Cowboy Songs (Bing Crosby album)
Cowboy Songs is a compilation album of phonograph records by Bing Crosby released in 1939 featuring Western songs. Crosby had recorded cowboy songs for the first time in 1933 and he had a huge hit with "The Last Round-Up" that year on the Brunswick label, he recorded Home on the Range for the first time also. Commenting on these early recordings, the writer Gary Giddins said "…it anticipated the golden age of gentle-voiced singing cowboys and the Irish sentiment of John Ford westerns that followed on their heels."Moving on to the Decca label, Crosby had huge hits with "I’m an Old Cowhand", "Empty Saddles" and "Mexicali Rose". He charted with "My Little Buckaroo" and "There’s a Gold Mine in the Sky". Giddins considered Bing's recordings in his book saying: "The most impressive of his new cowboy songs was "Twilight on the Trail," a lament introduced that year by Fuzzy Knight in The Trail of the Lonesome Pine and sung by Bing as though it were an old western hymn. That’s how it may have sounded to President Roosevelt, who declared it his favorite song after "Home on the Range".
These issued songs were featured on a 6-disc, 78 rpm album set, Decca Album No. 69. Disc 1: Disc 2: Disc 3: Disc 4: Disc 5: Disc 6
A song is a single work of music, intended to be sung by the human voice with distinct and fixed pitches and patterns using sound and silence and a variety of forms that include the repetition of sections. Through semantic widening, a broader sense of the word "song" may refer to instrumentals. Written words created for music or for which music is created, are called lyrics. If a pre-existing poem is set to composed music in classical music it is an art song. Songs that are sung on repeated pitches without distinct contours and patterns that rise and fall are called chants. Songs in a simple style that are learned informally are referred to as folk songs. Songs that are composed for professional singers who sell their recordings or live shows to the mass market are called popular songs; these songs, which have broad appeal, are composed by professional songwriters and lyricists. Art songs are composed by trained classical composers for recital performances. Songs are recorded on audio or video.
Songs may appear in plays, musical theatre, stage shows of any form, within operas. A song may be for a solo singer, a lead singer supported by background singers, a duet, trio, or larger ensemble involving more voices singing in harmony, although the term is not used for large classical music vocal forms including opera and oratorio, which use terms such as aria and recitative instead. Songs with more than one voice to a part singing in polyphony or harmony are considered choral works. Songs can be broadly divided depending on the criteria used. Art songs are songs created for performance by classical artists with piano or violin/viola accompaniment, although they can be sung solo. Art songs require strong vocal technique, understanding of language and poetry for interpretation. Though such singers may perform popular or folk songs on their programs, these characteristics and the use of poetry are what distinguish art songs from popular songs. Art songs are a tradition from most European countries, now other countries with classical music traditions.
German-speaking communities use the term art song to distinguish so-called "serious" compositions from folk song. The lyrics are written by a poet or lyricist and the music separately by a composer. Art songs may be more formally complicated than popular or folk songs, though many early Lieder by the likes of Franz Schubert are in simple strophic form; the accompaniment of European art songs is considered as an important part of the composition. Some art songs are so revered. Art songs emerge from the tradition of singing romantic love songs to an ideal or imaginary person and from religious songs; the troubadours and bards of Europe began the documented tradition of romantic songs, continued by the Elizabethan lutenists. Some of the earliest art songs are found in the music of Henry Purcell; the tradition of the romance, a love song with a flowing accompaniment in triple meter, entered opera in the 19th century, spread from there throughout Europe. It became one of the underpinnings of popular songs.
While a romance has a simple accompaniment, art songs tend to have complicated, sophisticated accompaniments that underpin, illustrate or provide contrast to the voice. Sometimes the accompaniment performer has the melody. Folk songs are songs of anonymous origin that are transmitted orally, they are a major aspect of national or cultural identity. Art songs approach the status of folk songs when people forget who the author was. Folk songs are frequently transmitted non-orally in the modern era. Folk songs exist in every culture. Popular songs may become folk songs by the same process of detachment from its source. Folk songs are more-or-less in the public domain by definition, though there are many folk song entertainers who publish and record copyrighted original material; this tradition led to the singer-songwriter style of performing, where an artist has written confessional poetry or personal statements and sings them set to music, most with guitar accompaniment. There are many genres of popular songs, including torch songs, novelty songs, rock and soul songs, other commercial genres, such as rapping.
Folk songs include ballads, plaints, love songs, mourning songs, dance songs, work songs, ritual songs and many more. Air Animal song: bird vocalization, whale song, zoomusicology Aria Canticle Hymn Instrumental Lists of songs Madrigal Poem and song Song structure Theme song Vocal music Marcello Sorce Keller, "The Problem of Classification in Folksong Research: a Short History", Folklore, XCV, no. 1, 100- 104. Jean Nicolas De Surmont, From vocal poetry to song, toward a Theory of Song Obects" with a foreword by Geoff Stahl, Ibidem
Bing Crosby discography
This article is a discography for American singer Bing Crosby. Since many radio stations in the US adopt a format change to Christmas music each December, many holiday hits have an annual spike in popularity during the last few weeks of the year and are retired once the season is over. In December 2011, Billboard began a Holiday Songs chart with 50 positions that monitors the last five weeks of each year to "rank the top holiday hits of all eras using the same methodology as the Hot 100, blending streaming and sales data", in 2013 the number of positions on the chart was doubled, resulting in the Holiday 100. Many Crosby recordings have made appearances on the Holiday 100 and are noted below according to the holiday season in which they charted there
A record producer or music producer oversees and manages the sound recording and production of a band or performer's music, which may range from recording one song to recording a lengthy concept album. A producer has varying roles during the recording process, they may gather musical ideas for the project, collaborate with the artists to select cover tunes or original songs by the artist/group, work with artists and help them to improve their songs, lyrics or arrangements. A producer may also: Select session musicians to play rhythm section accompaniment parts or solos Co-write Propose changes to the song arrangements Coach the singers and musicians in the studioThe producer supervises the entire process from preproduction, through to the sound recording and mixing stages, and, in some cases, all the way to the audio mastering stage; the producer may perform these roles themselves, or help select the engineer, provide suggestions to the engineer. The producer may pay session musicians and engineers and ensure that the entire project is completed within the record label's budget.
A record producer or music producer has a broad role in overseeing and managing the recording and production of a band or performer's music. A producer has many roles that may include, but are not limited to, gathering ideas for the project, composing the music for the project, selecting songs or session musicians, proposing changes to the song arrangements, coaching the artist and musicians in the studio, controlling the recording sessions, supervising the entire process through audio mixing and, in some cases, to the audio mastering stage. Producers often take on a wider entrepreneurial role, with responsibility for the budget, schedules and negotiations. Writer Chris Deville explains it, "Sometimes a producer functions like a creative consultant — someone who helps a band achieve a certain aesthetic, or who comes up with the perfect violin part to complement the vocal melody, or who insists that a chorus should be a bridge. Other times a producer will build a complete piece of music from the ground up and present the finished product to a vocalist, like Metro Boomin supplying Future with readymade beats or Jack Antonoff letting Taylor Swift add lyrics and melody to an otherwise-finished “Out Of The Woods.”The artist of an album may not be a record producer or music producer for his/her album.
While both contribute creatively, the official credit of "record producer" may depend on the record contract. Christina Aguilera, for example, did not receive record producer credits until many albums into her career. In the 2010s, the producer role is sometimes divided among up to three different individuals: executive producer, vocal producer and music producer. An executive producer oversees project finances, a vocal producers oversees the vocal production, a music producer oversees the creative process of recording and mixings; the music producer is often a competent arranger, musician or songwriter who can bring fresh ideas to a project. As well as making any songwriting and arrangement adjustments, the producer selects and/or collaborates with the mixing engineer, who takes the raw recorded tracks and edits and modifies them with hardware and software tools to create a stereo or surround sound "mix" of all the individual voices sounds and instruments, in turn given further adjustment by a mastering engineer for the various distribution media.
The producer oversees the recording engineer who concentrates on the technical aspects of recording. Noted producer Phil Ek described his role as "the person who creatively guides or directs the process of making a record", like a director would a movie. Indeed, in Bollywood music, the designation is music director; the music producer's job is to create and mold a piece of music. The scope of responsibility may be one or two songs or an artist's entire album – in which case the producer will develop an overall vision for the album and how the various songs may interrelate. At the beginning of record industry, the producer role was technically limited to record, in one shot, artists performing live; the immediate predecessors to record producers were the artists and repertoire executives of the late 1920s and 1930s who oversaw the "pop" product and led session orchestras. That was the case of Ben Selvin at Columbia Records, Nathaniel Shilkret at Victor Records and Bob Haring at Brunswick Records.
By the end of the 1930s, the first professional recording studios not owned by the major companies were established separating the roles of A&R man and producer, although it wouldn't be until the late 1940s when the term "producer" became used in the industry. The role of producers changed progressively over the 1960s due to technology; the development of multitrack recording caused a major change in the recording process. Before multitracking, all the elements of a song had to be performed simultaneously. All of these singers and musicians had to be assembled in a large studio where the performance was recorded. With multitrack recording, the "bed tracks" (rhythm section accompaniment parts such as the bassline and rhythm guitar could be recorded first, the vocals and solos could be added using as many "takes" as necessary, it was no longer necessary to get all the players in the studio at the same time. A pop band could record their backing tracks one week, a horn section could be brought in a week to add horn shots and punches, a string section could be brought in a week after that.
Multitrack recording had another pro
Wonga Philip Harris was an American comedian, actor and jazz musician. He was an orchestra leader and a pioneer in radio situation comedy, first with Jack Benny in a series in which he co-starred with his wife, singer-actress Alice Faye, for eight years. Harris is noted for his voice acting in animated films, he played Baloo the bear in The Jungle Book, Thomas O'Malley in The Aristocats, Little John in Robin Hood. In 1981, he sang "Back Home Again in Indiana" before the Indianapolis 500. Harris was born in Linton, but grew up in Nashville and identified himself as a Southerner, his hallmark song was "That's What I Like About the South". He had a trace of a Southern accent and in years made self-deprecating jokes over the air about his heritage, his parents were circus performers. His father, a tent bandleader, gave him his first job as a drummer with the circus's band. Harris began his music career as a drummer in San Francisco, forming an orchestra with Carol Lofner in the latter 1920s and starting a long engagement at the St. Francis Hotel.
The partnership ended by 1932, Harris led a band in Los Angeles for which he was the singer and bandleader. During the mid-1920s, he played drums in the Henry Halstead Big Band Orchestra. In the 1930s, Lofner-Harris recorded swing music for Victor, Columbia and Vocalion. On September 2, 1927, he married actress Marcia Ralston in Australia; the couple adopted a son, Phil Harris Jr.. Harris and Marcia divorced in September 1940. In 1933, he made a short film for RKO called So This Is Harris!, which won an Academy Award for best live action short subject. He followed with Melody Cruise. Both films were created by the same team that produced Flying Down to Rio, which started the careers of Fred Astaire and Ginger Rogers, he starred in I Love a Bandleader with Leslie Brooks. Here he played a house painter who gets amnesia starts to lead a band, he recorded Woodman, Spare That Tree in 1947. His nickname was "Old Curly". Additionally, he appeared in The Wild Blue Yonder a.k.a. "Thunder Across the Pacific", alongside Forrest Tucker and Walter Brennan.
He made a cameo appearance in the Warner Bros. musical, with Janice Rule and Dick Wesson, was featured in The High and the Mighty with John Wayne in 1954. In 1936, Harris became musical director of The Jell-O Show Starring Jack Benny and leading his band, with Mahlon Merrick writing much of the show's music; when he showed a knack for giving snappy one-liners, he joined the cast, portraying himself as a hip, hard-drinking Southerner whose good nature overcame his ego. He gave the others nicknames, such as "Jackson" for Jack Benny. Addressing a man as "Jackson" or "Mr. Jackson" was popular slang in the late 1930s and early 1940s, his signature song was "That's What I Like About the South". Many of his vocal recordings were comic novelty "talking blues", similar to songs of Bert Williams, sometimes considered a precursor to rap. In 1946, Harris and wife Alice Faye began co-hosting The Fitch Bandwagon, a comedy-variety program that followed the Jack Benny show on Sunday nights. Harris and Faye married in 1941.
Harris engaged in a fistfight at the Trocadero nightclub in 1938 with RKO studio mogul Bob Stevens. In 1942, Harris and his band enlisted in the U. S. Navy, they served until the end of World War II. By 1946, Faye had all but ended her film career, she drove off the 20th Century Fox parking lot after studio czar Darryl F. Zanuck reputedly edited her scenes out of Fallen Angel to pump up his protege Linda Darnell; the Fitch Bandwagon started as a showcase for big bands, including Harris's, but it became a situation comedy, The Phil Harris-Alice Faye Show. Harris played a stumbling husband, while Faye played his sarcastic but loving wife. Gerald Nachman has written that Harris was a modest man off the air. In On the Air: The Encyclopedia of Old-Time Radio John Dunning wrote that Harris's character made the show popular; the Phil Harris-Alice Faye Show appeared until 1954. Harris continued to appear on Jack Benny's show from 1948 to 1952. A Democrat, he supported the campaign of Adlai Stevenson during the 1952 presidential election.
In 1956, Harris appeared in My Lady. He made numerous guest appearances on 1960s and 1970s television series, including The Steve Allen Show, the Kraft Music Hall, Burke's Law, F Troop, The Dean Martin Show, The Hollywood Palace, other musical variety programs, he appeared on The American Sportsman which took celebrities on hunting and fishing trips around the world. Songs by Harris include the early 1950s novelty song, "The Thing"; the song describes the hapless finder of a box with a mysterious secret and his efforts to rid himself of it. Harris spent time in the 1970s and early 1980s leading a band that appeared in Las Vegas on the same bill with bandleader Harry James. Harris was a close friend and associate of Bing Crosby and appeared in an episode of ABC's short-lived sitcom The Bing Crosby Show. After Crosby died in 1977, Harris replaced him as commentator for the annual Bing Crosby Pro-Am Golf Tournament. Harris worked as a voice actor for the animated films The Aristocats, he provided the voice of Baloo the bear in The Jungle Book.
He reprised his role in 1989 for the cartoon series TaleSpin, but after a f
1950 in music
This is a list of notable events in music that took place in the year 1950. 1950 in British music 1950 in Norwegian music 1950 in country music 1950 in jazz January 3 – Sam Phillips launches Sun Records at 706 Union Avenue in Memphis, Tennessee. March 14 – Pablo Casals terminates his recording contract with RCA Records and signs with their chief competitor, Columbia Records. June 26 – Louis Armstrong records the first American version of C'est si bon with the English lyrics by Jerry Seelen. August 29 – The first American Music Competition of the Sigma Alpha Iota music fraternity is won by Richard Winslow for Huswifery, a choral composition for women's voices. August – Herbert Howells' Hymnus Paradisi is premiered at the Three Choirs Festival. October 1 – Italian composer Luciano Berio marries American mezzo-soprano Cathy Berberian. October 11 – On temporary release from Ellis Island pending a deportation decision from U. S. immigration authorities, 20-year-old Friedrich Gulda makes his Carnegie Hall debut.
November – The Eleanor Steber Award is won by soprano Willabelle Underwood. Johann Sebastian Bach is reburied in St. Thomas Church, Leipzig. Malcolm Sargent becomes chief conductor of the BBC Symphony Orchestra. Isaak Dunayevsky is named People's Artist of the USSR. Mitch Miller signs as A&R man with Columbia Records. Patti Page becomes the first artist to have a Number One record on the Pop, R&B and Country charts concurrently. Al Cernick is signed to Columbia by Mitch Miller, who changes the singer's name to Guy Mitchell. Columbia Records lures Jo Stafford away from Capitol. Georgia Gibbs leaves the Majestic label and scores her first charting single with Coral. Bandleader Les Baxter founds the school of "Outer Space" exotica. Sam Cooke replaces R. H. Harris as lead singer of The Soul Stirrers. American Folks Songs – Jo Stafford Auld Lang Syne – Bing Crosby Autumn in New York – Jo Stafford Barber Shop Ballads – The Mills Brothers Blue of the Night – Bing Crosby The Famous 1938 Carnegie Hall Jazz Concert – Benny Goodman Christmas Greetings – Bing Crosby Cole Porter Songs – Bing Crosby Country Feelin – Dinah Shore Drifting and Dreaming – Bing Crosby Ella Sings Gershwin – Ella Fitzgerald The Fat Man – Fats Domino Frankie Laine – Frankie Laine Going My Way – Bing Crosby Historical America in Song – Burl Ives King Cole Trio – King Cole Trio King Cole Trio Volume 2 – King Cole Trio Live at Carnegie Hall – Benny Goodman Oh!
Susanna – Al Jolson Popular Classics for Four Pianos – Philharmonic Piano Quartet Porgy and Bess – Various Artists Sing a Song of Christmas – The Ames Brothers Sing and Dance with Frank Sinatra – Frank Sinatra Songs By Gershwin – Bing Crosby Songs of Faith – Jo Stafford Songs for Sunday Evening – Jo Stafford Tea for Two – Doris Day Two Loves Have I – Frankie Laine Voice of the Xtabay – Yma Sumac Young Man with a Horn – Doris Day These singles reached the top of Billboard magazine's charts in 1950. The following songs achieved the highest chart positions in the limited set of charts available for 1950. "Double Crossin' Blues" – Johnny Otis with Little Esther & the Robins "Adelaide's Lament" w.m. Frank Loesser "African Bolero" m. John Serry, Sr. "American Beauty Rose" w.m. Hal David, Redd Evans & Arthur Altman "Be My Love" w. Sammy Cahn m. Nicholas Brodszky "The Best Thing For You" w.m. Irving Berlin "Blind Date" w.m. Sid Robin "A Bushel And A Peck" w.m. Frank Loesser "Candy And Cake" w.m. Bob Merrill "Chattanoogie Shoe Shine Boy" w.m.
Harry Stone & Jack Stapp "Choo'n Gum" w. Mann Curtis m. Vic Mizzy "Cold, Cold Heart" w.m. Hank Williams "The Cry of the Wild Goose" w.m. Terry Gilkyson "Dearie" w.m. Bob Hilliard & David Mann "Domino" w. Don Raye Jacques Plante m. Louis Ferrari "Freight Train" w. Paul James & Fred Williams m. trad arr. Elizabeth Cotton "The French Can-Can Polka" w. Jimmy Kennedy m. Jacques Offenbach "From This Moment On" w.m. Cole Porter "Frosty the Snowman" w.m. Steve Nelson & Jack Rollins "Fugue For Tinhorns" w.m. Frank Loesser "Get Out Those Old Records" w.m. Carmen Lombardo & John Jacob Loeb "Gone Fishin'" w.m. Nick Kenny & Charles Kenny "Guys and Dolls" w.m. Frank Loesser "Home Cookin"' w.m. Jay Livingston & Ray Evans "Hoop-Dee-Doo" w. Frank Loesser m. Milton De Lugg "The Hostess With The Mostes' On The Ball" w.m. Irving Berlin. Introduced by Ethel Merman in the musical Call Me Madam "I Almost Lost My Mind" w.m. Ivory Joe Hunter "I Didn't Slip, I Wasn't Pushed, I Fell" w.m. Edward Pola & George Wyle "I Don't Care If The Sun Don't Shine" w.m.
Mack David "I Leave My Heart in an English Garden" w.m. Harry Parr-Davies and Christopher Hassall from the musical Dear Miss Phoebe "I Tawt I Taw a Puddy Tat" w.m. Alan Livingston, Billy May & Warren Foster "If I Knew You Were Comin' I'd've Baked A Cake" w.m. Al Hoffman, Bob Merrill & Clem Watts "If I Were A Bell" w.m. Frank Loesser "I'll Know" w.m. Frank Loesser "I'll Never Be Free" w.m. Bennie Benjamin & George David Weiss "I'm Movin' On" w.m. Hank Snow "It Is No Secret" w.m. Stuart Hamblen "It's A Lovely Day Today" w.m. Irving Berlin "I've Never Been In Love Before" w.m. Frank Loesser "Ivory Rag" Lou Busch, Jack Elliott "Little White Duck" w.m. Walt Barrows & Bernard Zaritsky "The Loveliest Night Of The Year" w. Paul Francis Webster m. Juventino P. Rosas "Luck Be a Lady" w.m. Frank Loesser "Lucky Lucky Lucky Me" Berle, Arnold "Marry The Man Today" w.m. Frank Loesser "Marrying For Love" w.m. Irving Berlin "More I Cannot Wish You" w.m. Frank Loesser "My Heart Cries For You" w.m. Carl Sigman & Percy Faith "My Time Of Day" w.m.
Frank Loesser "No Other Love" adapt from Chopin's Etude No 3 in E, Opus 10. W.m. Bob Russell & Paul Weston "The Old Piano Roll Blues" w.m. Cy Coben "The Oldest Established" w.m. Frank Loesser "Orange Colored Sky" w.m. Milton De Lugg & William Stein "Patricia" w.m. Benny Davis " I'm the One Who Loves You" w.m. Stuart Hamblen "The Roving Kind" adapt. W.m
Frederick Anthony Picariello Jr. known as Freddy Cannon, is an American rock and roll singer, whose biggest international hits included "Tallahassee Lassie", "Way Down Yonder in New Orleans", "Palisades Park". Freddy Picariello was born in Revere, moving to the neighboring city of Lynn as a child, his father worked as a truck driver and played trumpet and sang in local bands. Freddy grew up listening to the rhythm and blues music of Big Joe Turner, Buddy Johnson and others on the radio, learned to play guitar. After attending Lynn Vocation High School, he made his recording debut as a singer in 1958, singing and playing rhythm guitar on a single, "Cha-Cha-Do" by the Spindrifts, which became a local hit, he had played lead guitar on a session for an R&B vocal group, the G-Clefs, whose record "Ka-Ding Dong" made No. 24 on the Billboard Hot 100 in 1956. At a young age he joined the National Guard, took a job driving a truck and became a father. Inspired musically by Chuck Berry, Bo Diddley and Little Richard, he formed his own group, Freddy Karmon & the Hurricanes, which became popular in the Boston area, began to develop a trademark strained singing style.
He became a regular on a local TV dance show, Boston Ballroom, and, in 1958, signed up to a management contract with Boston disc jockey Jack McDermott. With lyrics written by his mother, he prepared a new song which he called "Rock and Roll Baby", produced a demo which McDermott took to the writing and production team of Bob Crewe and Frank Slay, they rearranged the song and rewrote the lyrics, offered to produce a recording in return for two-thirds of the composing credits. The first recording of the song, now titled "Tallahassee Lassie", with a guitar solo by session musician Kenny Paulson, was rejected by several record companies, but was heard by TV presenter Dick Clark who part-owned Swan Records in Philadelphia. Clark suggested that the song be re-edited and overdubbed to add excitement, by highlighting the pounding bass drum sound and adding hand claps and Freddy's cries of "whoo!", which became one of his trademarks. The single was released by Swan Records, with the company president, Bernie Binnick, suggesting Freddy's new stage name of "Freddy Cannon".
After being promoted and becoming successful in Boston and Philadelphia, the single received national airplay. In 1959, it peaked at No. 6 on the Billboard Hot 100, becoming the first of his 22 songs to appear on the Billboard chart, reached No. 13 on the R&B singles chart. In the UK, where his early records were issued on the Top Rank label, it reached No. 17. "Tallahassee Lassie" sold over one million copies, was awarded a gold disc by the RIAA. He stayed on the Swan label with producer Frank Slay for the next five years, became known as Freddy "Boom Boom" Cannon, for the thumping power of his recordings. Dick Clark brought him national exposure through his numerous appearances on his television program, American Bandstand - a record of 110 appearances in total. In the words of writer Cub Koda:"Freddy Cannon was a true believer, a rocker to the bone. Freddy Cannon made roll records, his second single "Okefenokee" only made No. 43 on the charts, but the next record, "Way Down Yonder In New Orleans", a rocked-up version of a 1922 song, became a gold record and reached No. 3 in the pop charts in both the US and the UK, where it was the biggest of his hits.
It sold over one million copies. Cannon toured in Britain, in March 1960 his album, The Explosive Freddy Cannon, became the first album by a rock and roll singer to top the UK Albums Chart. For the next two years, until early 1962, he continued to have lesser chart hits in the US, in some cases with versions of old standards including "Chattanoogie Shoe Shine Boy" and Edward "Kid" Ory's "Muskrat Ramble", his hits included "Twistin' All Night Long", recorded with Danny and the Juniors and featuring Frankie Valli and the Four Seasons on backing vocals. However, one of his biggest hits came in May 1962 with "Palisades Park", written by future TV Gong Show host Chuck Barris. Produced by Slay with overdubbed rollercoaster sound effects, it reached No. 3 on the Hot 100, No. 15 on the R&B chart, No. 20 in the UK. This release sold over one million copies, gaining gold disc status. Cannon appeared with Bobby Vee, Johnny Tillotson and others, in the movie Just for Fun, made in the UK in 1962. Although his popularity in the US faded, he remained a popular touring act in Britain and elsewhere in the world for some years.
In 1963, he signed for Warner Bros. Records where he recorded his last two US top twenty hits, "Abigail Beecher" in 1964, the following year "Action", from Dick Clark's TV show Where the Action Is, which he recorded with top Los Angeles session musicians including Leon Russell, James Burton, Glen Campbell, David Gates. "Action" got Cannon his fourth gold disc. In 1965, Slay acquired Cannon's Swan recordings and sold them to Warner Bros, he appeared, along with the Beau Brummels, in Village of the Giants, a teen movie with early film appearances by Beau Bridges and Ron Howard, played himself, performed one of his songs, in the final episode of the teen soap opera, Never Too Young, on 24 June 1966. After leaving Warner Bros. Records in 1967, Cannon released singles on several labels, including Sire, Royal American, Metromedia, MCA, Claridge and Amherst. In the 1970s he recorded and became a promotional man for Buddah Records, but returned to