Uploaded October 2025 | Updated September 2026, 2 weeks ago
From '' Graveyard Rockers ''
Released: September 10, 2020
Tracklist
01. Monster Mash
02. Munsters Theme
03. Graveyard Rock
04. Save it for the Vampires
05. Do The Zombie
06. Midnight Monsters Hop
07. Wolly Bully
08. Assignment Terror
09. Casting My Spell
10. Lon Chaney
11. Go Gorilla
12. Voodoo Man
13. Frankenstein Party Time
14. Is This the Place?
15. Peek A Boo
16. The Bat Came Back
17. Ala Carte
18. Haunted House
19. Teenage Head
20. Graveyard Cha Cha
21. Rondo
22. Vladimir Twist
23. Haunted House Polka
24. Teenage Head
25. Medicine Man
26. The Werewolf Wiggle
27. The Mummy
28. Monster Appeal
29. Goo Goo Muck
30. Frankenstein Junkpile
31. Voodoo Voodoo
32. Old Red Devil
33. The Godziller Stomp
34. Psycho
35. Castle Blood
36. Monster Trash
Zombo Skeeter,
Ghoulishous Kogar,
Sputnik Bodini Gonga,
Sherman Pepper.
We played Cedar Point Halloweekends for 14 years!
Lots of Haunted Attractions, Clubs, and Parties..Total Halloween FUN!
Pittsburgh, Pennsylvania
------------------------
"Monster Mash" is a 1962 novelty song by Bobby "Boris" Pickett.
The song was released as a single on Gary S. Paxton's Garpax Records label in August 1962 along with a full-length LP called The Original Monster Mash, which contained several other monster-themed tunes.
The "Monster Mash" single was number one on the Billboard Hot 100 chart on October 20–27 of that year, just before Halloween.
"Monster Mash" has sustained a lasting impact in various recordings, film inclusions, and re-releases since its initial release.
In 2021, nearly 60 years after its release, "Monster Mash" re-entered the Billboard Hot 100 chart at number 37. As of 2023, the song was generating $1 million annually in royalties.
Background
Pickett was an aspiring actor who sang with a band called the Cordials at night while going to auditions during the day. One night, while performing with his band, Pickett did a monologue in imitation of horror movie actor Boris Karloff while performing the Diamonds' "Little Darlin'." The audience loved it, and fellow band member Lenny Capizzi encouraged Pickett to do more with the Karloff imitation.
Pickett and Capizzi composed "Monster Mash" and recorded it with producer Gary S. Paxton.
The band with which Pickett recorded the song is not known with certainty, except for some session backing singers including Paxton himself: Fred "Johnny" MacRae, Rickie Page and Terry Berg, credited as "The Crypt-Kickers" (in the song is mentioned a fictional vocal group, "The Crypt-Kicker Five"). Mel Taylor, drummer for the Ventures, is sometimes credited playing on the record as well with his traditional percussion technique.
Pickett sings his song as a humorous horror story that never repeats the lines, except the term "Monster Mash". It was partially inspired by Paxton's earlier novelty hit "Alley Oop," as well as by the Mashed Potato dance craze of the era. A variation on the Mashed Potato was danced to "Monster Mash," in which the footwork was the same, but Frankenstein-style monster gestures were made with the arms and hands.
The producers made extensive use of sound effects in the recording; the sound of a coffin opening was imitated by a rusty nail being pulled out of a board. The sound of a cauldron bubbling was simulated by water being bubbled through a straw (The Beatles would later do the same on their hit "Yellow Submarine") and the chains rattling were simply chains being dropped on a tile floor.
Chart history
On the Digital Song Sales chart, the song peaked at number 27 from 2005, from 2007 to 2011, and from 2013 to 2017.
It is played annually on Sirius XM Satellite Radio.
In 2012, the song ranked at number 25 on Billboard.
Weekly charts
Chart (1962) / Peak position
US Billboard Hot 100 / 1
US Billboard Hot R&B Sides / 9
Canada CHUM Chart (2 weeks) / 1
New Zealand (Lever Hit Parade) / 1
Chart (1970) / Peak position
US Billboard Hot 100 / 91
Chart (1973) / Peak position
Australia (Kent Music Report) / 3
Canada (CHUM)(4 weeks) / 1
Canada (RPM)(3 weeks)(no.4 Yr End) / 1
UK / 3
US Billboard Hot 100 / 10
Chart (2021–2024) / Peak position
Canada (Canadian Hot 100) / 24
Global 200 (Billboard) / 52
UK Indie (OCC) / 1
US Billboard Hot 100 / 30
~more info here: en.wikipedia.org/wiki/Monster_Mash
------------------------
Available on bandcamp:
graveyardrockers.bandcamp.com/album/gravest-hits
#halloweenrock
#halloweenmusic
#halloweensong
#halloweensongs
#halloween
From '' Graveyard Rockers ''
Released: September 10, 2020
Tracklist
01. Monster Mash
02. Munsters Theme
03. Graveyard Rock
04. Save it for the Vampires
05. Do The Zombie
06. Midnight Monsters Hop
07. Wolly Bully
08. Assignment Terror
09. Casting My Spell
10. Lon Chaney
11. Go Gorilla
12. Voodoo Man
13. Frankenstein Party Time
14. Is This the Place?
15. Peek A Boo
16. The Bat Came Back
17. Ala Carte
18. Haunted House
19. Teenage Head
20. Graveyard Cha Cha
21. Rondo
22. Vladimir Twist
23. Haunted House Polka
24. Teenage Head
25. Medicine Man
26. The Werewolf Wiggle
27. The Mummy
28. Monster Appeal
29. Goo Goo Muck
30. Frankenstein Junkpile
31. Voodoo Voodoo
32. Old Red Devil
33. The Godziller Stomp
34. Psycho
35. Castle Blood
36. Monster Trash
Zombo Skeeter,
Ghoulishous Kogar,
Sputnik Bodini Gonga,
Sherman Pepper.
We played Cedar Point Halloweekends for 14 years!
Lots of Haunted Attractions, Clubs, and Parties..Total Halloween FUN!
Pittsburgh, Pennsylvania
------------------------
"Monster Mash" is a 1962 novelty song by Bobby "Boris" Pickett.
The song was released as a single on Gary S. Paxton's Garpax Records label in August 1962 along with a full-length LP called The Original Monster Mash, which contained several other monster-themed tunes.
The "Monster Mash" single was number one on the Billboard Hot 100 chart on October 20–27 of that year, just before Halloween.
"Monster Mash" has sustained a lasting impact in various recordings, film inclusions, and re-releases since its initial release.
In 2021, nearly 60 years after its release, "Monster Mash" re-entered the Billboard Hot 100 chart at number 37. As of 2023, the song was generating $1 million annually in royalties.
Background
Pickett was an aspiring actor who sang with a band called the Cordials at night while going to auditions during the day. One night, while performing with his band, Pickett did a monologue in imitation of horror movie actor Boris Karloff while performing the Diamonds' "Little Darlin'." The audience loved it, and fellow band member Lenny Capizzi encouraged Pickett to do more with the Karloff imitation.
Pickett and Capizzi composed "Monster Mash" and recorded it with producer Gary S. Paxton.
The band with which Pickett recorded the song is not known with certainty, except for some session backing singers including Paxton himself: Fred "Johnny" MacRae, Rickie Page and Terry Berg, credited as "The Crypt-Kickers" (in the song is mentioned a fictional vocal group, "The Crypt-Kicker Five"). Mel Taylor, drummer for the Ventures, is sometimes credited playing on the record as well with his traditional percussion technique.
Pickett sings his song as a humorous horror story that never repeats the lines, except the term "Monster Mash". It was partially inspired by Paxton's earlier novelty hit "Alley Oop," as well as by the Mashed Potato dance craze of the era. A variation on the Mashed Potato was danced to "Monster Mash," in which the footwork was the same, but Frankenstein-style monster gestures were made with the arms and hands.
The producers made extensive use of sound effects in the recording; the sound of a coffin opening was imitated by a rusty nail being pulled out of a board. The sound of a cauldron bubbling was simulated by water being bubbled through a straw (The Beatles would later do the same on their hit "Yellow Submarine") and the chains rattling were simply chains being dropped on a tile floor.
Chart history
On the Digital Song Sales chart, the song peaked at number 27 from 2005, from 2007 to 2011, and from 2013 to 2017.
It is played annually on Sirius XM Satellite Radio.
In 2012, the song ranked at number 25 on Billboard.
Weekly charts
Chart (1962) / Peak position
US Billboard Hot 100 / 1
US Billboard Hot R&B Sides / 9
Canada CHUM Chart (2 weeks) / 1
New Zealand (Lever Hit Parade) / 1
Chart (1970) / Peak position
US Billboard Hot 100 / 91
Chart (1973) / Peak position
Australia (Kent Music Report) / 3
Canada (CHUM)(4 weeks) / 1
Canada (RPM)(3 weeks)(no.4 Yr End) / 1
UK / 3
US Billboard Hot 100 / 10
Chart (2021–2024) / Peak position
Canada (Canadian Hot 100) / 24
Global 200 (Billboard) / 52
UK Indie (OCC) / 1
US Billboard Hot 100 / 30
~more info here: en.wikipedia.org/wiki/Monster_Mash
------------------------
Available on bandcamp:
graveyardrockers.bandcamp.com/album/gravest-hits
#halloweenrock
#halloweenmusic
#halloweensong
#halloweensongs
#halloween
![The Free-Men - Eleanor Rigby (The Beatles Cover)
From Cookin / Eleanor Rigby
Label: MGM Records – K14093
Format: Vinyl, 7, 45 RPM, Single, Promo
Country: US
Released: Nov 1969
Tracklist
A Cookin
Written By – Shimberg-Goldberg-White
B Eleanor Rigby
Written-By – Lennon-McCartney
Producer – King B. Prod.
🎵 [SONG INFO]
Eleanor Rigby is a song by the English rock band the Beatles from their 1966 album Revolver.
It was also issued on a double A-side single, paired with Yellow Submarine.
Credited to the Lennon–McCartney songwriting partnership, the song is one of only a few in which John Lennon and Paul McCartney later disputed primary authorship.
Eyewitness testimony from several independent sources, including George Martin and Pete Shotton, supports McCartneys claim to authorship.
Eleanor Rigby continued the transformation of the Beatles from a mainly rock and roll- and pop-oriented act to a more experimental, studio-based band, with a double string quartet arrangement by George Martin and lyrics providing a narrative on loneliness.
It broke sharply with popular music conventions, both musically and lyrically.
The song topped singles charts in Australia, Belgium, Canada, and New Zealand.
Background and inspiration
Paul McCartney came up with the melody for Eleanor Rigby as he experimented on his piano.
Donovan recalled hearing McCartney play an early version of the song on guitar, where the character was named Ola Na Tungee. At this point, the song reflected an Indian musical influence and its lyrics alluded to drug use, with references to blowing his mind in the dark and a pipe full of clay.
The name of the protagonist that McCartney initially chose was not Eleanor Rigby, but Miss Daisy Hawkins.
In 1966, McCartney told Sunday Times journalist Hunter Davies how he got the idea for his song:
The first few bars just came to me. And I got this name in my head – Daisy Hawkins picks up the rice in the church where a wedding has been. I dont know why ... I couldnt think of much more so I put it away for a day. Then the name Father McCartney came to me – and all the lonely people. But I thought people would think it was supposed to be my dad, sitting knitting his socks. Dads a happy lad. So I went through the telephone book and I got the name McKenzie.
McCartney said that the idea to call his character Eleanor was possibly because of Eleanor Bron, the actress who starred with the Beatles in their 1965 film Help! Rigby came from the name of a store in Bristol, Rigby & Evens Ltd. McCartney noticed the store while visiting his girlfriend of the time, actress Jane Asher, during her run in the Bristol Old Vics production of The Happiest Days of Your Life in January 1966.
He recalled in 1984: I just liked the name. I was looking for a name that sounded natural. Eleanor Rigby sounded natural.
In an October 2021 article in The New Yorker, McCartney wrote that his inspiration for Eleanor Rigby was an old lady who lived alone and whom he got to know very well. He would go shopping for her and sit in her kitchen listening to stories and her crystal radio set. McCartney said, just hearing her stories enriched my soul and influenced the songs I would later write.
more info here:https://en.wikipedia.org/wiki/Eleanor_Rigby
#instrumentalcover
#thebeatlescover
#funkcover The Free-Men - Eleanor Rigby (The Beatles Cover)](https://i.ytimg.com/vi/XnuGE66lOQc/mqdefault.jpg)

![Los Agnis - Lunes, Lunes (Monday Monday in Spanish, The Mamas & The Papas)
From Muchacho De Nuestra Época / Lunes, Lunes
Label: Marfer – M.20.028
Format: Vinyl, 7, 45 RPM
Country: Spain
Released: 1966
Tracklist
A Muchacho De Nuestra Epoca / Child Of Our Times
Written-By – P.F. Sloan
B Lunes, Lunes / Monday, Monday
Written-By – John Phillips
Manufactured By – Iberofon, S.A.
© 2014 Discos Lollipop S.L.
℗ 1966 Discos Marfer
💿 [SONG INFO]
Monday, Monday is a 1966 song written by John Phillips and recorded by the Mamas & the Papas, using background instruments played by members of the Wrecking Crew for their 1966 album If You Can Believe Your Eyes and Ears.
Denny Doherty was the lead vocalist.
It was the groups only no. 1 hit on the U.S. Billboard Hot 100.
Phillips said that he wrote the song quickly, in about 20 minutes.
The song includes a pregnant pause before the coda, which modulates up a semitone.
Succeeding Good Lovin by the Young Rascals in the number one position, the event marked the first time in the history of the Billboard Hot 100 two songs with pregnant pauses were consecutive number one hits.
On March 2, 1967, the Mamas & the Papas won a Grammy Award for this song, in the category Best Pop Performance by a Duo or Group with Vocal.
The song was performed at the Monterey Pop Festival (California) in 1967.
The performance was filmed for the movie of the festival, but not included in the final print.
The song appears on the soundtrack of Michael Apteds film Stardust.
Personnel
According to the AFM contract sheet, the following musicians played on the track.[13]
Hal Blaine - session leader
Bones Howe
Larry Knechtel
Joe Osborn
John Phillips
P.F. Sloan
Denny Doherty - lead vocal
Chart history
Weekly charts
Chart (1966) / Peak position
Australia / 4
Canada RPM Top Singles / 1
Ireland (IRMA) / 4
New Zealand (Listener) / 4
South Africa (Springbok Radio) / 1
Italy (Musica e Dischi / 39
UK (The Official Charts Company) / 3
U.S. Billboard Hot 100 / 1
U.S. Cash Box Top 100 / 1
Year-end charts
Chart (1966) / Rank
UK / 35
U.S. Billboard Hot 100 / 7
U.S. Cash Box / 31
Cover versions
Petula Clark on her album I Couldnt Live Without Your Love (1966)
The Beau Brummels on their album Beau Brummels 66 (1966)
Neil Diamond on The Feel of Neil Diamond (1966)
Jay and the Americans on their album Livin Above Your Head (1966)
Sérgio Mendes on his instrumental album The Great Arrival (1966)
Marianne Faithfull on Faithfull Forever (1966)
Mrs. Miller on her album Will Success Spoil Mrs Miller?! (1966)
Dee Dee Warwick B-side of Ill Be Better Off (Without You) (1968)
Lenny Breau on his debut album Guitar Sounds from Lenny Breau (1968)
Herb Alpert and the Tijuana Brass on their album The Beat of the Brass (1968)
Ed Ames from the album Who Will Answer? and Other Songs of our Time (1968)
Circus from the album Circus (1969)
The Cowsills on The Johnny Cash Show
The 5th Dimension on their album The 5th Dimension/Live!! (1971)
Dionne Warwick on Only Love Can Break A Heart [previously unreleased recording] (1977)
Galenskaparna och After Shave, Swedish parodic text Bandy, Bandy about bandy (1988)
The Adventures on Lions and Tigers and Bears (1993)
HearSay on Popstars (2001)
Wilson Phillips three times: a modern rock take on their album California (2004), an a cappella single version the same year, and a straightforward take paying tribute to the original on the album Dedicated (2012)
Matthew Sweet and Susanna Hoffs on their album Under the Covers, Vol. 1 (2006)
Rick Price and Jack Jones covered the song on their album California Dreaming (2017)
In popular culture
ESPN announcer Chris Berman referred to Rick Monday as Monday, Monday.
The Mamas and the Papas version of Monday, Monday is heard in a chase scene in the 2010 movie The Other Guys.
The song is used in one of the Discovery Channels promos for the reality TV series Dirty Jobs, which ran for eight seasons.
The Daredevil villain, Typhoid Mary, sings this song when in her Typhoid personality.
ESPN uses the Mamas and the Papas version in a 2017 TV commercial to promote Monday Night Football.
🔗 [LINKS]
Available on Spotify:
https://open.spotify.com/album/3X0V7VS1cGvVv4YWp2md6R
and Apple Music:
https://music.apple.com/us/album/lunes-lunes-monday-monday/814389932?i=814389965
#beat Los Agnis - Lunes, Lunes (Monday Monday in Spanish, The Mamas & The Papas)](https://i.ytimg.com/vi/YNh7X4Z94nw/mqdefault.jpg)
![Morgana King - Eleanor Rigby (The Beatles Cover)
From I Know How It Feels To Be Lonely
Label: Verve Records – V6-5061
Format: Vinyl, LP, Album, Stereo
Country: US
Released: 1968
Tracklist
A1 Tomorrow Never Knows
Written-By – Lennon-McCartney
A2 Since I Fell For You
Written-By – Buddy Johnson
A3 Sunshine Superman
Written-By – Donovan Phillips Leitch
A4 Warm Eyes And Bright
Written-By – Joe J. Williams, Walter Smollen
A5 Didnt We
Written-By – Jimmy Webb
A6 The 59th Street Bridge Song (Feelin Groovy)
Written-By – Paul Simon
B1 I Know How It Feels To Be Lonely
Written By – Gilbert-Guardino
Written-By – Louis Guardino, Phillips Gilbert
B2 Eleanor Rigby
Written-By – Lennon-McCartney
B3 I Can Do A Trick
Written-By – Arthur Hamilton
B4 Where Am I Going?
Written-By – Cy Coleman, Dorothy Fields
B5 Got To Get You Into My Life
Written-By – Lennon-McCartney
B6 Only Know I Loved You
Arranged By, Conductor – Richard Hazard
Written-By – Anthony Scibetta, John Wallowitch
Arranged By, Conductor – Jimmie Haskell (tracks: A1 to B5)
Design [Direction] – Acy Lehman
Photography By [Cover] – Don Ornitz
Photography By [Liner] – John Engstead
Liner Notes – Charles A. Pomerantz
Engineer – Lee Herschberg
Engineer [Director Of Engineering] – Val Valentin
Engineer [Remix] – David Greene
Producer – Pete Spargo
© 2017 Hallmark
🎵 [SONG INFO]
Eleanor Rigby is a song by the English rock band the Beatles from their 1966 album Revolver.
It was also issued on a double A-side single, paired with Yellow Submarine.
Credited to the Lennon–McCartney songwriting partnership, the song is one of only a few in which John Lennon and Paul McCartney later disputed primary authorship.
Eyewitness testimony from several independent sources, including George Martin and Pete Shotton, supports McCartneys claim to authorship.
Eleanor Rigby continued the transformation of the Beatles from a mainly rock and roll- and pop-oriented act to a more experimental, studio-based band, with a double string quartet arrangement by George Martin and lyrics providing a narrative on loneliness.
It broke sharply with popular music conventions, both musically and lyrically.
The song topped singles charts in Australia, Belgium, Canada, and New Zealand.
Background and inspiration
Paul McCartney came up with the melody for Eleanor Rigby as he experimented on his piano.
Donovan recalled hearing McCartney play an early version of the song on guitar, where the character was named Ola Na Tungee. At this point, the song reflected an Indian musical influence and its lyrics alluded to drug use, with references to blowing his mind in the dark and a pipe full of clay.
The name of the protagonist that McCartney initially chose was not Eleanor Rigby, but Miss Daisy Hawkins.
In 1966, McCartney told Sunday Times journalist Hunter Davies how he got the idea for his song:
The first few bars just came to me. And I got this name in my head – Daisy Hawkins picks up the rice in the church where a wedding has been. I dont know why ... I couldnt think of much more so I put it away for a day. Then the name Father McCartney came to me – and all the lonely people. But I thought people would think it was supposed to be my dad, sitting knitting his socks. Dads a happy lad. So I went through the telephone book and I got the name McKenzie.
McCartney said that the idea to call his character Eleanor was possibly because of Eleanor Bron, the actress who starred with the Beatles in their 1965 film Help! Rigby came from the name of a store in Bristol, Rigby & Evens Ltd. McCartney noticed the store while visiting his girlfriend of the time, actress Jane Asher, during her run in the Bristol Old Vics production of The Happiest Days of Your Life in January 1966.
He recalled in 1984: I just liked the name. I was looking for a name that sounded natural. Eleanor Rigby sounded natural.
In an October 2021 article in The New Yorker, McCartney wrote that his inspiration for Eleanor Rigby was an old lady who lived alone and whom he got to know very well. He would go shopping for her and sit in her kitchen listening to stories and her crystal radio set. McCartney said, just hearing her stories enriched my soul and influenced the songs I would later write.
more info here:https://en.wikipedia.org/wiki/Eleanor_Rigby
#thebeatlescover
#vocaljazz
#eleanorrigby
#morganaking Morgana King - Eleanor Rigby (The Beatles Cover)](https://i.ytimg.com/vi/Yrz610ZEmuY/mqdefault.jpg)
![derpferdheissthorst - Ziggy Stardust (David Bowie Cover)
👥 [BAND INFO]
Members:
Martin Thielen, Christoph Altenburg, Stefan Piepe
Big In Japan, Blasphemous Rumours, Funkytown and Pop Muzik cover versions are also available on their website!
🎵 [SONG INFO]
Ziggy Stardust is a song by the English singer-songwriter David Bowie from his 1972 album The Rise and Fall of Ziggy Stardust and the Spiders from Mars.
The song was recorded at Trident Studios in London in November 1971 with his backing band the Spiders from Mars, comprising Mick Ronson, Trevor Bolder and Mick Woodmansey.
It was co-produced by Bowie and Ken Scott.
Lyrically, the song is about Ziggy Stardust, a bisexual alien rock star who acts as a messenger for extraterrestrial beings. The character was influenced by English singer Vince Taylor, as well as the Legendary Stardust Cowboy and Kansai Yamamoto. Although Ziggy is introduced earlier on the album, this song is its centrepiece, presenting the rise and fall of the star in a very human-like manner. Musically, it is a glam rock song, like its parent album, and is based around a Ronson guitar riff.
Since its release, Ziggy Stardust has received widespread acclaim from music critics, with the majority praising its story, guitar riff and the bands performance.
The song has since been included on lists of Bowies greatest songs, and by some as one of the greatest songs of all time.
Bowie performed the song frequently on the Ziggy Stardust and 1978 Stage tours, and again during his tours in the 2000s.
The song was covered by the English gothic rock band Bauhaus in 1982; their version peaked at number 15 on the UK Singles Chart. While Bowies original recording was never released as a single, a live version from 1972 was released as a single in France in 1994 to promote the bootleg album Santa Monica 72. The song has since appeared on multiple compilation albums and has been remastered several times, including in 2012 for its 40th anniversary; this remaster was included in the box set Five Years (1969–1973) in 2015.
Release and reception
In the wake of Bowies death in 2016, the song peaked at number 86 on the Portuguese AFP chart, number 75 on the Billboard Japan Hot 100 and at number 17 on the US Billboard Hot Rock Songs chart.
Since its release, Ziggy Stardust has received widespread acclaim from music critics, with the majority praising its story, guitar riff and the bands performance.
In a review for Ziggy Stardust on release, Richard Cromelin of Rolling Stone praised Bowies imagery and storytelling, calling it some of his most adventuresome up to that point.
Ned Raggett of AllMusic noted the songs restraint compared to other songs on the album: Rather than being one of the albums quick, stone-cold rockers, its measured, takes its time, is as acoustic as it is electric. Raggett described the bands performance as crisp and explosive praising Ronsons guitar work, believing his riffs and their distortion could signal ... where rock could go as any of Hendrixs big hits. He also complimented Bowies vocal performance and called the song a total classic.
Ultimate Classic Rock ranked Ziggy Stardust second on their list of the ten best glam rock songs of the 1970s, behind 20th Century Boy by T. Rex, which was written by Marc Bolan, one of the influencers of Ziggy Stardust. The same publication, on their list of Bowies ten best songs, listed Ziggy Stardust at number six, praising Ronsons guitar hook, writing, [it] gives the song as much of its personality as Bowies lyrics do.
Ultimate Classic Rock placed the song on their list of the top 200 songs of the 1970s, writing that as the centrepiece of Bowies greatest album, in a way, its also Bowies story turbocharged through the cosmos, ready for whatever the decade offered him.
Ian Fortnam of Classic Rock ranked every track on the album from worst to best placing the song at number four, praising its storytelling, Ronsons guitar work and Bowies vocal performance.
In 2018, NME, on their list of Bowies 40 greatest songs, ranked Ziggy Stardust at number 20, calling Ronsons guitar riff one of rocks greatest.
Rolling Stone described the song as one of rocks earliest, and best, power ballads.
In 2010, the song ranked at number 282 on their list of The 500 Greatest Songs of All Time.
The song is one of four of Bowies songs included on the Rock and Roll Hall of Fames list of The Songs That Shaped Rock and Roll.
🔗 [LINKS]
http://www.derpferdheissthorst.de/
https://www.facebook.com/derpferdheissthorst
Available on their site:
http://www.derpferdheissthorst.de/c_audio.html
#derpferdheissthorst
#ziggystardust
#acoustic
#davidbowiecover derpferdheissthorst - Ziggy Stardust (David Bowie Cover)](https://i.ytimg.com/vi/ZItQT1LyIcM/mqdefault.jpg)
![Kopfschmerztablette - Not A Second Time (The Beatles Cover)
From Würfel
Label: Empty Records – MT-082
Format: Cassette, Album
Country: Germany
Released: 1990
Tracklist
A1 Im Schatten Des Würfels
A2 Die Kehrseite Des Würfels
A3 Überwasserangriff
A4 Pretty Nice World
A5 Ritual Of Suicide(Extended)
A6 Würfel1
A7 Weep To A Dead Of A Clown
B1 Onla A Test Part 2
B2 Legend Of Bismark
B3 Würfel2
B4 No Time To Cry
B5 China Eyes
B6 Not A Second Time
Not a Second Time is a song by English rock band the Beatles.
It was written by John Lennon, though credited to the Lennon–McCartney partnership.
It was first released on the Beatles second British album, With the Beatles, and their second American album Meet the Beatles!.
Lennon said he was trying to write a Smokey Robinson or something at the time.
The song was recorded in nine takes on 11 September 1963 at EMI Studios.
Musical structure
This song inspired a musical analysis from William Mann of The Times, citing the Aeolian cadence (Aeolian harmony) of Lennons vocals as the song draws to a close, and noting (although incorrectly) that the same chord progression appears at the end of the final movement of Gustav Mahlers Das Lied von der Erde.
Lennon, years later, remarked: To this day, I have no idea what [Aeolian cadences] are. They sound like exotic birds.
The actual meaning of the term Aeolian cadence is that a major key song resolves on the vi chord, which is the tonic chord of the relative minor key (the Mahler ends on the major tonic with an added 6th, not on a VI chord.) The term derives from the fact that the Aeolian mode is rooted on the sixth step of the major scale.
Dominic Pedler considers the Aeolian cadence moment to occur at the end of this line: (Am) You hurt me then. Youre back again. No/(Bm) no no/(D7) not a second time/(Em). Pedler writes: We are expecting the D7 chord, the dominant in the key of G, to return to the G major tonic. However, in replacing it with an Em chord supporting an isolated E note on time, we have an interrupted cadence or dominant-to-relative sub-minor (V7 to vi) shift. The major key of the song is G, but it appears to resolve on the Em (vi) chord. As Allan Moore puts it, Mann would argue that it is not the same thing as a V-vi Interrupted or Deceptive cadence because—at that precise point in the song—the role of the E minor as a vi is being questioned and is veering towards tonic status.
Pedler also claims that another interesting moment in the song is that George Martins piano part alternates not between G and E minor, but G and E major, the presence of the pianos extra G (the major 3rd of the E chord) creating a grating, tense colouring in comparison to a G natural of the guitars Em chord. Examination of a digitally extracted paino part reveals, however, that Martin plays open 5ths (chords with no 3rds, either minor or major). Pedlers discussion with musical experts about the comparison between this Beatles song and Mahlers Song of the Earth revealed that none found anything relevant, except perhaps that Mahlers Farewell movement involves various shades of a C major chord and ends after a flute B-A drop (the A chord being a 6th in the chord of C) with the final sonority of a C6 (where the C, E and G notes are from the trombones and lower strings and the A from oboe and flute, this final C6 chord seeming to be printed on the atmosphere, as Benjamin Britten terms it).
Personnel
John Lennon – Double-Tracked Vocal, Acoustic Guitar
Paul McCartney – Bass
George Harrison – Acoustic Guitar
Ringo Starr – Drums
George Martin – Producer, Piano
Norman Smith – Engineer
Cover versions
R. Stevie Moore covered the song in 1978 on his album The North.
Robert Palmer covered the song on his 1980 album Clues, adding a second verse featuring new lyrics not in the Beatles version. It was released as a single in 1981 and, although it did not enter the UK Singles Chart, reached number 79 on the Record Business Singles Top 100 chart.
The Pretenders covered the song in 1990 as a bonus track on the Sense of Purpose single.
The Smithereens on their 2007 album Meet The Smithereens!.
Rosanne Cash included the song on some international versions of her 1979 Columbia debut Right or Wrong.
Lyrics
You know you made me cry
I see no us in wondering why
I cried for you.
And now, youve changing your mind
I see no reason to change mine
I cry, its through.
Oh, you are giving me the same old line
Im wondering why.
You hurt me
Then, you are back again
No, no, not a second time.
#abstract
#minimal
#experimental
#experimentalmusic
#ndw
#neuedeutschewelle
#newgermanwave Kopfschmerztablette - Not A Second Time (The Beatles Cover)](https://i.ytimg.com/vi/ZrIxzMHWZjU/mqdefault.jpg)
![Los Polares - California Dream (in Spanish, Barry McGuire)
From Que Chica Tan Formal
Label: Sonoplay – SBP - 10.021
Format: Vinyl, 7, 45 RPM, EP
Country: Spain
Released: 1966
Tracklist
A1 Que Chica Tan Formal
Written-By – OKelly Isley, Ronald Isley, Rudolph Isley
A2 My Girl
Written-By – Chris Montez, Julio Guiu Clara
B1 La Droga
Written-By – Dick Taylor, Phil May
B2 California Dream
Written-By – John Phillips
Voice – Fernando Chica
Drums – Alberto López
Notes
Versions originally composed and performed by:
A1 The Isley Brothers - Respectable
B1 The Pretty Things - L.S.D.
B2 Barry McGuire - California Dreamin
The vinyl was re-released in 2019 on Madmua Records (MAD021).
© 2013 © 2014 Warner Music Spain, S.L.
℗ 2013 ℗ 1966 Fonomusic, S.A.
💿 [SONG INFO]
California Dreamin is a song written by John Phillips and Michelle Phillips in 1963 and first recorded by Barry McGuire.
The best-known version is by the Mamas & the Papas, who sang backup on the original version and released it as a single in December 1965.
The lyrics express the narrators longing for the warmth of Los Angeles during a cold winter in New York City.
It is recorded in the key of C-sharp minor.
California Dreamin became a signpost of the California sound, heralding the arrival of the nascent counterculture era.
It was certified three-times platinum by the Recording Industry Association of America in June 2023 and was inducted into the Grammy Hall of Fame in 2001.
In 2021, Rolling Stone placed the song at number 420 in its 500 Greatest Songs of All Time list.
History
The song was written in 1963 while John Phillips and Michelle Phillips were living in New York City during a particularly cold winter, and the latter was missing sunny California.
John would work on compositions late at night and brought Michelle the first verse one morning.
At the time, John and Michelle Phillips were members of the folk group the New Journeymen, which evolved into the Mamas and the Papas.
They earned their first record contract after being introduced to Lou Adler, the head of Dunhill Records, by Barry McGuire.
In thanks to Adler, they sang the backing vocals to California Dreamin, with members of the session band The Wrecking Crew, on McGuires album This Precious Time.
Adler, impressed with the Mamas and the Papas, then had the lead vocal track re-recorded with Denny Doherty singing, but paired with the same instrumental and backing vocal tracks, and an alto flute solo by Bud Shank, reportedly improvised.
The guitar introduction was performed by P. F. Sloan.
McGuires original vocal can be briefly heard on the left channel at the beginning of the record, having not been completely erased.
The single was released in late 1965 but was not an immediate breakthrough.
After gaining little attention in Los Angeles, a radio station in Boston was the catalyst to break the song nationwide.
After making its chart debut in January 1966, the song peaked at No. 4 in March on both the Billboard Hot 100, lasting 17 weeks, and Cashbox, lasting 20 weeks.
California Dreamin was the top single on the Billboard end-of-the-year survey for 1966.
As well, it tied for No. 1 on the Cashbox end-of-the-year survey with SSgt. Barry Sadlers Ballad of the Green Berets.
The song is used repeatedly in the 1994 Hong Kong film Chungking Express as a central plot point.
Michelle Phillips wrote the lyrics, Well, I got down on my knees, and I pretend to pray, but Cass Elliot had sung began on the original recording and had continued doing so on tour until corrected by Phillips.
Other versions
America version
In the spring of 1979, the band America reached No. 56 on the Billboard Hot 100 with their remake of California Dreamin which was the first studio recording by America as the duo of Gerry Beckley and Dewey Bunnell without third founding member Dan Peek, who had departed the group in 1977.
Bunnell – who sang lead – and Beckley – who sang background – self-produced the track which featured Americas touring musicians: David Dickey, drummer Willie Leacox, guitarist Michael Woods, percussionist Tom Walsh, and Jim Calire who played keyboards and also saxophone.
Beach Boys version
The Beach Boys recorded California Dreamin in 1986 for their greatest hits compilation Made in U.S.A.
It was produced by Terry Melcher and featured Roger McGuinn of the Byrds on 12-string guitar. This version of the song was referenced in the lyrics of the Dead Milkmens 1988 novelty hit Punk Rock Girl.
Although the song only charted at a modest number 57 on the Billboard Hot 100, it reached number 8 on the Billboard Adult Contemporary and it was supported by a music video that saw heavy rotation on MTV.
This version would later appear in the fourth season of Stranger Things.
🔗 [LINKS]
Available on Spotify:
https://open.spotify.com/album/0fiJ8p8tOadVxYhoPG2GsB
Apple Music:
https://music.apple.com/us/album/qu%C3%A9-chica-tan-formal-respectable/867599884?i=867600003
and Deezer:
https://www.deezer.com/us/album/7735399
#beat Los Polares - California Dream (in Spanish, Barry McGuire)](https://i.ytimg.com/vi/_4peV1FR2zE/mqdefault.jpg)
![Angella Stewart - A Little Love (Dancehall/Lovers Rock/Reggae, Jimmy London)
From Good Good Loving
Label: Calabash Records – CAL-01-00, CR01-00
Format: Vinyl, LP, Album
Country: US
Released: 1984
Tracklist
A1 Moonlight Lover
Written By – Adapted
A2 Hurting Me Boy
Written-By – Angela Stewart
A3 Tonight Is The Night
Written-By – Charles Farquharson
A4 Can I Have This Dance
Written-By – Angela Stewart, Ian Lewis, John Carrol
A5 Feel Like Dancing
Written-By – B.B. Seaton
B1 Live
Written-By – Angela Stewart, John Carrol
B2 Good Good Loving
Written-By – Angela Stewart, Neville Stewart
B3 Voices In The Wind
Written-By – Charles Farquharson
B4 Turn My Life Around
Written-By – Neville Stewart
B5 A Little Love
Written By – Adapted
Arranged By – John Carrol
Lead Vocals – Angela Stewart
Backing Band – Hi-Times Band, Inner Circle
Backing Vocals – Angela Stewart, Owen Stewart, The Mighty Diamonds
Engineer – Bernard Touter Harvey, Scientist
Engineer [Associated] – John Carrol
Producer – John Carrol
Executive-Producer – John Carrol
Produced For – Calabash Productions
Manufactured By – Calabash Records
Distributed By – Calabash Records
© 2015 CALABASH RECORDS
℗ 2015 CALABASH RECORDS
🎵 [SONG INFO]
Jimmy Londons A Little Love is a classic of the early reggae era, but whether it is the original depends on how you define the song.
The Original Reggae VersionJimmy London’s version, released in 1971, is the original reggae recording of this song.
Producer: Clive Chin / Vincent Chin
Label: Impact! (Jamaica) / Randys (UK)
Backing Band: The Impact All Stars
It was a massive hit in Jamaica and the UK, effectively launching Jimmy Londons solo career after he left the duo The Inspirations.
This specific recording is the one that most reggae fans refer to as the definitive version.
The Composition
While Jimmy London was the first to make it a hit in this style, the song itself was not an original composition written for him.
The credits on the original 7 vinyl often list Fritz Rotter (sometimes credited as M.4 Rotha) as the composer.
Before Jimmy Londons reggae version, the song existed as a pop/easy-listening tune.
One of the earliest known versions was recorded by the American group The Neon Philharmonic in early 1971 (just months before Londons), featured on their self-titled album.
Key Versions to Know
If you are looking for the original sound, here is how they differ
Artist / Year / Style / Note
The Neon Philharmonic / 1971 / Baroque Pop / The likely source material for the lyrics/melody.
Jimmy London / 1971 / Early Reggae / The version that made the song famous worldwide.
The Impact All Stars / 1971 / Dub version / The B-side instrumental Version of Jimmy Londons hit.
🎤 [LYRICS]
A little love
That slowly grows and grows
Not one that comes and goes
Thats all I want from you.
A little kiss
Thats more than just a kiss
Just one that up and leaves
Thats all I want from you.
Dont let me down
You told me that you cant remember
When you give you also get your share.
Dont let me down
I have no time to wait
Tomorrow may not come
And dreams may be too late.
A little love
That slowly grows and grows
Not one that comes and goes
Thats all I want from you.
A little kiss
Thats more than just a kiss
Just one that up and leaves
Thats all I want from you.
Dont let me down
You told me that you cant remember
When you give you also get your share.
Dont let me down
I have no time to wait
Tomorrow may not come
And dreams may be too late.
A little love
That slowly grows and grows
Not one that comes and goes
Thats all I want from you.
A little kiss
Thats more than just a kiss
Just one that up and leaves
Thats all I want from you.
A little love
A little kiss
A little love
A little kiss
A little love
A little kiss
A little love
A little kiss...
#jimmylondon
#dancehallmusic
#alittlelove
#angellastewart
#loversrock Angella Stewart - A Little Love (Dancehall/Lovers Rock/Reggae, Jimmy London)](https://i.ytimg.com/vi/_akqoTYV3qw/mqdefault.jpg)
![The Grannies - Diddy Wah Diddy (Bo Diddley Cover)
From One Night Stand
Label: Teen Sound Records – TEENS058
Format: CD, Album, Stereo
Country: Italy
Released: 2009
Tracklist
01. Never
02. Sad Song
03. Diddy Wah Diddy
04. Death Call From An Autumn Field
05. Melody
06. I Said Yeah
07. Little Poor Girl
08. 64
09. Lift
10. One Night Stand
11. Childrens Panic (The End)
Recorded By, Mixed By – Danilo Silvestri
Executive-Producer – Massimo del Pozzo
Recorded At – Green Mountain Audio
Mixed At – Green Mountain Audio
🎵 [SONG INFO]
Diddy Wah Diddy is a song written by Willie Dixon and Ellas McDaniel—known as Bo Diddley—and recorded by the latter in 1956.
Original version by Bo Diddley
Diddy Wah Diddy was Bo Diddleys fourth single release on Checker Records, and was released in early 1956.
The song was recorded on November 10, 1955 in Chicago, Illinois.
The recording featured The Moonglows on backing vocals, Willie Dixon on bass, Jody Williams on guitar, along with Bo Diddley, Clifton James on drums, Jerome Green playing the maracas, and Little Willie Smith on harmonica.
Lyrically, the song makes mention of the mythical town of Diddy Wah Diddy.
It was not unusual in the early part of the 20th century for African Americans in the southern states (particularly in Florida) to speak of various mythical cities and countries such as Beluthahatchie, Heaven, Diddy Wah Diddy and West Hell as if they were real.
Of all the imaginary locations that were in common usage at the time, folklorist and ethnomusicologist Benjamin Albert Botkin has noted that Diddy Wah Diddy was the largest and best known of the Negro mythical places.
It was commonly believed that in Diddy Wah Diddy food could be found in abundance, the townsfolk did not have to work, and people and animals had no concerns.
Dixon and McDaniels song is sung from the point of view of a man whose lover lives in this mythical location.
The song is often confused with Blind Blakes similarly titled 1928 song, Diddie Wa Diddie, which was also covered by various bands and artists mostly under the name Diddy Wah Diddy.
Cover versions
The first known cover of the song was by the Colorado based rock band The Astronauts, on their RCA album The Astronauts Orbit Campus, in 1964.
Captain Beefheart and his Magic Band recorded a blues rock version of the track, produced by David Gates, later the leader of Bread, in January 1966 at Sunset Sound Recorders studio in Hollywood, California.
It was the bands first single, released on the A&M label in March of that year.
On some copies of the single, it was incorrectly credited to A. Christensen as the songwriter.
The track shortly gained interest and became a regional hit, with the band appearing on the TV show Where The Action Is to promote it in May 1966, in a mimed segment filmed on a California beach.
Around the same time, The Remains, from Boston, released a garage rock version of the song which became a hit in the East Coast charts.
The Sonics covered the song as a garage rock version around 1966, and it was included in the 1991 release of Maintaining My Cool and the 2004 Sundazed reissue of the album Introducing the Sonics.
Two Australian bands, The Twilights, and Mike Furber and the Bowery Boys, covered the song, again in 1966.
Another Australian band, Running Jumping Standing Still, recorded a version in 1967, which charted no.13 in Melbourne.
A cover by blues rock band The Fabulous Thunderbirds appeared on their 1982 album T-Bird Rhythm.
A loosely interpreted garage rock cover of Diddy Wah Diddy was recorded by the Ty Segall Band for their 2012 album Slaughterhouse.
Tom Petty and the Heartbreakers covered the song in a 1997 rendition of the track which is available on their compilation live album The Live Anthology
The Blues Band
In popular culture
Diddy Wah Diddy is mentioned by name on the cover of the first issue of Robert Crumbs Zap Comix, where a woman asks Mr. Natural for the meaning of the songs title.
The version by Ty Segall Band is featured on the soundtrack of Grand Theft Auto V on Vinewood Boulevard Radio.
🔗 [LINKS]
https://www.facebook.com/profile.php?id=100063629164178
https://www.facebook.com/GranniesClub
https://open.spotify.com/artist/7pFPEwpv8ivEUnEE5Pt8z7
Available on bandcamp:
https://teensoundrecords.bandcamp.com/album/the-grannies-one-night-stand The Grannies - Diddy Wah Diddy (Bo Diddley Cover)](https://i.ytimg.com/vi/_c_XlaFVp4s/mqdefault.jpg)
![Target - You Aint Going Nowhere (Bob Dylan Cover)
From When Silent Rebels Rise
Label: WK-Records – WK 30.066
Format: Vinyl, LP
Country: Germany
Released: 1979
Tracklist
A1 Something In The Night
Written-By – Bruce Springsteen
A2 You Aint Going Nowhere
Written-By – Bob Dylan
A3 Last Time I Saw Mary
Written-By – Harald Neumann
A4 Dreams And False Alarms
Written-By – Harald Neumann, Hellmuth Opitz
A5 Down On Reckless Highway
Written-By – Harald Neumann, Hellmuth Opitz
B1 Bourbon Angel
Written-By – Hellmuth Opitz
B2 Dollar Fall Blues
Written-By – Hellmuth Opitz
B3 Time Is Ripe For
Written-By – Harald Neumann, Hellmuth Opitz
B4 When Silent Rebels Rise
Written-By – Harald Neumann, Hellmuth Opitz
12-String Acoustic Guitar, Harmonica, Lead Vocals, Producer – Hellmuth Opitz
Electric Guitar, Acoustic Guitar, Lead Vocals, Producer – Harald Neumann
Electric Guitar, Acoustic Guitar – Ulrich Schultz
Slide Guitar – Jürgen Schildmann
Drums – Matthias Schrumpf
Bass Guitar – Wolfgang Hafner
Lacquer Cut By – SST
Engineer – Eckart H.X.
Notes
Limited edition (only 40 copies).
This release is housed in a handmade cover. A lyrics sheet is included.
🎵 [SONG INFO]
You Aint Goin Nowhere is a song written by American musician Bob Dylan in 1967 in Woodstock, New York, during the self-imposed exile from public appearances that followed his July 29, 1966 motorcycle accident.
A recording of Dylan performing the song in September 1971 was released on the Bob Dylans Greatest Hits Vol. II album in November of that year, marking the first official release of the song by its author.
Earlier 1967 recordings of the song, performed by Dylan and the Band, were issued on the 1975 album The Basement Tapes and the 2014 album The Bootleg Series Vol. 11: The Basement Tapes Complete.
The Byrds recorded a version of the song in 1968 and issued it as a single.
This was the first commercial release of the song, predating Dylans own release by three years.
Other covers
The British beat group Unit 4 + 2 released a recording of You Aint Goin Nowhere as a single in 1968, but it suffered poor sales as a result of the competing version released by the Byrds and consequently it did not chart.
Joan Baez included a gender-switched version of the song, in which she sings Tomorrows the day my mans gonna come, on her 1968 album of Dylan covers, Any Day Now.
Former members of the Byrds Roger McGuinn and Chris Hillman re-recorded the song in 1989 with the Nitty Gritty Dirt Band on that bands Will the Circle Be Unbroken: Volume Two album. This recording was released as a single and peaked at number 6 on the Billboard Hot Country Singles chart and number eleven on the Canadian country music charts published by RPM.
In spite of the involvement of the Nitty Gritty Dirt Band, the single release was credited to McGuinn and Hillman alone.
You Aint Goin Nowhere has also been covered by Earl Scruggs, Maria Muldaur, Old Crow Medicine Show, Phish, Counting Crows, the Dandy Warhols, Tedeschi Trucks Band, Loudon Wainwright III, and Glen Hansard with Markéta Irglová among others.
It was one of about two dozen Dylan compositions included in the musical Girl from the North Country (musical).
~more info here: https://en.wikipedia.org/wiki/You_Ain%27t_Goin%27_Nowhere
#target
#youaintgoingnowhere
#folkrock
#classicrock
#bobdylancover
📜 [PUBLISHING & PERMISSIONS]
Copyright music and lyrics reproduced by kind permission of Special Rider – for original, exclusive performances by Bob Dylan, check-out the official channel at https://www.youtube.com/BobDylan Target - You Aint Going Nowhere (Bob Dylan Cover)](https://i.ytimg.com/vi/_kdJkT96Kho/mqdefault.jpg)
![Jackie Edwards - All Shook Up (Dub/Lovers Rock/Reggae, Elvis Presley Cover)
From Tell Me Darling
Label: Imperial Records – IC 8004
Format: Vinyl, LP, Album
Country: Canada
Released: 1978
Tracklist
A1 All Shook Up
A2 The Further You Look
A3 Sad News
A4 I Think Of Only You
A5 Do You Love Me
B1 When I Fall In Love
B2 Heaven Just Knows
B3 The Vow
B4 Ill Never Be Leaving You
B5 Tell Me Darling
B6 Sugar Plum
Arranged By – Bunny Lee
Lead Guitar – Mikey Chung
Rhythm Guitar – Geoffrey Chung
Piano – Keith Sterling, Robbie Lyn
Organ – Winston Wright
Horns – The Zap Pow Horns
Drums – Sly Dunbar
Bass – Robbie Shakespeare
Design – Jeff Browne
Photography By – Carib Foto Studio
Engineer – Jerome Francique, Pat Kelly
Producer – Bunny Lee
Notes
Recorded At, Mixed At – Dynamic Sounds Studios
© 2005 Sanctuary Records Group Ltd, a BMG company
℗ 2005 Sanctuary Records Group Ltd, a BMG company
🎵 [SONG INFO]
All Shook Up is a song recorded by Elvis Presley, published by Elvis Presley Music, and composed by Otis Blackwell.
The single topped the U.S. Billboard Top 100 on April 13, 1957, staying there for eight weeks.
It also topped the Billboard R&B chart for four weeks, becoming Presleys second single to do so, and peaked at No. 1 on the country chart as well.
It is certified 2× platinum by the Recording Industry Association of America.
It was ranked No.352 on Rolling Stones list of the 500 Greatest Songs of All Time.
History
Blackwell wrote the song at the offices of Shalimar Music in 1956 after Al Stanton, one of Shalimars owners, shaking a bottle of Pepsi at the time, suggested he write a song based on the phrase all shook up.
According to Peter Guralnick, the song has a different origin. In his book Last Train to Memphis, he wrote that Elvis thought All Shook Up was a good phrase for a refrain. For this he received a co-writing credit.
Elvis himself, during an interview on October 28, 1957, said: Ive never even had an idea for a song. Just once, maybe. I went to bed one night, had quite a dream, and woke up all shook up. I phoned a pal and told him about it. By morning, he had a new song, All Shook Up.
Future Last House on the Left actor David Hess, using the stage name David Hill, was the first to record the song on Aladdin Records, titled Im All Shook Up. In a 2009 interview, Hess revealed the origins of the song, and claimed to come up with the title of the song: As far as ‘All Shook Up’, the title came from a real set of circumstances and when I decided not to write it, Otis Blackwell did and I had the first recording for Aladdin Records. It was my title, but Otis wrote the song and Presley took a writing credit in order to get him to record it. Thats the way things happened in those days.
Vicki Young recorded a different song with the same title, (Im) All Shook Up, on Capitol Records with Big Dave and His Orchestra, written by Bill Bellman and Hal Blaine in 1956.
On January 12, 1957, Presley recorded the song at Radio Recorders in Hollywood. The duet vocal on the record is by The Jordanaires first tenor Gordon Stoker. Take 10 was selected for release, and in March the song entered Billboards Top 100 chart at No.25. Within three weeks it had knocked Perry Comos Round and Round off the top spot, and stayed there for eight consecutive weeks. The song also became Presleys first No. 1 hit on the UK Singles Chart, remaining there for seven weeks. Sales of the single exceeded two million, and the song was named Billboards Year End number one song for 1957.
Other versions
In 1991, Billy Joel recorded the song for the movie Honeymoon in Vegas.
Suzi Quatro.
Derivatives and parodies
Jim Jacobs and Warren Casey included a strongly derivative piece, All Choked Up, as part of the original version of the musical Grease. The song was included in the Broadway version; in 1978, when the musical was adapted as a feature film of the same name, All Choked Up was not included, and a new song, Youre the One That I Want (which bore no musical resemblance to All Shook Up), was used instead and went on to become a major hit.
Filipino comedians Joey de Leon and Vic Sotto parodied Elvis Presleys “All Shook Up”. A full version of the theme song was released as a single by Tito, Vic & Joey in 1979 and featured in the trios Sgt. Pepe (Tito, Vic & Joey, Vol. IV) album.
🔗 [LINKS]
Available on Spotify:
https://open.spotify.com/track/2bBcMa84MuZqYjpf4yDaMn
Apple Music:
https://music.apple.com/us/song/all-shook-up/1441779827
and Deezer:
https://www.deezer.com/us/track/143031318
#jackieedwards
#allshookup
#loversrock
#reggae
#elvispresleycover Jackie Edwards - All Shook Up (Dub/Lovers Rock/Reggae, Elvis Presley Cover)](https://i.ytimg.com/vi/_xh4EkBE9E8/mqdefault.jpg)