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The Five Satins are an American doo-wop group, best known for their 1956 million-selling song "In the Still of the Night." [ 1 ] They were formed in 1954 and continued performing until 1994. When it was formed, the group consisted of six members, which was eventually cut down to five.
The original Five Satins version of the song featured prominently in Martin Scorsese's 2019 epic crime film The Irishman, including the opening scene and end credits. It is the first track on the film's soundtrack album, released by Sony Music on November 8, 2019.
"Lost in the Fifties Tonight (In The Still of the Night)" is a single released by country music singer Ronnie Milsap. It is a medley of "Lost in the Fifties Tonight" written by Mike Reid and Troy Seals and The Five Satins' 1956 hit "In the Still of the Night", written by Five Satins lead singer Fred Parris.
The Five Satins went through several incarnations, and Parris’ own musical career diverged in the 1960s and 70s to include groups such as Fred Parris and the Restless Hearts and The Black Satins.
Fred Parris, a songwriter best known for being part of The Five Satins and its 1956 ballad "In The Still of the Night," has died. He was 85.The group's Facebook page released a statement Friday ...
[9] Gene Siskel of the Chicago Tribune awarded three-and-a-half stars out of four and wrote, "Interspersed among the 28 songs (including Chuck Berry with his 'Johnny B. Goode,' Danny and the Juniors bubbling 'At the Hop,' and The Five Satins wailing 'In the Still of the Night,') are film clips and photographs of the persons, movies, and fads ...
The Del-Satins; The Delta Rhythm Boys; The Del-Vikings; Deep River Boys; The Dovells; The Dubs; The Duprees; The Diamonds; The Drifters; The Earls; The Echoes; The Edsels; The El Dorados; The Elegants; The Emotions; The Escorts; The Everly Brothers [1] The Fairfield Four; The Falcons; The Flamingos; The Flairs; The Fleetwoods; The Five Satins ...
"To the Aisle" is a 1957 song recorded by The Five Satins with songwriting credits to group members Jim Freeman, Jessie Murphy, Bill Baker, Tommy Killebrew, and John Brown. The arrangement included an alto saxophone and an oboe played in harmony during the bridge and the oboe at the song's closing, very unusual for the time.