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Sh-Boom. " Sh-Boom " (" Life Could Be a Dream ") is an early doo-wop song by the R&B vocal group The Chords. It was written by James Keyes, Claude Feaster, Carl Feaster, Floyd F. McRae, and William Edwards, members of The Chords, and published in 1954. It is sometimes considered the first doo-wop or rock 'n' roll record to reach the top ten on ...
"Maneater" is a song by American duo Hall & Oates, featured on their eleventh studio album, H 2 O (1982). It reached number one on the Billboard Hot 100 chart on December 18, 1982. [3]
The Chords are a 1970s British pop music group, commonly associated with the 1970s mod revival, who had several hits in their homeland, before the decline of the trend brought about their break-up. They were one of the more successful groups to emerge during the revival, and they re-formed with the four original members for a UK tour during 2010.
The Chords were one of the early acts to be signed to Cat Records, a subsidiary label of Atlantic Records. Their debut single was a doo-wop version of a Patti Page song "Cross Over the Bridge", and the record label reluctantly allowed a number penned by the Chords on the B-side.
Barry Gibb and the Bee Gees singles chronology. "Turn Around, Look at Me". (1964) " Everyday I Have to Cry ". (1965) "Wine and Women". (1965) " Every Day I Have to Cry ", also known as " Every Day I Have to Cry Some ", is a song written by Arthur Alexander and first recorded by Steve Alaimo in 1962. Although the song has been recorded by many ...
Put Your Head on My Shoulder. Put Your Head on My Shoulder may refer to: "Put Your Head on My Shoulder" (song), a 1959 song by Paul Anka, covered by The Lettermen in 1968. Put Your Head on My Shoulder (album), a 1966 swing album by Si Zentner & his orchestra. Put Your Head on My Shoulder (TV series), Chinese drama based on novel by Zhao ...
List of set classes. Ninth chord. Open chord. Passing chord. Primary triad. Quartal chord. Root (chord) Seventh chord. Synthetic chord.
He gave them two chordal structures, D minor and C seventh chords, and they improvised around these. [8] Scales rather than chords took precedence, maintaining harmonic simplicity and fragmenting the themes. [4] [6] Pierre Michelot said in a 1988 interview, “What characterised the session is the absence of a defined theme." [4]