I grew up with oldies music and I just love 24K and their renditions of all the great songs of the past. I love their originals and gospel songs too!. So much energy and beautiful costumes. Thanks so much for sharing. I get energy just listening to these songs.
The variety of the oldies music available here is fantastic! Entertaining, moving, touching.This group does such a wonderful job with these songs, the beautiful costumes and choreography! Such a joy to watch!Thank you for sharing these!!
Oldies But Goodies Torrent 15 Cd
Despite some incredible periods of fertile creativity, it's fair to say that The Beach Boys spent much of the 1970s in a state of upheaval, frequently related to the increasing troubles of the group's onetime leader, Brian Wilson. Between 1962 and 1974, The Beach Boys had released at least one new studio album each year. But after 1973's Holland (recorded in the country of the title) and until 1976's 15 Big Ones, largely comprised of oldies covers, no new album was released by The Beach Boys. One crumb thrown to anxious fans was a largely-unheralded 1974 single, "Child of Winter (Christmas Song)" written by Brian with poet and collaborator Steve Kalinich. It was kept all in the family, with Mike Love supplying lead vocals, Carl on guitar, Dennis on drums, Brian's daughters (and future Wilson Phillips members) Carnie and Wendy shaking the sleigh bells, and Brian handling everything else on the track. The fun, uptempo song quotes "Here Comes Santa Claus" at length, but went unnoticed.
When it comes to romantic scores, I'm a real pansy. From the beautiful glowing strings of John Barry to the heart-wrenching melodies of Georges Delerue or the melancholy of Ennio Morricone, a good old fashion "love story" score can turn me into a sobbing thirteen year old girl after a viewing of Titanic. Let's just say that my expectations for The Notebook score were high.Aaron Zigman is new to the film composer scene with John Q being the only other feature film under his belt. After listening to this score, it is apparent that we will be hearing a lot more of his music in the future. The Notebook is beautifully orchestrated with a nice theme thrown into the mix. I do have a problem with the album though: there isn't enough score! Out of 15 tracks, seven of them go to 1940s oldies. This is all fine and well in the film, and helps capture the spirit of innocent love in the 40s - but I'm a movie score nerd who wants to listen to some film music! That quibble aside, let's talk about the score."Main Title" introduces the main theme with a piano solo. The theme is pleasant but it took me a few listens before I could hum it from memory. To me, "Overture" is the highlight of the album. Zigman creates a lush and sweeping variation of the theme utilizing the full orchestra. This is the kind of music that propels a simple love story into epic mythos. "Allie Returns" opens with a soft flute and string melody later accompanied with the rest of the orchestra to once again create that lush romantic sound. Also introduced in this track are some tragic elements that are later to come in the score. "House Blues / The Porch Dance / The Proposal / The Carnival" opens with a 1940s mono-track sounding swing tune. Around 1:40, the score turns into an all out blue grass country festival. At the 3:20 mark, the music goes back to 40s jazz swing. Not having seen the film yet, I can only assume that Zigman composed this music as background source material.Tragic elements return in "Noah's Journey" which begins with a gloomy jazz motif and then moves into the romantic sweeping strings with clarinet. Following that, a poignant solo piano relaxes its way into the piece and then the strings once again take over - very tranquil stuff. Another favorite of mine is "On the Lake" which opens with a grand crescendo of the main theme and slowly moves into slow strings and piano to aid the tragic undertones of the film. "Our Love Can Do Miracles" closes the score with a reprise of the main theme in its lush and sweeping form but in a bittersweet fashion.
I think Earth Angel owed a lot of its popularity to Cousin Brucie(Bruce Morrow of WABC in New York) playing that one a lot on hisSaturday night oldies hour on WABC back in the 60's, keeping that onenot only alive,but in the consciousness of the 40 states and provinces WABC's signalreached at night. If WABC played a record, or Cousin Brucie wasbehinda record, that's all it usually needed to reach immortality. Butwithoutquestion, # 2, # 15, and the 5 Satins records were probably the all-timefavorite group sides in Philly, judging by the annual voting patternsof WDAS listeners. Sincerely by the Moonglows has been higher up onthe list in the past, such as position # 19, but not this year, andthe Dells' 1956 version of Oh What A Nite, was a frequent, if notalways, list entry. Sometimes an additional white record, (or mixedgroup) record by Del-Vikings or another Skyliners record, or even theMello-Kings would makethe list, but oddly enough, no Earth Angel. In some years, "TheWind"has also made the list.The brevity of the list, though, in NO way indicates the limitationsof he playlist, either. Dedicated listeners probably heard from the1000's upon 10,000's or records in Holiday's personal collection.Myself, I preferslightly the 1979 survey I posted several weeks ago late last year,whichyou can compare with this one here: -pop-r+b.1960s/browse_thread/thread/3c84f82552b1634f/e5ad5ef8d6564645?q=WDAS+Top+105+1979
> I think Earth Angel owed a lot of its popularity to Cousin Brucie> (Bruce Morrow of WABC in New York) playing that one a lot on his> Saturday night oldies hour on WABC back in the 60's, keeping that one> not only alive, but in the consciousness of the 40 states and provinces > WABC's signal> reached at night. If WABC played a record, or Cousin Brucie was> behind a record, that's all it usually needed to reach immortality.
I've referred to him many times long before your reply as Joe"Butterball" Tamburro, and he started working at WDAS in 1964 - he wason the air during all my high school years from the mid-60's so you'reoff on the year by most of the time I was in high school, when he waspitching Soul music in '64, '65, '66, etc.You probably saw the music he brought to satellite or remote locationdances - the wasn't the extent of his collection or knowledge;certainly Motown of the 60's and 70's, and 70's disco was popular atthe dances. Tamburro was born in 1942, and that means he came of ageat the height of the rhythm and blues movement (not to speak ofmainstream 50's rock and roll, too), and I'm sure the beginning of hisknowledge and interest began back then, when you could here minortracks on regular radio rotation that never became oldies in the wellknown sense in the thereafter. Dances held at remote locations hasalways had a number of virturesfor the air personalities in the Philly region: an extra paycheck, achance to get your name and station's profile raised in the localarea, and an increase of yourinfluence with a well-attended dance with both your immediatesuperiors and the local radio industry in general - "to get afollowing" in other words. The playlistat a remote dance location is going to be different than what's on theair (on radio);you want to immediately connect with the dancers and people who haveshown upby giving them a popular groove ("What's Goin On" or somethingeminently danceable - fancy or slow, "La La Means I Love You" or"Billie Jean", etc. etc.)Just watching or listening to what somebody programs at the dance isno way of judging their depth of knowledge. I'm damn sure he relatedto a whole big more smack of records than his average audience memberat a dance could relate to, but the first order of business to engagepeople's interest with your music that night you're playing forthem. Even the first 10 minutes, especially. You know the oldexpression: You never get a 2nd chance to make a first impression.
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