"Heart of Texas Twist"" ""Nobody's Child""; ""What Did I Do""; ""I Can't Help Loving You""; ""Keep Away"" The Tornados The Tornados were an English instrumental group of the 1960s that acted as backing group for many of record producer Joe Meek's productions and also for singer Billy Fury. They enjoyed several chart hits in their own right, including the UK and U.S. No. 1 ""Telstar"" (named after the satellite and composed and produced by Meek), the first U.S. No. 1 single by a British group. From January 1962 to August 1963, The Tornados were the backing band for Billy Fury"
"The Tornadoes The Tornadoes were an American surf band from Redlands, California. They were the second band to receive national airplay with a surf instrumental (after The Marketts), with their song ""Bustin' Surfboards"", released on Aertaun Records in 1962. ""Bustin' Surfboards"" has since become a classic and mainstay of the surf genre. One of its distinctions, and appeals, was that the song opened with the sound of an ocean swell (that continued throughout the song), thereby creating a sense of being at a beach. The album with the same name was belatedly released on September 20, 1963. The band, however,"
"Gerald Sanders confirmed that the band is still active. Former band member, Leonard Delaney, died on October 5, 2014, aged 71, in San Bernardino, California, from complications of Alzheimer's disease. The Tornadoes The Tornadoes were an American surf band from Redlands, California. They were the second band to receive national airplay with a surf instrumental (after The Marketts), with their song ""Bustin' Surfboards"", released on Aertaun Records in 1962. ""Bustin' Surfboards"" has since become a classic and mainstay of the surf genre. One of its distinctions, and appeals, was that the song opened with the sound of an ocean swell"
"whom Meek launched as an act in their own right in late spring 1962 with ""Love And Fury"". For the notes on Trojan's ""Complete"" CD set, Cattini thought of this track as being the first ever disco record. The Tornados became the first British group to score a number 1 on both sides of the Atlantic with the Joe Meek produced hit single, ""Telstar"" in the Summer of 1962. After Meek removed Heinz for a solo career, Brian Gregg came in, but further hit success tailed off with each subsequent single, bowing out with ""Dragonfly"" in late 1963. Caddy played"
"using the band name ""Ray Randall's Tornados"", as a tribute to the late Joe Meek, 30 years after Meek's death. Randall has since recorded a solo album entitled ""Polly Swallow"" (1997). Panda Bear sampled two Tornados songs on his album Person Pitch. The B-side of the final single that the group released, in 1966, ""Do You Come Here Often?"", is considered to be the first openly ""gay"" pop record release by a UK major label. It started off as a standard organ-inspired instrumental, but Joe Meek decided that the organ playing was a little too jazzy for the style of"
"on variable-speed record players. His 1955 single ""Nuevo Laredo"" features phase shifting, as does the 1953 single ""Mammy's Boogie."" American music industry veterans David S. Gold and Stan Ross, founders of Gold Star Studios in Hollywood, claim they made the first commercial recording—the single ""The Big Hurt"" by Toni Fisher—at Gold Star in late 1959 and a hit in the United States in early 1960, rising to #3 on ""Billboard"" magazine's singles chart. Flanging is also heard in the opening of The Ventures' 1962 cover of The Tornados' ""Telstar"", in a rocket launch sound effect. Further development of the classic"
"and the 1962 song ""Telstar"", originally recorded by The Tornados. The 1960s saw the utilization of studio techniques and new technologies to achieve unusual and new sounds. Small guitar stomp boxes and various guitar effects are developed which distort or alter the sound quality of the electric guitar in various ways. The Mellotron was used by multi-instrumentalist Graham Bond from 1965 and soon adopted by Mike Pinder of The Moody Blues from 1966 on songs including ""Nights In White Satin"" and by The Beatles from ""Strawberry Fields Forever"" (1967). Ian McDonald of King Crimson, Rick Wakeman of Yes and Tony"
"popularity with British audiences during the course of 1963 as the ""Mersey Sound"", most notably The Beatles, became more and more popular. In the summer of 1963 Joe Meek induced The Tornados' bassist Heinz Burt to start a solo career, as The Tornados' chart success as an instrumental outfit waned, and from that point onwards The Tornados began to fall apart. By 1965 none of the original lineup remained. On some promotional items, later lineups were credited as ""Tornados '65"" and ""The New Tornados"", but these names were never used on The Tornados' releases. In the mid-'60s The Tornados backed"
"G-Spot Tornado ""G-Spot Tornado"" is a piece of programmed Synclavier DMS music written by American musician Frank Zappa, released in 1986 on his instrumental album ""Jazz from Hell"". ""G-Spot Tornado"" was written by Frank Zappa. He thought that the composition was so difficult to play that it could not possibly be performed by a human, therefore he initially recorded the song using a Synclavier DMS. Zappa was later proven wrong when the song was performed live on ""The Yellow Shark"". The piece, one of, ""Zappa's most successful Synclavier releases in the tonal idiom..., employ[s] the verse-chorus structure of pop and"
"they discovered that the name the Tornados was already in use by another group. The name ""the Golden Earrings"" was taken from an instrumental called ""Golden Earrings"" performed by the British group the Hunters, for whom they served as opening and closing act. Initially a pop-rock band with Frans Krassenburg on lead vocals and Jaap Eggermont on drums, the Golden Earrings had their first chart success with their debut single ""Please Go"", recorded in 1965. It became a hit on the charts in the Netherlands. Dissatisfied with Dutch recording studios, the band's manager and co-discoverer Fred Haayen arranged for the"
"in March 1964, it was unlike any other of their tracks, or indeed any other instrumentals of the day. A bold and ambitious attempt at a mini Sci-Fi space opera, it had a dramatic buildup intro, tempo changes and dynamic changes. It was way ahead of its time. It featured a battle in space using echo and guitar effects, the like of which would not be heard until Hendrix came along some years later. Disappointingly for the band, many DJ's refused to play it and it failed to make most charts. By this time The Beatles and the Merseybeat sound"
"""Space Oddity"" (1969) is, apart from ""Telstar"", probably the best example of a space rock song achieving mainstream recognition. A major album in the history of space rock was Hawkwind's ""Space Ritual"" (1973), a two-disc live album advertised as ""88 minutes of brain-damage"" documenting Hawkwind's 1972 tour that included a liquid light show and lasers, nude dancers (notably the earth-mother figure Stacia), wild costumes and psychedelic imagery. This hard-edged concert experience attracted a motley but dedicated collection of psychedelic drug users, science-fiction fans and motorcycle riders. The science fiction author Michael Moorcock collaborated with Hawkwind on many occasions and wrote"
"to replicate American rock and roll mostly failed, the trad jazz–inspired skiffle craze, with its do it yourself attitude, was the starting point of several British Billboard singles. Young British groups started to combine various British and American styles in different parts of the U.K., such as the 1962 movement in Liverpool known as Merseybeat or the ""beat boom"". That same year featured three instrumentals, each from an act with British roots, to reach the Hot 100's summit. This included the Tornados' instrumental ""Telstar"", written and produced by Joe Meek, becoming the first record by a British group to reach"
"Eddie"" (Heinz, 1963), ""Angela Jones"" (Michael Cox, 1963), ""Have I the Right?"" (the Honeycombs, 1964), and ""Tribute to Buddy Holly"" (Mike Berry, 1961). The Tornados' instrumental ""Telstar"" (1962), written and produced by Meek, became the first record by a British rock group to reach number one in the US Hot 100. It also spent five weeks at number one in the UK singles chart, with Meek receiving an Ivor Novello Award for this production as the ""Best-Selling A-Side"" of 1962. He also produced music for films such as ""Live It Up!"" (US title ""Sing and Swing"", 1963), a pop music"
"instrumental written by Pete Holder and Robb Huxley titled ""Saxon Warcry"". In December 1965, Joe Meek summoned the Saxons to London to work professionally as his house band, renamed The Tornados. They were also known as the New Tornados. During their short association with Joe Meek, they put out two singles. “Pop-Art Goes Mozart” / “Too Much in Love to Hear” and “Is that a Ship I Hear” / “Do You Come Here Often”. Both singles were released in 1966. Nowadays “Do you Come Here Often” is recognized as being the first ever openly “gay” song to be released on"
"US in 1956 billed as ""the King of Rock & Roll""; Dickie Pride, Roy Young, and Helen Shapiro. The only act to create what has been described as ""a pre-Beatle rock classic"", were Johnny Kidd & the Pirates, whose song ""Shakin' All Over"" managed to become a rock and roll standard. Several of the most lasting and innovative British records of the period were produced by Joe Meek. These included ""Johnny Remember Me"" by John Leyton, a UK number one record in 1961, and ""Telstar"" by the Tornados in 1962, which was number one in the UK and became the"
"Texas Tornado (song) ""Texas Tornado"" is a song written by Bobby Braddock, and recorded by American country music artist Tracy Lawrence. It was released in April 1995 as the third single from Lawrence's album ""I See It Now"". It became his sixth Number One hit on the ""Billboard"" country singles charts and also reached number-one on the Canadian ""RPM"" Country Tracks chart. Braddock was inspired to write ""Texas Tornado"" by a tempestuous relationship with a romantic partner who had considered becoming a professional storm chaser. The song is a mid-tempo country ballad in which the narrator recalls a lover, whom"
"Cuba Sextet, which achieved unprecedented success for Latin music in the United States in 1966 when it sold over one million copies. ""El Pito"" was another hit by this popular combo. Hits by other groups included Johnny Colón's ""Boogaloo Blues"", Pete Rodríguez's ""I Like It like That"", and Hector Rivera's ""At the Party"". Joe Bataan and the Lebron Brothers are two other important boogaloo bands. In 1966, the same year as Joe Cuba's pop success, the Palladium closed because it lost its liquor license. The mambo faded away, and a new generation came into their own with the boogaloo, the"
"were trying to emulate those records that they grew up with; ""They use exactly the same techniques—sped-up bits, slowed-down bits, too much echo, too much reverb, that bit goes backwards. ... There was no transition to be made. You go from things like 'Flying Purple People Eater' to 'I Am the Walrus'. They go hand-in-hand."" Music critic Richie Unterberger says that attempts to ""pin down"" the first psychedelic record are therefore ""nearly as elusive as trying to name the first rock & roll record"". Some of the ""far-fetched claims"" include the instrumental ""Telstar"" (produced by Meek for the Tornados in"
"of the '60s was ""Bang Bang"" by the Joe Cuba Sextet, which sold over one million copies in 1966. ""El Pito"" was another hit by this popular combo. Hits by other groups included Johnny Colón's ""Boogaloo Blues"", Pete Rodríguez's ""I Like It like That"", and Héctor Rivera's ""At the Party"". The same year as Joe Cuba's pop success, 1966, saw the closing of New York City's Palladium Ballroom, when the venue, the home of big band mambo for years, lost its liquor license. The closing marked the end of mainstream mambo, and boogaloo ruled the Latin charts for several years"
"a drummer at the 2i's Coffee Bar, backing performers such as Terry Dene, before joining the touring band known as the Beat Boys, backing singers managed by Larry Parnes, including Marty Wilde and Billy Fury. He then joined Johnny Kidd & the Pirates, playing on their hit ""Shakin' All Over"", and became Joe Meek's in-house drummer, backing artists such as John Leyton and Don Charles, before helping found the Tornados in 1961, and playing on their international No. 1 hit ""Telstar"". In 1965 he became a session musician, drumming on recordings by the Kinks, Herman's Hermits, Dusty Springfield, the Merseys,"
"on November 9, 1962 as the B side to ""Happy Landing"". ""Happy Landing"" charted regionally; however, the nation's Dee-Jays flipped the record over, because they liked ""Hold On Me"" better. With ""You've Really Got a Hold on Me"" as the A side, the single reached the Top 10 on the ""Billboard"" Hot 100 Pop chart, peaking at number eight, and was a number-one smash on the Billboard R&B singles chart during the winter of 1962-63. The Miracles' original version is a 1998 Grammy Hall of Fame inductee. It was also the group's second single to sell over a million copies,"
"The Challengers (band) The Challengers was an instrumental surf rock band started in late 1962. They were located in Los Angeles. They represented a growing love for surf music and helped make the genre popular. Their debut album ""Surfbeat"" was the biggest selling surf album of all time and helped bring surf music from California to the rest of the world. The band was formed out of the pioneer surf band called The Bel-Airs. The Bel-Airs were still in high school at the time, but scored a hit with an instrumental song titled ""Mr. Moto."" Their potential was cited by"
"House Tornado House Tornado is an album by the alternative rock band Throwing Muses. Produced by Gary Smith and engineered by Paul Kolderie, it was recorded at Fort Apache Studios in Cambridge, MA. The album was released in 1988 internationally on the 4AD label, except in the United States, where it was released by Sire Records. Sire used a different album cover for its release, as the label was putting a strong promotional push behind the band, and label executives favored a picture of the band over the collage featured on the 4AD release. The 4AD CD release also features"
"successful commercial releases ran out in 1960, although the famous Rock Around the Clock was successfully re-released in 1964 and 1974 (Billboard #39, US). The group continued to have chart success in Mexico during the early 1960s where the single ""Florida Twist"" reached no. 1. The song, written by Joe Reisman, was included as the lead track on the band's final album release for Decca Records, ""Strictly Instrumental"", released in December 1959. The track, featuring Franny Beecher on lead guitar and Rudy Pompilli on saxophone, also appeared on the June 1968 U.S. greatest hits compilation album ""Bill Haley's Greatest Hits!"","
"1962, Joe Harnell arranged and recorded an instrumental version in a bossa nova style. It was released as a single in late 1962. Harnell's version spent 13 weeks on the ""Billboard"" Hot 100 chart, reaching No. 14 on February 23, 1963, while reaching No. 4 on ""Billboard""s Middle-Road Singles chart. Harnell's version was ranked No. 89 on ""Billboard""s end of year ranking ""Top Records of 1963"". Harnell's recording won him a Grammy Award at the 5th Annual Grammy Awards for Best Performance by an Orchestra – for Dancing. Harnell's version was included on his album ""Fly Me to the Moon"
"Una aventura llamada Menudo Una aventura llamada Menudo is a 1982 film featuring teen boy band Menudo and Puerto Rican actress Gladys Rodríguez. The film's soundtrack received a nomination for a Grammy Award for Best Latin Pop Album. In ""Una aventura llamada Menudo"", Menudo members are supposed to fly to Ponce, Puerto Rico for a concert. However, having before arrived at concert sites by way of airplane, helicopter, and fire truck, and deciding during a meeting that arriving by motorcycle would be too dangerous due to wild crowds, band member Ricky Meléndez then hires the services of a hot air"
"did not manage to follow up on their success. Their song ""Shootin' Beavers"" was banned from airplay because of its suggestive title. The band temporarily changed their name to The Hollywood Tornadoes, because the British band, the Tornado(e)s, were charting with the song ""Telstar."" ""Bustin' Surfboards"" was included on the ""Pulp Fiction"" soundtrack in 1994, thereby renewing interest in the band. The Tornadoes continued to perform through 2007. Members as of 2007 (including four members of the original band) were brothers Gerald (bass) and Norman ""Roly"" Sanders (lead guitar), their cousin Jesse Sanders (rhythm guitar), Leonard Delaney (drums) and Joel"
"formed the Tex-Mex supergroup, the Texas Tornados, with Freddy Fender, Augie Meyers, and Flaco Jimenez. The original group recorded seven albums (including two live ones, and a ""Best of"" collection). Their first album won a Grammy for Best Mexican-American Performance for the song ""Soy de San Luis"", in 1991. Throughout the late 1980s and 1990s, besides touring and recording with the Texas Tornados, Sahm also played and recorded with several other bands, including the Sir Douglas Quintet, the Texas Mavericks, the Last Real Texas Blues Band, the Amos Garrett–Doug Sahm–Gene Taylor Band, Doug Sahm & Sons, the Mysterious Sam Dogg"
"Young"", and ""As Any Fool Can See"". ""The idea of tying all the videos together seemed logical, and once we hit on the concept of time travel, it just seemed natural,"" says Ball of the serial format. ""We figured maybe the fans would grow to love it, even though the songs are vastly different from one another."" ""Texas Tornado"" debuted at number 64 on the U.S. ""Billboard"" Hot Country Singles & Tracks for the week of April 15, 1995. Texas Tornado (song) ""Texas Tornado"" is a song written by Bobby Braddock, and recorded by American country music artist Tracy Lawrence."
"group enjoyed great regional popularity through the mid-1980s. Ware also released his debut album ""Caffeine Dreams"" in 1981. Ware rejoined Hubbard in 1986, and the duo performed all over the United States and overseas. Ware's guitar work on Hubbard's ""Lost Train of Thought"" (1992) was critically acclaimed, as was his work on the 1994 release ""Loco Gringo's Lament"" and 1997's ""Dangerous Spirits"". Ware performed with Jimmy LaFave from 1997-2000, giving many notable performances such as the July 31, 1999, Central Park Summerstage in New York. In 1999, Ware was named a Texas Tornado by ""Buddy Magazine"". The Buddy Texas Tornados"
"Mars"" in an attempt to make electronic music more accessible. The offbeat titles and happy, upbeat melodies added a genuine sense of humor to the popular tunes. In fact, ""Unidentified Flying Object"" and another of the album's cuts, ""Electronic Can-Can"", became theme music for ""Wonderama,"" a Metromedia Television children's program of the early 1970s. Though most of the melodies were original, two borrowed from the classics. ""Swan's Splashdown"" was based on Pyotr Tchaikovsky's ""Swan Lake"", while ""Countdown at 6"" borrowed from Amilcare Ponchielli's ""Dance of the Hours"", much as Allan Sherman did in 1963 with his hit recording, ""Hello Muddah,"
"Texas Tornados were asked to perform all over the world, such as at the presidential inauguration of Bill Clinton and the Montreux Jazz Festival, and made regular appearances at Farm Aid and the Houston Livestock and Rodeo Show. They won a Grammy award in 1990 for Best Mexican/American Performance. Their 1996 single ""A Little Bit Is Better Than Nada"" accompanied the opening credits of the golf movie ""Tin Cup"", which was released the same year, and is included in the official soundtrack. Among their other albums is ""Live From the Limo"", the last album to be recorded with the original"