Will It Go Round In Circles 1971 Billy Preston 1946 to 2006 Original Song EarlyEd Bangladesh Charity
LYRICS:
I've got a song I ain't got no melody How'm I gonna sing it to my friends ....X2 Will it go round in circles Will it fly high like a bird up in the sky .... X2
I've got a lil' story ain't got no moral Let the bad guy win every once in a while .... X2 Will it go round in circles Will it fly high like a bird up in the sky .... X2 I've got a dance I ain't got no steps I'm gonna let the music move me around .... X2 Will it go round in circles Will it fly high like a bird up in the sky .... X2 "Will It Go Round In Circles"
Song Writer : The Great Billy Preston Singer & piano player &
SongWriter For Greatest Songs Ever Like : You Are So Beautiful Covered By
The Singer Joe Cocker's, Billy Preston
A&M 1411 July 1973 Billboard:
#1 After He Became The only American Artist To Share Label Billing With
The Beatles (on "Get Back" in May 1969), Billy Preston was Signed To
Apple Records, Where He Recorded Two Albums.
Up until That Time He Had
Been a Keyboard Player and a Studio Musician;
The Great
Billy was Born September 9, 1946, in Houston, Texas.
He was Raised in
Los Angeles, Where By The Age of Three He Was Playing Piano. His Mother
Was The Organist For The Victory Baptist Church and Billy Was Asked To
Direct The Church Choir. He Cast 10-year-Old Billy as The Young W.C.
Handy, The Man Known as The "Father of Blues."
It Was Preston's only
Film Role Until He Appeared in The Motion Picture "Let It Be" With The
Beatles. Billy Was signed to Sar Records, the label owned by Sam Cooke
and in 1962 Billy joined a gospel tour starring Cooke and Little
Richard.
In 1965, Billy was playing clubs in Los Angeles when he
was visited by Sounds Incorporated, the British band who backed Little
Richard on the '62 tour. They brought television producer Jack Good to
the club and he invited Billy to become the resident keyboard player on
his Shindig series.
During a rehearsal for the show, Billy sat
in for his idol, Ray Charles. When Charles heard Billy sing "Georgia on
My Mind," he invited him to record on his next album. In 1967, Charles
toured Europe and introduced Billy as the man he'd like to carry on the
work he had started. It was a concert at the Royal Festival Hall that
attracted George Harrison to Preston and led to his joining the Beatles
on "Get Back."
After the Beatles broke up, Billy performed on
Harrison's All Things Must Pass album, and was invited by George to
perform a song at his Concert for Bangladesh benefit at New York's
Madison Square Garden in 1971.
In addition to the Grammy-winning "Outa-Space" and "Will It Go Round In Circles,"
Billy's gold singles in
the Seventies included "Space Race" (#1) in 1973 and "Nothing from
Nothing" in (#1) in 1974. In 1975, he wrote what would become Joe
Cocker's biggest solo hit, "You Are So Beautiful" and recorded and
toured with the Rolling Stones.
The Great Billy Preston had battled
kidney disease in his later years, brought on by his hypertension. He
received a kidney transplant in 2002, but his health continued to
deteriorate. He died on June 6, 2006 in Scottsdale, Arizona, of
complications of malignant hypertension that resulted in kidney failure
and other complications.
The Beatles started recording "I Want to Hold Your Hand" at Abbey Road Studios in Studio 2 on 17 October 1963.
Notably, this marked the end of the Beatles using two-track recording; from then until 1968, all Beatles releases were recorded on four-track machines.
The whole intro section from an earlier take spliced onto take 17. A studio montage in The Beatles Anthology includes an audio clip of McCartney instructing Ringo Starr on the dynamics of the drums in the song's intro.
"I Want to Hold Your Hand" was one of two Beatles songs (along with "She Loves You") to be recorded in German, entitled, "Komm, gib mir deine Hand".
Odeon, the German arm of EMI (the parent company of the Beatles' record label, Parlophone Records) was convinced that the Beatles' records would not sell in Germany unless they were sung in German.
The Beatles detested the idea, and when they were due to record the German version on 27 January 1964 at EMI's Pathe Marconi Studios in Paris (where the Beatles were performing 18 days of concerts at the Olympia Theatre) they did not arrive for the session.
Their record producer, George Martin, was outraged, and insisted they give it a try.
Two days later, the Beatles recorded "Komm, gib mir deine Hand", one of the few times in their career that they recorded outside of London. However, Martin later conceded They were right, actually, it wasn't necessary for them to record in German, but they weren't graceless, they did a good job.[8]
"Komm, gib mir deine Hand" appeared in full stereo on the US Capitol LP 'Something New'
The song was greeted by raving fans on both sides of the Atlantic but was dismissed by some critics as nothing more than another fad song that would not hold up to the test of time.
Cynthia Lowery of the Associated Press expressed her exasperation with Beatlemania by saying of the Beatles: "Heaven knows we've heard them enough. It has been impossible to get a radio weather bulletin or time signal without running into 'I Want to Hold Your Hand'."[12]
Another critic declared that the Beatles were "really pretty boring to listen to. Their act is absolutely nothing," and that "[t]heir greatest asset is that they look like rather likable, almost innocent young fellows who have merely hit a lucky thing."[12]
Bob Dylan was impressed by the Beatles' innovation, saying, "They were doing things nobody was doing. Their chords were outrageous, just outrageous, and their harmonies made it all valid."[13]
For a time Dylan thought the Beatles were singing "I get high" instead of "I can't hide". He was surprised when he met them and found out that none of them had actually smoked marijuana.[14]
Although the song was nominated for the Grammy Award for Record of the Year, the award went to Astrud Gilberto and Stan Getz for "The Girl from Ipanema".
However, in 1998, the song won the Grammy Hall of Fame Award. It has also made the list in The Rock and Roll Hall of Fame's 500 Songs that Shaped Rock and Roll.
In addition, the Recording Industry Association of America, the National Endowment for the Arts and Scholastic Press have named "I Want to Hold Your Hand" as one of the Songs of the Century.
In 2004, it was ranked number 16 on Rolling Stone magazine's list of the 500 greatest songs of all time.[15] It was ranked as #2 in Mojo's list on the "100 Records That Changed the World", after Little Richard's Tutti Frutti.[16]
The song lists at #39 on Billboard's All Time Top 100.
LYRICS:
Oh yeah, I'll tell you something
I think you'll understand
When I say that something
I wanna hold your hand
I wanna hold your hand
I wanna hold your hand
Oh, please say to me
You'll let me be your man
And, please, say to me
You'll let me hold your hand
Now let me hold your hand
I wanna hold your hand
And when I touch you I feel happy inside
It's such a feeling that, my love
I can't hide
I can't hide
I can't hide
Yeah, you got that something
I think you'll understand
When I say that something
I wanna hold your hand
I wanna hold your hand
I wanna hold your hand
And when I touch you I feel happy inside
It's such a feeling that, my love
I can't hide
I can't hide
I can't hide
Yeah, you got that something
I think you'll understand
When I feel that something
I wanna hold your hand
I wanna hold your hand
I wanna hold your hand
I wanna hold your hand
Founded in Australia in 1963, the original Seekers comprised Athol
Guy (5 January 1940, Victoria, Australia; vocals/double bass), Keith
Potger (b. 2 March 1941, Columbo, Sri Lanka; vocals/guitar), Bruce
Woodley (b. 25 July 1942, Melbourne, Australia; vocals, guitar) and Ken
Ray (lead vocals/guitar).
After a year with the above line-up, Athol Guy
recruited Judith Durham (b. 3 July 1943, Melbourne, Australia) as the
new lead singer and it was this formation that won international
success.
Following a visit to London in 1964, the group were signed to
the Grade Agency and secured a prestigious guest spot on the televised
Sunday Night At The London Palladium. Tom Springfield, of the recently
defunct Springfields, soon realized that the Seekers could fill the gap
left by his former group and offered his services as
songwriter/producer.
Although 1965 was one of the most competitive years
in pop, the Seekers strongly challenged the Beatles and the Rolling
Stones as the top chart act of the year. A trilogy of folk/pop smashes,
Ill Never Find Another You, A World Of Our Own and The Carnival Is Over,
widened their appeal, leading to lucrative supper-club dates and
frequent television appearances.
Aside from Tom Springfields
compositions, such as Walk With Me, they also scored a massive chart hit
with Malvina Reynolds Morningtown Ride and gave Paul Simon his first UK
success with a bouncy adaptation of Someday One Day.
Meanwhile, Bruce
Woodley teamed up with Simon to write some songs, including the Cyrkle
hit Red Rubber Ball. In early 1967, the breezy Georgy Girl (written by
Tom Springfield and Jim Dale) was a transatlantic Top 10 hit but
thereafter, apart from When Will The Good Apples Fall and Emerald City,
the group were no longer chart regulars.
Two years later they bowed out
in a televised farewell performance, and went their separate ways. Keith
Potger oversaw the formation of the New Seekers before moving into
record production; Bruce Woodley became a highly successful writer of
television jingles; Athol Guy spent several years as a Liberal
representative in the Victoria parliament; and Judith Durham pursued a
solo singing career.
She had a minor UK hit in 1967 with Olive Tree, and
her 1973 album, Here I Am, contained songs by Rod McKuen, Nilsson and
Elton John, as well as some folksy and jazz material.
In 1975,
the Seekers briefly re-formed with teenage Dutch singer Louisa Wisseling
replacing Judith Durham. They enjoyed one moment of chart glory when
The Sparrow Song topped the Australian charts. In 1990 Judith Durham was
involved in a serious car crash and spent six months recovering.
The
experience is said to have inspired her to reunite the original Seekers,
and they played a series of 100 dates across Australia and New Zealand,
before appearing in several 1994 Silver Jubilee Reunion Concerts in the
UK at venues that included Londons Royal Albert Hall and Wembley Arena.
The quartet has continued to tour throughout the world and in 2000
recorded their first studio album for 30 years, Future Road.
Source: The Encyclopedia of Popular Music by Colin Larkin. Licensed from Muze.
When released as a single, "Just My Imagination" became the third Temptations song to reach number one on the US Billboard Hot 100.
The single held the number one position on the Billboard Pop Singles Chart for two weeks in 1971, from March 27 to April 10. "Just My Imagination" also held the number-one spot on the Billboard R&B Singles chart for three weeks, from February 27 to March 20 of that year.[1]
Today, "Just My Imagination" is considered one of the Temptations' signature songs,
and is notable for recalling the sound of the group's 1960s recordings.
During the process of recording and releasing the single, Kendricks
left the group to begin a solo career, while the ailing Williams was
forced to retire from the act for health reasons.
Unlike the Temptations' original, the Rolling Stones cover has a higher
tempo, prominent electric guitars, and replaces the subdued tone of the
original with a rougher feel.
Other notable covers include a
smooth-jazz version by Larry Carlton, an acoustic cover by Ted Hawkins,[2] a jazz cover by Dianne Reeves, a mid-tempo pop interpretation by Bette Midler,[11] instrumental versions by both Booker T & the MG's and Donald Byrd,[2] who included his funk-influenced cover of "Just My Imagination" on his successful 1975 album Places and Spaces and Rose Royce's version from their 1986 albumFresh Cut.
Working from the original Motown session tapes, hip hop producer Easy Mo Bee produced a remix of "Just My Imagination" that adds modernized keyboard lines, bass, and programmed drums to the original mix.
This remix was included on the 2005 compilation Motown Remixed, along with several other reworked Motown hits.[12]
A Future Garage remix has since been done by dubstep artist M.I. Loki. In the 1989 movie Going Overboard, Adam Sandler covers this song.
Another instrumental version is by saxophonist Euge Groove from one of his most popular albums, Just Feels Right.[17][18]
Well-known guitarist Peter White recorded the cover from the 2001 album Glow.[19][20]
Also the Glee-actor, singer and producer Mark Salling performed this
song at the Motown celebration at the White House in 2011. He performed
it for an exclusive audience including the president Barack Obama and
his wife Michelle Obama.
On her 1993 World Tour Girlie Show, Madonna inserted an excerpt from "Just My Imagination (Running Away With Me)" into her own song "Rain".
Prince heavily covered "Just Imagination..." at his 1988 aftershows during the Lovesexy tour.
It should come as no surprise that The Spinners have always made
timeless music. Their classic group sound and approach never loses its
universal appeal. More remarkable is the fact that The Spinners are more
popular in the new millennium than ever.
Throughout the years, they have acquired twelve
(12) gold records with their hits climbing to the top of both Pop and
R&B charts and they are one of the few groups who can boast of four
(4) lead singers. Members include, Charlton Washington, Bobbie Smith,
Henry Fambrough. Jessie Peck and Marvin Taylor.
The Stylistics are a soul music vocal group, and were one of the
best-known Philadelphia soul groups of the 1970s.
They formed in 1968,
and were composed of lead Russell Thompkins, Jr., Herbie Murrell,
Airrion Love, James Smith, and James Dunn.
All of their US hits were
ballads, graced by the soaring falsetto of Russell Thompkins, Jr. and
the lush productions of Thom Bell, which helped make the Stylistics one
of the most successful soul groups of the first half of the 1970s. During the early 1970s, the band had twelve consecutive U.S. R&B top
ten hits, including.
"Stop, Look, Listen (To Your Heart)"
"You Are
Everything"
"Betcha by Golly, Wow"
"I'm Stone in Love with You"
"Break Up to Make Up".
This has got to be the saddest day of my life.
I called you here today for a bit of bad news.
I wouldn't be able to see you anymore
Because of my obligation,
and the ties that you have.
We've been meeting here everyday,
And since this is our last day together.
I wanna hold you just one more time.
When you turn and walk away, don't look back.
I wanna remember you just like this
Let's just kiss and say goodbye.
I had to meet you here today,
There's just so many things to say.
Please don't stop me till I'm though,
This is something I hate to do.
We've been meeting here so long.
I guess what we've done was wrong.
Please, darling don't you cry,
Let's just kiss and say goodbye..
Many months have passed us by.
I'm gonna miss you, I can't lie.
I've got ties and so do you.
I just think this is the things to do.
It's gonna hurt me, I can't lie.
Maybe you'll meet, you'll meet another guy.
Understand me, won't you try, try, try.....
Let's just kiss and say goodbye.
Maybe you'll find, you'll find another guy.
Let's just kiss and say goodbye, pretty baby.
Please don't cry.
Understand me, won't you try?
Let's just kiss and say goodbye...
The Manhattans is the self-titled album by R&B vocal group The Manhattans, released in 1976 on the Columbia label.
The Manhattans was the group's third Columbia album; the previous two (There's No Me Without You and That's How Much I Love You) had sold respectably to the R&B market, but failed to garner any significant crossover attention.
The Manhattans however went on to become commercially the most successful album of the group's career, peaking at #16 on the Billboard 200 and #6 on the R&B listings.
With seven of the ten tracks recorded at the famed Sigma Sound Studios in Philadelphia,
the album is, in terms of vocal style and production, very much in the
elegant, slick and sophisticated tradition of the premier male Philadelphia soul vocal groups of the early to mid-1970s, such as The Delfonics and Blue Magic, although the influence of the then burgeoning disco
sound is also evident on the more uptempo tracks such as "Searching for
Love".
The album's commercial success was driven by the release of the
single "Kiss and Say Goodbye",
which took off immediately in all markets and became the group's
signature song.
With its distinctive 60-second spoken introduction by
Winfred "Blue" Lovett (also the writer of the song), the single (edited
by almost a minute from the album version) topped the R&B chart for one week in May 1976, then crossed over into the pop market and also spent two weeks at the top of the Billboard Hot 100 in July.
"Kiss and Say Goodbye" also became a major hit in the UK, reaching #4 and pushing the album into the top 40. Later in 1976, the single "Hurt" – a cover of a song which had previously been a hit for Roy Hamilton and Timi Yuro
in 1954 and 1961 respectively – also rose to #4 in the UK, despite
having barely scraped into the top 100 in the U.S. when released there
in late 1975.
The album has maintained its critical reputation for consistently strong material, production values and vocal expertise. Allmusic's
Lindsay Planer states: "Under the direction of Philly groove master
Bobby Martin, the group utilizes its streetwise doo-wop delivery on a
mixed bag of sounds.
These include uptempo numbers...as well as
orchestrated sounds. Although the disco-era rhythms certainly add a bit
of nostalgia, at the center of The Manhattans is the sextet's deceptively complex...vocal blend." The Manhattans was issued on CD in the U.S. in 2003 and was later reissued in 2010 by UK imprint Cherry Red Records in a double package alongside the group's other most successful album, 1980's After Midnight.
The Queen Of Country Music Kitty Wells sings "Making Believe" at the
Grand Ole Opry in 1955.
This song has been a #2 hit on Billboards
country chart for Kitty and was written by Jimmy Work.
LYRICS:
Making believe that you still love me
It's leaving me alone and so blue
But I'll always dream still I'll never own you
Making believe it's all I can do
Can't hold you close when you're not with me
You're somebody's love you'll never be mine
Making believe I'll spend my lifetime
Loving you making believe
[ fiddle ]
Making believe that I never lost you
But my happy hours I find are so few
My plans for the future will never come true
Making believe what else can I do
Can't hold you close when you're not with me
You're somebody's love you'll never be mine
Making believe I'll spend my lifetime
Loving you making believe
Ellen Muriel Deason (August 30, 1919 – July 16, 2012), known professionally as Kitty Wells, was an American country music singer.
Her 1952 hit recording, "It Wasn't God Who Made Honky Tonk Angels",
made her the first female country singer to top the U.S. country
charts, and turned her into the first female country star.
Her Top 10
hits continued until the mid-1960s, inspiring a long list of female
country singers who came to prominence in the 1960s.
Wells was born Ellen Muriel Deason in 1919 in Nashville, Tennessee, one of the few country singers born in Nashville.[2]
She began singing as a child, learning guitar from her father, who was a brakeman on the Tennessee Central Railroad.[3]
Her father, Charles, and his brother were musicians and her mother, Myrtle, was a gospel singer.[2]
As a teenager, she sang with her sisters, who performed under the name
the Deason Sisters on a local radio station beginning in 1936.[4]
At the age of 18 she married Johnnie Wright, a cabinet-maker who aspired to country-music stardom (which he'd eventually achieve as half of the duo Johnnie & Jack).[5]
Music career
Wells sang with Wright and his sister Louise Wright; the three toured as Johnnie Right and the Harmony Girls.
Soon Wright met Jack Anglin,
who married Louise and became part of the band, which became known
first as the Tennessee Hillbillies and then the Tennessee Mountain Boys.[2]
Wright and Wells performed as a duo; it was at this time she adopted
"Kitty Wells" as her stage name.
Johnnie Wright chose the name from a
folk song called "Sweet Kitty Wells".[6] When Anglin returned from the Army, he and Wright formed the Johnnie & Jack duo.
Wells would tour with the pair, occasionally performing backup vocals.[4] Before Wells' rise to stardom with "Honky Tonk Angels", Roy Acuff
and the Smoky Mountain Boys toured with Wright and Wells for a time.
Acuff advised Wright not to make his wife his show's headliner, because
he thought women could not sell country music records.[7]
On Louisiana Hayride, she performed with her husband's duo. Wells, however, did not sing on their records until signing with RCA Victor
in 1949 releasing some of her first singles, including "Death At The
Bar" and "Don't Wait For The Last Minute To Pray", neither of which
charted.
While these early records gained some notice, promoters still
weren't keen on promoting female singers, and therefore Wells was
dropped from the label in 1950.
Wells was disenchanted with her career prospects and was considering retirement, but agreed to the session (at Owen Bradley’s
studio on May 3, 1952) because of the $125 union scale recording
payment.
"I wasn't expecting to make a hit," said Wells later. "I just
thought it was another song."[3]
"It Wasn't God Who Made Honky Tonk Angels" was an answer song to Hank Thompson's "The Wild Side of Life",
and its lyrical treatment of seductive, wayward women. Wells' single
retorted, "It's a shame that all the blame is on us women."[8][9]
The record's message was controversial at the time, and was banned by many radio stations.[10] NBC,
in particular, was troubled by the lyric, "It brings back memories of
when I was a trustful wife".
Wells' slight alteration of "trustful" to
"trusting" lifted the network ban on the song.[6]
It was also temporarily banned from the Grand Ole Opry. Nevertheless, audiences couldn’t get enough of it.[11]
The single took off during the summer of 1952, and sold more than
800,000 copies in its initial release.
It became the first single by a
female singer to peak at No. 1 in the eight-year history of the country
music chart, where it remained for six weeks. (Certain female country
songs, notably Patsy Montana's million-selling "I Want to Be a Cowboy's Sweetheart" predate the creation of Billboard's
country chart in 1944.)
"It Wasn't God Who Made Honky Tonk Angels" also
crossed over to Billboard’s pop charts, hitting No. 27.[11]
Because of her major breakthrough, Wells received a membership to the Grand Ole Opry, which had originally banned the single.[3]
Writer Bill Friskics-Warren has argued that part of the song's appeal
came from its combination of a modern message with a familiar tune, a
melody drawn from the Carter Family's "I'm Thinking Tonight of My Blue Eyes" (as were "The Wild Side of Life" and Roy Acuff's "The Great Speckled Bird").
Practically anyone could hum along with "Angels" the first time they heard it.[12]
1953–1969: Career peak
"It Wasn't God Who Made Honky Tonk Angels" was followed by "Paying For That Back Street Affair", a response to Webb Pierce's
"Back Street Affair".
The single reached number six in the spring of
1953, helping to establish a lasting place at the top of the charts for
Wells.[4]
Between 1953 and 1955, she was popular on the country charts, and was
the only female solo artist at the time to be able to maintain her
success. In 1953, Wells had two Top 10 hits with "Hey Joe" and "Cheatin's A Sin".
The next year, Wells partnered with country star Red Foley for the duet "One By One", which peaked at No. 1 on the Billboard Country Chart,
and became her second chart-topper.
The song led to a string of hit
singles from the duo within the next two decades, including 1954's "As
Long as I Live", which peaked at No. 3. As a solo artist in 1954, Wells
had two major hits with the No. 8 "Release Me" and the Top 15 hit, "Thou Shalt Not Steal" (written by Don Everly of the Everly Brothers).
Record companies were reluctant to issue albums by country's female artists until Wells proved that women could sell.[13]
Ad featuring Kitty Wells and husband Johnnie Wright's first joint album, We'll Stick Together
She became the first female country singer to issue an LP, starting with 1956's Kitty Wells' Country Hit Parade, which consisted of her biggest hits. She released her first studio album in 1957 with Winner of Your Heart. Soon other female country singers released LPs in the late 1950s and early 1960s.
"Making Believe" is widely regarded as one of the greatest songs in
country music history and Wells' as the definitive version of the song
despite scores of covers over the years.
In 1957, Wells issued Winner of Your Heart. This was followed by a string of LPs released from Decca Records
between 1957 and 1973.
She also partnered with Webb Pierce the same
year for two duet singles, including the Top 10 hit, "Oh So Many Years".
The duo didn't record together again until 1964 with the Top 10 hit,
"Finally".
In 1959, Wells had two Top 5 hits with "Amigo's Guitar" and
"Mommy For A Day". Wells was later awarded a BMI award
for writing "Amigo's Guitar."
Although not known much for her
songwriting, Wells has won two BMI awards, including one for "Amigo's
Guitar". She has published more than 60 songs.
Wells' 1956 LP album, Country Hit Parade. She was the first female country singer to release an LP of her own.
She continued to put much of herself into her songs throughout her
career, inspiring other female country singers to record risky material
as well.
Loretta Lynn was one of her followers in this sense, when she recorded "Don't Come A Drinkin' (With Lovin' On Your Mind)" in 1967. Dolly Parton's 1968 recording "Just Because I'm a Woman", like "Honky Tonk Angels", questioned the male-female double-standard.
Wells entered the 1960s on top with songs like "Heartbreak U.S.A." and "Day into Night".[14]
"Heartbreak USA" peaked at No. 1 on the Billboard Country Chart and
became her third and final No. 1 hit. The follow-up, "Day Into Night"
was a Top 10 hit the same year. Owen Bradley took over as Wells'
producer in the 1960s.
While Bradley did produce some of the
biggest-selling country crossover singers of the time period, including Patsy Cline,
he did have to record some of what Nashville then called "The
Old-Timers," or the "Honky-Tonkers" from the 1950s, including Webb
Pierce, Ernest Tubb,
and Wells.
With these singers, including Wells, he steered them all
into the new contemporary sound without pushing them out of their
limits. Wells' sound changed slightly due to Bradley's influence,
incorporating some of the new Nashville sound into her material.[13]
The well-known Nashville Sound vocal group, The Jordanaires, can be heard backing Wells on her big country hit from 1961, "Heartbreak USA".
In the early '60s, her career dipped slightly, but she continued to have Top Ten hits frequently.[15]
In 1962, Wells had three Top 10 hits with "Will Your Lawyer Talk to
God", "Unloved Wanted," and "We Missed You". Beginning in 1964, Wells'
albums began to chart the Top Country Albums chart, starting with the LP, Especially for You.
Some of Wells' albums peaked within the Top 10 on that chart.
That same
year, her singles began to return to the Top 10 with "This White Circle
on My Finger" and "Password", both of which peaked at No. 7 on the Billboard
Country Chart.
In 1965, Wells had her last Top 10 hit with "Meanwhile,
Down At Joe's" and in 1966, Wells then had her final Top 20 hit with
"It's All Over But the Crying", which peaked at No. 14 on the country
charts.
During the late '60s and '70s, Wells' streak of hits evaporated, but
she managed to have a string of minor hits and remained a popular
concert attraction.[16]
She continued with a string of Top 40 hits nearly until the end of the
decade with her last Top 40 single, "My Big Truck Drivin' Man" in 1968.
In 1968, Wells recorded a duet album with husband Johnnie Wright called,
We'll Stick Together. Wells also reunited with Red Foley at the
end of the decade for a studio album. Her albums continued to chart the
Top Country Albums chart until 1969 with Guilty Street.
Wells was popular enough to start her own syndicated television program with her husband in 1969. The Kitty Wells/Johnnie Wright Family Show also featured appearances by their children, including actor Bobby Wright, and stayed on the air for several years.[14]
She became the first female country star to have her own syndicated television show, but the program could not compete against shows starring more contemporary male artists like Porter Wagoner and Bill Anderson and only ran for one year.[17]
Wells became the second female country singer to be elected (Patsy Cline
was the first to be honored as a solo act in 1973).
In the late 1970s,
Wells and husband formed their own record label, Rubocca (the name was a
composite of their three children's names: Ruby, Bobby, and Carol) and released several albums.
In 1979, at age 60, she was back on the Billboard charts with a modest hit, "I Thank You for the Roses".
Despite her waning popularity, Wells remained a successful concert
attraction at smaller venues throughout the country and was still
performing on the summer resort circuit as late as the mid-1980s.[14]
In 1987, she joined fellow Opry legends Brenda Lee and Loretta Lynn on k.d. lang's "Honky Tonk Angels Medley", nominated for a Grammy award in 1989.[18]
Wells' 1955 recording "Making Believe" was included in the soundtrack of the film Mississippi Burning.
In 1991, Wells was awarded from the Grammy Awards a Lifetime Achievement award.[3]
She, along with Johnnie and Bobby, joined producers Randall Franks and Alan Autry for the In the Heat of the Night
CD “Christmas Time’s A Comin’” performing "Jingle Bells" with the cast
on the CD released on Sonlite and MGM/UA for one of the most popular
Christmas releases of 1991 and 1992 with Southern retailers.
Wells and her husband opened the Family Country Junction Museum and Studio in 1983 in their hometown of Madison,
but stopped running it on their own in 2000.
Their grandson, John
Sturdivant, Jr. has kept the Junction Recording Studio at its present
location which also houses Junction Records and Music Entertainment.[19]
Wells and her husband-singing partner of 63 years performed their final
show together on December 31, 2000 at the Nashville Nightlife Theater;
they had announced their retirement earlier that year.[10]
Roger Whittaker's song 'Why' accompanied by my interpretation of the
songs lyrics in pics..just to add a little interest, hopefully...
Roger
Whittaker (born March 22, 1936 in Nairobi, Kenya) is an Anglo Kenyan
singer/songwriter and musician with worldwide record sales of more than
55 million.
His music can be described as easy listening. He is best
known for his baritone singing voice and trademark whistling ability.
LYRICS:
Something is going wrong
With the singer and the song
And the music isn't gentle anymore
There's a mist across the moon
And the sun is too hot at noon
And the house is dark behind the broken door
Where the flowers used to grow
With their leaves are hanging low
And the constant shadow lies across the floor
There's a strange and empty sky
Where the wild birds used to fly
And I never tasted bitter rain before
And will the grass be gone from underneath the sky
Will the golden flower wither soon and die
Will the fire burn out the land
And the sea fill-up with sand
Will the last word ever spoken be why?
Will the last word ever spoken be why?
Someone's lost the plan
For the brotherhood of man
And no one's trying to find it anymore
And the winds become a sigh
For those who hate and those who die
And the waves are black and slow along the shore
And will the grass be gone from underneath the sky
Will the golden flower wither soon and die
Will the fire burn out the land
And the sea fill up with sand
Will the last word ever spoken be why?
Will the last word ever spoken be why, why, why?
Will the last word ever spoken be WHY?
There's a ship lies rigged and ready in the harbor
Tomorrow for old England she sails
Far away from your land of endless sunshine
To my land full of rainy skies and gales
And I shall be aboard that ship tomorrow
Though my heart is full of tears at this farewell
For you are beautiful, and I have loved you dearly
More dearly than the spoken word can tell
For you are beautiful, and I have loved you dearly
More dearly than the spoken word can tell
I've heard there's a wicked war a-blazing
And the taste of war I know so very well
Even now I see the foreign flag a-raising
Their guns on fire as we sail into hell
I have no fear of death, it brings no sorrow
But how bitter will be this last farewell
For you are beautiful, and I have loved you dearly
More dearly than the spoken word can tell
For you are beautiful, and I have loved you dearly
More dearly than the spoken word can tell
Though death and darkness gather all about me
My ship be torn apart upon the seas
I shall smell again the fragrance of these islands
And the heaving waves that brought me once to thee
And should I return home safe again to England
I shall watch the English mist roll through the dale
For you are beautiful, and I have loved you dearly
More dearly than the spoken word can tell
For you are beautiful, and I have loved you dearly
More dearly than the spoken word can tell
The Chiffons were one of the top girl groups of the early 1960s.
With
their trademark tight harmonies, high-stepping confidence and the hit
machine of Goffin and King writing songs such as “One Fine Day,” the Chiffons made music that helped define the girl group sound of the era.
In 1962, at the suggestion of songwriter Ronald Mack, the group added Sylvia Peterson,
who at age 14 had sung with Little Jimmy & the Tops, sharing lead
vocals with Jimmy on "Say You Love Me," the B-side of the Tops' 1959
local hit "Puppy Love."
The group was named the Chiffons name when recording and releasing their first single, "He's So Fine," written by Ronald Mack, produced by the Tokens of "The Lion Sleeps Tonight" fame, and released on the Laurie Records label.
"He's So Fine" hit No. 1 in the United States, selling over one million copies, and was awarded a gold disc;[1] (This sales figure would have qualified the record for platinum status under the current [as of 2011] RIAA certification
standards, effective since 1975, that lowered the "gold" certification
threshold to 500,000 copies and set the "platinum" threshold at 1
million.)
The Chiffons immediately released their first LP "He's So Fine"(which
charted at #97) and began a round of touring around the US.
Within a
few months, the group released their second LP, "One Fine Day".
The group also released two singles in 1963 as the Four Pennies (with
Sylvia on lead) on the Laurie Records subsidiary Rust, but they
abandoned the Four Pennies name as the success of "He's So Fine" became
clear.
This first hit was followed by other notable tunes such as Gerry Goffin and Carole King's "One Fine Day",
"Sweet Talkin' Guy" and "I Have A Boyfriend".
As the 1960s progressed,
Peterson assumed a more prominent role in the group, singing lead on the
Chiffons' "Why Am I So Shy," "Strange, Strange Feeling," "The Real
Thing," "Up On The Bridge" and "My Block" (written by Jimmy Radcliffe, Carl Spencer and Bert Berns).
Shortly after the first round of hits, the Chiffons entered into some
business problems, but still continued to tour the US throughout 1964
(including Murray the K Shows and as part of a package tour headlined by
Gene Pitney).
In mid-1965, they signed directly to the Laurie label,
and had a hit with "Nobody Knows Whats Going On In My Mind But Me". To
promote the record, Sylvia and Barbara (along with 2 substitute members)
flew to the West Coast to premiere the disc on a July 1965 Shindig
episode. Judy and Pat were on maternity leave at the time.
The next Top 10 hit for the Chiffons was "Sweet Talking Guy" in mid
1966 which allowed the quartet to tour England and Germany for the first
time.
On one of their club dates in London, members of the Beatles and
Stones were in the audience.
Several minor hits followed up to 1968. Due
to the constant touring and lack of hits, Judy Craig left the group
before 1970 and took bank job in Manhattan.
The remaining trio continued
to do live shows (with Sylvia now the permanent lead singer).
Eventually, Sylvia, Pat and Barbara took on regular 9-5 jobs, but
continued to do live shows on weekends. Sylvia eventually left, and her
spot was taken by alternating friends of the group.
The Chiffons went on to record "My Sweet Lord" in 1975.
A judge later found that Harrison had unintentionally plagiarized the earlier song.[2]
Sylvia returned to the Chiffons during the '80s.
On May 15, 1992, Barbara Lee died from a heart attack
, and Craig returned to the group. Peterson retired shortly thereafter
and was replaced by Connie Harvey. Harvey has since left to pursue a
solo career and Bennett has retired from the group.
As of 2009, Judy Craig was performing as the Chiffons with her
daughter and her niece, appearing at select shows throughout the U.S.
and internationally.[citation needed]
One fine day
You'll look at me
And you will know
Our love was meant to be
One fine day
You're gonna want me for your girl
The arms I long for
Will open wide
And you'll be proud
To have me by your side
One fine day
You're gonna want me for your girl
(Bridge:)
Though I know you're the kind of boy
Who only wants to run around
I'll keep waiting and someday, darling
You'll come to me
When you want to settle down, oh
One fine day
We'll meet once more
And then you'll want
The love you threw away before
One fine day
You're gonna want me for your girl
