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"The Green Door" (or "Green Door") is a 1956 popular song, with music composed by Bob "Hutch" Davie and lyrics by Marvin J. Moore. It was first recorded by Jim Lowe, which reached number one on the US chart in 1956. The song has been covered by a number of artists, including a version by Shakin' Stevens in 1981.
James Ellsworth Lowe (May 7, 1923 – December 12, 2016) was an American singer-songwriter, best known for his 1956 number-one hit song, "The Green Door".He also served as a disc jockey and radio host and personality and was considered an expert on the popular music of the 1940s and 1950s.
The destination of a chord progression is known as a cadence, or two chords that signify the end or prolongation of a musical phrase. The most conclusive and resolving cadences return to the tonic or I chord; following the circle of fifths, the most suitable chord to precede the I chord is a V chord.
Yellow Eyes’ guitar-wielding brothers, Sam and Will Skarstad, take a gothic turn with Sunrise Patriot Motion, bending melodic black metal toward bleak post-punk desperation on “I Search For ...
Zeb Turner's February 1953 recording of "Jersey Rock" with its mix of musical styles, lyrics about music and dancing, and guitar solo, [20] is another example of the mixing of musical genres in the first half of the 1950s. Bill Monroe is known as the Father of Bluegrass, a specific style of country music. Many of his songs were in blues form ...
Instead it is a song about a latter-day 'speakeasy' of which 'Hernando's Hideaway' released in 1955 was another example. In the latter, the password "Joe sent me" was effective in gaining entry, whereas it failed dismally in 'Green Door'.Newington 15:05, 6 March 2007 (UTC)
The Door is the 19th studio album by American musician Charlie Daniels. Released on March 14, 1994 by Sparrow Records, the album was the first of three Christian albums Daniels recorded for the label. [2] It reached No. 26 on Billboard's Christian albums chart on May 13, 1994, spending twelve weeks on that chart. [3]
Writing for Allmusic, critic Jesse Jarnow wrote "There are few concessions given to modernity, and, while bringing his own distinct voice to the tunes, Hartford is clearly aware of the historical stream he occupies, coming off as both a devoted scholar and respectful practitioner."
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