PETER AND GORDON – In London for Tea – (Capitol) – 1967

PETER AND GORDON - In London for Tea

I am partial to Peter & Gordon,

I have always been partial to tea,

I can take or leave London*

*(though if I were to take it I would take North London where I stayed with friends in my salad days).

Peter and Gordon are strange cats.

Though distinctly English they seem to have had more success in the USA. Anything in the US Top 10 is worth, in returns, as much as a #1 in the UK as the market is so much bigger and, as a result, it is so much harder to get a Top 10 (especially a #1 … that’s why one hit wonders are revered as wonders, perhaps). And, Peter and Gordon had three Top 10 hits and a #1 in the US (they had another five Top 20 songs). If that's not enough they had more chart longevity in the US … charting through to 1968 (their last chart success in the UK was in 1966).

Their non-threatening appearance and clear desire to cover American tunes from both the rock and pre-rock era, as well as their sympathetic ear for country music, probably gave them access to that part of (middle) America that didn’t care for the long hairs from across the pond.

Check out my other entries for biographical detail on Peter and Gordon.

Peter and Gordon were perhaps best known for their big hits from mid-60s and their Beatles link, two of those hits being written by Paul McCartney (“A World Without Love”, “Nobody I Know”) and the fact that McCartney dated Peter Asher’s sister, Jane, at the time.

Like a lot of British Invasion bands their popularity waned quite quickly and, today, they are occasionally mixed up with Chad & Jeremy, and, David & Jonathan (and, as an aside, Peter Asher is sometimes mistaken for Austen Powers (and that’s not a bad thing perhaps)).

They never became as identifiable as other male duo’s of the time like the Righteous Brothers (who had a distinctive soulfully implacable sound) and Simon & Garfunkel (who were influential in folk rock), Jan & Dean (who were wedded and iconic in their surf sound) or the Everly Brothers (the most distinctive rock 'n' pop duo stylists of them all) though they shared elements of them all.

They also brought something to that pop duo table, and that is a knack for mixing pure pop, trad pop and Tin Pan Alley without fear.

These songs are British beat based, safe and aimed at mainstream radio but, whether it be the times, or the personalities of Peter and Gordon, there is usually a bit going on that gives the music an edge over other pop. It may be the decision to experiment (but not in an avant garde way) with the new sounds of the day or the song selection which is from all over the musical spectrum but there is something interesting going on.

Their three late 60s’ albums never saw an English release. ‘Lady Godiva’ was an EMI export (import) only, whilst the other two (including this album their second last) only had US releases, as the duo’s popularity was still quite high in the States. That's not to say they didn't have a following in England – they were obviously popular enough to be used for the title song to a reasonably major English film like "The Jokers".

But, their big hits had dried up and I suspect they didn’t know they were on the way out because, when you are living it, you don’t always assume that the pop music world would be that quickly fickle.

Well, with hits you would think that you had more than four years.

It also probably didn't help (though it wasn’t unusual) that the album releases weren't matching up with when the hit singles were on the charts. The LPs were lagging at least a couple months after the singles had fallen off the charts, an eternity in a pop market that was still singles-driven.

And they had other problems which took away from the “fun”:

As a duo, they were at a disadvantage on concert tours” … Gordon Waller: "We didn't have a regular backup group. So on tour we had to make do, and it was frustrating because we didn't even have a keyboard player in those days. That would have made a lot of difference in the way we carried on. If we'd had a proper band, we probably would have lasted longer." "Echoes of the Sixties" (

Q – You stopped having hit records in 1967. Would that be accurate?

A – '67, '68, something like that. Yeah.

Q – Why would that have been? What was the problem there?

A – 'Cause we weren't making records. In the end it all comes down to enjoying it and making money. The actual artistic side of it got to the stage where it wasn't worthwhile financially going out, in other words sometimes we went out on tours where we actually lost money. So, it was purely a promotional tour. That really shouldn't have been us taking the burden of that. That should've been down to the record company.

But here they sound optimistic and committed. There is more of a “Swinging London" sound overlayed on a mixed bag of American and English tunes. The guitar is aggressive and some soul-ish horns give it the big MOR feel that was popular at the time with pop acts (Cliff Richard, Tom Jones, Cilla Black etc).

They had stepped back from the slick big orchestrations on their preceding albums.

This is nothing less than pleasing and a lot less grating than similar big pop of the time.

Recorded in England, Mike Leander arranged and conducted the musical accompaniment, and John Burgess produced.

Tracks (best in italics)

            Side One

  • London at Night – (Cat Stevens) – This was a "lost" (never recorded by its composer) Cat Steven's song, It was written about searching for love in London at night. I would have thought that would be dangerous. It is quite good, the song that is.
  • The Jokers – (Mike Leander-Charles Mills) – A very good pop song. From the Michael Winner film starring Oliver Reed and Michael Crawford. Mike Leander and Charles Mills, who also wrote two of the duo's preceding hits, "Lady Godiva" and "Knight in Rusty Armour."
  • I'm Your Puppet – (Oldham-Penn) – In soulful dramatic style this is not something you often associate with Peter and Gordon but it works. A US #6 pop, #5 R&B hit for James & Bobby Purify in 1966.
  • Here Comes That Hurt Again – (Allen Toussaint) – First released by Lee Dorsey (1966) on his “Ride Your Pony – Get Out Of My Life Woman" album.  This comes off as a big beat Manfred Mann type song
  • You've Got Your Troubles – (Greenaway-Cook) – Often covered, the song became a #2 UK hit for The Fortunes in the UK in 1965. A reasonable version.
  • Sally Go 'Round the Roses – (Sanders-Stevens) – Often covered this was a US #2 Pop hit in 1963 by female vocal group The Jaynetts. The original version was unusual compared to other pop songs of the day, with a spooky, ominous, musical ambience with obscure and opaque lyrics. This is quite good with British Beat influences overlaid.

      Side Two

  • Sunday for Tea – (Carter-Lewis) – written for Peter & Gordon by English songwriters Ken Lewis and John Carter (formerly of “Carter-Lewis and the Southerners" and "The Ivy league"). A good tea song with a ye olde mixed with light psych influences.  This evokes another time beautifully. There have been many great tea songs, “Tea for Two” (Doris Day – 1950), “Tea for the Tillermann” (Cat Stevens – 1970), ‘Everything Stops for Tea” (Long John Baldry – 1972), "Afternoon Tea" (The Kinks – 1967) and the magnificent “Have a Cuppa Tea” (also by The Kinks – 1971). And another good example of something with a distinctly English theme charting in the US (#31 pop) and not at home.
  • Red, Cream and Velvet – (Gordon Waller) – an original. Very good with a Dylan goes British Beat feel.
  • Stop, Look and Listen – (Breedlove-Brown) – First release by Wayne Fontana and The Mindbenders in 1964 (#37UK). Big pop.
  • Please Help Me, I'm Falling – (Don Robertson-Hal Blair) –  Peter and Gordon loved the drama in American country music and this has a lot of drama. The first recording was by country singer Hank Locklin who had a big crossover hit with it in 1960 (US #1Country, #8 Pop). Peter and Gordon were one of the first “big” acts to cover it.,_I%27m_Falling
  • Goodbye My Love – (Swearingen-Simington-Mosely) – Originally recorded by the co-writer Robert Mosley in 1963, though identified with R&B singer Jimmy Hughes, who released a version in 1964. The Searchers then had a beat hit with it (UK #4, US#52) in 1965. Quite good but not distinctive.

And …

Not the best Peter and Gordon album but there is nothing wrong with it. It is quite pleasant … I'm keeping it.

Chart Action



1967 Sunday for Tea #31 Pop

1967 The Jokers #97 Pop





London at Night

The Jokers

I'm Your Puppet

Here Comes That Hurt Again

You've Got Your Troubles

Sally Go 'Round the Roses

Sunday for Tea

mp3 attached

Red, Cream and Velvet

Stop, Look and Listen

Please Help Me, I'm Falling

Goodbye My Love






Posted in British Invasion, Pop Rock | Tagged | Leave a comment

THE MATCH – A New Light – (RCA) – 1969

The Match - A New Light

I know very little about this band.

No, less than “very little”…

… next to nothing

Google reveals that "next to nothing" whilst books I have reveal nothing (or is that, don't reveal anything).

The group consisted of four vocalists and a drummer, (their last names unknown bar one) Richard (bass voice), Bjorn (baritone), Marshall (high tenor), Pat Valentino (vocal arrangements-second tenor) and Tony (drummer).

There are some Pat Valentino’s in music and the likely one is Pat Valentino is this one (but I could be wrong) …

“ … is Mr. Pat Valentino, who’s been around the entertainment industry his whole life, having come from a long line of show business personalities. After winning the Hollywood bowl award at the age of ten, Valentino joined the famous Mitchell Boys Choir in 1955. For the next three years, he performed for movies, television, radio, and concerts in the United States and Europe. Valentino then attended Hollywood Professional School, where he won the Bank of America fine arts award in 1962. Upon graduation, he taught music at the Los Angeles Conservatory of Music – the youngest person ever to do so … Valentino has worked as musical director, conductor, pianist, and arranger ever since for such artists as Englebert Humperdink, Flip Wilson, Vicki Carr, Don Costa, Pat and Debbie Boone, The Lettermen, Frank Sinatra, Jr., and over one hundred television shows throughout the world. Valentino has recorded for Capitol records, RCA, A&M Records, as well as Bonneville Broadcasting Company, writing over three hundred orchestrations within a 28 month period. Also to his credit are his guest appearances as conductor with the symphonies of Edmonton, Canada; Manchester, England; Anchorage, Alaska; Greensboro, North Carolina; and Jackson, Tennessee”.

What leads me to believe that this is the right Pat Valentino apart from the right timeframe is that the one on this album did the vocal arrangements and most of these tunes are film songs (as well as new contemporary songs by new songwriters).

The liner notes written by Henry Mancini, proclaim, "Something new, or is it something old, is happening to popular music".

And Henry hits the nail on the head.

The Match have taken (1969) recent trad pop sounds and psyched them up for the late 1960s. They lent to familiar songs from films as well as a number of tunes by upcoming songwriters like David Gates, Jimmy Webb, Paul Williams, Paul Simon, Roger Nichols.

The album straddles both the traditional and the new as was popular at the time much like The Sandpipers, The Association, The Free Design, The Skyliners, Small Circle Of Friends, and Harpers Bizarre who had a #13US with Simon & Garfunkel's "The 59th Street Bridge Song (Feelin' Groovy)" in 1967 and some other minor hits.

I said this in a comment about Harpers Bizarre elsewhere on this blog and much of it applies here, “They started off as AM Pop … and then incorporated more eclectic sounds into the mix including baroque pop, sunshine pop and 1920s and 1930s era tin pan alley pop which enjoyed only a brief vogue, roughly from late 1966 to 1968, probably on the back of the mammoth success of the film “Bonnie & Clyde” … This album is a mix of AM pop and a vocal group playing jazzy pop music with dribs and drabs of the aforementioned sunshine pop and baroque pop”.

Allmusic, dwelling on the respectable bands, define "sunshine pop" as, "Naturally created in California, sunshine pop was a mid-'60s mainstream pop style typified by rich harmony vocals, lush orchestrations, and relentless good cheer. It was often mildly influenced by psychedelia, but it usually didn't aim to evoke any sort of drug-induced mind expansion; it simply drew from the warm and whimsical sides of psychedelic pop, incorporating production innovations of the time (especially those of Phil Spector and the Beach Boys' Brian Wilson). Sunshine pop often resembled the more elaborate and melancholy baroque pop style, though it could also cross into folk-pop or Brill Building pop. The stars of sunshine pop included the Beach Boys (circa Pet Sounds), the Turtles, the Association, and the Mamas & the Papas; other groups to score hits in the style were the Buckinghams, the Grass Roots, and the Left Banke, while certain others — Sagittarius, the Yellow Balloon, the Millennium — became cult favourites years after the fact".

The Match are probably a little more "traditional groovy” with lovely vocal harmony arrangements backed by some beautiful string arrangements but it is all very slick as you would expect from the trad pop world. The result is a breezy vocal harmony album full of sunshine pop that would have made Brian Wilson chuckle.

It is the type of music you hear on TV specials, commercials and some films of the time.

Clearly the band are trying to match (sic) the success of Harpers Bizarre and The Association but they owe a big debt to Jimmy Webb and the multi layered vocal arrangements and music he was doing with the 5th Dimension.

And just like listening to the 5th Dimension of this period, the fun is in losing yourself in the music and the vocals where the voices are instruments in themselves. The music here demands less, both in message and in sound, than the 5th Dimension, but nevertheless, it is perfect for a sunshine day.

This was their only album.

Tracks (best in italics)

            Side One

  • Don't Take Your Time – (Tony Asher- Roger Nichols) – first released by 60s soft rock band Roger Nichols & The Small Circle of Friends on their self-titled album from 1968. Sammy Davis Jr. released a version on his "Lonely Is The Name" (1968) album. This version is so light it floats but it is very pleasant.
  • A Time For Us (Love Theme From "Romeo And Juliet") – (Larry Kusik-Eddie Snyder-Nino Rota) – from the film "Romeo And Juliet". Henry Mancini had a #1 Pop hit with it in 1969. Different lyrics have been done for the song. The ones used here have also been recorded by Johnny Mathis (1969 – on his “Love Theme From "Romeo And Juliet" (A Time For Us)” album) and Andy Williams (1969 – on his “Get Together With Andy Williams” album). There may be a time for protagonists but it is dipped in a cup of foreboding.
  • Free And Easy – (Addrisi-Addrisi) – written by the Addrisi brothers whilst they were still songwriters with a few singles under their belts. Fluffy and not a standout.
  • Through Spray Colored Glasses – (Gates-Phillips) – written by David Gates (at about the time he started the band Bread) and film composer Stu Phillips for the surfing documentary film “Follow Me” (1969) and first performed by Dino, Desi & Billy on that LPs soundtrack. Very 5th Dimension.
  • Mornin' I'll Be Movin' On – (Nichols-Williams) – Paul Williams co-wrote this and released a version on his debut album from 1970 “Someday Man”. Gentle horns accentuate the good times

     Side Two

  • Where Do I Go? – (Rado-Ragni-MacDermot) – from the Broadway show “Hair” (1968). Nice hearing the song with out the bombast.
  • Alfie – (David-Bacharach) – from the film “Alfie”. This has been done by everyone but was a hit for Cilla Black (#9UK 1966), Cher (#32 US 1966) and Dionne Warwick (#15US 1967). A largely acapella version and nicely done. Gets the existential sad loneliness through.
  • Need You – (Simmons) – fluff and very 5th Dimension.
  • Scarborough Fair/Canticle – (Simon-Garfunkel) – a traditional tune adapted by Paul Simon for the Simon & Garfunkel “Parsley, Sage, Rosemary and Thyme” (1966) album. The song was released as a single after being featured on the soundtrack to The Graduate in 1968 (#11US, #9UK 1968). It was then covered often by trad pop and soft pop acts. It is lovely, pastoral and well realised.
  • Love Years Coming – (Jimmy Webb) – written by Jimmy Webb and first recorded by Strawberry Children in 1967. Well, very 5th dimension but this one is by Jimmy Webb.
  • The Heart Is a Lonely Hunter (If You Needed Me) – (Peggy Lee- Dave Grusin) – an instrumental version is in the film “The Heart is a Lonely Hunter” (1968). Peggy Lee added lyrics and recorded the same for her “Let’s Love” album from 1974. Quite delicate and beautiful, as you would expect given the subject matter of the film (and book by Carson McCullers).

And …

Not the best of the gene but still with more good moments than bad and a perfect time capsule without it being overfamiliar … I'm keeping it.

Chart Action

Nothing nowhere … if it had done well they would have done another album


Whole album

Don't Take Your Time

A Time For Us (Love Theme From "Romeo And Juliet")

Through Spray Colored Glasses

Mornin' I'll Be Movin' On

Scarborough Fair/Canticle

mp3 attached






  • Credits: Vocal arrangements – Pat Valentino, Conductor – Jules Chaikin (lead trumpet with the big bands of Stan Kenton and Les Brown, studio musician (Kris Kristofferson, Paul Anka, Chicago, the Turtles, Herb Alpert and the Tijuana Brass, Dionne Warwick, Aretha Franklin, Kenny Rogers, Manhattan Transfer, Nina Simone, Johnny Mathis etc), music contractor and contributor to film scores, Produced and Arranged By – Jack Pleis (a jazz pianist and prolific film and TV composer), Recorded At – RCA's Music Center Of The World, Hollywood, California.
  • There is a Pat Valentino that has released solo jazz instrumentals and records with Pat Valentino & His orchestra … I assume he is the same one.



The Match - A New Light - back


RIP: Tom Petty 1950 – 2017

Posted in Sunshine Pop and Baroque | Tagged | Leave a comment

JOHNNY RIVERS – Wild Night – (United Artists) – 1976

Johnny Rivers - Wild Night

This is an interesting album. This is Johnny's last album for United Artists which he had been with since 1964  (well, the United Artists banner – he was on Liberty and imperial as well,  see trivia at end) and, it was issued three years after leaving the label.

Johnny is an American phenomena. Apart from some sparse chart placings in England , Australia and Europe most of his hits were in the US and in Canada.

He had a fabulously successful chart career in the mid-1960s with a number one "Poor Side Of Town" and batch of Top 40s in the US as well as chart placings for all his albums. Then in 1968 the hits started to dry up (he was 25 years old) and it stayed that way for about three years. He had some minor charting songs but nothing like the mid-60s. His album sales dried up also.

For Johnny Rivers and the money-men at United Artists Records, this was a worrying time.

In 1972 his luck changed when he released "Rockin’ Pneumonia and the Boogie Woogie Flu" which reached #6 in the US and #3 in Canada.

On the back of the single Johnny Rivers’ went into the studio to record the “L.A. Reggae” album which reached #78, a respectable placing, and his highest chart placing since "Realization" in 1968. He enjoyed a minor hit with his cover of “Blue Suede Shoes” in 1973 (#38) but the accompanying album and the one that followed failed to make the Top 200. He signed to Atlantic Records and released the album "The Road" (1974). It also failed to chart. He was dropped, or left, Atlantic and ended up at Epic records where he would release the "New Lovers and Old Friends" album in 1975 (called "Help Me Rhonda" in the UK after the single). That single, a cover of the Beach Boys classic was a hit, #22 US, #35 Canada; #34 New Zealand, #52 Australia (it didn’t chart in the UK). The album reached #147 in the US. As a result his old label United Artists raided their vaults (specifically the recording sessions for his “Home Grown” (1971), “L.A. Reggae” (1972) and “Blue Suede Shoes” (1973) albums) for any unreleased Johnny Rivers material and put together an album, "Wild Night".

The lack of the singer’s involvement probably explains the poor cover art for the album but the music itself, is quite good and hangs together well.

The tracks all seem to be recorded over that period from the early 70s, though, the liner notes say the songs were recorded between 1973 – 1975.

Session guitarist Dean Parks plays guitar on most with Joe Osborn on bass, Jim Gordon on drums and Larry Knetchel on piano with all sorts of other well played sessionmen dropping in.

Rivers sound is consistent and all his influences are apparent, old school rock ‘n’ roll, soul, deep south blue eyed balladry, a touch of reggae (which he had discovered in the 70s) all through the prism of his funky 70s retro rock ‘n’ roll which was going through a revival of sorts in the early to mid-70s … bands like Sha Na Na, Flash Cadillac & the Continental Kids, Showaddywaddy (in the UK), the chart re-entry of Ricky Nelson, Jerry Lee Lewis, Chuck Berry and Elvis (though Elvis had never really left), films like “American Graffiti” and TV shows like “Happy Days).

Rivers wasn’t one of the 50s idols being remembered by the revival but he was a 60s singer who owed his rock sensibility to the 50s so it was natural to hop onto this sound which sits between his neo hippie introspective material in the late 60s and his slicker straight rock and pop of the late-70s (he subsequently return to 50s and 60s straight rock).

The album tanked but as an album of what Johnny Rivers was thinking about in the early 70s it is worthwhile. He stays true to the spirit of the originals, which are a mixture of hook-laden, up-tempo tracks and beautiful ballads with a bit of country rock and southern boogie thrown it to contemporise them.

Rivers went to to have another hit in the late-70s before disappearing from the charts. He is still playing today and still releasing albums.

Check out my other entries for biographical detail.     

Tracks (best in italics)

           Side One

  • Wild Night – (Van Morrison) – from Van Morrison's influential album "Tupelo Honey" (1971) and a hit single (#28US 1971). John Mellencamp later had a #3 (1984) with it in a duet with Meshell Ndegeocello. Rivers' version is suitably melodically rockin' with just the right amount of soulfullness.
  • Something You Got – (Chris Kenner) – Rivers was digging into his background when he covered New Orleans R&B singer Chris Kenner. The song sold few copies outside out of New Orleans, but was widely covered (by Wilson Pickett, Alvin Robinson, the Ramsey Lewis Trio, Chuck Jackson, Earl Grant, Maxine Brown, Bobby Womack, The Moody Blues, the American Breed, Fairport Convention, Bruce Springsteen and Jimi Hendrix and others). Another rockin tune that has a joy for times past.
  • Brown Eyed Handsome Man – (Chuck Berry) – Chuck Berry's classic rocker done by everyone (Chuck had a #5 US R&B hit with it in 1956). Rivers covered the song on his first album, "At the Whisky à Go Go" (1964). Here he has slowed the song down and, surprisingly, it works. It is now more of a rumination and quite ":groovy". Hal Blaine polays drums and James Burton plays guitar.
  • Rain Song – (Ada Richter) – Ada Richter was a prolific writer of piano music and a piano teacher. A pretty little song
  • Georgia Peach – (Bernie Leadon – Michael Georgiades) –  Country rock Georgiades played session, live and co-wrote songs with Rivers in the 70s (and subsequently) before forming the short lived "Bernie Leadon-Michael Georgiades Band" with Leadon of the Flying Burrito brothers. This a country rock stomper.

      Side Two

  • Get It up for Love – (Ned Doheny) – Written by soft rock singer-songwriter Ned Doheny who released it on his second solo album, "Hard Candy" (1976) it has been covered a bit. There is still a bit of boogie here but the boogie has a distinct NYC disco-ish feel as opposed to the rural boogie of the other Rivers songs.
  • Dear Friends – (Herb Pedersen – Nikki Pedersen) – Herb Pedersen is another west coast country rocker who played and wrote for Johnny in the 70s as is Nikki. The type of soulful ballad Rivers had hits with.
  • Lightning Special – (Johnny Rivers – Nikki Pedersen) – another country rocker with southern boogie elements …and, naturally, a train song.
  • Louisiana Man – (Doug Kershaw) – Rivers digging into his Louisiana roots again. Kershaw’s Louisiana Cajun country rock classic. It went to #10 US Country when recorded by Kershaw and his brothers as Rusty and Doug. Often covered. Johnny nails it … well, he is a Louisiana man (bred in Louisiana, born in NYC).
  • Reggae Walk – (Johnny Rivers) – a instrumental with no reggae sounds. It sounds like a song that needs a vocal track.

And …

Very solid and certainly no worse from similar albums. It should be more well known. .. I'm keeping it.

Chart Action

nothing nowhere


Wild Night


Something You Got

Brown Eyed Handsome Man

mp3 attached

Rain Song




Excellent Glenn A Baker bio on Rivers



  • Produced by Johnny Rivers
  • Songs recorded by year (according to liner notes): 1973 – S1S3, S1S4, S1S5, S2S2 / 1974 – S1S2, S2S1, S2S3, S2S4 / 1975 – S1S1, S2S5
  • Up till 1973 Rivers was on the imperial, Liberty and United Artists labels. Imperial was formed in 1946, sold to Liberty Records in 1964, which, in turn, was purchased by United Artists in 1968 (UA was bought by EMI in 1979. The catalogue and name are now owned by Universal Music Group).
Posted in Rock & Pop, Southern and Boogie Rock | Tagged | Leave a comment

DANNY O’KEEFE – O’Keefe – (Signpost) – 1972

Danny O'Keefe - O'Keefe

Okay, this isn’t actually a new find as I have had it awhile and had already graduated to the “keep” side of the ledger but I’m an O’Keefe kick … and, this is a cleaner copy than the one I had.

Check out other posts on this blog for detail on Danny O’Keefe. The guy is underappreciated bordering on criminality.

Well, when I say underappreciated, not quite. Musicians and those willing to do some digging appreciate him.

As is stated on his website, “Danny's songs have been recorded by a Who's Who of artists over the last thirty plus years: Elvis Presley, Cab Calloway, Charlie Rich, Willie Nelson, Waylon Jennings, Earl Klugh, Chris Hillman, Conway Twitty, Leon Russell, Dwight Yoakam, Jerry Lee Lewis and Milt Hinton. But that's just who recorded "Good Time Charlie." Other credits include Alison Krauss ("Never Got Off The Ground"), Jimmy Buffett ("Souvenirs"), Nickel Creek ("When You Come Back Down"), Judy Collins ("Angel Spread Your Wings"), Donny Hathaway ("Magdalena"), John Denver ("Along for the Ride"), Gary Stewart ("Quits"), Sheena Easton ("Next to You"), Jesse Colin Young ("Night School"), Chris Smither ("Steel Guitar "), Ute Lemper ("You Look Just Like A Girl Again") and Alan Jackson ("Anywhere on Earth You Are"). "Well, Well, Well," which Danny wrote with Bob Dylan, has been recorded by Ben Harper, The Blind Boys of Alabama, Bonnie Raitt and David Lindley”.

There is no big noting going on here just an example of the high regard his songs are held in.

I can wax lyrical over Danny O’Keefe but the joy is in the music.

And he was a round at the right time.

Despite having the majority of his work in the 1970s he is a product of the 1960s, that golden decade in rock music when all musical styles collided and anything was possible.

Folky singer-songwriter Americana with country, blues, jazz, and blue eyed soul overtones O’Keefe crosses over many American traditions, and, not for posturing reasons, but because they suit his music best. He can best express his ideas and stories in those forms of American music. At his best these narratives are complemented by music which evokes the emotions of his protagonists as well as the environment that surrounds them. (that sounds a little academic but I mean, the music, creates the mood).

This is not an easy, especially when you are trying to wrap everything up in a catchy tune.

O'Keefe in his observational Americana is the (upper) west coast spiritual cousin to Kris Kristofferson (the south), Jim Croce (the north), Paul Simon (the east) and many other troubadours of the road.

This was O’Keefe’s breakthrough album riding on the back of the hit single “Good Time Charlie’s Got the Blues”. The chart breakthrough was never followed up. The album and the single, were his only dents on the charts but the royalties from covers (especial of “Charlie”) and a small devoted following have kept him in the music business.

Here he has the backing of magnificent session musicians made up of southerners (mainly Memphis American Sound Studio's House Band) supplemented by some New Yorkers (which look to be Atlantic records alumni … Signpost records was a subsidiary of Atlantic) slumming it on background vocals.

The music is evocative and sums up a place and time beautifully. It is personal music but it, also, anticipates the 70s with all its troubles, change and political “isms”. It's tales are still relevant today.

Tracks (best in italics)

              Side One

  • Good Time Charlie's Got The Blues – the song first appeared on O’Keefe’s 1971 self-titled debut album, and then he recorded another version for this album. There are many great versions of this song but I’ve always been partial to Elvis’ version from 1974 (which is, actually, the first version I ever heard). This is, perhaps, one of the greatest of all singer-songwriter songs.
  • Shooting Star – pure observation with some great lines, "the morning is waiting for electra but electra is mourning for the night".
  • The Question (Obviously) – A bouncy jaunt and a country-ish brag. As if Jim Croce had gone rural. And, not dissimilar from The Kinks on their magnificent, "Muswell Hillbillies". Great fun.
  • Honky Tonkin'  – (Hank Williams) – Hank’s #14 country hit from 1948 and as bona fide classic. The version here doesn't match the original (I mean how could it) but it is a good , suitably twangy version.
  • The Road – Jackson Browne would later cover on his best-selling album “Running on Empty” (1977). Quite a beautiful song, and quite haunting.
  • Grease It – another country rock blues stomper, though a gentle stomper with a touch of Jerry Lee Lewis vocals.

Side Two

  • An American Dream – a electric and quite heavy singer-songwriter song with psych overtones about the war and "an American dream".
  • Louie The Hook Vs. The Preacher –   a less exuberant variation on a Jerry Reed song. Fun.
  • The Valentine Pieces – a art piece as if 70s era Tom Waits was crossed with soft rock. 
  • I'm Sober Now –   According to the liner notes, the song was "inspired by Clarence (Pinetop) Smith" who was an American boogie-woogie style blues pianist who died in 1929, aged 24. Quite good and catchy.
  • Roseland Taxi Dancer – a song about a "granny" who was a taxi dancer in times past. A taxi dancer is a paid dance partner in a partner dance. Something Redbone or Jim Kweskin would do though here, the "old" sounds ar not front and centre.  
  • I Know You Really Love Me –  a short ragtime-ish tune. Excellent

And …

Wonderful … a minor masterpiece. I'm keeping it.

Chart Action



1972 Good Time Charlie's Got the Blues #9 Hot 100

1972 Good Time Charlie's Got the Blues #5 Adult Contemporary

1972 Good Time Charlie's Got the Blues #63 Country


1972 #87




Good Time Charlie's Got The Blues

live recently

mp3 attached

Shooting Star

The Question (Obviously)

Honky Tonkin'

The Road

live recently

An American Dream

Louie The Hook Vs. The Preacher

The Valentine Pieces

I'm Sober Now






  • Personnel : Danny O'Keefe – vocals, guitar / Hayword Bishop – drums, percussion / David Brigati (The Rascals) – background vocals / Eddie Brigati (The Young Rascals) – background vocals / Gene Chrisman – drums / Johnny Christopher (He co-wrote "Always on My Mind" with Mark James) – guitar / Bobby Emmons – organ / Shane Keister – piano / Bobby Wood – piano, electric piano / Reggie Young – guitar (legend / Leo LeBlanc – steel guitar / Mike Leech – bass / Irwin "Marky" Markowitz – trumpet / Howard McNatt – violin / Phil Olivella – clarinet / Ahmet Ertegün – producer.
  • The liner notes note, "All guitar solos are by Danny O'Keefe except on "Good Time Charlie's Got the Blues", The Question(Obviously), and the middle section of An American Dream which are by Reggie Young".
  • The album was recorded at American Sound Studios in Memphis with additional recording at Atlantic Recording Studios in New York City.

Back sleeve picture:


Danny O'Keefe - O'Keefe - back picture

Posted in Americana, Country Rock, Singer Songwriter | Tagged | Leave a comment

HELEN MERRILL – American Country Songs – (Atco) – 1959

Helen Merrill - American Country Songs

Helen Merrill is a great vocalist.

She could sing anything.

And she has proved it time and again …  over 60+ years of professional recording.

She does country tunes here but she has done smooth jazz, swing, pop, trad pop, an album of Beatles tunes, Broadway numbers, film songs, Tin Pan Alley and even Croatian folk songs.

That’s not to say she doesn’t have her style.

She does.

This I find infinitely more interesting and superior to a vocalist who hops from style to style without taking their musical personality along with them.

She is an effortless note bender who emphasises a lyric to extract complete meaning and emotion from it whilst singing in harmony with her accompaniment.

Her voice is so evocative that even if she wasn’t using words the mood and the meaning of the song would be clear.

I’m not sure of the logic of this “country” album apart from Helen proving she can do country but I welcome it nevertheless.

There may have been commercial considerations. This was Helen’s seventh album and she hadn’t achieved the crossover mainstream popularity of Peggy Lee of Julie London in her previous albums, as good as they were (and they were / are good). So, perhaps, it was time for a change. Country music was on an upswing at the time, there were many country musicians with jazz leanings incorporating some of the same in their music, jazz legend Sonny Rollins released his “Way Out West” album to critical acclaim in 1957, so, perhaps, it seemed a good idea.

And it was.

But, at the time, it may have alienated her traditional listeners. Certainly today, jazz vocalist aficionados, when commenting on this album, usually mention they “have no time for country music”, so, I suspect, that prejudice is the same one that affected the albums potential sales in 1959.

But, a good vocalist should be able to tackle all material and a great vocalist should be able to do it successfully.

And here I am full circle … Helen Merrill is a great vocalist.

She sticks within the jazz vocalist medium but isn’t afraid of introducing any other sound into the mix and if that isn't jazz, what is?

Some songs make work better than others but everything she records is worthy.

Despite the big city in her, Helen has a beautiful, slightly smoky voice that is ideally suited to country songs (as well as urban songs).

Country music is about hard times, love, lost love, getting drunk, your wife leaving you, your husband leaving you, infidelity, chasteness, sex. Basically, the lives of everyday people.

The liner notes refer to the same, "Many country songs are considered "earthy", inasmuch as their lyrics deal with life's realities. This is a true appraisal; however, a listener to this record will surely note another quality of the great county song – the liberal use of poetic language and imagery".

Helen’s voice captures the various emotions of those in love and her phrasing and tone is both sexual and full of understanding. This may not be a pure country record but she nails these songs.

There are five Hank Williams tunes, three Eddy Arnold songs, some standards and, interestingly (but not inappropriately), a couple of Everly Brothers songs.

An interesting aside is that Helen, with this album, was both part of a trend and ahead of the curve.

Trad pop singer Patti Page had successfully incorporated country sounds into her music in the 50s (as had Frankie Laine and Guy Mitchell) and jazz pop vocalists like Bing Crosby, and Hoagy Carmichael had done the same going back to the 30s whilst Tony Bennett had done the same in the early 50s but it was unusual for a pure jazz vocalist like Helen to do a whole album of the same.

This is referred to in the liner notes (by Paul Ackerman of Billboard), where he says: "The recording art has its adventurous moments. This album is one of them, for it strikes out in new directions. it does this by presenting a dozen of the greatest country songs in arrangements which are quite new to the genre … It is known that several record producers have been grappling with the same idea – that is, to invest the country song with a new dimension through sophisticated arrangements and scoring. This is the first album to come to our attention which has actually done the trick – and it points the way towards future treatment of this music, much of which derives from the heartland of America."

Later, in the 1960s, Peggy Lee, Frank Sinatra, Nat King Cole and Julie London dipped their toes in the country pool whilst Kay Starr (and trad pop singers like Dean Martin and soul singer like Ray Charles) would record whole albums of country songs.

The world was all about, and comfortable with, fusion but here it was novel.

It's tempting to say the music here is not country, not jazz, but trad pop with country and jazz overtones, but, "Nashville sound" countrypolitan country music star Jim Reeves was riding the same range (sic) though with less (jazz) quirkiness. And, perhaps, that's the market Helen was aiming for.

I don’t have jazz chart details but even with a major label release (Atlantic records) the album did not sell well enough to crossover to the mainstream charts.

Check out my other comments for biographical detail on Ms Merrill.

Tracks (best in italics)

            Side One

  • Maybe Tomorrow – (Don & Phil Everly) – originally by the Everly Brothers from their 1958 debut album. Gentle and dreamy.
  • I'm so Lonesome I Could Cry – (Hank Williams) – recorded by Hank in 1949. Covered by everyone else (I love the Elvis version from 1973). Very quirky with a snappy back beat at odds with the traditional interpreted tempo, but it works. Helen nails the song.
  • You Don't Know Me – (Cindy Walker-Eddy Arnold) – the liner notes refer to Eddy who had a #10 country hit with this in 1956 but trad pop singer Jerry Vale had a #14 in 1956 also. This is quite beautiful with a jazz guitar gently punctuating the proceedings.
  • Condemned Without Trial – (Hal Blair-Don Robertson) – an Eddy Arnold song from 1952. Lots of strings and things and well sung.
  • You Win Again – (Hank Williams) – a Hank Williams song from 1952. Sweet strings are added.
  • I'm Here to Get My Baby out of Jail – (Karl Davis – Harty Taylor) – Originally by Davis & Taylor in 1934 but recorded by the Everly Brothers for their 1958 album “Songs Our Daddy Taught Us”. A wonderful song though with a great country whistling accompaniment. The song is quite existential and haunting.

Side Two

And …

An individual quirky joy. Everything Helen does is a pleasant revelation. This album is no different. This is wonderful … I'm keeping it.

Chart Action

Nothing nowhere.


Maybe Tomorrow

I'm so Lonesome I Could Cry

mp3 attached

Condemned Without Trial

Cold, Cold Heart

Devoted to You

Half as Much






  • Personnel: Bernie Leighton (piano) / Mundell Lowe (guitar) / Bill Suyker (guitar), Milt Hinton (bass), Bobby Rosengarden (drums). Arranged and conducted by Chuck Sagle. Recorded in New York, May 25, 1959
  • "The Nashville sound originated during the mid 1950s as a subgenre of American country music, replacing the chart dominance of the rough honky tonk music which was most popular in the 1940s and 1950s with "smooth strings and choruses", "sophisticated background vocals" and "smooth tempos"". also see



Helen Merrill - American Country Songs - back sleeve


RIP: Harry Dean Stanton (1926-2017)

Posted in Country, Jazz, Popular & Crooners | Tagged | Leave a comment

CHIP TAYLOR – Chip Taylor’s Last Chance – (Warner Brothers) – 1973

Chip Taylor - Last Chance

Check out my other comments for background on Chip.

He has his roots, schizophrenic style, in both 60s Brill building pop and country music.

You could assume that a native New Yorker from Yonkers could understandably be a Brill building alumni but the country music was something he picked up on himself from left field at an early age.

“I remember the night I heard “My Wild Irish Rose.” I remember thinking at the time—I was just seven or eight years old—that music was going to be my life. It was like the first time you fall in love, or the first time you hold a girl close. And then when I first heard country music—on a radio station in Wheeling, West Virginia—I had the same kind of feeling. Suddenly the direction was set for me. In high school I had a country band, one of the only country bands in the New York area. And during that time I was also exposed to the “race records” from down south, with the Alan Freed show. The combination between that and country music really guided my path in the music business”.

It is both of these genres that have affected his music without his music being either.

From country he took the ruminations, confessions and matter of fact looks at life, and from the Brill building (and its Tin Pan Alley traditions) he took the pop sense of using a catchy melody. The result are singer-songwriter songs, which occasionally rock, but are more often than not, slow or mid-tempo stream of consciousness songs with a catchy melody attached.

This was Chip’s second album and he is influenced (perhaps) even more than on the first by what is happening around him, though, “what is around” him he had been into for years.

What was happening musically in 1972, amongst other things: The country rock and singer-songwriter styles were breaking into the mainstream. It was around the time that Gram Parsons released his influential solo album (“GP”), the Eagles had their first big hit in the US (they had two Top 20 singles and their debut album went to #22 in 1972) and singer-songwriters were everywhere on the charts… fellow easterners and country influenced James Taylor and Arlo Guthrie, Jackson Browne, Gordon Lightfoot, Joni Mitchell to name a few.

But, Chip’s music isn’t quite country rock because it doesn’t often “rock” and it isn’t quite inwardly solemn enough to be traditional singer-songwriter. It hops across both and seems to be mostly influenced by the observations and ruminations of Kristofferson and John Prine who had both just recently released their debut self-titled albums, Kris Kristofferson (1970) and John Prine (1971). Not surprisingly Chip refers to those albums as influential on his psyche (

Chip has adopted the same matter of fact-ness and autobiographical narratives and wedded them to an almost stream-of-consciousness style superimposed over catchy melodies with country flavourings (the record is full of lush harmonies (supplied by Elvis’ Jordanaires) with pedal steel licks in the background). Thematically, he has put himself into the familiar singer-songwriter’s shoes dwelling on sadness and failure, but importantly, he doesn’t wound easily like others in the genre. He comes across as a bloke just telling you his story with all the sadness, happiness, laughter and melancholy in any extended conversation.

And, it's all sung in the laid back naturally cool style of Kris Kristofferson or, especially, Willie Nelson.

Today, of course, this would fit perfectly into the alternative country, or the Americana movements.

Then, it just got missed.

Whether it be the whim of the public, music business mistakes, historical distractions or something else the album did not sell despite ticking all the right boxes.

Written by (unless indicated otherwise), produced by, arranged by Chip.

Tracks (best in italics)

            Side One

  • (I Want )The Real Thing – which puts down the insipid ‘cover’ versions of R&B songs by such pop singers as Pat Boone (poor Pat gets sledged a lot though, admittedly, his forte wasn't R&B covers). The song praises Elvis, Johnny Cash et al and is a good rollicking thing and a statement on musical taste. Perhaps that's why (Elvis' backing vocalists) The Jordanaires appear on the record.

                        I remember old Elvis when he forgot

                        To remember to forget

                        And when young Johnny Cash

                        Hadn't seen this side of Big River yet

                        And when sun was more than daylight

                        Shinin' on Memphis, Tennessee

                        And old Luther and Lewis and Perkins was pickin

                        And playin' them songs for me

  • Son Of A Rotten Gambler – dedicated to his son and Chip’s own pastime of being a gambler. Another good song. Quite perceptive with a well placed emotional crescendo. Covered often including versions by Anne Murray and Melanie.
  • I Read It In Rolling Stone – a country song with a gentle bounce like a lope on a sunny winter day. Probably the spiritual cousin to Dr Hook's "Cover of Rolling Stone"
  • (The Coal Fields Of) Shickshinny – a song about Chip’s coal-mining grandfather. Nicely biographical.
  • I Wasn't Born In Tennessee – There are (big) nods to and name checking of Merle Haggard and even some yodelling. A hoot of a song. Chip said on his facebook site, "So sad to here about Merle Haggard’s passing. He was always a big influence on my writing and singing. Back in 1973 I needed his permission to use an excerpt of his song ("Today I Started Loving You Again") for “I Wasn’t Born In Tennessee”. I had forgotten to ask him. If I didn’t get permission within a week I would have had to pull the song from the Last Chance album. I sent it special delivery to his attorney and within 3 days got a response, “Merle heard it .. Merle likes it… use it with his blessing!”

      Side Two

  • (The Likes Of) Louise – another gentle stroll (whistling included) of a country song.
  • It's Still The Same – singer-songwriter
  • 101 In Cash Box – a spoken intro, which is very funny (and very country), to a song about songs and the music business.
  • Family Of One – gentle., low key and personal.
  • Clean Your Own Tables – country themes, sounds and a great country song title.
  • Last Chance – pedal steel and country sounds and a sing a long nature. Too low key to be rollicking fun but an apt last song.

And …

Wonderful country singer-songwriter … I'm keeping it.

Chart Action

Nothing nowhere


(I Want )The Real Thing

live recently

mp3 attached

Son Of A Rotten Gambler

I Read It In Rolling Stone

(The Coal Fields Of) Shickshinny

I Wasn't Born In Tennessee

live recently

(The Likes Of) Louise

It's Still The Same

101 In Cash Box

Clean Your Own Tables






  • Backing Vocals – The Jordanaires / Bass – Dave Kapell / Drums – Rick Nelson (not the famous one)  / Electric Guitar [Lead], Acoustic Guitar – John Platania (Van Morrison regular guitarist) / Guitar [Lead Rhythm] – George Kiriakis / Keyboards – Joe Renda / Mandoguitar, Engineer – John Nagy  (ex Earth Opera) / Mandolin – Dave Grisman  (ex Earth Opera, Old & in the Way and any number of bluegrass bands) / Steel Guitar [Pedal] – Pete Drake (sessionman for Elvis Presley, Bob Dylan, George Harrison, Ringo Starr, Tammy Wynette, Joan Baez, Lynn Anderson and many others) / Recorded at Aengus Rec. Studios, Fayville, Mass.
  • Rolling Stone acclaimed (apparently) Chip Taylor’s Last Chance as one of the best country albums of 1973.
  • As a professional gambler, he was one of the foremost thoroughbred horse race handicappers on the East Coast. When Taylor turned his sights on the gaming tables, he quickly gained notoriety with his black jack prowess; finishing third in the World Black Jack Championship in Las Vegas. Taylor became one of the most feared card counters in the land and was ultimately banned from every casino in Atlantic City. In the late 80s, along with friend, partner, and renowned handicapper, Ernest Dahlman, he garnered enormous winnings through his horse racing exploits, specifically in the form of massive pick six scores (wagers where often times you get paid enormous sums for picking six winners in a row). These windfalls are known throughout the gambling world and well documented by the I.R.S.
Posted in Alt Country, Country, Singer Songwriter | Tagged | Leave a comment

COLOURS – Atmosphere – (Dot) – 1969

Colours - Atmosphere

This one has been banging around my “maybe” pile for quite some time.

I listened to it some time ago and I quite liked it but thought I might need the shelving space for something else.

The first album with its (apparently) psych and Beatles overtones is the album the pundits like but a fair amount of Pavlov’s dog applies to music enthusiasts so it’s always better to do the leg, errr, ear work yourself.

I do have that debut album but I’ll do this one first as I’ve had it the longest and it was a part of my collection.

The Colours was formed around the central partnership of Jack Dalton and Gary Montgomery.

They were former (white) Motown Records songwriters who also penned songs for The Turtles, Nino Tempo & April Stevens, The Committee, The Peppermint Trolley Company, Aorta, The Moon and others.

As the Dalton Boys they released a Motown pop meets The Beatles single in 1965. (Claimed to be the first white group signed by Motown (albeit to their VIP label) The Dalton Boys began as a folk group formed by brothers Dan, Jack and Wally Dalton. In Detroit they teamed with Gary Montgomery before releasing that first 45).

Whether it is musical influence or commercial assumptions (or both) that chose that mix of sounds (Motown pop and Beatles) I don’t know but it was something they tapped into, again, as the Colours.

Jack Dalton (guitarist/song writer) was raised in Erieau, in the Chatham-Kent municipality of Canada, just across the lake from the US and about 100km from Detroit (which explains how he ended up at Tamla Motown, perhaps).

The Dalton family is well known in Erieau, as Mr. Dalton was known for years as Detroit’s Irish Tenor (and had his own radio show). The whole family are very musical and have entertained there (sic) neighbours with playing, singing and dancing. Jack was a member of the Dalton Boys, with his brothers Wally & Dan. The trio was booked to open Randy Sparks’ new club, Ledbetter’s, in October of 1963”.

I don’t have a lot of detail on Gary Montgomery apart from the fact he was another Canadian (apparently) living and working in the US and passed away in 2005.

Dalton and Montgomery went to the west-coast (as everyone did). The Colours came together in 1967 at the request (on one version) of Dalton and Montgomery, though producer Daniel Moore (who produced both Colour albums) says, “I put the band together and brought the project to Richard Delvy, who secured the deal with Dot. Richard was the executive producer, and I wrote out all of the time/chord charts and did all of the "in studio" production for both albums”

Perhaps they were a studio band, initially?

The group in 1967 included Jack Dalton (guitar), Gary Montgomery (vocals/piano), Chuck Blackwell (drums), Rob Edwards (lead guitar) and Carl Radle (bass). Despite the Canadians, the band's rhythm section roots can be traced to Oklahoma where drummer Chuck Blackwell and bassist Carl Radle were friends with Leon Russell whilst guitarist Rob Edwards had previously been a member of Californian surf band, Eddie and the Showmen.

They signed to Dot Records and released their first 45 later that year, “Brother Lou’s Love Colony”.

In 1968, they issued their debut self-titled LP.

In 1969, they issued this follow up LP but only Dalton and Montgomery are credited on the record.

In 1968 a large part of the music world was awash with the fall out of the Beatles Sgt Peppers album and the Colours were, apparently, Anglophiles. (As has been said) they even spelled their name in an English fashion, but this could be due to the fact that Dalton (and perhaps Montgomery) was Canadian.

Their debut album was certainly (apparently, from the bits I have heard) awash with Beatles sounds as well as pop and touches of psych. It is, perhaps, unashamedly Pepper-esque in its use of heavily layered, lavish arrangements, lush orchestration and studio wizardry (they even, in Beatles fashion recorded with an orchestra, here the 36-piece LA Philharmonic) … though, admittedly, there are hints of US garage grunt.

By contrast, “Atmosphere” is darker and less genre specific.

In fact the album tends to move from soul to jazz to straight rock but all with the mischievousness expected from late 60s recordings where less was not more. All, with a thick, sometimes orchestrated and always heavily arranged sound.

Actually, "Atmosphere" is all over the map.

The concentration is on a single vocalist and with jazz rock fusion sounds replacing the psych overtones of the earlier album. (Dissonant) horns and thick orchestrated production (naturally) dominate.

The songs aren't always catchy but are always interesting, the playing is great and the production is out there. Imagine the Beatles crossed over with Blood Sweat and Tears and hanging out with Frank Zappa because the Moody Blues and the Left Banke weren't around.

The album features former Beach Boy David Marks on lead guitar around the same time he was a member of The Moon another band with many connections to Colours (band member Matthew Moore’s brother Dan Moore was producing Colours and they also did a couple of Montgomery-Dalton songs including a cover of “Brother Lou's Love Colony”).

The band reflected their times and listening to this now, you realise their times were, perhaps more adventurous than other times since, especially when you realise these were mainstream releases.

All songs by Jack Dalton and Gary Montgomery. Produced by Dan Moore.

Tracks (best in italics)

      Side One

  • Angie – like a direr version of the Moody Blues and then the horns kick in. Quite weird but quite catchy
  • God Please Take My Life – similar to Blood Sweat and Tears in their more contemplative moments.
  • When Will You Be Coming Home? –  McCartney-esque and very good.
  • I Tried To Make You Love Me Last Night –  an interesting out there melodic dirge.
  • Grey Day – another song which has McCartney vocal influences with music that seems to come from a totally different song. I like it
  • Smilin' In Toronto – autobiographical perhaps with a nod, again, to the Moody Blues.

      Side Two 

  • Hyannis Port Soul (Lost You To The Wind)  –  very much of its time with some heavy psych influences.
  • Run Away From Here – very Beatles (McCartney) at times with a touch of the Left Banke. Quite beautiful.
  • It's Time To Tell You – More heavy psych influences with a touch of Cream. 
  • Announcement – and now for some MOR – hand claps and all. I don't know how this fits in but I love it.
  • I'll Be Your Friend –  a statement on friendship is there ever was one done do a country carnival beat much like what the Beatles were doing when they tries to replicate country sounds.
  • You're High – very catchy and it should have been an anthem of the times. A great tune.

And …

Strangely catchy and quite delightful. Its obscurity adds to its appeal … I'm keeping it.

Chart Action

Nothing no where


God Please Take My Life

I Tried To Make You Love Me Last Night

Grey Day

Smilin' In Toronto

Hyannis Port Soul (Lost You To The Wind)

Run Away From Here    

mp3 attached

It's Time To Tell You






  • David Marks left The Beach Boys in 1963 and took over the band The Jaguards which became David Marks and The Marksmen until about 1966. In 1966 he played with Casey Kasem’s Band Without A Name before joining psych pop band The Moon. He then played lead guitar on this album. He was 21 at the time.
  • Jack Dalton’s brother, Dan Dalton, also had a great time in the music scene as a member of the Back Porch Majority, playing banjo and 12-string guitar.
  • Original band member bassist Carl Radle went ton to play with Derek & The Dominos. Delaney & Bonnie and, shortly afterward, Derek & the Dominoes, as well as with J.J. Cale and Eric Clapton. Chuck Blackwell also achieved some renown in the early 70s by playing with Leon Russell, Joe Cocker, Taj Mahal, Freddie King, and other artists.
  • The sleeve opens through the top …unusual.
  • Clearly this band are not to be confused with the very fine Brisbane indie band of the same name from the 1980s (who released the single “Blue Shirt”) who, coincidentally, have Beatles, Motown and pop influences.
Posted in Jazz Rock Fusion, Psychedelic | Tagged | Leave a comment

JOHNNY RIVERS – Rewind – (Imperial) – 1967


Johnny Rivers is no stranger to this blog.

A much underappreciated (here in Australia) contributor to rock ‘n’ pop, Rivers had many hits but has eluded the critical acclaim thrown on many of his contemporaries.

That’s not to say he hasn’t his supporters, or his fans. He has both, but the critics who love to (ie: people like me) unearth music of bygone years haven’t lionised him.

I suspect, as I have said elsewhere in this blog, it’s because he did too many covers.

He may not have been as forceful an interpreter or as individually a distinctive stylist as those other well-known coverists* Elvis Presley or Jerry Lee Lewis, or frequent coverists Johnny Cash or Gene Pitney, but he did have an individual voice, great rhythm, a catchy sound, and importantly, he had great taste in music.

Where Elvis differed from Jerry Lee and other exclusive coverists is that Elvis had songwriters he identified with writing for him. They would compose in his vocal style with themes that appealed to him. They became an extension of what he would have written if he could have bothered to. Of course, even then, his own musical personality was too eclectic to be perfectly captured by a third party and that is where the musical magic lies.

Singers identifying with writer-composers (and them sometimes pitching all their new material to the singer) was nothing new in music. Frank Sinatra had often covered Cole Porter, Elvis had often done Leiber and Stoller and Pomus and Shuman, Bing Crosby had done Johnny Mercer, Bobby Darin had done Ray Charles and just about everyone had done an album of Rod McKuen songs (okay, not everyone but Sinatra, Glenn Yarbrough, Rock Hudson etc).

Likewise it’s not unusual for established artists to find an up and coming composer and monopolise his (or her) songs like Bryan Hyland doing Peter Udell and Gary Geld, Gary Lewis doing Leon Russell or Glen Hardin, The Righteous Brothers doing Barry Mann and Cynthia Weill.

At this point (1967) in his career, Rivers was (still) trying to establish himself as a serious artist, possibly to reflect the serious times. The go-go music and rock ‘n’ roll was a thing of the past (though something he would return to) and perhaps that’s why his covers are black Motown or singer-songwriter … and for his originals he turned to someone young and hip with something to say, Jimmy Webb.

Webb (born in 1946) was an up and coming songwriter who Rivers saw something in, “The first commercial recording of a Jimmy Webb song was "My Christmas Tree" by The Supremes, which appeared on their 1965 Merry Christmas album. The following year, Webb met singer and producer Johnny Rivers, who signed him to a publishing deal and recorded his song "By the Time I Get to Phoenix" on his 1966 album Changes. In 1967, Rivers released Rewind, an album featuring seven Jimmy Webb songs, including "Do What You Gotta Do" and "Tunesmith", a song also recorded that year by Vikki Carr for her album It Must Be Him. That same year, Rivers turned to Webb for material for a new group Rivers was producing called The 5th Dimension. Webb contributed five songs to their debut album, Up, Up and Away, including the title track "Up, Up and Away", which was released as a single in May 1967 and reached the Top Ten”

Of course Webb would become a legend and record his own music as well as becoming crucial to the careers of Glen Campbell, The Fifth Dimension, Richard Harris, Art Garfunkel and even The Supremes (who all did albums of Webb songs)

Here he is young and ambitious (he even arranges the material) and Rivers (rightly) sees something in him. His songs are sharp pop with a bit of substance.

It’s not all one way traffic though as Webb would have studied Rivers and written and arranged songs to suit his musical personality.

But, ultimately, Rivers is the interpreter of the material. The buck stops with him.

And he does it beautifully.

All songs by Jimmy Webb unless otherwise indicated.

Tracks (best in italics)

             Side One

  • The Tracks Of My Tears – (Warren Pete Moore, Smokey Robinson, Marvin Tarplin) – a hit for Smokey Robinson and the Miracles (#16  pop, #2 R&B) in 1965. Often covered throughout pop and rock history. This is good.
  • Carpet Man – very catchy and a bit Neil Diamond like though less frantic. His definition of "carpet man" is different to mine.
  • Tunesmith – a nice melodic Jimmy Webb type number that is quite catchy.
  • Sidewalk Song / 27th Street – Another Webb but without the trademark emotional highs.
  • It'll Never Happen Again – (Tim Hardin) – from folk singer-songwriter Tim Hardin's debut album "Tim Hardin 1" (1966) this has been often covered.
  • Do What You Gotta' Do – lots of strings and things, well more than normal. Tastefully done. Very pleasant on the ears.

Side Two

  • Baby I Need Your Lovin' – (Brian Holland, Lamont Dozier, Eddie Holland) – The Four Tops #1US hit from 1964. Rivers slows it down and does it as a smooth soul song. Nothing can top the original but this good and different.
  • For Emily, Whenever I May Find Her – (Paul Simon) – a album track from Simon & Garfunkel's "Parsley, Sage, Rosemary and Thyme" (1966) album it was issued in a live form by them in 1972 (to promote the release of Simon and Garfunkel's Greatest Hits) and went to #53US. quite MOR psych-y. Quite memorable,_Whenever_I_May_Find_Her
  • Rosecrans Boulevard – very Jimmy Webb and a little out there if you listen to the lyrics. Actally, quite a bit out there. Also released by The Fifth Dimension in 1967.
  • The Eleventh Song – No Rivers just his backing vocalists which sounds like the chicks from The Fifth Dimension …"what a groovy day" indeed.
  • Sweet Smiling Children – another questioning youth song popular at the time.

And …

Mellow and memorable … I'm keeping it.

Chart Action



1967 Baby I Need Your Lovin' #3

1967 The Tracks of My Tears #10


1967 #14






1967 Baby I Need Your Lovin' #44

1967 The Tracks of My Tears #38



The Tracks of My Tears

Carpet Man


Sidewalk Song / 27th Street

It'll Never Happen Again

Do What You Gotta' Do

Baby I Need Your Lovin'



For Emily, Whenever I May Find Her 

mp3 attached

Rosecrans Boulevard

The Eleventh Song

Sweet Smiling Children




Excellent Glenn A Baker bio on Rivers



  • Personnel : Johnny Rivers – vocals / Larry Knechtel – piano / Mike Deasy Sr. – guitar / Joe Osborn – bass guitar / Mike Deasy Jr. – vocals / Lou Adler – producer /  Jimmy Webb – arranger, conductor / Marty Paich – horns and strings arranger/conductor

JOHNNY RIVERS - Rewind - back     JOHNNY RIVERS - Rewind - gatefold- close 01     JOHNNY RIVERS - Rewind - gatefold- close 02

*No one invents anything new but I choose to use the word “coverist” which I haven’t heard before in the context of a word for singers who cover other people’s work. Granted, everyone is to some extent a “coverist” and some are more than others but the word is not meant to be pejorative. “Coverists” can be song interpreters (at the “original” end of the spectrum) or cover artists (at the other end). Like I said, I haven’t heard the word used in this context before (or any context) and google reveals nothing, but I think it fits, so I’m using it.


RIP: Jerry Lewis 1926 – 2017

Posted in Rock & Pop | Tagged | Leave a comment

SAMMY DAVIS Jr – Now – (MGM) – 1972

Sammy Davis Jr - Now

Sammy Davis Jr is part of my musical memory. He was always there.

“Samuel George Davis Jr. (December 8, 1925 – May 16, 1990) was an American singer, dancer, actor and comedian. He was noted for his impressions of actors, musicians and other celebrities. At the age of three, Davis began his career in vaudeville with his father and Will Mastin as the Will Mastin Trio, which toured nationally. After military service, Davis returned to the trio. Davis became an overnight sensation following a nightclub performance at Ciro's (in West Hollywood) after the 1951 Academy Awards. With the trio, he became a recording artist. In 1954, he lost his left eye in a car accident, and several years later, he converted to Judaism … Davis's film career began as a child in 1933. In 1960, he appeared in the Rat Pack film Ocean's 11. After a starring role on Broadway in Mr Wonderful (1956), he returned to the stage in 1964's Golden Boy. In 1966 he had his own TV variety show, titled The Sammy Davis Jr. Show. Davis's career slowed in the late 1960s, but he had a hit record with "The Candy Man" in 1972 and became a star in Las Vegas, earning him the nickname "Mister Show Business." … Davis was a victim of racism throughout his life, particularly during the pre-Civil Rights era, and was a large financial supporter of the Civil Rights Movement. Davis had a complex relationship with the black community, and drew criticism after publicly supporting President Richard Nixon in 1972 (although he later returned to being a Democrat). One day on a golf course with Jack Benny, he was asked what his handicap was. "Handicap?" he asked. "Talk about handicap. I'm a one-eyed Negro Jew." This was to become a signature comment, recounted in his autobiography, and in countless articles … After reuniting with Sinatra and Dean Martin in 1987, Davis toured with them and Liza Minnelli internationally, before he died of throat cancer in 1990”.

There has been a lot written about Sammy Davis Jr and his career (more links at the end), but, ultimately, of the central “rat packers”, he pegs just under Sinatra and Martin in terms of respectability.  No cult surrounding his voice has developed around him like it has around Sinatra, and likewise, no cult of cool has developed around him like it has around Martin.

But, in many ways he was the Rat Pack ideal … the talented all-round entertainer that rode across the disparate styles (or rather musical personas) of Sinatra and Martin.

In an era when an entertainer had to be able to do a bit of everything Sammy gave 100% in everything he did, regardless.

Musically, like Sinatra, he tackled everything and unlike Martin, he probably shouldn’t have.

Frank knew he could, and Dean knew he couldn’t, but was happy in the space he created. Sammy, was the all-round singer, who gave everything a go, whether he knew it would work or not, and sometimes it wouldn’t. But, also, there were times when it shouldn’t have worked but by sheer force of personality it did, and he would surprise himself and everybody else.

Yes, Sammy could do it all.  Sure Frank and Dean could sing, act and dance but Sammy did that and more.

That’s not to say he was as good as Frank and Dean (he wasn’t) but it’s like comparing Gods, and he dwelt amongst them comfortably.

Sammy was always “on” and that is a good and bad thing. Where Sinatra intellectualised his music and drew acclaim and Dean made lazy music a persona (and art form) and drew legions of fans, Sammy’s full throated voice (and accompanying bombast), hasn’t carried over to new generations.

In many ways he is the precursor to Tom Jones, Shirley Bassey, Whitney Houston or half the acts on “American Idol” and there is nothing wrong with that (perhaps) but contemporary audiences seem to like their trad pop singers with some shading.

Perhaps, that’s why he isn’t lionized …

“There may be no figure in American popular culture more maligned in death than Sammy Davis, Jr. The image of the diminutive entertainer, clad in open shirts and bell-bottoms, wearing beads and gold chains, and with an ever-present cigarette dangling from his mouth has superseded that of the incendiary talent, a triple-threat actor, singer and dancer who could hold his own opposite Frank Sinatra (and best him in the dancing department, natch). Davis was also a best-selling author, an impressionist par excellence, a civil rights crusader who marched with Dr. Martin Luther King, Jr., and not a bad drummer, either.”.

So, when approaching Sammy you have to take the good with the bad and in a musical career spanning some fifty albums there will be gold and there will be tin. But, because he hasn’t been resurrected and analysed (musically) to any great extent half the fun is the search.

The other half is knowing that he is giving it 100%.

And, I’m sure there will be more gold than tin.

This album was rushed out to cash-in on Sammy’s big hit, “The Candy Man”.

Sammy’s career was in a slump circa 1970. He had signed to Motown (in April of 1970) and had been working on material (Marvin Gaye apparently wrote an album for him) though what was released (not the Marvin stuff) bombed badly. Meanwhile, composer and record company owner, Mike Curb had sold / merged his label “Sidewalk Records” with MGM, and in 1969, at the age of 25, had become president of MGM (and Verve) Records. Curb a fixture on the Hollywood film scene must have been happy to have a movie star on his roster. So, Sammy went to MGM. There he recorded “The Candy Man” (with Curb’s own musical group, The Mike Curb Congregation backing him) which, when released in 1972, became a big hit (Sammy’s only #1). His recent MGM sessions were raided as well as studio recordings MGM had bought from Motown, and this album was the result. (see trivia at end for session notes)

It all hangs together quite well and is a product of its time when trad pop singers were adding funk and up-tempo pop rock elements to their sound. And, they haven't copped out – everything has been contemporised. The album's track listing, typically, is aimed for broad appeal with, mainly, recent hits, and popular film songs … and I like it when trad pop singers tackle that material.

Arranger/conductor duties are in the capable hands of Don Costa who had replaced Nelson Riddle, Gordon Jenkins and Billy May as Sinatra's go-to-man in the late 1960s.


Tracks (best in italics)

             Side One

  • The Candy Man – (Leslie Bricusse / Anthony Newley) – (covered from the film “Willy Wonka & the Chocolate Factory”). Sammy takes this song and gives it everything. Apparently, Sammy didn’t like the song (allegedly, he did it at a time when he thought it might help him land the title role in the "Willy Wonka" film for which the song was written) and thought it too saccharine (well it is a song about "Candy" (sic)). However, he had recorded equally saccharine stuff before, had recorded quite a bit of Leslie Bricusse, and was friends with Anthony Newley, so perhaps that’s not the reason. Mike Curb’s fingerprints are all over this song (Curb’s own musical group, The Mike Curb Congregation is backing him and his ultra MOR outlook at the time buys into this. Perhaps that’s what Sammy had a problem with. It’s horrible mush, but it’s well done horrible mush, catchy, and a deserving #1 hit.
  • This Is My Life – (Bruno Canfora) – This song was originally written by Italian Bruno Canfora. In 1968 Shirley Bassey performed the song ("La Vita") at the San Remo Music Festival in Italy with the songs’ Italian lyrics (by Antonio Amurri) partially rewritten in English by Norman Newell. It was released as a single the same year by her with an album of the same title.
  • I Am Over 25–But You Can Trust Me – (Mike Curb / Mack David) – I believe this was first done by Sammy. Curb was 28 and Hollywood songwriter Mack David (the older brother of Burt Bacharach co-writer Hal) was 60. A lot of people won't like this song but there is some wisdom in it with the narrator basically saying, I've been through what you are going through so trust me.
  • Have a Little Talk With Myself – (Ray Stevens) – recorded by the author, country singer Stevens, in 1970. Quite funky with some Stax like horns.
  • Willoughby Grove – (Danny Meehan / Bobby Scott) – Later covered by country singer Larry Jon Wilson in 1976. One of those introspective MOR songs. Quite good.
  • Take My Hand – (B. James) – a faux gospel number. Sammy belts it out with a forceful backing chorus. Nice.

Side Two

  • I'll Begin Again – (Leslie Bricusse) – a cover from the Scrooge (1970) soundtrack. One of those "I will …" songs so familiar to Broadway musicals.
  • I Want to Be Happy – (Irving Caesar / Vincent Youmans) – written for the 1925 musical “No, No, Nanette” this has been recorded by everyone including Doris Day with Gordon MacRae (in the movie "Tea for Two", 1950) and Bing Crosby (1954). It has been given a funky treatment here.
  • MacArthur Park – (Jimmy Webb) – Richard Harris’ big hit (#2) from 1968. This magnificent piece of MOR kitsch demands to be sung in full entertainment mode as only a traditional singer can do it without any irony, post modernism or wounded insecurity. Magnificent.
  • Time to Ride – (Charles / Mack David) – A note on this song,  “sometimes referred to by its alternate title “The Wild Rover” – was credited to the writing team of legendary lyricist Mack David and a mysterious ‘Charles’. ‘Charles’ was a pseudonym for Mike Curb himself, who had arranged Donny Osmond to record the song for Osmond’s debut solo album, The Donny Osmond Album (1971)” MOR funk and quite pleasnat though not especially memorable.
  • John Shaft – (Bettye Crutcher / Isaac Hayes) – Isaac Hayes worked with Sammy on his classic #1 hit from 1971. Sammy's version has extended lyrics. This is wonderful. It is not "street" but then again Hayes' original wasn't exactly "street" unless it was a upmarket Hollywood street. Sammy goes off. As an aside, maybe this is where Elvis got the phrase “Taking care of business”, a phrase he loved, used and immortalised in the 70s, though the phrase had been used elsewhere.

And …

Thoroughly enjoyable … I'm keeping it.

Chart Action



1972 The Candy Man #1 Pop


unknown position




The Candy Man   


This Is My Life

I Am Over 25 – But You Can Trust Me

Take My Hand

John Shaft

mp3 attached






  • Session Notes:

    • 25 November 1970 at Los Angeles: Sammy Davis, Jr. (ldr), Perry Botkin, Jr. (arr), Jimmy Bowen (pdr), Sammy Davis, Jr. (v) (a Motown session) – I Want To Be / Have A Little Talk With Myself / Willoughby Grove
    • 18 January 1971: Sammy Davis, Jr. (ldr), Perry Botkin, Jr., Ernie Freeman (arr), Jimmy Bowen (pdr), Sammy Davis, Jr. (v) (a Motown session) – I'll Begin Again
    • 19 August 1971 at Los Angeles: Sammy Davis, Jr. (ldr), Don Costa (arr), Sammy Davis, Jr. (v), The Mike Curb Congregation (bkv) – I Am Over 25 (But You Can Trust Me) / The Candy Man / Time To Ride
    • 23 October 1971 at Los Angeles: Sammy Davis, Jr. (ldr), Don Costa (arr), Sammy Davis, Jr. (v) – MacArthur Park / This Is My Life
    • 16 January 1972 at Los Angeles: Sammy Davis, Jr. (ldr), Isaac Hayes, Onzie Horne (arr), Sammy Davis, Jr. (v) – John Shaft (Theme From "Shaft")
    • 18 February 1972 at Los Angeles: Sammy Davis, Jr. (ldr), Perry Botkin, Jr. (arr, con), Sammy Davis, Jr. (v) – Take My Hand

Sammy Davis Jr - Now - Open sleeve

The open sleeve inner. Sammy with entertainment friends. Play spot the star ….

Sammy Davis Jr - Now - Open sleeve - inside

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FRANKIE AVALON – Frankie Avalon – (Chancellor) – 1958

Frankie Avalon - 1958

Of all the pure pop stars of the late 1950s and early 1960s Frankie Avalon is perhaps the most derided. Well, it’s either him or Fabian.

Like Fabian he was Italian-American.

Like Fabian he was a product of un-hip Philadelphia.

Like Fabian he quickly supplemented his music career with a film career.

Like Fabian his music doesn’t give rise to revisionism, retrospectives, or cult-dom.


like Fabian,

there is inherently pleasing pop in the best of his music.

Wikipedia:  Avalon was born in Philadelphia, the son of Mary and Nicholas Avallone … In December 1952, he made his American network television debut playing the trumpet in the Honeymooners "Christmas Party" sketch on The Jackie Gleason Show. Two singles showcasing Avalon's trumpet playing were issued on RCA Victor's "X" sublabel in 1954.[4] His trumpet playing was also featured on some of his LP songs as well. As a teenager he played with Bobby Rydell in Rocco and the Saints … In 1959, "Venus" (5 weeks #1) and "Why" went to number one on the Billboard Hot 100. "Why" was the last #1 of the 1950s … Avalon had 31 charted U.S. Billboard singles from 1958 to late 1962, including "Just Ask Your Heart" (U.S. #7), "I'll Wait for You" (U.S. #15), "Bobby Sox to Stockings" (U.S. #8), and "A Boy Without a Girl" (U.S. #10). Most of his hits were written and/or produced by Bob Marcucci, head of Chancellor Records”

The great Cub Koda writing in Allmusic places Frankie in his musical context: “Discussing Frankie Avalon's career as a mover and shaker in 1950s rock & roll with anyone who takes their rock & roll even halfway seriously is to court derision. Avalon was the first of the manufactured teen idols, before Fabian and Bobby Rydell and the myriad of other pretenders to the throne who worked the turf with tight black pants and red, red sweaters to the fore while Elvis cooled his heels in Germany. In the late '50s and early '60s, post-Twist and pre-Beatles, these generally untalented pretty boys were the cardboard no-threat remnants of a post-Elvis age. But Avalon had a real musical background to go with the pretty boy looks, and was no drugstore teenager waiting to be discovered”.

“Generally untalented” is a bit rough (and just lazy stereotyping) especially when compared to what followed but Cub Koda is astute enough to point out Avalon’s usually unwritten difference, and that is, his musicality. Avalon was a child prodigy trumpet player, with a good ear for music.

And I suspect that gave him an edge.

He may not have extended himself but he knew what he was doing.

His active musical recording career was over by 1962 but he had proved himself a fair actor, and continued making films till the end of the decade. He still tours and has a popularity which is testament to just how popular he was in the early to mid-1960s …

I grew up watching the Frankie Avalon and Annette Funicello beach movies on weekends which alternated with Martin & Lewis films, Abbott & Costello films, Francis films and, of course, Elvis films. Despite the fact that Frankie and Annette were too Italian, and too urban, it never struck me that they weren’t authentic sun, surf and sandy beach types.  But, then again, as an inner-Brisbane suburban (not a contradiction but a Brisbane thing) child, the son of southern European migrants to Australia, Avalon and Funicello certainly reminded me of people who would flock to Margate beach at nearby Redcliffe, on weekends, when I was a kid.

And in the days before digital entertainment, air conditioning and planned distractions the summer trips to Redcliffe, when we weren’t going fishing, were a must. All the uncles, aunts and cousins would congregate for a few hours of good quality extended family time.

And it wasn’t our family that invented this festivity.

The beach was not a surf beach and the sand, by Australian standards, was fairly narrow (even at low tide) between water’s edge and the concrete steps that dropped from the grass verge to the sand.

On summer weekends, the dirt road that ran along the grass verge was awash, on either side, with Italians, Croatians, Greeks, Hungarians and Poles all set up with their tents, tables, chairs, blankets and their version of barbecuing – which was much more elaborated than the Australian sausage and bun.

The smells of all the international cuisines, the multitude of languages and dialects made the place a "little Europe" amongst the gumtrees and lantana.

It certainly wasn't everyday Queensland.

It wasn't familiar Australia.

Well, it wasn’t Anglo Celtic Australia.

It certainly wasn’t an Australia that was or is portrayed in popular culture.

With upward mobility and the improvement of inter-town roads the (mainly southern) Europeans eventually gravitated away from weekends at Redcliffe to the infinitely sexier Gold Coast or the posh Sunshine Coast and Redcliffe beach has become home to newer waves of migrants.

At least that is the way I remember it.

It seems to me that the music of Frankie Avalon would fit in with that environment.

I can now hear Frankie Avalon’s music (or something like it) coming from any of those tents in the 1970s, some 15 years after he had recorded it.

This was as rock "n" roll as that specific cultural generation got, well this and Elvis of course, "who must have been a southern European with his dark complexion and hair".

And, there is nothing wrong with that.

It seems Frankie's music is perfect manufactured pop and faux beach music and … prefect for a migrant’s faux Australiana beach going.

The Italians especially knew he had done good … he was one of them, he was a singer, he was a movie star, he was clean cut and he hooked up with the perfect Italian girl next door, Annette Funicello, in every other film.

Where he fits into American culture I leave for the Americans to analyse.

To me he is pure pop of an era I have fond memories of, despite the fact the era was over before I was born.

Would I put him on the turntable above Dion, Bobby Darin, Bobby Vee?

No, but I sure enjoy his music and look forward to discovering his albums.

This album was probably rushed in 1958 to capitalise on his late 1957 hit “DeDe Dinah” (#7US).

Not surprisingly the album is made up of hits of the day with a few songs from Frankie's musical memory, the odd contemporary track that took his fancy and some old trad pop songs for the "grown ups".

Avalon was never a rock ‘n’ roller but in true pop fashion Frankie’s pop veers to cleaner versions of the rock ‘n’ roll that was still consuming the youth. The stereotype, and lazy history is, that this made him palatable with the adults. There is a truth in that but his chart success indicates the kids bought his music as well.

Pop, by its nature, is designed to reach as many people as possible and everyone dabbles in it. Elvis had as much pop as rock 'n' roll, even in the 50s and Beatles probably had more pop than outright rock.

Avalon, decided that is where his talents best lie and never deviated but, eventually, followed the Bobby Darin route from rock “n” pop to all around entertainer.

This album is arranged by and conducted by Italian-American guitarist Al Caiola (at least one his albums is in every op shop) and produced by fellow Philadelphian Peter DeAngelis.

Peter DeAngelis and Robert Marcucci founded Chancellor Records and became one of Philadelphia's most successful writing as well as manager/producer teams in the late fifties and early sixties.

Tracks (best in italics)

             Side One

  • Oooh! Look-A There, Ain't She Pretty? – (Todd, Lombardo) – an old tin pan alley standard done by everyone that dates back to Fats Waller in 1936. There is some magnificent guitar work (not quite rock 'n' roll but hyper) that I assume is supplied by Al Caiola. It is complimented by some wailing saxophone.
  • Short Fat Fannie – (Williams) – Larry Williams’ #5Pop, #1 R&B US from 1957. More hyper pop. Frankie is trying to pitch this in Bobby Darin rock 'n' roll territory. It is cute and it works.
  • Young Love – (Joyner, Cartey) – country singer Sonny James had a crossover hit with this in 1957 #2Pop, #1 Country but Tab Hunter did a version which was released in the same months (January) as James’ version. Hunter’s version went to #1 Pop US. I love this song. It's a great tune (especially in its two hit versions). Frankie's version works also and he sings it with the right amount of youthful emotion.
  • Young and Beautiful – (Schroeder, Silver) – first recorded by Elvis for his 1957 hit film “Jailhouse Rock” … this was an album track (or rather an EP track as the film did not have a soundtrack album just an EP) and had Avalon and his producers thinking beyond just recent chart hits for song selection which I applaud (though Elvis' EP went to #1 in the short lived EP charts). Frankie copies the Elvis arrangement (well, no arrangement) and sings in lonely and sparse and it sounds great.
  • Diana – (Anka) – Paul Anka’s N2Pop, #1 R&B US hit from 1957. Pure up-tempo pop that suits Frankie.
  • At The Hop – (Singer, Medora, White) – Danny & the Juniors #1Pop, #1R&B smash from 1957. Quite a good version but not distinctive.
  • Honey – (Simons, Gillespie, Whiting) – an old Tin Pan Alley dong dating back to 1929 and a hit for Rudy Valee. A definite throwback but not too bad.

Side Two

  • I'm Walkin' – (Domino, Bartholomew) – Fats Domino’s #4Pop, #1R&B hit from 1957. A good version of the great tune.
  • Little Bitty Pretty One – (Byrd) – originally recorded by Bobby Day, and popularized by Thurston Harris in 1957 (#6 Pop, #2 R&B). Others have had subsequent hits with it : Frankie Lymon (#58 Pop US 1960), Clyde McPhatter (#25 1962), The Jacksons (#13 US 1972).
  • De De Dinah – (Marcucci, DeAngelis) – the hit written for Avalon by his management team. Quite catchy though quite ridiculous.
  • The Stroll – (Otis, Lee) – The Diamonds #4Pop, #5 R&B US hit from 1957. Filler here.
  • My Mom – (Donaldson) – The standard was written and composed by Walter Donaldson in 1932 and done by a few trad pop-sters (Bing Crosby, Tony Bennett) including Rudy Valee in 1932. Very safe and very traditional sounding.
  • You're My Girl – (Cahn, Styne) – Written for the Broadway musical, "High Button Shoes”. Its first performance was by Mark Dawson and Lois Lee (1947) though actor Jack Webb does a spoken word version (Jack “talks” the lyrics of the song over easy-listening background music) in 1958. Trad …

And …

Quite a good pop "n" roll album. It is trying to cover all generational bases but, when it moves, it is thoroughly enjoyable. I'd be happy to drink to this in the sunshine … I'm keeping it.

Chart Action



1957 DeDe Dinah #7 Pop

1957 DeDe Dinah #8 R&B





Oooh! Look-A There, Ain't She Pretty?

mp3 attached

Short Fat Fannie

Young Love

mp3 attached

Young and Beautiful


At The Hop


I'm Walkin'

Little Bitty Pretty One

De De Dinah


The Stroll

My Mom

You're My Girl


sometimes I agree with Patty Duke ..

The Alamo





  • Frankie Avalon, Fabian and Bobby Rydell still tour together as The “Golden Boys”.

Frankie Avalon - 1958 - back


RIP: Glen Campbell (1936-2017)

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