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・ The Dark Chateau
・ The Dark City Fight Club
・ The Dark Corner
・ The Dark Crusade
・ The Dark Crusader
・ The Dark Cry of the Moon
・ The Dark Crystal
・ The Dark Crystal (video game)
・ The Dark Dance
・ The Dark Defender
・ The Dark Design
・ The Dark Dimension
・ The Dark Discovery
・ The Dark Eidolon
・ The Dark Elf Trilogy
The Dark End of the Street
・ The Dark Energy Survey
・ The Dark Eye
・ The Dark Eye (video game)
・ The Dark Eyes of London
・ The Dark Eyes of London (film)
・ The Dark Eyes of London (novel)
・ The Dark Fantastic
・ The Dark Fields
・ The Dark Flame
・ The Dark Flight Down (novel)
・ The Dark Frigate
・ The Dark Frontier
・ The Dark Glow of the Mountains
・ The Dark Goddess


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The Dark End of the Street : ウィキペディア英語版
The Dark End of the Street

"The Dark End of the Street" is a 1967 soul song written by songwriters Dan Penn and Chips Moman and first recorded by James Carr.
==History and original recording==
The song was co-written by Penn, a professional songwriter and producer, and Moman, a former session guitarist at Phil Spector's Gold Star Studio, and also the owner of American Sound Studio in Memphis, Tennessee. The song itself was ultimately recorded across town at Royal Studios, home of HI Records.
In the summer of 1966, while a DJ convention was being held in Memphis, Penn and Moman were cheating while playing cards with Florida DJ Don Schroeder,〔Guralnick, Peter (2002).〕 and decided to write the song while on a break. Penn said of the song “We were always wanting to come up with the best cheatin’ song. Ever.”〔Gordon, Robert (2001).〕 The duo went to the hotel room of Quinton Claunch, another Muscle Shoals alumnus, and founder of Hi Records, to write. Claunch told them, "Boys, you can use my room on one condition, which is that you give me that song for James Carr. They said I had a deal, and they kept their word.” The song, lyrics and all, was written in about thirty minutes.〔Hoskyns, Barney (1998).〕
Soul artist James Carr, as promised, first recorded the song in late 1966, and it became his trademark song, reaching number 10 on ''Billboard Magazine's'' Black Singles Chart, and crossing over to number 77 on the Pop chart.
(Six months later fellow soul singer Percy Sledge included his version of the song on his 1967 album "The Percy Sledge Way," but it did not chart as high, as it had a similar sound to Carr's unmistakable vocals.)

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