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"Hearts of Stone" was covered and taken to the charts in 1954 by East Coast R&B vocal group the Charms, causing the story of the Jewels' involvement to be ignored by various writers and DJs who assume the Charms' cover was the original. The Charms' version of the song went to number one on the R&B Best Sellers and number fifteen on the pop charts.
Hearts of Stone is the third album by New Jersey rock band Southside Johnny and the Asbury Jukes, released in October 1978. The album peaked at number 112 on the Billboard 200 chart during the week of January 13, 1979. [4] All of the album's songs were written by Southside Johnny, Bruce Springsteen, and E Street Band guitarist Steven Van Zandt.
The group had further R&B chart success with "Ling, Ting, Tong" and "Two Hearts", and they toured with The Clovers, Big Joe Turner and others. [1] Another song recorded in 1955, written by Rudy Toombs, was "Gum Drop," a single issued on DeLuxe 6090 and labeled by Otis William and the Charms. It was very popular and covered by the Crew Cuts.
The ' 50s progression (also known as the "Heart and Soul" chords, the "Stand by Me" changes, [1] [2] the doo-wop progression [3]: 204 and the "ice cream changes" [4]) is a chord progression and turnaround used in Western popular music. The progression, represented in Roman numeral analysis, is I–vi–IV–V. For example, in C major: C–Am ...
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C/A ♭ bass (A ♭ –C–E–G), which is equivalent to A ♭ M7 ♯ 5, C ♯ /E bass (E–G ♯ –C ♯ –E ♯), and; Am/D bass (D–A–C–E). Chord notation in jazz usually gives a certain amount of freedom to the player for how the chord is voiced, also adding tensions (e.g., 9th) at the player's discretion. Therefore, upper ...
Cherry Pink And Apple Blossom White" by Perez Prado was the number one song of 1955. "Rock Around the Clock" by Bill Haley & His Comets was the number two song of 1955, and a breakthrough hit for rock and roll. This is a list of Billboard magazine's top 30 singles of 1955 according to retail sales. [1]
In jazz music, on the other hand, such chords are extremely common, and in this setting the mystic chord can be viewed simply as a C 13 ♯ 11 chord with the fifth omitted. In the score to the right is an example of a Duke Ellington composition that uses a different voicing of this chord at the end of the second bar, played on E (E 13 ♯ 11).
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