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"Pretty Little Angel Eyes" is a 1961 song by American singer Curtis Lee. It was released on Dunes Records, #45-2007. [2] Phil Spector served as producer, and also ...
Lee's first three singles were "Special Love", "Pledge of Love", and "Pretty Little Angel Eyes". [3] In the UK, "Pretty Little Angel Eyes" was a minor hit record, peaking at No. 47 in 1961. [4] "Pretty Little Angel Eyes" has been covered by Zombina and the Skeletones and Showaddywaddy. Without Spector's influence, Lee's hits dried up.
"Angel Eyes" is a 1946 popular song composed by Matt Dennis, with lyrics by Earl K. Brent. It was introduced in the 1953 film Jennifer . In the film, Matt Dennis sings the song and accompanies himself on piano, while Ida Lupino and Howard Duff among others are dancing to it.
[11] [12] [13] Starting with "Dancin' Party" (1977), the band produced their own records with more cover versions including "I Wonder Why" (originally by Dion and the Belmonts), "Blue Moon" (based on the Marcels' interpretation) and the Curtis Lee song "Pretty Little Angel Eyes", co-written by Tommy Boyce.
[citation needed] "Boogidy shoo" can be found in the lyrics to "Pony Time" by Chubby Checker, released earlier that year. [citation needed] Mann was backed up by the Halos, [4] a doo-wop group of its own renown that had a single top-40 hit with "Nag" and also sang on Curtis Lee's hit "Pretty Little Angel Eyes."
Angel Eyes (Duke Pearson album), 1968; Angel Eyes (Gene Ammons album), 1965; Angel Eyes (Joe Bonner album), 1976; Angel Eyes (Kiki Dee album), 1987; Angel Eyes (Stanley Cowell album), 1994; Angel Eyes (Willie Nelson album), 1984; Angel Eyes: Ballads & Slow Jams, by Jimmy Smith, 1996; Angel Eyes or the title song, by Riot, 1997; Angel Eyes, by ...
Couple flirting and giving each other bedroom eyes at the beach at sunset. That intense stare across the crowded bar. The coy glance from a cute stranger on the subway.
Phil Spector's arrangement was ominous and ambiguous. [1]It was a brutal song, as any attempt to justify such violence must be, and Spector’s arrangement only amplified its savagery, framing Barbara Alston’s lone vocal amid a sea of caustic strings and funereal drums, while the backing vocals almost trilled their own belief that the boy had done nothing wrong.