Born Ezekiel Christopher Montanez in Los Angeles, California, Montez was brought up in Hawthorne, California. His early musical influences included the latino music played and performed by residents of his neighborhood, as well as Ritchie Valens. After the release of the highly successful "Let's Dance" on Monogram Records, Montez spent several years touring with artists such as Sam Cooke, The Platters, and Smokey Robinson and The Miracles, as well as The Beatles, then relatively unknown outside of Liverpool.
Early in 1963, Montez would score another hit with "Some Kinda Fun". Reaching #43 on the charts, the song utilized the same catchy keyboard instrumentation as did "Let's Dance"; fittingly, both were million sellers, and were awarded gold discs. 1963 also saw the release of Montez's only album on Monogram, Let's Dance and Have Some Kinda' Fun!!!. Shortly before Monogram folded, Montez was paired up with Kathy Young, releasing two singles as the duo Chris & Kathy, most notably surf rock classic "Shoot That Curl". While at Monogram, Montez wrote, or co-wrote, several of his own songs, such as "Chiquita Mia", "Let's Do the Limbo" and "No No No".
Two years later, Montez was practically a non-entity in the music business; however, Herb Alpert, co-founder of A&M Records, cordially invited Montez to resume his recording career at A&M. When Montez attempted to replicate his earlier rock 'n' roll success, however, Alpert personally suggested that Montez try a different approach: a middle of the road, soft ballad sound. While not particularly interested in changing his style of music, Montez decided to trust Alpert's instincts.
"Call Me", a cover version of a Petula Clark song, was the first single from his 1966 album, The More I See You / Call Me, earning Montez his biggest hit in years, eventually reaching #22. The song has since become an easy listening standard. The album's title cut, Montez's second single, was a source of confusion for certain radio disc jockeys who were unfamiliar with Montez' past as a rocker; when back-announcing the song, they would often refer to Montez as being female, likely owing to Montez's falsetto singing style. This confusion would be cleared up by the time the album, bearing Montez's pictures on the front and back sleeve, was released.
Montez would record three more albums for A&M: Time After Time (1966), Foolin' Around (1967), and Watch What Happens (1968). Although quite stylistically similar to his first hit album on A&M, they failed to mirror its success, although Time After Time's title cut and "Because of You" both managed to crack the Hot 100. In 1968, Montez departed from A&M on a three-year sabbatical. In 1972, Montez released a big hit single in Brazil, "Loco por ti". By this time, he had returned to his rock roots, albeit with more noticeable pop influence than before.
Two years later, now with CBS Records, Montez released The Best of Chris Montez, a compilation consisting of both old and new material, the newer bearing little to no resemblance to his past hits. While at CBS, he released one more album: Raza: Ay no digas, which fared well in international markets but failed to make an impact in the US. In 1983, Montez released his final album, Cartas de Amor, all of its songs being sung in Spanish. Although his recording career appears to be behind him, Montez is still an active musician, performing to mostly foreign audiences.
In 2008, Frozen Pictures announced plans to make a documentary on Montez's life and career, El viaje musical de Ezekiel Montanez: The Chris Montez Story. The film, focusing on Montez's multi-faceted musical career and considerable influence, has been previewed at several film festivals, but has not seen domestic release.
Let\'s Dance
Chris Montez Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
(One, two, three, four)
Hey baby won't you take a chance?
Say that you'll let me have this dance
Well let's dance, well let's dance
We'll do the twist, the stomp, the mashed potato too,
But let's dance, well let's dance
Hey baby, yeah, you thrill me so
Hold me tight, don't you let me go
But let's dance, well let's dance
We'll do the twist, the stomp, the mashed potato too
Any old dance that you wanna do
But let's dance, well let's dance
Ok, wail now
Oh, yeah
Hey, baby, if you're all alone
Maybe you'll let me walk you home
But let's dance, well let's dance
We'll do the twist, the stomp, the mashed potato too,
Any old dance that you wanna do
But let's dance, well let's dance
Hey, baby, things are swingin' right
Yes, I know that this is the night
Well let's dance, well let's dance
We'll do the twist, the stomp, the mashed potato too
Any old dance that you wanna do
But let's dance, well let's dance
But let's dance
But let's dance
But let's dance
The song “Let’s Dance”, performed by Chris Montez in the 1960s, is a classic dance tune that encourages listeners to let go and have a good time. The song begins with a count-off of “one, two” before launching into the main chorus with the invitation to dance: “Hey baby won't you take a chance? Say that you'll let me have this dance”. The lyrics include references to popular dance moves of the time, such as the twist, stomp, and mashed potato, and emphasize the fun and enjoyment that come with letting loose on the dance floor.
As the song progresses, the lyrics become more romantic and intimate, with the singer asking the person they are dancing with to hold them tight and not let go. The chorus continues with the repeated invitation to dance and the suggestion of walking someone home after a night of dancing. It concludes with a final emphasis on the joy of dancing and the desire to keep dancing together, with the repeated chorus of “But let’s dance”.
Overall, “Let’s Dance” presents dance as a way to connect with others and let go of inhibitions, with an underlying romantic element that is both sweet and playful.
Line by Line Meaning
Hey baby won't you take a chance?
The singer is asking the addressee to take a risk and spend some time with him.
Say that you'll let me have this dance
The singer is requesting permission to dance with the addressee.
We'll do the twist, the stomp, the mashed potato too,
The singer is offering to dance any type of dance the addressee may desire.
Any old dance that you wanna do
The artist wants the addressee to choose the dance rather than being told what to do.
Hey baby, yeah, you thrill me so
The artist confesses that the addressee excites and captivates him.
Hold me tight, don't you let me go
The singer wants to feel close and intimate with the addressee and doesn't want to separate.
Hey baby, if you're all alone
The singer is inquiring about the addressee's status, whether she is alone or not.
Maybe you'll let me walk you home
The artist is proposing that he could accompany the addressee home.
Hey, baby, things are swingin' right
The artist confirms that things are good and positive.
Yes, I know that this is the night
The artist is aware that tonight could be a special night to remember.
But let's dance
There is a strong eagerness from the singer to dance.
Ok, wail now
The artist is giving an exclamation of excitement and encouragement to continue dancing.
Oh, yeah
The singer is expressing enthusiasm and enjoyment at the moment.
But let's dance
Repetition of the line emphasizes the theme of the whole song, which is dancing.
But let's dance
Repetition of the line emphasizes the theme of the whole song, which is dancing.
But let's dance
Repetition of the line emphasizes the theme of the whole song, which is dancing.
Lyrics © Warner/Chappell Music, Inc.
Written by: JIM LEE
Lyrics Licensed & Provided by LyricFind
@martavaldebenito4392
Desde Chile
Soy de esa Época.
Tiempos Maravillosos
Diversión Sana.
Ni siquiera se fumaba Cigarrillo.
Nadie andaba con Armas como ahora.
Nadie pensaba en matar a Nadie.
Eran otros Tiempos.
Nadie se emborrachaba.
Qué Felicidad.
Éramos Felices sólo bailando.
@carlosparscal
60's will last forever.
@user-ru8wv3hk1f
60s always and forever ❤
@mjc5509
I feel privileged that I was a teenager in 1960s..fabulous music and STYLE..
@lirumlarum4372
You are!
@porfirojunior4660
cool
@guybrushwayne4388
Nasty hippy
@guybrushwayne4388
You ruined everything
@gsavedra
Yes.
@Professor-IC
At 71 years old, every now and then I listen to the 60s music. It's very infectious.
@denisjl100
i'm 76 and i never stopped.