313-18 A alma do ganhao -- Manuel De Almeida 315-7 A fighia di Zzuccola -- Tony Sangiogi 350-4 A paz -- Gilberto Gil 317-3 Adrachti -- Athenians 313-6 Ai mouraria -- Amalia Rodrigues 411-2 Al di la -- Jerry Vale 316-10 Amboss polka -- German Folk Singers 412-1 Angelina zooma zooma -- Louis Prima 346-16 Ani purim -- Jewish Holiday Performers 316-12 Annchen van thauran -- German Folk Singers 312-6 Ashke -- Daler Mehndi 315-14 Ave Maria -- Maria Dolores 311-6 Bait El-ez Ya Betna -- Hossam Ramzy 313-10 Barquinha do mar -- Lendas & Mitos 312-1 Bolo ta ra ra -- Daler Mehndi 348-2 Brian Boru's march -- James Galway 411-8 Buona Sera -- Louis Prima 346-9 Cake latke -- Jewish Holiday Performers 315-13 Cala calabria -- Enzo Parisi 346-22 Chai -- Jewish Holiday Performers 317-7 Chassaposerwiko -- Athenians 349-7 Coast of Malabar -- Cheiftains & Ry Cooder 348-9 Cockles & mussles -- Emily Mitchell 348-11 Come back to Erin -- Traditional 313-7 Contra dance -- Vai De Roda 343-14 Cossack -- Russian Radio Chorus 348-1 Crowley's reel -- James Galway & Chieftains 347-4 Dance of the yao people -- Liu Tieshan & Mao 347-9 Dancing in the moonlight -- Traditional Chinese 348-3 Danny boy -- James Galway & Chieftains 348-16 Danny boy -- Kate Smith 345-2 David Melech -- Jewish Folk Singers 347-3 Days of emancipation -- Zhu Jianer 313-9 Decadas -- V Imperio 345-24 Deror -- Jewish Folk Singers 316-8 Die lustigen holzhackerbaum -- German Folk 312-3 Dil mera nal nal nal -- Daler Mehndi 343-4 Dorogoj Dalneju -- Vladimir Avramow 310-3 Doudouk (when I look at you *inst.) -- John 343-8 Dwe gitary -- Vladimir Avramow 315-3 E Donne -- Piero Parodi 412-9 Eh Cumpari -- Julius La Rosa 346-19 Ehad mi yodea -- Jewish Holiday Performers 314-5 Embarrasse mei -- Amina Yalil 346-20 Eretz eretz -- Jewish Holiday Performers 346-23 Eretz zavat -- Jewish Holiday Performers 313-13 Fala da mulher sozinha -- Margarida Bessa 349-11 Ferny hill (inst) -- Cheiftains 314-4 Gallouli -- Amina Yalil 348-19 Girl I left behind me (inst) -- Boston Pops 313-21 Grandola vila morena -- Jose Afonso 343-10 Hai-da Trojka -- Vladimir Avramow 346-6 Hanerot halalu -- Jewish Holiday Performers 346-13 Hanukia li yesh -- Jewish Holiday Performers 346-7 Hanukka hag yafe -- Jewish Holiday Performers 345-20 Haroah haktana -- Jewish Folk Singers 346-15 Hashkedia -- Jewish Holiday Performers 345-1 Hava Nagilah -- Jewish Folk Singers 349-4 Have I Told You Lately -- Cheiftains & Van 345-11 Hayom yom huledet -- Jewish Folk Singers 345-8 Hevenu Shalom -- Jewish Folk Singers 345-14 Hine ma tov -- Jewish Folk Singers 346-11 I have a little dreidel -- Jewish Holiday 317-8 I Marigo -- Athenians 348-17 Irish washerwoman (inst) -- Boston Pops 317-6 Jiati -- Athenians 346-21 Kahol velavan -- Jewish Holiday Performers 310-1 Kanoon (broken clouds) -- John Vartan 310-6 Kaval (Kurdish dance *inst) -- John Vartan 315-6 La mamma di Rosina -- Sandra 345-23 La ner -- Jewish Folk Singers 315-10 La Pinotta -- Sandra 315-16 La Treccia Bionda -- Sandra 348-21 Last rose of summer (inst) -- Boston Pops 411-7 Lazy Mary -- Lou Monte 345-16 Le kova sheli -- Jewish Folk Singers 316-6 Lustig ist das ligeunerleben -- German Folk 314-7 Ma lisane foul -- Amina Yalil 346-18 Ma nishtana -- Jewish Holiday Performers 346-5 Ma'os tzur -- Jewish Holiday Performers 313-17 Maldito fado -- Carlos Zel 348-5 Marches -- Chieftains 317-5 Mastro Wassilis -- Athenians 345-4 Mayim dance -- Jewish Folk Singers 316-3 Medley -- German Folk Singers 316-7 Medley 2 -- German Folk Singers 316-11 Medley 3 -- German Folk Singers 316-15 Mein vater war ein wandersmann -- German 314-8 Mektoubi -- Amina Yalil 313-14 Menina estas a janela -- Vitorino 347-1 Moon mirrored in the pool -- Hua Yanjun 347-2 Moon on high -- Traditional Chinese 345-13 More we sing together -- Jewish Folk Singers 343-7 Nastassja -- Russian Radio Chorus 334-11 Non dimenticar -- Dean Martin 315-9 O sole mio -- I Mandolini di Gennaro 412-5 On an evening in Roma -- Dean Martin 310-7 Oud (Armenian) -- John Vartan Ensamble 310-12 Oud (for your heart) -- John Vartan Ensamble 310-8 Oud duet (nightingale *inst) -- John Vartan 343-15 Our little village -- Vladimir Avramow 345-18 Pata pata -- Jewish Folk Singers 347-5 Peking opera: flowing water -- Gu Guanren 347-8 Purple bamboo -- Traditional Chinese 313-12 Quem O fado calunia -- Maria da Fe 311-3 Rannet Khol-Khali -- Hossam Ramzy 315-1 Reginella campanella -- Sandra 349-13 Rocky road to Dublin -- Cheiftains & Rolling 412-3 Roman guitar -- Lou Monte 345-21 Rona Sheli -- Jewish Folk Singers 316-1 Rosamunde -- German Folk Singers 315-4 Sardignia mia -- Maria Dolores 313-1 Saudades de coimbra -- Jose Afonso 310-10 Saz (Peter's dream) -- John Vartan Ensamble 316-13 Seiben fasser wein -- German Folk Singers 346-12 Sevivon sov sov sov -- Jewish Holiday 346-1 Shana tova -- Jewish Holiday Performers 346-2 Shnaim asar yerehim -- Jewish Holiday 346-17 Shoshanat -- Jewish Holiday Performers 346-3 Sisu vesimhu -- Jewish Holiday Performers 343-6 So many days -- Vladimir Avramow 317-1 Solo Safiriu -- Athenians 347-10 Song of the herdsmen -- Mongolian folk music 312-2 Sonyie (O meri Sonyie) -- Daler Mehndi 313-16 Sou um fado desta idade -- Lenita Gentil 347-11 Spring on a moonlit river -- Traditional Chinese 347-7 Spring on the Pamir Plateau -- Li Tatong 310-4 Sring (Caucasion dance) -- John Vartan 346-4 Sukati Hasuka -- Jewish Holiday Performers 312-7 Ta na na na (mirza) -- Daler Mehndi 317-9 Ta orea tou tsitsani (inst) -- Athenians 347-6 Tashwayi -- Uygur folk music 315-12 Telho detto tante volte -- Sandra 349-12 Tennessee waltz -- Cheiftains & Tom Jones 346-8 These candles -- Jewish Holiday Performers 345-5 To life -- Jewish Folk Singers 311-2 Tool Omri Ba-Hebbak -- Hossam Ramzy 343-12 Tschubtschik -- Vladimir Avramow 346-14 Tu bishvat anthem -- Jewish Holiday Performers 345-15 Tumbalaika -- Jewish Folk Singers 345-19 Tzadik katamar -- Jewish Folk Singers 345-3 Tzena tzena -- Jewish Folk Singers 345-22 Tzur moshelo -- Jewish Folk Singers 315-11 Vitti An Crozza -- Giuseppe Rondinella 411-1 Volare -- Dean Martin 350-5 Wave -- Joao Gilberto 348-7 When Irish eys are similing -- Dennis Day 343-2 Why should I be sad -- Vladimir Avramow 311-5 Ya A-az Min Eyini -- Hossam Ramzy 311-7 Ya Bent El-sultaan -- Hossam Ramzy 314-3 Yalil -- AminaYalil 311-8 Yama Layali -- Hossam Ramzy 346-10 Yemei ha hanukka -- Jewish Holiday Performers 345-6 Yerushalaim -- Jewish Folk Singers 345-7 Yismehu -- Jewish Folk Singers 345-10 Yom huledet -- Jewish Folk Singers 345-17 Zemer atik -- Jewish Folk Singers 310-9 Zurna and Dumberg -- John Vartan Ensamble AustriaBrazilGreat BritanCanadaChinaEgyptFranceGermanyGreeceIndiaIran IrelandIsraelItalyJamaicaJapanMexicoPakistanPortugalRussiaSouth KoreaSpainAustralia - International Songs - When selecting International dance music or Coultural songs for your party, try to provide a mix of both fast upbeat dance songs, and slower songs. It also might be a good idea to have some music from various countries, or similar styles. A good variety of music is important for almost any party. The song lists here will help you find songs from many different styles. A good mix of older classics and some modern Top-40 selections will make your party both fun and unique! If you want to listen to a few of these songs, visit the Jukebox Sampler for online music samples. Top-40 Song List 70's Song List 80's Song List 90's Song List Ballroom, Swing Music Blues Songs Country Music List Disco Song List Instrumental Songs International Music Latin-Spanish Mellow, Romantic Songs Miscellaneous Songs Oldies Song List Rap, Hip Hop, R&B Reggae Music Rock N Roll List Techno, House Specialty Wedding Song List 42 5 7 days -- Craig David 325 2 Can't get you out of my head -- Kyle Minogue 323 7 A little bit -- Jessica Simpson 500 2 Cha cha slide -- DJ Casper 325 16 A new day -- Celine Dion 440 4 Come into my world -- Kylie Minogue 324 5 Ain't it funny -- Jennifer Lopez 444 9 Complicated -- Avril Lavigne 322 2 All for you -- Janet Jackson 415 5 Days go by -- Dirty Vegas 340 15 All I do -- Cleptomaniacs 441 1 Die another day -- Madonna 444 8 All you wanted -- Michelle Branch 400 8 Dilemma -- Nelly 325 11 Always on time -- Ja Rule 441 15 Disease -- Matchbox Twenty 323 6 AM to PM -- Christina Milian 491 6 Do Heaven -- DJ Sammy 416 15 Angel -- Amanda Perez 366 13 Don't call me baby -- Madison Avenue 442 20 Anything -- Jaheim 415 14 Don't know why -- Norah Jones 392 3 Asereje- hey hah ( pop) -- Las Ketchup 491 1 Don't let me go -- Pink 441 5 Baby -- Ashanti 325 7 Don't say goodbye -- Paulina Rubio 443 7 Back 4 the morning -- Neja 441 10 Dreams -- Roberta Childs 415 9 Bare naked -- Jennifer Love Hewitt 340 13 Electric avenue (remix) -- Eddy Grant 323 1 Bootylicious -- Destiny's Child 440 3 Enth E Nd -- Linkin Park 440 7 Boys -- Britney Spears 442 8 Everywhere -- Michelle Branch 440 10 Boys of summer /remix -- DJ Sammy 324 3 Family affair -- Mary J. Blige 416 11 Breathe -- Telepopmusik 323 16 Fat lip -- Sum 41 415 4 Feel it boy -- Beenie Man -Janet 475 11 Just push play -- Aerosmith 444 7 Foolish -- Ashanti 324 17 Just push play -- Aerosmith 366 6 Fortunate -- Maxwell 415 11 Landslide -- Dixie Chicks 444 15 Fragile -- Sting 416 10 Like I love you -- Justin Timberlake 366 4 Freakin' it -- Will Smith 324 6 Livin' it up -- Ja Rule 491 12 Get here -- Justin Guarini 340 4 Look at us -- Sarina Paris 442 3 Get the party started -- Pink 415 6 Love at first sight -- Kylie Minogue 335 5 Give me tonight -- Shannon 440 9 Luv U better -- LL Cool J 440 8 Good Times -- Styles 416 14 Miss you -- Aaliyah 336 8 Groovejet -- DJ Spiller 323 11 More than that -- Backstreet Boys 400 2 Hot in herre -- Nelly 325 8 Move it like this -- Baha Men 325 20 How you remind me -- Nickleback 328 1 Music -- Madonna 443 1 I don't want you -- Wide Life 367 7 Music (extended mix) -- Madonna 442 16 I love you -- Faith Evans 453 6 My commanding wife -- Los Rabanes 441 6 I never knew -- Gloria Gaynor 400 1 Nellyville -- Nelly 443 2 I never knew -- Gloria Gaynor 415 7 Objection -- Shakira 335 15 I never said -- Cynthia 400 7 On the grind -- Nelly 366 7 I wanna love you forever -- Jessica Simpson 415 18 One last breath -- Creed 327 18 I will remember you -- Sarah McLachlan 415 10 Ordinary day -- Vanessa Carlton 323 15 I'm a believer -- Smash Mouth 444 13 Overprotected -- Britney Spears 324 2 I'm a slave 4 U -- Britney Spears 322 5 Play -- Jennifer Lopez 323 3 I'm Real -- Jennifer Lopez 323 2 Pop -- NSYNC 325 4 I've got you -- Marc Anthony 416 16 Pretty baby -- Vanessa Carlton 440 11 If you only knew -- Prymary Colorz 324 9 Raise up -- Petey Pablo 415 17 In my place -- Coldplay 443 15 Reason -- Ian Van Dahl 321 7 It wasn't me -- Shaggy 322 8 Ride with me -- Nelly 320 1 It's gonna be me -- NSYNC 323 17 Rock show -- Blink 182 475 10 Jaded -- Aerosmith 335 8 Sandra sez -- Sandra 416 3 Jenny from the block -- Jennifer Lopez 335 6 Sandstorm -- Darude 340 18 Shake up the party -- Joy Enriquez 328 10 What a girl wants -- Christina Aguilera 444 11 Soak up the sun -- Sheryl Crow 442 1 What's luv -- fat Joe 416 17 Somebody like you -- Keith Urban 441 4 What's your flavor -- Craig David 323 5 Someone to call my lover -- Janet Jackson 324 4 Whenever, wherever -- Shakira 415 19 Somewhere out there -- Our Lady Peace 444 18 Whereare you going -- Dave Matthew's Band 471 11 Song for the lonely -- Cher 442 9 Wherever you will go -- The Calling 340 3 South Side -- Moby 365 5 Who let the dogs out -- Baha Men 400 9 Splurge -- Nelly 442 7 Whole world -- Outkast 440 5 Starry eyed -- Oakenfold 321 16 With arms wide open -- Creed 323 13 Start the commotion -- Wiseguys 444 5 Without me -- Eminem 416 13 Stole -- Kelly Rowland 400 10 Work it -- Nelly 441 2 Strength of a woman -- Shaggy 442 13 Wrong impression -- Natalie Imbruglia 321 1 Stronger -- Britney Spears 420 6 Yanking out my heart -- Nickleback 323 4 Stutter -- Joe & Mystikal 441 14 Zephyr song -- Red Hot Chili Peppers 325 12 Sugarhigh -- Jade Anderson 365 12 Zombie nation -- Kernkraft 400 440 6 Surrender - ultamix- -- Laura Pausini 322 1 Survivor -- Destiny's Child 443 12 Take me away -- 4 Strings 443 8 Tears -- Rockell 329 18 Thank You -- Dido 340 2 Thank You (remix) -- Dido 440 2 Through the rain -- Mariah Carey 420 5 To whom it may concern -- Creed 323 10 U got it bad -- Usher 415 8 Underneath it all -- No Doubt 325 14 Underneath your clothes -- Shakira 323 20 Walk on -- U2 440 12 We are family (remix) -- Various artist 442 15 We fit together -- O-town - 21st Century, Top 40 - When selecting current music or Top 40 songs for your wedding reception or party, try to provide a mix of both fast upbeat dance songs, and slower more romantic songs. If you are planning a particular theme, you may want to focus your search to one song list for the bulk of your music selections. Some themes may need selections from two or three lists. A good variety of music is important for almost any party. The song lists here will help you find songs from many different styles. A good mix of older classics and some modern Top-40 selections will make your wedding or party both fun and unique! If you want to listen to a few of these songs, visit the Jukebox Sampler for online music samples. 169 2 Walk right in -- Rooftop Singers 168 11 We'll sing in the sunshine -- Gale Garnett 168 2 Banna Boat ( day-o ) -- Harry Belefonte 100 16 Whipping Post -- Allman Brothers 338 12 Before you accuse me -- Eric Clapton 382 6 Boom Boom -- Eric Burdon & Animals 339 7 Born in Louisiana -- Gatemouth Brown 337 6 Don't answer the door -- B.B. King 169 11 Don't let the rain come down -- Serendipity 338 5 Hard times -- Eric Clapton 477 4 I don't need no doctor -- Ray Charles 339 5 I've never found a man -- Miss Lavelle White 168 8 If I had a hammer -- Trini Lopez 339 15 Leap of faith -- Delbert McClinton 337 3 Let the good times roll -- B.B. King 339 3 Love struck baby -- Stevie Ray Vaughan 339 9 Mary had a little lamb -- Buddy Guy 339 14 Night life -- B.B. King 100 13 One Way Out -- Allman Brothers 337 8 Payin' the cost to be boss -- B.B. King 338 1 Pretending -- Eric Clapton 122 4 Pride And Joy -- Stevie Ray Vaughan 339 10 Queen bee -- Taj Mahal 381 14 Red house -- Jimi Hendrix 338 4 Running on faith -- Eric Clapton 470 7 Southbound (live) -- Allman Brothers 339 6 Tell everybody I know -- Keb' Mo 337 1 Thrill is gone -- B.B. King 169 10 Tijuana Jail -- Kingston Trio 339 1 Travelin' south -- Albert Collins - Blues / Folk - When selecting Blues music or Folk songs for your party, try to provide a mix of both fast upbeat dance songs, and slower songs. Similar songs can be found in both the Oldies and Mellow-Romantic song lsists. A good variety of music is important for almost any party. The song lists here will help you find songs from many different styles. A good mix of older classics and some modern Top-40 selections will make your party both fun and unique! If you want to listen to a few of these songs, visit the Jukebox Sampler for online music samples. Cumbia medley (live) -- Selena 456 6 Dame un beso -- Andy Andy 366 14 A puro dolor -- Son by 4 454 1 De paisano a paisano -- Los Tigres del Norte 450 1 A que no te atreves -- Domingo Quinones 291 1 De pies A Cabeza -- Mana 454 8 A quien corresponda -- Los Tigres del Norte 453 7 Dimeto ( I need to know) -- Marc Anthony 393 8 Ahora soy mala (merenge) -- Olga Tanon 341 5 Dos Corazones -- Bebo Valdes 454 2 Al mil por uno -- Los Tigres del Norte 341 2 Echale Salsita -- Septeto Nacional 450 5 Amor, amor -- Dominic 454 10 El aguilillo -- Los Tigres del Norte 393 12 Aqui conmigo (bachata) -- Andy Andy 342 9 En casa de pedro el cojo -- Rolo Martinez 300 4 Bailamos -- Enrique Iglesias 451 3 Enamorado -- Chayanne 367 4 Balia Conmigo -- Debelah Morgan 367 8 Entre tu y mil mares -- Laura Pausini 144 9 Bambarakatunga -- Los Latinos 452 4 Groove with me tonight -- MDO 341 11 Banaco -- Bebo Valdes 146 6 Guantanamera -- Bolero (Jr. Musik Production) 367 1 Be with you -- Enrique Iglesias 171 4 Hablale -- Miles Pena 143 8 Beautiful Maria of My Soul -- Mambo All-stars 392 6 Holla (reggae) -- Proyecto Uno 341 9 Bikini Amarillo -- Pio Leyva 392 11 Huefano soy (salsa) -- Gabino Pampini 456 5 Cadera y cintura -- Los Sabrosos 291 11 Huele a Tristeza -- Mana 367 6 Cambia la piel -- Ricky Martin 245 4 I like it like that -- Tito Nieves 173 7 Canto a Brazil -- Gipsy Kings 301 3 I need to know -- Marc Anthony 452 7 Ciega sordomuda -- Shakira 453 11 Jurame -- Gisslle 452 11 Como baila -- Grupo Mania 295 6 La Bamba -- Ricky Martin 291 13 Como Te Deso (remix) -- Mana 453 1 La Bomba -reggae -- Azul Azul 455 3 Con las misma Piedra -- Grupo Limite 295 8 La Copa De La Vida -- Ricky Martin 108 11 Conga -- Miami Sound Machine 173 6 La fiesta comenza -- Gipsy Kings 455 9 Contigo soy feliz -- Grupo Limite 454 13 La inflacion -- Los Tigres del Norte 456 3 Corazon partio -- Joe King 367 9 La lola -- Cafe' Quijano 450 4 Cuando faltes tu -- Puerto Rican Power 392 1 La Moneda (salsa) -- Ernie Acevedo 172 11 Cuando vuelvas con migo -- Ray Sepulveda 453 4 La muchacha turca -- Hakim 143 3 Cuban Pete -- Tito Puente 393 5 La quita maridos (cumbia) -- La Sonora Dinamita 342 7 La runidera -- Rolo Martinez 173 11 Obsesion de amor -- Gipsy Kings 393 10 La vida que va (pop) -- Kabah 367 5 One -- Backstreet Boys 456 14 Lady In Red -- David Cedeno 342 8 Opening -- Bamboleo 454 12 Lena del arbol caido -- Los Tigres del Norte 342 1 Opening estudio 10 -- Bamboleo 452 1 Livin la vida loca -- Ricky Martin 289 4 Oye Como Va -- Santana 393 4 Lluvia (merenge) -- Alex Bueno 291 2 Oye Mi Amor -- Mana 173 12 Lo mal y lo bien -- Gipsy Kings 451 9 Pienso en ti -- Chayanne 452 8 Magdalena mi amor -- Dark Latin Groove 453 2 Por amarte asi -- Christian Castro 342 4 Maraca's tumbao -- Maraca 450 6 Por tu placer -- Frankie Negron 116 2 Maria -- Ricky Martin 455 5 Prestame esta noche -- Grupo Limite 454 4 Me declaro culpable -- Los Tigres del Norte 393 14 Primer Beso (pop) -- Nayer 393 13 Me ire (salsa) -- Rolando y Sus Dan Den 456 8 Que buena son -- Extra Banda 393 2 Me tiene loco (salsa) -- Puerto Rican Power 173 2 Que si que no -- Gipsy Kings 291 12 Me Vale -- Mana 452 10 Que tu tienes -- Jennifer Delgado 490 2 Merengue Del Tren -- Traditional 456 1 Quedate -- Joe Kink 450 10 Mi princesa -- Michael Stuart 367 13 Quisiera ser -- Alejandro Sanz 342 2 Mi son, mi son -- Rolo Martinez 451 7 Refugio de amor -- Chayanne / Vanessa Williams 144 1 Mi Tierra -- Latin Sextet/Gloria Estefan 341 1 Ritmando -- Bebo Valdes 452 5 Miami - latin mix -- Will Smith 392 7 Rosa (club mix) -- Savor 451 5 Mira ven ven -- Chayanne 456 2 Sabras -- Miosotis 392 4 Mueve la cintura (merenge) -- Cana Brava 456 11 Sabroso mambo -- David Cedeno 293 2 Mujer Latina -- Maria 490 11 Salasa medley -- Mendez/Ruiz/Gutierrez 172 8 Nadie como ello -- Marc Anthony 451 8 Salome -- Chayanne 451 10 Nadie como tu -- Chayanne 392 5 Se te acabo la rumba (salsa) -- Maraca 144 2 Negrito Cumba Cumba -- Mandingo Y Su Son 453 9 Shabadabada -- OV7 456 16 No llorare -- Los Sabrosos 393 9 Si no bailas conmigo (salsa) -- Hansel 452 12 No me ames -- Jennifer Lopez / Marc Anthony 455 6 Si quires sabar -- Grupo Limite 392 13 No me arrepentire (merengue) -- Tapon 172 3 Si una vez -- Manny Manuel 171 12 No me vuelvo enamorar -- Tito Nieves 453 8 So hard to forget -- MDO 342 12 Sonando! -- Maraca 341 6 Suavecito -- Septeto Nacional 389 5 Suavecito -- Malo 452 2 Suavemente -- Elvis Crespo 392 15 Ta buena (merengue) -- Magic Juan 450 11 Tabaco y Ron -- Fruko y Sus Tesos 450 2 Te lo pido senor -- Tito Rojas 367 12 Te Propongo esta noche -- Luis Miguel 143 12 Tea for Two -- Mambo All-stars 490 12 Tiberon (cumbia) -- Traditional 450 3 Tu eres mejor -- Willy Chirino 293 9 Tu Me Dices -- Panjea 171 2 Un dia de abril -- Contjunto clasico 454 11 Un hasta aqui -- Los Tigres del Norte 172 5 Un tipo con suerte -- Humberto Ramirez 173 3 Una rumba por aqui -- Gipsy Kings 144 6 Vaci Rock -- Mandingo Y Su Son 451 11 Vaya escandalera -- Chayanne 342 10 Ven, vamo' a bailar -- Maraca 450 8 Vuela mujer -- Raulin Rosendo 367 2 When I get close to you -- Jocelyn Enriquez 453 10 With you -- Son by 4 453 3 Wow flash -- Elvis Crespo 342 5 Yo no parezco a nadie -- Bamboleo 453 5 Yo si me enamore -- Huey Dunbar 366 5 You sang to me -- Marc Anthony - Latin & Spanish - When selecting Latin dance songs or Spanish-Mexican songs for your wedding reception or party, try to provide a mix of both fast upbeat dance songs, and slower songs. Also, various styles of Latin tunes are provided here, such as Merenge, Salsa and Cumbias etc. A good variety of music is important for almost any party. The song lists here will help you find songs from many different styles. A good mix of older classics and some modern Top-40 selections will make your party both fun and unique! If you want to listen to a few of these songs, visit the Jukebox Sampler for online music samples. Reggae / Caribbean - CD# Song Title . . . . . . . Artist 462 6 I shot the Sheriff -- Eric Clapton 463 5 Ice Cream -- Coalishun 462 16 Baby I love your way -- Big Montana 139 1 Is This Love -- Bob Marley 462 5 Bad boys -- Inner Circle 462 7 Israelites -- Desmond Dekker 460 15 Baddest girl -- Lady Saw 490 18 Jump & wave -- Henry 462 14 Boom shakalak -- Apache Indian 462 12 Kingston town -- Lord Creator 139 5 Buffalo Soldier -- Bob Marley 141 5 Live it Up -- Ziggy Marley 163 2 Chale Lanmou -- Tabou Combo 294 1 Mambo #5 -- Lou Bega 461 4 Chambers Done See -- Plainclothes 294 13 Mambo Mambo -- Lou Bega 463 8 Chayew Ale -- Patsy Geremy 462 9 Many Rivers to Cross -- Jimmy Cliff 460 10 Come down father -- Beres Hammond 104 3 Margaritaville -- Jimmy Buffett 490 17 Dayo -- Burgess/Attaway 460 3 Money 2 burn -- T.O.K. 463 9 Dokte -- Raplph Thamar 462 11 Montego bay -- Freddie Notes & The Rudies 463 10 Don't touch my tempo -- Arrow 462 4 Now that we found love -- Third World 462 15 Electric avenue (remix) -- Eddie "Love" Arroyo 460 8 Old crook -- Mister G 120 15 Escape (The Pina Colada Song) -- Rupert Holmes 493 5 Outa space -- Mellow Trax 462 18 Exodus -- Bob Marley 463 7 Pa fe Mwen la pen -- Eric Virgal 460 13 Frenzy -- Sanchez 460 11 Pagan -- Warrior King 141 11 G7 -- Ziggy Marley 461 2 Party Time -- Bally 139 6 Get Up Stand Up -- Bob Marley 460 16 Pretty please -- Shabba Ranks 461 7 Gimme peace -- Bally 463 4 Pump me up -- Krosfyah 460 2 Gimme the light -- Sean Paul 120 7 Red Red Wine -- UB40 460 1 Give it to her -- Tanto Metro & Devonte 462 8 Rivers of Babylon -- Melodians 460 18 Hail king Selassie -- Capleton & Lucia 463 6 Roots, rock reggae -- Bunny Wailer 140 9 Hard Road to Travel -- Jimmy Cliff 139 12 Satisfy my Soul -- Bob Marley 140 6 Harder They Come -- Jimmy Cliff 463 3 Serjyo -- Bago 463 1 History du Zouk -- Kali 139 7 Stir it Up -- Bob Marley 101 1 Hot Hot Hot -- Buster Poindexter 461 6 Town man -- Poser 460 9 Hot ladies -- George Nooks & Buju Banton 460 4 Video light -- Lexxus & Mr Vegas 115 1 Volcano -- Jimmy Buffett 141 4 Water and Oil -- Ziggy Marley 460 12 World's greatest -- Terry Linnen 140 10 You Can Get it if You Really Want -- Jimmy Cliff - Reggae / Caribbean - When selecting Reggae dance songs our Caribbean tunes for your party, try to provide a mix of newer and older songs. Most of these song have a moderate or slow tempo and are easy to dance to. A good variety of music is important for almost any party. The song lists here will help you find songs from many different styles. A good mix of older classics and some modern Top-40 selections will make your party both fun and unique! If you want to listen to a few of these songs, visit the Jukebox Sampler for online music samples. Top-40 Song List 70's Song List 80's Song List 90's Song List Ballroom, Swing Music Blues Songs Country Music List Disco Song List Instrumental Songs International Music Latin-Spanish Mellow, Romantic Songs Miscellaneous Songs Oldies Song List Rap, Hip Hop, R&B Reggae Music Rock N Roll List Techno, House Specialty Wedding Song List A Custom DJ Back to: Song List Directory - 70's / Motown - CD# Song Title . . . . . . . Artist 167 1 Freeway of love -- Aretha Franklin 118 2 Funkytown -- Lipps Inc. 158 1 25 or 6 to 4 -- Chicago 369 17 Getaway -- Earth Wind & Fire 236 2 ABC -- Jackson 5 251 3 Good times roll -- Cars 377 5 Ain't no woman like the one -- Four Tops 368 18 Got to give it up -- Marvin Gaye 178 9 Ain't nothing like the real thing -- Marvin Gaye 157 9 Groovin' -- Young Rascals 375 3 Ain't nothing stopping us now -- Tower of Power 471 17 Gypsies, tramps & thieves -- Cher 116 10 American Pie -- Don McLean 471 16 Half breed -- Cher 368 20 Back in love -- LTD 178 1 How sweet it is to be loved by you -- Marvin Gaye 389 2 Be thankful for what you got -- William De Vaughn 128 10 I Feel Good -- James Brown 391 7 Best thing that ever happened -- Gladys Knight 380 16 I Heard it through the grapevine 11:04 -- Creedance 195 4 Black magic woman -- Santana 175 8 I second that emotion -- Smokey Robinson 369 15 Boogie wonderland -- Earth Wind & Fire 198 6 I was made to love her -- Stevie Wonder 257 4 Brandy -- Looking Glass 390 13 I'll always love my mama -- Intruders 368 17 Bustin' loose -- Chuch Brown 237 2 I'll be around -- Spinners 377 6 Can't Get Enough of Your Love -- Barry White 158 10 I've been searching so long -- Chicago 368 10 Cold sweat -- Rick James 178 3 If I could build my whole world around you -- Marvin Gaye 220 4 Come and get your love -- Redbone 176 14 If I were your woman -- Gladys Knight & The Pips 237 4 Could it be I'm falling in love -- Spinners 391 19 It's ecstacy when you lay down -- Barry White 390 2 Cowboys to girls -- Intruders 217 9 It's too late -- Cornelius Brothers & Sister Rose 389 1 Crusin' -- Smokey Robinson 273 3 Jungle boogie -- Kool & The Gang 105 3 Dance To The Music -- Sly & The Family Stone 161 17 Just my imagination -- Temptations 161 9 Dance with me -- Orleans 251 1 Just what I needed -- Cars 236 17 Dancing machine -- Jackson 5 379 3 L.A. woman -- Doors 471 18 Dark lady -- Cher 160 13 La la means I love you -- Delfonics 368 19 Down to the nightclub -- Tower of Power 104 10 Last Dance -- Donna Summer 369 9 Fantasy -- Earth Wind & Fire 130 6 Lean on me -- Bill Withers 368 2 Fire -- Ohio Players 178 13 Let's get it on -- Marvin Gaye 177 4 For once in my life -- Stevie Wonder 369 14 Let's groove -- Earth Wind & Fire 217 14 Let's stay together -- Al Green 130 12 Sister Golden Hair -- America 216 2 Long Cool Woman In A Black Dress -- Hollies 180 6 Skin tight -- Ohio Players 380 14 Lookin' out my back door -- Creedance - CCR 375 11 So very hard to go -- Tower of Power 379 6 Love her madly -- Doors 211 16 Someday we'll be together -- Diana Ross & The 180 2 Love rollercoaster -- Ohio Players 273 7 Son of a preacher man -- Dusty Springfield 389 15 Lovely day -- Bill Withers 382 13 Spill the wine -- Eric Burdon & Animals 121 18 Low Rider -- War 256 7 Spirit in the sky -- Norman Greenbaum 259 1 Midnight at the oasis -- Maria Muldaur 207 8 Stoned love -- Supremes 387 10 Money -- Pink Floyd 226 11 Swearin' to God -- Frankie Valli 165 1 More today than yesterday -- Spiral Staircase 389 11 Sweet Love -- Commodores 251 2 My best friend's girl -- Cars 368 8 Take me to the river -- Al Green 198 5 My Cherie Amour -- Stevie Wonder 108 4 That's What Friends Are For -- Dionne & Friends 383 11 My eyes adored you -- Frankie Valli 120 4 Think -- Aretha Franklin 105 15 My Girl -- Temptations 375 10 This time it's real -- Tower of Power 124 14 My Guy -- Mary Wells 380 10 Travelin' band -- Creedance - CCR 165 5 Na Na hey hey kiss him goodbye -- Steam 224 2 Treat her like a lady -- Cornelius Brothers & Sister 389 7 Natural high -- Bloodstone 223 1 Vehicle -- Ides of March 383 14 Oh what a night -- Frankie Valli 176 11 War -- Edwin Starr 101 15 Respect -- Aretha Franklin 103 12 We are Family -- Sister Sledge 368 12 Respect yourself -- Staple Singers 223 3 Welcome to the dance -- Sons of Chaplin 379 4 Riders on the storm -- Doors 375 9 What is hip -- Tower of Power 217 8 Right back where we started from -- Maxine 390 9 When we get married -- Intruders 102 19 Rock And Roll Part 2 -- Gary Glitter 368 1 Who's that lady? -- Isley Brothers 158 5 Saturday in the park -- Chicago 237 15 Working my way back to you babe -- Spinners 369 3 September -- Earth Wind & Fire 106 18 YMCA -- Village People 369 8 Serpentine fire -- Earth Wind & Fire 130 5 You are the woman -- Firefall 369 1 Shing star -- Earth Wind & Fire 101 2 You Dropped A Bomb On Me -- Gap Band 128 18 Shout -- Isley Brothers 375 4 You ought to be having fun -- Tower of Power 369 6 Sing a song -- Earth Wind & Fire 251 4 You're all I've got tonight -- Cars 375 6 You're still a young man -- Tower of Power 223 2 You've made me so very happy -- Blood Sweat & Tears - 70's / Motown - When selecting dance songs from the 70's for your party, try to provide a mix of both fast upbeat dance songs, and slower more romantic songs. Other songs that are similar can be found in the rock and roll list. A good variety of music is important for almost any party. The song lists here will help you find songs from many different styles. A good mix of older classics and some modern Top-40 selections will make your party both fun and unique! If you want to listen to a few of these songs, visit the Jukebox Sampler for online music samples. Top-40 Song List 70's Song List 80's Song List 90's Song List Ballroom, Swing Music Blues Songs Country Music List Disco Song List Instrumental Songs International Music Latin-Spanish Mellow, Romantic Songs Miscellaneous Songs Oldies Song List Rap, Hip Hop, R&B Reggae Music Rock N Roll List Techno, House Specialty Wedding Song List A Custom DJ Back to: Song List Directory 242 1 Get away -- Maxx 148 8 Get On Your Feet -- Gloria Estefan 102 10 100% Pure Love -- Crystal Waters 116 17 Get Ready For This -- 2 Unlimited 118 5 1979 -- Smashing Pumpkins 500 3 Getting jiggy with it -- Will Smith 232 11 Ain't nobody -- Jaki Graham 109 14 Gonna Make You Sweat, Everybody Dance Now -- C&C Music Factory 286 6 All my life -- K-Ci & Jojo 285 12 Here comes the hotstepper -- Ini Kamoze 326 17 Angel -- Sarah McLachlan 300 14 Hey Leonardo (she like me for me) -- Blessid 111 5 Another Night -- Real McCoy 134 8 Hey Mr D.J. -- Zhane 286 2 As long as you love me -- Backstreet Boys 134 9 Hip Hop Hooray -- Naughty By Nature 106 1 Baby Got Back -- Sir Mix A lot 303 9 How do I live -- LeAnn Rimes 288 5 Bamboleo time -- Fruit De La Passion 232 12 I got the music in me -- 2 Bigg 113 16 Be My Lover -- La Bouche 301 8 I knew I loved you -- Savage Garden 299 10 Because of You -- 98 Degrees 365 6 I see you baby -- Groove Armada 155 3 Because You Loved Me -- Celine Dion 243 6 I was made for loving you -- Chill 471 1 Believe -- Cher 286 15 I will buy you a new life -- Everclear 118 13 Blister In The Sun -- Viloent Femmes 162 6 I'll Always love you -- Taylor Dayne 478 17 Boombastic -- Shaggy 112 17 I'll be There For you -- Rembrandts 115 14 C'mon 'N Ride It -- Quad City DJ's 268 1 I'll Make Love To You -- Boyz II Men 288 12 Call me -- Le Click 267 2 I'll remember you -- Madonna 243 11 Can you feel it -- Matrix 194 5 I'm gonna be (500 miles) -- Proclaimers 501 5 Can't get enough of you baby -- Smash Mouth 111 1 I've Had The Time Of My Life -- Bill Medley 234 2 Come and get your love -- Real McCoy 471 2 If I could turn back time -- Cher 478 16 Come Baby Come -- K7 242 7 It's a love thing -- CB Milton 479 10 Dancin' -- Vanilla Ice 270 16 It's so hard to say goodbye -- Boyz II Men 457 7 Dreaming of you -- Selena 326 10 Jumper -- Third Eye Blind 111 13 Electric Slide (Boogie) -- Marcia Griffiths 154 4 Kiss From A Rose -- Seal 287 14 Everybody -- Backstreet Boys 287 9 Kiss the rain -- Billy Meyers 501 8 Fat Boy -- Max A Million 154 10 Let Her Cry -- Hootie 288 2 Found a cure -- Ultra Nate 267 7 Live to tell -- Madonna 267 8 Love don't live here anymore -- Madonna 285 7 Summertime -- DJ Jazzy Jeff & Fresh Prince 110 15 Macarena, Bayside Boys Mix -- Los Del Rio 134 7 Sweat (a la la la la long) -- Inner Circle 298 7 Maria Maria -- Santana 267 3 Take a bow -- Madonna 286 9 Mmm bop -- Hanson 242 15 Take a free fall -- Dance 2 Trance 270 8 Motownphilly -- Boyz II Men 147 13 That's The Way Love Goes -- Janet Jackson 103 6 Mr. Jones -- Counting Crows 114 17 This Is How We Do It -- Montell Jordan 147 3 Nasty -- Janet Jackson 131 14 This Is Your Night -- Amber 124 1 No Parking On The Dance Floor -- Midnight Star 326 16 This kiss -- Faith Hill 285 14 Now that we found love -- Heavy D & the Boyz 286 1 Together again -- Janet Jackson 101 14 Only Wanna Be With You -- Hootie And The 1 2 Tubthumping -- Chumbawamba 285 11 OPP -- Naughty By Nature 242 19 Turn up the power -- N Trance 248 10 Please Don't Go -- Kws 301 11 Waiting for tonight -- Jennifer Lopez 268 2 Power Of Love -- Celine Dion 475 12 Walk this way (Run DMC) -- Aerosmith 299 7 Praise you -- Fatboy Slim 287 2 Walking on the sun -- Smash Mouth 101 17 Pump Up The Jam -- Techtronics Featuring Felly 125 25 We got a love thing -- Ce Ce Peniston 122 12 Pump Up The Volume -- MARRS 113 8 What Is Love -- Haddaway 122 16 Rapper's Delight -- Sugarhill Gang 155 7 Who Will Save Your Soul -- Jewel 326 8 Ray of light -- Madonna 107 4 Wild Thing -- Tone Loc 117 20 Rhythm Is A Dancer -- Snap 326 15 You make me wanna . . . -- Usher 147 12 Rhythm Nation -- Janet Jackson 154 8 You Oughta Know -- Alanis Morissette 365 11 Right here right now -- Fatboy Slim 133 14 Run To You -- Rage 243 1 Scatman -- Scatman John 286 17 Sex & candy -- Marcy Playground 276 18 Shake your feather -- Blues Brothers & Ray 113 11 Smells Like Teen Spirit -- Nirvana 298 5 Smooth -- Santana 232 16 Stomp -- Big Fun 471 9 Strong enough -- Cher - 90's - When selecting dance songs from the 90's for your party, try to provide a mix of both fast upbeat dance songs, and slower more romantic songs. A good variety of music is important for almost any party. The song lists here will help you find songs from many different styles. A good mix of older classics and some modern Top-40 selections will make your party both fun and unique! If you want to listen to a few of these songs, visit the Jukebox Sampler for online music samples. A Custom DJ Back to: Song List Directory - Ballroom / Swing - CD# Song Title . . . . . . . Artist 124 19 Hooked On Big Bands -- Frank Barber Orchestra 476 13 I can't believe that you're in love . . . -- Dean Martin 476 2 Ain't that a kick in the head -- Dean Martin 490 23 I'll be seing you (instr) -- Irving/Fain 476 5 All in a night's work -- Dean Martin 280 8 I'm getting sentimental over you -- Mel Torme 490 24 Bandstand boogie (instr) -- Charles Abertine 112 9 In The Mood -- Glenn Miller & His Orchestra 275 14 Bei mir bist du schon -- swing Kids & Janis Siegel 145 14 Jack Pot -- Jive (F. Pleyer) 490 6 Besame Mucho (instr Rhumba) -- C. Velazquez 213 3 Jamacia jam -- Teddy Powell 331 4 Best is yet to come (W Jon Secada) -- Frank Sinatra 283 6 Jump jive an' wail -- Brian Setzer Orchestra 145 16 Blue Danube -- Wiener-waltz (J. Stauss / Jr. 205 6 Jump with my baby -- Big Bad Voodoo Daddy 213 5 Blues in the groove -- Jan Savitt 284 1 Jump, jive an' wail -- Louis Prima 205 1 Boogie Bumper, the -- Big Bad Voodoo Daddy 476 10 Just in time -- Dean Martin 123 11 Boogie Woogie Buggle Boy -- Andrews Sisters 145 5 Kavalier Walzer -- Waltz (O. Nedbal / F. Pleyer) 261 7 Brown Derby jump -- Cherry Poppin' Daddies 205 3 King of swing -- Big Bad Voodoo Daddy 145 3 Can't Forget You -- Slow Walt (Jr. Musik 146 15 La Bamba -- Samba (F. Pleyer) 212 16 Casa Loma Stomp -- Casa Loma Orchestra 490 5 La Compasita (instr tango) -- Traditional 279 2 Chattanooga choo-choo -- Glenn Miller & His 146 17 La Coruna -- Pasodoble (P. Gonez) 490 8 Cherry pink & apple (instr cha cha) -- Mack David 275 11 Life goes to a party -- Swing Kids 213 10 Chicago -- Muggsy Spanier 411 5 Mambo Italiano -- Rosemary Clooney 331 2 Come fly with me (W Luis Miquel) -- Frank Sinatra 205 10 Mambo Swing -- Big Bad Voodoo Daddy 213 18 Continental -- Atrie Shaw 490 7 Miami Beach rhumba (instr) -- Irving Fields 332 2 Curse of an aching heart -- Frank Sinatra 281 9 Moonlight Serenade -- Glenn Miller & His 490 13 Desanfinado (instr bossa nova) -- Antonio Calos 205 2 Mr. Pinstripe suit -- Big Bad Voodoo Daddy 490 21 Edelweiss (instr) -- Rogers/Hammerstein 330 6 New York NY (W Tony Bennett) -- Frank Sinatra 146 7 El Choclo -- Tango (Jr. Musik Production) 145 8 Nifty -- Jive (Jr. Musik Production) 331 6 Fly me to the moon (W Antonio Carlos) -- Frank 411 6 Oh Marie -- Louis Prima 146 1 Giconda -- Cha-cha (F. Pleyer) 334 9 On an evening in Roma -- Dean Martin 490 14 Girl from Ipanema (instr bossa nova) -- Gimbel, 476 20 On the sunny side of the street -- Dean Martin 205 8 Go Daddy O -- Big Bad Voodoo Daddy 477 6 One mint julip -- Ray Charles 332 6 Granada -- Frank Sinatra 212 15 One O'clock jump -- Count Basie 213 20 One O'clock jump -- Benny Goodman 490 9 Oy como va ( cha cha) -- Tito Puente 145 17 Park Lane -- Foxtrott (F. Pleyer) 212 14 Peg O' my heart -- Glenn Miller & His Orchestra 280 6 Pennsylvania 6-5000 -- Glenn Miller & His Orchestra 284 11 Sing sing sing -- Lee Press-on & The Nails 122 19 Sing, Sing, Sing -- Swing Kids 476 17 Someday you'll want me . . . -- Dean Martin 212 13 Stompin' at the Savoy -- Isham Jones 280 7 String of pearls -- Glenn Miller & His Orchestra 334 2 Sway -- Dean Martin 146 14 Tango Matrimonio -- Tango (F. Pleyer) 490 10 Tea for Two (instr cha cha) -- Ceasar/Youmans 145 18 Tritomba -- Jive (F. Pleyer) 145 2 Vilja-Lied -- Slow Fox (Doblinger Musikverlag) 334 6 Volare -- Dean Martin 174 5 Way you look tonight -- Frank Sinatra 476 8 Who was that lady -- Dean Martin 476 15 Who's got the action -- Dean Martin 204 4 You & me & the bottle makes 3 tonight -- Big Bad Voodoo Daddy 261 1 Zoot suit riot -- Cherry Poppin' Daddies - Ballroom / Swing - When selecting Ballroom and Swing songs for your party, try to provide a mix of both fast upbeat dance songs, and slower more romantic Swing or Ballroom songs. Some styles here are: cha-cha, waltz, tango etc. The faster swing songs are fun, but they're harder to dance to. A good variety of music is important for almost any party. The song lists here will help you find songs from many different styles. A good mix of older classics and some modern Top-40 selections will make your party both fun and unique! If you want to listen to a few of these songs, visit the Jukebox Sampler for online music samples. A Custom DJ Back to: Song List Directory - Country - CD# Song Title . . . . . . . Artist 427 6 Designated drinker -- Alan Jackson 162 9 Don't it make my brown eyes -- Crystal Gayle 434 3 19 something -- Mark Wills 104 2 Don't Rock The Jukebox -- Alan Jackson 427 2 A little bluer than that -- Alan Jackson 429 8 Down at the twist and shout -- Highlinners 434 4 A lot of different things -- Kenny Chesney 427 1 Drive -- Alan Jackson 105 6 Achy Breaky Heart -- Billy Ray Cyrus 138 10 Elvis and Andy -- Highlinners 426 1 Ain't goin' down -- Garth Brooks 432 11 Every little thing she does -- Lonestar 138 1 Aint Goin' Down (til the sun comes up) -- 433 6 Every river -- Brooks & Dunn 429 10 All my rowdy friends -- Highlinners 440 15 Everyday angel -- Radney Foster 327 5 Amazed -- Lonestar 428 8 Everywhere -- Tim McGraw 426 8 American honkey tonk bar assoc -- Garth Brooks 426 10 Fever -- Garth Brooks 154 11 Any Man Of Mine -- Shania Twain 427 12 First love -- Alan Jackson 138 5 Baby Likes To Rock It -- Highlinners 108 13 Friends In Low Places -- Garth Brooks 430 19 Baby we're really in love -- Hank Williams 361 5 From this moment -- Shania Twain 241 16 Baby's got her blue jeans on -- Mel McDaniel 429 6 Guitars, cadillacs -- Highlinners 109 10 Boot Scootin' Boogie -- Brooks & Dunn 430 16 Half as much -- Hank Williams 239 6 Born to boogie -- Hank Williams JR. 428 7 Hard on the ticker -- Tim McGraw 429 5 Born to boogie -- Highlinners 430 13 Hey good lookin' -- Hank Williams 239 7 Burnin' love -- Travis Tritt 138 7 Holdin' Heaven -- Highlinners 425 1 Calling Baton Rouge -- Garth Brooks 430 9 Honky tonk blues -- Hank Williams 101 4 Chattahoochee -- Alan Jackson 433 20 Honky tonk champagne -- Deryl Dodd & Tim 441 13 Chrome -- Trace Atkins 430 10 Honky tonkin' -- Hank Williams 116 1 Cotton Eye Joe -- Rednex 360 1 I Can Love You better -- Dixie Chicks 431 1 Cowboy in me -- Tim McGraw 433 5 I just want to be mad -- Terri Clark 102 14 Crazy -- Patsy Cline 115 2 I Swear -- John Michael Montgomery 433 1 Cry -- Faith Hill 433 9 I wish you'd stay -- Brad Paisley 238 5 Daddy's hands -- Holly Dunn 432 7 I'm already there -- Lonestar 426 12 Dance -- Garth Brooks 440 14 If her lovin' don't kill me -- Aaron Tippin 433 11 Dare to dream -- Jo Dee Messina 426 9 If tomorrow never comes -- Garth Brooks 138 4 Indian Outlaw -- Highlinners 138 6 Rock My World -- Highlinners 136 3 It's a Little Too Late -- Tanya Tucker 361 15 Rock this country -- Shania Twain 428 3 It's your love -- Tim McGraw 434 12 Rub me the right way -- Brad Martin 430 12 Jambalaya -- Hank Williams 431 10 Set this circus down -- Tim McGraw 428 9 Just to see you smile -- Tim McGraw 425 3 Shameless -- Garth Brooks 434 9 Life goes on -- LeAnn Rimes 136 11 She Don't Know She's Beautiful -- Sammy Kershaw 432 12 Like a good cowboy -- Lonestar 204 12 She thinks I still care -- George Jones 430 8 Loevsick blues -- Hank Williams 433 12 She'll go on you -- Josh Turner 425 9 Longneck bottle -- Garth Brooks 433 4 She'll leave you with a smile -- George Strait 238 2 Lookin' for love -- Johnny Lee 136 8 She's Got The Rhythm (I got the blues) -- Alan 361 1 Man I feel like a woman -- Shania Twain 431 9 Smilin' -- Tim McGraw 441 12 Man to man -- Gary Allan 136 16 Some Girls Do -- Sawyer Brown 102 8 Mountain Music -- Alabama 114 18 Stand By Your Man -- Tammy Wynette 430 2 Move it on over -- Hank Williams 429 3 Swingin' -- Highlinners 425 11 Much too young -- Garth Brooks 136 1 Take a Little Trip -- Alabama 432 9 Must be love -- Lonestar 431 2 Telluride -- Tim McGraw 113 6 My Maria -- Brooks & Dunn 361 12 That don't impress me much -- Shania Twain 434 16 My old man -- Rodney Atkins 137 9 That's My Story -- Highlinners 136 7 Neon Moon -- Brooks & Dunn 426 3 The beaches of Cheyenne -- Garth Brooks 441 11 Ninteen somethin' -- Mark Wills 433 13 These are the days -- Holly Turner 432 3 Not a day goes by -- Lonestar 137 5 Third Rock From the Sun -- Highlinners 440 13 On a mission -- Trick Pony 425 5 Thunder rolls -- Garth Brooks 470 10 On the road again -- Willie Nelson 360 7 Tonight the heartache's on me -- Dixie Chicks 427 9 Once in a lifetime love -- Alan Jackson 425 2 Two of a kind -- Garth Brooks 429 4 One more last chance -- Highlinners 431 4 Unbroken -- Tim McGraw 428 6 One of these days -- Tim McGraw 433 8 Unusually Unusual -- Lonestar 432 1 Out go the lights -- Lonestar 137 7 Watermelon Crawl -- Highlinners 425 4 Papa loved mama -- Garth Brooks 328 7 Way you love me -- Faith Hill 239 8 Pink Cadillac -- Southern Pacific 427 10 When love comes around -- Alan Jackson 428 1 Where the green grass grows -- Tim McGraw 433 2 Who's your daddy? -- Toby Keith 430 17 Why don't you love me -- Hank Williams 360 2 Wide Open Spaces -- Dixie Chicks 432 5 With me -- Lonestar 427 4 Work in progress -- Alan Jackson 428 10 You just get better -- Tim McGraw 428 11 You turn me on -- Tim McGraw 360 5 You were mine -- Dixie Chicks 361 10 You're still the one -- Shania Twain 430 1 Your cheatin' heart -- Hank Williams - Country - Most of these Country songs are either familiar classics, two-step favorites, line dance or modern country tunes. When selecting Country dance music for your party, try to provide a mix of both fast upbeat dance songs, and slower songs. A few other Country CDs such as Faith Hill, Kathy Mattea, Vince Gill etc. are also available but are not listed here. A good variety of music is important for almost any party. The song lists here will help you find songs from many different styles. A good mix of older classics and some modern Top-40 selections will make your party both fun and unique! If you want to listen to a few of these songs, visit the Jukebox Sampler for online music samples. Disco - CD# Song Title . . . . . . . Artist 149 8 Shake, Shake, Shake -- KC & The Sunshine Band 152 1 Stayin' Alive -- Bee Gees 150 6 Ain't no Stoppin' Us Now -- McFadden & Whitehead 274 2 Summer nights -- John Travolta & Olivia Newton 119 17 Best of My Love -- Emotions 471 12 Take me home -- Cher 124 18 Boogie Nights -- Heatwave 117 13 That's The Way I Like It -- KC & The Sunshine Band 149 12 Boogie Oogie Oogie -- A Taste of Honey 150 3 Turn The Beat Around -- Vicki Sue Robinson 111 16 Brick House -- Commodores 191 6 You're the first, the last -- Barry White 117 9 Car Wash -- Rose Royce 274 4 You're the one that I want -- John Travolta & Olivia 110 3 Dancing Queen -- Abba 121 2 Dazz -- Brick 118 18 Disco Inferno -- Trammps 150 4 Disco Nights -- GQ 114 3 Don't Leave Me This Way -- Thelma Houston 368 5 Flash light -- Parliament 113 12 Get Down Tonight -- KC & The Sunshine Band 501 12 Get off -- Foxy 150 8 Get Up and Boogie -- Silver Connection 113 10 Good Times -- Chic 274 1 Grease -- Frankie Valli 102 1 Grease Megamix -- John Travolta & Olivia Newton 101 10 I Will Survive -- Gloria Gaynor 221 9 I'm every woman -- Chaka Khan 377 15 Ladies night -- Kool & The Gang 153 10 Lady Marmalade -- LaBelle 117 21 Le Freak -- Chic 152 4 More Than A Woman -- Bee Gees 149 3 Never Can Say Goodbye -- Gloria Gaynor 119 5 Night Fever -- Bee Gees 150 7 Play That Funky Music -- Wild Cherry disco Instrumental - CD# Song Title . . . . . . . Artist 289 14 Europa -- Santana 389 8 Grazing in the grass (inst) -- Hugh Masakela 387 8 Great gig in the sky (inst) -- Pink Floyd 189 19 Green Onions -- Booker T & the MGs 387 7 Marooned (inst) -- Pink Floyd 388 6 One of these days (inst) -- Pink Floyd 268 9 Sentimental -- Kenny G 283 5 Sleep walk -- Brian Setzer Orchestra 387 13 Sorrow (inst) -- Pink Floyd 289 16 Soul sacrafice -- Santana - Instrumental - There are also several Jazz CDs available which are mostly instrumental, and many Classic CDs as well, however, they are not catalogued in this music database A good variety of I can't stop loving you -- Ray Charles 102 6 I could Fall in Love -- Selena 170 5 A summer place -- A Summer Place 118 1 I finally found someone -- Barbara Streisand 107 15 A Whole New World -- Peabo Bryson & Regina Belle 102 11 I left My Heart In San Francisco -- Tony Bennett 471 6 After all -- Cher & Peter Cetera 103 4 I will Always Love You -- Whitney Houston 104 15 After The Lovin' -- Engelbert Humperdink 268 8 If you go -- Jon Secada 161 1 Always -- Atlantic Starr 116 13 Imagine -- John Lennon 103 15 Always And Forever -- Heatwave 164 9 In my life -- Beatles 472 12 And it stoned me -- Van Morrison 334 8 Innamorata -- Dean Martin 109 5 Beautiful In My Eyes -- Joshua Kadison 105 16 Lady In Red -- Chris DeBurgh 333 1 Because of You -- Tony Bennett 170 4 Lara's theme ( somewhere my love ) -- Dr. Zhivago 103 10 Because of You -- Celine Dion 412 8 Love me the way I love you -- Jerry Vale 289 10 Bella -- Santana 222 4 Mexico -- James Taylor 206 12 California dreamin' -- Mamas & the Papas 164 8 Michelle -- Beatles 109 12 Can You Feel The Love Tonight -- Elton John 170 3 Moon river -- Breakfast at Tiffany's 108 2 Can't Help Falling In Love -- Elvis Presley 412 11 My Way -- Paul Anka 155 2 Change The World -- Eric Clapton 170 6 Never on Sunday -- Never On Sunday 114 10 Change The World -- Eric Clapton 473 7 Nights in white satin -- Moody Blues 269 6 Cherish -- Kool & The Gang 389 13 Playing your game -- Barry White 158 3 Colour my world -- Chicago 412 4 Pretend you don't see her -- Jerry Vale 103 2 Could I have This Dance -- Anne Murray 269 10 Ribbon in the sky -- Stevie Wonder 412 6 Domani (tomorrow) -- Julius La Rosa 289 5 Samba pa ti -- Santana 270 17 End Of The Road -- Boyz II Men 103 11 Spanish Eyes -- Al Martino 102 17 Everything I Do -- Bryan Adams 412 10 Speak softly to me -- Al Martino 371 10 Fooled around and fell in love -- Elvin Bishop 142 8 Til the Morning Comes -- Greatful Dead 386 6 God bless the child -- Blood Sweat & Tears 156 6 Till there was you -- Beatles 107 2 Have I Told You Lately I love You -- Van Morrison 389 10 Together (I remember) -- Tierra 106 3 Here And Now -- Luther Vandross 123 7 Tonight I celebrate My Love -- Peabo Bryson 269 1 I Believe In You & Me -- Four Tops 500 5 Truly madly deeply -- Savage Garden 105 4 Unchained Melody -- Righteous Brothers 206 14 What the world needs now is love -- Jackie 106 14 When a man loves a woman -- Percy Sledge 109 16 When I Fall In Love -- Celine Dion & Clive Griffin 378 11 When the music's over -- Doors 105 9 Wind Beneath My Wings -- Bette Midler 108 1 Wonderful Tonight -- Eric Clapton 130 16 You Are So Beautiful -- Joe Cocker 334 3 You belong to me -- Dean Martin 389 16 You make me feel brand new -- Stylistics 391 5 You'll never find -- Lou Rawls 112 14 Recessional -- Traditional 500 13 Soul bossa nova -- Quincy Jones 477 20 America the beautiful -- Ray Charles 112 8 Stripper -- David Rose & His Orchestra 112 10 Anniversary Waltz -- Eddy Howard 111 12 Tarantella -- Chuck Mangione 112 11 Auld Lang Syne -- Guy Lombardo & His Royal 500 11 Time of your life -- Green Day 203 9 Babalu's Wedding Day -- Eternals 202 14 Wedding bell blues -- 5th Dimension 202 4 Band of gold -- Don Cherry 202 13 Wedding song (there is love) -- Captain & Tennille 112 15 Beer Barrel Polka -- Traditional 202 9 When we get married -- Dreamlovers 112 5 Birthday -- Beatles 269 7 When we get married -- Larry Graham 103 8 Chapel of Love -- Dixie Cups 203 12 With this ring -- Platters 112 3 Chicken Dance -- Sorta Crackers Band 197 15 Wouldn't it be nice -- Beach Boys 202 6 Church bells may ring -- Willows 202 2 Wouldn't it be nice -- Beach Boys 112 6 Daddy's Little Girl -- Al Martino 170 14 Zorbas dance -- Zorba The Greek 328 14 Graduation -- Vitamin C 345 9 Happy birthday -- Jewish Folk Singers 184 5 Happy birthday baby -- Tune Weavers 121 17 Happy Birthday Sweet Sixteen -- Neil Sedaka 112 7 Happy birthday to you -- Eddy Howard 112 16 Hava Nagilah -- Moshe Solberstein Ensamble 118 20 Hawaii Five-O -- Ventures 202 12 Hey Paula -- Paul & Paula 112 4 Hockey Pokey -- Ray Anthony 202 10 I want to marry you -- Dell-Vikings 366 11 Let's get married -- Jagged Edge 203 13 Let's get married -- Al Green 106 11 Limbo Rock -- Chubby Checker 106 19 Love And Marriage -- Frank Sinatra 345 12 My birthday -- Jewish Folk Singers 112 13 Processional -- Traditional I get a kick out of you -- Frank Sinatra 411 3 I have but one heart -- All Martino 186 6 16 Candles -- Crests 333 7 I left My Heart In San Francisco -- Tony Bennett 201 9 A certain smile -- Johnny Mathis 183 3 I'll remember (in the still of the night) -- Five Satins 160 4 A little bit of soul -- Music Explosion 412 7 Innamorata -- Dean Martin 182 15 Ain't that a shame -- Fats Domino 476 9 It will have to do -- Dean Martin 163 9 And I love her -- Beatles 159 3 It's alright -- Impresions 214 7 Are you lonesome tonight? -- Elvis Presley 159 6 It's got to be mellow -- Leon Haywood 107 5 At The Hop -- Danny And The Juniors 200 1 It's not unusual -- Tom Jones 123 4 Be Bop A Lula -- Gene Vincent 108 14 Johnny B. Goode -- Chuck Berry 174 7 Best is yet to come -- Frank Sinatra 118 7 Land Of 1000 Dances -- Wilson Pickett 121 21 Beyond The Sea -- Bobby Darin 102 7 Let's Twist Again -- Chubby Checker 116 16 Build Me Up Buttercup -- Foundations 111 8 Lion Sleeps Tonight -- Tokens 383 8 Can't take my eyes off of you -- Frankie Valli 157 1 Little Bit O' Soul -- Music Explosion 201 1 Chances are -- Johnny Mathis 108 12 Louie Louie -- Kingsmen 477 12 Crying time -- Ray Charles 174 10 Love and marriage -- Frank Sinatra 103 21 Do You Love Me? -- Contours 215 1 Love me tender -- Elvis Presley 185 21 Do you wannna dance -- Bobby Freeman 182 12 Maybellene -- Chuck Berry 477 9 Don't set me free -- Ray Charles 334 4 Memories are made of this -- Dean Martin 182 11 Earth angel -- Penguins 174 16 My way -- Frank Sinatra 477 2 Georgia on my mind -- Ray Charles 122 3 Na Na Hey Hey Kiss him Goodbye -- Steam 159 1 Girl Watcher -- O'kaysions 174 20 New York New York -- Frank Sinatra 477 5 Hallelujah I love her so -- Ray Charles 411 10 Non dimenticar -- Jerry Vale 157 3 Happy Together -- Turtles 185 13 Oh boy -- Buddy Holly 117 19 Hit The Road Jack -- Ray Charles 179 9 On Broaway -- Drifters 156 9 Hold me tight -- Beatles 476 3 On the streets where you live -- Dean Martin 120 17 Hold Me, Thrill Me, Kiss Me -- Mel Carter 476 22 Please don't talk about me . . . -- Dean Martin 331 14 House I live in (W Neil Diamond) -- Frank Sinatra 476 7 Powder your face -- Dean Martin 108 16 I Can't Get No Satisfaction -- Rolling Stones 104 1 Pretty Woman -- Roy Orbison 476 11 Promise her anything -- Dean Martin 107 10 What A Wonderful World -- Louis Armstrong 412 2 Return to me -- Dean Martin 477 14 What'd I say -- Ray Charles 473 10 Ride my see-saw -- Moody Blues 200 11 What's new pussy cat? -- Tom Jones 107 21 Rock Around the clock -- Bill Haley & His Comets 119 14 When I'm Sixty-four -- Beatles 108 6 Runaround Sue -- Dion 183 19 Why do fools fall in love -- Frankie Lymon 120 19 Runaway -- Del Shannon 188 8 Will you love me tomorrow -- Shirelles 184 18 School day -- Chuck Berry 127 6 Wooly Bully -- Sam The Sham & The Pharoahs 113 3 Sea of Love -- Honeydrippers 164 13 Yellow submarine -- Beatles 200 5 She's a lady -- Tom Jones 476 16 You I love -- Dean Martin 183 22 Since I met you baby -- Ivory Joe Hunter 204 1 You're nobody 'til somebody loves you -- Dean Martin 185 9 Splish splash -- Bobby Darin 124 20 You've Lost That Loving Feeling -- Righteous 117 11 Stand By Me -- Ben E. King 174 12 Strangers in the night -- Frank Sinatra 104 13 Stroll -- Diamonds 330 4 Summer wind (W Julio Iglesias) -- Frank Sinatra 112 2 Sunrise, Sunset -- Fiddler On The roof 160 2 Sweet little sixteen -- Chuck Berry 101 3 Tequila -- Champs 334 1 That's amore -- Dean Martin 179 4 This magic moment -- Drifters 473 5 Tuesday afternoon -- Moody Blues 111 7 Twist -- Chubby Checker 477 8 Unchain my heart -- Ray Charles 179 10 Under the boardwalk -- Drifters 117 15 Unforgetable -- Natilie Cole & Nat King Cole 179 8 Up on the roof -- Drifters 120 8 Wake Up Little Suzie -- Everly Brothers 109 4 Wanderer -- Dion 107 10 What A Wonderful World -- Louis Armstrong Rap / Hip Hop / R&B - CD# Song Title . . . . . . . Artist 492 18 If I could go -- Angie Martinez 321 6 Independent woman -- Destiny's Child 416 1 '03 Bonnie & Clyde -- Jay-Z 287 7 It's like that -- Run DMC 479 3 2 legit 2 quit -- MC Hammer 478 4 It's tricky -- Run DMC 492 8 4 ever -- Lil' Mo 478 1 Jump -- Kris Kross 416 6 Air force ones -- Nelly 320 3 Jumpin' jumpin' -- Destiny's Child 336 16 America the beautiful -- Pepe 491 4 Just a friend -- Mario 491 8 Awnaw -- Nappy Roots 494 12 Love don't love me -- Justin Timberlake 501 9 Back and forth -- Aaliyah 416 5 Luv you better -- LL Cool J 416 8 Beautiful -- Snoop Dogg 416 7 Made you look -- Nas 416 9 Blowin' me up -- JC Chase 492 3 Make it clap -- Busta Rhymes 501 15 Brass monkey -- Beastie Boys 478 13 Me myself & I -- De la Soul 115 10 California Love -- 2Pac 500 4 Miami -- Will Smith 491 19 Color of love -- Boyz II Men 492 4 No letting go -- Wayne Wonder 492 11 Dirty -- Christina Aguilera 415 2 Nothin' -- N.O.R.E. 416 4 Don't mess with my man -- Nivea 285 5 Nuthin' but a G thang -- Dr. Dre, Snoop Dog 478 3 Fantastic voyage -- Coolio 416 2 Pump, pump, pump -- B2K & P. Diddy 501 14 Fight for your right -- Beastie Boys 478 6 Push It -- Salt N' Pepa 336 15 Forever -- Dee Dee 443 10 Rainy day -- Renee Stakey 491 7 Full moon -- Brandy 494 7 Realest N Ggas -- Notorious BIG, 50 Cent 478 12 Funky cold medina -- Tone Loc 443 5 Safe from harm -- Narcotic Thrust 415 3 Gangsta Lovin -- Eve - Alicia Keys 309 12 Say my name -- Destiny's Child 194 7 Gangsta's Paradise -- Coolio 494 4 Shake ya tailfeather -- Nelly, P. Diddy 492 5 Gimme the light -- Sean Paul 501 13 She's crafty -- Beastie Boys 494 5 Girl I'm a bad boy -- Fat Joe, P. Diddy 492 15 So fresh so clean -- Outkast 415 12 I care 4 U -- Aaliyah 443 14 Something -- Lasgo 491 3 I need a girlfriend -- P. Diddy, Usher 415 13 Stingy -- Ginuwine 501 17 I wanna know -- Joe 492 9 Tell me -- Smilez & Southstar 479 6 Ice ice baby -- Vanilla Ice 479 1 U Can't Touch This -- MC Hammer 107 19 U Can't Touch This -- M.C. Hammer 492 12 What about us? -- Brandy 492 6 What you got -- Justin Timberlake 478 11 Whoop There It Is -- Tag Team 491 18 You know that I love you -- Donnel Jones A Custom DJ Back to: Song List Directory - Rock / Metal - CD# Song Title . . . . . . . Artist 197 12 California Girls -- Beach Boys 163 7 Can't buy me love -- Beatles 420 15 27 -- Breakin Point 372 1 Can't get enough -- Bad Company 209 5 98.6 -- Keith 266 13 Cheap sunglasses -- ZZ Top 235 10 A view to a kill -- Duran Duran 370 4 China groove -- Doobie Brothers 491 17 Adrienne -- Calling 422 5 Comedown -- Bush 381 5 All along the watchtower -- Jimi Hendrix 420 13 Corrected -- Sevendust 102 4 All I Wanna Do -- Sheryl Crow 381 7 Crosstown traffic -- Jimi Hendrix 156 3 All my loving -- Beatles 475 3 Cryin' -- Aerosmith 420 11 Along the way -- Mushroomhead 421 4 Dead cell -- Papa Roach 416 19 Always -- Saliva 470 8 Devil went down to Georgia -- Charlie Daniels 260 5 American woman -- Guess Who 370 20 Do you feel like we do -- Peter Frampton 386 5 And when I die -- Blood Sweat & Tears 472 14 Domino -- Van Morrison 500 12 Another one bites the dust -- Queen 382 2 Don't let me be misunderstood -- Eric Burdon & The Animals 208 15 Apples, peaches, pumpkin pie -- Jay & The 370 14 Don't stop -- Fleetwood Mac 474 9 Back in the saddle -- Aerosmith 380 8 Down On The corner -- Creedance - CCR 118 6 Bang The Drum All Day -- Todd Rudgren 474 2 Dream on -- Aerosmith 103 9 Barbara Ann -- Beach Boys 376 9 Dreams -- Fleetwood Mac 471 19 Beat goes on -- Sonny & Cher 224 7 Drift away -- Dobie Gray 263 10 Best of My Love -- Eagles 216 10 Ebony eyes -- Bob Welch 230 4 Boom boom out go the lights -- Pat Travers 163 10 Eight days a week -- Beatles 106 5 Born To Be Wild -- Steppenwolf 415 20 Everyday -- Bon Jovi 378 1 Break on through -- Doors 422 1 Everything Zen -- Bush 420 3 Break you -- Drowning pool 289 2 Evil ways -- Santana 440 17 Breathe your name -- Sixpence None The Richer 276 15 Expressway to your heart -- Blues Brothers 420 12 Breathless -- Lifer 371 14 Feel like makin' love -- Bad Company 421 3 Broken home -- Papa Roach 209 8 Feelin' groovy -- Harpers Bizarre 104 4 Brown Eyed Girl -- Van Morrison 371 12 Feels like the first time -- Foreigner 420 14 Burn it black -- Injected 470 5 Flirtin' with disaster -- Molly Hatchet 373 9 Fly like an eagle -- Steve Miller 421 1 Infest -- Papa Roach 380 9 Fortunate son -- Creedance - CCR 420 9 Iron head -- Rob Zombie - Ozzie Osbourne 374 10 Free bird -- Lynard Skynard 474 14 Janies got a gun -- Aerosmith 230 6 Freeze frame -- J. Geils Band 373 11 Jet airliner -- Steve Miller 197 6 Fun, Fun, Fun -- Beach Boys 373 8 Joker -- Steve Miller 374 3 Gimme Three Steps -- Lynard Skynard 101 18 Joy To The World -- Three Dog Night 420 16 Glow -- Coal Chamber 385 4 Jumping jack flash -- Rolling Stones 422 10 Glycerine -- Bush 373 2 Jungle Love -- Steve Miller 217 17 Green eyed lady -- Sugarloaf 474 8 Last child -- Aerosmith 376 6 Gypsy -- Fleetwood Mac 266 18 Legs -- ZZ Top 124 2 Havin' A Party -- Southside Johnny 264 6 Life in the fast lane -- Eagles 105 7 Heart Of Rock And Roll -- Huey Lewis 378 2 Light my fire -- Doors 379 1 Hello I love you -- Doors 422 4 Little things -- Bush 415 15 Hero -- Chad Kroeger 381 9 Little wing -- Jimi Hendrix 276 2 Hey Bartender -- Blues Brothers 441 18 Live a lie -- Default 370 18 Hocus pocus -- Focus 384 6 Living loving - just a woman -- Led Zepplin 385 7 Honky tonk woman -- Rolling Stones 189 2 Locomotion -- Little Eva 370 3 Hot blooded -- Foreigner 420 7 Loosing my grip -- Hoobastank 264 1 Hotel California -- Eagles 474 15 Love in an elevator -- Aerosmith 470 13 House is rockin' -- Stevie Ray Vaughan 163 1 Love me do -- Beatles 235 3 Hungry like the wolf -- Duran Duran 378 6 Love me two times -- Doors 206 8 I Can't Help Myself -- Four Tops 422 7 Machinehead -- Bush 475 9 I don't want to miss a thing -- Aerosmith 371 3 Miracles -- Jefferson Starship 471 20 I got you babe -- Cher 260 6 I just want to celebrate -- Rare Earth 470 3 Mississippi Queen -- Mouintain 124 17 I Love Rock 'N Roll -- Joan Jett & the Blackhearts 382 14 Monterey -- Eric Burdon & Animals 420 1 I stand alone -- Godsmack 105 1 Mony Mony -- Billy Idol 167 13 I want to know what love is -- Foreigner 472 3 Moondance -- Van Morrison 472 10 I'm in heavan when you smile -- Van Morrison 233 2 Move it on over -- George Thorogood 372 7 Movin' on -- Bad Company 371 13 Saturday night special -- Lynard Skynard 420 10 My life -- 12 Stones 376 10 Say you love me -- Fleetwood Mac 421 9 Never enough -- Papa Roach 420 2 Set it off -- P.O.D. 440 18 Normal life -- July for Kings 266 2 Sharp dressed man -- ZZ Top 107 14 Old Time Rock And Roll -- Bob Seger 208 6 She'd rather be with me -- Turtles 223 10 One fine morning -- Lighthouse 289 6 She's not there -- Santana 420 8 Only the strong -- Flaw 371 9 Smokin' in the boys room -- Brownsville Station 376 15 Over my head -- Fleetwood Mac 111 4 Some Kind Of Wonderful -- Grand Funk 110 2 Paradise By The Dashboard Light -- Meat Loaf 386 7 Spinning wheel -- Blood Sweat & Tears 501 7 Paradise city -- Guns & Roses 101 16 Start Me Up -- Rolling Stones 380 3 Proud Mary -- Creedance - CCR 209 7 Stoned soul picnic -- 5th Dimension 381 1 Purple Haze -- Jimi Hendrix 473 4 Story in your eyes -- Moody Blues 473 12 Question -- Moody Blues 420 4 Streamline -- System of a Down 100 2 Ramblin Man -- Allman Brothers 142 3 Sugar Magnolia -- Greatful Dead 372 3 Ready for love -- Bad Company 222 3 Summer Breeze -- Seals & Crofts 416 18 Red -- Chevelle 209 12 Sunny afternoon -- Kinks 235 8 Reflex -- Duran Duran 380 1 Susie Q -- Creedance - CCR 166 11 Relax -- Frankie Goes To Hollywood 474 7 Sweet emotion -- Aerosmith 421 7 Revenge -- Papa Roach 374 1 Sweet home Alabama -- Lynard Skynard 100 10 Revival -- Allman Brothers 440 19 Take me as I am -- Tonic 235 4 Rio -- Duran Duran 128 19 Takin Care Of Business -- Bachman Turner Overdrive 220 9 Rock & roll hootchie koo -- Rick Derenger 371 8 Tell me something good -- Rufus 470 4 Rock bottom -- Dickey Betts Band 384 4 Thank You -- Led Zepplin 370 5 Rock'n me -- Steve Miller 374 7 That smell -- Lynard Skynard 470 11 Rockin' down the highway (live) -- Doobie Brothers 421 11 Thrown away -- Papa Roach 371 11 Rocky mountain way -- Joe Walsh 379 5 Touch me -- Doors 415 16 Running away -- Hoobastank 142 10 Truckin' -- Greatful Dead 382 11 San Francisco nights -- Eric Burdon & Animals 266 4 Tush -- ZZ Top 491 10 Satellite -- P.O.D. 108 17 Twist And Shout -- Beatles 473 2 Voice -- Moody Blues 381 15 Voodoo child -- Jimi Hendrix 474 5 Walk this way -- Aerosmith 127 23 We Are The Champions -- Queen 374 2 What's your name -- Lynard Skynard 416 20 When I'm gone -- 3 Doors Down 472 16 Wild night -- Van Morrison 101 11 Wild Wild West -- Escape Club 370 9 You ain't seen nothing yet -- Bachman Turner 374 5 You got that right -- Lynard Skynard 273 9 You never can tell (teenage wedding) -- Chuck Berry 117 16 Your Mama Don't Dance -- Loggins & Messina 473 1 Your wildest dreams -- Moody Blues 442 11 Youth of the nation -- P.O.D. - Rock / Metal - Techno & House - CD# Song Title . . . . . . . Artist 336 5 Sunshine -- Dance Nation 443 13 Theme -- Jurgen Vries 493 10 2nd opinion -- Shrink 340 10 Touch me -- Rui Da Silva 493 2 Can you feel the bass -- SQ-1 493 11 Tune -- Spacekid 336 1 Castles in the sky -- Ian Van Dahl 501 11 Wanna get busy -- Reality 443 16 Come into my dream -- Foggy 308 2 Where Do You Go -- No Mercy 305 9 Ecuador -- Sash! 501 10 Yolanda -- Reality 305 8 Encore une fois -- Sash! 336 14 You set me free -- Abigail 307 7 Feel it -- Tamperer 304 6 Gangster trippin' -- Fatboy Slim 340 7 Get over yourself -- Eden's Crush 493 16 Glockenspiel -- Schiller 340 5 He loves you -- Dream 443 11 Heaven -- DJ Sammy & Yanou 416 12 I should be -- Dru Hill 493 9 Infinity -- CJ Stone 443 3 It just won't do -- Tim Deluxe 336 7 It's gonna be alright -- PS 2000 305 7 It's my life -- Sash! 443 4 Just The Way You Are -- Milky 335 1 Kernkraft 400 -- Zombie Nation 493 14 Komodo -- Mauro Picotto 336 3 Let me love you -- Da Buzz 340 19 My heart goes boom -- French Affair 493 13 O.T.B. -- York 493 12 Red sun rising -- Lost Witness 336 13 Stand still -- Aubrey 336 6 Stay -- Wendy Philips 340 12 Stranger in my house -- Tamia - Techno & House - Click some of the various wedding song lists below to get some ideas. First Dance Song List Father Daughter Dance and Mother Son Dance Song List Cake Cutting and Grand Entrance Song List Bouquet and Garter Toss Song List Last Dance Song List Back to Song List Directory First Dance 361-5 * From this moment -- Shania Twain 103-15 * Always And Forever -- Heatwave 500-5 * Truly madly deeply -- Savage Garden 500-6 * At Last -- Etta James 286-6 * All my life -- K-Ci & Jojo 155-3 * Because You Loved Me -- Celine Dion 102-17 * Everything I Do -- Bryan Adams 108-1 * Wonderful Tonight -- Eric Clapton 117-15 * Unforgetable -- Natilie Cole & Nat King Cole 164-9 * In my life -- Beatles 103-2 * Could I have This Dance -- Anne Murray 475-9 * I don't want to miss a thing -- Aerosmith 107-2 * Have I Told You Lately I love You -- Van Morrison 174-5 * Way you look tonight -- Frank Sinatra 428-3 * It's your love -- Tim McGraw 118-1 * I finally found someone -- Barbara Streisand & Adams 327-5 * Amazed -- Lonestar 106-3 * Here And Now -- Luther Vandross 107-10 * What A Wonderful World -- Louis Armstrong 106-17 * It Had To Be You -- Harry Connick, Jr. 161-1 * Always -- Atlantic Starr 103-10 * Because of You -- Celine Dion 108-5 * Cross My Heart -- George Strait 107-15 * A Whole New World -- Peabo Bryson & Regina Belle 471-6 * After all -- Cher & Peter Cetera 114-11 * I Swear -- All For One 113-9 * Hero -- Mariah Carey 174-8 * Fly me to the moon -- Frank Sinatra 123-7 * Tonight I celebrate My Love -- Peabo Bryson & Roberta Flack 457-7 * Dreaming of you -- Selena Click this link to listen to various 30 second song samples from a wide range of music styles for weddings or any dance party on the online jukebox music samples page! A Custom DJ is an owner/operator specializing in wedding reception parties. Located in the San Jose Bay Area, CA. First dance song list, father daughter song list, mother son song list, cake cutting ideas and grand entrance wedding reception music, favorite wedding songs, 1st dance. Congratulations on Your Engagement!!! Wedding DJ service for these cities and counties, of Northern California. In the north bay area: Marin, San Francisco, Sausalito, Redwood City, San Mateo, Los Altos, Menlo Park and Palo Alto. In the south bay area: Mountain View, Sunnyvale, Santa Clara, Milpitas, Fremont, Pleasanton and Walnut Creek. In the San Jose and Silicon Valley area: Cupertino, Campbell, Saratoga, Los Gatos, Felton, Ben Lomond, Almaden, Morgan Hill and Gilroy. Along the coast: Pacifica, Santa Cruz, Aptos, Watsonville to Monterey and Carmel, CA. Find Comprehensive Artist Listings Based On These Music Styles Artists - Songs and list of all the Pakistani Artists. Including Pop, Ghazal Singers, Groups and Folk Singers. Albums- List of all the Albums by Pakistani Artists. Pop/Modern - List of all the Pakistani Pop and modern songs by all your favourite pop artists. One of the most comprehensive list of Pakistani pop artists. Ghazals - Songs of all the famous Pakistani Ghazal Singers. Oldies/Golden Era - Songs from Pakistan's Golden Era. A very comprehensive list of songs which defined the Pakistani Music Industry. Patriotic - A most comprehensive list of Patriotic songs sung by various artists. Qawali/Devotional - Qawali and Devotional Songs by a wide range of famous Pakistani Qawals. Filmi - Songs from all the famous Pakistani Old and new Movies Remix - Remix of famous Pakistani film and pop songs. Punjabi - Comprehensive list of Pakistani Punjabi songs including bhangra's as well as Punjabi Ghazals. Folk - Songs by various Pakistani Folk singers. Marriage Songs - Songs for the happy and joyful occasion of Marriage. Religious - List of Religious audios. Naats and more. The Academy of Ancient Music directed by Christopher Hogwood Collections . Bach . Handel . Haydn . Locke Mozart . Pergolesi . Purcell . Appendix * Emma Kirkby Sings Mrs Arne o Emma Kirkby, soprano o Decca/L'Oiseau-Lyre 436 132-2 * Music from the time of Elizabeth I o Judith Nelson, soprano o Mary Beverley, soprano o David James, countertenor o Paul Elliott, tenor o David Thomas, bass o Sneak's Noyse - Roderick Skeaping o Decca/L'Oiseau-Lyre 433 193-2 * Musique Pour La Chambre Du Roy - Music at Versailles 1697-1747 o Judith Nelson, soprano o Christophe Coin, bass viol o Monica Huggett, violin o Decca/L'Oiseau-Lyre 436 185-2 * Venice Preserv'd (Monteverdi * Gabrieli * Cavalli * Grandi) o Emma Kirkby, soprano o Judith Nelson, soprano o Nigel Rogers, tenor o Decca/L'Oiseau-Lyre 425 891-2 * J.S. Bach Coffee Cantata; Peasant Cantata o Emma Kirkby, soprano o Rogers Covey-Crump, tenor o David Thomas, bass o Decca/L'Oiseau-Lyre 417 621-2 * G.F. Handel Alceste; Comus o Emma Kirkby, soprano o Patrizia Kwella, soprano o Judith Nelson, soprano o Christina Pound, soprano o Margaret Cable, mezzo-soprano o Catherine Denly, mezzo-soprano o Rogers Covey-Crump, tenor o Paul Elliott, tenor o Christopher Keyte, bass o David Thomas, bass o Decca/L'Oiseau-Lyre/Florilegium 443 183-2 * G.F. Handel Athalia o John Sutherland, soprano - Athalia o Emma Kirkby, soprano - Josabeth o Aled Jones, treble - Joas o James Bowman, countertenor - Joad o Anthony Rolfe Johnson, tenor - Mathan o David Thomas, bass - Abner o Choir of New College, Oxford o Decca/L'Oiseau-Lyre/Florilegium 417 126-2 * G.F. Handel Esther o Patrizia Kwella, soprano - Esther o Anthony Rolfe Johnson, tenor - Ahasuerus o David Thomas, bass - Haman o Ian Partridge, tenor - Mordecai o Emma Kirkby, soprano - Israelite Woman o Drew Minter, countertenor - Priest o Paul Elliott, tenor - 1st Israelite o Andrew King, tenor - 2nd Israelite o Chorus and Orchestra of The Academy of Ancient Music o Decca/L'Oiseau-Lyre/Florilegium 414 423-2 * G.F. Handel Italian Cantatas o Emma Kirkby, soprano o Decca/L'Oiseau-Lyre 414 473-2 * G.F. Handel Italian Cantatas; Theatre Music o Emma Kirkby, soprano o Judith Nelson, soprano o Patrizia Kwella, soprano o David Thomas, bass o Susan Sheppard, cello o Decca/L'Oiseau-Lyre 430 282-2 * G.F. Handel Messiah o Emma Kirkby, soprano o Judith Nelson, soprano o Carolyn Watkinson, contralto o Paul Elliott, tenor o David Thomas, bass o Choir of Christ Church Cathedral, Oxford - Simon Preston o Decca/L'Oiseau-Lyre 430 488-2 * G.F. Handel Orlando o James Bowman, countertenor - Orlando o Arleen Auger, soprano - Angelica o Catherine Robbin, mezzo-soprano - Medoro o Emma Kirkby, soprano - Dorinda o David Thomas, bass - Zoroastro o Decca/L'Oiseau-Lyre 430 845-2 * G.F. Handel La Resurrezione (1708) o Emma Kirkby, soprano - Angelo o Patrizia Kwella, soprano - Maddalena o Carolyn Watkinson, contralto - Cleofe o Ian Partridge, tenor - San Giovanni o David Thomas, bass - Lucifero o Decca/L'Oiseau-Lyre 421 132-2 * Franz Joseph Haydn Music for England o Judith Nelson, soprano o Paul Elliott, tenor o Decca/L'Oiseau-Lyre/Florilegium D263D 2 * Matthew Locke The Tempest; Music for His Majesty's Sackbuts and Cornetts o Emma Kirkby, soprano o Prudence Lloyd, soprano o Judith Nelson, soprano o Charles Brett, countertenor o John York Skinner, countertenor o Alan Byers, tenor o Rogers Covey-Crump, tenor o Martyn Hill, tenor o Richard Morton, tenor o Geoffrey Shaw, bass o David Thomas, bass o Michael Laird Cornett and Sackbut Ensemble o Originally Decca/L'Oiseau-Lyre/Florilegium DSLO 507 (1977) - Reissued as L'Oiseau-Lyre 433 191-2 (1993) * W.A. Mozart Arias o Emma Kirkby, soprano o Christopher Hirons, violin o Steven Lubin, fortepiano o Decca/L'Oiseau-Lyre 425 835-2 * Giovanni Battista Pergolesi Stabat Mater; Salve Regina o Emma Kirkby, soprano o James Bowman, countertenor o Decca/L'Oiseau-Lyre/Florilegium 425 692-2 * Henry Purcell Dido & Aeneas o Catherine Bott, soprano - Dido o Emma Kirkby, soprano - Belinda o John Mark Ainsley, tenor - Aeneas o David Thomas, bass - Sorceress o Elisabeth Priday, soprano - First Witch o Sara Stowe, soprano - Second Witch o Julianne Baird, soprano - Second Woman o Daniel Lochmann, treble - First Sailor o Michael Chance, Spirit o Chorus and Orchestra of The Academy of Ancient Music o Decca/L'Oiseau-Lyre 436 992-2 * The Echoing Air: The Music of Henry Purcell o Sylvia McNair, soprano o Crispian Steele Perkins, trumpet o Paul O'Dette, archlute o Laurence Dreyfus, cello, viola da gamba o Christopher Hogwood, organ, harpsichord o Philips 446 081-2 * Henry Purcell Theatre Music o Emma Kirkby, soprano o Judith Nelson, soprano o Elizabeth Lane, soprano o Joy Roberts, soprano o Prudence Lloyd, soprano o James Bowman, countertenor o Martyn Hill, tenor o Rogers Covey-Crump, tenor o Paul Elliott, tenor o Alan Byers, tenor o Peter Bamber, tenor o Julian Pike, tenor o David Thomas, bass o Christopher Keyte, bass o Geoffrey Shaw, bass o Michael George, bass o The Taverner Choir - Andrew Parrott o Decca/L'Oiseau-Lyre 425 893-2 (6 CDs) * Henry Purcell Three Elegies & Music for Strings o Martyn Hill, tenor o Christopher Keyte, bass o Decca/L'Oiseau-Lyre/Florilegium DSLO 514 (out of print) * See also: o The Academy of Ancient Music Home Page o Decca Music Group o Harmonia Mundi USA Appendix (Other recordings with Christopher Hogwood) * Beethoven Songs * Carissimi Cantatas * Couperin Trois Lecons de Tenebres * Purcell Songs & Airs * Weber Songs See also: The Early Music Consort of London Time-Life Books, Inc. was founded in 1961 in Chicago, as a division of Time, Inc. Its headquarters was the Time-Life Building in Northwest Chicago. Time-Life Books was to be the book division for Time, Inc., who published both Time Magazine and Life Magazine. Books published by Time-Life tended toward the arts and other "highbrow" pursuits, aimed mostly at the parents in average families and sold through television, radio, and magazine advertisements. By 1966, Time-Life Books combined its book offerings with recorded music and released these mixed- media offerings through a new Division called Time-Life Records. Typically, these were offered as two-to-five record sets with a book (and typically, in full color) giving the history of the music or composer, all packaged as a sturdy box set. Taking a page from the successful record clubs of the times, Time-Life offered a series of these box sets to be sent to the subscriber periodically (typically, every six weeks or so). Like the Time-Life book subscriptions, these were sent "on approval," meaning the buyer could listen for a short time, and if they didn't like the particular volume, they could send it back, no questions asked. (In a way, it was a more innocent time before taping became widely popular and led to scams of various sorts, getting and taping records and sending them back. Needless to say, though, too many returns and Time-Life removed your name from the active list.) These sets were strictly targeted for adult listeners, the same people who were the target audience of Time and Life magazines. The series stressed what in the 1950s had been referred to as "good music", meaning classical, opera, or orchestral music, occasionally easy listening pop or a soundtrack, but guaranteed to be free from rock 'n' roll or anything resembling it. The first major series, The Story of Great Music/Concerts of Great Music, was released over the 1966-68 period, and was strictly a collection of the classics. Each volume had four or five discs and a book included in the box set, along with a "Listener's Guide" to the music. These records were pressed by Angel Records, Capitol's classical arm. In the early 1970s, again appealing to the adults, was a series of recreations of music from the 1930s and 1940s called The Swing Era. This series was also pressed by Capitol Records, and many of the recreations were done by Billy May or other Capitol bandleaders. Although one may cavil that the music on this series was not the original versions, by 1972 most people had become accustomed to high quality music. The originals, mostly recorded with direct-to-disc technology and fidelity limitations, would have been inconsistent with the expectations of the public. Since the originals were mainly orchestral arrangements, they could be reproduced fairly well, especially for people who hadn't heard the originals for almost 30 years. Judging by the plethora of volumes of this series that can now be found in used book stores, the series sold quite well. Each set came with a hardcover book telling about the music and the era. In the mid-1970s, Time-Life reverted to classical composers with The Great Men of Music Series, followed in 1977 by a huge collection of box sets by Arthur Fiedler (of Boston Pops Orchestra fame) - 23 three-disc box sets, a total of 69 records. They also released series on Mozart and Wagner during the 1970s. By 1979, Time-Life branched out somewhat with a new series called Giants of Jazz, then followed in the early 1980s with two series featuring country music (Country Music, a series of single-disc offerings with a skimpy nine songs each, and Country Music Classics, a series of three-LP box sets). These were followed in 1985 by a selection of easy-listening artists in a series called Legendary Singers, again in boxed sets. Since the average adults of the early 1980s had never heard swing records, country, jazz, and easy listening were keeping with Time-Life's vision of selling to the adult families. By this time, the practice of including hardback books with the sets had long since proved uneconomical. Most of these box sets came with a paperback booklet. In 1986, Time-Life started a series of 2-LP boxes (this time with a one-sheet folded pamphlet instead of a booklet) called The Rock 'n' Roll Era. It was to prove to be a massive seller, with some 50+ volumes before it was through. Although the series started in 1986 as vinyl box sets, by 1987 they were also available as single-CDs. As radical as it was for Time-Life to jump into rock & roll music reissues, by 1986 most of the adults had been raised on rock and roll anyway, so it was still within the vision and goals of Time-Life's selling to adults. In the next few years, Time-Life launched many new series, including Classic Rock (devoted to late 1960s rock and psychedelia), Your Hit Parade (covering pop music from 1940-1959), Country U.S.A. (offering country music from the early 1950s to the early 1970s), Rhythm & Blues (featuring R&B from the roots to the 1970s), Contemporary Country (with country music from the 1970s and more recent), and many others. In addition, they offered many non-series multiple- CD sets of various sorts. In 1989, Time-Life, Inc. merged with Warner Communications to become Time-Warner, Inc. When the industry gave up on vinyl in 1990, the Time-Life series were also switched to CD (and cassette) only. Calling the Time-Life toll-free telephone number usually resulted in talking to a pleasant sales person, who informed you that, yes, you could buy any of the volumes of the various series, you didn't have to subscribe. The 1990s brought many new series to the Time-Life catalog, and many of these are featured in this discography. On December 31, 2003, Time-Warner sold off Time-Life to a group of private investors. By this time, Time-Life had long since stopped selling books in favor of the more profitable music. Time-Warner, ailing badly since a $183 billion merger with America On-Line in 2000, was busy selling off pieces of the company to try to stay in stockholders good graces (the stock value of the company had plummeted over 50% since the merger). Time-Life, once a book company but recently a music company, landed with a group of music industry veterans, so their future looks bright. We would appreciate any additions or corrections to this discography. Just send them to us via e-mail. Both Sides Now Publications is an information web page. We are not a catalog, nor can we provide the records listed below. We have no association with Time-Life or Warner Bros. Records. Should you be interested in acquiring albums listed in this discography (all of which are out of print), we suggest you see our Frequently Asked Questions page and follow the instructions found there. This story and discography are copyright 2004 by Mike Callahan. On to the Time-Life Discography, Part 9 Giants of Jazz On to the Time-Life Discography, Part 10 American Musicals On to the Time-Life Discography, Part 11 Great Ages of Music On to the Time-Life Discography, Part 12 Single-LP Country Series On to the Time-Life Discography, Part 13 Country & Western Classics On to the Time-Life Discography, Part 14 Legendary Singers On to the Time-Life Discography, Part 15 Great Performances On to the Time-Life Discography, Part 16 Big Bands On to the Time-Life Discography, Part 17 The Rock'n'Roll Era On to the Time-Life Discography, Part 18 Classic Rock On to the Time-Life Discography, Part 19 Your Hit Parade On to the Time-Life Discography, Part 20 Country U.S.A. On to the Time-Life Discography, Part 21 Sounds of the Seventies On to the Time-Life Discography, Part 22 Super Hits/AM Gold On to the Time-Life Discography, Part 23 Rhythm & Blues On to the Time-Life Discography, Part 24 Contemporary Country On to the Time-Life Discography, Part 25 Time-Life's History of Rock'n'Roll On to the Time-Life Discography, Part 26 Guitar Rock On to the Time-Life Discography, Part 27 The Many Moods of Romance On to the Time-Life Discography, Part 28 Instrumental Favorites On to the Time-Life Discography, Part 29 Sounds of the Eighties On to the Time-Life Discography, Part 30 The Heart of Rock'n'Roll On to the Time-Life Discography, Part 31 Living the Blues On to the Time-Life Discography, Part 32 Legends of Country On to the Time-Life Discography, Part 33 Body Talk On to the Time-Life Discography, Part 34 Elvis Presley On to the Time-Life Discography, Part 35 Classic Country On to the Time-Life Discography, Part 36 Classic R&B On to the Time-Life Discography, Part 37 Miscellaneous CD Issues On to the Time-Life Discography, Part 38 Miscellaneous U.K. CD Issues Back to the Warner Brothers Records Story Back to the Discography Listings Page Back to the Both Sides Now Home Page Birthplace of Country Music - The Bristol Music Story Jimmie Rodgers and the Carter Family, 1931In 1998 the United States Congress passed a resolution recognizing Bristol, Tennessee, as the "Birthplace of County Music." This project traces the history of how Bristol came to earn the title, beginning with the region's southern Appalachian settlers in the 1700s who brought with them, in old-world ballads and songs, the music of their native Scottish Highlands. Although shielded by geography from outside influences during the 18th and early 19th centuries, the area's music began to evolve rapidly during the Civil War period when the region was opened by the railroads. Touring vaudeville, minstrel and medicine-show troupes, and the railroad workers themselves, with a variety of work songs reflecting their African heritage, brought rapid changes to the settlers' original music. The native fiddle of the English, Scotch, and Irish settlers was joined by the banjo of African origin. After WWI, the guitar, autoharp, and dulcimer were introduced into the mix. Following Edison's invention of the phonograph in the early years of the century, the the new recording industry experienced rapid growth during the 1920s. Ralph Peer began to realize there was an uptapped market for rural mountain music, and he set about to discover and develop the area's musical talent. Musicians and singers originally traveled to New York to record their music, but when remote recording became possible, Bristol became Peer's initial hub of operations in 1927 -- chosen because of the proximity of local musicians such as Ernest and Hattie Stoneman, the Johnson Brothers, and Henry Whitter. Soon talent from other southern states, including West Virginia, Virginia (the Carter Family) and North Carolina (Jimmie Rodgers) was recorded by Peer. These early recording sessions, called the "Bristol Sessions," would mark the birth of country music. Their influence can be seen in bluegrass of musicians such as Bill Monroe, Flatt and Scruggs, in the song-writing of Hank Williams and Woody Guthrie, in the guitar-playing of Roy Acuff and Chet Atkins, in the sound of Pete Seeger, Joan Baez, Johnny Cash and Bob Dylan, and in the song-stylings of Hank Snow, Ernest Tubb, Merle Travis, Merle Haggard, Dwight Yoakum and Dolly Parton. The report follows the growth of popularity of country music during the "barn dance" shows of the radio era and bluegrass festivals of the 60s and 70s. In the mid-1990s, the Birthplace of Country Music Alliance (BCMA) was founded in Bristol to call attention to and support the musical traditions of the area. The project is documented with a 22-page report on the "Bristol Music Story," brief biographies of the Carter Family, Jimmie Rodgers, the Stonemans, a log of recordings in the "Bristol Sessions," 25 historic photographs with descriptions, and a videotape "Bristol - Birthplace of Country Music." Orwell Corner/ John Sylvester ORWELL CORNER/ JOHN SYLVESTER The following text is provided to media at no charge; please advise Tourism PEI when published. Images available. Come Ceilidh Reeling Through PEI Culture By Shelley Cameron-McCarron I feel wonderfully like a local when three Islanders join my group of friends as we mill about outdoors waiting the start of 'Ceilidh at the Corner,' the granddaddy of the revived Scottish ceilidh experience on Prince Edward Island. As conversation quickens and jokes fly, it's easy to feel like I've been coming here for years, all old friends standing around the steps of the Orwell Corner Historical Village community hall, stars twinkling in the night sky. "You're going to hear one of the nicest voices tonight," Steve Sharratt, the night's emcee, a local journalist, says on the evening's talent, Anita Curran, an angel-voiced singer from nearby Alberry Plains. "The beauty of these ceilidhs is they book people who are talented Islanders, and there's plenty of them," says Sharratt, a guitar playing, singer-songwriter himself. I can't help but feel the passion as he talks about the ceilidhs, held Wednesday nights in this historical village from May through October. Twenty-five years ago the dance hall tradition seemed to be dying off, but when Ceilidh at the Corner started, the crowds – including many tourists – began to pick up noticeably. This September evening we meet folks from Australia, the U.S., and other Canadians mixed in with the locals in the intimate wood-panelled hall, lit with kerosene lamps. Tom Rath, proprietor of the Lady Catherine Bed & Breakfast, a 30-minute drive away in Murray Harbour North, doesn't miss many Wednesday nights. Each week he offers his guests a ride. "One of the big reasons you come to PEI is to experience an interesting culture. This is a fine example of it," he tells me as we take our seats near the front of the hall, which holds maybe 100 people. "Typically we often have to explain what a ceilidh is, how to pronounce it and how to spell it. On the way home, they're just thrilled. It's the highlight of their visit. They'll say, ‘We're so glad we decided to come.'" Orwell is his favourite of the Island ceilidhs. "It's a living museum. It's real, not assembled. The community hall is a beautiful place for a traditional ceilidh." Acoustics are great in the building, built on the same foundation as the original that burned down in the 1950s. The authentic feeling begins as soon as we turn off the highway into the village. This night, the sun's light is gently golden, setting over a shingled barn. A bull and cow stand watch in the field. Visitors leave their car in the parking lot and take a lamp lit walk through time, strolling through 1890s PEI to the hall, the only building not original. Orwell Corner is more than just a good time though. It helped revive the Island ceilidh. Wendell Boyle, the village's late curator, a musician himself, started the idea of a ceilidh partly as an avenue for his perfomers and partly to bring tourists to his site. Before he knew it, the hall was packed. "It gave a lot of life to the place," one Islander recalls. "They had people standing out in the yard, dancing around." Now, in summer, one can catch a ceilidh – "the same, but different," as they joke here – in small halls across the island. Century-old traditions have a new lease as tourists flock for an intimate glimpse into the living culture. "A ceilidh is a gathering or party, and we're going to try to have a little party here tonight," Orwell Corner Village director Tom LeClair says. "The whole reason to have a ceilidh like this is to have a party," Sharratt explains. "We ask people in the audience to come up, sing a song, stepdance, tell a story." He recalls a hot July night, the place was packed, when a fellow struggles out of his seat, heads up to the front, and tells the story of how the last time he played his fold-up guitar was with a Russian friend in outer space. The man then sang a song about Canadian Tire. "Who are you?" the curious emcee asked. "My name is Chris Hatfield." "Our Canadian astronaut," Sharratt fills in. The "regulars" – Stirling Baker on fiddle and Duncan Matheson on piano – soon take the stage. "Give us a good one now," Sharratt deadpans, breaking into a broad grin after a particularly rousing set. Soon he's passing out spoons for the audience to play, "We'll need at least four couples for the set. "It's like lobster, or Anne, you don't go away without having a country dance, a set dance," he tells the crowd. While Orwell Corner is a perfect way to start an Island ceilidh experience, it's certainly not the only one. PEI is the most Celtic of Canada's provinces with about 70 per cent of its people descended from Scots and Irish. The College of Piping and Celtic Performing Arts of Canada in Summerside, the island's second largest city, provides the history behind the dance and ancient tunes. I really enjoyed the free-mini daytime concerts where performers come onto the Mary Ellen Burns Amphitheatre stage, in traditional costume, and talk to the audience about their performance and its significance before launching into the pipes, sword dance or a truly amazing drum demonstration. A longer two-hour ceilidh is held nightly. On Thursday we continued with the Festival of Tales and Tunes in Victoria-by-the-Sea, a tiny fishing village halfway between city centres Charlottetown and Summerside. The village of little over 100 supports more charming shops and restaurants than many larger towns. Victoria Playhouse is PEI's longest running theatre. We're fortunate to have seats for the sold-out performance of Two Alans and an Erskine – where two Island storytellers and a musician share the stage. If Ceilidh at the Corner shows one side of Island character, this evening helps explains it. Erskine Smith and Alan Buchanan have the audience in stitches as they tell tales of Island characters, nicknames, politics and more. Allan Rankin sings and plays guitar. The stories and songs share a similar wit, and the performers say Islanders do like something witty, something quirky, and a one-liner that takes the wind from someone's sails whose head is getting too swelled. The humour has a subtlety to it, as one never quite knows when his leg is being pulled. Islanders also seem to possess one of humour's great tools – the ability to understate things. We have a chance to catch one last ceilidh before leaving PEI so it's Friday night at the Benevolent Irish Society (B.I.S.) on North River Road in Charlottetown. Again the small hall brings an intimate feeling. There's joy in the music, the storytelling, and, oh, the dance. "There's not going to be one of you sitting in your seats quiet, I guarantee it," emcee Trudi Barry says as she introduces 18-year-old fiddling sensation Cynthia MacLeod and guitarist Bruce MacEwen. Their easy repartee delights the crowd of about 140, which holds representatives from each Canadian province and many of the U.S. states. The teenager's long blonde hair is pulled back off her face. Her ever-present smile and pixie-like charm is in full swing, bow flying fast across the fiddle and feet a-pounding. I'm asked to the floor for a dance called the Waves of Tory. I can't wipe the smile off my face. LOSER: The Real Seattle Music Story LOSER: The Real Seattle Music Story Obviously, the biggest pop culture story in Seattle this decade has been the emergence of the Seattle music scene on the world stage. But most of the existing documentation of this phenomenon, from Time magazine to MTV, sucked. Despite what clueless media said, there never was one single "Seattle Sound." But there was an overall Seattle attitude. The best of our bands weren't trying to break into the corporate rock pantheon but to demolish it. Like the Web, the Seattle Scene was all about decentralizing culture, about putting the means of production and distribution into more hands, about honest heartfelt expression. You don't have to be from NY, LA or SF to make music or even art. "You're the superstar," as Krist Novoselic says. This is the tale I relate in LOSER: The Real Seattle Music Story. Achingly detailed and lavishly illustrated, it chronicles two decades of prepunk, punk, postpunk and neopunk music in Seattle and the Northwest. It includes all the bands who made it big and plenty who didn't but are still worth remembering. Read all about the interconnected origins and spectacular rise of Nirvana, Pearl Jam, Soundgarden, Alice in Chains, Hole, Screaming Trees, Mudhoney, TAD, the Posies, Love Battery, Gas Huffer, Seven Year Bitch, Flop, the Supersuckers, Sir Mix-A-Lot, Built to Spill, Bikini Kill, Sky Cries Mary, the Young Fresh Fellows, Beat Happening, the Presidents of the United States of America, and all your other early-'90s Seattle music favorites. Originally published in late 1995 by Feral House, LOSER is back in an updated second edition from MISCmedia. Like the first edition, it's got over 240 big pages with over 800 illustrations. The new version has even more pix and stories, an updated discography, and many "whatever became of" listings. It's the most lavish and detailed account of a phenomenon that rocked the world. To order online with a credit or debit card, follow this link to our authorized vendor, Kagi. (Some of the instructions might presume you're not buying a book but "shareware" software, Kagi's main e-commerce line, but it should otherwise be fairly clear sailing.) Otherwise, you can send a check or money order for $25 (including $3 shipping and handling) plus $1.50 sales tax for Washington state residents, to: MISC. Media 1400 Hubbell Place, #1314 Seattle, WA 98101 Special deal!: We now have a limited supply of slightly-hurt bookstore return copies, a mere $14 (including shipping and handling) from the above address (no online ordering for these). We also have a privacy policy. Selections from LOSER * The spirit of the Seattle scene: If there's a common message among these bands, it's that your life and your culture count. You'll find this message in almost everything done here, from Sir Mix-A-Lot's tales of young black men who don't sell drugs or shoot each other, to Bikini Kill's anthems about surviving abusive relationships with pride intact, to Nirvana's elliptical pop songs about emotional confusion.You don't have to be from a media capital, you don't have to belong to the proper demographics, to have something worth saying. Make your own scene; don't conform to anybody--not even us. * The Bird, Seattle's first punk club: It was a dark, narrow, warehouse-like space with a makeshift stage and a second-hand PA. As many as 200 crowded into the room, whose official capacity was 99. Graphic designer Art Chantry later speculated that "the entire audience on opening night eventually formed their own bands." * The U-Men, perhaps the first true 'grunge' band: They were slow, harsh, and (in the early days) clumsy players. They invoked a Dionysian orgy of mutual aggression and abandon that no cartoon-devil metal band could match. * Kurt Cobain's early days: The early ['50s] rockers had been white guys appropriating the hip-outcast status of blacks; Cobain was a straight guy appropriating the hip-outcast status of gays. He took the glam fascination with gay culture into the realm of teen vandalism, spraypainting "God Is Gay" and "Homo Sex Rules" around town just to infuriate the local rednecks. * Sub Pop Records' early days: [Founders Bruce] Pavitt and [Jonathan] Poneman boasted publicly about making Seattle the music capital of the world. It's no exaggeration to say few people believed them at the time. * Secretions, an LP of art-rock bands released the same time as the now better-known Sub Pop 200 collection: Secretions' two-page insert... moaned on about how the scene was dying, there wasn't anyplace to play, cops kept trying to shut everything down, censors were trying to ban things, and the bands on the record had to hold benefit concerts to get the thing out. Sub Pop 200's booklet insert, bold art, and box-set packaging promoted a "Loser" image but did so with unapologetic pride, promoting Seattle as a hotbed of rockin' action. The former more accurately portrayed the real scene; the latter created a more lucrative myth. * Nirvana's Nevermind album: A slickly-packaged CD whose superficially simple sound masked a wide array of influences from the Sex Pistols to the Pixies. The band turned the rage of classic punk into a pure, crystalline entity. It turned despair into defiance, depression into urgency. Its ugliness was beautiful. * Indie-rock moralism: In Seattle, it was OK to seek commercial success as long as you didn't "act like a rock star." In Olympia, you weren't even supposed to think of music as a career. To these folks, playing your own music to your friends was the only real reason to start a band. * The media's narrow 'Seattle Scene' image: The major labels skipped most of [Seattle's black and mixed-race bands] over, just as they'd skipped over most of our female-led bands. The outside world saw Seattle rock as a bunch of all-white-male bands complaining about white male society. * The first onslaught of 'grunge tourism': What we got was an influx of young people from Europe, Japan, and the U.S.; pounding the downtown streets in their new Doc Martens and searching upscale-oriented guidebooks in vain to find clubs the guidebook writers hadn't heard of. * The first backlash: Saying what was now referred to as "the G-word" in Seattle instantly identified the speaker as an ill-informed wannabe from the outside. Like Dr. Seuss's Sneetches rushing to the Star-Off Machine, locals en masse mended their jeans and cut their hair to disassociate themselves from the hype. * From Cobain's final note, describing his major-label-rock-star existence: "All the warnings from Punk Rock 101 courses over the years since my first introduction to, shall we say, the 'ethics' involved with independents and the embracement of your community have proven to be very true." * The Collapse: A Seattle scene that had begun as a reaction against industry-driven fads had been reinterpreted AS an industry-driven fad, as if to try to kill the spirit behind it.... Once "alternative" had been codified as a single fomulaic sound, ever-restless audiences grew tired of it. * The Aftermath: Bruce Pavitt claimed, way back when, that "a decentralized cultural network is obviously cool. Way cool." It's also what American society's turning into, as it enters the century of the Seattle World's Fair's utopian visions. The Seattle scene's real legacy isn't one "Seattle Sound," but an approach to music, art, and life that continues to rock the world. Frank Sinatra Has a Cold, by Gay Talese Part One of Four Kindly provided by Rebecca Pranger. This originally appeared in Esquire magazine, April 1966. And some of the most important people in some of the most important places in New York, New Jersey, Southern California and Las Vegas are suddenly developing postnasal drip. FRANK SINATRA, holding a glass of bourbon in one hand and a cigarette in the other, stood in a dark corner of the bar between two attractive but fading blondes who sat waiting for him to say something. But he said nothing; he had been silent during much of the evening, except now in this private club in Beverly Hills he seemed even more distant, staring out through the smoke and semidarkness into a large room beyond the bar where dozens of young couples sat huddled around small tables or twisted in the center of the floor to the clamorous clang of folk-rock music blaring from the stereo. The two blondes knew, as did Sinatra's four male friends who stood nearby, that it was a bad idea to force conversation upon him when he was in this mood of sullen silence, a mood that had hardly been uncommon during this first week of November, a month before his fiftieth birthday. Sinatra had been working in a film that he now disliked, could not wait to finish; he was tired of all the publicity attached to his dating the twenty-year-old Mia Farrow, who was not in sight tonight; he was angry that a CBS television documentary of his life, to be shown in two weeks, was reportedly prying into his privacy, even speculating on his possible friendship with Mafia leaders; he was worried about his starring role in an hour-long NBC show entitled Sinatra- A Man And His Music, which would require that he sing eighteen songs with a voice that at this particular moment, just a few nights before the taping was to begin, was weak and sore and uncertain. Sinatra was ill. He was the victim of an ailment so common that most people would consider it trivial. But when it gets to Sinatra it can plunge him into a state of anguish, deep depression, panic, even rage. Frank Sinatra had a cold. Sinatra with a cold is Picasso without paint, Ferrari without fuel -only worse. For the common cold robs Sinatra of that uninsurable jewel, his voice, cutting into the core of his confidence, and it affects not only his own psyche but also seems to cause a kind of psychosomatic nasal drip within dozens of people who work for him, drink with him, love him, depend on him for their own welfare and stability. A Sinatra with a cold can, in a small way, send vibrations through the entertainment industry and beyond as surely as a President of the United States, suddenly sick, can shake the national economy. For Frank Sinatra was now involved with many things involving many people-his own film company, his record company, his private airline, his missile-parts firm, his real-estate holdings across the nation, his personal staff of seventy-five-which are only a portion of the power he is and has come to represent. He seemed now to be also the embodiment of the fully emancipated male, perhaps the only one in America, the man who can do anything he wants, anything, can do it because he has the money, the energy, and no apparent guilt. In an age when the very young seem to be taking over, protesting and picketing and demanding change, Frank Sinatra survives as a national phenomenon, one of the few prewar products to withstand the test of time. He is the champ who made the big comeback, the man who had everything, lost it, then got it back, letting nothing stand in his way, doing what few men can do: he uprooted his life, left his family, broke with everything that was familiar, learning in the process that one way to hold a woman is not to hold her. Now he has the affection of Nancy and Ava and Mia, the fine female produce of three generations, and still has the adoration his children, the freedom of a bachelor, he does not feel old, he makes old men feel young, makes them think that if Frank Sinatra can do it, it can be done; not that they could do it, but it is still nice for other men to know, at fifty, that it can be done. But now, standing at this bar in Beverly Hills, Sinatra had a cold, and he continued to drink quietly and he seemed miles away in his private world, not even reacting when suddenly the stereo in the other room switched to a Sinatra song, In the Wee Small Hours of the Morning. It is a lovely ballad that he first recorded ten years ago, and it now inspired many young couples who had been sitting, tired of twisting, to get up and move slowly around the dance floor, holding one another very close. Sinatra's intonation, precisely clipped, yet full and flowing, gave a deeper meaning to the simple Iyrics-"In the wee small hours of the morning/while the whole wide world is fast asleep/you lie awake, and think about the girl .."-it was, like so many of his classics, a song that evoked loneliness and sensuality, and when blended with the dim light and the alcohol and nicotine and late-night needs, it became a kind of airy aphrodisiac. Undoubtedly the words from this song, and others like it, had put millions in the mood, it was music to make love by, and doubtless much love had been made by it all over America at night in cars, while the batteries burned down, in cottages by the lake, on beaches during balmy summer evenings, in secluded parks and exclusive penthouses and furnished rooms, in cabin cruisers and cabs and cabanas-in all places where Sinatra's songs could be heard were these words that warmed women, wooed and won them, snipped the final thread of inhibition and gratified the male egos of ungrateful lovers; two generations of men had been the beneficiaries of such ballads, for which they were eternally in his debt, for which they may eternally hate him. Nevertheless here he was, the man himself, in the early hours of the morning in Beverly Hills, out of range. The two blondes, who seemed to be in their middle thirties, were preened and polished, their matured bodies softly molded within tight dark suits. They sat, legs crossed, perched on the high bar stools. They listened to the music. Then one of them pulled out a Kent and Sinatra quickly placed his gold lighter under it and she held his hand, looked at his fingers: they were nubby and raw, and the pinkies protruded, being so stiff from arthritis that he could barely bend them. He was, as usual, immaculately dressed. He wore an oxford-grey suit with a vest, a suit conservatively cut on the outside but trimmed with flamboyant silk within; his shoes, British, seemed to be shined even on the bottom of the soles. He also wore, as everybody seemed to know, a remarkably convincing black hairpiece, one of sixty that he owns, most of them under the care of an inconspicuous little grey-haired lady who, holding his hair in a tiny satchel, follows him around whenever he performs. She earns $400 a week. The most distinguishing thing about Sinatra's face are his eyes, clear blue and alert, eyes that within seconds can go cold with anger, or glow with affection, or, as now, reflect a vague detachment that keeps his friends silent and distant. Leo Durocher, one of Sinatra's closest friends, was now shooting pool in the small room behind the bar. Standing near the door was Jim Mahoney, Sinatra's press agent, a somewhat chunky young man with a square jaw and narrow eyes who would resemble a tough Irish plainclothesman if it were not for the expensive continental suits he wears and his exquisite shoes often adorned with polished buckles. Also nearby was a big, broad-shouldered two-hundred-pound actor named Brad Dexter who seemed always to be thrusting out his chest so that his gut would not show. Brad Dexter has appeared in several films and television shows, displaying fine talents as a character actor, but in Beverly Hills he is equally known for the role he played in Hawaii two years ago when he swam a few hundred yards and risked his life to save Sinatra from drowning in a riptide. Since then Dexter has been one of Sinatra's constant companions and has been made a producer in Sinatra's film company. He occupies a plush office near Sinatra's executive suite. He is endlessly searching for literary properties that might be converted into new starring roles for Sinatra. Whenever he is among strangers with Sinatra he worries because he knows that Sinatra brings out the best and worst in people-some men will become aggressive, some women will become seductive, others will stand around skeptically appraising him, the scene will be somehow intoxicated by his mere presence, and maybe Sinatra himself, if feeling as badly as he was tonight, might become intolerant or tense, and then: headlines. So Brad Dexter tries to anticipate danger and warn Sinatra in advance. He confesses to feeling very protective of Sinatra, admitting in a recent moment of self-revelation: "I'd kill for him." While this statement may seem outlandishly dramatic, particularly when taken out of context, it nonetheless expresses a fierce fidelity that is quite common within Sinatra's special circle. It is a characteristic that Sinatra, without admission, seems to prefer: ALL The Way; All Or Nothing At All. This is the Sicilian in Sinatra; he permits his friends, if they wish to remain that, none of the easy Anglo-Saxon outs. But if they remain loyal, then there is nothing Sinatra will not do in turn-fabulous gifts, personal kindnesses, encouragement when they're down, adulation when they're up. They are wise to remember, however, one thing. He is Sinatra. The boss. Il Padrone. I had seen something of this Sicilian side of Sinatra last summer at Jilly's saloon in New York, which was the only other time I'd gotten a close view of him prior to this night in this California club. Jilly's, which is on West Fifty-second Street in Manhattan, is where Sinatra drinks whenever he is in New York, and there is a special chair reserved for him in the back room against the wall that nobody else may use. When he is occupying it, seated behind a long table flanked by his closest New York friend who include the saloonkeeper, Jilly Rizzo, and Jilly's azure-haired wife, Honey, who is known as the "Blue Jew"-a rather strange ritualistic scene develops. That night dozens of people, some of them casual friends of Sinatra's, some mere acquaintances, some neither, appeared out side of Jilly's saloon. They approached it like a shrine. They had come to pay respect. They were from New York, Brooklyn, Atlantic City, Hoboken. They were old actors, young actors, former prize fighters, tired trumpet players, politicians, a boy with a cane. There was a fat lady who said she remembered Sinatra when he used to throw the Jersey Observer onto her front porch in 1933. There were middle-aged couples who said they had heard Sinatra sing at the Rustic Cabin in 1938 and "We knew then that he really had it!" Or they had heard him when he was with Harry James's band in 1939, or with Tommy Dorsey in 1941 ("Yeah, that's the song, I'll Never Smile Again-he sang it one night in this dump near Newark and we danced ..."); or they remembered that time at the Paramount with the swooners, and him with those bow ties, The Voice; and one woman remembered that awful boy she knew then-Alexander Dorogokupetz, an eighteen-year-old heckler who had thrown a tomato at Sinatra and the bobby-soxers in the balcony had tried to flail him to death. Whatever became of Alexander Dorogokupetz? The lady did not know. And they remembered when Sinatra was a failure and sang trash like Mairzy Doats, and they remembered his comeback and on this night they were all standing outside Jilly's saloon, dozens of them, but they could not get in. So some of them left. But most of them stayed, hoping that soon they might be able to push or wedge their way into Jilly's between the elbows and backsides of the men drinking three-deep at the bar, and they might be able to peek through and see him sitting back there. This is all they really wanted; they wanted to see him. And for a few moments they gazed in silence through the smoke and they stared. Then they turned, fought their way out of the bar, went home. Some of Sinatra's close friends, all of whom are known to the men guarding Jilly's door, do manage to get an escort into the back room. But once they are there they, too, must fend for themselves. On the particular evening, Frank Gifford, the former football player, got only seven yards in three tries. Others who had somehow been close enough to shake Sinatra's hand did not shake it; instead they just touched him on the shoulder or sleeve, or they merely stood close enough for him to see them and, after he'd given them a wink of recognition or a wave or a nod or called out their names (he has a fantastic memory for first names), they would then turn and leave. They had checked in. They had paid their respects. And as I watched this ritualistic scene, I got the impression that Frank Sinatra was dwelling simultaneously in two worlds that were not contemporary. On the one hand he is the swinger-as he is when talking and joking with Sammy Davis, Jr., Richard Conte, Liza Minelli, Bernice Massi, or any of the other show-business people who get to sit at the table; on the other, as when he is nodding or waving to his paisanos who are close to him (Al Silvani, a boxing manager who works with Sinatra's film company; Dominic Di Bona, his wardrobe man; Ed Pucci, a 300-pound former football lineman who is his aide-de-camp), Frank Sinatra is Il Padrone. Or better still, he is what in traditional Sicily have long been called uomini rispettati - men of respect: men who are both majestic and humble, men who are loved by all and are very generous by nature, men whose hands are kissed as they walk from village to village, men who would personally go out of their way to redress a wrong. Frank Sinatra does things personally. At Christmas time, he will personally pick dozens of presents for his close friends and family, remembering the type of jewelry they like, their favorite colors, the sizes of their shirt and dresses. When a musician friend's house was destroyed and his wife was killed in a Los Angeles mud slide a little more than a year ago, Sinatra personally came to his aid, finding the musician a new home, paying whatever hospital bills were left unpaid by the insurance, then personally supervising the furnishing of the new home down to the replacing of the silver ware, the linen, the purchase of new clothing. The same Sinatra who did this can, within the same hour, explode in a towering rage of intolerance should a small thing be incorrectly done for him by one of his paisanos. For example, when one of his men brought him a frankfurter with catsup on it, which Sinatra apparently abhors, he angrily threw the bottle at the man, splattering catsup all over him. Most of the men who work around Sinatra are big. But this never seems to intimidate Sinatra nor curb his impetuous behavior with them when he is mad. They will never take a swing back at him. He is II Padrone. At other times, aiming to please, his men will overreact to his desires: when he casually observed that his big orange desert jeep in Palm Springs seemed in need of a new painting, the word was swiftly passed down through channels, becoming ever more urgent as it went, until finally it was a command that the jeep be painted now, immediately, yesterday. To accomplish this would require the hiring of a special crew of painters to work all night, at overtime rates; which, in turn, meant that the order had to be bucked back up the line for further approval. When it finally got back to Sinatra's desk, he did not know what it was all about; after he had figured it out he confessed, with a tired look on his face, that he did not care when the hell they painted his jeep. Yet it would have been unwise for anyone to anticipate his reaction, for he is a wholly unpredictable man of many moods and great dimension, a man who responds instantaneously to instinct-suddenly , dramatically, wildly he responds, and nobody can predict what will follow. A young lady named Jane Hoag, a reporter at Life's Los Angeles bureau who had attended the same school as Sinatra's daughter, Nancy, had once been invited to a party at Mrs. Sinatra's California home at which Frank Sinatra, who maintains very cordial relations with his former wife, acted as host. Early in the party Miss Hoag, while leaning against a table, accidentally with her elbow knocked over one of a pair of alabaster birds to the floor, smashing it to pieces. Suddenly, Miss Hoag recalled, Sinatra's daughter cried, "Oh, that was one of mother's favorite ..."-but before she could complete the sentence, Sinatra glared at her, cutting her off, and while forty other guests in the room all stared in silence, Sinatra walked over, quickly with his finger flicked the other alabaster bird off the table, smashing it to pieces, and then put an arm gently around Jane Hoag and said, in a way that put her completely at ease, "That's okay, kid." NOW SINATRA said a few words to the blondes. Then he turned from the bar and began to walk toward the poolroom. One of Sinatra's other men friends moved in to keep the girls company. Brad Dexter, who had been standing in the corner talking to some other people, now followed Sinatra. The room cracked with the clack of billiard balls. There were about a dozen spectators in the room, most of them young men who were watching Leo Durocher shoot against two other aspiring hustlers who were not very good. This private drinking club has among its membership many actors, directors, writers, models, nearly all of them a good deal younger than Sinatra or Durocher and much more casual in the way they dress for the evening. Many of the young women, their long hair flowing loosely below their shoulders, wore tight, fanny-fitting Jax pants and very expensive sweaters; and a few of the young men wore blue or green velour shirts with high collars and narrow tight pants, and Italian loafers. It was obvious from the way Sinatra looked at these people in the poolroom that they were not his style, but he leaned back against a high stool that was against the wall, holding his drink in his right hand, and said nothing, just watched Durocher slam the billiard balls back and forth. The younger men in the room, accustomed to seeing Sinatra at this club, treated him without deference, although they said nothing offensive. They were a cool young group, very California-cool and casual, and one of the coolest seemed to be a little guy, very quick of movement, who had a sharp profile, pale blue eyes, blondish hair, and squared eyeglasses. He wore a pair of brown corduroy slacks, a green shaggy-dog Shetland sweater, a tan suede jacket, and Game Warden boots, for which he had recently paid $60. Frank Sinatra, leaning against the stool, sniffling a bit from his cold, could not take his eyes off the Game Warden boots. Once, after gazing at them for a few moments, he turned away; but now he was focused on them again. The owner of the boots, who was just standing in them watching the pool game, was named Harlan Ellison, a writer who had just completed work on a screenplay, The Oscar. Finally Sinatra could not contain himself. "Hey," he yelled in his slightly harsh voice that still had a soft, sharp edge. "Those Italian boots?" "No," Ellison said. "Spanish?" "No." "Are they English boots?" "Look, I donno, man," Ellison shot back, frowning at Sinatra, then turning away again. Now the poolroom was suddenly silent. Leo Durocher who had been poised behind his cue stick and was bent low just froze in that position for a second. Nobody moved. Then Sinatra moved away from the stool and walked with that slow, arrogant swagger of his toward Ellison, the hard tap of Sinatra's shoes the only sound in the room. Then, looking down at Ellison with a slightly raised eyebrow and a tricky little smile, Sinatra asked: "You expecting a storm?" Harlan Ellison moved a step to the side. "Look, is there any reason why you're talking to me?" "I don't like the way you're dressed," Sinatra said. "Hate to shake you up," Ellison said, "but I dress to suit myself." Now there was some rumbling in the room, and somebody said, "Com'on, Harlan, let's get out of here," and Leo Durocher made his pool shot and said, "Yeah, com'on." But Ellison stood his ground. Sinatra said, "What do you do?" "I'm a plumber," Ellison said. "No, no, he's not," another young man quickly yelled from across the table. "He wrote The Oscar." "Oh, yeah," Sinatra said, "well I've seen it, and it's a piece of crap." "That's strange," Ellison said, "because they haven't even released it yet." "Well, I've seen it," Sinatra repeated, "and it's a piece of crap." Now Brad Dexter, very anxious, very big opposite the small figure of Ellison, said, "Com'on, kid, I don't want you in this room." "Hey," Sinatra interrupted Dexter, "can't you see I'm talking to this guy?" Dexter was confused. Then his whole attitude changed, and his voice went soft and he said to Ellison, almost with a plea, "Why do you persist in tormenting me?" The whole scene was becoming ridiculous, and it seemed that Sinatra was only half-serious, perhaps just reacting out of sheer boredom or inner despair; at any rate, after a few more exchanges Harlan Ellison left the room. By this time the word had gotten out to those on the dance floor about the Sinatra-Ellison exchange, and somebody went to look for the manager of the club. But somebody else said that the manager had already heard about it - and had quickly gone out the door, hopped in his car and drove home. So the assistant manager went into the poolroom. "I don't want anybody in here without coats and ties," Sinatra snapped. The assistant manager nodded, and walked back to his office. IT WAS the morning after. It was the beginning of another nervous day for Sinatra's press agent, Jim Mahoney. Mahoney had a headache, and he was worried but not over the Sinatra-Ellison incident of the night before. At the time Mahoney had been with his wife at a table in the other room, and possibly he had not even been aware of the little drama. The whole thing had lasted only about three minutes. And three minutes after it was over, Frank Sinatra had probably forgotten about it for the rest of his life-as Ellison will probably remember it for the rest of his life: he had had, as hundreds of others before him, at an unexpected moment between darkness and dawn, a scene with Sinatra. It was just as well that Mahoney had not been in the poolroom; he had enough on his mind today. He was worried about Sinatra's cold and worried about the controversial CBS documentary that, despite Sinatra's protests and withdrawal of permission, would be shown on television in less than two weeks. The newspapers this morning were full of hints that Sinatra might sue the network, and Mahoney's phones were ringing without pause, and now he was plugged into New York talking to the Daily News's Kay Gardella, saying: "... that's right, Kay ... they made a gentleman's agreement to not ask certain questions about Frank's private life, and then Cronkite went right ahead: 'Frank, tell me about those associations.' That question, Kay - out! That question should never have been asked...." As he spoke, Mahoney leaned back in his leather chair, his head shaking slowly. He is a powerfully built man of thirty-seven; he has a round, ruddy face, a heavy jaw, and narrow pale eyes, and he might appear pugnacious if he did not speak with such clear, soft sincerity and if he were not so meticulous about his clothes. His suits and shoes are superbly tailored, which was one of the first things Sinatra noticed about him, and in his spacious office opposite the bar is a red-muff electrical shoe polisher and a pair of brown wooden shoulders on a stand over which Mahoney can drape his jackets. Near the bar is an autographed photograph of President Kennedy and a few pictures of Frank Sinatra, but there are none of Sinatra in any other rooms in Mahoney's public-relations agency; there once was a large photograph of him hanging in the reception room but this apparently bruised the egos of some of Mahoney's other movie-star clients and, since Sinatra never shows up at the agency anyway, the photograph was removed. Still, Sinatra seems ever present, and if Mahoney did not have legitimate worries about Sinatra, as he did today, he could invent them - and, as worry aids, he surrounds himself with little mementos of moments in the past when he did worry. In his shaving kit there is a two-year-old box of sleeping tablets dispensed by a Reno druggist - the date on the bottle marks the kidnapping of Frank Sinatra, Jr. There is on a table in Mahoney's office a mounted wood reproduction of Frank Sinatra's ransom note written on the aforementioned occasion. One of Mahoney's mannerisms, when he is sitting at his desk worrying, is to tinker with the tiny toy train he keeps in front of him-the train is a souvenir from the Sinatra film, Von Ryan's Express; it is to men who are close to Sinatra what the PT-109 tie clasps are to men who were close to Kennedy-and Mahoney then proceeds to roll the little train back and forth on the six inches of track; back and forth, back and forth, click-clack click-clack. It is his Queeg-thing. Now Mahoney quickly put aside the little train. His secretary told him there was a very important call on the line. Mahoney picked it up, and his voice was even softer and more sincere than before. "Yes, Frank," he said. "Right ... right ... yes, Frank...." When Mahoney put down the phone, quietly, he announced that Frank Sinatra had left in his private jet to spend the weekend at his home in Palm Springs, which is a sixteen-minute flight from his home in Los Angeles. Mahoney was now worried again. The Lear jet that Sinatra's pilot would be flying was identical, Mahoney said, to the one that had just crashed in another part of California. Frank Sinatra Has a Cold, by Gay Talese Part Two of Four Kindly provided by Rebecca Pranger. This originally appeared in Esquire magazine, April 1966. ON THE following Monday, a cloudy and unseasonably cool California day, more than one hundred people gathered inside a white television studio, an enormous room dominated by a white stage, white walls, and with dozens of lights and lamps dangling: it rather resembled a gigantic operating room. In this room, within an hour or so, NBC was scheduled to begin taping a one-hour show that would be televised in color on the night of November 24 and would highlight, as much as it could in the limited time, the twenty-five-year career of Frank Sinatra as a public entertainer. It would not attempt to probe, as the forthcoming CBS Sinatra documentary allegedly would, that area of Sinatra's life that he regards as private. The NBC show would be mainly an hour of Sinatra singing some of the hits that carried him from Hoboken to Hollywood, a show that would be interrupted only now and then by a few film clips and commercials for Budweiser beer. Prior to his cold, Sinatra had been very excited about this show; he saw here an opportunity to appeal not only to those nostalgic, but also to communicate his talent to some rock-and-rollers-in a sense, he was battling The Beatles. The press releases being prepared by Mahoney's agency stressed this, reading: "If you happen to be tired of kid singers wearing mops of hair thick enough to hide a crate of melons ... it should be refreshing to consider the entertainment value of a video special titled Sinatra -A Man And His Music...." But now in this NBC studio in Los Angeles, there was an atmosphere of anticipation and tension because of the uncertainty of the Sinatra voice. The forty-three musicians in Nelson Riddle's orchestra had already arrived and some were up on the white platform warming up. Dwight Hemion, a youthful sandy-haired director who had won praise for his television special on Barbra Streisand, was seated in the glass-enclosed control booth that overlooked the orchestra and stage. The camera crews, technical teams, security guards, Budweiser ad men were also standing between the floor lamps and cameras, waiting, as were a dozen or so ladies who worked as secretaries in other parts of the building but had sneaked away so they could watch this. A few minutes before eleven o'clock, word spread quickly through the long corridor into the big studio that Sinatra was spotted walking through the parking lot and was on his way, and was looking fine. There seemed great relief among the group that was gathered; but when the lean, sharply dressed figure of the man got closer, and closer, they saw to their dismay that it was not Frank Sinatra. It was his double. Johnny Delgado. Delgado walks like Sinatra, has Sinatra's build, and from certain facial angles does resemble Sinatra. But he seems a rather shy individual. Fifteen years ago, early in his acting career, Delgado applied for a role in From Here To Eternity. He was hired, finding out later that he was to be Sinatra's double. In Sinatra's latest film, Assault on a Queen, a story in which Sinatra and some fellow conspirators attempt to hijack the Queen Mary, Johnny Delgado doubles for Sinatra in some water scenes; and now, in this NBC studio, his job was to stand under the hot television lights marking Sinatra's spots on the stage for the camera crews. Five minutes later, the real Frank Sinatra walked in. His face was pale, his blue eyes seemed a bit watery. He had been unable to rid himself of the cold, but he was going to try to sing anyway because the schedule was tight and thousands of dollars were involved at this moment in the assembling of the orchestra and crews and the rental of the studio. But when Sinatra, on his way to his small rehearsal room to warm up his voice, looked into the studio and saw that the stage and orchestra's platform were not close together, as he had specifically requested, his lips tightened and he was obviously very upset. A few moments later, from his rehearsal room, could be heard the pounding of his fist against the top of the piano and the voice of his accompanist, Bill Miller, saying, softly, "Try not to upset yourself, Frank." Later Jim Mahoney and another man walked in, and there was talk of Dorothy Kilgallen's death in New York earlier that morning. She had been an ardent foe of Sinatra for years, and he became equally uncomplimentary about her in his nightclub act, and now, though she was dead, he did not compromise his feelings. "Dorothy Kilgallen's dead," he repeated, walking out of the room toward the studio. "Well, guess I got to change my whole act." When he strolled into the studio the musicians all picked up their instruments and stiffened in their seats. Sinatra cleared his throat a few times and then, after rehearsing a few ballads with the orchestra, he sang "Don't Worry About Me" to his satisfaction and, being uncertain of how long his voice could last, suddenly became impatient. "Why don't we tape this mother?" he called out, looking up toward the glass booth where the director, Dwight Hemion, and his staff were sitting. Their heads seemed to be down, focusing on the control board. "Why don't we tape this mother?" Sinatra repeated. The production stage manager, who stands near the camera wearing a headset, repeated Sinatra's words exactly into his line to the control room: "Why don't we tape this mother?" Hemion did not answer. Possibly his switch was off. It was hard to know because of the obscuring reflections the lights made against the glass booth. "Why don't we put on a coat and tie," said Sinatra, then wearing a high-necked yellow pullover, "and tape this...." Suddenly Hemion's voice came over the sound amplifier, very calmly: "Okay, Frank, would you mind going back over...." "Yes I would mind going back," Sinatra snapped. The silence from Hemion's end, which lasted a second or two, was then again interrupted by Sinatra saying, "When we stop doing things around here the way we did them in 1960, maybe we ..." and Sinatra continued to tear into Hemion, condemning as well the lack of modern techniques in putting such shows together; then, possibly not wanting to use his voice unnecessarily, he stopped. And Dwight Hemion, very patient, so patient and calm that one would assume he had not heard anything that Sinatra had just said, outlined the opening part of the show. And Sinatra a few minutes later was reading his opening remarks, words that would follow "Without a Song," off the large idiot-cards being held near the camera. Then, this done, he prepared to do the same thing on camera. "Frank Sinatra Show, Act I, Page 10, Take 1," called a man with a clapboard, jumping in front of the camera--clap--then jumping away again. "Did you ever stop to think," Sinatra began, "what the world would be like without a song? ... It would be a pretty dreary place.... Gives you something to think about, doesn't it? ..." Sinatra stopped. "Excuse me," he said, adding, "Boy, I need a drink." They tried it again. "Frank Sinatra Show, Act I, Page 10, Take 2," yelled the jumping guy with the clapboard. "Did you ever stop to think what the world would be like without a song? ... " Frank Sinatra read it through this time without stopping. Then he rehearsed a few more songs, once or twice interrupting the orchestra when a certain instrumental sound was not quite what he wanted. It was hard to tell how well his voice was going to hold up, for this was early in the show; up to this point, however, everybody in the room seemed pleased, particularly when he sung an old sentimental favorite written more than twenty years ago by Jimmy Van Heusen and Phil Silvers - Nancy, inspired by the first of Sinatra's three children when she was just a few years old. "If I don't see her each day I miss her ... Gee what a thrill Each time l kiss her ... " As Sinatra sang these words, though he has sung them hundreds and hundreds of times in the past, it was suddenly obvious to everybody in the studio that something quite special must be going on inside the man, because something quite special was coming out. He was singing now, cold or no cold, with power and warmth, he was letting himself go, the public arrogance was gone, the private side was in this song about the girl who, it is said, understands him better than anybody else, and is the only person in front of whom he can be unashamedly himself. Nancy is twenty-five. She lives alone, her marriage to singer Tommy Sands having ended in divorce. Her home is in a Los Angeles suburb and she is now making her third film and is recording for her father's record company. She sees him everyday; or, if not, he telephones, no matter if it be from Europe or Asia. When Sinatra's singing first became popular on radio, stimulating the swooners, Nancy would listen at home and cry. When Sinatra's first marriage broke up in 1951 and he left home, Nancy was the only child old enough to remember him as a father. She also saw him with Ava Gardner, Juliet Prowse, Mia Farrow, many others, has gone on double dates with him.... "She takes the winter And makes it summer ... Summer could take Some lessons from her ..." Nancy now also sees him visiting at home with his first wife, the former Nancy Barbato, a plasterer's daughter from Jersey City whom he married in 1939 when he was earning $25 a week singing at the Rustic Cabin near Hoboken. The first Mrs. Sinatra, a striking woman who has never remarried ("When you've been married to Frank Sinatra ..." she once explained to a friend), lived in a magnificent home in Los Angeles with her younger daughter, Tina, who is seventeen. There is no bitterness, only great respect and affection between Sinatra and his first wife, and he has long been welcome in her home and has even been known to wander in at odd hours, stoke the fire, lie on the sofa and fall asleep. Frank Sinatra can fall asleep anywhere, something he learned when he used to ride bumpy roads with band buses; he also learned at that time, when sitting in a tuxedo, how to pinch the trouser creases in the back and tuck the jacket under and out, and fall asleep perfectly pressed. But he does not ride buses anymore, and his daughter Nancy, who in her younger days felt rejected when he slept on the sofa instead of giving attention to her, later realized that the sofa was one of the few places left in the world where Frank Sinatra could get any privacy, where his famous face would neither be stared at nor cause an abnormal reaction in others. She realized, too, that things normal have always eluded her father: his childhood was one of loneliness and a drive toward attention, and since attaining it he has never again been certain of solitude. Upon looking out the window of a home he once owned in Hasbrouck Heights, New Jersey, he would occasionally see the faces of teen-agers peeking in; and in 1944, after moving to California and buying a home behind a ten-foot fence on Lake Toluca, he discovered that the only way to escape the telephone and other intrusions was to board his paddle boat with a few friends, a card table and a case of beer, and stay afloat all afternoon. But he has tried, insofar as it has been possible, to be like everyone else, Nancy says. He wept on her wedding day, he is very sentimental and sensitive... WHAT THE HELL are you doing up there, Dwight? Silence from the control booth. "Got a party or something going on up there, Dwight." Sinatra stood on the stage, arms folded, glaring up across the cameras toward Hemion. Sinatra had sung Nancy with probably all he had in his voice on this day. The next few numbers contained raspy notes, and twice his voice completely cracked. But now Hemion was in the control booth out of communication; then he was down in the studio walking over to where Sinatra stood. A few minutes later they both left the studio and were on the way up to the control booth. The tape was replayed by Sinatra. He watched only about five minutes of it before he started to shake his head. Then he said to Hemion: "Forget it, just forget it. You're wasting your time. What you got there," Sinatra said, nodding to the singing image of himself on the television screen, "is a man with a cold." Then he left the control booth, ordering that the whole day's performance be scrubbed and future taping postponed until he had recovered. SOON THE WORD spread like an emotional epidemic down through Sinatra's staff, then fanned out through Hollywood, then was heard across the nation in Jilly's saloon, and also on the other side of the Hudson River in the homes of Frank Sinatra's parents and his other relatives and friends in New Jersey. When Frank Sinatra spoke with his father on the telephone and said he was feeling awful, the elder Sinatra reported that he was also feeling awful: that his left arm and fist were so stiff with a circulatory condition he could barely use them, adding that the ailment might be the result of having thrown too many left hooks during his days as a bantamweight almost fifty years ago. Martin Sinatra, a ruddy and tattooed little blue-eyed Sicilian born in Catania, boxed under the name of "Marty O'Brien." In those days, in those places, with the Irish running the lower reaches of city life, it was not uncommon for Italians to wind up with such names. Most of the Italians and Sicilians who migrated to America just prior to the 1900's were poor and uneducated, were excluded from the building-trades unions dominated by the Irish, and were somewhat intimidated by the Irish police, Irish priests, Irish politicians. One notable exception was Frank Sinatra's mother, Dolly, a large and very ambitious woman who was brought to this country at two months of age by her mother and father, a lithographer from Genoa. In labor years Dolly Sinatra, possessing a round red face and blue eyes, was often mistaken for being Irish, and surprised many at the speed with which she swung her heavy handbag at any one uttering "Wop." By playing skillful politics with North Jersey's Democratic machine, Dolly Sinatra was to become, in her heyday, a kind of Catherine de Medici of Hoboken's third ward. She could always be counted upon to deliver six hundred votes at election time from her Italian neighborhood, and this was her base of power. When she told one of the politicians that she wanted her husband to be appointed to the Hoboken Fire Department, and was told, "But, Dolly, we don't have an opening," she snapped, "Make an opening." They did. Years later she requested that her husband be made a captain, and one day she got a call from one of the political bosses that began, "Dolly, congratulations!" "For what?" "Captain Sinatra." "Oh, you finally made him one-thank you very much." Then she called the Hoboken Fire Department. "Let me speak to Captain Sinatra," she said. The fireman called Martin Sinatra to the phone, saying, "Marty, I think your wife has gone nuts." When he got on the line, Dolly greeted him: "Congratulations, Captain Sinatra!" Dolly's only child, christened Francis Albert Sinatra, was born and nearly died on December 12, 1916. It was a difficult birth, and during his first moment on earth he received marks he will carry till death-the scars on the left side of his neck being the result of a doctor's clumsy forceps, and Sinatra has chosen not to obscure them with surgery. After he was six months old, he was reared mainly by his grandmother. His mother had a full-time job as a chocolate dipper with a large firm and was so proficient at it that the firm once offered to send her to the Paris office to train others. While some people in Hoboken remember Frank Sinatra as a lonely child, one who spent many hours on the porch gazing into space, Sinatra was never a slum kid, never in jail, always well-dressed. He had so many pants that some people in Hoboken called him "Slacksey O'Brien." Dolly Sinatra was not the sort of Italian mother who could be appeased merely by a child's obedience and good appetite. She made many demands on her son, was always very strict. She dreamed of his becoming an aviation engineer. When she discovered Bing Crosby pictures hanging on his bedroom walls one evening, and learned that her son wished to become a singer too, she became infuriated and threw a shoe at him. Later, finding she could not talk him out of it - "he takes after me"-she encouraged his singing. Many Italo-American boys of his generation were then shooting for the same star-they were strong with song, weak with words, not a big novelist among them: no O'Hara, no Bellow, no Cheever, nor Shaw; yet they could communicate bel canto. This was more in their tradition, no need for a diploma; they could, with a song, someday see their names in lights ... Perry Como ... Frankie Laine ... Tony Bennett ... Vic Damone ... but none could see it better than Frank Sinatra. Though he sang through much of the night at the Rustic Cabin, he was up the next day singing without a fee on New York radio to get more attention. Later he got a job singing with Harry James's band, and it was there in August of 1939 that Sinatra had his first recording hit-All or Nothing at All. He became very fond of Harry James and the men in the band, but when he received an offer from Tommy Dorsey, who in those days had probably the best band in the country, Sinatra took it; the job paid $126 a week, and Dorsey knew how to feature a vocalist. Yet Sinatra was very depressed at leaving James's band, and the final night with them was so memorable that, twenty years later, Sinatra could recall the details to a friend: "... the bus pulled out with the rest of the boys at about half-past midnight. I'd said good-bye to them all, and it was snowing, I remember. There was nobody around and I stood alone with my suitcase in the snow and watched the taillights disappear. Then the tears started and I tried to run after the bus. There was such spirit and enthusiasm in that band, I hated leaving it..." But he did-as he would leave other warm places, too, in search of something more, never wasting time, trying to do it all in one generation, fighting under his own name, defending underdogs, terrorizing top dogs. He threw a punch at a musician who said something anti-Semitic, espoused the Negro cause two decades before it became fashionable. He also threw a tray of glasses at Buddy Rich when he played the drums too loud. Sinatra gave away $50,000 worth of gold cigarette lighters before he was thirty, was living an immigrant's wildest dream of America. He arrived suddenly on the scene when DiMaggio was silent, when paisanos were mournful, were quietly defensive about Hitler in their homeland. Sinatra became, in time, a kind of one-man Anti-Defamation League for Italians in America, the sort of organization that would be unlikely for them because, as the theory goes, they rarely agreed on anything, being extreme individualists: fine as soloists, but not so good in a choir; fine as heroes, but not so good in a parade. When many Italian names were used in describing gangsters on a television show, The Untouchables, Sinatra was loud in his disapproval. Sinatra and many thousands of other Italo-Americans were resentful as well when a small-time hoodlum, Joseph Valachi, was brought by Bobby Kennedy into prominence as a Mafia expert, when indeed, from Valachi's testimony on television, he seemed to know less than most waiters on Mulberry Street. Many Italians in Sinatra's circle also regard Bobby Kennedy as something of an Irish cop, more dignified than those in Dolly's day, but no less intimidating. Together with Peter Lawford, Bobby Kennedy is said to have suddenly gotten "cocky" with Sinatra after John Kennedy's election, forgetting the contribution Sinatra had made in both fund raising and in influencing many anti-Irish Italian votes. Lawford and Bobby Kennedy are both suspected of having influenced the late President's decision to stay as a house guest with Bing Crosby, instead of Sinatra, as originally planned, a social setback Sinatra may never forget. Peter Lawford has since been drummed out of Sinatra's "summit" in Las Vegas. "Yes, my son is like me," Dolly Sinatra says, proudly. "You cross him, he never forgets." And while she concedes his power, she quickly points out, "He can't make his mother do anything she doesn't want to do," adding, "Even today, he wears the same brand of underwear I used to buy him." Today Dolly Sinatra is seventy-one years old, a year or two younger than Martin, and all day long people are knocking on the back door of her large home asking her advice, seeking her influence. When she is not seeing people and not cooking in the kitchen, she is looking after her husband, a silent but stubborn man, and telling him to keep his sore left arm resting on the sponge she has placed on the armrest of a soft chair. "Oh, he went to some terrific fires, this guy did," Dolly said to a visitor, nodding with admiration toward her husband in the chair. Though Dolly Sinatra has eighty-seven godchildren in Hoboken, and still goes to that city during political campaigns, she now lives with her husband in a beautiful sixteen-room house in Fort Lee, New Jersey. This home was a gift from their son on their fiftieth wedding anniversary three years ago. The home is- tastefully furnished and is filled with a remarkable juxtaposition of the pious and the worldly-photographs of Pope John and Ava Gardner, of Pope Paul and Dean Martin; several statues of saints and holy water, a chair autographed by Sammy Davis, Jr. and bottles of bourbon. In Mrs. Sinatra's jewelry box is a magnificent strand of pearls she had just received from Ava Gardner, whom she liked tremendously as a daughter-in-law and still keeps in touch with and talks about; and hung on the wall is a letter addressed to Dolly and Martin: "The sands of time have turned to gold, yet love continues to unfold like the petals of a rose, in God's garden of life ... may God love you thru all eternity. I thank Him, I thank you for the being of one. Your loving son, Francis...." Mrs. Sinatra talks to her son on the telephone about once a week, and recently he suggested that, when visiting Manhattan, she make use of his apartment on East Seventy-second Street on the East River. This is an expensive neighborhood of New York even though there is a small factory on the block, but this latter fact was seized upon by Dolly Sinatra as a means of getting back at her son for some unflattering descriptions of his childhood in Hoboken. "What - you want me to stay in your apartment, in that dump?" she asked. "You think I'm going to spend the night in that awful neighborhood ?" Frank Sinatra got the point, and said, "Excuse me, Mrs. Fort Lee." After spending the week in Palm Springs, his cold much better, Frank Sinatra returned to Los Angeles, a lovely city of sun and sex, a Spanish discovery of Mexican misery, a star land of little men and lithe women sliding in and out of convertibles in tense tight pants. Sinatra returned in time to see the long-awaited CBS documentary with his family. At about nine p.m. he drove to the home of his former wife, Nancy, and had dinner with her and their two daughters. Their son, whom they rarely see these days, was out of town. Frank, Jr., who is twenty-two, was touring with a band and moving cross country toward a New York engagement at Basin Street East with The Pied Pipers, with whom Frank Sinatra sang when he was with Dorsey's band in the 1940's. Today Frank Sinatra, Jr., whom his father says he named after Franklin D. Roosevelt, lives mostly in hotels, dines each evening in his nightclub dressing room, and sings until two a.m., accepting graciously, because he has no choice, the inevitable comparisons. His voice is smooth and pleasant, and improving with work, and while he is very respectful of his father, he discusses him with objectivity and in an occasional tone of subdued cockiness. Concurrent with his father's early fame, Frank, Jr. said, was the creation of a "press-release Sinatra" designed to "set him apart from the common man, separate him from the realities: it was suddenly Sinatra, the electric magnate, Sinatra who is supernormal, not superhuman, but supernormal. And here," Frank, Jr. continued, "is the great fallacy, the great bullshit, for Frank Sinatra is normal, is the guy whom you'd meet on a street corner. But this other thing, the supernormal guise, has affected Frank Sinatra as much as anybody who watches one of his television shows, or reads a magazine article about him.... "Frank Sinatra's life in the beginning was so normal," he said, "that nobody would have guessed in 1934 that this little Italian kid with the curly hair would become the giant, the monster, the great living legend.... He met my mother one summer on the beach. She was Nancy Barbato, daughter of Mike Barbato, a Jersey City plasterer. And she meets the fireman's son, Frank, one summer day on the beach at Long Branch, New Jersey. Both are Italian, both Roman Catholic, both lower-middle-class summer sweethearts -it is like a million bad movies starring Frankie Avalon.... "They have three children. The first child, Nancy, was the most normal of Frank Sinatra's children. Nancy was a cheerleader, went to summer camp, drove a Chevrolet, had the easiest kind of development centered around the home and family. Next is me. My life with the family is very, very normal up until September of 1958 when, in complete contrast to the rearing of both girls, I am put into a college-preparatory school. I am now away from the inner family circle, and my position within has never been remade to this day.... The third child, Tina. And to be dead honest, I really couldn't say what her life is like...." The CBS show, narrated by Walter Cronkite, began at ten p.m. A minute before that, the Sinatra family, having finished dinner, turned their chairs around and faced the camera, united for whatever disaster might follow. Sinatra's men in other parts of town, in other parts of the nation, were doing the same thing. Sinatra's lawyer, Milton A. Rudin, smoking a cigar, was watching with a keen eye, an alert legal mind. Other sets were watched by Brad Dexter, Jim Mahoney, Ed Pucci; Sinatra's makeup man, "Shotgun" Britton; his New York representative, Henri Gine; his haberdasher, Richard Carroll; his insurance broker, John Lillie; his valet, George Jacobs, a handsome Negro who, when entertaining girls in his apartment, plays records by Ray Charles. And like so much of Hollywood's fear, the apprehension about the CBS show all proved to be without foundation. It was a highly flattering hour that did not deeply probe, as rumors suggested it would, into Sinatra's love life, or the Mafia, or other areas of his private province. While the documentary was not authorized, wrote Jack Gould in the next day's New York Times, "it could have been." Immediately after the show, the telephones began to ring throughout the Sinatra system conveying words of joy and relief- and from New York came Jilly's telegram: "WE RULE THE WORLD!"
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