Let's Twist Again CD is a compilation of Chubby Checker, was released in 1993 on the Starlite records label. CD music contains a single disc with 18 best songs.
This fun collection celebrates that old-time rock 'n' roll. The nostalgic Malt Shop Memories includes 150 songs that defined the era from the mid-'50s to the mid-'60s. The five-volume set comes in a decorative box fashioned to look like a malt shop and includes radio and jukebox favorites by Franki Valli and the Four Seasons, the Beach Boys, the Everly Brothers, Bobby Darin, and the Supremes.
The Cameo Parkway boxed set that we all have been dreaming of, 115 tracks including 74 chart hits! Painstakingly assembled from the best sources possible (98% from the original tapes), and all in original mono, the tracks include performances by all of the label's stars and its one-hit wonders. A booklet tells the fascinating story of this label.
He only had a few hits in the 1950s and early '60s, but as Bo Diddley sang, "You Can't Judge a Book by Its Cover." You can't judge an artist by his chart success, either, and Diddley produced greater and more influential music than all but a handful of the best early rockers. The Bo Diddley beat - bomp, ba-bomp-bomp, bomp-bomp - is one of rock & roll's bedrock rhythms, showing up in the work of Buddy Holly, the Rolling Stones, and even pop-garage knock-offs like the Strangeloves' 1965 hit "I Want Candy." Diddley's hypnotic rhythmic attack and declamatory, boasting vocals stretched back as far as Africa for their roots, and looked as far into the future as rap. His trademark otherworldly vibrating, fuzzy guitar style did much to expand the instrument's power and range.
It only takes a quick look at the cover to get a reasonably decent idea that this isn't your typical pop album: Decked out in a grossly oversized suit and heavy theatrical makeup, Klaus Nomi is not your typical pop singer, either. Both the cover and the music within lean heavily to the dramatic – Nomi's delivery is all in a very operatic falsetto, though most of the music itself is more of the early-'80s European dance school (indeed, one of his collaborators here was Man Parrish, probably best-known for his later work with Man 2 Man).