But the real master trick of this rearrangement was a new bridge consisting solely of four ascending sung notes, the tempo becoming more emphatic and dramatic, ending in exultant sustained whooping before a 'shake it on baby' led the Isleys back into the verse. The sexy, spine-chilling ensemble gospel-soul 'ooohs' at the end of the verses helped a lot too, as did the Latin-like horn break in the instrumental mid-section. The Isleys also reworked the vocals a good deal, putting squealing gospel-fired soul passion into the lead, which was urged on by responsive 'shake it up baby' and 'twist and shout' harmony backup. The Isley Brothers slowed the tempo substantially, putting it into a cha-cha-type rhythm with three ascending chords - a formula that co-composer Bert Berns often utilized (the chord progression is virtually identical to the McCoys' 'Hang on Sloopy,' for instance). The Top Notes made this basic soul-pop-dance tune into a Latin-tinged raveup with a drab generic R&B melody. 2) was actually drastically different than the Isleys' arrangement, and not very good. This obscure original version (reissued on the anthology All Night Boogie: The Great Atlantic Vocal Groups, Vol. Before the Isley Brothers did it for a Top Twenty single in 1962, the original version had been done on Atlantic by the obscure vocal group the Top Notes, produced by Phil Spector and Jerry Wexler. The tune has a history predating the first hit version (by the Isley Brothers) of which many listeners are unaware. 'Twist and Shout' is one of the most familiar rock'n'roll standards, covered by many recording acts and many more bar bands that never made a record, even though only two artists had a big hit with the song.

Isley brothers songs