Curtis Mayfield - Give Me Your Love
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Song/Band tag
- Thread starter Luc
- Start date
ZZ Top Gimme All Your Lovin'
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Al Jarreau - Gimme What You Got
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Tom Waits - Somewhere (from West Side Story)
*finally, a chance to post a Tom Waits tune!*
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Tom Waits - Burma Shave
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Mission of Burma - Laugh the World Away
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GENE PITNEY- " I WANNA LOVE MY LIFE AWAY"
Gene Pitney is an interesting figure on the face of the rock-and-roll map. He was a good singer with a distinctive voice who sang songs written by others, and he was a good songwriter, whose songs were recorded and made into hits by others.
He was born in Hartford, Connecticut in 1941, but spent most of his youth in Rockville, Connecticut. He formed a band while a student at Rockville High School, then headed for New York City and the Brill Building.
In 1959 Gene Pitney joined with a young singer named Ginny Arnell and recorded some tunes for Decca as Jamie & Jane. After a stop at Blaze and some solo recordings under the assumed name, Billy Bryan, Gene recorded under his own name for Festival in 1960. He was also a budding songwriter and tried to push his songs to anyone who would listen. Brill Building veterans Burt Bacharach and Hal David liked what they saw and formed an alliance with the ambitious young singer/songwriter.
Under the guidance of Phil Spector, Gene recorded a song for Musicor in 1961 that was to be his breakthrough hit. Town Without Pity, a song from the film of the same title, was a smash hit record in 1962 and the record-buying public began to take notice. Bacharach and David were churning out songs in the early 60's that Gene turned into hits: [The Man Who Shot] Liberty Valance, Only Love Can Break A Heart -- his biggest hit ever, and Twenty Four Hours From Tulsa. Valance was inspired by the John Wayne/Jimmy Stewart movie of the same name, but the song was never actually sung in the movie itself.
And he wasn't just singing. Some of the songs he wrote [or co-wrote] were just as popular as those he sang -- the Crystals with He's A Rebel, Ricky Nelson with Hello Mary Lou, Bobby Vee with Rubber Ball, Roy Orbison with Today's Teardrops, and the list goes on.
As the 60's wore on, Gene continued to sell records: Mecca, It Hurts To Be In Love, I'm Gonna Be Strong.
As big a star as he had become in the United States, Gene Pitney was an even bigger star in the United Kingdom. His publicist, Andrew Loog Oldham, acted in the same role for the Rolling Stones and Gene did some things with them. A song written by Mick Jagger and Keith Richards, That Girl Belongs To Yesterday, was recorded by Gene and went to number seven on the UK charts. He played maracas on the Stones' recording of Buddy Holly's Not Fade Away, and piano in the background of some other songs by the Rolling Stones. Pitney had 16 top forty songs in the USA from 1961 to 1968, and he had more than forty such songs in the UK all the way up to 1989.
In later years Gene sang some country music, and made some recordings in Italian. Pitney continued touring and performing throughout his life. On April 4, 2006, during a tour of the UK, he performed at St. David's Hall in South Wales and received a standing ovation following the show; his final song that night was Town Without Pity. The following morning he was discovered dead in his bed at the Hilton Hotel in Cardiff, Wales. He died from natural causes.
Gene always had a strong voice and was well liked in the music business. He was inducted into the Rock and Roll Hall of Fame in 2002
http://www.tsimon.com/pitney.htm
Gene Pitney is an interesting figure on the face of the rock-and-roll map. He was a good singer with a distinctive voice who sang songs written by others, and he was a good songwriter, whose songs were recorded and made into hits by others.
He was born in Hartford, Connecticut in 1941, but spent most of his youth in Rockville, Connecticut. He formed a band while a student at Rockville High School, then headed for New York City and the Brill Building.
In 1959 Gene Pitney joined with a young singer named Ginny Arnell and recorded some tunes for Decca as Jamie & Jane. After a stop at Blaze and some solo recordings under the assumed name, Billy Bryan, Gene recorded under his own name for Festival in 1960. He was also a budding songwriter and tried to push his songs to anyone who would listen. Brill Building veterans Burt Bacharach and Hal David liked what they saw and formed an alliance with the ambitious young singer/songwriter.
Under the guidance of Phil Spector, Gene recorded a song for Musicor in 1961 that was to be his breakthrough hit. Town Without Pity, a song from the film of the same title, was a smash hit record in 1962 and the record-buying public began to take notice. Bacharach and David were churning out songs in the early 60's that Gene turned into hits: [The Man Who Shot] Liberty Valance, Only Love Can Break A Heart -- his biggest hit ever, and Twenty Four Hours From Tulsa. Valance was inspired by the John Wayne/Jimmy Stewart movie of the same name, but the song was never actually sung in the movie itself.
And he wasn't just singing. Some of the songs he wrote [or co-wrote] were just as popular as those he sang -- the Crystals with He's A Rebel, Ricky Nelson with Hello Mary Lou, Bobby Vee with Rubber Ball, Roy Orbison with Today's Teardrops, and the list goes on.
As the 60's wore on, Gene continued to sell records: Mecca, It Hurts To Be In Love, I'm Gonna Be Strong.
As big a star as he had become in the United States, Gene Pitney was an even bigger star in the United Kingdom. His publicist, Andrew Loog Oldham, acted in the same role for the Rolling Stones and Gene did some things with them. A song written by Mick Jagger and Keith Richards, That Girl Belongs To Yesterday, was recorded by Gene and went to number seven on the UK charts. He played maracas on the Stones' recording of Buddy Holly's Not Fade Away, and piano in the background of some other songs by the Rolling Stones. Pitney had 16 top forty songs in the USA from 1961 to 1968, and he had more than forty such songs in the UK all the way up to 1989.
In later years Gene sang some country music, and made some recordings in Italian. Pitney continued touring and performing throughout his life. On April 4, 2006, during a tour of the UK, he performed at St. David's Hall in South Wales and received a standing ovation following the show; his final song that night was Town Without Pity. The following morning he was discovered dead in his bed at the Hilton Hotel in Cardiff, Wales. He died from natural causes.
Gene always had a strong voice and was well liked in the music business. He was inducted into the Rock and Roll Hall of Fame in 2002
http://www.tsimon.com/pitney.htm
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Gene Autry - Back in the Saddle Again
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Tex Ritter - Blood on the Saddle
Singing cowboy Tex Ritter stood as one of the biggest names in country music throughout the postwar era, thanks to a diverse career that led him everywhere from the Broadway stage to the political arena. He was born Maurice Woodward Ritter in Marvaul, TX, on January 12, 1907, and grew up on a ranch in Beaumont. After graduating at the top of his high school class, he majored in law at the University of Texas. During college, however, he was bitten by the acting bug and moved to New York in 1928 to join a theatrical troupe. After a few years of struggle, he briefly returned to school, only to leave again to pursue stardom.
Ritter was playing cowboy songs on the radio when he returned to New York in 1931 to act in the Broadway production Green Grow the Lilacs; during scene changes, he also performed on his guitar. Thanks to his success on the stage, he began hosting radio programs like Tex Ritter's Campfire and Cowboy Tom's Roundup before entering the studio with producer Art Satherley in 1933, where his deep, lived-in voice graced songs like "Rye Whiskey." He caught the attention of Hollywood producer Edward Finney, who was searching for a cowboy singer in the mold of the highly successful Gene Autry and was tapped to star in the 1936 Western Song of the Gringo. Over the next two years, Ritter starred in a dozen films, including 1937's Trouble in Texas (co-starring a young Rita Hayworth), before Finney's studio, Grand National Pictures, folded. Ritter then switched to Monogram Studios, for whom he made some 20 Westerns, including 1940's Take Me Back to Oklahoma with co-star Bob Wills; work at Columbia and Universal followed, and by the time of his movie swan song, 1945's The Texas Rangers, he had appeared in a total of 85 films.
As Ritter's Hollywood career went into decline, his music career began to blossom, and in 1942, he became the first country artist signed to Capitol Records, where he recorded everything from traditional folk tunes to patriotic material to sentimental songs. In 1944, Tex Ritter & His Texans topped the charts with the single "I'm Wastin' My Tears on You." The record's flip side, "There's a New Moon Over My Shoulder," peaked at number two, as did the follow-up "Jealous Heart." 1945's "You Two-Timed Me One Time Too Often" proved to be Ritter's greatest success, holding at number one for 11 consecutive weeks. Among his other successes in the 1940s were 1945's number one "You Will Have to Pay," 1948's "Rock and Rye," and 1950's "Daddy's Last Letter (Private First Class John H. McCormick)," based on the actual correspondence of a soldier slain during the Korean War.
Ritter recorded the theme to the Fred Zinneman classic High Noon in 1953, and the resulting single proved extremely successful with pop audiences, helping win him the job as the MC of the television program Town Hall Party, which he hosted between 1953 and 1960. In 1958, he issued his first full-length LP, Songs From the Western Screen, followed the next year by Psalms. After leaving Town Hall Party, he released the LP Blood on the Saddle, a dark collection of cowboy narrative songs, and in 1961, he returned to the country charts after an 11-year absence with the Top Five hit "I Dreamed of a Hillbilly Heaven." In 1963 Ritter began a two-year tenure as the president of the Country Music Association, and in 1965 he moved to Nashville to join the Grand Ole Opry. After an unsuccessful bid for the U.S. Senate in 1970, Ritter died of a heart attack on January 2, 1974; his son John Ritter carried on the family name as a popular actor in TV sitcoms like Three's Company and Hooperman. ~ Jason Ankeny, Rovi
http://www.cmt.com/artists/az/ritter_tex/bio.jhtml
Singing cowboy Tex Ritter stood as one of the biggest names in country music throughout the postwar era, thanks to a diverse career that led him everywhere from the Broadway stage to the political arena. He was born Maurice Woodward Ritter in Marvaul, TX, on January 12, 1907, and grew up on a ranch in Beaumont. After graduating at the top of his high school class, he majored in law at the University of Texas. During college, however, he was bitten by the acting bug and moved to New York in 1928 to join a theatrical troupe. After a few years of struggle, he briefly returned to school, only to leave again to pursue stardom.
Ritter was playing cowboy songs on the radio when he returned to New York in 1931 to act in the Broadway production Green Grow the Lilacs; during scene changes, he also performed on his guitar. Thanks to his success on the stage, he began hosting radio programs like Tex Ritter's Campfire and Cowboy Tom's Roundup before entering the studio with producer Art Satherley in 1933, where his deep, lived-in voice graced songs like "Rye Whiskey." He caught the attention of Hollywood producer Edward Finney, who was searching for a cowboy singer in the mold of the highly successful Gene Autry and was tapped to star in the 1936 Western Song of the Gringo. Over the next two years, Ritter starred in a dozen films, including 1937's Trouble in Texas (co-starring a young Rita Hayworth), before Finney's studio, Grand National Pictures, folded. Ritter then switched to Monogram Studios, for whom he made some 20 Westerns, including 1940's Take Me Back to Oklahoma with co-star Bob Wills; work at Columbia and Universal followed, and by the time of his movie swan song, 1945's The Texas Rangers, he had appeared in a total of 85 films.
As Ritter's Hollywood career went into decline, his music career began to blossom, and in 1942, he became the first country artist signed to Capitol Records, where he recorded everything from traditional folk tunes to patriotic material to sentimental songs. In 1944, Tex Ritter & His Texans topped the charts with the single "I'm Wastin' My Tears on You." The record's flip side, "There's a New Moon Over My Shoulder," peaked at number two, as did the follow-up "Jealous Heart." 1945's "You Two-Timed Me One Time Too Often" proved to be Ritter's greatest success, holding at number one for 11 consecutive weeks. Among his other successes in the 1940s were 1945's number one "You Will Have to Pay," 1948's "Rock and Rye," and 1950's "Daddy's Last Letter (Private First Class John H. McCormick)," based on the actual correspondence of a soldier slain during the Korean War.
Ritter recorded the theme to the Fred Zinneman classic High Noon in 1953, and the resulting single proved extremely successful with pop audiences, helping win him the job as the MC of the television program Town Hall Party, which he hosted between 1953 and 1960. In 1958, he issued his first full-length LP, Songs From the Western Screen, followed the next year by Psalms. After leaving Town Hall Party, he released the LP Blood on the Saddle, a dark collection of cowboy narrative songs, and in 1961, he returned to the country charts after an 11-year absence with the Top Five hit "I Dreamed of a Hillbilly Heaven." In 1963 Ritter began a two-year tenure as the president of the Country Music Association, and in 1965 he moved to Nashville to join the Grand Ole Opry. After an unsuccessful bid for the U.S. Senate in 1970, Ritter died of a heart attack on January 2, 1974; his son John Ritter carried on the family name as a popular actor in TV sitcoms like Three's Company and Hooperman. ~ Jason Ankeny, Rovi
http://www.cmt.com/artists/az/ritter_tex/bio.jhtml
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My Chemical Romance - Blood
And Carrington, thanks for adding the extra details to the songs you post! Always a good and informative read!
And Carrington, thanks for adding the extra details to the songs you post! Always a good and informative read!
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Thanks, I like to bring a little extra to the table. People seem to enjoy learning about the music they are listening to.
Here is another group that I do not normally listen to, but it fits here.
The Chemical Brothers - Do It Again
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Being a fan of Top Gear, and this band, this was the next logical step:
The Allman Brothers - Jessica
The Allman Brothers - Jessica
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Well the tie here is Duane Allman:
Layla - Derek and the Dominos
Derek and the Dominos
Track analysis for “Layla”
http://www.reasontorock.com/artists/dominos.html
In retrospect it is easy to think of Derek and the Dominos as just one more assemblage of musicians supporting the star, Eric Clapton. Of all our rock icons who have survived into the 21st century, Clapton is the one who has played with the greatest number of bands (Yardbirds, Bluesbreakers, Cream, Blind Faith, Delaney and Bonnie, Dominos) and has had the most varied array of musicians he has played with, either on his recordings or as a guest artist on others’ efforts. Derek and the Dominos was really the shortest-lived of the bands, producing only one studio album, and never playing in concert with the same configuration that produced the album (Duane Allman being the missing ingredient in the live shows).
And then, of course, there is the fact that “Derek” turned out to be a very transparent guise for Eric, so it is easy to think of this one album as just another of Clapton’s solo albums, with a constantly shifting personnel list playing in the background. To further support this perspective, there is the fact that the title song of the Dominos one studio album, “Layla,” has become the single composition most closely associated with Clapton as a solo artist. The song was re-released as a single, with far greater sales than first time around, in support of a later Clapton compilation package. The by-now famous song was then re-recorded in a drastically altered fashion for Clapton’s Unplugged solo album, in which form it earned Clapton a Grammy for best Rock Song.
In fact, though, Derek and the Dominos was a band with a distinct identity, and their one recorded album was a truly collaborative effort. Bassist Carl Radle, drummer Jim Gordon and keyboards player Bobby Whitlock had all come from the Delaney and Bonnie band. This was a group Clapton had retreated to after the breakup of Blind Faith, specifically with the mission of shedding his guitar god role to become just another boy in the band. So the chemistry was right for these three to act as equals with Clapton, preparing them for a true collaboration. Duane Allman had been appearing as a hot studio guitarist for years, and had made a name for himself as the star attraction of the Allman Brothers, so this was actually the only time in Clapton’s career when he recorded an entire album with another guitarist of comparable ability and stature.
This artistic partnership is reflected first in the composition credits. Only two of the fourteen songs on the double album were written solely by EC. The affecting “Thorn Tree in the Garden” was penned by Bobby Whitlock alone, four of the others were covers of other artists’ material, the title song was co-written with Jim Gordon, and the remaining tracks were all co-written by Clapton and Whitlock. These varied writing credits directly contribute to the strength of the material. All in all, a much stronger collection of songs than would typically appear on a Clapton album.
This same sort of synergy is reflected in the playing on the album. The sense of careful restraint often evident on recordings made by hired studio musicians is totally absent: all of the musicians seem to be totally loose, yet almost telepathically in touch with one another, so that the recorded music seems to be coming from a single unified consciousness, rather than a collection of pieces arbitrarily or artificially put together.
The result of having Allman on the album is phenomenal. The two guitarists’ similar abilities, but different styles, seem to effortlessly blend and complement each other. The overall impression is of a true guitar God, some multi-limbed deity capable of playing an apparently infinite number of instruments simultaneously, appearing at times to be separated into distinct pieces, yet always ultimately revealing its true identity as a single cohesive whole.
Recommended CDs
Album Title: Layla
Original Release Date: 1970
Rating: 5 Stars (Essential)
As you can probably tell by now, I think this is a terrific album. Four out of the fourteen cuts are covers of other artists’ material, but all of the tracks fit together seamlessly — not so much out of any grand design but simply due to the converging interests, sympathies and intentions of the participants. This is one of those fortunate cases where what was originally a double album on vinyl now fits onto a single CD, making the recording exceptional in terms of the quantity of music offered. And even though all of the material is stylistically very consistent, it is not at all repetitious. All of the tracks stand up to repeated listening. The average song length is about five minutes, giving the musicians room to stretch out and solo occasionally, while avoiding the self-indulgent excesses that occasionally plagued Clapton’s previous bands, such as Cream and Blind Faith.
Overall, the album has a very unique sound to it. The music sounds very loose and spontaneous, yet at the same time very focused and intense. Clapton’s and Allman’s guitars are everywhere — playing rhythm, playing riffs, playing breaks, playing along with and on top of the vocals — yet the musicians and singers ultimately complement each other rather than competing, as they often seemed to do in Cream. Allman’s tasteful lyricism balances and influences Clapton’s more dramatic style on guitar. The result is never polished, but always inspired. Some of the songs are pretty, but the tracks are never merely pretty, with the guitars and bluesy vocals consistently adding texture and substance to the outings.
This is a faultless recording, and an absolutely essential addition to any rock collection.
Links
Derek and the Dominos
Great site about this short-lived group.
Gareth Davies’ Unofficial Eric Clapton Web Site
Fairly exhaustive information about EC, including song lyrics and chords.
Layla - Derek and the Dominos
Derek and the Dominos
Track analysis for “Layla”
http://www.reasontorock.com/artists/dominos.html
In retrospect it is easy to think of Derek and the Dominos as just one more assemblage of musicians supporting the star, Eric Clapton. Of all our rock icons who have survived into the 21st century, Clapton is the one who has played with the greatest number of bands (Yardbirds, Bluesbreakers, Cream, Blind Faith, Delaney and Bonnie, Dominos) and has had the most varied array of musicians he has played with, either on his recordings or as a guest artist on others’ efforts. Derek and the Dominos was really the shortest-lived of the bands, producing only one studio album, and never playing in concert with the same configuration that produced the album (Duane Allman being the missing ingredient in the live shows).
And then, of course, there is the fact that “Derek” turned out to be a very transparent guise for Eric, so it is easy to think of this one album as just another of Clapton’s solo albums, with a constantly shifting personnel list playing in the background. To further support this perspective, there is the fact that the title song of the Dominos one studio album, “Layla,” has become the single composition most closely associated with Clapton as a solo artist. The song was re-released as a single, with far greater sales than first time around, in support of a later Clapton compilation package. The by-now famous song was then re-recorded in a drastically altered fashion for Clapton’s Unplugged solo album, in which form it earned Clapton a Grammy for best Rock Song.
In fact, though, Derek and the Dominos was a band with a distinct identity, and their one recorded album was a truly collaborative effort. Bassist Carl Radle, drummer Jim Gordon and keyboards player Bobby Whitlock had all come from the Delaney and Bonnie band. This was a group Clapton had retreated to after the breakup of Blind Faith, specifically with the mission of shedding his guitar god role to become just another boy in the band. So the chemistry was right for these three to act as equals with Clapton, preparing them for a true collaboration. Duane Allman had been appearing as a hot studio guitarist for years, and had made a name for himself as the star attraction of the Allman Brothers, so this was actually the only time in Clapton’s career when he recorded an entire album with another guitarist of comparable ability and stature.
This artistic partnership is reflected first in the composition credits. Only two of the fourteen songs on the double album were written solely by EC. The affecting “Thorn Tree in the Garden” was penned by Bobby Whitlock alone, four of the others were covers of other artists’ material, the title song was co-written with Jim Gordon, and the remaining tracks were all co-written by Clapton and Whitlock. These varied writing credits directly contribute to the strength of the material. All in all, a much stronger collection of songs than would typically appear on a Clapton album.
This same sort of synergy is reflected in the playing on the album. The sense of careful restraint often evident on recordings made by hired studio musicians is totally absent: all of the musicians seem to be totally loose, yet almost telepathically in touch with one another, so that the recorded music seems to be coming from a single unified consciousness, rather than a collection of pieces arbitrarily or artificially put together.
The result of having Allman on the album is phenomenal. The two guitarists’ similar abilities, but different styles, seem to effortlessly blend and complement each other. The overall impression is of a true guitar God, some multi-limbed deity capable of playing an apparently infinite number of instruments simultaneously, appearing at times to be separated into distinct pieces, yet always ultimately revealing its true identity as a single cohesive whole.
Recommended CDs
Album Title: Layla
Original Release Date: 1970
Rating: 5 Stars (Essential)
As you can probably tell by now, I think this is a terrific album. Four out of the fourteen cuts are covers of other artists’ material, but all of the tracks fit together seamlessly — not so much out of any grand design but simply due to the converging interests, sympathies and intentions of the participants. This is one of those fortunate cases where what was originally a double album on vinyl now fits onto a single CD, making the recording exceptional in terms of the quantity of music offered. And even though all of the material is stylistically very consistent, it is not at all repetitious. All of the tracks stand up to repeated listening. The average song length is about five minutes, giving the musicians room to stretch out and solo occasionally, while avoiding the self-indulgent excesses that occasionally plagued Clapton’s previous bands, such as Cream and Blind Faith.
Overall, the album has a very unique sound to it. The music sounds very loose and spontaneous, yet at the same time very focused and intense. Clapton’s and Allman’s guitars are everywhere — playing rhythm, playing riffs, playing breaks, playing along with and on top of the vocals — yet the musicians and singers ultimately complement each other rather than competing, as they often seemed to do in Cream. Allman’s tasteful lyricism balances and influences Clapton’s more dramatic style on guitar. The result is never polished, but always inspired. Some of the songs are pretty, but the tracks are never merely pretty, with the guitars and bluesy vocals consistently adding texture and substance to the outings.
This is a faultless recording, and an absolutely essential addition to any rock collection.
Links
Derek and the Dominos
Great site about this short-lived group.
Gareth Davies’ Unofficial Eric Clapton Web Site
Fairly exhaustive information about EC, including song lyrics and chords.
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Fats Domino - Walking to New Orleans
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Fats Domino The Fat Man
Antoine "Fats" Domino was born in New Orleans, Louisiana, USA, on the 26th of February 1928.
When he was a 7 year old kid, he learned piano from his ,much older, brother-in-law Harrison Verrett. His piano playing was influenced by boogie woogie pianists like Albert Ammons, Meade Lux Lewis and his triplet piano style came from Little Willie Littlefield, who,by the way,lives in the Netherlands.
His first record was "The Fat man", recorded in 1949 and became a R & B hit in 1950 and a gold record in 1953. (Fats was the first artist to be called a "Rock and Roll" artist to have a million selling record "The Fat man" and was second behind Elvis Presley with total record sales in the 1950s. Fats always considered himself a Rhythm and Blues artist which was what his form of music was called before the term "Rock and Roll" - Information added by GD Carrington).
His cooperation with the bandleader Dave Bartholomew resulted in an almost endless chain of R & B and Top 100 hit records. He also played the piano on Lloyd Price's millionseller "Lawdy miss clawdy". Fats performed in 4 Rock & Roll movies, "The girl can't help it, "Shake rattle and rock", "Jamboree" and "The Big beat". This ended in 1963 with "Red sails in the sunset", by than Fats recorded for ABC-Paramount and the cooperation with Dave had ended. In the period 1949-1960 he had 23 million sellers, not less than 17 were co-written with Dave Bartholomew.
www.fatsonline.nl/fatsbio.html
Antoine "Fats" Domino was born in New Orleans, Louisiana, USA, on the 26th of February 1928.
When he was a 7 year old kid, he learned piano from his ,much older, brother-in-law Harrison Verrett. His piano playing was influenced by boogie woogie pianists like Albert Ammons, Meade Lux Lewis and his triplet piano style came from Little Willie Littlefield, who,by the way,lives in the Netherlands.
His first record was "The Fat man", recorded in 1949 and became a R & B hit in 1950 and a gold record in 1953. (Fats was the first artist to be called a "Rock and Roll" artist to have a million selling record "The Fat man" and was second behind Elvis Presley with total record sales in the 1950s. Fats always considered himself a Rhythm and Blues artist which was what his form of music was called before the term "Rock and Roll" - Information added by GD Carrington).
His cooperation with the bandleader Dave Bartholomew resulted in an almost endless chain of R & B and Top 100 hit records. He also played the piano on Lloyd Price's millionseller "Lawdy miss clawdy". Fats performed in 4 Rock & Roll movies, "The girl can't help it, "Shake rattle and rock", "Jamboree" and "The Big beat". This ended in 1963 with "Red sails in the sunset", by than Fats recorded for ABC-Paramount and the cooperation with Dave had ended. In the period 1949-1960 he had 23 million sellers, not less than 17 were co-written with Dave Bartholomew.
www.fatsonline.nl/fatsbio.html
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Fatboy Slim - Weapon of Choice
(needs more cowbell?)
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Donna Loren "Love's A Secret Weapon" from Bikini Beach (1964)
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Frank Sinatra - (Love Is) The Tender Trap
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