#Jimmy Fontana

[dearyallfrommatt]

“Guitar Man/What I’d Say”

This was written by Jerry Reed and hit 53 Hot Country Singles in 1967. One of the people who heard it was Elvis who decided to cut it, obviously feeling a kinship with the wandering guitar picker in the song. At the time, he was putting together songs for his movie Clambake and did some sessions in Nashville. Along with Nashville heavies like Chip Young, Charlie McCoy, and Floyd Cramer were the surviving members of Elvi’s first combo, Scotty Moore and D.J. Fontana.

Unfortunately, they just couldn’t nail the groove Elvis wanted and so he gave the royal decree, “Get me that redneck picker who’s on the original tune.” The way Jerry Reed tells it, he was fishing way out in the South Georgia swamps when he got the word and made it to Nashville in 45 minutes. I’m sure he exaggerates but the combination was dynamite.

This song has been called one of pure joy as the band spins off into a little of Ray Charles’s classic “What I’d Say” just for the hell of it. And dammit, they kept playing, busting out a ripping rendition of Jimmy Reed’s “Big Boss Man” and another one Reed seems to have written just this session, the appropriately titled “U.S. Male.”

Unfortunately, that’s all they got down. As we said earlier, Elvis was putting together songs for another one of those usually forgettable soundtracks to his equally forgettable movies. However, he was upset that his “Hollywood Era” meant an entire generation of popular music passed him by. So for Clambake, he went back to the country and blues he grew up on while telling his music publisher to look for songs like that.

And that’s where shit happens. A guy named Freddy Bienstock worked for Hill & Range Music Publishing. Music publishers make sure the proper people get paid for a song, including performers, songwriters, and just general people who own a piece of a song. Bienstock liked to brag that for the first 12 years of his career, Elvis never looked at a song unless it was cleared by him.

Elvis didn’t write his stuff and Bienstock didn’t like rock & roll, but he’s the guy who brought Otis Blackwell, Doc Pomus, and Leiber & Stoller to Elvis and that’s a promising start. However, everyone got lazy with the soundtracks because, like the movies, they were guaranteed money-makers regardless of quality. So why not dangle a spot on an Elvis Presley album to a young and hungry songwriter who’s willing to give the nice music publisher a huge percentage for giving this chance.

That’s the music business, folks. However, as the decade wore on and the soundtracks started selling less - and songwriting, in general, was getting more respect in the hep world - fewer songwriters would give up that extra dosh. One of those songwriters was Jerry Reed, who had already established himself as a successful songwriter and session musician in Nashville. This did wind up making him a star but Jerry told Bienstock to take a hike regardless.

Elvis left the business to the businessmen (and they screwed him over for trusting them) and it sort of ruined the overall vibe. “Guitar Man” was a Billboard Country chart topper and hit 43 on the pop charts. Clambake continued the downward slide of the soundtracks, just squeaking out a Top 40 and selling barely 200,000 copies. He had two more to do before the ‘68 NBC comeback special that revitalized his career.

But that’s a whole ‘nother story.

[bluewinnerangel]

https://www.tumblr.com/bluewinnerangel/723631674884341760/this-is-all-very-overwhelming?source=share

What is this about? What did I miss?

Last 24 hrs:

harrys last show happened

harrys gone

harry played best song ever

harry cried

harry played little freak and falling with a two ghosts intro

harry did half of his speeches in italian

harry had a long long fucking devastating speech

harrys 9 minute piano ballad ending tour goodbye song

harry shaking while playing the piano

harry said And then its time to rest for me. im very tired but very happy (in italian)

harry's preshow included mina- un anno d'amore, outkast - hey ya, the brothers johnson - aint we funkin now (the one interpolated in daydreaming), jimmy fontana - il mondo, mina- se telefonado

harry's exit song was The Doors - The End

louis showed up looking like quiff louis with his hair back

all the posts all the meltdowns over it help

louis like this

louis said i love you to death

louis' exit song was Commodores - Easy

it's 1d's anniversary and the dash is full of emo posts

Last few days:

kit connor did a photoshoot styles by helen simons wearing a 28clothing hoodie louis has worn before, helen confirmed the 28clothing social media / website is legit

louis had 4 shows this week

harry brought wetleg on stage to sing wet gdream and daylight

harry teased the daylight music video on stage with visuals at the end of daylight

harry released the daylight music video

niall performed at at least 2 festivals i dont have enough eyes (also a roblox concert??)

liams on holiday very tattooed very shirtless

Zayn released Love Like This

Zayn also released a music video for the single

liam and zayn are both in promo mode on social media, responding to fans on various social media again im sorry boys i dont have enough eyes

louis announced 2024 australian tour dates

AFH promo in full force (including posters at harry's show, also lets add here posters at niall's festival for louis' shows in the country too)

ending on what I think I've digested alreayd but somehow was this week too: the fking wax figures and all the cringe fans singing to them and shit vids that came with it dkjdk

[sgiandubh]

The Sun Also Rises

Sorry, Constant Touch Anon, but tonight's cheap drama didn't let me properly finish my humble tea delivery. I plan on making amends tomorrow.

To thank all my wonderful readers, here is one of my favorite songs, a heavy rotation staple on my playlist, wherever I go. At first glance, Jimmy Fontana's 1965 hit Il Mondo sounds like just another summery, commercial Italian hit right? Yet, its irresistible energy is perhaps explained by the fact it was arranged to perfection by a certain Ennio Morricone:

To me, it instantly brings back some of my best Southern memories. Lunch on Via Camerelle, in Capri, overlooking the Bay of Naples, probably the most beautiful on this planet. A spring morning drive, somewhere near Orvieto, new love and giggles galore. Sunset in Mavrovouni. A lazy siesta in Biarritz, reading serious newspapers and making #silly jokes for hours.

So, thank you, whoever you are and wherever you are. You'll see: the sun also rises. Onwards and upwards!

[diceriadelluntore]

Storia Di Musica #325 - Family, Music In A Doll's House, 1968

L'edificio della copertina del disco di oggi è una casa. Ma di quelle delle bambole. È anche, come per una vera casa, un susseguirsi di ambienti legati, di storie. Il disco di oggi è, unanimemente, uno dei più particolari e preziosi dischi degli anni '60 e, aggiungo io, uno dei miei preferiti in assoluto. Tutto inizia a Leicester, inizio anni '60. Roger Chapman, che già ha qualche esperienza in piccoli gruppi, forma i Farinas, con suoi amici del Leicester Art College: Charlie Whitney, che suona la chitarra, Jim King che suona il sassofono, Harry Overnall e Tim Kirchin, quest'ultimo poi sostituito da Ric Grech. Registrano un primo singolo, per la Fontana, dal titolo You'd Better Stp / I Like It Like That del 1964, che ha un piccolissimo successo. Cambiano nome in Roaring Sixties e pubblicano un nuovo singolo, We Love The Pirates, nel 1966. A questo punto cambiano nome in Family, per l'abitudine di fare tutto insieme, e quando Rob Townsend sostituisce Overnall vanno a Londra. Qui in poco tempo si diffonde la notizia che in città c'è un gruppo che mischia in maniera totalmente innovativa blues, folk, jazz, e ha un cantante che ha una voce incredibile, calda, ruvida e trascinante. Nel 1967 pubblicano la loro prima grande canzone Scene Through The Eye Of A Lens, e firmano un contratto per la Reprise, etichetta fondata nel 1960 da Frank Sinatra, che cercava più libertà d'espressione dalla sua etichetta storica, la Capitol Records. Il disco di oggi, che esce nel 1968, fu il primo di una band Inglese distribuito negli Stati Uniti dall'etichetta (che nel 1968 faceva già parte della Warner Bros.).

Music In A Doll's House passerà alla storia già solo per il titolo: infatti uscirà poche settimana prima del disco dei Beatles che John Lennon voleva chiamare con lo stesso titolo (che riprende il famoso testo teatrale di Henrik Ibsen nel 1879). Lennon fregato dall'accaduto decise poi di pubblicare il loro ultimo lavoro, un disco doppio, con la copertina bianca semplice e dal semplice titolo The Beatles (capolavoro immenso della storia della musica). Quello che rende quest'album tra i più enigmatici e inventivi di quegli anni è che fu, all'atto pratico, l'anello di congiunzione storico-musicale per quello che pochi mesi dopo diventerà il progressive. Prodotto da Dave Mason dei Traffic (Inizialmente l'album avrebbe dovuto essere prodotto da Jimmy Miller, ma quest'ultimo era già impegnato nelle registrazioni di un altro capolavoro, Beggars Banquet dei Rolling Stones), il disco sciorina in 15 brani brevi (uno solo sopra i 4 minuti) una varietà incredibile di creatività, la musica della casa di bambole apre ogni volta stanze differenti: blues revival e canti gregoriani nella stessa canzone (la favolosa Old Songs New Songs), sanno giocare con il fascino dolciastro del r&b (Hey Mr Policeman), sanno suonare il miglior beat sound inglese, come i riferimenti a Kinks e Traffic di due gioielli come Me My Friend e la languida Mellowing Grey, passano con disinvoltura al folk rock (Peace Of Mind) senza disprezzare puntatine verso la psichedelia all'epoca nel fiore della sua potenza, con il sitar orientaleggiante di See Through Windows. E come dimenticare i violini e la voce "da brividi" che aprono The Voyage, prima di trasformarsi in un saltellante rock? O lo sgangherato God Save The Queen che chiude la circense 3 X Time? I brani sono intervallati da piccoli intermezzi strumentali, chiamati giustamente Variation: Variation On A Theme of Hey Mr. Policeman, Variation On A Theme Of The Breeze e Variation On A Theme Of Me My Friend. In Old Songs New Songs suonano non accreditati la band di Tubby Hayes, virtuoso del sassofono, e alcuni arrangiamenti per archi furono effettuati dall'allora 18enne Mike Batt, che diventerà in seguito grande produttore e per anni presidente dell'Industria Fonografica Inglese. La band gira a mille, usando strumenti all'epoca innovativi come il Mellotron suonato proprio da Dave Mason, il sassofono tenore e soprano di Jim King, il violino e il violoncello di Ric Grech (il quale l'anno dopo lascerà la band per suonare il basso nei Blind Faith assieme agli ex-Cream Eric Clapton e Ginger Baker e a Steve Winwood, in pausa dal suo progetto principale, i Traffic). Ma la vera bomba è la voce di Roger "Chappo" Chapman, un ruggito blues indimenticabile, dall'animalesca vocalità, che segnerà un'epoca, e farà moltissimi seguaci (Peter Gabriel dei Genesis, che nascevano proprio in quelle settimane, ne prenderà nota).

La carriera della band proseguirà per qualche anno ancora, fino al 1973, con grandi album (tra tutti Family Entertainment, Anyway e Fearless), con una delle copertine più belle degli anni '70 (il vecchio televisore anni '50, sagomato nell'edizione originale di Bandstand del 1972) e la nomea di band degli eccessi, idea questa che venne "prepotentemente" sottolineata dai racconti che una famosa groupie, Jenny Fabian, che nel suo romanzo Groupie non usò molta fantasia per nascondere i nomi dei nostri nel raccontare le pruriginose avventure dei nostri. L’ultimo concerto della Family avvenne al Politecnico di Leicester, il 13 ottobre del 1973, e si racconta che il party post concerto fu altrettanto memorabile. Degno finale di una delle più suggestive e talentuose formazioni musicali di quegli anni.

[odk-2]

Spencer Davis Group - Keep On Running (1965) Jackie Edwards from: "Keep On Running" / "High Time Baby" (Single) "The Second Album" (LP)

R&B | British R&B Jackie Edwards Cover

JukeHostUK (left click = play) (320kbps)

Personnel: Steve Winwood: Vocals / Fuzz-Tone Guitar Spencer Davis: Guitar / Backing Vocals Muff Winwood: Bass Peter York: Drums / Percussion

Single Produced by Chris Blackwell Album Produced by Chris Blackwell / Jimmy Miller

Recorded: @ Island Records in London, England UK on October 21, 1965

Single Released: on November 26, 1965 Fontana Records (UK) ATCO Records (US)

Album Released on January 7, 1966 Fontana Records (UK)

[bromcommie]

MUSIC TAG GAME

Thanks to @gyokujyn and @mandyyvibes for the tag! Sorry it took me a while to get to it but I'm truly living for these games, they're so fun :)

The rules are shuffle your ‘on repeat’ playlist and list the first 10 songs that play, then tag 10 people. But since most of my spotify on repeat playlist is just songs that loop endlessly while I sleep or random shit I listened to twice two years ago (all that money going into algorithms and this is what we get), I'm gonna go the same route as @gyokujyn and post a shuffled song each from my most recently listened to playlists.

Okay, this gave me whiplash but definitely not as much as it could've? And it didn't earn the "do you think a depressed person could make this?" meme, which is something. I'm improving!

*claps hands together* Open no-pressure invite to @booksandabeer, @vostok3-ka, @village-skeptic, @buckrogers, @dharmasharks (for some reason it won't let me tag more than five people? anybody know the fix for tags that just show up as plain text?)

[things-about-cars-in-posts]

recently discovered the beautiful vehicle that is the Chevrolet Opala, do you have any good facts on that car?

Yet again I'm introduced to new cars through this inbox!

Perhaps the most interesting thing to discuss about the Opala is why I didn't know of it: while based on the Rekord, a car built and sold in Europe by Opel (like Chevrolet part of General Motors), the Opala was only made in and for Brazil.

It's common for brands with a global presence to have market-exclusive cars: Ford's American, European and Australian lineups have almost no cars in common, and Fiat has a long and illustrious tradition of powering other countries -including Brazil- with whatever it's tired of producing at home.

And then, looking it up, I saw the SS version, and thought "Hwow were they ever going for the Chevelle SS's styling there!"

You know, the Chevelle SS. A car of the same vintage, whose sales were just as confined to a single country in the same continent I've never even seen, that looked like that for about one year. Which I absolutely knew of.

And indeed, I could confidently tell you twenty US/Canada-only cars for every Brazil-only car I know, and then keep going. Which made me think about the reason for that.

Look at Italian music.

No, really - back in the days many of the biggest hits were translated English songs, people sang with fake English accents, hell, it was damn near custom for your stage name to be an English first name and Italian last name (Fred Buscaglione, Jimmy Fontana, Bobby Solo, Patty Bravo, on for days). Who was out there brazilianifying their name?

Sure, Italy may have been an outlier, but trust me, the cultural foothold America has in much of the Earth is virtually unmatched. And with that cultural hegemony comes a rose-tinted spotlight shone to its history (especially the one we were there to learn about live), such that to the rest of the world even US-exclusive models like 60s muscle cars are not just known, but iconic - even simply through other things like movies, shows, or music.

On the other hand, Brazilian cars (how many again?) are at most a curiosity that is sometimes tangentially mentioned to fill space - mostly because that's our treatment of Brazilian culture.

Rather than an awkward attempt to detail the sociopoliticoeconomical reasons for that, though, what I want to end on is a more positive note: there's always outliers.

Whatever population you look at, whatever culture you're thinking of, there will always be someone obsessed with it. And that's one thing I love about cars - each model, somewhere, somehow, has someone loving it. Each topic is a topic of interest to someone. And you can always be that outlier if you want - being interested in one thing never excludes being interested in another.

As shown by the Italian duo that was out there Brazilianifying their stage name: 'Michael' and 'Johnson' 'Righeira', seen here proving that 21st century "80s style" stuff can never be more exaggerated a caricature than some of the real thing.

Yes, that song is in Spanish, but don't worry, they also sang in Italian. And English. And German. It was a weird fucking duo for weird fucking times.

Actually, to that end, here's a performance that will latch onto your Fichtl's Lied receptors.

Links in blue are posts of mine explaining the words in question - if you liked this post, you might like those!

[kdo-three]

Spencer Davis Group - Keep On Running (1965) Jackie Edwards from: "Keep On Running" / "High Time Baby" (Single) "The Second Album" (LP)

R&B | British R&B Jackie Edwards Cover

JukeHostUK (left click = play) (320kbps)

Personnel: Steve Winwood: Vocals / Fuzz-Tone Guitar Spencer Davis: Guitar / Backing Vocals Muff Winwood: Bass Peter York: Drums / Percussion

Single Produced by Chris Blackwell Album Produced by Chris Blackwell / Jimmy Miller

Recorded: @ Island Records in London, England UK on October 21, 1965

Single Released: on November 26, 1965 Fontana Records (UK) ATCO Records (US)

Album Released on January 7, 1966 Fontana Records (UK)

[racecargraveyard]

2007 Jimmie Johnson #48 Lowe's/Jimmie Johnson Foundation Fontana Win Raced Version Custom. Definitely the best looking JJF paint scheme he raced!

[kulturegroupie]

“Sometime in the early winter months of 1968, we (the Guess Who) somehow got hired to play a University gig in Cleveland with the Yardbirds. I think we were technically signed to Fontana at the time, and maybe they had something to do with bringing us down for the gig. At any rate, the guitarist was Page by this time. Now, I know there was another guitarist, but I can't swear that it was Jeff Beck, although the Wiki lists for those years would indicate that it was... With that in mind, I’ve found a rare picture of only four yardbirds, four famous names... Paul Samwell-Smith, Chris Dreja, Jimmy Page, and Keith Relf.

The point of this lengthy ramble is simply this. Page had a Wah-Wah pedal that night, and Bachman and I had never seen one yet. And Page had already mastered it... This brand new guitar toy, and he had it down... For just that reason Randy and I never forgot that night. We opened for the Yardbirds with Page, long before Led Zeppelin was formed...”

— Burton Cummings of The Guess Who

[ditesdonc]

Les étés à Curtin

Texte écrit par Jean-Claude Long

Fin des années cinquante. La grande maison est divisée en deux, louée en partie l’été par les sœurs Rochet, Berthe et Denise, mariées plus tard à Robert Magaud et Georges Guichert.

Dans le coin cuisine, un grand évier noir, en pierre, sert aussi à se laver. Le réchaud fonctionne avec une bouteille de butane ; au fond de la maison, une pièce fraîche sert de cellier. Un garde-manger à grille , suspendu, dissuade les mouches et les fourmis .

Dehors, une pompe, qu’il faut « amorcer », c’est un jeu ; un puits, dont on ne se sert pas, des granges, des hangars, des greniers, des machines et des outils mystérieux, des odeurs de paille et de grain, des poules en liberté. La vraie vie est là, pas en ville.

Un chien noir, Jimmy, est attaché à une grande chaîne, en permanence. Il a creusé un chemin sur son passage. Robert le lâche parfois, Jimmy part courir dans la campagne, si vite qu’on dirait un dessin animé : il a douze pattes. Quelques heures après, il revient en lambeaux, boitant, saignant d’une oreille. Cinquante ans après, on aurait dit « il s’est mis minable ».

Lorsque Robert revient sur sa moto, Jimmy s’agite avant que les humains aient entendu le moindre bruit ; Berthe dit alors : « voilà Robert ».

A gauche en sortant de la maison, un pré, dont l’enfant rêve l’hiver, comme une préface à des récits d’explorateur. On le traverse pour aller à la boulangerie à Thuellin.

Souvent vient brouter un troupeau de vaches. L’enfant aime les vaches, à la robe marron et blanche, cette odeur à la fois sauvage et rassurante, leur chaleur épaisse et grasse, maternelle . Elles font un peu peur avec leurs gros yeux, mais sont paisibles, c’est fascinant !Aujourd’hui encore, l’odeur des vaches me met les larmes aux yeux.  "Voilà  les vaches ! " est un cri de fête, un alléluia païen. Avec les enfants qui mènent le troupeau, je crois qu’il y avait une Mireille, on va jouer à cache- cache , à Colin Maillart, à Mère veux-tu. On mangera la tarte aux pommes de ma mère, on boira du Pschitt, l’après-midi ne sera que féerie. La Dent-du-Chat est une frontière au loin, les dieux juchés nous observent.

Fête aussi les commerçants ambulants, qui arrivent en klaxonnant ; galopade ! Dehors en pyjama ! Ducard, petit monsieur chauve aux yeux vifs, sa camionnette bleue aux odeurs de sucre et de bonbons chimiques. Fontana, fruits et légumes, sa camionnette verte, « l’Increvable », ses grosses lunettes. Le boucher a une fourgonnette deux-chevaux, grise .

L’enfant aime la campagne ; la liberté est totale. Sa mère, si craintive en ville, le laisse pendant deux mois divaguer parmi les faux, les herses, les tracteurs, dont un jour il desserra un frein à main dans une pente, bourde réparée d’urgence. Il aime l’errance, nez dans les nuages, la rêverie dans les odeurs. Il est shooté au foin, au fumier, à la pluie, aux animaux, coqs, renards toujours lointains mais dont le glapissement est proche, témoin d’un monde secret qui nous entoure, le comprendra-t-il plus tard ?

Le soir, les chiens discutent de loin en loin, que se racontent-ils ? Il pose un jour la question, un adulte répond : « ils ne racontent rien, ce sont des bêtes ». L’enfant pense que le grand se trompe, je le crois encore aujourd’hui.

On peut prendre des bâtons tant qu’on en veut, pourfendre les ennemis ; les plantes, les herbes sont des légumes pour jouer à l’épicier ; infinie profusion de cailloux pour lancer et construire. Deux shorts, deux chemises pour tout l’été suffisent pour fouler l’herbe menue par les soirs bleus d’été et sans avoir lu Rimbaud. Ma sœur et moi allons chaque soir acheter le lait à la ferme Teillon, dont les bâtiments existent encore. Quand le soir tombe au retour, et que les hirondelles se rassemblent sur les fils électriques en prévision de la migration, c’est que la rentrée des classes est proche. On transporte le lait dans un bidon en aluminium, qu’on appelle une berthe. Je suis gêné que le bidon porte le même nom que la propriétaire, gentille et aimable. Je n’ose prononcer le mot de peur de la froisser.

Après la pluie, au retour, début septembre, l’ombre monte des fossés dans des odeurs de trèfle et d’orties.

Ma mère achète parfois un lapin vivant chez Mme Guetta (Guettat ?) Mon père pourtant plutôt doux et pacifique, mais initié par ses vacances enfantines ardéchoises, assomme, suspend, saigne, écorche et éviscère l’animal sous le regard de l’enfant.

Nous rendons parfois visite à la Génie, vieille dame moustachue qui habite une sorte de chaumière dans une cour herbue et intarissable pourvoyeuse de potins de village. Tonton Maurice vient aussi parfois, il y a toujours une bouteille de vin dans la pièce fraîche.

L’église et la procession du 15 Août font un peu peur.

Mais le plus étonnant c’est le bruit fracassant des métiers à tisser. Comme c’était étrange, ce bistanclaque pan (on dit tchique tchaque pan) parmi les chevaux de trait, les vaches, et l’odeur des charrettes de foin.

Merveilleuse époque : les locataires lyonnais devinrent amis avec les propriétaires, particulièrement Berthe et Robert, qu’ils fréquentèrent jusqu’ à la mort de ma mère, en 1979 ; celle-ci allait voir aussi Denise Rochet, installée à St Sorlin. Le pluvieux été 1958, la belote, les tartes aux pommes, les gâteaux de riz au caramel favorisèrent sans doute le rapprochement. Mon père et Robert, le citadin et le campagnard, « se chambraient » amicalement, ma mère et Berthe riaient en faisant la lessive, parfois au lavoir. L’on prêtait un vélosolex. Avec Denise les conversations étaient plus sérieuses ; Georges était taciturne.

Aujourd’hui, Curtin sort parfois des brumes et ressuscite l’enfant, dont les sens et la pensée s’ouvraient au monde : quelle place y prendrait-il ?

Je voudrais avoir des nouvelles de Brigitte et Jean-Claude Magaud, les enfants de Berthe et Robert. Michel Guichert, fils de Denise et Georges ; il habite encore la maison, me permettrait-il d’y entrer ? La famille Teillon ; j’ai vu qu’il y a un boulanger, un plaquiste, un décorateur. Tonton Maurice buvait rituellement un canon avec Victor, en embarquant la provision de pommes de terre de ma mère dans la quatre-chevaux. Mireille Rochet (existait-elle, est-elle encore en vie ?) Une jeune fille aujourd’hui vieille dame, Hélène, qui était horrifiée par mes acrobaties en trottinette : « je vais le dire à ta mère ! »

D'autres soirs bleus, par Irène, août 2023.

[marianoexiste]

Decir que no te extraño sería engañarme a mi misma , ahora no hago más que ver las películas que veíamos sola , escucho sentada frank Sinatra y jimmy fontana recordando las veces que bailábamos a solas sus canciones , ya la cama no se siente tan a gusto como cuando estabas y él sueño es como un niño juguetón que corre cuando tratan de atraparlo.

[seasonsbloom]

nothing hits like sitting in the sun, sipping an aperol spritz as you listen to il mondo by jimmy fontana and read your book

[odk-2]

Dale Hawkins - Cross-Ties (1958) Dale Hawkins / Dean Mathis / Stanley J. Lewis from: "La-Do-Dada" / "Cross -Ties"

Rock Instrumental | Rockabilly

JukeHostUK (left click = "play") (320kbps)

Personnel: Dale Hawkins: Guitar Roy Buchanan: Guitar Shelton Bissell: Alto Saxophone Jimmy Farmer: Alto Saxophone Dean Mathis: Piano Mark Mathis: Bass D. J. Fontana: Drums

Recorded: @ The KWKH Radio Station Studios in Shreveport, Louisiana USA during June of 1958

Released: on July 16, 1958

Checker Records