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Conway Twitty Tell Me One More Time (CD)

Tell Me One More Time (CD)

catalog number: CDFV102

weight in Kg 0,200


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Conway Twitty: Tell Me One More Time (CD)

(2011/Fantastic Voyage) 30 tracks

Country music icon, businessman, theme-park owner and fast-food chain founder, Conway Twitty, also happened to be a rock & roll singer. For some reason, this latter talent has tended to lag behind in the man's career overviews, which is nothing short of a travesty. Good that Conway's country sides from the late sixties onwards are, they don't have the testosterone and the kinetic energy of his MGM recordings from the late fifties. During this shoulder-shakin' stage of his career, the man had fire in his belly, ambition in his eyes, and hope in his heart. He could roar like the lion on the MGM crest head, and he couldn't get enough of the rock & roll stuff that drove his desires. What follows is the cream of Conway Twitty's Metro Goldwyn crop, all of which was captured on tape at the Owen Bradley studio in Nashville twenty-eight month period beginning in May 1958.

01. Tell Me One More Time
(Conway Twitty, Jack Nance) Warner Chappell Music Ltd. MGM K12918 (August 1960) Conway was one busy guy right from the outset. As a case in point, 'Tell Me One More Time' had to be recorded in between trips to Hollywood. Following a crash course in a New York drama school, the rookie rock & roller was cast in Platinum High School followed by the analogous College Confidential. However, his role as a would-be matinee idol was short-lived and he concentrated instead on developing his career as an album and singles artist. `Tell Me', with its 2/4 time signature, featured the twin lead guitars of Hank Garland and Al Bruno.

02. Hallelujah, I Love Her So
(Ray Charles) Carlin Music Corp. MGM 5E3744, MGM X 1640 (March 1959) It didn't take long before the rock & roll fraternity began investigating the works of Ray Charles. Elvis Presley was quick off the mark with his version of Got a Woman' and the Everly Brothers gave a new lease of life to `Leave My Woman Alone'. Conway was clearly at home with `Hallelujah, I Love Her So', and his arrangement threw the spotlight on two key members of the Jordanaires. Gordon Stoker enforced each hook line with a florid 'Halleluh!', and bass singer Ray Walker intro-ed the outro with an impassioned `Man, I gotta hear that again.

03. I Vibrate (From My Head to My Feet)
'I Vibrate' ranks as one of the toughest rockers Conway cut during his MGM tenure. The song unashamedly took license from 'Great Balls of Fire' which happened to be top of the charts when Conway and Jack Nance proffered their pens. Cut at Conway's first session for the label, the track featured the unmistakable sound of Joe E Lewis's Gretsch Duo Jet. Joe was a seasoned road player (he'd previously worked with Sonny Burgess) and, as can be heard here, he employed a thrashing rhythm style built around a 9th bar-chord.

04. You Win Again
Wishing (UK) Ltd. MGM SE3786, MGMX 1679 (September 1959) If Conway owned a copy of Jerry Lee's 'GBOF', then it's fair to say he was inspired to cut `You Win Again' - the song that dwelt on the flipside of the record. He did though raise the key, and he allotted no less than sixteen measures for a double-length solo from Al Bruno. One of eight siblings, this pint-sized fret-boarder hailed from Ontario, Canada, where he was born Albert V. Bruneau. His arrival in the Twitty band was marked by his boss purchasing a pair of matching Gibson ES-335's. In due course Al went on to work with Buck Owens, Duane Eddy, T. G. Sheppard and, most recently, Dale Watson.

05. Hey Little Lucy! (Don'tcha Put No Lipstick On)
Chappell Music Ltd. MGM K12785 (April 1959) Jim Vienneau, the A&R head at MGM's pop and country department, was often spoiled for choice when it came to scoping out material for the Twitty sessions. Conway happened to be an extremely inventive composer, particularly in the songs he crafted with his drummer Jack Nance. But after 'It's Only Make Believe' topped the charts, producer Vienneau found himself inundated with demos arriving on a daily basis from the publishing houses of New York. The delightful 'Hey Little Lucy!' was dispatched from Aaron Schroeder with a lyric by Sharon Silbert, a writer who'd recently scored with `Schoolboy Crush'.

06. Easy To Fall In Love
(Conway Twitty, Jack Nance) Warner Chappell Music Ltd. MGM SE3818 (February 1960) To his eternal credit, Conway Twitty was the recognized inventor of the 'beat ballad'. With a solid backbeat and a growled vocal to convey the message, the format stood apart from the heart-on-sleeve ballads that so often sank in a sea of sentiment. Like the majority of Conway's musings, 'Easy to Fall in Love' benefitted greatly from the vocal backings of the Jordanaires. Second tenor, Neal Matthews, was the group's arranger, and time and again he would come up with some ear-friendly phrasings that would give the material that extra sheen.

07. Rosaleena
(Conway Twitty) Sony/ATV Tree Publishing (BMI). MGM (UK) 1047 (November 1959) Apart from his own material and the New York mail outs, Conway was known for updating Tin Pan Alley standards. Most evergreens were administered through ASCAP, so during the payola issues that came about at the end of the decade it made sense to embrace an affiliated copyright in order to cop a little airplay. This was all very well, but when 'Danny Boy' entered the frame there were problems in the U.K. The publishers refused to allow Conway's hit version to be issued, so a new lyric had to be written and a fresh vocal added to backing track.
08. Is A Blue Bird Blue
(Dan Penn) EMI United Partnership Ltd. MGM SE3849 (May 1960), then MGM K12911 If there is one lasting way for Conway Twitty's name to be remembered, it will be through the ceaseless staging of the musical Bye, Bye Birdie. The show was written as a spoof on rock & roll by Charles Strouse, and his central character was named Conrad Birdie (go figure). Although the role was offered to Conway, he turned it down because he had two key recording sessions booked the very month that the curtain was due to go up. The premier title on the second date, 'Is a Bluebird Blue', was one of the first ever compositions by Dan Penn.

09. A' Huggin' And A' Kissin'
(Conway Twitty, Jack Nance) Warner Chappell Music Ltd. MGM SE3818 (February 1960) It's amazing what a couple of hits can do for an artist's confidence. By the time 'A' Huggin' and A' Kissin' was recorded in November '59, Conway had made a movie, he'd visited England and he'd just released his first album. The experience showed markedly in his vocal delivery, particularly through his phrasing and jocular interplay with the Jordanaires. The song, which was built around the familiar chord structure of `Sweet Georgia Brown' allowed for a surfeit of macho growling and come-hither suggestiveness

10. The Story Of My Love
(Conway Twitty, Jack Nance) Warner Chappell Music Ltd. MGM K12478 (January 1959) The task of following up a sizable hit record has always been a challenge. But the challenge of coming up with something special in the wake of a major international smash is another thing altogether. That was the challenge that needed to be solved after 'Make Believe' conquered the planet. 'The Story of My Love' furthered the same hit formula as its predecessor - a tender lyric sustained by a genial groove. Whereas Conway's demo spoke of getting old, the finished version was wisely changed to `Darling, we're not very old'.

11. Make me Know You're Mine
(Aaron Schroeder, David Hill) Carlin Music Corp, Minder Music Ltd. MGM K12748 (January 1959) Recorded in the fall of '58, 'Make Me Know You're Mine' showed just how smartly rock & roll could and should develop. There was no hint of the crassness and novel gimmickry that was beginning to taint the format. Conway Twitty clearly knew what was going down when he swaggered his way through the lyric. He doubled the descending riff that Grady Martin coaxed out of his six-string Danelectro, and he literally barked his way through the bridge, pleading and imploring as if his life depended on it. The track would never be bettered.

12. She's Mine
Tin Pan Alley Music Ltd. MGM SE3786, MGM X1678 (September 1959), then MGM K12911
Conway's rock & roll sides benefited greatly from the engineers hired by producer Jim Vienneau at Bradley's. Jimmy Lockert was his initial choice to run the 3-track desk which had been converted to handle stereo recordings just days before Conway's first MGM session. As Lockert didn't live in Nashville and wasn't always available, Selby Coffeen took over the task. Having worked on the Presley hits Got Stung' and 'A Fool Such As he was ideal to balance such sides as 'She's Mine' which was captured in July 1959.

13. Trouble in Mind
(Universal/MCA Music Ltd. MGM SE3818 (February 1960)
The slow drag blues standard 'Trouble in Mind' had been around for over 35 years before being given the Twitty treatment. Written by jazz pianist Richard Marigny Jones, who made his name playing in the Storyville nightspots of New Orleans, the song was popularized by a wide range of performers including Victoria Spivey, Bob Wills and Dinah Washington. The strolling groove heard here features a tasteful rolling piano solo courtesy of Floyd Cramer, plus a memorable vocal enunciation from Conway on the line "2-19 Special".

14. Bearchcomber
MGM SE3786, MGM X1680 (September 1959) You have to admire the cheek of some songwriters. Take Randolph Hart for instance. As an aspiring front man, the guy dreamed of stardom by leading a Georgia-based band named the Hi-Lites. He cut a clutch of singles for NRC and Wonder, then starred pitching songs under the indelicate alias of Randy Hard. Jo Ann Campbell was the first to tackle 'Beach Comber'. However, her close-friend, Conway Twitty, cut a rival version (complete with a closely-miked acoustic played by Ray Edenton) the day that her record was released.

15. Teasin'
Warner Chappell Music Ltd. MGM K12943 (September 1960) One of the biggest mistakes made by record labels during the formative years of rock & roll was the act of swamping the market with too much product. Chess did it to Chuck Berry, Imperial followed suit with Ricky Nelson, and MGM was guilty of the same sin with Conway Twitty. In 1960 the company issued no less than three albums, three EPs and six singles, which was overkill by any stretch of the imagination. 'Teasin' surfaced in the summer, but suffered from a lack of promotion because Conway was out of the country at the time.

16. First Romance
Warner Chappell Music Ltd.MGM 5E3744 MGM X1640 (March 1959) As a producer, I had the pleasure of working with Neal Matthews when I booked the Jordanaires to sing backgrounds on a Connie Francis session in Nashville. Neal was the consummate leader of the group and professional to the 'nth' degree. He devised the famous 'numbers system', a process that allowed musicians to read music via numerals rather than chord symbols. This is precisely how the players would have approached 'First Romance', a cool `rockaballad' that represents a rare co-write twixt Neal and Conway.

17. Can't We Go Steady
Jack Nance played drums on almost every Conway Twitty MGM session up until the fall of 1960. At that point he quit the road as he'd recently married and become a father. His approach to rock & roll was quite unique, in that he played fills and accents rather than laying down a straightforward off-beat. He also contributed to the songwriting process -and in a big way too. Whereas Conway was a dab hand with a lyric, Jack would come up with the melody line and basic song style, as he did with the gadabout groove of 'Can't We Go Steady'.

18. Mona Lisa
 MGM SE3744, MGM X1642 (March 1959), then MGM K12804 The road to a hit single was anything but ordinary in the case of 'Mona Lisa'. The song, which had been a chart-topper for Nat 'King' Cole in 1950, was first given a teen beat makeover by Carl Mann. Conway got to hear the arrangement when he stopped off in Memphis, and he was given the go-ahead to emulate Carl's freshen-up providing the recording wasn't released on a 45. The track soon became a deejay pick on an album and an EP, so MGM took the bull by the horns and turned it into a hit single on either side of the Atlantic.

19. When I'm Not With You
(Cones ack Nance) Warner Chappell Music Ltd. MGM K12785 (April 1959) During a swing through New York in October '58, Conway and his band put time aside to tape a string of demos in readiness for their second visit to the studio. 'When I'm Not With You', the first song on the stand when the session got underway in Nashville a month later, eventually emerged as a B-side. Whilst the angst-ridden delivery of the song had a distinct Presley air about it, there was one clear difference. Whereas Elvis had by now developed an w cornering the market through his trademark growl.

20. It's 0 Make Believe
(Conway Twitty, Jack Nance) Warner Chappell Music Ltd. MGM K12677 (July 1958) It's hard to believe that Conway found himself up against a cover version on his own song, 'It's Only Make Believe', even if it came into view six weeks after the original. The culprit was a French-Canadian named James LeBlanc. He'd scored a deal with Debbie Records, a one-shot New York label, run by Marvin Rainwater's brother, Ray, and he recorded under the name of Jimmy Starr. For just a short while the dude picked up his own share of the airplay, but at the end of the day there was no competing with Conway's unstoppable classic.

21. Hey Miss Ruby
Chappell Music Ltd. MGM SE3786 (September 1959), later MGM K14408
In 1966, Conway switched to Decca, which was where he began his Country hit trail. When the hits started to flow, MGM followed the lead that Sun Records had taken when Jerry Lee  Lewis reinvented himself on Mercury/Smash. Each time Decca released a new 45, MGM came out with a 'spoiler' to ride off the single's back; or, at least, cop a little action in the aftermath. The fifth in the ongoing chain featured 'Hey Miss Ruby', a bouncy rocker that was pure fifties down to the title. It couldn't have been further away from 1972 if it tried.

22. C'est Si Bon
Peter Maurice Music Co Ltd, Arpege Editions Musicales. MGM K12969 (December 1960)
C'Est Si Bon' was the success that no one saw coming - a hit by default. In the wake of 'It's Only Make Believe' making the top spot, Conway was sued for plagiarism by the publishers of '(All of a Sudden) My Heart Sings'. Despite the fact that Leeds Music had just raked in royalties on the song from a revival by Paul Anka, they insisted on Conway recording three titles from the company catalogue. 'C'Est Si Bon', the catchiest song on the list, was given tongue-in-cheek stylization and lo and behold it hit home to the tune of a Top 30 entry.

23. My Adobe Hacienda
(Louise Massey, Lee Penny) Peermusic (UK) Ltd. MGM SE3818 (February 1960) The wartime ballad 'My Adobe Hacienda' was clearly popular with country singers, as versions of the song were recorded at one time or another by Hank Snow, Burl Ives, Ferlin Husky and The Browns. But it was a rock & roll update that was on the cards when Conway kicked off a four-day recording session in November 1959. 'Mona Lisa' had just been a hit, and he was looking to mine the same seam. Although the finished article sounded every bit as good as its predecessor, 'Adobe' was held over to become an album cut in May 1960.

24. What Am I Living For
MGM K12886 (March 1960)
During his MGM tenure, Conway showed his appreciation for the late Chuck Willis by re-cording such classics as 'What a Dream', 'It's Too Late' and the perennial 'What Am I Living For'. The latter title marked the first time that a Twitty record featured a string section. The `resin factor' was all the rage at the time, and eight players from the Nashville Symphony were on hand to sugar-coat the proceedings. When the single began to show, Decca hauled out a version by Ernest Tubb in an optimistic attempt to catch some of the action.

25. Just Because
(Bob Shelton, Joy Shelton, Sid Robin) Peermusic (UK) Ltd. MGM SE3818 (February 1960) The Nashville 'A'- team musicians were certainly put to the test when more than one artist chose to record the same song. Such was the case with 'Just Because'. Hank Garland, Harold Bradley and Floyd Cramer had all played on a version by Brenda Lee, cut just a few weeks before Conway opted to tackle the title. Whilst the two renderings used the same tear-along rhythm, Conway's shone brightly through the talents of Hank Garland whose inventive guitar solo visited the domain of `Yakety Sax' and `12th Street Rag'.

26. Sorry
(Conway Twitty) Warner Chappell Music Ltd. MGM SE3818 (February 1960) In 1959, just as 'Mona Lisa' was climbing the charts, Conway's manager Don Seat spoke with MGM's British licensee, EMI, about the possibility of his artist recording an album in London during the fall. Connie Francis, Joni James and Marvin Rainwater had all cut sides for the label at Abbey Road, but, as things turned out, the idea for Conway to do the same didn't bear fruit. Instead he returned to Bradley's in Nashville to stockpile tracks for his third album, side two of which included 'Sorry' complete with an eerie falsetto wailing.

27. I'll Try
(Conway Twitty, Jack Nance) Universal/MCA Music Ltd. MGM K12677 (July 1958) When you bear witness to Try, a track that simply bursts with rock & roll attitude, you have to ask yourself why it wasn't released as an A-side. If the truth be known, it was. Everyone concerned could see the commercial value in it becoming a single, and that's how Conway Twitty's first MGM recording shaped up in May 1958. It was only when deejays began to concentrate on the flip, 'It's Only Make Believe', that a real plan of action came into play. The beauty of it all was that the millions who bought the record got to enjoy 'I'll Try' as well.

28. Lonely Blue Boy
Warner/Chappell North America Ltd. MGM K12857 (December 1959)
The 2010 TV movie The Special Relationship, which starred Dennis Quaid as Bill Clinton and Michael Sheen as Tony Blair, ends in a particularly poignant fashion when Conway Twitty's `Lonely Blue Boy' is played over the credits...."My name should be trouble, my name should be woe. For trouble and heartache is all that I know". It would be intriguing to think what Conway might have made of the docudrama, being as he grew up in Arkansas, just like the ex-president. The version heard here is the original American take.

29. Goin' Home
e) Warner Chappell Music Ltd. MGM SE3786 (September 1959) It seems laughable now to think that rumours once abounded that Conway Twitty was in fact Elvis Presley singing under a false name. Then again, the two had a plenty in common, particularly in the vocal department and the kind of material that was being used to show off their talents. To this day, the sassy `Goin' Home' brings to mind images of a curled lip, a slicked-back hairdo and an upturned collar. The occasional snarl and sneer helped get the message across as well, not to mention the forming of a letter `S' with the torso.

30. Pretty Eyed Baby
Universal/MCA Music Ltd.MGM SE3818 (February 1960) There were three pretty-eyed babies in Conway Twitty's fruitful life: Ellen Matthews, with whom he tied the knot in 1953, Temple Maxine Jaco, his wife of 30 years beginning in 1955, and Dolores Henry, to whom he was married from 1987 up until his death six years later. After a string of successful Country duets together, many folks assumed that he was married to singer Loretta Lynn. When asked what the secret of his successful singing career was, Conway stated, "I say things that women want to hear; things that men have trouble saying".
Stuart Colman

Cover photo: Conway Twitty and Jo Ann Campbell, 3 May 1960



Twitty, Conway - Tell Me One More Time (CD) CD 1
1: Tell Me One More Time
2: Hallelujah, I Love Her So
3: I Vibrate (From My Head To My Feet)
4: You Win Again
5: Hey Little Lucy! (Don'tcha Put No Lipstick On
6: Easy To Fall In Love
7: Rosaleena
8: Is A Blue Bird Blue
9: A' Huggin' And A' Kissin'
10: The Story Of My Love
11: Make Me Know You're Mine
12: She's Mine
13: Trouble In Mind
14: Beachcomber
15: Teasin'
16: First Romance
17: Can't We Go Steady
18: Mona Lisa
19: When I'm Not With You
20: It's Only Make Believe
21: Hey Miss Ruby
22: C'est Si Bon
23: My Adobe Hacienda
24: What Am I Living For
25: Just Because
26: Sorry
27: I'll Try
28: Lonely Blue Boy
29: Goin' Home
30: Pretty Eyed Baby


Artikeleigenschaften von Conway Twitty: Tell Me One More Time (CD)

  • Interpret: Conway Twitty

  • Albumtitel: Tell Me One More Time (CD)

  • Format CD
  • Genre Rock 'n' Roll

  • Title Tell Me One More Time (CD)
  • Release date 2011

  • SubGenre Rock - Rock'n'Roll

  • EAN: 5055311001029

  • weight in Kg 0.200

Artist description "Twitty, Conway"

Conway Twitty

Geb. 1. 9. 1933 in Friars Point - Mississippi
Record Labels: Mercury, MGM, Decca, Coral, MCA, Elektra, Curb, Warner Brothers, Charly, Bear Family
Erster Country Hit: Guess My Eyes Were Bigger Than My Heart (1966)
Erster Top Ten Country Hit: The image Of Me (1968)
Erster No. 1 Country Hit: Next ln Line (1968)

Harold Lloyd Jenkins alias Conway Twitty begann Mitte der 50er Jahre als Rock ”n` Roll Sänger die Aufmerksamkeit auf sich zu lenken und hatte 1958 mit „It`s Only Make Believe“ in den USA und England einen No. 1 Pop Hit. Er wirkte in ein paar Teenager-Filmen mit und begann Anfang der 60erJahre, als der Rock 'n` RoIl an Anziehungskraft verloren hatte, Country Songs zu schreiben.

Mitte der 60er Jahre nahm ihn Decca`s Produzent Owen Bradley unter seine Fittiche, und damit begann für Conway Twitty eine ganze Serie großer Country Hits, eine Conway-Twitty-Hitliste, die bis heute nicht abgerissen ist, auch wenn die Titel nicht mehr so regelmäßig unter die Top Ten gelangen. Unter seinen großen Erfolgen fand man zwar auch immer wieder sehr schöne Titel, sehr oft jedoch neigte er zu furchtbaren Schnulzen und Tränenziehern. Seine langjährige Duett-Partnerin war Loretta Lynn. Auf Conway Twitty's Konto gehen mehrere CMA-Awards und zahlreiche weitere Auszeichnungen. 1981 wechselte Conway Twitty zu Elektra und setzte dort seine Erfolgsserie fort.

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