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In May 2013 Full House was released on Compact disc for the first time by Cherry Red Records. This was in a double-pack with the group's follow-up album, Secrets. This included a number of bonus tracks including three B-side-only songs from this period. The second disc featured three of the four Japan-only tracks.
In October 2005, a fourteen-track CD featuring their ten UK chart hits, plus four other songs was issued as The Best of the Dooleys. In early 2007, The Dooley Brothers Band Return contained sixteen tracks of new songs, featuring just the three brothers. In 2009, their albums Dooleys and The Chosen Few were released on CD for the first time. The ...
It should only contain pages that are The Dooleys albums or lists of The Dooleys albums, as well as subcategories containing those things (themselves set categories). Topics about The Dooleys albums in general should be placed in relevant topic categories .
The Best of The Dooleys is the second UK album by pop group The Dooleys. It was their first compilation album and included their five top 30 singles up to this point. It became their biggest-selling album, peaking at No.6 in the UK.
The Chosen Few is a 1979 album by British pop group The Dooleys. The album contains the singles "Chosen Few" and "Wanted" - both of which were top 10 hits. "Wanted" had already appeared on the group's previous album, The Best of The Dooleys , but appeared here in a slightly extended version.
The Better Days title track has the distinction of being the first TV theme written by the two that Frederick performed vocals on (predating his performance of "Everywhere You Look" on Full House). Later, they wrote a more saccharine-tinged theme for the just-as-short-lived spring 1988 ABC comedy Family Man (no relation to the similarly titled ...
Dooleys was the first UK album by British pop group The Dooleys. It was released on GTO Records in 1978 and featured the top 20 hits "Think I'm Gonna Fall in Love with You", "Love of My Life" and "A Rose Has to Die".
The vi chord before the IV chord in this progression (creating I–vi–IV–V–I) is used as a means to prolong the tonic chord, as the vi or submediant chord is commonly used as a substitute for the tonic chord, and to ease the voice leading of the bass line: in a I–vi–IV–V–I progression (without any chordal inversions) the bass ...