Chubby Checker Down to Earth Mp3, Flac, Wma

Total Page:16

File Type:pdf, Size:1020Kb

Chubby Checker Down to Earth Mp3, Flac, Wma Chubby Checker Down To Earth mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock Album: Down To Earth Country: US Released: 1962 Style: Doo Wop MP3 version RAR size: 1570 mb FLAC version RAR size: 1463 mb WMA version RAR size: 1685 mb Rating: 4.4 Votes: 602 Other Formats: AU AIFF MP3 DTS WMA VQF MOD Tracklist Hide Credits Down To Earth A1 2:27 Written-By – Don Costa, Kal Mann A1.1 Dialogue 0:11 You Came A Long Way From St. Louis A2 2:52 Music By – John Benson BrooksWords By – Bob Russell Play It Fair A3 2:22 Written By – B. Campbell A3.1 Dialogue 0:11 What A Combination A4 4:04 Written-By – Dave Appell, Kal Mann A Rockin' Good Way (To Mess Around And Fall In Love) A4.1 Written-By – Brook Benton, Clyde Otis Love Is Strange A4.2 Written-By – Ethel Smith Let The Good Times Roll A4.3 Written-By – Leonard Lee I Really Don't Want To Know A5 3:05 Music By – Don Robertson Words By – Howard Barnes A5.1 Dialogue 0:18 Let The Good Times Roll A6 2:31 Written-By – Leonard Lee Do You Love Me B1 2:29 Written-By – Berry Gordy Pledging My Love B2 2:11 Written-By – Don Robey, Fats Washington* B2.1 Dialogue 0:09 One More Time B3 2:26 Written-By – Dave Appell, Kal Mann Loving You B4 2:22 Written-By – Leiber & Stoller B4.1 Dialogue 0:13 Make Love To Me B5 Written-By – Allan Copeland, Ben Pollack, Bill Norvas, George Brunies, Leon Roppolo, 2:31 Mel Stitzel, Paul Mares, Walter Melrose Hello, Baby, Goodbye B6 2:28 Written-By – Dave Appell, Kal Mann Companies, etc. Copyright (c) – Cameo-Parkway Records, Inc. Credits Design – Al Cahn, Miller, Bodden & Rich Liner Notes – J.P. Byrne* Barcode and Other Identifiers Matrix / Runout (scratched in runout side A): C-1029-A 3 SF Matrix / Runout (stamped in runout both sides): AudioMatrix Bell Sound Matrix / Runout (scratched in runout side B): C-1029-B 3 SF Other versions Category Artist Title (Format) Label Category Country Year Chubby Checker Chubby Checker & Dee Cameo C 1029 & Dee Dee Dee Sharp* - Down To C 1029 UK 1962 Parkway Sharp* Earth (LP, Album, Mono) Chubby Checker Chubby Checker & Dee C-1029 (C) & Dee Dee Dee Sharp* - Down To Cameo C-1029 (C) Canada 1962 Sharp* Earth (LP, Album, Mono) Chubby Checker Chubby Checker & Dee SC 1029 & Dee Dee Dee Sharp* - Down To Cameo SC 1029 US 1962 Sharp* Earth (LP, Album) Chubby Checker Chubby Checker & Dee 33-OSX-7686 & Dee Dee Dee Sharp* - Down To Columbia 33-OSX-7686 Australia 1962 Sharp* Earth (LP, Album, Mono) Related Music albums to Down To Earth by Chubby Checker 1. Chubby Checker Also Featuring The Dovells / The Carroll Brothers / Dee Dee Sharp - Don't Knock The Twist - Original Soundtrack Recording 2. Various - "Let The Good Times Roll" Early Rock Classics 1952-1958 3. Chubby Checker - Chubby Checker "In Person" 4. Brook Benton - Too Much Good Lovin' (No Good For Me) / A Sailor Boy's Love Song 5. Chubby Checker - Let's Twist Again 6. This Dialogue - This Dialogue 7. Brook Benton - The Best Of Brook Benton (1931-1988) 8. Various - Oldies But Goldies 9. Howard G. Harvey - French For Travel 10. Chubby Checker - 18 Golden Hits.
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]
  • INS Price 1F-$0.65 HC Not Available from EDRS. Basic Song List, While
    DOCUMENT RESUME ED 048 320 T7 499 843 TITLE Music Appreciation for High School. Curriculum Bulletin, 1969-70 Series, No. 4. INSTITUTICN New York City Board of Education, Brooklyn, N.Y. Bureau of Curriculum Development. PUB DATE 69 NOTE 188p. AVAILABLE ERCM Eoard of Education of the City of Pew York, Publications Sales Office, 110 Livingston Street, Brooklyn, N.Y.11201 ($4.00). Make checks payable to Auuitor, Board of Education FURS PRICE INS Price 1F-$0.65 HC Not Available from EDRS. DESCRIPTORS Bands (Music), Choral Music, Educational Objectives, *"tunic Activities, nisical Instruments, *Music Appreciatlon, *Music Education, Music Reading, Music Theory, Opera, Or-Jlestras, Oriental Music, Teaching Procedures, Vocal Music ABSTRACT Organized flexibly- these 17 unit. outlines are arranged to provide articulation with lower levels, utilization of student-preferred material, and coverage of the most essential instructional aspects of music appreciation in an increasing order of complexity. Each unit outline contains (1)aims and objectives, (2) vocabulary, (3) suggested and alternate lesson topics, (4) procedures,(F) summary concepts, (6) references, (7) audiovis.ial mat, al lists., (8) sample lesson plans, and (9) sample worksheets. The ,ntroducticn includes a sample pupil inventory lorm, an auditory discrimination test(of both performers and symphonic wor%s), and a basic song list, while suppleentary materials conclude the syllabus with lists of popular songs, au%iovisual aids, and recordings; an outline of musical rudimEnts; a sample lesson plan for appreciation and understanding of prograff music; and a bibliography. (JMC) OS DEPARTMENT OF HEALTH, EDUCATION a WAR! OFFICE OF EDUCATIO! !HIS DOCUMENT HIS ND REPRODUCED EXACTLY A: WEND IROM THE PERSON CR ORGANIZATtOH CR161111E10 ItPOINTS Of 011W OR OPINIONS STATED DO NOT KCESSIPILY REPREtrif OFFICIII OFFICE OF FIIKVION POSITION OR POOCH.
    [Show full text]
  • Character Driven Productions LLC
    Character Driven Productions LLC. The Wages of Spin chronicles the Philadelphia music scene from 1952-1963. The documentary is the first honest, comprehensive look at the Philadelphia music industry, centering on the creation, growth and popularity of Bandstand. It looks behind the curtain at the inner workings of the music industry in Philadelphia during this time period. The narrative is propelled principally through interviews and histories from the people who lived it, performers, dancers and those waiting in the wings. Created in Philadelphia by Triangle Productions, Bandstand was a radio program that was adapted for television. Originally hosted by Bob Horn the show captured the attention of the youth in the Delaware Valley. Horn’s career was short-lived, however. He soon ran into legal problems, including an arrest under the influence of alcohol as well as accusations of improper conduct with a teenager on the show. A young booth announcer, Dick Clark, was given command of the show that would influence teens, and the music industry for decades to come. The music industry was by no means a paragon of American business ethics. Underhanded practices, rife with conflicts of interest, were the standard for the day. Payola! As the dirty business of making hits and selling records went on everyone had their hands out. Clark emerged at a unique time in American cultural and economic history, saw an unprecedented opportunity and exploited it. Talent was a secondary consideration in the system of graft and legalized corruption that prevailed at the time. The Payola Hearings on Capitol Hill attempted to shed light on the shady dealings of the music industry.
    [Show full text]
  • Sing! 1975 – 2014 Song Index
    Sing! 1975 – 2014 song index Song Title Composer/s Publication Year/s First line of song 24 Robbers Peter Butler 1993 Not last night but the night before ... 59th St. Bridge Song [Feelin' Groovy], The Paul Simon 1977, 1985 Slow down, you move too fast, you got to make the morning last … A Beautiful Morning Felix Cavaliere & Eddie Brigati 2010 It's a beautiful morning… A Canine Christmas Concerto Traditional/May Kay Beall 2009 On the first day of Christmas my true love gave to me… A Long Straight Line G Porter & T Curtan 2006 Jack put down his lister shears to join the welders and engineers A New Day is Dawning James Masden 2012 The first rays of sun touch the ocean, the golden rays of sun touch the sea. A Wallaby in My Garden Matthew Hindson 2007 There's a wallaby in my garden… A Whole New World (Aladdin's Theme) Words by Tim Rice & music by Alan Menken 2006 I can show you the world. A Wombat on a Surfboard Louise Perdana 2014 I was sitting on the beach one day when I saw a funny figure heading my way. A.E.I.O.U. Brian Fitzgerald, additional words by Lorraine Milne 1990 I can't make my mind up- I don't know what to do. Aba Daba Honeymoon Arthur Fields & Walter Donaldson 2000 "Aba daba ... -" said the chimpie to the monk. ABC Freddie Perren, Alphonso Mizell, Berry Gordy & Deke Richards 2003 You went to school to learn girl, things you never, never knew before. Abiyoyo Traditional Bantu 1994 Abiyoyo ..
    [Show full text]
  • Camden County Board of Chosen Freeholders Meeting March 13, 2012 - 7:00 P.M
    CAMDEN COUNTY BOARD OF CHOSEN FREEHOLDERS MEETING MARCH 13, 2012 - 7:00 P.M. CHERRY HILL COMMUNITY CENTER 820 MERCER STREET CHERRY HILL, NEW JERSEY 08002 The meeting was called to order by Director Louis Cappelli, Jr. at 7:10 p.m. The Director asked the Clerk to call the roll and the following Freeholders answered to their name: PRESENT: GRECO, LEONARD, MCCAY, NASH, RODRIGUEZ, MCDONNELL, CAPPELLI Director Cappelli stated that adequate notice of this meeting has been provided in accordance with the Open Public Meetings Act. Director Cappelli asked everyone to stand for the Pledge of Allegiance which was led by Cherry Hill Girl Scout Troop #30674. The Director then asked each of the Girl Scouts to introduce themselves. The Director then asked whose Grandmother is the Surrogate of Camden County. The National Anthem was then sung by Isabell Mancini of The Fermata, Cherry Hill High School West’s Women’s Acappella Ensemble. Director Cappelli advised that large print agendas are available if requested for the visually impaired. If you require a large print agenda, please see the Clerk. Director Cappelli welcomed everyone. The Director said we are very pleased to be in the great Township of Cherry Hill. The Director said it is the practice of the Board of Freeholders to hold our meeting each month in one of the municipalities outside of the County seat of Camden so that all members of the public will have access to the meetings of the Board. He said as is our custom during our road meetings, we will begin tonight’s meeting by asking Mayor Chuck Cahn and Council members to come forward to thank them for hosting this public meeting tonight.
    [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]
  • TEDDY & the TWILIGHTS by Charlie Horner & Steve Applebaum
    “Teddy & the Twilights” by Charlie Horner & Steve Applebaum Reprinted with permission from Echoes of the Past, Issue #96 (2011) TEDDY & THE TWILIGHTS by Charlie Horner & Steve Applebaum With Contributions from Pamela Horner Dedicated to the memory of Steve Applebaum Updated from 1977 article in Yesterday’s Memories In 1948 a young group from Baltimore pioneered a new sound in black music that would soon be called Rhythm & Blues. Throughout America’s inner cities, vocal groups sprang up on nearly every corner in response to Sonny Til and The Orioles. In Philadelphia one such group was led by Leonard “Lord Galley” Lewis, himself a native of Baltimore. Leonard was backed by John Odoms [also known as John Williams], Benjamin Hart, and someone remembered only as John. By 1950, the group was playing local clubs, but soon after, a death in his family called "Lord Galley" back to Baltimore. When he decided to remain in Baltimore, the group disbanded. They were not silent long. 1951 saw the rise of The Dominoes and the re-inspiration of black vocal groups every- where. John Odoms formed a new group, asking his younger step-brother, Larry Williams, to sing lead. The brothers grew up in South Philadelphia and attended Franklin High School. As a youngster, Larry remembered R&B groups appearing at the Lincoln Theater, at Broad and Lombard Streets. The new group became Larry Williams (lead), John Odoms (tenor), Wilbur Turner (baritone) and Ben Hart (bass). The group idolized and patterned themselves after The Dominoes, whom they'd seen several times at the old Earle Theater.
    [Show full text]
  • Let's Twist Again Second Draft in C 28/04/20 Intro
    Let's Twist Again Second draft in C 28/04/20 Page 1 of 2 Written by Dave Appell / Kal Mann, performed by Chubby Checker https://www.youtube.com/watch?v=eh8eb_ACLl8 (in Eb so capo III) Intro (solo vox, clap on the back beat): [chunk] Come on everybody, clap your hands Ah, you're looking good I'm gonna sing my song, it won't take long We're gonna do the twist and it goes like this Verse (solo vox, backing vox oooh, bop bops): Come on let's [C] twist again bop bop like we did last [Am] oooh summer bop bop Yeah, let's [F] oooh twist again bop bop like we did last [G] oooh year bop bop Do you [C] oooh remember when bop bop things were really [Am] oooh hummin'? bop bop Yeah, let's [F] oooh twist again, [G] bop bop twistin' time is [C] oooh here bop bop Chorus (all, harmonies): [F] Round ’n’ round ’n’ up ’n’ down we [C] go again Oh [F] baby make me know you love me [G] so and [G7] then And back to solo vox with backing vox oooh, bop bops) [C] oooh Twist again bop bop like we did last [Am] oooh summer bop bop Come on [F] oooh twist again, [G] bop bop like we did last [C] oooh year [C]X Twist! Yow! Kazoo instrumental (with backing vox bop bops): [C] / / / [C] bop bop / / / [Am] / / / [Am] bop bop / / / [F] / / / [F] bop bop / / / [G] oooh / / / [G]X bop! Call and response section: Who's that flyin' [C] up there? Is it a bird? [Am] No.o.o!!! Is it a plane? [F] No.o.o!!! [G] Is it the twister? [C] Yeah!!! Let's Twist Again Second draft in C 28/04/20 Page 2 of 2 Verse (solo vox, backing vox oooh, bop bops): Yeah, [C] oooh twist again bop bop like
    [Show full text]
  • Hi*Of the Week
    DEDICATED TO i hE. NEEDS OF THE MUSIC/RECORD INDUSTRY C.NE DOLLAR WHO IN THE WORLD "75,1972 Don Kirshner, Right, Is Bringing Legitimate Rock To Network TV For Two Shows Via His "ABC In Concert," Airing Nov. 24 And Dec. 8. If Ratings Prove As Expected, Rock & Roll May Become A Late Night Viewing Fixture. See Story Inside. HI*OF THE WEEK CO CARLY SIMON, "YOU'RE SO VAIN" (Quackenbush, RITA COOLIDGE,"FEVER" (Jay & CeeBMI). From JAMESTAYLOR, "ONE MANDOG."Taylor's 11J1 ASCAP). Carly'smostcommercialLti her just released "The Lady's Not long-awaited album features no less than 18 song yetas produced byRichard 91 For Sale"Ip,Ritaturnsina lowCO selections and contains some interesting Perry with back-up vocals by Mick w key but high powered adaptation of<"-Idepartures from his earlier work.If past per- Jagger.Brilliantlyricand melody, this past smash for the McCoys and formanceisany guide,it'sheadedstraight and stunning string arrangements by u) Peggy Lee. A&M 1398. forthe number onespot. Warner Bros.BS Superwoman Simon. Elektra 45824. 2660. CHUCK BERRY, "REELIN' & ROCKIN' " (Arc, BMI). TIN TIN, "TALKING TURKEY" (Casserole, BMI). A JONI MITCHELL, "FOR THE ROSES." Time will From the 1p "LondonSessions," very heavy rocker marks this tellif Joni's first album for the label becomes this raunchy rock and roller should Olk group's firsteffortforPolydor. her most successful, but one listening will tell do every bit as well as the incredi- DolyclorShould talk turkey with the charts thatit'sone of her best, and that's saying bly successful "My -Ding -A -Ling." An ina big way.
    [Show full text]
  • The History of Rock Music: 1955-1966
    The History of Rock Music: 1955-1966 Genres and musicians of the beginnings History of Rock Music | 1955-66 | 1967-69 | 1970-75 | 1976-89 | The early 1990s | The late 1990s | The 2000s | Alpha index Musicians of 1955-66 | 1967-69 | 1970-76 | 1977-89 | 1990s in the US | 1990s outside the US | 2000s Back to the main Music page Inquire about purchasing the book (Copyright © 2009 Piero Scaruffi) Before the Flood 1957-1962 (These are excerpts from my book "A History of Rock and Dance Music") Pop restoration TM, ®, Copyright © 2005 Piero Scaruffi All rights reserved. The years between 1957 and 1965 can be considered the "dark age" of rock'n'roll. Many thought that rock'n'roll had simply died, an ephemeral, short- lived fad like many others. The wild, lascivious, insolent rocker was quickly replaced by a generation of polite, well-dressed, romantic "teen-idols" that ruled the airwaves till 1965. Paul Anka's Diana (1957), Pat Boone's Love Letters In The Sand (1957), Bobby Darin's Dream Lover (1959), Frankie Avalon's Why (1959), Fabian (Forte)'s I'm a Man (1959), Bobby Rydell's Wild One (1960), Rick Nelson's Hello Mary Lou (1961), Bobby Vee (Velline)'s Take Good Care Of My Baby (1961), and Neil Sedaka's Breaking Up Is Hard To Do (1962), and, among the girls, Brenda "Lee" Tarpley's I'm Sorry (1960), Connie "Francis" Franconero's My Heart Has A Mind Of Its Own (1960) and Leslie Gore's It's My Party (1962), were emblematic. At best, rock'n'roll was fused with country music to yield a more "traditional" (and white) form of music for young people, as was the case with the Everly Brothers' Bye Bye Love (1957) and All I Have To Do Is Dream (1958), written by Felice and Boudleaux Bryant.
    [Show full text]