The Unforgettable 1960 (FULL ALBUM with Elvis Presley, Sam Cooke, The Everly Brothers and more...)
TRACKLIST
01 Anita Bryant - Paper Roses 00:11
02 Bobby Darin - Beyond the Sea 03:02
03 Brenda Lee - I'm Sorry 06:01
04 Chubby Checker - Thw Twist 09:23
05 Conway Twitty - Lonely Blue Boy 11:59
06 Duane Eddy - Because they're young 14:14
07 Elvis Presley - It's now or never 16:23
08 Freddy Cannon - Way down yonder in New Orleans 19:43
09 Jack Scott - Burning Bridges 22:10
10 Jackie Wilson - Night 24:55
11 Jimmy Jones - Handy Man 27:49
12 Johnny Horton - Sink the Bismarck 29:54
13 Johnny Preston - Running Bear 33:12
14 Larry Verne - Mr. Custer 35:51
15 Mark Dinning - Teen Angel 38:50
16 Percy Faith - Theme from \"A Summer Place\" 41:51
17 Sam Cooke - Chain Gang 44:13
18 Steve Lawrence - Pretty Blue Eyes 46:49
19 The Everly Brothers - Let it be me 48:39
20 Toni Fisher - The Big Hurt 51:17
The Unforgettable 1960 (FULL ALBUM) In the late 1950s, a flourishing culture of groups began to emerge, often out of the declining skiffle scene, in major urban centres in the UK like Liverpool, Manchester, Birmingham and London. This was particularly true in Liverpool, where it has been estimated that there were around 350 different bands active, often playing ballrooms, concert halls and clubs. Beat bands were heavily influenced by American bands of the era, such as Buddy Holly and the Crickets (from which group the Beatles derived their name), as well as earlier British groups such as the Shadows.[2] After the national success of the Beatles in Britain from 1962, a number of Liverpool performers were able to follow them into the charts, including Gerry & the Pacemakers, the Searchers and Cilla Black. Among the most successful beat acts from Birmingham were the Spencer Davis Group and the Moody Blues. From London, the term Tottenham Sound was largely based around the Dave Clark Five, but other London bands that benefited from the beat boom of this era included the Rolling Stones, the Yardbirds and the Kinks. The first non-Liverpool, non-Brian Epstein-managed band to break through in the UK were Freddie and the Dreamers, who were based in Manchester, as were Herman's Hermits. The beat movement provided most of the groups responsible for the British invasion of the American pop charts in the period after 1964, and furnished the model for many important developments in pop and rock music. By the 1960s, the scene that had developed out of the American folk music revival had grown to a major movement, utilizing traditional music and new compositions in a traditional style, usually on acoustic instruments. In America the genre was pioneered by figures such as Woody Guthrie and Pete Seeger and often identified with progressive or labour politics. In the early sixties figures such as Bob Dylan and Joan Baez had come to the fore in this movement as singer-songwriters. Dylan had begun to reach a mainstream audience with hits including \"Blowin' in the Wind\" (1963) and \"Masters of War\" (1963), which brought \"protest songs\" to a wider public, but, although beginning to influence each other, rock and folk music had remained largely separate genres, often with mutually exclusive audiences. Early attempts to combine elements of folk and rock included the Animals \"House of the Rising Sun\" (1964), which was the first commercially successful folk song to be recorded with rock and roll instrumentation. The folk rock movement is usually thought to have taken off with the Byrds' recording of Dylan's \"Mr. Tambourine Man\" which topped the charts in 1965. With members who had been part of the cafe-based folk scene in Los Angeles, the Byrds adopted rock instrumentation, including drums and 12-string Rickenbacker guitars, which became a major element in the sound of the genre. Later that year Dylan adopted electric instruments, much to the outrage of many folk purists, with his \"Like a Rolling Stone\" becoming a US hit single. Folk rock particularly took off in California, where it led acts like the Mamas & the Papas and Crosby, Stills and Nash to move to electric instrumentation, and in New York, where it spawned performers including the Lovin' Spoonful and Simon and Garfunkel, with the latter's acoustic \"The Sounds of Silence\" being remixed with rock instruments to be the first of many hits. Folk rock reached its peak of commercial popularity in the period 1967-68, before many acts moved off in a variety of directions, including Dylan and the Byrds, who began to develop country rock.[22] However, the hybridization of folk and rock has been seen as having a major influence on the development of rock music, bringing in elements of psychedelia, and helping to develop the ideas of the singer-songwriter, the protest song and concepts of \"authenticity\".
