The Dovers

Trackimage Playbut Trackname Playbut Trackname
What Am I Going to Do 00:00 Tools
The Third Eye 00:00 Tools
She's Gone 01:51 Tools
She's Not Just Anybody 00:00 Tools
I Could Be Happy 00:00 Tools
Your Love 00:00 Tools
About Me 00:00 Tools
People Ask Me Why 00:00 Tools
A Lonely Heart 00:00 Tools
What Am I Going To Do? 00:00 Tools
Alice My Love 00:00 Tools
The Invasion 00:00 Tools
Devil You May Be 00:00 Tools
My Angel 00:00 Tools
B - About Me (4) 00:00 Tools
What Am I Gonna Do? 00:00 Tools
The Sentence 00:00 Tools
B - Your Love (3) 00:00 Tools
Please Squeeze 00:00 Tools
Sweet As A Flower 00:00 Tools
B - What Am I Going To Do (1) 00:00 Tools
What I Am Gonna Do 00:00 Tools
A - She's Gone (1) 00:00 Tools
Boy In My Life 00:00 Tools
Third Eye 00:00 Tools
Third Eye, the (mono) 00:00 Tools
21 - The Dovers - DOVERS- She's Not Just Anybody 00:00 Tools
She’s Not Just Anybody 00:00 Tools
There Goes The Fear 00:00 Tools
Caught by the River 00:00 Tools
11_What Am I Going To Do 00:00 Tools
She’s Gone 00:00 Tools
What Am I Going To Do (Miramar 118) Santa Barbara, Cal. 1965 00:00 Tools
She's Gone (Mirimar) 00:00 Tools
02 - dovers - what am i gonna do 00:00 Tools
Dovers/She's Gone 00:00 Tools
Dovers/What am I Going To Do 00:00 Tools
She's Not Just Anybody (Miramar 124) Santa Barbara, Cal. 1966 00:00 Tools
01 - dovers - she's gone 00:00 Tools
She_s Not Just Anybody 00:00 Tools
People Ask Me Why (Miramar 121 and Reprise 439) Santa Barbara, Cal. 1965 00:00 Tools
She Not Just Anybody 00:00 Tools
What Am I Going To Do (Mirimar) 00:00 Tools
The Third Eye (Mirimar) 00:00 Tools
About Me (Miramar 124) Santa Barbara, Cal. 1966 00:00 Tools
What Am I Going To Do (Miramar) 00:00 Tools
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1) The Dovers were an American garage rock/pop band of the mid-1960s. The Dovers are revered by certain rock critics and record collectors as being a prime example of mid-60s folk rock and pop, heavily influenced by the British Invasion and American groups such as The Byrds. 2) A popular choice of name for bands in several different styles during the '50s and '60s, the Dovers identified at least two different doo wop groups. One of these changed its name to the Willows after performing from a Harlem base as the Dovers since 1950. But the group that has material featured on several anthologies of this genre was a different crop of crooners. Responsible for blooming hits such as "Sweet as a Flower," that version of the Dovers came along in 1954, with just as big a reputation built up. The group that would become the Willows may have wept at this usurping of title, or an inter-doo-wop decision might have been made to hand the name off to what, after all, must have seemed like a bunch of children. Members of the new group were indeed too young to sign contracts for themselves, leading to confusion over who was actually in the Dovers. Some historical information involving the doo-wop epoch credits the fathers or legal guardians of youthful singing sensations such as Wyndham Porter and James Sneed, when they probably only opened their mouths to find out how much the gig was going to pay. A key difference between the two different versions of the Dovers definitely came down to sound, as in the presence of a female vocalist Miriam Sneed, sometimes credited as Miriam Grate. Some listeners miss this detail, attributing the high-pitched whine to teenage male vocal chords. There was, on the other hand, no question about who played the instrumental backup on the late-'50s recording sessions that were issued by the historic Apollo label; the meticulous logs of producer Joe Davis indicate the presence of a snapping rhythm team including guitarists Everett Barksdale and Wally Richardson, bassist Al Lucas, and drummer Bobby Donaldson. These proceedings have no connection to the garage rock band called The Dovers, who show up on the Pebbles, Vol. 2 anthology. ~ Eugene Chadbourne, Rovi Read more on Last.fm. User-contributed text is available under the Creative Commons By-SA License; additional terms may apply.