Cameo-Parkway Listed On

Total Page:16

File Type:pdf, Size:1020Kb

Cameo-Parkway Listed On Listed On Victor Gets Cast Perlman Notes Goals Cameo-Parkway LP To "La Belle" Of One-Stop Assn. v NEW YORK—RCA Victor Records NEW YORK—The functions of a American Stock Exchange has acquired the original cast album One-Stop Association, well on its way rights to “La Belle,” first new musical toward being a reality, have been set- appearance of The Orlons’ “The Wah-Watusi,” NEW YORK—The of the forthcoming theatrical season. down by Irv Perlman, of I. J. Morgan Bobby Rydell’s “All The Hits” and Cameo-Parkway Records on the Amer- Arrangements to record “La Belle,” Co., the Philly one-stop, who is head- “I’ll Never Dance Again,” Chubby ican Stock Exchange for the first time which stars Menasha Skulnick, Joan ing the drive for the formation of Checker’s “Dancin’ Party,” The this week (13) is a solid symbol of Diener and Howard Da Silva, were such an organization. They add-up to Dovells’ “Hully Gully Baby” and Jo the diskery’s growth since its incep- completed last week by Gerard better business through unity of man- * tion six years ago. Ann Campbell’s “(I’m The Girl From Oestreicher, the show’s producer, Joe ufacturer, distrib and one-stop. , Wolverton Mountain.” The sale of Class A stock of Cameo- Linhart, Victor’s A&R director of “Here are a few points,” Perlman ^ Parkway on the American Stock Ex- Current chart entry in the LP field Broadway musicals and motion pic- told Cash Box last week, “I would , in for the label is Rydell’s “All The change marks the first time many tures, and Robert L. Yorke, Victor like to make about the association to Hits.” In addition, sales action is re- years that a record company has vice president of the commercial rec- help people understand what our ported on “Mashed Potato Time” by been listed on the exchange. The last ords creation department. functions will be: is believed to label on the exchange Dee Dee Sharp, “Wah-Watusi” by The musical will be recorded on “We as one-stops want to be rec- v have been Decca Records about 15 The Orlons, “Don’t Knock The Twist” Sun., Sept. 23, in RCA Victor’s Web- ognized as being a major factor in the years ago. Label was previously sold by Chubby Checker, “If The Big ster Hall studio. record industry; we want unity in Over-the-Counter. Belle,” with book by Brendan the record business between the man- “La y Bands Were Here Today . Vol. 1 & Disk sales-wise the label is cur- > Gill based on a libretto by the late ufacturer, distributor and one-stop; business with 2” by the Bernie Lowe Orchestra. rently doing Top 100 Bill Hoffman, lyrics by Marshall we wish to keep the distributor with- Barer, score adapted by William Roy in our own markets healthy, and irir from Jacques Offenbach’s “La Belle that way remain in business. Con- ^ Monument Records Plans Expansion; Helene” and directed by Albert trary to other thoughts, we wish to Marre, will open on Broadway at the keep the distributor in business, for Plymouth Theatre, Sept. 18. Prior to he is an important part of our busi- Exits London Group October 1 its arrival in New York, it will have ness and in keeping us in business; a three-week engagement at the Shu- we want to show that we as one-stops HENDERSONVILLE, TENN.—Fred programming staff, to fill another re- bert Theatre in Philadelphia, com- can help build the singles business up*, Foster, president of Monument Rec- gional post. Prior to Oct. 1, a third mencing August 13. to where it should be.” ords, here, last week disclosed the man will be added. “La Belle” marks the first Broad- Summing up, Perlman declared that first in a series of expansion moves Foster and Monument have moved way musical appearance of Menasha “there are many things we can do by the firm. into new quarters of over 4,000 square Skulnick and the second collaboration as a group that would be impossible Enlargement of various depart- feet in the modern Bryant Building of producer Oestreicher and director for us to do as individuals.” ments within Monument Records is here. Located on Highway 31E just Albert Marre, who are currently as- Perlman said that the response to necessary because of the forthcoming west of Hendersonville, the air-con- sociated, in similar roles, with the the One-Stop Association has been disassociation with the London Ameri- ditioned building is owned and was long-running hit, “Milk and Honey,” “overwhelming” and that “our ex- ’ can group. As of Oct. 1, 1962, Monu- constructed by Boudleaux and Felice also cut by Victor. pectations have been greatly ex- ment will become a self-sustaining, Bryant, the songwriters. ceeded.” manufacturing and distributing en- Foster indicated that he is making At the association’s first gathering, "Stop The World . Score tity in the record industry, Foster the personnel additions to enable him set for Chicago’s Palmer House Aug. j said. to concentrate on the A & R segment, Puts The Show Tunes 30, 31 and Sept. 1, the initial meeting, The four-year old firm, which splits which he has headed since forming Back On Singles Perlman noted, will be open only to with the London American group un- Monument. Foster stressed that he one-stops. The first meet is scheduled der the most amiable terms, Foster does not intend to accelerate the re- NEW YORK—Extensive disk cover- for Thurs. (30) from 2 to 5 PM.^ added, is currently making important lease pace nor add a large number age, especially in the singles area, Perlman said he hoped the Fri. (31) personnel moves. Jack Kirby, with of artists, but there will be artist continued last week on the score of meet would see the various manufac- additions more frequently. turers Monument since the firm’s inception Maria “Stop The World . the smash present for the various panel in Baltimore, moves up to national Beale Fletcher, currently Miss Amer- English show soon to appear on discussions. promotion and publications director. ica, has been inked to a Monument Broadway. Not only will Kirby helm the promo- vocal contract, in the first artist Added to singles releases reported Telstar Tune Goes tion effort, but he will be in charge of move. in last week’s Cash Box are dates, an accelerated printed communication either released or on-their-way, by Int'l From Palette and point-of-purchase material pro- Vic Damone (Capitol), Shirley Bas- gram. Columbia & Garner NEW YORK—Palette Records is giv- sey (United Artists), Matt Munro ing an international touch to a tune j As previously revealed, John Sippel, (Liberty), End Dispute Paul Evans (Kapp) and that ties-in with Telstar, the satellite former sales executive with Mercury Buddy Greco (Epic) and Keely Smith that has brought about “live” TV on Records and last with Billboard NEW YORK—Columbia Records and (Dot). an international basis. Music Week in an advertising sales jazz pianist Erroll Garner have In addition to dates already set, The tune, “(Help Me) Telstar,” a capacity, will become director of mar- amicably settled their long-standing Happy Goday, general professional ten-market ditty with a romantic an- keting. Where previously Monument’s dispute, both parties announced last manager of Howie Richmond’s pub- gle, is getting multi-lingual treatment r field staff operated in various cities, week. Under the settlement, details bery setup, which published the “Stop from the label through its various Foster is of which headquartering all regional were not revealed, all court .” The World . score through its foreign affiliations. personnel out of Hendersonville. Joe proceedings by Columbia and Garner Ludlow Music, said last week that he An English version was cut in New Cash, with Monument over two years, will be dropped. The dispute, ranging ^ has been constantly contacted by vari- York last week—featuring a new moves here soon from his former over several years, concerned the re- ous labels requesting copies of the singing duo, The Gee Sisters and home in — Baltimore. Foster is adding lease of Garner LP’s by Columbia that music. Some firms, Goday noted, have rushed into release. Dates are being' B. .1. (Junior) McEhvee formerly as- the performer contended were made asked for individual songs, while made abroad in German, Italian and r sociated with Buddy Dean’s WJZ-TV from tapes that had not been ap- others have ordered the entire score, the Scandinavian, Benelux and other which Goday believes means big LP proved for release by him. tongues for immediate release, ac- coverage of the show’s numbers. cording to Palette’s Irwin Robinson. * Album Best Sellers 29 Goday stated that the strong disk Writer of the number is vet tune- Decca's Vi Year Earnings smith Ervin Drake, co-writer on such Album Plans 47 activity on the score might well be a Up From '61 Period evergreens as “Tico Tico,” “I Be- Album Reviews 30, 31, 32 return to the days when show scores lieve,” “Perdido” and further favor- v Bios for DJs 12 NEW YORK—Decca Records showed received singles attention from many ites. Drake believes the time is ripe Country Music Section 60, 61 more than a $2 million increase in labels, not just the label which had for the acceptance of a tune that j ties-in with significant invention, International Section 52-59 consolidated net earnings during the the original-cast LP. a just like the success accorded such Juke Box Ops Record Guide ...
Recommended publications
  • Summach, the Structure, Function, and Genesis of the Prechorus
    Volume 17, Number 3, October 2011 Copyright © 2011 Society for Music Theory The Structure, Function, and Genesis of the Prechorus (1) Jay Summach NOTE: The examples for the (text-only) PDF version of this item are available online at: http://www.mtosmt.org/issues/mto.11.17.3/mto.11.17.3.summach.php KEYWORDS: popular music, rock music, form, prechorus, sentence, srdc ABSTRACT: Prechoruses emerged in the mid-1960s as verse-chorus and strophic forms converged upon a four-part formal disposition that Everett (1999) calls “statement, restatement, departure, and conclusion,” or srdc. This study traces the expansion of the srdc scheme from its compact deployment in strophes to expanded iterations that approximate verse- chorus form. Received February 2011 [1] This article examines an episode in the evolution of verse-chorus form in pop/rock music. Until the mid-1960s, most verse-chorus songs alternated between the two formal sections from which verse-chorus form takes its name: verses and choruses. Example 1, Mark Dinning’s “Teen Angel,” illustrates the form.(2) As is typical for verse-chorus songs, the focal point of “Teen Angel” is the chorus: it contains the most engaging musical material; its unchanging lyric makes it easy to remember; and it is marked for special attention by additional vocal and instrumental parts. The verses, on the other hand, provide context: each verse advances the song narrative by presenting fresh lyrics; and the music is more modest in instrumentation and intensity so as not to steal attention from the chorus. In “Teen Angel,” the tempo is treated flexibly during the verses, which further distinguishes them from the choruses.
    [Show full text]
  • The Twist”—Chubby Checker (1960) Added to the National Registry: 2012 Essay by Jim Dawson (Guest Post)*
    “The Twist”—Chubby Checker (1960) Added to the National Registry: 2012 Essay by Jim Dawson (guest post)* Chubby Checker Chubby Checker’s “The Twist” has the distinction of being the only non-seasonal American recording that reached the top of “Billboard’s” pop charts twice, separately. (Bing Crosby’s “White Christmas” topped the holiday tree in 1942, 1945, and 1947). “The Twist” shot to No. 1 in 1960, fell completely off the charts, then returned over a year later like a brand new single and did it all over again. Even more remarkable was that Checker’s version was a nearly note-for- note, commissioned mimicry of the original “The Twist,” written and recorded in 1958 by R&B artist Hank Ballard and released as the B-side of a love ballad. Most remarkable of all, however, is that Chubby Checker set the whole world Twisting, from Harlem clubs to the White House to Buckingham Palace, and beyond. The Twist’s movements were so rudimentary that almost everyone, regardless of their level of coordination, could maneuver through it, usually without injuring or embarrassing themselves. Like so many rhythm and blues songs, “The Twist” had a busy pedigree going back decades. In 1912, black songwriter Perry Bradford wrote “Messin’ Around,” in which he gave instructions to a new dance called the Mess Around: “Put your hands on your hips and bend your back; stand in one spot nice and tight; and twist around with all your might.” The following year, black tunesmiths Chris Smith and Jim Burris wrote “Ballin’ the Jack” for “The Darktown Follies of 1913” at Harlem’s Lafayette Theatre, in which they elaborated on the Mess Around by telling dancers, “Twist around and twist around with all your might.” The song started a Ballin’ the Jack craze that, like nearly every new Harlem dance, moved downtown to the white ballrooms and then shimmied and shook across the country.
    [Show full text]
  • Following Hit Trail
    August 4, 1962 50 Cents B1ILLE31:1A11:11111 IN/R..11910 WEEK Music -Phonograph Merchandising Radio -Tv Programming Coin Machine Operating Teen -Angle Albums MUSICBILLBOARD WEEK PAGE ONE RECORDS PAGE ONE RECORD Following Hit Trail SINGLES ALBUMS Blazed by Singles The slight pickup in LP sales which started in mid -July continued last week, sparked mainly by hit LP's with pop * NATIONAL BREAKOUTS * NATIONAL BREAKOUTS artists and a number of movie sound tracks. Though this was true in most markets there were a number of areas where LP SHE'S NOT YOU, ElvisPresley, RCA Victor MONO sales were still sluggish. Where LP business ranged from good 8041 to strong it was the fast sales pace of the hit items, especially ROSES ARE RED, Bobby Vinton, Epic LN 24020 the newer LP's, that created most of thetraffic.Hit LP's appear to be jumping to the top of charts at a much faster rate than they used to, and grabbing sales immediate?), upon STEREO release instead of after a month or two on the market. More and more the LP business, according to dealers,is following * REGIONAL BREAKOUTS No Breakouts This Week. the hit trend of the singles record market, perhaps because so These new records, not yet on BMW's Hot 100, have many of the new albums are teen -oriented. been reported getting strong sales action by dealers Meanwhile, singles business continued to flow its happy in major market(s)listedinparenthesis. way, with dealers and rackers reporting that this summer's 45 * NEW ACTION LP'S sales are the best in the last three summers.
    [Show full text]
  • “Limbo Rock” Is Concerned, There Is No Lower Number
    HOW LOW CAN YOU GO; As far as “Limbo Rock” is concerned, there is no lower number. This week it went from #2 down to #1 while passing the 1,300,000 sales mark. For Chubby Checker it’s another feather in the cap of the young lad who has become the “Dean of Teen Dance.” Just as his “Twist” single and LP’s played a major role in establishing that dance craze earlier in the year, his “Limho” single and “Limbo Party” LP (#35 in its first week on the LP best seller list) are establishing a new fad which the performer demonstrates above. With requests for more Limbo merchan- dise gaining steadily, Cameo/Parkway is scheduling the release of another CC album called “Let’s Limbo Some More.” It was also just announced that Bernie Lowe, president of the rapidly growing Cameo/Parkway Corporation, has signed Chubby to a new five-year contract with the label. HOT AJfllMt^Christmas STEVE LAWRENCE Fthe ballad of 1 SEEIN’ISBELIEVIN JED CLAMPETT EDDIE CARL BUTLER HODGES FLATT AND SCRUGGS L 4-42606 A Also available on single : Ccish Bm Cash Box Vol. XXIV—Number 15 December 22, 1962 FOUNDED BY BILL GERSH Gash Box (Publication Office) 1780 Broadway New York 19, N. Y. (Phone: JUdson 6-2640) CABLE ADDRESS: CASHBOX, N. Y. THE RECORD INDUSTRY JOE ORLECK, President and Publisher NORMAN ORLECK, VP and Managing Director GEORGE ALBERT, VP and Treasurer EDITORIAL—Music MARTY OSTROW, Editor-in-Chief IRA HOWARD, Editor IRV LICHTMAN, Associate Editor 1962 DICK ZIMMERMAN, Editorial Assistant MIKE MARTUCCI, Editorial Assistant BOB ETTINGER, Editorial Assistant POPSIE, Staff Photographer ADVERTISING BOB AUSTIN, National Director, Music JERRY SHIFRIN, N.Y.C.
    [Show full text]
  • Sidestep-Programm - Gesamt 3 - Nach Stilistik
    Sidestep-Programm - Gesamt 3 - nach Stilistik Titel Komponist (Interpret) Stil All Shook Up Otis Blackwell (Elivis Presley) Blues&Rock'n'Roll Before You Accuse Me Ellas McDaniel (Bo Diddley; Eric Clapton) Blues&Rock'n'Roll Blue Suede Shoes (1 for the money...) Carl Lee Perkins Blues&Rock'n'Roll Boom Boom John Lee Hooker Blues&Rock'n'Roll Call It Stormy Monday Aaron "T-Bone" Walker Blues&Rock'n'Roll Crazy Little Thing Called Love Freddie Mercury (Queen) Blues&Rock'n'Roll Dirty Boogie, The Brian Setzer (Brian Setzer Orchestra) Blues&Rock'n'Roll Eight Days a Week John Lennon, Paul McCartney (The Beatles) Blues&Rock'n'Roll Erzherzog Johann Jodler (Wo i geh' und Anton Schosser Blues&Rock'n'Roll steh') Everybody Needs Somebody (To Love) Bert Berns, Solomon Burke, Jerry Wexler (Solomon Burke, Blues Brothers, Rolling Stones, et al.) Blues&Rock'n'Roll Folsom Prison Blues Johnny Cash Blues&Rock'n'Roll Great Balls of Fire (bam-bam-bam-bam) Otis Blackwell, Jack Hammer (Jerry Lee Lewis) Blues&Rock'n'Roll Green Onions Booker T. Jones, Steve Cropper, Al Jackson Jr., Lewie Steinberg (Booker T. & the MG's) Blues&Rock'n'Roll Hello Josephine Fats Domino, Dave Bartholomew (Fats Domino) Blues&Rock'n'Roll Hoch vom Dachstein an (Steirische Jakob Dirnböck, Ludwig Carl Seydler Blues&Rock'n'Roll Landeshymne) Hoochie Coochie Man Willie Dixon (Muddy Waters, Eric Clapton, et al.) Blues&Rock'n'Roll Hound Dog Jerry Leiber, Mike Stoller (Big Mama Thornton, Elvis Presley, et al.) Blues&Rock'n'Roll I Just Wanna Make Love to You Willie Dixon (Etta James) Blues&Rock'n'Roll In die Berg bin i gern Trad.
    [Show full text]
  • A Conversation with the Architects of the Philly Sound, Kenny Gamble & Leon Huff Scott Paton
    Unedited version of Goldmine cover story, Issue #737, Oct. 28, 2008 A conversation with the architects of the Philly Sound, Kenny Gamble & Leon Huff Scott Paton A step into the lobby at 309 S. Broadway in Philadelphia is a step back into time. The gilded, gated doors close as the elevator operator punches the button for the second floor. Moments later, the pulleys and cable come to a stop, and the doors open on to a lobby and offices that seem frozen in time, some 30-odd years ago. To the casual observer, a professional makeover might be in order. But to a fan of early-‘60s pop or ‘70s soul music, the surroundings are resplendent in their untouched glory, a virtual shrine to two creative, indelible eras in recorded history. The home of Cameo-Parkway Records from 1956 to 1967, this building drew aspiring songwriters, from near and far, hoping to pitch their tunes to the likes of Chubby Checker, Bobby Rydell and the Orlons. Among those young hopefuls were poet/lyricist Kenneth Gamble and keyboardist extraordinaire Leon Huff, and while their early attempts to “storm the castle” were often thwarted, they ultimately ascended to become the preeminent writer/producers on the local scene, and the most important force in R&B/Soul music since the heyday of Motown Records. In 1972, they purchased the building for their own enterprise, Philadelphia International Records. As architects of “the Philly Sound”, Gamble & Huff crafted sophisticated funk classics for the O’Jays, Harold Melvin & the Blues, Teddy Pendergrass, the Intruders, Lou Rawls and others that ushered in the Disco Era, setting a standard for dance- friendly, yet lyrical songcraft, that remains unmatched.
    [Show full text]
  • Garrett Stack's American Jukebox Originating on WMNR Fine Arts Radio
    Playlist* Originating on WMNR Fine Arts Radio Garrett Stack’s American Jukebox [email protected] Show #: 195 Broadcast Date: January 24, 2015 Time: 16:00 - 18:00 # Selections: 33 * Playlist is in order by song title, not in order of play. Classic Pop from the ‘50s, ‘60s and Beyond American Jukebox Theme Song Credit: What Did You Do With Your Old 45’s, Bobby Vinton, Bobby Vinton’s Greatest Hits, Curb Records, 1989, by Pam A. Hanna/George Pickard. Special Edition The Cameo-Parkway Story Time Writer(s) Title Artist Disc Label Year Position Comment File Number Intro Track Holiday Release Date Date Played Date Played Copy 3:27 Taylor Angel Of The Morning Evie Sands Cameo-Parkway 1957-1967 [Disc 4] ABKCO 1967 0 Pre-dated Merilee Rush’s #7 version in 1968 RKV 0:12 1 2005 1/24/15 2:24 Mann/Appell Back To School Again Timmie “Oh Yeah” Rogers Cameo-Parkway 1957-1967 [Disc 1] ABKCO 1957 36 BOX Cam/Pkwy 0:09 1/11 2005 8/24/13 1/24/15 2:20 Kal Mann/Dave Appell Bristol Stomp The Dovells Cameo-Parkway 1957-1967 [Disc 1] ABKCO 1961 2 “The kids in Bristol are sharp as pistol when they do the Bristol Stomp.” Quintet from RKV Cameo/Park 0:08 29 2005 10/23/101/24/15 West Philadelphia led by soulful vocals of Len Barry. 2:10 Bernie Lowe/Cal Mann Butterfly Charlie Grace 4-CD Box Cameo/Parkway - Disc 1 ABKCO 1957 1 Covered by Andy WIlliams and went to #1 in 1957 as well.
    [Show full text]
  • Jamaican Migrant and Canadian Host in Toronto's Transnational Re
    King Alpha’s Song in a Strange Land: Jamaican Migrant and Canadian Host in Toronto’s Transnational Reggae Music Scene, 1973-1990 by John Jason Collins Wilson A dissertation Presented to The University of Guelph In partial fulfilment of requirements for the degree of Doctor of Philosophy in History Guelph, Ontario, Canada © John Jason Collins Wilson, May 2013 ABSTRACT King Alpha’s Song in a Strange Land: Jamaican Migrant and Canadian Host in Toronto’s Transnational Reggae Music Scene, 1973-1990 John Jason Collins Wilson Advisor: University of Guelph, 2013 Doctor Catharine Wilson Reggae music facilitated a cultural dialogue between Jamaican migrant and Canadian host in Toronto during the 1970s and 1980s. Exchanges flowed across the city’s ethnic frontier, bridging black and white youth together in an ‘oppositional’ and musical movement. While migrants enacted their Jamaican ethnicity in places where reggae was played, many non-Jamaicans satisfied a curiosity in the music of their migrant friends. This study examines the process of migration of people and music as seen from both the migrant and the host’s perspective. It is as much about black Jamaicans as it is about white Torontonians. Twenty Jamaicans and twenty non-Jamaicans were interviewed for this project. Though reggae became an expected part of Toronto’s musical vernacular, the Canadian version meant different things to different people. Indeed, sometimes the only thread that tied the varied experiences together was that Toronto was the place where reggae happened. Still, as a hybrid, reggae had rather evolved outside of place. It was a transnational musical form, constantly updated by influences traversing the ‘Black Atlantic’ in an on-going and triangular musical conversation.
    [Show full text]
  • Land of 1000 Dances Pt.1 (Die Themenvorstellung) HHTH DANCES01 Land of 1000 Dances Pt.1 (Die Themenvorstellung) HHTH DANCES01
    Land of 1000 Dances Pt.1 (Die Themenvorstellung) HHTH_DANCES01 Land of 1000 Dances Pt.1 (Die Themenvorstellung) HHTH_DANCES01 Nr Titel Label MasterNr. Jahr Nr Titel Jahr CW RB USA GB BRD 03 LAND OF 1000 DANCES (WILSON PICKETT) ATLANTIC 2348 1966 03 LAND OF 1000 DANCES (WILSON PICKETT) 1966- 1 6 22 - 05 THE FLY* (CHUBBY CHECKER) PARKWAY 830 1961 05 THE FLY* (CHUBBY CHECKER) 1961- 11 7 - - C 07 PONY TIME (CHUBBY CHECKER) PARKWAY 818 1961 07 PONY TIME (CHUBBY CHECKER) 1961- 1 1 27 - D 09 DO THE BIRD (DEE DEE SHARP) CAMEO 244 1963 09 DO THE BIRD (DEE DEE SHARP) 1963- 8 10 46 - 11 MONKEY TIME (MAJOR LANCE) OKEH 7175 1963 11 MONKEY TIME (MAJOR LANCE) 1963- 2 8 - - - 13 ROACH (GENE & WENDELL) RAY STARR 777 1961 13 ROACH (GENE & WENDELL) 1961- 14 117 - - L 15 LOCO MOTION (LITTLE EVA) DIMENSION 1000 1962 15 LOCO MOTION (LITTLE EVA) 1962- 1 1 11 23 a 17 LET'S TURKEY TROT (LITTLE EVA) DIMENSION 1006 1963 17 LET'S TURKEY TROT (LITTLE EVA) 1963- 16 20 13 - y 19 WAH WATUSI (ORLONS) CAMEO 218 1962 19 WAH WATUSI (ORLONS) 1962- 5 2 - - o 21 FISH (BOBBY RYDELL) CAMEO 192 1961 21 FISH (BOBBY RYDELL) 1961- - 25 - - u 23 SLUEFOOT (RAY ANTHONY) CAPITOL 3096 1955 23 SLUEFOOT (RAY ANTHONY) 1955- - - - - t 25 SLUEFOOT (FRED ASTAIRE) RCA 47-6140 1955 25 SLUEFOOT (FRED ASTAIRE) 1955- - - - - 27 BILLY BOY BOP (ELIOTT BROTHERS) DISNEYLAND 106 1959 27 BILLY BOY BOP (ELIOTT BROTHERS) 1959- - - - - - 29 MAMBO MUSIK AUS MARTINIQUE (MAX GREGER) POLYDOR (D) 23024 1955 29 MAMBO MUSIK AUS MARTINIQUE (MAX GREGER) 1955- - - - - S 31 BUG DANCE (TRENIERS) OKEH 7012 1953 31 BUG DANCE (TRENIERS) 1953- - - - - C 33 BUCK DANCE RHYTHM (SLIM & SLAM) VOCALION 4521 1939 33 BUCK DANCE RHYTHM (SLIM & SLAM) 1939- - 12 - - H 35 JERSEY BOUNCE (I) (JIMMY DORSEY) DECCA 4288 1942 35 JERSEY BOUNCE (I) (JIMMY DORSEY) 1942- - 9 - - M A L + S C H M A L Land of 1000 Dances Pt.2 (Die Themenvorstellung) HHTH_DANCES02 Land of 1000 Dances Pt.2 (Die Themenvorstellung) HHTH_DANCES02 Nr Titel Label MasterNr.
    [Show full text]