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This version contained a "natural" ending, opposed to the fade-out ending that was featured on the single and album versions. This version was mainly lip-synced by Tennille on such TV programs. After a decline in popularity from the height of their success in the mids, the Captain and Tennille signed with Casablanca Records under the guidance of Neil Bogart. Vocalist and songwriter Toni Tennille played the song for Bogart at her house with husband Daryl Dragon in Pacific Palisades , California on an electric piano.

Bogart reacted enthusiastically, saying: There's no doubt in my mind that's going to be your first single. From Wikipedia, the free encyclopedia. Archived from the original on November 12, Retrieved July 31, Prince February 11, 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.

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.

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.

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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. 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.

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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 ' Special'. 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. 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.

Warner Chappell Music Ltd. In the company issued no less than three albums, three EPs and six singles, which was overkill by any stretch of the imagination. 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. At that point he quit the road as he'd recently married and become a father. 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'.

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The song, which had been a chart-topper for Nat 'King' Cole in , 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 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. MGM K April 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.

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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. MGM K July 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.

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. In , Conway switched to Decca, which was where he began his Country hit trail. 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 if it tried. C'Est Si Bon' was the success that no one saw coming - a hit by default.

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. Although the finished article sounded every bit as good as its predecessor, 'Adobe' was held over to become an album cut in May The latter title marked the first time that a Twitty record featured a string section.

When the single began to show, Decca hauled out a version by Ernest Tubb in an optimistic attempt to catch some of the action.


Such was the case with 'Just Because'. 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.

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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. I won't be surprised to see you Heading down the highway Just like every dream I never seen come true. Look for me to go on living If you're loving me or leaving darling Tell me one more time before you do. Did you feel a little lightning Did you feel a little thunder That was barely running under your control Was it just a little frightening When you stared into the wonder Of the deep and starry splendor of your soul.