached number 13 on the Billboard Hot 100 chart. The more famous version was recorded by the Beach Boys for their 1965 album Beach Boys' Party!. In December, "Barbara Ann" was issued as a single with the B-side "Girl Don't Tell Me", peaking at number 2 in the U.S. and number 3 in the UK.

The Beach Boys recorded their version on September 23, 1965. Dean Torrence of Jan and Dean is featured on lead vocals along with Brian Wilson. Torrence is not credited on the album, but Carl Wilson is heard saying "Thanks, Dean" at the song's conclusion. Capitol's Al Coury rush-released "Barbara Ann" as a single without informing the band, after the relatively poor performance of the group's previous disc, "The Little Girl I Once Knew".

Fred Fassert (born 1935) is most famously known as the writer of the popular song "Barbara Ann," which was originally written for the band that he was in at the time, The Regents. In 1961, the song reached #13 on the Billboard Hot 100 chart. It was covered by other artists, including the Beach Boys on their 1965 album, Beach Boys' Party!, with the single reaching #2 on the Billboard chart. Fassert wrote "Barbara Ann" for his sister, Barbara Ann Fassert. His brother, Chuck Fassert, was the original 2nd tenor of the Regents.

The Regents version


The Beach Boys version


Jan & Dean version


The Who version


Musical Island Boys version


New Symphonic Orchestra version


The Barberettes version


The Alley Cats version


MC6 A Capella version


4:2: Five version


Aqualas version


Flamingokvintetten version


D-Mark-Pur version


Die Strandjungs version

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Old 06-22-21, 06:45 AM
  #25  
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The song: Who Wrote The Book Of Love

"Book of Love" (also titled "(Who Wrote) The Book of Love") is a rock and roll / doo-wop song, originally by The Monotones. It was written by three members of the group, Warren Davis, George Malone and Charles Patrick.

Lead singer Charles Patrick heard a Pepsodent toothpaste commercial with the line "you'll wonder where the yellow went"/ when you brush your teeth with Pepsodent", which inspired him to come up with, "I wonder, wonder, wonder who, who wrote the book of love". He worked it up into a song with Davis and Malone. The "boom" part of the song was a result of a kid kicking a ball against the garage while they were rehearsing. It sounded good, so they added it to the song.

In September 1957, the Monotones recorded "The Book of Love"; it was released on the Mascot label in December that year. The small record company could not cope with its popularity, and it was reissued on Chess Records' subsidiary Argo label in February 1958. On the Billboard charts, "The Book of Love" peaked at No. 5 on the pop chart and No. 3 on the R&B chart. Outside the US, the song reached No. 5 in Australia.

The Monotones formed in 1955 when the seven original singers, all residents of the Baxter Terrace housing project in Newark, New Jersey, began performing covers of popular songs.

They all began singing with the New Hope Baptist Choir, directed by Cissy Houston, who was related to the Patrick brothers. The group launched their career with a 1956 appearance on Ted Mack's Amateur Hour television program, winning first prize for their rendition of The Cadillacs' "Zoom".

The Monotones disbanded in 1962.

The Monotones version


MC6 A Capella version


The Corsairs version


Cliff Richard version


The Marcels version


Tiny Yong version


Frankie Valli & The Four Seasons version


The Mudlarks version


Tomas Nicholas version


The Raindrops version


Elena Lukášová, Petr Janda, Vladimír Popelka version

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