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A third and final oldies compilation, titled American Graffiti Vol. III (MCA 8008) was also issued by MCA in early 1976. All three albums were released as 2-record sets, or as a double-length tape and are now entirely out of print. All songs on the soundtrack album are presented in the order they appeared in the film.
The group moved to Los Angeles in 1970 to try to break into the music scene there. When "Flash", the original lead singer, along with several other band members decided to return to school in 1971, Moe, Phillips, and Knight decided to replace "Flash" by holding auditions. They eventually hired Sam McFadin from Security, Colorado to fill the ...
They were also the only act to have three songs included on the American Graffiti soundtrack that fueled an oldies revival already underway in the early to mid-1970s: "Smoke Gets in Your Eyes", "The Great Pretender", and "Only You (and You Alone)". The group had four top 100 compilation albums in the Australian top 100 between 1975 and 1986. [10]
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A fictional band named Electric Haze featuring Doug Sahm appears in the film, most notably performing the Bo Diddley song "I'm a Man". An earlier album, also titled More American Graffiti, was an official album sequel to the first soundtrack to American Graffiti. The album (MCA 8007) was released in 1975, four years before the film sequel of ...
The band broke up when the label went bankrupt in 1966, but in 1969, the group reformed, releasing songs like "Fairy Tales" in 1970. An entire new generation was exposed to the group's music when "Goodnight Sweetheart, Goodnight" was featured prominently in American Graffiti and Three Men and a Baby.
A music video of the song promoting the film was included on various Family Home Entertainment video cassettes. American retro rock-and-roll band Flash Cadillac & the Continental Kids covered the song as part of the sound track for the 1973 film American Graffiti. In the film, the band portrayed a fictional band named Herby and the Heartbeats.
The director and screenwriter of 'Fast Times at Ridgemont High' explain the film's negotiation between classic rock and new wave sounds.