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California Dreamin '" is a song written by John and Michelle Phillips in 1963 and first recorded by Barry McGuire. [5] The best-known version is by the Mamas & the Papas , who sang backup on the original version and released it as a single in December 1965.
The follow-up, "California Dreamin ' ", has the same B-side, suggesting that "Go Where You Wanna Go" had been withdrawn. [25] [26] "California Dreamin '" was released in December, touted by a full-page advertisement in Billboard on December 18. [27] It peaked at No. 4 in the United States and No. 23 in the United Kingdom.
"Creeque Alley" is an autobiographical hit single written by John Phillips and Michelle Phillips of the Mamas and the Papas in late 1966, narrating the story of how the group was formed, and its early years. The third song on the album Deliver, it peaked at number 5 on the US Billboard pop singles chart the week of Memorial Day 1967,
A Song for You: 1972: 1972: Botkin, De Vorzon: Boat to Sail: A Kind of Hush: 1976: 1976: DeShannon: Breaking Up Is Hard to Do: A Kind of Hush: 1976: 1976: Greenfield, Sedaka: B'wana She No Home: Passage: 1977: 1977: Franks: California Dreamin' As Time Goes By: 2001: 1968: Phillips, Phillips: Demo Calling Occupants of Interplanetary Craft (The ...
"California Dreamin'" by The Mamas & The Papas "The Call of Broadway" (music by Maurie Rubens; lyrics by Ted Lewis and Jack Osterman) "The Camera Eye" by Rush "Camino Al Barrio" by Willie Colón "Can Broadway Do Without Me?" (from the musical Show Girl) "Canal Street" by Love as Laughter "Canal Street Cantata" by Harry Geller And His Orchestra
Don Henley never gave away handwritten pages of draft lyrics to “Hotel California” and other Eagles hits, he said Monday, calling them “very personal" in testimony that also delved into an ...
The chorus is the most Healy-coded part of the song, especially given his cover of The Starting Line during the same concert he mouthed “I love you” onstage, seemingly to Swift. Again, she ...
The original recordings of the Mamas & the Papas, and of labelmates such as Three Dog Night, are therefore lost, and it has been necessary to create digital versions from the stereo album masters, often second- or third-generation tapes. This is why the sound quality of Mamas and Papas' reissues does not match the best from the 1960s.