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First issued as a single in October 1997, "Zoot Suit Riot" slowly gained radio momentum with the commercial growth of the late-1990s swing revival before ultimately hitting its peak in the summer of 1998, reaching #41 on Billboard ' s Hot 100 Airplay chart and #15 on the Modern Rock chart, while a surrealist music video became one of MTV's most ...
[7] [12] Zoot Suit Riot was re-issued and given national distribution by Mojo on July 1, 1997, less than four months after its original release. By October 1997, the rising mainstream popularity of swing music had resulted in consistently steady sales of Zoot Suit Riot , motivating Mojo to release the album's title track as a single and ...
[15] [16] According to Jason Moss in regard to the band's songwriting process, Perry writes nearly every aspect of the Daddies' music, first composing the basic chords of each song on his guitar and then working with each member of the band to build upon his ideas for drum beats, horn lines, bass lines, and lead guitar riffs.
In 1996, Valdez composed the original score to the IMAX documentary, Mexico. [4] [8] [12] In 1997, Valdez served as a musical consultant and a historical expert for the San Diego Repertory Theatre and Southwestern College's revival of Zoot Suit. [4] [8] [12] While he was at Southwestern, Valdez wrote his first original musical, Ollin. [4] [8]
The album keeps the Who tracks in the same order as the original double album and begins with the two High Numbers tracks. (Note: Prior to deciding on the name The Who they were called The High Numbers for a short period in summer 1964.) "I'm the Face" (The High Numbers) – 2:31 "Zoot Suit" (The High Numbers) – 2:00 "I Am the Sea" – 2:03
"Zoot Suit" b/w "I'm the Face" was reissued in 1980 and reached #49 in the UK. "Zoot Suit" (short mono version) is the opening track from the compilation album The Who Hits 50! released in October 2014. Both songs were featured on the Thirty Years of Maximum R&B box set (short remixed stereo versions).
Calloway wrote a humorous pseudo-gossip column called "Coastin' with Cab" for Song Hits magazine. It was a collection of celebrity snippets, such as the following in the May 1946 issue: "Benny Goodman was dining at Ciro's steak house in New York when a very homely girl entered. 'If her face is her fortune,' Benny quipped, 'she'd be tax-free.'"
"Music Box Dancer" was Mills' only US Top 40 pop hit. The follow-up, another piano instrumental, "Peter Piper", peaked at number 48 on the Billboard Hot 100 but became a Top 10 hit on the Billboard Adult Contemporary chart. [7] Mills managed one final Adult Contemporary chart entry, "Happy Song", which peaked at number 41 at the beginning of ...