We Belong Together” was a 1958 American rhythm and blues hit written and recorded by Robert & Johnny, with a co-writing credit to Hy Weiss. It reached #12 on the R&B charts and #32 on the Billboard Hot 100 chart.

Cover versions

The song was later recorded by several others. The Fleetwoods released a version on their 1959 album, Mr. Blue.

A rendition by Ritchie Valens was released in 1959 on the Del-Fi record label and can be found on several of his albums. It’s also featured in a scene from the 1987 hit film about Valens, La Bamba in which the song was sung by Los Lobos.

The Belmonts released a remake on the Laurie label, Laurie 3080, in 1961, after they had split with Dion. It was not a hit, but was later reissued on a collector’s label because of its musical value.

In 1961, Jimmy Mullins, known as Jimmy Velvit,[1] recorded it in the Dallas, Texas area. It was issued in January, 1962 on M-G-M’s Cub Records label (K9105). It attracted a lot of attention and air-play and became the #1 song on the Dallas radio station, KLIF, for a period of six weeks.

A different singer, Jimmy Tennant, using the name Jimmy Velvet, had a #75 hit with the song on the Billboard Hot 100 in 1964.[2] Tennant had initially recorded and released the song on his own Velvet label (co-owned with Ray Curran) in April, 1963 (Velvet 201-63), using the same name Mullins was using, Jimmy Velvit. That same issue was briefly re-issued in August, 1963 on the Cortland label’s Witch Records subsidiary (#115) in an effort to take the Velvet Records release to a national level. Tennant used another song from the session, “I’m Gonna Try” as the flip side of both releases, the same song the earlier Jimmy Velvit (Jimmy Mullins) had used on his 1962 Cub version. That song had been written by Mullins. The hit release (as by Jimmy Velvet) on ABC-Paramount 10488 used “History Of Love” (recorded at the same April session) as the flip side, which was first issued by November, 1963.[3]

Peaches & Herb included the song on their album, Let’s Fall In Love.



“JAYNETTS – Sally, Go Round The Roses (1963)”


Sally Go ‘Round the Roses” is the name of a 1963 hit by The Jaynetts, a Bronx-based one-hit wonder girl group, released by J&S Records on the Tuff label.


The producer of “Sally Go ‘Round the Roses,” Abner Spector, was an A&R man for the Chicago-based Chess Records. Spector was responsible for the Corsairs’ 1962 number 12 hit “Smoky Places,” which had been released on Tuff, a subsidiary of J&S Records. In the summer of 1963, Spector asked J&S owner, Zelma “Zell” Sanders, to assemble a vocal ensemble to record a girl group style record to which end Sanders wrote the song “Sally Go ‘Round the Roses,” with Spector’s wife Lona Stevens, drawing inspiration from the nursery rhyme “Ring Around the Rosie.” The songwriting copyright for “Sally Go ‘Round the Roses” is now in the name of Abner Spector who died in 2010; Zell Sanders died in 1976.[1]

The arrangement for “Sally Go ‘Round the Roses” was provided by Artie Butler, who recalls Spector “asked me to listen to [the] song…[I] decided that in its present form it did not [have potential], but I heard something in my head. He said, ‘Go into a small demo studio and do what you hear,’ and he would pay for it.” Butler claims he played all the instruments on the track except for the guitar parts which were by Al Gorgoni and Carl Lynch, although it is widely reported that Buddy Miles is the drummer on “Sally Go ‘Round the Roses.” Butler states the entire recording of “Sally Go ‘Round the Roses” was done “on an old Ampex tape machine at 71⁄2 IPS mono….Each time when I added another element” – including the final element: the vocalists – “I added a different type of reverb. Each generation [ie. development] seemed to add to the distinct sound of the record.”[2]

Besides the five vocalists credited in the group which Zell Sanders assembled to record “Sally Go ‘Round the Roses”: Yvonne Bushnell, Ethel Davis (aka Vernell Hill), Ada Ray Kelly, Johnnie Louise Richardson and Mary Sue Wells (aka Mary Sue Wellington/Mary Green Wilson); at least five other vocalists are known to be featured on the track: Selena Healey, Marie Hood, Marlene Jenkins (aka Marlina Mack/Marlina Mars), Louise Harris Murray, Lezli Valentine and Iggy Williams have been identified as participating in the recording sessions for “Sally Go ‘Round the Roses,”[3] which took place over a week, running up of costs of $60,000 – then an exorbitant amount of time and money for a single track. According to Johnnie Louise Richardson: “Anybody that came in the studio that week, [Spector] would put them on [the track]. Originally, I think he had about 20 voices on ‘Sally.'”[4]

Butler’s recollection is that Spector only heard the “Sally Go ‘Round the Roses” track when it was completed and “hated it. He was really angry. He felt that I wasted his money.” Butler played the track for Jerry Leiber and Mike Stoller, who offered to buy it from Spector: the interest of the duo caused Spector to reassess “Sally Go ‘Round the Roses,” which he had Sanders release as a single credited to ‘the Jaynetts,’ with the instrumental track as the B-side. Butler claimed his only return for arranging “Sally Go ‘Round the Roses” was being credited as the arranger on the record.[2]

The recording engineer of “Sally Go ‘Round the Roses” was John P. “Jack” Sullivan.


“Sally Go ‘Round the Roses” had its first major market breakout in San Francisco, its ringing arrangement being a precursor of the San Francisco Sound. A favorite performance number of Grace Slick when she fronted her pre-Jefferson Airplane outfit, the Great Society, “Sally Go ‘Round the Roses” was also a formative influence on Laura Nyro.[5]

“Sally Go ‘Round the Roses” peaked at number 2 on the Billboard Hot 100 dated 28 September 1963, remaining at number 2 on the Hot 100 dated 5 October, both weeks kept out of the top slot by “Blue Velvet” by Bobby Vinton. On the Music Vendor Top 40 dated 12 October 1963, “Sally Go ‘Round the Roses” was ranked at number 1. In the Cash Box Top 100, it reached the # 3 spot on 28 September 1963 as its highest position, and remained there for another week (5 October 1963). It was also a hit in France, reaching number 7 with a 17 week chart run,[6] and reached number 2 in New Zealand.

Tuff released a Sally Go ‘Round the Roses album which, despite the group being promoted as a quintet, displayed a cover image of a trio, only two of whom, Ethel Davis and Lezli Valentine, are identifiable. Besides the title cut, in both vocal and instrumental versions, and the follow-up single “Keep An Eye On Her,” the album featured “Archie’s Melody,” “Bongo Bobby,” “I Wanna Know,” “No Love At All,” “One Track Mind,” “Pick Up My Marbles,” “School Days” and “See Saw.” Also featured as ‘a special guest appearance’ was “Dear Abby” credited to the Hearts, a minor hit (No. 94) recorded by at least some of the same personnel as “Sally Go ‘Round the Roses.”[3]

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Posted by on October 12, 2017 in nostalgic, pop music, r&b


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“The Incredible Shrinking Woman Trailer”

“The Incredible Shrinking Woman Trailer”

Ned Beatty Movie (1981) HD” on YouTube

The Incredible Shrinking Woman is a 1981 American science fiction comedy film directed by Joel Schumacher (in his directing debut), written by Jane Wagner and starring Lily Tomlin, Charles Grodin, Ned Beatty, John Glover and Elizabeth Wilson.

This film is a take-off on the 1957 science fiction classic film The Incredible Shrinking Man, and credited as based on Richard Matheson’s 1956 novel, The Shrinking Man. The original music score was composed by Suzanne Ciani.


Pat Kramer of Tasty Meadows is an ordinary suburban housewife and mother of two children. Her husband Vance is an advertising executive. After exposure to an experimental perfume from her husband’s company she begins to shrink, gradually at first, then rapidly. A few weeks pass and Pat has shrunk to the height of her own children. Eventually she becomes a celebrity of sorts appearing on The Mike Douglas Show and captures the hearts of the American people. Soon she is less than a foot tall making her like a doll to her children and forcing her to move into a dollhouse.

Pat is kidnapped by a group of mad scientists who make it seem that she perished in the kitchen garbage disposal. They plan to shrink everyone in the world by performing experiments on her to learn her secret. With the help of a kind young lab custodian and a super-intelligent gorilla named Sydney she escapes. Speaking of her escape to a crowd of people she continues to shrink saying her goodbyes before becoming microscopic in size. Vanishing from sight, she is again presumed dead but in fact she falls into a puddle of spilled household chemicals – which returns her to her original size. After her homecoming celebrating her returning to a normal size she notices that her wedding ring is now too tight while her foot is splitting her shoe open suggesting she might still be growing.


Lily Tomlin as Pat Kramer/Judith Beasley

Charles Grodin as Vance Kramer

Ned Beatty as Dan Beame

Henry Gibson as Dr. Eugene Nortz

Elizabeth Wilson as Dr. Ruth Ruth

Mark Blankfield as Rob

Maria Smith as Concepcion

Pamela Bellwood as Sandra Dyson

John Glover as Tom Keller

Nicholas Hormann as Logan Carver

Jim McMullan as Lyle Parks (as James McMullan)

Shelby Balik as Beth Kramer

Justin Dana as Jeff Kramer

Rick Baker as Sydney (as Richard A. Baker)

Mike Douglas as Himself

Dick Wilson as Store Manager

Sally Kirkland as Store Cashier

Pat Ast as Customer in supermarket

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Posted by on October 9, 2017 in nostalgic



James Riddle Hoffa (February 14, 1913 – disappeared July 30, 1975) was an American labor union leader and author who served as the President of the International Brotherhood of Teamsters (IBT) union from 1958 until 1971. He vanished in late July 1975, at age 62.

Jimmy Hoffa

James Riddle Hoffa
February 14, 1913
Brazil, Indiana, U.S.

July 30, 1975 (aged 62)
Bloomfield Township, Oakland County, Michigan, U.S.

Declared dead in absentia
July 30, 1982

Labor union leader, author

Josephine Hoffa, nee Poszywak (1936–1980) [Her Death]

James P. Hoffa
Barbara Ann Crancer

Hoffa was a union activist from a young age and an important regional figure with the International Brotherhood of Teamsters (IBT) union by his mid-20s. By 1952 Hoffa had risen to national vice-president of the IBT, and served as the union’s general president between 1958 and 1971. He secured the first national agreement for teamsters’ rates in 1964. Hoffa played a major role in the growth and development of the union, which eventually became the largest (by membership) in the United States with over 1.5 million members at its peak, during his terms as its leader.

Hoffa became involved with organized crime from the early years of his Teamsters work, and this connection continued until his disappearance in 1975. He was convicted of jury tampering, attempted bribery, and fraud in 1964, in two separate trials. He was imprisoned in 1967 and sentenced to 13 years, after exhausting the appeal process. In mid-1971, he resigned as president of the union, an action that was part of a pardon agreement with President Richard Nixon, to facilitate his release later that year. Nixon blocked Hoffa from union activities until 1980 (which would have been the end of his prison term, had he served the full sentence). Hoffa, hoping to regain support and to return to IBT leadership, unsuccessfully attempted to overturn this order.

Hoffa vanished in late July 1975, having last been seen outside the Machus Red Fox, a suburban Detroit restaurant,[1] and was declared legally dead in 1982. His disappearance gave rise to many theories as to what happened to him.

A collection of papers related to Hoffa is cared for by the Special Collections Research Center of George Washington University. The collection contains a variety of materials, including newspaper and magazine articles, trial transcripts, copies of congressional hearings, and publicity materials.[2]


Posted by on October 9, 2017 in docu drama, nostalgic



 “People Are Funny: The Unlikely Job || a classic TV encore with Art Linkletter” 

​People Are Funny is an American radio and television game show, created by John Guedel that ran from 1942 to 1960 in which contestants were asked to carry out stunts.

The series began in 1938 when Guedel made an audition recording, and the following year, his concept of a comedy stunt show aired in Los Angeles as Pull Over, Neighbor, later reworked into All Aboard. Watching a bored, unreceptive audience listening to an after-dinner speaker, Guedel scribbled, “People are funny, aren’t they?” on a napkin, and he had his title.

In 1942, learning of a show that was canceled, he pitched People Are Funny to NBC, and it went on the air April 10, 1942 with Art Baker as host. In a popular first-season stunt, a man was assigned to register a trained seal at the Knickerbocker Hotel while explaining that the seal was his girlfriend.[1]

On October 1, 1943, Baker was replaced by Art Linkletter, who continued for the rest of the series. For a memorable stunt of 1945, Linkletter announced that $1,000 would go to the first person to find one of 12 plastic balls floating off California. Two years later, an Ennylageban Island[2] native claimed the prize.[1][3]

As the popularity of the program escalated, a movie musical titled People Are Funny was released in 1946, offering a fictional version of the show’s origin in a tale of rival radio producers. Phillip Reed appeared as Guedel, with Linkletter and Frances Langford portraying themselves. Also in the cast were Jack Haley, Helen Walker, Ozzie Nelson and Rudy Vallée. One outstanding moment in the film is a Spanish dance number performed by Lupe Mayorga (aka Lillian Molieri) to the song “I Love My Marimba.” The radio series moved to CBS from 1951 to 1954, returning to NBC from 1954 to 1960.[1]


Linkletter continued as host of the show during its run on television from September 19, 1954 to April 1, 1960. In one stunt, a contestant would win a prize if he could sustain a phone conversation with a puzzled stranger (picked at random from the phone directory) for several minutes without the other party hanging up. The series received Emmy nominations in 1955 and 1956. It finished #27 in the Nielsen ratings for the 1955-1956 season, then finished #21 for 1956-1957 and #29 for 1957-1958.[4]
Although the series ended on April 1, 1960, the network aired encores until April 13, 1961, making People Are Funny the first game show to air repeats. On March 24, 1984, a “reconstituted” version of People Are Funny with Flip Wilson as host returned to NBC where it was telecast until July 21.



Jessie Belvin – “Goodnight My Love


Belvin was born in Texarkana, Texas,and moved with his family to Los Angeles at the age of five.

In 1950 he joined saxophonist Big Jay McNeely’s backing vocal quartet, Three Dots and a Dash, and featured prominently on their record releases. In 1952 he joined Specialty Records. Although his early solo records were unsuccessful, his fourth record, “Dream Girl”, credited to Jesse & Marvin and featuring Marvin Phillips on saxophone, reached #2 on the R&B charts in 1953.

He was then drafted into the army, but continued to write songs. His composition “Earth Angel”, eventually co-credited to Belvin and Hollywood Flames singers Curtis Williams and Gaynel Hodge after a legal dispute, was recorded by the Penguins, and became one of the first R&B singles to cross over onto the pop charts, selling a million copies in 1954/55.

In 1956, he signed a contract with Modern Records, but also continued to sing for other labels under different names. His biggest hit was “Goodnight My Love” which reached #7 on the R&B chart. The piano on the session was reportedly played by the 11-year-old Barry White. The song became the closing theme to Alan Freed’s rock and roll radio shows.

Belvin’s other recordings for Modern were less successful, and in 1958 he recorded on Dot Records with a group, the Shields, who included lead singer Frankie Ervin and guitarist Johnny “Guitar” Watson. Their record, “You Cheated”, reached #15 on the US pop chart and #11 on the R&B chart. He also recorded with Eugene Church as the Cliques on a less successful single, “Girl of My Dreams” which was covered by the Four Lovers, two of whose members including Frankie Valli would later become the Four Seasons.

Inspired by his wife and manager Jo Ann to develop his style, he signed to RCA Records in 1959, and immediately had a Top 40 hit with “Guess Who”, written by his wife. He also recorded an album, Just Jesse Belvin, developing a more mature and sophisticated sound on ballads. His style was influenced by Nat “King” Cole and Billy Eckstine, and became a model for Sam Cooke and others. He acquired the nickname “Mr. Easy”, and the record company began moulding him as a potential crossover star for white audiences, as well as a professional rival to Capitol Records’ recording star Nat “King” Cole.

He recorded a further series of tracks later in the year, with arranger Marty Paich and an orchestra including saxophonist Art Pepper. The songs included soulful covers of standards like “Blues in the Night”, “In the Still of the Night”, and “Makin’ Whoopee”, and were issued on the album Mr. Easy.

However, before the album was issued, and shortly after finishing a performance in Little Rock on a bill with Sam Cooke, Jackie Wilson, and Marv Johnson, Belvin and his wife were killed in a head-on collision at Hope, Arkansas. The concert was the first concert played before an integrated audience in the history of Little Rock, and was stopped twice by interruptions from whites in the audience, shouting racial epithets and urging the white teenagers in attendance to leave at once. There had also been several death threats on Belvin prior to the concert, which led to speculation that his car had been tampered with prior to the accident. The actual cause of the accident was the driver who nodded off and lost control. The driver had been recently fired for falling asleep at the wheel by another musical act.


Posted by on October 7, 2017 in nostalgic


“Shirley Bassey “Goldfinger” – Live at Royal Albert Hall, 1974.”


“Goldfinger” was the title song from the 1964 James Bond film Goldfinger. Composed by John Barry and with lyrics by Leslie Bricusse and Anthony Newley, the song was performed by Shirley Bassey for the film’s opening and closing title sequences, as well as the soundtrack album release. The single release of the song gave Bassey her only Billboard Hot 100 top forty hit, peaking in the Top 10 at number eight and at number two for four weeks on the Adult Contemporary chart,[1] and in the United Kingdom the single reached number 21.[2]

The song finished at #53 in AFI’s 100 Years…100 Songs survey of top tunes in American cinema. In 2008, the single was inducted into the Grammy Hall of Fame.[3]


Leslie Bricusse and Anthony Newley were asked to create the lyrics for the song. But when its composer John Barry played them the first three notes, Bricusse and Newley looked at each other and sang out: “. . . wider than a mile,” to the melody of “Moon River,” the popular theme song from Breakfast at Tiffany’s. Barry was not amused.

One source of inspiration was the song “Mack the Knife”, which director Guy Hamilton showed Barry, thinking it was a “gritty and rough” song that could be a good model for what the film required. Bricusse and Newley were not shown any film footage or script excerpts, but were advised of the fatal gilding suffered by the Jill Masterson character, played by Shirley Eaton. Bricusse would later recall that once he and Newley hit upon utilizing “the Midas touch” in the lyric, the pattern of the song became evident and the lyrics were completed within at most a couple of days.

The first recording of “Goldfinger” was made by Newley in a May 14, 1964 recording session, with Barry as conductor, which produced two completed takes. Barry would recall that Newley gave a “very creepy” performance which he, Barry considered “terrific”. Newley’s recording, however, was made purely as a demo for the film’s makers. According to Barry, Newley “didn’t want to sing it in the movie as they [Newley and Bricusse] thought the song was a bit weird”.

Shirley Bassey was Barry’s choice to record the song; he had been conductor on Bassey’s national tour in December 1963 and the two had also been romantically involved. Barry had played Bassey an instrumental track of the song before its lyrics were written; the singer would recall that hearing the track had given her “goose bumps”. She agreed to sing the song whatever the lyrics might eventually be. Bassey recorded the track on August 20, 1964 at London’s CTS Studios in Wembley: the track’s producer credit named Bassey’s regular producer George Martin, but the session was in fact overseen by Barry. Vic Flick, Jimmy Page and Big Jim Sullivan are all said to have been guitarists on the session, and at least Page has supported his involvement, recalling that Bassey had nearly collapsed after the final note.

The recording of “Goldfinger” lasted all night as Barry demanded repeated takes due to musicians’ or technical glitches, not any shortcomings in Bassey’s vocal. Bassey did initially have issues with the climactic final note which necessitated her slipping behind a studio partition between takes to remove her bra. Bassey would recall of the final note: “I was holding it and holding it – I was looking at John Barry and I was going blue in the face and he’s going – hold it just one more second. When it finished, I nearly passed out.”

The iconic two-note phrase which is the basis for the song’s introduction was not in the original orchestration, but occurred to Barry during a tea-break, following an hour and a half of rehearsal. By the time the musicians returned, twenty minutes later, he had written the figure into the orchestration.

The hit single was released in mono, with the album stereo issues (on the film soundtrack, Golden Hits Of Shirley Bassey and subsequent releases) using an alternate mix in which the instrumental take is the same, but Bassey’s vocal is different; a shade less intense and with a shorter final note. Newley’s version was later released in 1992 to mark the 30th Anniversary of James Bond on film, in a compilation collector’s edition: The Best of Bond…James Bond.

Bassey’s title theme was almost taken out of the film because producer Harry Saltzman hated it, saying, “That’s the worst *** song I’ve ever heard in my *** life”. Saltzman would also dislike Bassey’s subsequent Bond theme, that for Diamonds Are Forever. However time constraints did not allow for the possibility of a replacement Goldfinger theme song being written and recorded.


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