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Pet Sounds is the eleventh studio album by the American rock band the Beach Boys, released on May 16, 1966, by Capitol Records.It was initially met with a lukewarm critical response in the United States, although it peaked at number 10 on the Billboard Top LPs chart.
Gilbert was later contacted by Avco Broadcasting to host his own local talk/variety show, The Johnny Gilbert Show, which aired on WLWD-TV (now WDTN) in Dayton, Ohio, and three other Avco stations in Ohio and Indiana. The show was a 90-minute, live telecast running 5 days a week.
The song featured Daniels on fiddle, with Johnny Cash as the narrator, Marty Stuart as Johnny, and Travis Tritt as the devil. The song peaked at #54 on Billboard's Hot Country Songs chart in 1994. In the sequel, the devil, still furious ten years after being beaten, decides to take up Johnny's challenge to "c'mon back if y'ever wanna try again".
"I Can't Believe My Eyes" by Russell Hitchcock "I Can't Say No" by Joe Cocker "I Get That All the Time" by Due West "I Have You" by Carpenters "I Hear the South Callin' Me" by Toy Caldwell, Hank Thompson "I Know I Need to Be in Love" by Tom Netherton "I Need to Be in Love" by Carpenters "I Never Danced with You" by Laurie Beechman
"You're All I Need to Get By" is a song recorded by the American R&B/soul duo Marvin Gaye and Tammi Terrell and released on Motown Records' Tamla label in 1968. It was the basis for the 1995 single " I'll Be There for You/You're All I Need to Get By " from Method Man and Mary J. Blige .
Brian Douglas Wilson (born June 20, 1942) is an American musician, singer, songwriter, and record producer who co-founded the Beach Boys.Often called a genius for his novel approaches to pop composition, extraordinary musical aptitude, and mastery of recording techniques, he is widely acknowledged as one of the most innovative and significant songwriters of the 20th century.
[30] [nb 1] Citing Harrison's comments that his awareness of God accompanied his first LSD experiences, music journalist Rob Chapman describes "It's All Too Much" as the composer's "most unrepentant acid song", yet also an example of his music "oscillating between the earthly and the elevated" and "as much an exercise in levity as levitation". [33]
Thornton's recording of "Hound Dog" is credited with "helping to spur the evolution of black R&B into rock music". [9] Brandeis University professor Stephen J. Whitfield, in his 2001 book In Search of American Jewish Culture, regards "Hound Dog" as a marker of "the success of race-mixing in music a year before the desegregation of public schools was mandated" in Brown v.