JOHNNY RIVERS – Rewind – (Imperial) – 1967

Posted on August 27, 2017 by Franko

JOHNNY RIVERS - Rewind

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” https://en.wikipedia.org/wiki/Jimmy_Webb

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.https://en.wikipedia.org/wiki/The_Tracks_of_My_Tears
  • 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. https://en.wikipedia.org/wiki/Baby_I_Need_Your_Loving
  • 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 https://en.wikipedia.org/wiki/For_Emily,_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

US

Singles

1967 Baby I Need Your Lovin' #3

1967 The Tracks of My Tears #10

Album

1967 #14

England

Singles

—

Album

—

Australia

Singles

1967 Baby I Need Your Lovin' #44

1967 The Tracks of My Tears #38

Album

—

Sounds

The Tracks of My Tears

https://www.youtube.com/watch?v=ArCNJeFuO6o

Carpet Man

https://www.youtube.com/watch?v=aREcfXLdv5k

Tunesmith

https://www.youtube.com/watch?v=T920wmz_iDU

Sidewalk Song / 27th Street

https://www.youtube.com/watch?v=p3IO3GKUbKg

It'll Never Happen Again

https://www.youtube.com/watch?v=-ix2NkQUQwE

Do What You Gotta' Do

https://www.youtube.com/watch?v=7NSjT27M3M0

Baby I Need Your Lovin'

Live

https://www.youtube.com/watch?v=EWM_mItKYK4

recently

https://www.youtube.com/watch?v=7aQkQ961T8w

For Emily, Whenever I May Find Her 

mp3 attached

Rosecrans Boulevard

https://www.youtube.com/watch?v=rQJWtydJszQ

The Eleventh Song

https://www.youtube.com/watch?v=xzz3DrynJMo

Sweet Smiling Children

https://www.youtube.com/watch?v=PJtZ725ykjY

Others

https://www.youtube.com/watch?v=IAc0FKyBgks

https://www.youtube.com/watch?v=5TXfcsFhc7A

https://www.youtube.com/watch?v=6iaR3WO71j4

Review

http://www.allmusic.com/album/rewind-mw0000851429

https://en.wikipedia.org/wiki/Rewind_(Johnny_Rivers_album)

Bio

http://en.wikipedia.org/wiki/Johnny_Rivers

http://www.allmusic.com/artist/johnny-rivers-mn0000203639/biography

Excellent Glenn A Baker bio on Rivers

https://www.whiskyagogo.com/articles/609999.html

https://en.wikipedia.org/wiki/Jimmy_Webb

http://www.allmusic.com/artist/jimmy-webb-mn0000129761/biography

Website

http://www.johnnyrivers.com/jr/

http://www.frankkinsel.com/

https://www.facebook.com/frank.kinsel.7

Trivia

  • 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

Posted on August 20, 2017 by Franko

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”. https://en.wikipedia.org/wiki/Sammy_Davis_Jr.

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.”. https://theseconddisc.com/2011/01/reissue-theory-sammy-davis-jr-compiled-sammy-in-the-seventies/

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.

Gold.

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. https://en.wikipedia.org/wiki/The_Candy_Man
  • 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. https://en.wikipedia.org/wiki/This_Is_My_Life_(La_vita)
  • 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. https://en.wikipedia.org/wiki/Have_a_Little_Talk_with_Myself
  • 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. https://en.wikipedia.org/wiki/I_Want_to_Be_Happy
  • 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. https://en.wikipedia.org/wiki/MacArthur_Park_(song)
  • 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. http://sammydavisjr.info/time-to-ride/.
  • 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. https://en.wikipedia.org/wiki/Theme_from_Shaft

And …

Thoroughly enjoyable … I'm keeping it.

Chart Action

US

Singles

1972 The Candy Man #1 Pop

Album

unknown position

England

nothing

Sounds

The Candy Man   

Live

https://www.youtube.com/watch?v=AYihDAhVPko

https://www.youtube.com/watch?v=zRf1Ad_Txsg

This Is My Life   

https://www.youtube.com/watch?v=yzNInu72KWo

I Am Over 25 – But You Can Trust Me  

https://www.youtube.com/watch?v=1mHgz41g8oQ

Take My Hand

https://www.youtube.com/watch?v=yz2NgnlA_p8

John Shaft

mp3 attached

Others

https://www.youtube.com/watch?v=Xe6JTHAWDT4

https://www.youtube.com/watch?v=xoEX6g8itTw

https://www.youtube.com/watch?v=jHngNVPeQaY

https://www.youtube.com/watch?v=USxvJFfKXrE

https://www.youtube.com/watch?v=7Jg7wFHWXT4

https://www.youtube.com/watch?v=uXDSeiHSRcc

https://www.youtube.com/watch?v=rbLlCxK0pHY

Review

http://www.allmusic.com/album/sammy-davis-jr-now-mw0000893027

https://en.wikipedia.org/wiki/Sammy_Davis_Jr._Now

Bio

https://en.wikipedia.org/wiki/Sammy_Davis_Jr.

http://www.allmusic.com/artist/sammy-davis-jr-mn0000294376/biography

http://www.dailymail.co.uk/news/article-2946546/Sammy-Davis-Jr-brought-love-child-adopted-son-tried-steal-girlfriends-told-truth-death-bed-left-son-penniless-works-Costco.html

https://www.youtube.com/watch?v=WAQWvE7IwWc

https://en.wikipedia.org/wiki/Mike_Curb

Website

http://sammydavisjr.info/

Trivia

  • 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

http://members.ozemail.com.au/~lindenbrae/sdj/sessions.html

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

Posted in Popular & Crooners | Tagged | Leave a comment

FRANKIE AVALON – Frankie Avalon – (Chancellor) – 1958

Posted on August 13, 2017 by Franko

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.

But,

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” https://en.wikipedia.org/wiki/Frankie_Avalon

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. https://en.wikipedia.org/wiki/Short_Fat_Fannie
  • 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. https://en.wikipedia.org/wiki/Young_Love_(1956_song)
  • 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. https://en.wikipedia.org/wiki/Young_and_Beautiful_(Elvis_Presley_song)
  • Diana – (Anka) – Paul Anka’s N2Pop, #1 R&B US hit from 1957. Pure up-tempo pop that suits Frankie. https://en.wikipedia.org/wiki/Diana_(Paul_Anka_song)
  • At The Hop – (Singer, Medora, White) – Danny & the Juniors #1Pop, #1R&B smash from 1957. Quite a good version but not distinctive.  https://en.wikipedia.org/wiki/At_the_Hop
  • 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. https://en.wikipedia.org/wiki/Honey_(Rudy_Vall%C3%A9e_song)

Side Two

  • I'm Walkin' – (Domino, Bartholomew) – Fats Domino’s #4Pop, #1R&B hit from 1957. A good version of the great tune. https://en.wikipedia.org/wiki/I%27m_Walkin%27
  • 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).  https://en.wikipedia.org/wiki/Little_Bitty_Pretty_One
  • De De Dinah – (Marcucci, DeAngelis) – the hit written for Avalon by his management team. Quite catchy though quite ridiculous. https://en.wikipedia.org/wiki/DeDe_Dinah
  • The Stroll – (Otis, Lee) – The Diamonds #4Pop, #5 R&B US hit from 1957. Filler here. https://en.wikipedia.org/wiki/The_Stroll
  • 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

US

Singles

1957 DeDe Dinah #7 Pop

1957 DeDe Dinah #8 R&B

Album

—

England

nothing

Sounds

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

mp3 attached

Short Fat Fannie

https://www.youtube.com/watch?v=X86_APTLJMI

Young Love

mp3 attached

Young and Beautiful

https://www.youtube.com/watch?v=NpZjrQi7jrA

Diana

https://www.youtube.com/watch?v=IfL0yiETR_8

At The Hop

https://www.youtube.com/watch?v=ACoifexsf20

Honey

https://www.youtube.com/watch?v=7R9ntq90VcY

I'm Walkin'

https://www.youtube.com/watch?v=xM8QdYcPlTQ

Little Bitty Pretty One

https://www.youtube.com/watch?v=rIAdliIl-RA

De De Dinah

Live

https://www.youtube.com/watch?v=wSQ388vnGec

The Stroll

https://www.youtube.com/watch?v=tUrdlFfM8AI

My Mom

https://www.youtube.com/watch?v=sCO2MU5hWto

You're My Girl

https://www.youtube.com/watch?v=iaJ0KyIyVqA

Others

https://www.youtube.com/watch?v=fakpqLDEQAo

sometimes I agree with Patty Duke ..

https://www.youtube.com/watch?v=cPOkJnAlcSE

The Alamo

https://www.youtube.com/watch?v=Xs4QOwzPI4Y

https://www.youtube.com/watch?v=Qq_C-9ZVRoA

Review

https://yesterdaysoundstoday.wordpress.com/2017/02/28/frankie-avalon-%e2%80%8e-frankie-avalon-lp-1958/

Bio

https://en.wikipedia.org/wiki/Frankie_Avalon

http://www.allmusic.com/artist/frankie-avalon-mn0000165855/biography

https://en.wikipedia.org/wiki/Al_Caiola

https://en.wikipedia.org/wiki/Bob_Marcucci

http://www.philadelphiamusicalliance.org/honoree.php?id=35

Website

https://frankieavalon.com/

Trivia

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

Frankie Avalon - 1958 - back

 

RIP: Glen Campbell (1936-2017)

Posted in Pop Rock, Rockabilly and Rock n Roll | Tagged | Leave a comment

GENE PITNEY – I Must Be Seeing Things – (Musicor) – 1965

Posted on August 6, 2017 by Franko

GENE PITNEY - I Must Be Seeing Things

Pitney’s career was still on the way up.

His career hadn’t been derailed by The Beatles or by changes in taste as had happened to so many other white male solo vocalists of the early 1960s.

Ultimately, it was the excessive noise and experimentation later in the decade as well as age that eventually ended his chart making status.

Pitney, though, was always more than the others of his ilk. He was the yard stick by which they all measured up to. He was never outright rock ‘n’ roll but there was a fair bit of rock attitude in his up-tempo pop but there was also soul, country, folk and trad pop balladry when he wanted it.

But, it is his ballads where the rock ‘n’ roll (attitude) is most noticeable.

The up-tempo pop rock song (as well as the rock ballad) is a style Elvis invented (whatever that word means). The arguments will always exist (especially amongst the slack jawed yokels) as to who (or what) invented rock ‘n’ roll when referring to the up-tempo rock we associate with the 50s, but, when it comes to the up-tempo pop rock song, Chuck Berry, Bo Diddley, Little Richard, Fats Domino, Bill Haley never even attempted the same. Buddy Holly, The Everly Brothers and Charlie Rich did but they were a fraction later.

Pitney took those pop rock songs and added his musical personality to the mix just like Roy Orbison was doing in the (post-Sun records) MGM phase of his career.

Pitney was the natural successor to late 50s era Roy Orbison who was having concurrent hits but their personas were different. Orbison was thoughtful, mournful, and emotional but, perhaps, resigned to the difficulties that life throws up whereas Pitney was edgy, hyper emotional and not accepting.

Between them they created some of the best big ballads and pop of the 1960s.

Gene was no slouch when it came to writing songs but (much like Johnny Cash) he never felt compelled to write all his material and would always draw on other people’s songs if he saw something in the lyric. And, like Cash, or any great singer, he interprets the song and adapts it to his musical personality and world view.

Here, Gene writes a few tunes, records some songs by established songwriters like Bacharach-David, Udell-Geld, and Pomus-Shuman, and also records songs by new talents which would become influential in music like Al Kooper and Randy Newman. There are relatively fewer covers than you would expect for an album of this type.

The songs are linked thematically by love in all its phases: new love, lost love, love gone bad, bad love, lustful love, rejected love, re-found love but, then again, there are precious few Pitney song that aren’t about love.

The beauty is of course if doesn’t matter if Gene writes the song or someone else does because they all end up sounding like Gene Pitney songs.

I have never shied away from an album populated by covers (if it comes from the right era) but Gene’s choice of new material is what gives him the edge over other male vocalists. Of course the beauty is that with him being a hit maker meant he got, potentially, first choice on newly written songs.

Tracks (best in italics)

              Side One

  • I Must Be Seeing Things – (Bob Brass, Al Kooper, Irwin Levine) – first released by Gene. A magnificent ode to a potential broken love. Hyper emotional which captures the anguish of the narrator.
  • Marianne – (Gene Pitney) – could this possibly be a song for Marianne Faithfull, with whom Gene had a brief fling in the mid-'60s? The song both flatters the title character and is also quite realistic about the vicissitudes of life.
  • Save Your Love – (Pitney) – a plea to keep love pure till the narrator returns.
  • Down in the Subway – (Peter Udell, Gary Geld) – talented US composers Udell and Geld composed the immortal “Sealed with a Kiss”. I prefer being "Down in the Subway" than "Down in the Tubestation at Midnight"
  • If Mary's There – (Udell, Geld) – first recorded by Brian Hyland in 1963.
  • Don't Take Candy From A Stranger – (Bob Brass, Al Kooper, Irwin Levine) – it seems this was first released by Gene. Sage advice though there is more than on meaning here.

Side 2

  • One Day – (Doc Pomus, Mort Shuman) – it seems this was first released by Gene. A warning with certainty about what the girl will miss.
  • She's Still There – (Kooper, Levine) – Patient love. First released by Gene.
  • Just One Smile – (Randy Newman) – first done by The Tokens in 1965 then covered by Blood sweat & Tears in 1968. A hyper emotional mid-tempo ballad. The narrators position is immediately palatable. A great song. https://en.wikipedia.org/wiki/Just_One_Smile
  • There's No Livin's Without Your Lovin' – (Jerry Harris, Paul Kaufman) – first released by Gene. But covered by Manfred Mann later in 1965 and Peter & Gordon in 1966. (and then Mink DeVille in 1985). I can see why the British Beat groups took a shine to this.
  • I Lost Tomorrow (Yesterday) – (Jay Darrow) – it seems this was first released by Gene.
  • If I Never Get To Love You –  (Hal David, Burt Bacharach) –first recorded by Lou Johnson in 1962 but Marianne Faithful did a version in 1965 (just before Gene?). A beautiful song with tasteful strings.

And …

Wonderful … I'm keeping it.

Chart Action

US

Singles

1965 I Must Be Seeing Things #31 Pop

1967 Just One Smile #64 Pop

Album

1965 #112

England

Singles

1966 Just One Smile #8

Album

1965 #15 (as "Looking through the Eyes of Love" – see note at end)

Australia 

Singles

1966 Just One Smile #55

Album

—

Sounds

I Must Be Seeing Things 

Live

https://www.youtube.com/watch?v=CPanG9d5YW8

Marianne 

https://www.youtube.com/watch?v=LQZfwixUbus

Save Your Love 

https://www.youtube.com/watch?v=R47U0PRGRn8

Down In the Subway 

https://www.youtube.com/watch?v=Y6n8Nirh6CA

If Mary's There 

https://www.youtube.com/watch?v=xL0K7X3Uhpg

Don't Take Candy from a Stranger 

https://www.youtube.com/watch?v=cRRpz_fOZgs

One Day 

https://www.youtube.com/watch?v=Oe6u4oBIzzk

She's Still There 

https://www.youtube.com/watch?v=WIMc0WThAdY

Just One Smile 

mp3 attached

There's No Livin' Without Your Lovin'

https://www.youtube.com/watch?v=3-RwjUNkvtY

I Lost Tomorrow (Yesterday) 

https://www.youtube.com/watch?v=BVySsK5iJUI

If I Never Get To Love You

https://www.youtube.com/watch?v=Tie275lIzS8

Others

https://www.youtube.com/watch?v=XBCa9o-eLt8

https://www.youtube.com/watch?v=b4AAxxN2Z98

https://www.youtube.com/watch?v=mwPGRBBTmpo

Review

https://en.wikipedia.org/wiki/I_Must_Be_Seeing_Things

http://www.allmusic.com/album/i-must-be-seeing-things-mw0000860758

Bio

https://en.wikipedia.org/wiki/Gene_Pitney

http://www.allmusic.com/artist/gene-pitney-mn0000200882

http://www.classicbands.com/pitney.html

Website

—

Trivia

  • This album (in its American and Australian pressings) has the song "If I Never Get to Love You" whilst UK copies have "Looking Through the Eyes of Love". I believe it was normal for US and Australian copies, to have the former track. The UK release of the album featured "Looking through the Eyes of Love" which was a Top 10 hit in the US, UK as well as Canada. The album was released as "Looking through the Eyes of Love" on the Stateside label in the United Kingdom. The American album "Looking through the Eyes of Love" also released in 1965 had a totally different track listing apart from the title track.

 

RIP: Red West (1936-2017)

Posted in Pop Rock, Rock & Pop | Tagged | Leave a comment

HARPERS BIZARRE – Feelin’ Groovy – (Warner Brothers) – 1967

Posted on July 30, 2017 by Franko

Harpers Bizarre - Feelin' Groovy

Harpers Bizarre (formed 1963, disbanded 1970) are another one of those specifically American bands  that hit it reasonably big there but never had a big overseas presence …think Gary Lewis and the Playboys, Paul Revere and the Raiders, The Happenings, Jay and the Americans etc etc.

They do crop up in op shops occasionally and usually, not surprisingly, it is their hit album.

And that, in this case, is this album.

Wikipedia: “Harpers Bizarre was formed out of the Tikis, a band from Santa Cruz, California, that had some local successes with Beatlesque songs in the mid 1960s. The Tikis had been signed to Tom Donahue's Autumn Records from 1965 to 1966 and had released two singles on that label. In 1967, record producer Lenny Waronker got hold of the Simon & Garfunkel song "The 59th Street Bridge Song (Feelin' Groovy)," determined to make it into a hit single. The Tikis recorded it using an arrangement created by Leon Russell, featuring extended harmonies reminiscent of the work of Brian Wilson or even the Swingle Singers. The song was released under a new band name, "Harpers Bizarre" (a play on the magazine Harper's Bizarre), so as not to alienate the Tikis' fanbase. The Harpers Bizarre version of the song reached No. 13 on the US Billboard Hot 100 chart in April 1967,far exceeding any success that the Tikis thus far had. The track reached No. 34 in the UK Singles Chart … The success of the single prompted Harpers Bizarre to record their debut album … Most of Harpers Bizarre's recordings are cheerful and airy, both in subject matter and musical accompaniment, often with string and woodwind arrangements. Their music is most closely associated with the sunshine pop and baroque pop genres”. https://en.wikipedia.org/wiki/Harpers_Bizarre

The allmusic entry is perhaps more to the point, “One of the bands that came to Warner Bros. in their buyout of Autumn Records were the Tikis. They had only recorded a handful of singles, and in terms of musical direction and group identity, they definitely had potential. Enter producer Lenny Waronker and session musician/arranger/songwriter/general musical architect Van Dyke Parks. The two of them brought then-drummer Ted Templeman up to the front as co-lead vocalist, along with Dick Scoppettone, and created a soft-rock identity for the group, renaming them Harpers Bizarre”.

http://www.allmusic.com/album/feelin-groovy-mw0000017104

Perhaps, tellingly, they had most of their success in the Adult Contemporary (aka "Easy Listening") chart which gives an indication of their audience. They had five singles in the Top 40 of that chart including a #1 (“Chattanooga Choo Choo")

The band (or some of them) could write songs when pushed but they mainly relied on songs written by others:

  • recent songs released by others though, usually, album tracks they thought had potential. A wise move: get a catchy album track from an established act and release it as a single;
  • songs by upcoming songwriters (especially those with a hit making track record), or;
  • (familiar) songs from the tin pan alley / trad pop era contemporised to their musical world view.

And, this seems to be the case across all their albums.

The bottom line was sales but they did do this in accordance with their world view musical style.

They started off as AM Pop (much like The Association, The Sunshine Company, The Sandpipers) 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”(which in itself was a A-Grade culmination of a series of B-Grade gangster films of the proceeding ten years as well as the success of prohibition era TV shows like “The Untouchables”).

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.

Any album that lists amongst its writers Randy Newman, Van Dyke Parks, Paul Simon, Leon Russell, Rodgers and Hammerstein and Sergei Prokofiev an is played by Glen Campbell, Hal Blaine, Joe Osborn, Carol Kaye and Lyle Ritz, Mike Deasy, Al Casey, Leon Russell and Tommy Tedesco (ie: the Los Angeles Wrecking Crew) deserves a listening.

Harpers had a sound which experimented with heavy vocal layering, like an AM non-rock Beach Boys. But, what is most enjoyable is the committed world view. The recordings are light, cheerful and airy, in subject matter, arrangement and musical accompaniment, and this,  perhaps, cloying to some people, gay to others.

Perhaps it was perfect 1967 music as it captures some of the optimism of the time. There were dark clouds on the horizon but Harpers either studiously avoid them or don’t see them. Today, it is perfect sub-tropical coffee shop music and that is not pejorative as many acts aren’t even that.

Such single minded, well-crafted pop is to be admired.

Tracks (best in italics)

             Side One

  • Come to the Sunshine – (Van Dyke Parks) –  Light, so light it almost floats. https://en.wikipedia.org/wiki/Come_to_the_Sunshine
  • Happy Talk – (Richard Rodgers, Oscar Hammerstein II) – from the Broadway musical and film “South Pacific”. This is often covered. So so. https://en.wikipedia.org/wiki/Happy_Talk_(song)
  • Come Love – (Alan Bergman, Marilyn Keith, Larry Markes) –  perhaps recorded first by Harpers Bizarre though written by established husband and wife team Alan and Marilyn with assistance from Larry Markes
  • Raspberry Rug – (Leon Russell, Donna Washburn) – recorded (and released as a single) by Joey Cooper in 1967 I think Harpers did it first.
  • The 59th Street Bridge Song (Feelin' Groovy) –  (Paul Simon) –  Unlike the gentle beautiful folk pop of Simon and Garfunkel's original this features a harmonic choral a cappella section and a woodwind quartet with a flute, oboe, clarinet and a bassoon. The original song was on Simon and Garfunkel's “Parsley, Sage, Rosemary and Thyme” album (#4 US 1966) and the B-side to the hit single “At the Zoo" (#16 US 1967) but Harpers saw the siungle potential in it. And they were right. This reached #13 on the Billboard Hot 100. https://en.wikipedia.org/wiki/The_59th_Street_Bridge_Song_(Feelin%27_Groovy)

Side Two

  • The Debutante's Ball – (Randy Newman) – first done by Harpers (Randy plays piano on it). A waltz pop song with some sharp lyrics (though you have to listen hard) …

            What a wonderful sight, it just seems to be right

            That there's something to do for the rich people too

            So light up the hall, there's dancing for all

            At the debutante's ball

  • Happy Land – (Randy Newman) –  first done by Harpers but covered by the Alan Price Set and Liza Minelli in 1968. It sounds like a throw back to Disney animated musicals which probably would have made Randy Newman happy.
  • Peter and the Wolf – (Ron Elliott, Sergei Prokofiev, Robert Durand) –  Russian composer Prokofiev re-written with lyrics added by Beau Brummels guitarist Ron Elliott with frequent collaborator Bob Durand. Like The Tikis (the pre Harpers Bizarre), The Beau Brummels came to Warner via the label’s acquisition of the San Francisco based Autumn Records, and Tikis member John Petersen was himself an ex-Brummel.
  • I Can Hear the Darkness – (Leon Russell, Donna Washburn) – first done by Harpers. Thematically quite "of its time" but very catchy.
  • Simon Smith and the Amazing Dancing Bear – (Randy Newman) – The song was popularized in the UK by the Alan Price Set under the title "Simon Smith and His Amazing Dancing Bear", where it reached #4 in 1967 but Harpers Bizarre did it earlier though not first. Tommy Boyce released it in 1966. The song has been often covered (most memorably by Harry nilsson on his 1969 album "Harry"). https://en.wikipedia.org/wiki/Simon_Smith_and_the_Amazing_Dancing_Bear

And …

Coffee shop music, as long as you are sitting on the sidewalk in the mid-morning sun. Not too bad … I'm keeping it.

Chart Action

US

Singles

1967 The 59th Street Bridge Song (Feelin' Groovy) #13 Pop

1967 The 59th Street Bridge Song (Feelin' Groovy) #4 AC (Adult Contemporary)

1967"Come To The Sunshine #37

Album

The album doesnt seem to have charted which is a little odd given the success of the singles. 1967 was a competitive year for all generations of music lovers.

England

Singles

1967 The 59th Street Bridge Song (Feelin' Groovy) #34

Album

—

Sounds

Come to the Sunshine

live

https://www.youtube.com/watch?v=XLmPvLnXCE8

Happy Talk

https://www.youtube.com/watch?v=BQjGp1A7Cak

Come Love

https://www.youtube.com/watch?v=X9Y9LNzfUaU

Raspberry Rug

https://www.youtube.com/watch?v=NVEkznSvyoc

The 59th Street Bridge Song (Feelin' Groovy)

Live

https://www.youtube.com/watch?v=UCA2hLHwEy4

mp3 attached

The Debutante's Ball

https://www.youtube.com/watch?v=idC6HsDSHjo

Happy Land

https://www.youtube.com/watch?v=V0PqC7FQQ3Y

Peter and the Wolf

https://www.youtube.com/watch?v=0TKJ8Ad5ElM

I Can Hear the Darkness

https://www.youtube.com/watch?v=akJWuW97ly0

Simon Smith and the Amazing Dancing Bear

https://www.youtube.com/watch?v=nZsmb6Keetc

Others

https://www.youtube.com/watch?v=R3vK9iG26sk

Review

https://en.wikipedia.org/wiki/Feelin%27_Groovy

http://www.allmusic.com/album/feelin-groovy-mw0000017104

https://theseconddisc.com/2011/12/come-to-the-sunshine-now-sounds-expands-remasters-harpers-bizarres-feelin-groovy/

Bio

https://en.wikipedia.org/wiki/Harpers_Bizarre

http://www.allmusic.com/artist/harpers-bizarre-mn0000562663/biography

http://www.allmusic.com/artist/ted-templeman-mn0000029458/biography

https://en.wikipedia.org/wiki/Ted_Templeman

https://en.wikipedia.org/wiki/John_Petersen_(musician)

https://en.wikipedia.org/wiki/Lenny_Waronker

Website

—

Trivia

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

THE EVERLY BROTHERS – Two Yanks in England – (Warner Brothers) – 1966

Posted on July 23, 2017 by Franko

Everly Brothers - Two Yanks in England

I love the Everly Brothers.

Many people do, though generally, they aren’t as revered as the hell raisers and out and out rock ‘n’ rollers from the 1950s.

Elvis will forever reign supreme as he straddled or created a number of styles of rock ‘n’ roll in those years 1954 -1958 where he reinvented himself regularly. But despite his rock ballads, country-ish rock, pop, faux jazzy rock, trad pop stylings, rhythm and blues, gospel, seasonal rock it is his out and out rockers he is lauded for.

People gravitate to that in rock music.

Buddy Holly aside, 50s enthusiasts generally like their rock and roll, loud, aggressive and with beat. And these are the songs we remember by Jerry Lee Lewis, Little Richard, Chuck Berry, Bo Diddley, Eddie Cochran, Gene Vincent, Carl Perkins, Billy Lee Riley, Link Wray et al.

Their twin harmonies of the Everly Brothers were just too pop despite the fact they could rock out and had the right pedigree for first generation white rockers: they were of Southern heritage and grew up listening to (a lot of) country, gospel and R&B

But it is these harmonies that took (along with Buddy Holly) US rock in a different direction and influenced the British Invasion bands as well as The Beach Boys, The Byrds, Crosby, Stills & Nash, Gram Parsons, The Eagles, Simon & Garfunkel, and any other number of duos.

Their influence is obvious.

But by the mid-1960s, like many of their 50s peers, their career was on the wane.

Of the first generation only Elvis had a career, though he was in Hollywood making movies and not extending himself (yet).

Many of the first generation black guys had retreated into rehashing the same rock ‘n’ roll rhythms over and over again whilst many of the white guys had moved to country music.

All, though, had a career, playing live, in England.

Say what you will of the English public and music, and I have said a bit, they do love their dinosaurs.

And, I’m not using dinosaur here in a pejorative way (not this time), I just mean the English love to hang on to things. Perhaps it’s because, in this case, they missed out on much of this early on but I suspect it has more to do with the fact that their smaller population (and smaller market) means that new things aren’t being continually invented so there is room for “oldies” in the charts even a lot later on.

The Americans also love to hang on to things (if gigs are any indication of anything) but their musical dinosaurs rarely invade the charts after their initial burst of popularity is over.

So,

  • if you have influenced English music;
  • you are popular over there;
  • and things aren’t going all that well in your home country,

it is a no brainer what you have to do …

And, that is, go to England and record an album of English tunes, with some English musicians.

This music kicks with rhythm and beat and the Everlys nail a number of the covers and perhaps do some even better than the originals. And … I’m happy to say, the music is eclectic, and even quirky as the Everlys play around with their familiar harmonies (which must have alienated their traditional fans looking for more of the same) whilst some of the songs are just weird, well weird by Top 40 standards.

The Hollies, apparently (and perhaps not surprisingly) played on most of the album as did James Burton, but it has also been rumoured that Jimmy Page contributed some guitar as a session musician and, John Paul Jones and Reggie Dwight (a.k.a. Elton John) also played on the album.

Clearly a no brainer album, though, doesn’t mean success with the music public.

What does that say about them?

This didn’t chart.

The Everly Brothers went the way of the other 1950s white rock ‘n’ rollers into safer country pop …. though there were many little masterpieces there also.

Check my other comments for biographical detail.

Note, the author “L. Ransford” (who wrote eight of the twelve songs on the album) is, actually, Allan Clarke, Tony Hicks & Graham Nash of The Hollies who were asked (wisely by someone) to supply songs for this album.

Tracks (best in italics)

             Side One

  • Somebody Help Me – (Jackie Edwards) – a UK #1 in early to mid-1966 for the Spencer Davis group. A good version of the song. It doesn't add anything to the original (even if I prefer it a little).
  • So Lonely – (L. Ransford) -Graham Nash) – originally done by The Hollies as a B-side in 1965 and, here, not dissimilar to Peter & Gordon. Excellent with the yearning the Everlys made famous in the late 50s.
  • Kiss Your Man Goodbye – (Don Everly, Phil Everly) – a great tune with some great guitar. The Everlys sound is contemporised to mid-60s London.
  • Signs That Will Never Change – (L. Ransford) – recorded by the Hollies though not released until 1967 as a B-side. A pretty song and very a wistful mid-60s mid-tempo ballad.
  • Like Every Time Before – (L. Ransford) – the Hollies released this as a B-side in 1968. A cross between the Beatles "And I Love Her" and Unit 4 Plus 2's 1966 hit "Concrete And Clay" all done to a Latin beat.
  • Pretty Flamingo – (Mark Barkan) – a UK #1 in early to mid-1966 for Manfred Mann. A magnificent song. Not as good as the original but the song is so good it doesn't matter too much.

Side Two

  • I've Been Wrong Before – (L. Ransford) – had been issued under the title “I've Been Wrong" in 1965 on the US ‘Hear! Here!” and the UK “Hollies” LPs. A good up-tempo number.
  • Have You Ever Loved Somebody? – (L. Ransford) – also recorded by the Hollies , released on their 1967 album “Evolution” though The Searchers had a minor hit with it in the UK in 1966 (#48Uk, #94 US). Another up-tempo number which is quite good.
  • The Collector – (Sonny Curtis, Don Everly, Phil Everly) – based on the 1963 British novel of the same name by John Fowles (which was made into a successful film by William Wyler in 1965). Apparently song authors Don Everly and Sonny Curtis (a former Cricket with Buddy Holly) had read the book though Curtis, has said that it really is Don Everly's song, despite what the songwriting credits say). Suitably tortured and quite beautiful.
  • Don't Run and Hide – (L. Ransford) – originally done by The Hollies as a B-side in 1966. Very Hollies (not surprisingly).
  • Fifi the Flea – (L. Ransford) – originally done by The Hollies on their US “Beat Group!” album and UK “Would You Believe” album (1966). Like a downbeat version of the Beatles' "Michelle" … a tale of a doomed love affair between circus performers … and one of the best songs in the "doomed love affair between circus performers" song genre.
  • Hard Hard Year – (L. Ransford) – originally done by The Hollies on their US “Beat Group!” album and UK “Would You Believe” album (1966). Some nice organ and a good vocal though a downbeat ending to a "swinging London" album.

And …

The Everlys are out of their comfort zone but not out of their depth. There are many treasures here. A underrated album … I'm keeping it.

Chart Action

Nothing nowhere

Sounds

Somebody Help Me

https://www.youtube.com/watch?v=PVyIGoyAFkE

So Lonely

https://www.youtube.com/watch?v=487CLDRsA7U

Kiss Your Man Goodbye

mp3 attached

Signs That Will Never Change

https://www.youtube.com/watch?v=EEp88P6CpFU

Like Every Time Before

https://www.youtube.com/watch?v=n5Oha-XnzxU

Pretty Flamingo

mp3 attached

I've Been Wrong Before

https://www.youtube.com/watch?v=8nAHxDL0Wr8

Have You Ever Loved Somebody?

https://www.youtube.com/watch?v=-QSo-gdHRwY

The Collector

https://www.youtube.com/watch?v=487CLDRsA7U

Don't Run and Hide

https://www.youtube.com/results?search_query=everly+don%27t+run

Fifi the Flea

https://www.youtube.com/watch?v=k8pg0MwZDoI

Hard Hard Year

https://www.youtube.com/watch?v=8p-JHNy9his

Others

https://www.youtube.com/watch?v=80l8HEZ5zFw

https://www.youtube.com/watch?v=7hudBNsSw_4

Review

http://www.allmusic.com/album/two-yanks-in-england-mw0000307996

http://www.richieunterberger.com/yanks.html

https://en.wikipedia.org/wiki/Two_Yanks_in_England

Bio

http://www.waybackattack.com/everlybrothers.html

http://www.rocknrollspotlight.com/?p=883

http://en.wikipedia.org/wiki/Everly_Brothers

http://www.allmusic.com/artist/the-everly-brothers-mn0000046699/biography

Website

http://www.everly.net/

Trivia

—

 

The Everly Brothers with singer Kelley in Dublin, Ireland 1966. Kelley was in the Irish "Nevada Showband". Okay it's not England but the threads are influenced by English fashions (though, apparently, all bought in Dublin).

 

Everly Brothers with singer Kelley in Dublin 1966

 

Posted in Rock & Pop | Tagged | Leave a comment

WEREWOLVES – Werewolves – (RCA) – 1978

Posted on July 16, 2017 by Franko

Werewolves - Werewolves

I had not heard of The Werewolves before but picked this up because there is a vaguely New Wave-ish power pop look to this band from 1978.

Something I'm not alone in as they do crop up on power pop and punk sites

Well, the lesson is, appearances are deceiving.

But, in this case, a pleasant one.

The label may have marketed their appearance on the then popular New Wave but the Werewolves are anything but.

The information on-line is sketchy.

Texas always was a fertile ground for dusty, swaggering, and often idiosyncratic rock 'n' roll and The Werewolves were a Dallas (from Oak Cliff), Texas bar band. And they were very popular, almost legendary, on the Dallas scene in the 1970s.

The band formed in 1974 and like many bands of the day, and in their locale, they were a working band.  They played covers and originals and played them tight.

But, their pedigree goes back a lot further.

Guitarist, Seab Meador, had been on lead guitar and vocals as a teenager in Dallas garage band "The Gentlemen" from about 1964 – 1968. He then joined The Bridge, before joining The Werewolves.

Seab Meador, also, did a short tour as a member (along with two future members of ZZ Top) in a fake version of the Zombies in the late-60s. The manager had the legal rights to form a band to tour off of the Zombies great hit songs, as the original band had broken up.

Singer Brian Papageorge had his roots in other Dallas bands also, and formed The Hurricanes in Houston with Seab and Ron Barnett, both later of The Werewolves (this band may have directly morphed into The Werewolves).

Like any other band of the early 1970s The Werewolves were loud and took on board the influences of Jeff Beck, The Animals, The Kinks, Bad Company and the rhythm and blues swagger of the Rolling Stones .  

"We're always being compared to them," says singer Brian Papageorge, whose spry frame makes him closer to Nuryev than Jagger. "It's understandable, and even quite a flattering comparison, but not really that true." "When the Stones first came along I was really influenced by them," says guitarist Meador. "But they influenced me to go back but they influenced me to go back and discover the roots of their music the old blues and r-and-b groups which are the roots of our music, too. That's really the way in which we're like the Stones." (https://www.newspapers.com/newspage/77501726/)

The Beatles were the English band most emulated in the 60s but the 70s belonged to the Rolling Stones and Led Zeppelin … well, up till late in the 70s.

This was (white) bluesy flavoured rock and roll similar to what the Flamin’ Groovies had been doing in California, The New York Dolls had done in NYC and (especially) what Grin had done in Washington DC. But like the Vaughan Brothers (other Oak Cliff boys), The Werewolves added some Texas country flavouring and desert grit to the sound.

This, despite the influence of English bands (doing American music), was distinctly Texan American roots music, blues, rock ‘n’ roll and soul.

(Belabouring the point) the band sounded like a Texan version of the Rolling Stones and Bad Company albeit with some glam trappings. Singer Brian Papageorge could wail and was often compared to Paul Rodgers or Mick Jagger though I think he sounds more like Nils Lofren if Lofren in a bluesy rock ‘n’ roll band  (or even a bit like Graeme "Shirley" Strachan from Skyhooks).

Apparently the Werewolves became very popular locally (and were known for their raucous live act).

With the resurgence of progressive country throughout Texas they donned Blue Brothers outfits (prior to the Blue Brothers) and played up-tempo blues as The Texas Kingsnakes (https://news.google.com/newspapers?nid=1696&dat=19790510&id=dMkaAAAAIBAJ&sjid=EEcEAAAAIBAJ&pg=6527,1346566&hl=en)

But it was time to make a move.

In the mid to late 70s they moved to New York. They played the CBGBs with the punks of the day and were eventually heard by Rolling Stones manager and producer Andrew Loog Oldham.

Oldham, well known and Svengali-like, gave them exposure but it was, perhaps, a double edged sword. Oldham had a tremendous ego so any discussion of the band, inevitably, ended up being a discussion about alchemist Oldham.

He had them signed and produced this, their first album.

In their original unadorned incarnation their sound was ahead of its time and probably pre-empted The Black Crowes and the Georgia Satellites.

This album doesn’t capture that.

Oldham had been quiet in the 70s and the Stones had long since left him.

No doubt he hears some of the Stones in the Werewolves but the times were changing. The Stones rock swagger sound was on the way out and even they would try other things, hence the disco and hard (ish) rock dabblings in the late 70s.

Perhaps that’s why (market considerations) there is a vaguely New Wave-ish makeover for the Werewolves … short (er) hair, nice (albeit country) threads and a smoother sound etc.

But, a band is a creature of habit and the old stylings can still be heard. It has been toned down a little but there is still a lot of 70s rock swagger in the tunes. Even more impressive is their versatility (and quirkiness in a genre not really know for that). This is rock and roll but there are many shadings here that show that The Werewolves had put in a lot of time playing gigs and soaking up their musical ancestry.

The album failed. It was probably lost in the in the rush of “new bands” from the late 70s.

Likewise, their sound was a little too old, though in a few years it would be new again.

There is something here and they could have been great.

One more album followed, “Ship of Fools (Summer Weekends And No More Blues)”, on RCA in late 1978 and then they imploded.

Seab Meador died from brain cancer in 1980.

Tracks (best in italics)

Side On

  • The Flesh Express – (Papageorge-Meador-Ballard) – suitably rocking and themeatically, perhaps, an apt way to kick off the album. Perfectly 70s.
  • Hollywood Millionaire – (Papageorge-Meador-Ballard) – the up-tempo ballad with the "la di dah dah dah" hum a long bits.
  • Too Hard – (Papageorge-Meador) – The slow burn and not unlike some of Grin's ballads.
  • City by The Sea – (Ballard) – the country blues rock exercise and there seems to be some accordion in there.
  • Never Been To Hades – (Meador-Ballard) – a great tune which is rock with country asides and a touch of left of centre style.

Side Two

  • Lisa – (Papageorge-Ballard) – some pop influences (in a Flamin Groovies kind of way) and quite engaging.
  • The Two Fools – (Papageorge-Ballard-Meador) – a country rock ballad in the style of Doug Sahm.
  • Heaven Help Me – (Papageorge-Meador-Brewster) – a good song though the horns are misplaced.
  • Deux Voix – (Papageorge-Ballard) – a mid tempo rocker with some late 70s keyboards diffusing the excitement
  • One Night – (Bartholomew-Steiman-King) – Elvis Presley’s #4 smouldering sexual ballad from 1957. The band do it faithfully … even the echo and backing vocals are included. https://en.wikipedia.org/wiki/One_Night_(song)
  • Silence –  (Papageorge-Ballard) – another melodic up-tempo rocker.

And …

Occasionally derivative but ballsy and a lot of fun … I'm keeping it.

Chart Action

Nothing nowhere

Sounds

Full album

https://www.youtube.com/watch?v=4xXI5nGoqIQ

The Flesh Express

mp3 attached

Hollywood Millionaire

https://www.youtube.com/watch?v=IBQQVwrj9Bc

Never Been To Hades

https://www.youtube.com/watch?v=aG3EVh05z2g

Others

—

 Review

http://www.allmusic.com/album/the-werewolves-mw0000846932

http://powerpop.blogspot.com.au/2012/05/wolves-in-fold.html

Bio

A truckload of photos

https://www.flickr.com/photos/bigd60s/sets/72157600499526370/

http://www.garagehangover.com/label/vandan/

http://fakezombies.blogspot.com.au/

https://en.wikipedia.org/wiki/The_Gentlemen_(Dallas_band)

A Dallas doco

https://www.youtube.com/watch?v=A3uOL5ILnLg

Website

https://www.facebook.com/The-Werewolves-Trinity-River-Music-121729341229353/

Trivia

  • Personnel: Seab Meador (gtr) / Bucky Ballard (bass)(gtr) / Bobby Baranowski (drms) / Kirk Brewster (gtr) / Brian Papageorge (vcls) / Ronnie Barnett (drms) / Keith Ferguson (bass)
Posted in Hard Rock, Rock & Pop, Southern and Boogie Rock | Tagged | Leave a comment

PAUL PARRISH – Songs – (Warner Brothers) – 1971

Posted on July 9, 2017 by Franko

Paul Parrish - Songs

How sensitive to I feel today?

I have fears that Paul Parrish is going to be a singer songwriter of the most maudlin kind. Usually,  the piano player ones, for whatever reason,  lean that way. That, combined with the song titles, anything with "poem" or "time" in the title.

Still, I don't mind maudlin.

It may be contrary to the punk I may listen to (though, admittedly, that is less frequent now) but I like either end of the noise spectrum. It's the squidgy, neither here nor there middle, that usually bores me.

If you are going to be punk, be 100% punk, if you are going to be pop be 100% pop.

And, it's not about the music exclusively it's about attitude.

Paul Parrish on fist listening is 100% singer songwriter and, to some, definitely, 100% maudlin.

But he does like most artists I have time for throw something else into the mix.

The entire allmusic entry on him is: "Paul Parrish is an American singer, songwriter and pianist. His songs have been recorded by Helen Reddy, Kenny Rogers, The Dillards, Robin Dransfield, and others. Jon Pruett of Allmusic called his first album, The Forest of My Mind, "a bright, excellently produced LP filled with remarkable sunshine-dipped folk-pop songs." … Parrish wrote the song A Poem I Wrote for Your Hair for the 1970 film "Fools" starring Jason Robards and Katharine Ross … With Lorenzo Toppano, Parrish was half of the duo Parrish & Toppano. They recorded two albums together". https://en.wikipedia.org/wiki/Paul_Parrish

All other google searches and searched through my paper library indicate very little on him:

  • He was friends with producer Dan Dalton and singer and songwriter John Beland (later of Swampwater and The Flying Burrito Brothers) who he seasoned for.
  • He sang the theme song to "The Brady Bunch" sitcom in 1969. Yes, you read right. You have to eat I suppose. Wikipedia: "The theme song, penned by Schwartz and Frank De Vol, and originally arranged, sung, and performed by Paul Parrish, Lois Fletcher, and John Beland under the name the Peppermint Trolley Company" though hey weren't in that band. The Peppermint Trolley Company is credited with arranging and singing the theme song for the show's pilot. After the band left their label, the vocals were re-recorded and sung by Paul Parish, John Beland and Lois Fletcher leaving the original music intact. https://en.wikipedia.org/wiki/The_Brady_Bunch https://en.wikipedia.org/wiki/Peppermint_Trolley_Company
  • Beland says this "Ahhh the Brady Bunch. I was just a teenage new kid on the block when I sang it, along with Paul Parrish and Lois Dalton (Dan Dalton's wife). I was more impressed by the $350.00 check I received for doing it, than the actual show. LOL….." http://forums.stevehoffman.tv/threads/hello-john-beland-here-new-to-the-forum.180209/page-2

Most praise heaped on him is in relation to that first album from 1968, "The Forrest of My Mind", which has a cult following and discovered an ever bigger (cult) following after its digital release.

It is, and I have listened to a few snatches on youtube, lush orchestrated pastoral folk pop-psych betraying a heavy influence of Donovan with sunshine pop and baroque pop asides.

And, there is nothing wrong with that.

This album came along in 1971 and on the Warner Brothers label (the first album was on the small though MGM backed label, Music Factory, label). I'm not sure how he got that deal but sensitive singer-songwriters were the flavour and all the majors were rushing out to sign them up, record them, and see what struck gold.

I have no idea how old Parrish is here  but I suspect he is in his mid-to late 20s. On the 1968 album he betrayed (on what I have heard) a wide eyed innocence and optimism that only works when you are young.

Here things are getting darker, though not gloomy.

Lyrically, the album can be (prima facie) a little precious much like Shawn Phillips (who I like) but without the accompanying musical virtuosity. The difference is that Parrish keeps it straightforward. Many of the songs deal "looking back" , "things past" and "passing time" (check out the song titles) but his knack is in keeping everything low key.

It is a very simple album, there is a band behind him but they don't intrude. The piano (played by Parrish) is dominant whilst the classical or "non-rock" instruments (melodica (played by Parrish also), clarinet, harp, cello) make appearances throughout adding to the mood.  What better instrument than the cello for "things past" and melancholy songs?

This album, then, is a nice mix of chamber pop and singer-songwriter though there are elements of soft rock also creeping into the sound (good to some but something I approach with a lot of trepidation).

The music would be a close to early Elton John if his music was more gentle or David Ackles, if Parrish's voice was deeper or gruffer, but it's not. His voice is high and sweet. Very high and sweet. It is akin to Art Garfunkel and perhaps even a little sweeter.

In fact, the album at times is quite Simon and Garfunkel (in their ballads) with Parrish playing both Simon the songwriter, and, Garfunkel the gentle singer.

There was a third album in 1977 (Song For A Young Girl) and then he formed half of Parrish & Toppano in the 1980s who played soft rock. They released two albums and from what I have heard it's not that good unless you like 80s soft rock … soft music against a lot of keyboards and a full orchestra. (It seems the band did well in Europe. "The Royal Falcon" from 1987 album went to #38 in Germany).

This album does have it's soft rock tendencies. It is a slippery slope, and not a good one.

But, for the moment, Parrish is at the top of the slope.

All songs written and arranged by Paul Parrish.

Tracks (best in italics)

            Side One

  • Many Years Ago –   A "Jesus" song and a good one. Parrish (though it should be "parish" here) has given the backing a contemporary medieval feel to fit the reverential though matter of fact lyric. Quite moving.
  • I Once Had A Dog –  is this dog a metaphor for something or is it just another rehash of "Old Shep"? There is a touch of Cat Stevens here.
  • Jaynie –   pretty and up-tempo by this albums standards.
  • Poem I Wrote For Your Hair – a sweeter David Ackles.  Quite melancholy and quite wonderful. The song was written for the film "Fools".
  • Time – another beautiful melancholy song.  

Side Two

  • Numbers –   a big ballad beat and not as effective
  • Cello – The song features, err a cello. Beautiful. Parrish later did this (and released it as a single) when he was in Parrish & Toppano. 
  • Pink Limousine – an interesting song and fun. Quite English. Poppy and a cross between David Ackles, The Monkees and Ray Davies.   
  • Nathan –  moving into bombastic Elton John territory but diverting.
  • When They Return – I'm not sure who the "they" is but the song is quite spiritual and hymn like. Quite good.

And …

Quite beautiful at times, more often than not. It gets under your skin … I'm keeping it.

Chart Action

Nothing nowhere

Sounds

Many Years Ago

https://www.youtube.com/watch?v=1dsfVoQOjSU

Poem I Wrote For Your Hair

mp3 attached  

Pink Limousine

https://www.youtube.com/watch?v=VYZeD7Lmm9w

Others

https://www.youtube.com/watch?v=EizCxH-62Bc

https://www.youtube.com/watch?v=rf1uyczHH08

Review

http://atthegreenlight.blogspot.com.au/2015/06/spurned-classic-paul-parrish-songs.html

http://notoncd.blogspot.com.au/2012/01/paul-parrish-songs-1971.html

Bio

https://en.wikipedia.org/wiki/Paul_Parrish

Website

https://www.facebook.com/Parrish-Toppano-128513743843097/

Trivia

  • Personnel: Bass – Steve LaFever / Cello – Nathan Gershman / Clarinet – Bill Fritz, Jim Snodgrass / Drums – George Bell, Larry Brown / Guitar – Dick Rosminni, John Beland / Harmonica – Danny Cohen, Tom Morgan / Harp – Verlye Mills / Piano, Organ, Melodica – Paul Parrish / Producer – Dan Dalton
  • Apparently Parrish is a Michigan native (from Walled Lake)…unsubstantiated but the first album was recorded in Detroit.
Posted in Baroque Pop, Singer Songwriter | Tagged | Leave a comment

BADFINGER – Say No More – (Radio Records) – 1981

Posted on July 2, 2017 by Franko

BADFINGER – Say No More

This is the last album from Badfinger.

Here they are trying to hook onto the resurgence of power pop and retro sounds through the New Wave.

It's not sad, as they had being doing it all along.

It is slick and well produced though, ultimately, the songs aren’t as good as their earlier material.

What they have added is a touch of old time rock ‘n’ roll.

Odd, given a lot of Beatle harmony bands were doing well in the power pop resurgence of skinny tie bands of the late 70s and early 80s

The rockin’ sound is like something the Travelling Wilburys would be doing (though ballsier) seven years before them.

Yet again, Badfinger were in the wrong place at the wrong time.

It is not that different to what Dave Edmunds and Nick Lowe were doing at time (though with a more 60s bent) or is it a case of like minds think alike and develop (musically or otherwise) alike?

The concessions to the new wave are understandable. Their hit-making days were gone and this may have been a grab for some of the airwaves but since their first album twelve years earlier they were remarkably consistent (the punchy pop and catchy melodies were never diluted) even though they had lost a main singer and vocalist in Pete Ham.

So they didn’t go out with a whimper or a bang but with an album with its fair share of joys.

Check out my other comments on this most underrated (by the mainstream) band.

Tracks (best in italics)

             Side One

Side Two

  • Passin' Time – (Molland) – more Travelling Wilburys
  • Three Time Loser – (Evans) – a magnificent mid tempo pop rocker and reminiscent of ELO without the over the top full sound.
  • Too Hung Up on You – (Evans) – a most melodious retro piece.
  • Crocadillo – (Evans/Roach) – a fairly generic rocker.
  • No More – (Molland) – trying to be a little New Wave (via the Beatles). But like a lot of old rockers they thought that meant squealy guitars

And …

Not perfect but still a cut above the average … I'm giving it to a mate though I swill search for it again.

Chart Action

US

Singles

1981 Hold On #56

Album

1981 #155

England

nothing

Australia

nothing

Sounds

Complete album

https://www.youtube.com/watch?v=JGdpCPTj0nI

I Got You

Live

https://www.youtube.com/watch?v=MFltv5Xrn7k

Hold On

Live

https://www.youtube.com/watch?v=V7Mlt2a0JDc

Because I Love You

mp3 attached

Passin' Time

Live

https://www.youtube.com/watch?v=xJjW_WoMbLw

Others

https://www.youtube.com/watch?v=MQGe0HQptII

https://www.youtube.com/watch?v=C53QAuOoSgc

https://www.youtube.com/watch?v=PPco24LS31A

Review

https://en.wikipedia.org/wiki/Say_No_More_(Badfinger_album)

http://www.allmusic.com/album/say-no-more-mw0000063997

Bio

http://www.allmusic.com/artist/badfinger-mn0000064303/biography

http://en.wikipedia.org/wiki/Badfinger

http://en.wikipedia.org/wiki/Pete_Ham

http://en.wikipedia.org/wiki/Tom_Evans_(musician)

http://en.wikipedia.org/wiki/Joey_Molland

http://www.walesartsreview.org/no-matter-what-the-music-of-peter-ham-and-badfinger/

http://popdose.com/the-popdose-guide-to-badfinger/

Website

http://badfingerlinks.bravepages.com/index.html

http://peteham.net/

http://www.badfingersite.com/

https://www.facebook.com/OriginalBadfinger

http://www.badfinger-iveys.com/

http://www.badfingerlibrary.com/

http://www.tomevans.info/

Trivia

Posted in Power Pop | Tagged | Leave a comment

CLAUDE KING – Meet Claude King – (Columbia) – 1962

Posted on June 25, 2017 by Franko

Claude King - Meet Claude King

I know Claude from his 45, “The Comancheros” which I bought because of its John Wayne tie-in novelty value. I loved the film, which is one the earliest John Wayne films I recall seeing, and the song (released after the film) much like Gene Pitney’s “The Man Who Shot Liberty Valance”, was released after the film was a hit.

Despite being ‘cash ins” after the films they both fit into the large group of dramatic opening credit songs which were popular, especially in westerns in the 1950 and 1960s.

The songs (especially those after the fact), really, just repeat the narrative of the film to music accentuating the emotional highlights or themes.

I digress, but it is relevant as Claude King was very much of the country storyteller ilk with a distinct Hollywood-ness to his music.

King was no different to many other country singers of his day:

"King (1923-2013) was born in Keithville in southern Caddo Parish south of Shreveport in northwestern Louisiana. At a young age, he was interested in music but also in athletics and the outdoors. He purchased a guitar at the age of twelve, and although he learned to play, most of his time was devoted to sports. He received a baseball scholarship to the University of Idaho at Moscow, Idaho” https://en.wikipedia.org/wiki/Claude_King

He said he grew up "…about as poor as you can be." His dad was a farmer and back then, it was using a plow and mule. But the farm land did not treat them well for it was red land dirt and did not seem to favor any type of good crop. http://www.hillbilly-music.com/artists/story/index.php?id=11211

"From 1942 to 1945, he served in the United States Navy during World War II … King formed a band with his friends Buddy Attaway and Tillman Franks called the Rainbow Boys …”:https://en.wikipedia.org/wiki/Claude_King

Also Buddy & Claude with The Kentuckians with who he commenced recording g in the late 1940s before releasing solo records from 1950 on

The trio played around Shreveport in their spare time while working an assortment of other jobs. He joined the Louisiana Hayride, a television and radio show produced at the Shreveport Municipal Auditorium and broadcast throughout the United States and in the United Kingdom. King was frequently on the same programs with Elvis Presley, Tex Ritter, Johnny Cash, Hank Williams, Webb Pierce, Kitty Wells, Jimmie Davis, Slim Whitman, Faron Young, Johnny Horton, Jim Reeves, George Jones, Tommy Tomlinson, and Lefty Frizzell … King recorded a few songs for Gotham Records though none were successful. In 1961, he became more serious about a musical career and signed with the Nashville division of Columbia Records. He struck immediately, cutting "Big River, Big Man," both a country top 10 and a small pop crossover success. He soon followed with "The Comancheros" inspired by the John Wayne film of the same name It was a top 10 country hit in late 1961 and crossed over into the popular chart". https://en.wikipedia.org/wiki/Claude_King

And then he had the mammoth hit was “Wolverton Mountain”.

An album to follow was a no-brainer.

Whack on his three hits, throw in some originals and fill it out with covers.

It got to #80 which is respectable given how much effort was put in.

The surprising thing is how this, and others like it, hand so well together.

King had his style down pat, and had been playing for enough years to know his way around a tune so, sound wise the album is always going to sound good.  What I like about his music around this time is its filmic qualities (you can see the narrative unfolding in your head as you listen to the tune) and its subtle crossover appeal.

The music is instantly familiar to a lot of early rockabilly and western rock n roll. The beat of his country led to rockabilly much like the other immortal storyteller Johnny Cash. In attitude and spirt, though, King wasn’t Cash. He was more like (the wonderful) Johnny Horton. King and Horton were contemporaries and (I gather) friends and King recorded an album of Horton songs in 1969 “I Remember Johnny Horton” (Horton was killed in car crash in 1960 at age 35).

Horton was at the time the king of the country storytellers. He had had four crossover hits in 1959-1960, “The Battle of New Orleans” (#1 pop and country), ‘Johnny Reb”, “Sink the Bismark”, “North to Alaska”.

King took over the space that was left open by his death though Johnny Cash starting off with his series of concept albums about America and his history would also occupy some of that space.

King never replicated that success in the charts of the early 60s though he did have a number of Top 10s, 20s and 40s in the country charts before they dried up altogether in the early 70s.

Country music is always a more complicated genre of music than it is given credit for and even when sung straight with crossover pop appeal there is always something in the lyric or the tune which makes it instantly identifiable.

King sings it straight (in his rich voice) and there is the Nashville slickness to the backing vocals and musical edges but I like that because I like the era. I also like the drama and the stories being told.

And, better still, you can sing along.

Tracks (best in italics)

           Side One

  • The Comancheros – (T. Franks) – magnificent. A sing a long narrative to the film.
  • You're Breaking My Heart – (H. H. Melka) – an Ernest Tubb song from 1957. The usual familiar country themes.
  • I'm Just Here To Get My Baby Out Of Jail – (R. Carter) – originally by pseudo brother act Karl & Harty from 1934. The song has been covered by everyone in country music. A great tune that resembles a Johnny Cash tune though it predates him in its original form.
  • Give Me Your Love And I'll Give You Mine – (A. P. Carter) – A Carter Family song from the 1930s. Apparently in the 2000s when appearing live on one occasion King sang this song to his wife of over 50 years, Barbara Jean. A very romantic country song.
  • Big River, Big Man – (G. Watson, M. Phillips) –  a good song in the Johnny Horton style
  • Sweet Lovin' – (C. Baum, T. Franks) –subsequently covered by country singer David Houston in 1969.

    Side Two

  • Wolverton Mountain – (C. King, M. Kilgore) – The song is a rewrite of the original version by Merle Kilgore, which was based on a real character named Clifton Clowers who lived on Woolverton Mountain (the mountain's actual name) in Arkansas. It was actually about an uncle of Merle's that lived on the mountain. The song's storyline is about the narrator's desire for Clowers' daughter and his intention to climb the mountain and marry her. The song has been well covered: Jimmie Rodgers (1962), Roy Drusky (1962), Nat King Cole (1962),  Frank Ifield (1963), Hugo Montenegro (1963), The Brothers Four (1963), Connie Francis & Hank Williams Jr (1964), Pat Boone (1965), Jerry Lee Lewis (1965), Bing Crosby (1965), Wayne Newton (1968), Louis Armstrong (1970), Hank Williams, Jr. with The Mike Curb Congregation (1970), Sir Doug & The Texas Tornados (1976), Conway Twitty (1977), Bill Haley & His Comets, Southern Culture on the Skids (2007), Sleepy LaBeef and many others. A great song. https://en.wikipedia.org/wiki/Wolverton_Mountain
  • Would You Care? – (A. Cole, T. Franks) – The usual country themes.
  • Pistol Packin' Papa – (J. Rodgers, W. O'Neil) – The Jimmie Rodgers classic from 1930. Very Jimmie Rodgers, so very good!
  • Little Bitty Heart – (C. King) – typical of the Nashville of the time. Sweet lyrics with gril voice backup.
  • I Can't Get Over The Way You Got Over Me – (C. King) – a good country song of a broken relationship with a great title.
  • I Backed Out – (T. Glaser) – very Nashville but quite catchy. A real sing a long song.

And …

Modest but quite wonderful, and definitely enjoyable … I'm keeping it.

Chart Action

US

Singles

1961 Big River, Big Man  #7 Country, #82 Pop

1961 The Comancheros #7 Country, #71 Pop

1962 Wolverton Mountain #1 Country, #6 Pop 

Album

1962 #80

England

nothing

Sounds

Whole album

https://www.youtube.com/watch?v=t-EVrbAXJ6I

https://www.youtube.com/watch?v=hWoozm9mCis

The Comancheros

mp3 attached

You're Breaking My Heart

https://www.youtube.com/watch?v=LdHWzjHp2-I

I'm Just Here To Get My Baby Out Of Jail

https://www.youtube.com/watch?v=SJg4_VaQagA

Give Me Your Love and I'll Give You Mine

live recently

https://www.youtube.com/watch?v=OJw4e1mC8hk

Big River, Big Man

https://www.youtube.com/watch?v=1lWs4ElfSMY

Sweet Lovin'

https://www.youtube.com/watch?v=td3stkQoBmA

Wolverton Mountain

live recently

https://www.youtube.com/watch?v=69KvTyZn1Js

mp3 attached

Would You Care?

https://www.youtube.com/watch?v=-3604C15Nfo

Pistol Packin' Papa

https://www.youtube.com/watch?v=vsoxFQD6mRM

Little Bitty Heart

https://www.youtube.com/watch?v=LSjXf-rEWrQ

I Can't Get Over The Way You Got Over Me

https://www.youtube.com/watch?v=dsiPmE2NCls

I Backed Out

https://www.youtube.com/watch?v=B1LsDNy1zmM

Others

https://www.youtube.com/watch?v=JhxfpO4JTlQ

Review

http://www.allmusic.com/album/meet-claude-king-mw0000862886

Bio

https://en.wikipedia.org/wiki/Claude_King

http://www.hillbilly-music.com/artists/story/index.php?id=11211

http://www.billboard.com/articles/news/1551135/wolverton-mountain-singer-claude-king-dies

http://www.foxnews.com/entertainment/2013/03/07/country-star-claude-king-dies-at-0.html

https://en.wikipedia.org/wiki/Tillman_Franks

Website

—

Trivia

  • King was born February 5, 1923 in Keithville, Caddo Parish, Louisiana, USA. Died March 7, 2013 in Shreveport, Louisiana, USA.
  • Tillman Franks (1920-2006) wrote or co-wrote a number of songs and also did the same with Johnny Horton.
  • "Wolverton Mountain" spent nine weeks at the top of the country charts and peaked at number six on the pop charts.
  • King acted in a couple of films in the 70s, the backwoods melodrama, “Swamp Girl" (1971) and the non-gore Herschell Gordon Lewis political melodrama “The Year of the Yahoo!” (1972).
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