Fantastic Oldies Game!

[amfmsw]

The picture sleeves were usually only available with the first pressing release. They were a reward for the fan who bought their favorite artist, in many cases, without hearing the record first. The other purpose was to get them to move out of the store faster to brag about unit sales when pitching radio stations. After the song was charting, selling and getting air-play, there was no need for the expense of a glossy paper photo sleeve. Stock label sleeve would do just fine.

As far as the Vogues (another Pittsburgh sound) you listed a lot of titles, but not MY favorite: "Magic Town"!

 

[GridLeakBias]

The picture sleeves were usually only available with the first pressing release. They were a reward for the fan who bought their favorite artist, in many cases, without hearing the record first. The other purpose was to get them to move out of the store faster to brag about unit sales when pitching radio stations. After the song was charting, selling and getting air-play, there was no need for the expense of a glossy paper photo sleeve. Stock label sleeve would do just fine.

As far as the Vogues (another Pittsburgh sound) you listed a lot of titles, but not MY favorite: "Magic Town"!

The Drifters had so many personnel changes over the years, it is confusing to track who’s who on a given recording or at a given time. However, the line-up of Benjamin Earl Nelson (known professionally as Ben E. King; lead tenor), Charlie Thomas (tenor), Dock Green (baritone), and Elsbeary Hobbs (bass) and James "Poppa" Clark recorded these 1959/1960 Atlantic hits: "There Goes My Baby," the first commercial rock-and-roll recording to include a string orchestra, "Dance With Me," "This Magic Moment," "Save The Last Dance For Me," and "I Count The Tears."

 

[Those RRRRs]

"Well I'm gonna gonna gonna gonna gonna gonna do the bop" is the opening line to a great tune called "Dance Dance Dance" by The Cavaliers, which I've only seen on an out of print CD series called "Doo Bop Jivers."

I think there were 12 volumes total, the first half of the songs consisted of mostly group harmony (DOOWOP), while the second half of the songs consisted mostly of more soulful harmony music. I only have 5 volumes, as these discs are very hard to find, (still looking) but if you can find them, grab 'em!

 

[GridLeakBias]

"Well I'm gonna gonna gonna gonna gonna gonna do the bop" is the opening line to a great tune called "Dance Dance Dance" by The Cavaliers, which I've only seen on an out of print CD series called "Doo Bop Jivers."

I think there were 12 volumes total, the first half of the songs consisted of mostly group harmony (DOOWOP), while the second half of the songs consisted mostly of more soulful harmony music. I only have 5 volumes, as these discs are very hard to find, (still looking) but if you can find them, grab 'em!

“Dance, Dance, Dance”/”Play By The Rules Of Love” (APT 25004, released 1958). “Dance, Dance, Dance” was #1 in New England in 1959, sold 250,000 records.

A short history of Scott Stevens and the Cavaliers. The original group was founded in 1956 by Stephen Glaser and Steve Weil. The original name of the group was the Satelites, appeared on Ted Mack Original Amatuer Hour and won. A dispute led to the formation of the Cavaliers in 1957. Group Members were: Junie Smith, Bass, Lloyd Needelman, First Tenor, John Duff, Second Tenor, Jackie Morgan, Baratone, Stephen Glaser(AKA Scott Stevens), Lead Singer and Composer. Signed by Ivy Records to a 4 record contract. Master "Dance Dance Dance" sold to ABC Paramount and released on their then new subsidiary APT records. "Dance Dance Dance" recorded at Bell Sound Studios with the Alan Freed Orchestra and Sam The Man Taylor on Saxaphone. THE ENTIRE RECORD SESSION TOOK 15 MINUTES. Pick of the week in Cashbox Magazine. Number one in New England. The Cavaliers were one of the first Integrated groups of the late 50's. Scott Stevens went on as a solo performer in the 60's.

 

[AlexBrowne]

A New Orleans native known for his session work, Huey (Piano) Smith had one Top 10 single of his own with his band The Clowns in 1958, "Don't You Just Know It," but has connections to two other big hits: his first charted song, in 1957, "Rocking Pneumonia And The Boogie Woogie Flu," was a million seller in 1972 for Johnny Rivers, and in 1959, Smith's orchestra supplied the music for Frankie Ford's "Sea Cruise."

 

[GridLeakBias]

A New Orleans native known for his session work, Huey (Piano) Smith had one Top 10 single of his own with his band The Clowns in 1958, "Don't You Just Know It," but has connections to two other big hits: his first charted song, in 1957, "Rocking Pneumonia And The Boogie Woogie Flu," was a million seller in 1972 for Johnny Rivers, and in 1959, Smith's orchestra supplied the music for Frankie Ford's "Sea Cruise."

The first published version of the music to "Frankie and Johnny" appeared in 1904, credited to and copyrighted by Hughie Cannon, the composer of "Won't You Come Home Bill Bailey". At least 256 different recordings of "Frankie and Johnny" have been made since the early 20th century. A short list of singers including Lead Belly, Johnny Cash, Sam Cooke, Bob Dylan, Taj Mahal, Jimmie Rodgers, Gene Vincent, Fats Waller, and Stevie Wonder have performed it in a variety of musical idioms. As a jazz standard it has also been recorded by numerous jazz bands and instrumentalists including Louis Armstrong, Count Basie, Bunny Berigan, Dave Brubeck, Duke Ellington and Benny Goodman.

 

[AlexBrowne]

The term "urban contemporary" -- used to describe the eclectic radio format which evolved in the 1970s from soul and R&B formats -- was coined by flamboyant disc jockey Frankie Crocker, who after starting out in radio in his native Buffalo and heading to New York City's WWRL, WMCA, and WRKS, took urban contemporary WBLS to the top of the ratings as its program director during the late 1970s; Crocker, who passed away in 2000, also emceed shows at Harlem's Apollo Theater, vee-jayed on VH-1, acted in five movies, and hosted the TV show Solid Gold.

 

[GridLeakBias]

The term "urban contemporary" -- used to describe the eclectic radio format which evolved in the 1970s from soul and R&B formats -- was coined by flamboyant disc jockey Frankie Crocker, who after starting out in radio in his native Buffalo and heading to New York City's WWRL, WMCA, and WRKS, took urban contemporary WBLS to the top of the ratings as its program director during the late 1970s; Crocker, who passed away in 2000, also emceed shows at Harlem's Apollo Theater, vee-jayed on VH-1, acted in five movies, and hosted the TV show Solid Gold.

Buddy Holly managed to bridge some of the racial divide that marked rock n' roll music. While Elvis made black music more acceptable to whites, Holly won over an all-black audience when the Crickets were accidentally booked at New York's Apollo Theater (though, unlike the immediate response depicted in the 1978 movie “The Buddy Holly Story”, it actually took several performances for his talents to be appreciated). Buddy and the Crickets were not the first white group to be booked into and appear at the Apollo...that distinction belongs to Jimmy Cavallo and The House Rockers, who played that venue in 1956.

Some non-game trivia: The guitars used by Buddy Holly (well-played by Gary Busey) in the movie “The Buddy Holly Story” are a complete mess from a historical point of view. Buddy Holly is known as the first prominent Fender Stratocaster player. In the movie, the Stratocaster appears towards the end, but seems to be an early 70s model. The first guitar shown in the movie is a Bronco, launched for the first time by Fender in 1968. The actual guitar seems to be from the early 70s. The main guitar in the movie is a Fender Telecaster. Even though the Telecaster was launched in the early 50s, the guitar used in the movie is most likely an early 70’s model as well. But more importantly, as far as is known, Buddy Holly never played a Telecaster on stage.

 

[AlexBrowne]

The Moody Blues' biggest hit was the lengthy "Nights in White Satin," from the album Days of Future Passed, which did not chart when it was originally released in 1967 but peaked at #2 on the Billboard Hot 100 when it was re-released in 1972 (after the public had warmed up to longer singles); at age 19, group member Justin Hayward wrote the song about unrequited love after a friend gave him a gift of satin bedsheets, the London Festival Orchestra backed up the group, and the spoken poem at the end (called "Late Lament": "Breath deep the gathering gloom...") was written by drummer Graeme Edge and read by keyboardist Mike Pinder.

 

[GridLeakBias]

The Moody Blues' biggest hit was the lengthy "Nights in White Satin," from the album Days of Future Passed, which did not chart when it was originally released in 1967 but peaked at #2 on the Billboard Hot 100 when it was re-released in 1972 (after the public had warmed up to longer singles); at age 19, group member Justin Hayward wrote the song about unrequited love after a friend gave him a gift of satin bedsheets, the London Festival Orchestra backed up the group, and the spoken poem at the end (called "Late Lament": "Breath deep the gathering gloom...") was written by drummer Graeme Edge and read by keyboardist Mike Pinder.

In May 1972 Jeanne Pruett scored her biggest hit with "Satin Sheets", which topped the Country charts and also made it as a top 30 Pop hit, reaching #28. The song became Pruett's biggest hit (and her signature tune), spending three weeks at the #1 spot, and it also became an international hit.

 

[AlexBrowne]

Elvis Presley gave us seven #1 singles that also topped the Country charts, all from his early years: "Heartbreak Hotel," "I Want You, I Need You, I Love You," "Don't Be Cruel," and "Hound Dog" from 1956; and "All Shook Up," "Let Me Be Your Teddy Bear," and "Jailhouse Rock" from 1957.

 

[GridLeakBias]

Elvis Presley gave us seven #1 singles that also topped the Country charts, all from his early years: "Heartbreak Hotel," "I Want You, I Need You, I Love You," "Don't Be Cruel," and "Hound Dog" from 1956; and "All Shook Up," "Let Me Be Your Teddy Bear," and "Jailhouse Rock" from 1957.

Huey “Piano” Smith wrote his first song on the piano, "Roberson Street Boogie" (named after the street where he lived), when he was only eight years old, and performed the tune with a friend. They billed themselves as Slick and Dark. In 1955, Smith turned 21, and became the piano player with Little Richard’s first band for Specialty Records. The same year he also played piano on several studio sessions for other artists such as Lloyd Price. Two of the sessions resulted in hits for Earl King ("Those Lonely Lonely Nights"), and Smiley Lewis ("I Hear You Knocking"). In 1958, Ace Records released several singles by Huey “Piano” Smith and the Clowns, including their most famous single, "Don’t You Just Know It" b/w "High Blood Pressure" (Ace 545). The A-side hit #9 on the Billboard Pop chart and #4 on the Rhythm and Blues chart.

 

[AlexBrowne]

Huey “Piano” Smith wrote his first song on the piano, "Roberson Street Boogie" (named after the street where he lived), when he was only eight years old, and performed the tune with a friend. They billed themselves as Slick and Dark. In 1955, Smith turned 21, and became the piano player with Little Richard’s first band for Specialty Records. The same year he also played piano on several studio sessions for other artists such as Lloyd Price. Two of the sessions resulted in hits for Earl King ("Those Lonely Lonely Nights"), and Smiley Lewis ("I Hear You Knocking"). In 1958, Ace Records released several singles by Huey “Piano” Smith and the Clowns, including their most famous single, "Don’t You Just Know It" b/w "High Blood Pressure" (Ace 545). The A-side hit #9 on the Billboard Pop chart and #4 on the Rhythm and Blues chart.

Louisiana native Lloyd Price's first recording was a #1 R&B hit, "Lawdy Miss Clawdy" in 1952, and he had thee other #1 hits on the R&B chart, all backed by Don Costa's orchestra: "Stagger Lee" (also #1 on the Billboard Hot 100) in 1958, and in 1959, "Personality" and "I'm Gonna Get Married."

 

[GridLeakBias]

Huey “Piano” Smith wrote his first song on the piano, "Roberson Street Boogie" (named after the street where he lived), when he was only eight years old, and performed the tune with a friend. They billed themselves as Slick and Dark. In 1955, Smith turned 21, and became the piano player with Little Richard’s first band for Specialty Records. The same year he also played piano on several studio sessions for other artists such as Lloyd Price. Two of the sessions resulted in hits for Earl King ("Those Lonely Lonely Nights"), and Smiley Lewis ("I Hear You Knocking"). In 1958, Ace Records released several singles by Huey “Piano” Smith and the Clowns, including their most famous single, "Don’t You Just Know It" b/w "High Blood Pressure" (Ace 545). The A-side hit #9 on the Billboard Pop chart and #4 on the Rhythm and Blues chart.

Louisiana native Lloyd Price's first recording was a #1 R&B hit, "Lawdy Miss Clawdy" in 1952, and he had thee other #1 hits on the R&B chart, all backed by Don Costa's orchestra: "Stagger Lee" (also #1 on the Billboard Hot 100) in 1958, and in 1959, "Personality" and "I'm Gonna Get Married."

“I’m In The Mood For Love” has become a pop standard. It was one of seven songs written by Fields and McHugh for the 1935 film “Every Night at Eight”, starring George Raft. Frances Langford introduced and recorded “I'm in the Mood for Love”, but the performer who had a big hit with it was Little Jack Little and his orchestra. Since then dozens of performers have recorded it (more than 120 versions can be found). The song was featured in the Our Gang short "The Pinch Singer", sung by Carl "Alfalfa" Switzer; it is often known to be his signature song. The doowop group Flamingos recorded this tune in 1959 on the End label, (End LP304).

 

[AlexBrowne]

Formed in high school in Hawthorne, California, they were first known as Kenny & The Cadets, then as Carl & The Passions, and then as The Pendletones, but finally hit it big as The Beach Boys: brothers Brian, Carl, and Dennis Wilson, their cousin lead vocalist Mike Love, and their friend Al Jardine were the leaders of the surf-rock sound; from the 60s through the 80s they had some 59 songs which charted, including "I Get Around," their first #1 and biggest hit, from 1964.

 

[GridLeakBias]

Formed in high school in Hawthorne, California, they were first known as Kenny & The Cadets, then as Carl & The Passions, and then as The Pendletones, but finally hit it big as The Beach Boys: brothers Brian, Carl, and Dennis Wilson, their cousin lead vocalist Mike Love, and their friend Al Jardine were the leaders of the surf-rock sound; from the 60s through the 80s they had some 59 songs which charted, including "I Get Around," their first #1 and biggest hit, from 1964.

Throughout the Sixties, Dick and Dee Dee recorded a total of eight chart singles, five of which made the top 30 nationally...one of these was, “The Mountain’s High” b/w ”I Want Someone”, Liberty 55350, 1961 (Also released on Lama 7778, 1961)

 

[AlexBrowne]

We Five were a California quintet -- lead Beverly Bivens and four male backup singers -- who in 1965 gave us a #1 Adult Contemporary Hit, "You Were On My Mind," and then a minor hit "Let's Get Together"; the latter became better known when The Youngbloods covered it as "Get Together" and it was used as the theme for an advertising campaign by the National Conference of Christians & Jews.

 

[GridLeakBias]

We Five were a California quintet -- lead Beverly Bivens and four male backup singers -- who in 1965 gave us a #1 Adult Contemporary Hit, "You Were On My Mind," and then a minor hit "Let's Get Together"; the latter became better known when The Youngbloods covered it as "Get Together" and it was used as the theme for an advertising campaign by the National Conference of Christians & Jews.

The Coasters crossed over to the national charts in a big way with the double-sided "Young Blood"/"Searchin'"(Atco 6087). “Searchin” was the group's first U.S. Top 10 hit, and topped the R&B charts for 13 weeks, becoming the biggest R&B single of 1957. “Young Blood” peaked at #8 Pop and #1 R&B.

Musically, “Young Blood” follows a minor blues structure, built mostly around three chords, except for the bridge . The lyrical theme is one typical of early rock and roll: boy meets girl, then meets girl's father, who does not approve of boy - so the boy departs, but cannot stop thinking about the girl, declaring: "She's the one, she's the one, she's the one".

 

[AlexBrowne]

Del Shannon (born Charles Westover) has been called rock's "leading paranoid" by one critic for the themes -- and shrill high notes --that show up in many of his songs, including his three Top 10 hits, "Runaway" and "Hats Off To Larry" from 1961, and "Keep Searchin' (We'll Follow The Sun)" from 1964; Shannon also wrote "I Go To Pieces," a Top 10 hit for Peter and Gordon in 1965, and holds the distinction of recording the first U.S. charted hit of a Lennon-McCartney composition, "From Me To You," in 1963.

 

[GridLeakBias]

Del Shannon (born Charles Westover) has been called rock's "leading paranoid" by one critic for the themes -- and shrill high notes --that show up in many of his songs, including his three Top 10 hits, "Runaway" and "Hats Off To Larry" from 1961, and "Keep Searchin' (We'll Follow The Sun)" from 1964; Shannon also wrote "I Go To Pieces," a Top 10 hit for Peter and Gordon in 1965, and holds the distinction of recording the first U.S. charted hit of a Lennon-McCartney composition, "From Me To You," in 1963.

Patsy Cline was best known for her rich tone and emotionally expressive voice. Since her death at the age of 30 in a 1963 plane crash at the height of her career, she has been considered one of the most influential, successful, revered, and acclaimed female vocalists of the 20th century. Cline's first Decca release in 1961 was the country pop ballad "I Fall to Pieces", written by Hank Cochran and Harlan Howard. It made a slow climb up the charts, until it officially hit #1 on the country charts (her first #1) and #12 on the pop charts, as well as #6 on the adult contemporary charts, a major feat for any country singer at the time, especially a female. Patsy Cline died on March 3, 1963 in the Piper Comanche flown by her manager Randy Hughes, along with Cowboy Copas and Hawkshaw Hawkins, which crashed in bad weather outside Camden, Tennessee.