It was the first single by a rock’n’roll band to top the charts, and was No.1 for eight weeks. The success of the Oscar-nominated movie sparked a buying frenzy and a million copies were bought in March 1955 alone. Ford mentioned Haley’s song to director Richard Brooks and he picked it to play over the opening credits. The boy, Peter Ford, was the son of actor Glenn Ford, who had signed up to star alongside a young Sidney Poitier in a teenage-delinquency film called The Blackboard Jungle, set in an inner-city school. The apocalyptic single, released in May 1954, sold 75,000 copies and would have remained a musical footnote had it not been for a 10-year-old boy in Los Angeles who was captivated by the B-side. Haley and his Comets had recorded the song only as a late B-side addition to a quirky single called “Thirteen Women And Only One Man in Town,” a track about a nuclear blast that leaves only 14 people alive. It was also good fortune, albeit allied to a less experienced ear, that helped Bill Haley’s song “(We’re Gonna) Rock Around The Clock” become a runaway success that same year. It was certainly not the last time a radio station would play a major part in creating a hit single. A disc was sent to a Memphis DJ, who played it repeatedly, and the public was quickly shaken up. Phillips recorded their version immediately. Their musical enthusiasm might have gone unrewarded had not producer Sam Phillips been paying attention. In 1954, Presley was taking a break during a recording session at Sun Studios when he began larking around and improvising an uptempo version of blues singer Arthur Crudup’s 1946 song “That’s All Right.” Bill Black came in on bass and Scotty Moore played some guitar licks to join in the fun. Sometimes luck played its part in creating monster hits, especially when an ear attuned for quality and popularity was involved. Within five years, more than 200 million 45s had been sold and the boom made global superstars of people such as Elvis Presley and Chuck Berry, etching their songs into the public consciousness. The seven-inch 45 was a nifty replacement for the heavy shellac-based 78 record, and a competitor to the 33 long-playing album (45 comes from 78 minus 33) and it unleashed a music revolution. It was soon clear that the public, especially the young, were willing to buy singles by the millions. It's great to see the success of Dead Cells, and with the game already on Xbox Game Pass, and getting added to PS Now this month, it's only going to continue to grow.When the first 45rpm record – a green vinyl of Eddy Arnold’s “Texarkana Baby” – went on sale on March 31, 1949, from RCA Victor records, it had rival record companies scrambling to produce their own. The new 8-bit chiptune version of the music can be toggled on or off in the sound menu. The new soundtrack takes Dead Cells' already fantastic musical assortment and demakes it. The final new feature of this update, and one of the coolest, adds a brand new soundtrack to the game. The Barrel Launcher allows you to throw explosive barrels at your enemies, however, the patch notes warn " Just make sure they don't throw it back to you." The second new weapon is the Tesla Coil a "medium-range, multi-targeting, shock inflicting turret." The first focused around, you guessed it, more barrels. On top of the new area and enemies, Dead Cells gets a couple of new weapons. The area is crawling with new enemies and different ways to take damage, all with a focus on these barrels. It's another beautiful biome within the game, looking exactly like an old distillery laden with giant barrels. The new area offers an alternative route to High Peak Castle from the collector area. The first big addition is the new area - Derelict Distillery.
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