Special Feature Street Sounds Mp3, Flac, Wma

Total Page:16

File Type:pdf, Size:1020Kb

Special Feature Street Sounds Mp3, Flac, Wma Special Feature Street Sounds mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Folk, World, & Country Album: Street Sounds Country: US Released: 2003 MP3 version RAR size: 1367 mb FLAC version RAR size: 1855 mb WMA version RAR size: 1585 mb Rating: 4.4 Votes: 525 Other Formats: DMF FLAC MIDI AIFF AA AU DTS Tracklist Hide Credits Hello Mary Lou 1 Written-By – Gene Pitney 409 2 Written-By – Brian Wilson, Gary Usher Tears On My Pillow 3 Written-By – Al Lewis, Sylvester Bradford Sherry 4 Written-By – Bob Gaudio Up On The Roof 5 Written-By – Goffin And King Surfer Girl 6 Written-By – Brian Wilson When Will I Be Loved 7 Written-By – Phil Everly Runaway 8 Written-By – Del Shannon, Max Crook Calendar Girl 9 Written-By – Greenfield & Sedaka The Night Has A Thousand Eyes 10 Written-By – Ben Weisman , Dotty Wayne, Marilyn Garrett Blue Moon 11 Written-By – Rodgers & Hart Why Do Fools Fall In Love 12 Written-By – Frankie Lymon, George Goldner, Herman Santiago 13 This Is A Song From The Fifties Our Day Will Come 14 Written-By – Bob Hilliard, Mort Garson 15 Honda Credits Producer – Special Feature Notes Acappella Other versions Category Artist Title (Format) Label Category Country Year Special Street Sounds (CD, Naked Voice 505120800198 505120800198 US 2003 Feature Album) Records Related Music albums to Street Sounds by Special Feature Frankie Lymon - Why Do Fools Fall In Love / I'm Not A Juvenile Delinquent The Beach Boys - The Beach Boys: 1962-1967 Gary Usher - Add Some Music To Your Day (A 1970 Symphonic Tribute To Brian Wilson) The Beach Boys - Shut Down Volume 2 The Teenagers Featuring Frankie Lymon - Why Do Fools Fall In Love / Please Be Mine The Beach Boys - Surfer Girl The Beach Boys - Fun, Fun, Fun The Beach Boys - Close-Up.
Recommended publications
  • Merchant, Jimmy Merchant, Jimmy
    Fordham University Masthead Logo DigitalResearch@Fordham Oral Histories Bronx African American History Project 4-7-2006 Merchant, Jimmy Merchant, Jimmy. Interview: Bronx African American History Project Fordham University Follow this and additional works at: https://fordham.bepress.com/baahp_oralhist Part of the African American Studies Commons Recommended Citation Merchant, Jimmy. 7 April 2006. Interview with the Bronx African American History Project. BAAHP Digital Archive at Fordham. This Interview is brought to you for free and open access by the Bronx African American History Project at DigitalResearch@Fordham. It has been accepted for inclusion in Oral Histories by an authorized administrator of DigitalResearch@Fordham. For more information, please contact [email protected]. Interviewee: Jimmy Merchant Interviewers: Alessandro Buffa, Loreta Dosorna, Dr. Brian Purnell, and Dr. Mark Naison Date: April 7, 2006 Transcriber: Samantha Alfrey Mark Naison (MN): This is the 154th interview of the Bronx African American History Project. We are here at Fordham University on April 7, 2006 with Jimmy Merchant, an original and founding member of Frankie Lymon and the Teenagers, who has also had a career as an artist. And with us today, doing the interviews, are Alessandro Buffa, Lorreta Dosorna, Brian Purnell, and Mark Naison. Jimmy, can you tell us a little about your family and where they came from originally? Jimmy Merchant (JM): My mom basically came from Philadelphia. My dad – his family is from the Bahamas. He – my dad – was shifted over to the south as a youngster. His mother was from the Bahamas and she moved into the South – South Carolina, something like that – and he grew up there.
    [Show full text]
  • 100 Years: a Century of Song 1950S
    100 Years: A Century of Song 1950s Page 86 | 100 Years: A Century of song 1950 A Dream Is a Wish Choo’n Gum I Said my Pajamas Your Heart Makes / Teresa Brewer (and Put On My Pray’rs) Vals fra “Zampa” Tony Martin & Fran Warren Count Every Star Victor Silvester Ray Anthony I Wanna Be Loved Ain’t It Grand to Be Billy Eckstine Daddy’s Little Girl Bloomin’ Well Dead The Mills Brothers I’ll Never Be Free Lesley Sarony Kay Starr & Tennessee Daisy Bell Ernie Ford All My Love Katie Lawrence Percy Faith I’m Henery the Eighth, I Am Dear Hearts & Gentle People Any Old Iron Harry Champion Dinah Shore Harry Champion I’m Movin’ On Dearie Hank Snow Autumn Leaves Guy Lombardo (Les Feuilles Mortes) I’m Thinking Tonight Yves Montand Doing the Lambeth Walk of My Blue Eyes / Noel Gay Baldhead Chattanoogie John Byrd & His Don’t Dilly Dally on Shoe-Shine Boy Blues Jumpers the Way (My Old Man) Joe Loss (Professor Longhair) Marie Lloyd If I Knew You Were Comin’ Beloved, Be Faithful Down at the Old I’d Have Baked a Cake Russ Morgan Bull and Bush Eileen Barton Florrie Ford Beside the Seaside, If You were the Only Beside the Sea Enjoy Yourself (It’s Girl in the World Mark Sheridan Later Than You Think) George Robey Guy Lombardo Bewitched (bothered If You’ve Got the Money & bewildered) Foggy Mountain Breakdown (I’ve Got the Time) Doris Day Lester Flatt & Earl Scruggs Lefty Frizzell Bibbidi-Bobbidi-Boo Frosty the Snowman It Isn’t Fair Jo Stafford & Gene Autry Sammy Kaye Gordon MacRae Goodnight, Irene It’s a Long Way Boiled Beef and Carrots Frank Sinatra to Tipperary
    [Show full text]
  • Music I Begins at 9 P.M
    26 Greenfield Recorder, Thursday, April 25, 198S • £ A Ifilllil ii ) Leisure Calendar is a free public service provided by ________ shop, "The Old Maid and the Thief," by Gian Carolo Me-* the Greenfield Recorder for its readers. notti. 8 p.m. Recital Hall, Arts Center on Brickyard Pond- Individuals and organizations are invited to submit infor­ Free admission. mation for publical.on. All material must include: date, time, location, admission price, sponsor and a brief de­ scription of the event. Deadline is 10 days before publica­ Dance tion date. Events must be open to the public. Photographs I are welcome and should be black-and-white glossies. Be THE MONADNOCK FOLKLORE SOCIETY sponsors *\ sure to include proper identification on photos. If you contra dance in Greenfield (N.H.) Town Hall, 8 to 11:30c would like your photo returned, enclose a self-addressed p.m. Potluck supper at 7 p.m. Beginners welcome. Ad-r stamped envelope. mission $3. \ Send information, to: Leisure Calendar, Greenfield Re­ corder, 14 Hope St., Greenfield, Mass. 01301 or call 772- i 0261 (Ext. 316). Films Because space varies from week to week, we regret that we cannot guarantee that all listings will be printed. ACTOR'S THEATER, 2 Flat St., BratUeboro, Vt.; "A Boy- and His Dog," 197S underground science-fiction film ocu survival after nuclear war. Latchis Ballroom, 7 p.m./, Continues April 28 and May 4 and 5. >; -rfc Clubs * CALVIN'S, Fiske Avenue, Greenfield: The Mix. Music I begins at 9 p.m. $2 cover charge. ST AGE WEST: "The Good Doctor," by Neil Simon.
    [Show full text]
  • Fear of the American Teenager
    FEAR OF THE AMERICAN TEENAGER OVERVIEW ESSENTIAL QUESTION What made the teenager a source of anxiety during the 1950s? OVERVIEW After World War II, America experienced unparalleled growth and prosperity. The children born during the early years of the postwar “baby boom” were becoming teenagers by the late 1950s. Because of the burgeoning economy, many middle-class teens had more leisure time and more spending power than previous generations of young people. As examined in the Birth of American Teenager lesson, teenagers of the 1950s began exerting a growing influence on American life and commerce. But the rapid rise of this growing demographic also unleashed a wave of anxiety among adults. It was a fear both real and imagined. The number of crimes committed by teenagers was, in fact, rising throughout the nation. But there was also a level of intense anxiety that seemed unwarranted concerning the new power of the emerging teen demographic. Teenagers seemed to be challenging the social fabric of America. Many questioned, and even blamed, movies, comic books, and Rock and Roll for its influence on the rising misbehavior of youth. According to a lengthy report on juvenile delinquency in the 1955 Saturday Evening Post, crime committed by teenagers increased by a drastic 45% between 1950 and 1955. There were more extreme cases of teenage violence as well, like that of Charlie Starkweather, a white teenager from a working class family in Lincoln, Nebraska. When Starkweather went on a two-month murder spree in 1958, killing eleven people in the Midwest, his gruesome actions challenged the notion that teenage crime was relegated to poor, urban areas.
    [Show full text]
  • Skyline Orchestras
    PRESENTS… SKYLINE Thank you for joining us at our showcase this evening. Tonight, you’ll be viewing the band Skyline, led by Ross Kash. Skyline has been performing successfully in the wedding industry for over 10 years. Their experience and professionalism will ensure a great party and a memorable occasion for you and your guests. In addition to the music you’ll be hearing tonight, we’ve supplied a song playlist for your convenience. The list is just a part of what the band has done at prior affairs. If you don’t see your favorite songs listed, please ask. Every concern and detail for your musical tastes will be held in the highest regard. Please inquire regarding the many options available. Skyline Members: • VOCALS AND MASTER OF CEREMONIES…………………………..…….…ROSS KASH • VOCALS……..……………………….……………………………….….BRIDGET SCHLEIER • VOCALS AND KEYBOARDS..………….…………………….……VINCENT FONTANETTA • GUITAR………………………………….………………………………..…….JOHN HERRITT • SAXOPHONE AND FLUTE……………………..…………..………………DAN GIACOMINI • DRUMS, PERCUSSION AND VOCALS……………………………….…JOEY ANDERSON • BASS GUITAR, VOCALS AND UKULELE………………….……….………TOM MCGUIRE • TRUMPET…….………………………………………………………LEE SCHAARSCHMIDT • TROMBONE……………………………………………………………………..TIM CASSERA • ALTO SAX AND CLARINET………………………………………..ANTHONY POMPPNION www.skylineorchestras.com (631) 277 – 7777 DANCE: 24K — BRUNO MARS A LITTLE PARTY NEVER KILLED NOBODY — FERGIE A SKY FULL OF STARS — COLD PLAY LONELY BOY — BLACK KEYS AIN’T IT FUN — PARAMORE LOVE AND MEMORIES — O.A.R. ALL ABOUT THAT BASS — MEGHAN TRAINOR LOVE ON TOP — BEYONCE BAD ROMANCE — LADY GAGA MANGO TREE — ZAC BROWN BAND BANG BANG — JESSIE J, ARIANA GRANDE & NIKKI MARRY YOU — BRUNO MARS MINAJ MOVES LIKE JAGGER — MAROON 5 BE MY FOREVER — CHRISTINA PERRI FT. ED SHEERAN MR. SAXOBEAT — ALEXANDRA STAN BEST DAY OF MY LIFE — AMERICAN AUTHORS NO EXCUSES — MEGHAN TRAINOR BETTER PLACE — RACHEL PLATTEN NOTHING HOLDING ME BACK — SHAWN MENDES BLOW — KE$HA ON THE FLOOR — J.
    [Show full text]
  • The Sock Hop and the Loft: Jazz, Motown, and the Transformation of American Culture, 1959-1975
    The Sock Hop and the Loft: Jazz, Motown, and the Transformation of American Culture, 1959-1975 The Commerce Group: Kat Breitbach, Laura Butterfield, Ashleigh Lalley, Charles Rosentel Steve Schwartz, Kelsey Snyder, Al Stith In the words of the prolific Peter Griffin, “It doesn’t matter if you’re black or white. The only color that really matters is green.” Notwithstanding the music industry’s rampant racism, the clearest view of how African Americans transformed popular music between 1959 and 1975 is through the lens of commerce. Scrutinizing the relationship between creators and consumers opens up a broad view of both visual and auditory arts. The sources we selected range from cover art and an Andy Warhol silkscreen to books on the industry’s backroom deals and the Billboard Hot 100 to a retrospective Boyz II Men album on Motown’s history and an NPR special on Jimi Hendrix for kids. Combining both sight and sound, we offer online videos, a documentary on jazz, and blaxploitation films. The unparalleled abilities of Motown’s music to transcend racial barriers and serve as a catalyst for social change through an ever-widening audience necessitates a study of Berry Gordy’s market sense and the legacy of his “family” in popular culture from the 1970s through today. First, the ubiquity of the Motown sound meant that a young, interracial audience enjoyed music that had been largely exclusive to black communities. The power of this “Sound of Young America” crossover was punctuated by Dr. Martin Luther King Jr.’s affirmation in his “Transforming a Neighborhood into a Brotherhood” address that radio’s capacity to bridge black and white youth through music and create “the language of soul” surpasses even Alexander the Great’s conquests.
    [Show full text]
  • Dion and the Teen Idols
    DION AND THE TEEN IDOLS OVERVIEW ESSENTIAL QUESTION What role did the so-called “teen idols” of the late 1950s play in bringing Rock and Roll into mainstream American culture? OVERVIEW Rock and Roll evolved from Rhythm and Blues, a sound developed by African-American musicians that by the early 1950s had begun to reach a new audience among young white teenagers. By nature of its association with black America, there were those who feared that Rock and Roll was a corrupting influence on American youth, promoting socializing between races and juvenile delinquency. Music was not the only thing that disturbed those concerned about Rock and Roll’s influence. Films such as The Wild One (1953), featuring Marlon Brando as the leader of a motorcycle gang, seemed to suggest that teenagers, if not given proper guidance, might fall in with the “wrong kind of crowd.” In an attempt to encourage “good citizenship,” Parent-Teacher Associations and superintendents across the country created codes of conduct for their pupils to monitor school attire, curfew hours, and social behavior both on and off campus. Rock and Roll, and the culture around it, were viewed as something to control. Concurrently, pioneer jockey Alan Freed, the man who first attached the term “Rock and Roll” to the latest R&B recordings, was encountering troubles of his own. In August 1957, Freed’s ABC teen dance show Big Beat was cancelled after African-American artist Frankie Lymon was seen dancing with a white girl on the program, an image that outraged the network’s southern affiliates.
    [Show full text]
  • Why Do Fools Fall in Love... by Frankie Lymon & the Teenagers Key C Intro
    -27- Why do fools fall in love... by Frankie Lymon & The Teenagers Key C Intro: C / Am / F / G7 / C / Am / F / G7 / C / Am / F / G7 / Ooh wah, ooh wah, Ooh wah, ooh wah, Ooh wah, ooh wah, C (1 Strum) Why do fools fall in love? Verse C / Am / F / G7 / C / Am / Why do birds sing, So gay? F / G7 / C / Am / F / G7 / C / F / C /// And lovers a-wake at the break of day, Why do they fall in love? C / Am / F / G7 / C / Am / Why, Does the rain fall from up a-bove? F / G7/ C / Am / F / G7 / C / F / C / / / Why do fools, fall in love? Why do they fall in love? Bridge F / / / F / / / C / / / C / C7 / Why does my heart, skip a crazy beat? D7 / / / D7 / / / G7 / / / G7 / / / Be-fore I know, It will face defeat! C / Am / F / G7 / C / Am / F / G7 / C / Am / Tell me why, Whyy-y? Whyy-y? F / G7 / C / F / C / / / Why do they fall in love? F /// F /// C /// C /// D7 /// D7 /// G7 (1 Strum) Why do fools fall in love Verse C / Am / F / G7 / C / Am / Why do birds sing, So gay? F / G7 / C / Am / F / G7 / C / F / C /// And lovers a-wake at the break of day, Why do they fall in love? C / Am / F / G7 / C / Am / Why, Does the rain fall from up a-bove? F / G7 / C / Am / F / G7 / C / F / C / / / Why do fools, fall in love? Why do they fall in love? C / Am / F / G7 / C / Am / F / G7 / C / Am / Tell me why, Whyy-y? Whyy-y? F / G7 / C / F / C Why do they fall in love? Arrangement by Sally Paice -27- Why do fools fall in love..
    [Show full text]
  • “Horizons Band” Partial Song List 1
    “Horizons Band” partial song list 1 Contemporary/Rock/Dance Move Your Body- Nina Sky Can’t Stop the Feeling - Justin Timberlake Save Room – John Legend Shut Up and Dance - Walk the Moon Don't Cha- Pussycat Dolls Cheap Thrills - Sia Man, I Feel Like a Woman – Shania Twain Me Too - Meghan Trainor Don't Stop the Music – Rhianna Fireball - Pit Bull Jump - Pointer Sisters Uptown Funk - Bruno Mars Mercy - Duffy Ex's and Oh's - Elle King You're Everything - Michael Buble All About That Bass – Meghan Trainor I Like It – Enrique Iglesias Rather Be – Clean Bandit DJ Got Us Falling In Love – Usher Happy – Pharrell Williams Born This Way – Lady Gaga You Gotta Be – Des'ree Edge of Glory – Lady Gaga I Gotta Feelin' – Black Eyed Peas I Like It – Enrique Iglesias Sweet Dreams Medley – La DJ Got Us Falling In Love – Usher Bouche/Eurythmics California Gurls – Katy Perry Crazy in Love – Beyonce Say It Right – Nelly Furtado Just Dance – Lady Gaga Dress You Up – Madonna Love Shack - B52’s Forget You– Cee-lo Green Get the Party Started - Pink Treasure – Bruno Mars I Need to Know- Marc Anthony Don't Stop Believin’ - Journey This is Your Night - Amber Party Rock Anthem - LMFAO Electric Slide - Marci Griffith How Will I Know - Whitney Houston Another Night - Real McCoy Let the Good Times Roll – BB King Mambo Number 5 - Lou Bega Moves Like Jagger - Maroon 5 Soak Up the Sun - Sheryl Crow Rolling In the Deep - Adelle Conga - Gloria Estefan Brokenhearted - Karmin What I Like About You - The Romantics Blurred Lines– Robin Thicke R.O.C.K.
    [Show full text]
  • JAMES BROWN Tennessee (1928) Or Georgia (1933) ¡©Si
    r ; k Jf ||p ji „ > ■ Ip > V - » I ■ JAMES BROWN Tennessee (1928) or Georgia (1933) ¡©Si- James Brown once said of Elvis Presley, “He recorded at Harlem’s Apollo Theater on September taught white America to get down.” Brown himself 24th, 1962, sold a million copies and remained on did Elvis one better in that regard: he encouraged ev­ the Billboard charts for more than a year, an unprec­ eryone to do it. Brown, an indefatigable performer edented achievement for a hard-core R&B album. In who still maintains a grading touring schedule for has 1965, with the success of “Papa’s Got a Brand New fine-tuned funk revue, has earned many tides over the Bag” and “I Got You (I Feel Good),” Brown proceed­ years. ed to break his sound down to a groove as basic and He’s been called “the Hardest-Working Man in bad as you could get. That same year, rock and roll Show Business.” As an impoverished child of the De­ fans were willingly hoodwinked by the slickly re ­ pression, Brown picked cotton, shined shoes and hearsed drama of Brown’s fainting-and-reviving ritual danced for spare change on the streets. He also during “Please Please Please” in The TAJUJ. Show. served time in a reform atory and tried his hand at He’s been called “Soul Brother Number One” for boxing and baseball. When a leg injury put an end to his willingness to “say it loud, I’m black and I’m his big-league pitching aspirations, Brown turned to proud.” In 1968, when he was addressing black so­ music.
    [Show full text]
  • Chapter 2: Pop-Rock of the 50S and 60S
    The Development of Rock & Roll by Dr. Daniel Jacobson © 2016 All Rights Reserved CHAPTER 2 POP-ROCK OF THE 50S AND 60S INTRODUCTION Softer “pop” music styles have played important roles in the development of rock, especially from c1953 to 1966 and in the early 70s. Various pop-related styles in the 50s and early 60s include: • Doo-Wop (1950s and early ‘60s; combined Pop, Gospel and soft R & B elements) • Teen Idol “Crooners” (late ‘50s/early ‘60s; Dick Clark early rock era; soft R & B) • Surf Music (late ‘50s/early ‘60s) • Brill Building/Aldon Music (‘60s pop; extension of “Tin Pan Alley” tradition) • Early Motown (early 1960s; “Soul-pop” music) I. THE CHANGING OF THE GUARD IN 50s ROCK During the years 1957 to 1961, Rock & Roll lost the impact of at least ten of its most prominent trendsetters. • March 1956: While on his way to perform for The Perry Como Show in New York City, Carl Perkins was involved in a car crash in which he suffered a fractured shoulder and skull. Perkins lost his chance for major fame, and was soon overshadowed by the rise of Elvis Presley. • October 1957: Little Richard renounced Rock and Roll for the ministry of the Seventh Day Adventist Church. • November 1957: Jerry Lee Lewis married his 13-year-old third cousin (while “forgetting” to divorce his first wife.) The scandal that followed destroyed his career. • March 1958: Elvis Presley was drafted into the army, serving in Germany until 1960. • February 1959: a small-plane crash near Fargo, North Dakota killed Buddy Holly, J.P.
    [Show full text]
  • Extra Special Supplement to the Great R&B Files Includes Updated
    The Great R&B Pioneers Extra Special Supplement to the Great R&B Files 2020 The R&B Pioneers Series edited by Claus Röhnisch Extra Special Supplement to the Great R&B Files - page 1 The Great R&B Pioneers Is this the Top Ten ”Super Chart” of R&B Hits? Ranking decesions based on information from Big Al Pavlow’s, Joel Whitburn’s, and Bill Daniels’ popularity R&B Charts from the time of their original release, and the editor’s (of this work) studies of the songs’ capabilities to ”hold” in quality, to endure the test of time, and have ”improved” to became ”classic representatives” of the era (you sure may have your own thoughts about this, but take it as some kind of subjective opinion - with a serious try of objectivity). Note: Songs listed in order of issue date, not in ranking order. Host: Roy Brown - ”Good Rocking Tonight” (DeLuxe) 1947 (youtube links) 1943 Don’t Cry, Baby (Bluebird) - Erskine Hawkins and his Orchestra Vocal refrain by Jimmy Mitchell (sic) Written by Saul Bernie, James P. Johnson and Stella Unger (sometimes listed as by Erskine Hawkins or Jmmy Mitchelle with arranger Sammy Lowe). Originally recorded by Bessie Smith in 1929. Jimmy 1. Mitchell actually was named Mitchelle and was Hawkins’ alto sax player. Brothers Paul (tenorsax) and Dud Bascomb (trumpet) played with Hawkins on this. A relaxed piano gives extra smoothness to it. Erskine was a very successful Hawkins was born in Birmingham, Alabama. Savoy Ballroom ”resident” bandleader and played trumpet. in New York for many years.
    [Show full text]