|G-1075||The Regents||Lonesome Boy / Oh Baby (7", Promo)||Gee||G-1075||US||1961|
|RL 23307||The Regents||Lonesome Boy / Oh Baby (7", Single)||Gee, Smash||RL 23307||Netherlands||Unknown|
Oh Lonesome Me" is a popular song written and recorded in December 1957 by Don Gibson with Chet Atkins producing it for RCA Victor in Nashville. Released in 1958, the song topped the country chart for eight non-consecutive weeks. On what became the Billboard Hot 100, it peaked at No. 7. It was Gibson's only Top 10 hit on the pop chart. Its B-side was "I Can't Stop Loving You", which peaked at No. 7 on the C&W Jockey charts and became a standard song about unrequited love.
Oh! Lonesome Me (オー！ロンサム・ミーŌ! Ronsamu Mī) is the Stand of Mountain Tim, featured in Steel Ball Run. Oh! Lonesome Me manifests mainly in Mountain Tim's ability to separate and spread himself along a rope. Tim's interior is darkened and not anatomically articulate. Oh! Lonesome Me functions as an ability that Mountain Tim personally uses. It gives him and others greater flexibility in combat but is overshadowed by more powerful Stand abilities.
They are best known for recording the hit "Barbara-Ann" in 1958, which was released in 1961 and reached No. 13 on the Billboard Hot 100 chart. It was covered by the Beach Boys in 1965 on their album, Beach Boys' Party!; this version when released as a single made No. The Regents also had a second chart hit with "Runaround", which hit No. 28 later in 1961.
Lonesome Boy. Artist: Regents. The Spaniels - Baby It's You chords lyrics. Clyde Mcphatter & The Drifters - The Way I Feel chords lyrics. Tracks related to lonesome boy - regents.
A. Oh, Baby Oh. 2:04.
As Keith Richards tells it, the Rolling Stones' first-ever all-blues album is the result of the band learning how to play in the unfamiliar surroundings of Mark Knopfler's British Grove Studios. To ease into the new place, the Stones decided to knock out a version of Little Walter's "Blue and Lonesome" and it sounded good enough that the band decided to cut a few more covers, winding up with a full album of Chicago blues in a few days.
drive Blue & Lonesome. At his least inspired, Jagger can sound like a man who isn’t singing so much as rearranging a well-worn series of mannerisms and tics, but here his vocals are extremely powerful and genuinely affecting, as if he’s digging deep within himself to find the emotions to fit the material. The sound is appealingly visceral and live: the guitars are spiky and slashing, the drums punch hard, everything – including Jagger’s voice – is coated with a thin, crisp layer of distortion, as if the band are playing at such volume and with such force that the microphones can’t quite take it.