TRINI LOPEZ – On The Move – (Reprise) – 1964

Posted on September 16, 2018 by Franko

Trini Lopez - On the Move

Check my other comments for biographical detail on Trini Lopez.

This was Trini’s third album.

Trini was riding high in 1964.

He had hit it big the previous year and become an overnight sensation (despite being in the music business professionally for six years) with "If I Had a Hammer" (#3 Pop 1963) and Kansas City" (#23 Pop 1963).

His popularity was such that he had even managed to chart his albums (“Trini Lopez at PJ's” (#2 Billboard 200 1963) and “More Trini Lopez at PJ's” (#11 Billboard 200 1963)) which few pop acts did. The high charting albums indicated (at the time) that his audience wasn’t just teenagers (teenagers bought singles, grownups bought albums in those days before rock became the norm). Certainly, very few pop and rock acts charted both in the Top 10s.

Trini did, though I suspect his audience was mainly twenty somethings and older (Sinatra was a fan).

His folk rock go-go sound was hip, lean and full of beat.

Perfect for dancing and toe tapping.

His Latin roots helped as the Latin kick in exotica, lounge and rock and pop music was still very popular.

“His next club gig was at PJ’s in Hollywood. Hired for three months, he stayed a year and a half.  Frank Sinatra, who was Trini’s idol, used to frequent PJ’s. Sinatra liked Trini’s act and signed him to his label, Reprise Records for a term of eight years.  Mr. Sinatra assigned his own producer, Don Costa, to produce Trini’s first album.  Don decided to record the album live at PJ’s to capture the excitement that Trini was generating.  The album was an immediate hit. The first single, “If I Had a Hammer,” became number one in 25 countries and the album spent 48 weeks in the national Top 40.  Trini picked his own material and says that he recorded folk songs like “If I Had a Hammer,” “This Land Is Your Land,” and “Lemon Tree,” because folk music was what was happening in the early 60’s, with groups like The Kingston Trio and The Limeliters enjoying great success. This was also the era that spawned Bob Dylan, Joan Baez, and Peter, Paul and Mary.  Trini took folk songs he liked, electrified them and added a Latin flavor. The public ate it up”. https://markguerrero.net/14.php

This album follows the same path as his first two.

There are still old folk tunes, new tunes that sound like old folk tunes, some rural rock, and, naturally enough, some Latin tunes but whereas the earlier albums favoured the folk pop rock, the mix here is more even between the genres.

Also, the album is recorded "live" though I don't know if it is a real “live” album. The first album (perhaps the first two) was recorded live with the club floor miked to get the crowd reaction on the record (apparently) though at the time there was a trend to do faux live albums also (ironically some of the popularity for that was a result of Trini’s first album which was a big smash). This album has audience hand claps and audience (chicks) singing along. Whether they are authentic, or from a studio recording or a bit of both (live with claps and sing-along vocals added in the studio) I don't know. I'm not sure where this album fits in, real or faux. The sound is sure crisp though.

If I had to bet I'd say it's faux live.

I do note that Sinatra and Reprise records (Sinatra’s label) regular Don Costa produces (or rather Don Costa productions produces) as he did Trini’s first two albums. The “productions” rather than “produced by” may indicate a live album recorded by engineers.

I assume Trini's backing group play on the record. The great David Shriver on bass (he was a touring member of Eddie Cochran's backup band The Kelly Four) and (the equally great) Mickey Jones on drums.

If not, I’d be surprised.

And, finally, any album with liner notes by Rod McKuen can’t be bad.

Tracks (best in italics)

Side One

  • Jailer, Bring Me Water – (Darin) – Recorded by Bobby Darin for his "Things and Other Things" (1962) album. It was covered by the not dissimilar (to Trini) Johnny Rivers in 1965.
  • Cotton Fields – (Ledbetter) – Originally by the songs author Leadbelly (1947) this has been done by everyone and was a particular favourite in folk and country circles. Trini starts it off with his trademark ""Hu-oi" yelp.
  • Bye Bye Love – (B. Bryant, F. Bryant) – The big Everly Brothers hit from 1957 (#2 Pop, #1 Country US). A pretty straight version.

      https://en.wikipedia.org/wiki/Bye_Bye_Love_(The_Everly_Brothers_song)

  • Irresistible You – (Faye, DePaul) – This is very Bobby Darin and clearly based on his 1961 recording which was a hit single (#15 Pop US) and on the excellent album, "Twist With Bobby Darin" (1961), A good version (with some tasty guitar) though not as good as the Bobby belter.
  • What Have I Got Of My Own – (Herring, Sawtell) – First recorded by Trini though The Standells did a version later in 1964. (The Standells had played PJs night club in Los Angeles, after, or about the same time as Trini). A excellent song.
  • This Little Girl Of Mine – (Charles) – First done by Ray Charles in 1955 this was often covered including by the The Everly Brothers in 1958 (#26 Pop, #4 Country US). A great song. Trini puts in a engaging but not stellar version. There is some nice guitar in there (though it doesn't sound like Trini) https://en.wikipedia.org/wiki/This_Little_Girl_of_Mine

Side Two

  • Ya Ya – (Robinson) – The song was written by Dorsey, Clarence Lewis, Morgan Robinson, and Morris Levy and first done by Lee Dorsey in 1961. Catchy.https://en.wikipedia.org/wiki/Ya_Ya
  • You Can't Say Good-By – (Lopez) – a frantic rocker and quite good and quite at odds with the rest of the album.
  • Medley: Ay! Jalisco, No Te Rajes – (Keperon, Cortazer) / (Alla En) El Rancho Grande – (Costello, Uranga, Del Moral) – Both songs are (famous) Mexican ranchera songs with mariachi influences and loads of Mexican rural folk flavour. You can tell Trini enjoys singing this

      https://en.wikipedia.org/wiki/%C2%A1Ay,_Jalisco,_no_te_rajes!

      https://en.wikipedia.org/wiki/All%C3%A1_en_el_Rancho_Grande_(song)

  • The Lonesome Road – (Austin, Shilkret) – a old song from the 20s with folky blues influences that has been done by everyone. So so.https://en.wikipedia.org/wiki/The_Lonesome_Road
  • Wherever You Are – (Zeller) – probably recorded by Trini first. Phil Zeller was a lyricist who worked with Trini and with Sinatra around the time. Quite good pop.

And …

A strangely subdued Trini set but fun regardless … I'm keeping it.

Chart Action

US

Singles

1964 Jailer, Bring Me Water #94 Pop

1964 What Have I Got of My Own #31 Pop

Album

1964 #32

England

nothing

Sounds

Jailer, Bring Me Water  

live

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

Cotton Fields  

https://www.youtube.com/watch?v=e1a_vvTuDMg

Bye Bye Love  

https://www.youtube.com/watch?v=sIWwqsPIQ9s

Irresistible You  

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

What Have I Got Of My Own  

mp3 attached

This Little Girl Of Mine  

https://www.youtube.com/watch?v=ubNBkJZ_9s0

Ya Ya  

https://www.youtube.com/watch?v=814yDhzt6eY

You Can't Say Good-By  

https://www.youtube.com/watch?v=pNKmpb0G0zA

Medley: Ay! Jalisco, No Te Rajes (Alla En) El Rancho Grande

https://www.youtube.com/watch?v=94BFcX_ldpQ

The Lonesome Road

https://www.youtube.com/watch?v=Ly3Mhej_6gI

Wherever You Are

https://www.youtube.com/watch?v=YPbKYase2N8

Others

Whole concert 1964

https://www.youtube.com/watch?v=SXmOfDX0m10

Review

—

Bio

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

http://www.latinheat.com/spotlight-news/legendary-singer-trini-lopezs-50th-anniversary-album-release/

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

https://davidshriver.webs.com/

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

Website

http://www.trinilopez.com

Trivia

—

 

 

RIP  Mickey Jones 1941 – 2018

http://www.noise11.com/news/r-i-p-mickey-jones-of-the-first-edition-and-dylan-band-1941-2018-20180209

 

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

DETECTIVE – It Takes One to Know One – (Swan Song) – 1977

Posted on September 2, 2018 by Franko

Detective - It Takes One to Know One

I have commented on Detectives debut album elsewhere on this blog, check that for biographical detail.

This album, their second (and last) was release only six months after their debut. They were touring (heavily apparently) with Kiss and (apparently) there were some punters who thought they were Led Zeppelin incognito, so, perhaps, they wanted to ride on that momentum.

Incognito?

I’m not sure how that works … given you could see what they looked like on tour, hence the “apparently”.

Also, interestingly, some punters on-line have suggested that they were better than Kiss on stage.

Whatever, that is wholly subjective, value laden and highly susceptible to conscious bias.

More clear, it seems that this album came out to capitalise on the touring and it is more of the debut.

And it is more of the same.

Blues tinged arena hard rock.

As I said before, “Arena rock had its roots in the late 60s hard rock but became a sound unto itself when elements of prog rock were added in the 70s and the rough edges were smoothed out for wider commercial exposure. The music was loud, slick and radio friendly. Perfect for driving to. FM radio picked up on it and flogged it creating a market for itself and the bands. The albums were a mix of hard rock songs and sweeping (usually over the top) power ballads”. http://whatfrankislisteningto.negstar.com/arena-rock/detective-detective-swan-song-1977/

And, like I said in relation to the debut, “These guys were the "new dinosaurs" of rock. Steadfast, and dominant, in a landscape that was changing”. http://whatfrankislisteningto.negstar.com/arena-rock/detective-detective-swan-song-1977/

That is still the case and perhaps it is a little worse, or better, depending on where you are standing.

All of the songs are over four minutes in length. Long songs I don’t have a problem with but songs that are between four and five minutes throw up “warning” signs for me. They are neither here nor there.  And here we have a whole album of neither here nor there songs.

The songs aren’t short or sharp enough, or long in a groove enough to be interestingly.

Yes, yes, there are a couple exceptions.

Generally though, the album is a little smoke and a lot of mirrors as the band reference the popular styles of the day. They may have the DNA and the chops but it is all a bit too late in the musical timeline and a bit too long in the tooth.

But, as I said there is always a good song that creeps out.

And, you can’t fault a band for dedicating the album to Elvis (he had died in August 1977) but they should have thrown in an Elvis cover.

There is a lot of Rod Stewart in Michael Des Barres vocal swagger (Stewart was riding high in the charts) and there is some good riffing and soloing from guitarist Michael Monarch, good hard rock playing from bassist Bobby Pickett and drummer Jon Hyde … all from the Led Zeppelin song book, on whose label this appeared.

It is standard bluesy hard rock but the band show they have more with some prog rock asides, (keyboardist Tony Kaye was from Yes), jazzy gracenotes and some funky bass.

What it does have over the first album is hard rock in overdrive. The first album was perhaps a little soft whereas this is full on. That doesn’t make this album better, necessarily, just more single minded.

Check out my other comments for biographical detail on the band.

Tracks (best in italics)

Side One

  • Help Me Up – (Jon Hyde) – very much like the Rod Stewart and very catchy in its own right.
  • Competition – (Michael Des Barres, Pamela Des Barres, Michael Monarch, Tony Kaye) – like the Faces doing "Physical Graffiti"
  • Are You Talkin' To Me?- (Michael Des Barres, Michael Monarch) – I hope not because I don't want to respond.
  • Dynamite – (Monarch, Hyde) – "Physical Graffiti" with a touch of Ike and Tina Turner sass.
  • Something Beautiful – (M. Des Barres) – a bit of prog artiness and a lot of boredom.

Side Two

  • Warm Love – (Monarch, Hyde) – a good hard rock ballad.
  • Betcha Won't Dance – (M. Des Barres, Bobby Pickett) – a good rocker
  • Fever – (Monarch, Pickett, Hyde) – a lot of wankery going on here.
  • Tear Jerker – (Monarch, Kaye, Hyde) – very, very familiar.

And …

Lots of studied swagger, though ultimately a little of this swagger goes a long way. This is a dull … I'm selling it.

Chart Action

Nothing no where

Sounds

Help Me Up

mp3 attached

Competition

https://www.youtube.com/watch?v=Rrxhinhc_T4

Are You Talkin' To Me?

https://www.youtube.com/watch?v=VRXN_JDAnJ0

Dynamite

https://www.youtube.com/watch?v=EVXjJ6mVKLY

Something Beautiful

https://www.youtube.com/watch?v=u_4ictDGnRY

Warm Love

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

Betcha Won't Dance 

https://www.youtube.com/watch?v=kqJ0eIdL_AA

Fever

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

Tear Jerker

https://www.youtube.com/watch?v=k8ivUKLFU1g

Others

—

Review

https://www.allmusic.com/album/it-takes-one-to-know-one-mw0000324133

https://www.seaoftranquility.org/reviews.php?op=showcontent&id=19373

Bio

https://en.wikipedia.org/wiki/Detective_(band)

https://www.allmusic.com/artist/detective-mn0000244088

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

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

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

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

interview

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

Website

http://michaeldesbarres.com/#

Trivia

 

 

RIP: Spencer P Jones (1956 – 2018)

Posted in Arena Rock, Blues Rock, Hard Rock | Tagged | Leave a comment

DAVE EDMUNDS – Subtle as a Flying Mallet – (RCA) – 1975

Posted on August 19, 2018 by Franko

Dave Edmunds - Subtle as a Flying Mallet

This is Edmunds second solo album, and, it is the paragon of his love for American music.

Edmunds never hid his love of American music and, importantly, given some of the music of his countrymen, he never tried to disguise it.

Even when he inserted English thematic concerns, he never suggested he was playing anything other than American rock ‘n’ roll and was happy to do so.

Other English (yes, okay, Edmunds is Welsh not English) acts add a little to the basic structure, put in some local references and think they have invented something new.

They haven’t.

It doesn’t mean the music isn’t any good but why the concern with “inventing” something.

Perhaps, because inventing gives the music some legitimacy?

Perhaps because they can’t accept that this was invented in the USA?

Perhaps because they aren’t happy the US had a revolution and overthrew the British?

Perhaps it is arrogance?

Who knows?

Well, the news is rock, and roll and rock, and rock and pop is American music.

Deal with it.

Any number of English journalists would have an issue with that but then again they can’t help themselves, the arrogance is deep rooted and long standing.

And this is perhaps why Dave Edmunds is not as well respected (he is respected but not “up there”) as he should be in the UK.

Old school rockers and Teddy Boys love him but they aren’t ashamed of their infatuation with American music and fashion either.

In a country which hasn’t had an mainstream popular identifiable musical genre this may be too much.

Classical music was Vienna and continental Europe generally, opera was Italy and France, Celtic music was Ireland, electronica was Germany and the continent, rock, jazz, modern folk, rap and country was the US …

Sure, England contributed to all those musics to varying degrees (especially when they are sung in English) but they had their origins elsewhere.

It’s a rub. They hate that because it shows up the roots of the music which they are often trying to downplay or hide.

And Edmunds music is a reminder of those roots (the roots he loves).

Look, it’s not hang-up for a lot of English musicians but it is something that annoys English journalists, the English music intelligentsia (if that’s not an oxymoron), and the pretentious and tedious Anglophiles.

Whilst his English countrymen (okay, did I say he is Welsh) just tweak the old to give everything a new look Edmunds doesn’t bother … he just adds his personality to the mix.

Sure the arguments against Edmunds run along the lines of: he is not adding anything new, why would I listen to his music when I can listen to the originals, he just does covers of oldies, his original songs sound like oldies etc.

All valid criticisms though they miss the point.

His recreations of classic rock ‘n’ roll songs is not so much an affectation but a constant dominant strain through all of his work.

His covers are so reverential and precise that they become, perhaps, redundant. Where he shines is where he takes the spirit of the old and adds it to the new.

And that seems to be the criticism of this album, an album of covers.

Everything is too similar to the originals.

This review from allmusic sums up the common opinion: “Taking the one-man band aesthetic to an extreme, Dave Edmunds recorded nearly all of his second album, Subtle as a Flying Mallet, on his own, hiring a bassist and a drummer for only a pair of tracks. Edmunds took several years to complete the record, probably because it took a considerable amount of effort to re-create these songs so thoroughly — he spends so much attention on detail that he refuses to change the sex on "Da Doo Ron Ron." Alternating between Spector classics, the Everly Brothers, Chuck Berry, and a variety of R&B, country, and pop numbers, Edmunds hits on all the styles of the late '50s and early '60s, but he spends so much time on duplicating the sound that he sucks the joy out of the music; it is positively eerie to hear these songs performed by one man, who spent weeks overdubbing himself to sound like his own wall of sound. And the main problem with Subtle as a Flying Mallet is that these are not reinterpretations; they are re-creations, and there's little point in hearing a one-man version of rock classics if he offers no new ideas. When Edmunds works with obscure material, like the Chordettes' "Born to Be with You," or with newer items like Nick Lowe's "She's My Baby," the results are better, because the songs are less familiar, which makes his painstaking production exciting, but his isolation makes Subtle as a Flying Mallet sound less like a revival and more like a creepy science experiment”. https://www.allmusic.com/album/subtle-as-a-flying-mallet-mw0000036187

Valid, but not correct.

I concede that I’m a firm believer in “why see a new copy of the old when I can go to my turntable and put on the original”, but, I apply that to lacklustre covers or to acts who have dusted down and rewritten the old songs and passed it off as theirs.

Such musical dishonestly always leaves me bored.

And, importantly a lot of English musicians in the mid 1970s were revisiting and covering the American songs (or the sounds) that turned them on as kids. John Lennon, Ringo Starr, Roy Wood, Alvin Stardust, Gary Glitter, Mud, Showaddywaddy, Suzi Quatro (based in England), Alvin lee, Albert Lee were all faithful to or glamming the 50s, in their music at the time.

Their enthusiasm, for the most part, was honest.

Edmunds never made a secret of his love of the "rock 'n' roll" and it this and his personality and enthusiasm that makes the music shine.

He isn’t hiding his influences (check the album title again), but is becoming part of them.

He walks the line between Robert Gordon (a traditionalist) and John Fogerty (a new traditionalist) … and that’s not a bad place to be.

The music should be enjoyed for what it is, even if it has been done before, than what it should be.

And, to be fair, an often missed point is that, when this album was released a lot of these songs were hard to find in their original versions, so they wouldn’t have been as familiar as they are now. No internet you know.

Actually, some of the songs are still a little obscure … and if you haven’t heard the originals before then it is new music. Right?

In fact you could release this today and most people would still bang on about the songs being covered even though they haven’t heard the originals (until going on to youtube to compare the covers … like I did with a couple of tunes!)

Edmunds first solo album, “Rockpile”, was released in 1972 and this is an extension (and narrowing) of that. That album was a mix of old and new covers. Here, Edmunds sticks to the old (all bar one) but he genre hops all the dominant American sounds of the late 50s and early 60s: doo wop, rock n roll, R&B, country, girl group pop (!) (three of them!).

The songs seem to have been recorded over a three period with the live tracks recorded live in Cardiff with Brinsley Schwarz (who he was friends with and had produced in 1974). Two songs, "Let it Be me" and "A Shot of Rhythm and Blues" were used in the (great) David Essex film, "Stardust" (1975) and two were (UK charting) singles from 1973. So the album is even old school in its structure and harkens back to the 50s and 60s when they would collect all the loose ends from an pop artist and package them together on an album. That's not a problem here because Edmunds style has been remarkably consistent.

Edmunds production, and he is a good (great) producer, is a little murky throughout. It's as if he was trying to, not, recreate the sound of the songs themselves but recreate the sound of the songs if they were heard through a radio in the living room of some English terrace house.

This affects the songs adversely (too my ears) but some still shine and they are all listenable.

Do any of these tracks top the originals?

I don’t want to answer that but I can say that they do sound good, even when they fall short of the mark.

Produced and engineered by Dave Edmunds.

Side One

  • Baby, I Love You – (Phil Spector, Ellie Greenwich, Jeff Barry) – strangely underwhelming. The production is too murky and the voice too far back as if Edmunds didn't trust his vocal chords.
  • Leave My Woman Alone – (Ray Charles) – this is more like it. A firm, fun rocker and cover of the Everly Brothers, with a touch of English 60s beat.
  • Maybe – (Richard Barrett) – a ballad. Edmunds tries and this is quite good but a little flat, even though he has nailed the 50s sound of the original.
  • Da Doo Ron Ron – (Spector, Greenwich, Barry) – Edmunds seems to do better with the upbeat tunes. This is fun.
  • Let It Be Me – (Gilbert Bécaud, Mann Curtis, Pierre Delanoë) – a ballad that works
  • No Money Down – (live) – (Chuck Berry) – excellent.

Side Two

  • A Shot of Rhythm and Blues – (Terry Thompson) – a good version
  • Billy the Kid – (arranged by Dave Edmunds) – Edmunds tackles this country song well in a way Albert Lee would, perhaps.
  • Born to Be with You – (Don Robertson) – wall of sound, but not a very high wall. Still, it is pleasant.
  • She's My Baby – (Nick Lowe) – a new song by Edmunds friend Lowe and a ballad done in the "old" style, naturally enough.
  • I Ain't Never – (Mel Tillis, Webb Pierce) – a toe tapping country hoot.
  • Let It Rock – (live) – (Berry) – I'm not sure what Dave knows about working in the sun in Alabama but he sings and plays the hell out of this song.

Song archaeology

  • Baby, I Love You – (Phil Spector, Ellie Greenwich, Jeff Barry) – The Ronettes hit from 1963 (#24US, #1 UK). https://en.wikipedia.org/wiki/Baby,_I_Love_You
  • Leave My Woman Alone – (Ray Charles) – the Ray Charles song from 1956, also released on his influential “Yes Indeed!” album in 1958, this version owes more to The Everly Brothers as recorded by them for their 1958 debut, self-titled LP.
  • Maybe – (Richard Barrett) – The Chantel’s hit from 1957 (#15US Pop, #2 R&B US) https://en.wikipedia.org/wiki/Maybe_(The_Chantels_song)
  • Da Doo Ron Ron – (Spector, Greenwich, Barry) – The Crystals hit from 1963 (#3US , #5UK) https://en.wikipedia.org/wiki/Da_Doo_Ron_Ron
  • Let It Be Me – (Gilbert Bécaud, Mann Curtis, Pierre Delanoë) – done by a lot of people byut The everly brothers  1960 hit (#7 US Pop) seems to be the inspiration here. https://en.wikipedia.org/wiki/Let_It_Be_Me_(The_Everly_Brothers_song)
  • No Money Down – (live) – (Chuck Berry) – Chuck’s great 1956 single (#8 US R&B) which was also included on his influential After Schoool session” album from 1957. It ahs been covered a lot including a version by Humble pie in 1974. https://en.wikipedia.org/wiki/No_Money_Down_(Chuck_Berry_song)
  • A Shot of Rhythm and Blues – (Terry Thompson) – Arthur Alexander’s 1961 song which has been well covered including by UK rockers Johnny Kidd and the Pirates  (1962) and The Beatles (live on the BBC 1963) https://en.wikipedia.org/wiki/A_Shot_of_Rhythm_and_Blues
  • Billy the Kid – (arranged by Dave Edmunds) – a traditional done by Marty Robbins in 1959 on his incredible influential "Gunfighter Ballads and Trail Songs" (#6 US Pop) and by Ry Cooder on his "Into the Purple Valley" album from 1972
  • Born to Be with You – (Don Robertson) – The Chordettes hit from 1956 (#5 US Pop) the song has been often covered. https://en.wikipedia.org/wiki/Born_to_Be_with_You_(song)
  • She's My Baby – (Nick Lowe) – the only song of recent (1975) vintage written by Edmunds friend and Englishman with similar tastes (and Brinsley Schwarz guitarist) Nick Lowe who also plays bass on (some of) this album
  • I Ain't Never – (Mel Tillis, Webb Pierce) – co-written by American country music artists Webb Pierce and Mel Tillis, each released the song, years apart, but both had hits  Pierce in 1959 (#2 US Country, #24 US Pop) recording and Tillis in 1972 (#1 US Country) https://en.wikipedia.org/wiki/I_Ain%27t_Never
  • Let It Rock – (live) – (Berry) – Chuck's single from 1960 (#64 US Pop) was also on his influential "Rockin' at the Hops" album (1960). He song was released as a single in the UK in 1963, where it went to #6. https://en.wikipedia.org/wiki/Let_It_Rock_(Chuck_Berry_song)

And …

Not perfect but great fun … I'm keeping it.

Chart Action

US

nothing

England

Singles

1973 Baby, I Love You    #8

1973 Born to Be with You #5

Album

—

Sounds

Baby, I Love You

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

Leave My Woman Alone

https://www.youtube.com/watch?v=vPejL-Sve-c

Da Doo Ron Ron

https://www.youtube.com/watch?v=0jp3JATQT7E

Let It Be Me

https://www.youtube.com/watch?v=S9Nu5KWtw4s

A Shot of Rhythm and Blues

https://www.youtube.com/watch?v=JeV408Q8vkg

Billy the Kid

https://www.youtube.com/watch?v=p7Fn7Wpv498

Born to Be with You

Live 1973

https://www.youtube.com/watch?v=M7xCCn3Ibgk

She's My Baby

https://www.youtube.com/watch?v=zjYHjV8ONEA

Let It Rock

https://www.youtube.com/watch?v=f1pJzVq0LUk

with Rockpile in 1979

https://www.youtube.com/watch?v=wu996rc97eI

live recently

https://www.youtube.com/watch?v=SuOT7-h1bLA

mp3 attached

Others

https://www.youtube.com/watch?v=TTwJr2NJmJQ

https://www.youtube.com/watch?v=S4TzjRFfsJs

Review

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

http://www.allmusic.com/album/subtle-as-a-flying-mallet-mw0000036187

https://www.robertchristgau.com/get_artist.php?name=Dave+Edmunds

Bio

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

http://www.allmusic.com/artist/dave-edmunds-p4167/biography

http://www.rockabillyhall.com/DaveEdmunds1.html

http://www.inmusicwetrust.com/articles/07f01.html

Website

https://www.facebook.com/DaveEdmundsRPM

Trivia

  • Personnel: Dave Edmunds – vocals, all guitars, bass, keyboards, drums / Nick Lowe – bass / Pick Withers – drums / Bob Andrews – piano / Brinsley Schwarz – backing band on "Let It Rock" and "No Money Down" (live in Cardiff) Bob Andrews – piano, Ian Gomm – guitar, vocals, Nick Lowe – bass, Billy Rankin – drums, Brinsley Schwarz – guitar
  • Album cover design by Hipgnosis

 

RIP: Oliver Dragojevic – (1947 – 2018)

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

DELANEY AND BONNIE – Motel Shot – (Atlantic) – 1971

Posted on August 12, 2018 by Franko

Delaney & Bonnie - Motel Shot

This album is an unplugged, jam like sing-a-long which became an influential album in Delaney and Bonnie’s career.

It is sometimes credited as the first “unplugged” album, and it may be the first entire unplugged album.

I shall explain …

The first unplugged album in part was, I suspect, the “Elvis (NBC TV Special)” album from 1968

It had twenty or so minutes of Elvis sitting around with others reminiscing and playing songs.

Did this have an impact on Delaney & Bonnie?

I can’t say though Delaney’s pedigree (southern) and his fondness for Elvis (as evidence by the Elvis songs he has covered) suggest it may have. Further the Elvis album went to #8 in the US charts in 1968, so it was well known and it was considered to be a return to form by the public and fellow musicians.

The other influence on “Motel Shot” I suspect was Bob Dylan and the Band’s “The Basement Tapes”.

That album, with its stripped back old world sound was recorded in 1968 but released in1975 and was floating around in great numbers as a bootleg. It was particularly influential on musicians who passed it around and got off on it, taking the Americana, and stripped back sound and using in their own music.

The Band would become particularly influential in their southern roots Americana rock affecting all kinds of musicians looking backwards rather than forwards (or, is backwards, forwards?)

George Harrison, The Byrds, Eric Clapton, Elton John, The Kinks and many others were influenced by The Band and Dylan’s take on Americana.

It had an impromptu loose down home jam feel though eighteen or so musicians would make for one crowded room. Okay, they weren’t there all at once but there is no denying that when the friends that join you for your singalong include Gram Parsons, John Hartford, Leon Russell, Bobby Keys, Joe Cocker, Clarence White, Dave Mason, Bobby Whitlock, and Duane Allman it’s going to be interesting.

They are all southerners of wanna-be southerners and is clear that a down home loose sound is what is aimed for.

The songs are all traditionals, old songs or new songs written in an “old” sound in mind.

They hand together incredibly well.

However, atheists and agnostics beware. Amongst the traditional country folk and blues there is, inevitably, white and black gospel … and quite a bit of it either in the subject matter of the song or in the feel of the music.

The music clearly shows where rock ‘n’ roll came from and that it was neither exclusively white nor black.

The album's title refers to the impromptu, late-night, jam sessions by touring musicians when on the road. Bonnie (apparently) later claimed the entire album (originally) was recorded in a single four hour session at engineer Bruce Botnick's L.A. home.  So, not quite the motel shot but still not a recording studio. (Apparently) that record was shelved when Delaney had a falling out with Elektra records, the label he was on, so he and Bonnie ended up doing it over again, but in a recording studio for his new label, Atco.

It may not be as spontaneous as it could have been it is still plenty loose and very playful.

The instruments are all acoustic and some of the songs are pretty rough and ragged (with Bonnie even rawer than normal), but that is the records raison d'être, and that results are an organic soul that makes the music attractive. There are no virtuosic showboat displays, it's all about the songs and performances (it is the antithesis to something like “Sgt Peppers”). It is as if it wants to engage and invite listeners to become a part of the music and the community.

The sense of fun is palatable even if you aren’t into what they are doing.

But how much you like this depends on how much you like trad folk, blues, country, Americana.

So, either you will get this and tap your foot, bob your head and sing a long …

or

… think it is a collection of drunken demos by a big group of country rock musicians slumming it.

Produced by Delaney (his musical fingerprints are everywhere over the album).

Tracks (best in italics)

Side One

  • Where the Soul Never Dies – (Traditional) – stomping, gospel boogie
  • Will the Circle Be Unbroken – (A. P. Carter) – a song from 1907 popularised by the Carter family in 1935. Nothing says the “south” quite like this song. https://en.wikipedia.org/wiki/Will_the_Circle_Be_Unbroken%3F
  • Rock of Ages – (Traditional) – an old hymn (dating back to 1763 is its earliest version). It is over familiar to anyone who has seen a movie set in the south or Midwest. https://en.wikipedia.org/wiki/Rock_of_Ages_(Christian_hymn)
  • Long Road Ahead – (Delaney Bramlett, Bonnie Bramlett, Carl Radle) – definitely more contemporary but with the soul of an old man
  • Faded Love – (Bob Wills, Johnnie Wills) – a big country hit (#8 US) for Bob Wills in 1950. Elvis released it on his seminal “Elvis Country” album from 1970. It has been done by everyone. This version is suitably mournful. https://en.wikipedia.org/wiki/Faded_Love
  • Talkin' about Jesus – (Traditional) – another traditional gospel and a church revival stomper. It will make atheists tap their feet.

Side Two

  • Come On In My Kitchen – (Robert Johnson) – a Robert Johnson blues song from 1937. It has been well covered, especially in the late 60s early to mid-70s and was done as part of a medley on Delaney and Bonnie’s “To Bonnie from Delaney” from 1970. https://en.wikipedia.org/wiki/Come_On_in_My_Kitchen
  • Don't Deceive Me (Please Don't Go) – (Chuck Willis) – a rhythm and blues from Chuck Willis 1953 (#6 US R&B). A soulful blues take from Bonnie.
  • Never Ending Song of Love – (Delaney Bramlett) – This original became well covered in country pop.  The New Seekers had a #2 England, #1 Ireland hit with it in 1971. It is undeniably catchy.https://en.wikipedia.org/wiki/Never_Ending_Song_of_Love
  • Sing My Way Home – (Delaney Bramlett) – a trippy country rock. Quite wonderful
  • Goin' Down the Road Feelin' Bad – (Traditional, Delaney Bramlett) – this is a trad blues done by everyone (including Woody Guthrie) and was also done as part of a medley on “To Bonnie from Delaney”. This works quite a gentle laid back groove.
  • Lonesome and a Long Way from Home – (Delaney Bramlett, Bonnie Bramlett, Leon Russell) – a down home stroll which is more instrumental than vocal, but incredibly evocative.

And …

A motel shot that works in my den! … I'm keeping it.

Chart Action

US

Singles

1971 Never Ending Song of Love #13

Album

1971 #65

England

nothing

Other

Australia

Singles

1971 Never Ending Song of Love #13

Sounds

Where the Soul Never Dies

https://www.youtube.com/watch?v=XY-XKMzULIo&list=PL94gOvpr5yt2s5TxB4d4c9h8Y5B0LXgsm

Will the Circle Be Unbroken

https://www.youtube.com/watch?v=dvpw6bw_BUQ&t=0s&index=3&list=PL94gOvpr5yt2s5TxB4d4c9h8Y5B0LXgsm

Talkin' about Jesus

https://www.youtube.com/watch?v=jbqlMjnt3Yw

Never Ending Song of Love

mp3 attached

Goin' Down the Road Feelin' Bad

https://www.youtube.com/watch?v=g18PbEHPMms&t=0s&index=12&list=PL94gOvpr5yt2s5TxB4d4c9h8Y5B0LXgsm

Others

https://www.youtube.com/watch?v=ir2eAEhtXvE

https://www.youtube.com/watch?v=aazChqk4U-c

Review

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

http://badcatrecords.com/BadCat/DELANEYbonnie.htm

https://www.allmusic.com/album/motel-shot-mw0000738488

https://jonjeffblogs.wordpress.com/2014/10/12/oldnew-albums-delaney-bonnies-motel-shot/

http://therisingstorm.net/delaney-bonnie-friends-motel-shot/

https://www.allaboutjazz.com/motel-shot-expanded-edition-by-doug-collette.php

http://deathvalleyradio.org/reviews/motel_shot.html

http://www.realgonemusic.com/news/2016/12/9/delaney-bonnie-and-friends-motel-shot-expanded-edition.html

https://lightintheattic.net/releases/3590-motel-shot-expanded

https://www.dustygroove.com/item/594630

Bio

http://badcatrecords.com/BadCat/DELANEYbonnie.htm

https://en.wikipedia.org/wiki/Delaney_%26_Bonnie

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

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

Website

http://www.bonniebramlett.com/

Trivia

  • Personnel: Delaney Bramlett – guitar, vocals, arranger / Bonnie Bramlett – vocals / Duane Allman – slide guitar (tracks S2S1, S2 S4-5) / Ben Benay – guitar / Kenny Gradney – bass guitar / John Hartford – banjo, fiddle / Eddie James – guitar / Jim Keltner – drums / Bobby Keys – saxophone / Dave Mason – guitar / Gram Parsons – guitar, vocals / Carl Radle – bass guitar / Joe Cocker – backing vocals on S1 S1, S1S6 /  Leon Russell – piano, keyboards, vocals / Clarence White – guitar, vocals / Bobby Whitlock – vocals / Jay York – backing vocals / Johnny Bramlett – Samsonite Briefcase
  • Bruce Botnick, at whose home the sessions took place was the engineer for The Doors.
  • In the liner notes, Delaney Bramlett dedicates the album to "My mom who sang alto." Bonnie Bramlett wrote "If this album can make one person feel half of what I felt on this session, then I am happy. It is to all of you with love."
  • Thomas makes an important observation about Delaney & Bonnie’s place in music history. “Clapton and Harrison heard their music, and it turned them around. If you were to do one of those old-style Pete Frame Rock Family Trees,” he says, “they’d be right at the root of a big one.” He describes Delaney & Bonnie & Friends as the “godfathers and mothers” of the musical collective and scene that would spawn Joe Cocker’s Mad Dogs & Englishmen. “Dave Mason hung out with these guys, and then some of the ‘& Friends’ became Eric Clapton’s back-up band: bassist Carl Radle, Bobby Whitlock, Jim Gordon… and then of course many of them went on to Derek and the Dominos. It was a very creative and tumultuous time.” http://www.goldminemag.com/articles/delaney-bonnie-shot
Posted in Alt Country, Americana, Country Rock, Roots Rock | Tagged | Leave a comment

BREWER & SHIPLEY – Rural Space – (Kama Sutra) – 1972

Posted on July 29, 2018 by Franko

BREWER & SHIPLEY - Rural Space

I have a few entries on Brewer & Shipley on this blog. Check out those for biographical detail.

Otherwise, in short I have written this in the past, “Brewer and Shipley were from heartland America who made the slog to the west coast with their brand of folk rock but what they brought with them was the dust and the open spaces, the sounds of Native Americans, and the music of those American peoples: white country, Native American music, some blues, a little jazz from Kansas City. They weren't hicks, they were switched on and armed with sounds and smarts ready to burst forth just like Dylan had half a decade earlier … And, in the tradition of duos (or trios) of the folk boom they could both play guitars, sing, and write. All those skills are strong but their voices, particularly, mix well. They are big and loud in that "up front" folk way rather than laid back and gentle in that cowboy country rock way we have come to expect. I suspect that is why they have been overlooked in country rock retrospectives though they were there at its inception and have always had country sounds in their music”.

This is their fifth album and last for the Kama Sutra label where they had their hits. "One Toke over the Line" (#10 US, #5 Canada 1971), "Tarkio Road" (#55 US #41 in Canada 1971), "Shake off the Demon" (#98 US 1972).

Oddly, for a band / duo that is clearly album oriented they only struck chart success with their singles.

Perhaps, even that was a fluke. The subject matters and jargon appealed to the times.

But, by 1972 the times were a changin’.

And they were changing for Brewer & Shipley.

It’s a pity.

Their music transcends its time. Sure, the laid back sounds they had perfected after their first slightly experimental album would appeal to both country rock and, perhaps, (ragged) soft rock audiences as well as the singer-songwriter and electric folk crowds but, today, the music works equally as well as rural Americana.

And, they do sound more authentic (whatever that may be) than any number of alt-country bands.

But, what makes them stand above the crowd is their willingness to experiment and to incorporate some, distinctly uncommercial (even by 1972 standards) sounds.

The sidemen are first rate and sound is tight and slick. Brewer and Shipley produced themselves and this is a fine sounding album. All, that is missing is a hit.

I find these lesser known albums of artists in their decline fascinating, mainly because people usually disregard them. But if you are good enough to put out good work in your prime there must be something of value that follows.

And that is the case here.

All songs by Brewer & Shipley unless otherwise noted.

Tracks (best in italics)

Side A

  • Yankee Lady – (Jesse Winchester) – First appearance on the authors self-titled debut album from 1970. It is often covered including versions by Tim Hardin, Ian Matthews Southern Comfort, Melanie. This is a good version though, the song itself is undeniably good.
  • Sleeping On The Way – a strident rumination, on something.
  • When The Truth Finally Comes – there has always been a slightly religious zeal in even the most secular of Brewer & Shipley's work, and this is no exception. It is quite good and full of the utopian optimism of the late 60s.
  • Where Do We Go From Here – the flipside to late 60s optimism, the questioning and querying of soiety. This is a great song done with an old-timey Americana sound reminiscent of Jim Kweskin or the Kinks circa "Muswell Hillbillies" (1971)
  • Blue Highway – (David Getz, Nick Gravenites) – both writers were members of Big Brother & The Holding Company though I don’t think the song was recorded by them. This a gentle stroll of a song which you can see (hear) as a travelling blues.

Side B

  • Fly Fly Fly – (Steve Cash) – Cash is a singer, percussionist and harmonica player with southern rock group The Ozark Mountain Daredevils. The band was going at the time but hadn’t recorded yet. Another old-timey piece of American with folk duo vocals. Interestingly, or perhaps just out of completeness, the song title on the label has following it in brackets: "This Seat is Occupado".
  • Crested Butte – (Brewer) – country rock with folk harmonies.
  • Got to Get Off The Island – country rock with soft rock overtones. Given the oceanic references (island) and its laid back nature this could pass for a Jimmy Buffet tune.
  • Black Sky – (Steve Cash) – Another one from Cash of the Ozark Mountain Daredevils. This appeared on their self-titled debut album from 1973. Country rock.
  • Have A Good Life – Brewer & Shipley seems to be musically channelling native American spirituality crossed with European religiosity. A fitting end to the album though hardly a toe tapper.

And …

Very pleasant and occasionally inspired. Certainly, it should be better known … I'm keeping it.

Chart Action

Nothing nowhere.

Sounds

Whole album

https://www.youtube.com/watch?v=kVboAdGn8l0&list=PLCkfWEqPsZeSB83_uEEVPe3-JflNhEz8R

Yankee Lady

https://www.youtube.com/watch?v=kVboAdGn8l0

Where Do We Go From Here

https://www.youtube.com/watch?v=SkLS2UdLT7k

Blue Highway

https://www.youtube.com/watch?v=eXmoTN0FJoE

Fly Fly Fly

mp3 attached

Got to Get Off the Island

https://www.youtube.com/watch?v=VpUs8X0plDI&index=8&list=PLCkfWEqPsZeSB83_uEEVPe3-JflNhEz8R

Have a Good Life

https://www.youtube.com/watch?v=LR95gyOdSQM

Others

https://www.youtube.com/watch?v=MNKL9onYB_8

Review

https://www.allmusic.com/album/rural-space-mw0000837533

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

Bio

https://en.wikipedia.org/wiki/Brewer_%26_Shipley

http://www.allmusic.com/artist/brewer-shipley-mn0000935990/biography

http://www.psychedelicbabymag.com/2011/08/brewer-shipley-interview-with-tom.html

Website

http://www.brewerandshipley.com/

https://www.facebook.com/pages/Brewer-Shipley/185181440142?fref=ts

Trivia

  • Personnel:

    • Mike Brewer, Tom Shipley – Vocals & Guitars
    • Billy Mundi – Drums (sessionman and drummer of The Mothers of Invention and Rhinoceros)
    • Prairie Prince – Drums (sessionman and drummer for The Tubes, Journey, and Jefferson Starship from 1992-2008)
    • Bill Vitt – Drums (sessionman who played with Jerry Garcia, Tom Fogerty, the Sons of Champlin and others) Paul Butterfield Blues Band in
    • Fred Burton – Electric Guitars (sessionman who played mainly with Brewer & Shipley)
    • Mark Naftalin – Piano, Organ & Vibes (member of Paul Butterfield Blues Band)
    • John Kahn – Bass (sessionman and Kahn was Jerry Garcia's principal musical collaborator outside of the Grateful Dead)
    • Phil Howe – Soprano Saxophone (Howe was a clarinet and saxophone player who ran his own jazz bands on the west coast http://jazzhotbigstep.com/642434.html
    • Buddy Cage – Pedal Steel Guitar (sessionman and long-time member of the New Riders of the Purple Sage)
  • Brewer & Shipley called it quits in 1979, reforming in 1986 and are still recording today … "In 1979, after more than a decade of writing, traveling, and performing, Brewer and Shipley parted company to pursue personal interests. Michael Brewer continued to make music, recording a solo album for Full Moon Records entitled "Beauty Lies". This release featured guest artists Linda Ronstadt and J.D. Souther, and was produced by longtime friend Dan Fogelberg. Tom Shipley began working as a television producer/director, eventually forming his own production company (Tarkio Communications). He later founded the Oral History of The Ozarks Project, a not-profit organization producing documentaries about life in the Missouri Ozarks … In 1986, at the request of KCFX (Kansas City) the duo reunited for a concert to celebrate the station's first birthday. Unsure of what to expect, having been out of the public eye for so long, the duo was overwhelmed as they walked on stage to over 10,000 cheering fans welcoming their return. Having come full circle from their days as staff songwriters living in Los Angeles, Brewer & Shipley began writing together again. Their first project? The soundtrack for one of Shipley's documentaries…the award winning, "Treehouse – An Ozark Story." … In recent years, the duo has witnessed rejuvenated interest in their music, beginning with BMG's purchase of their catalog and subsequent re-issue of the critically acclaimed "Tarkio" release. This was soon followed by the inclusion of "One Toke Over The Line" on the "Fear And Loathing In Las Vegas Limited Edition 25th Anniversary CD" (Jimmy Buffett's Margaritaville Records). The same song was later featured on the "Fear And Loathing In Las Vegas" motion picture soundtrack (Geffen Records.). In addition, the duo was invited to contribute guest vocals to their trademark song on "Hempilation II" (Capricorn Records.). Brewer & Shipley continue to tour and record regularly, having released 2 albums of original material since reuniting – "Shanghai" and "Heartland.”” https://citywinery.com/boston/brewer-shipley-9-10-18.html
Posted in Americana, Folk Rock | Tagged | Leave a comment

THE COWSILLS – We Can Fly – (MGM) – 1968

Posted on July 15, 2018 by Franko

Cowsills - We Can Fly

The greatest band out of Rhode Island . okay, perhaps, that’s not a big call (no offence other Rhode Island bands) …

Okay, of all the “family” and “faux family’ vocal groups of the late 60s and early 70s The Cowsills were the best, or if not, certainly the most interesting …

Yes, I.m referring to The Jackson 5, The Osmonds, The Partridge Family, The Archies….

The Cowsills, individually and collectively, were willing to experiment at a time which embraced experimentation.

They never strayed far from their pop sounds but they extended them into some interesting fields.

And that works on me.

Check out my other comments for more detail on the Cowsills.

This album was their third and follows the lead of their first self-titled album from 1967 which yielded a big hit in "The Rain, The Park & Other Things" (#2 US 1967). (Their second album “The Cowsills plus the Lincoln Park Zoo” was a compilation of singles from 1966 on the Philips label, released to cash in on their debut album success).

It is clear the success of their first album (#31 US), and the era of experimentation let their label, MGM, give them some slack.

The family was young, smart and musical and smart enough to accentuate the familial vocal ability.

Blood line family vocals sound good to the ear.

"Sibling harmony is a musical term that refers to the tight — almost inseparable — vocal harmonies generated by members of the same family. Their voices blend so well you can't tell one from the other." https://www.deseretnews.com/article/701507/Sibling-harmony.html

It may be their shared musical attitude as a result of upbringing, their DNA, their similar facial features which when shaped produce the same sounds, their anticipatory senses in relation to their siblings or something more spiritual but whatever it is sounds pleasant to a third party.

You can hear that in The Beach Boys, The Everly Brothers, The Lennon Sisters, The Carter Sisters, The Mills Brothers.

The Cowsills had that.

Beatles references, usually, abound when discussing The Cowsills. Perhaps in terms of experimentation there is some relevance but the arrangements, vocal harmonies and feel though owe a lot more to The Beach Boys. The groove on the record may be light and a happy bounce but like the Beach Boys (at the time) the work behind the scenes was anything but …

From the liner notes to the CD release of this album: “Engineered by Roy Cicalla, We Can Fly was recorded in late 1967, mostly at A&R Studios, a top New York studio also used by Simon and Garfunkel, the Four Seasons and scores of other legends. Both Bill and Bob recall the recording We Can Fly being a fairly laborious process. "We spent hours on that album mixing and recording," Bob recalls. "And we spent a lot of time on our vocals. A lot of double tracking… A lot of times, you mixed as you recorded. I remember thinking, 'Wow, we have eight tracks!' Little did I know twenty-four was soon gonna be the standard.” http://bapresley.com/silverthreads/music/liner/wecanflycd.html

The Cowsills incorporated siblings who could write songs and this was a distinct bonus. They may have been young but they captured the prevailing zeitgeist with some insight. The non-Cowsill writers seem to be experienced Brill Building types with the usual resume of hit, or should have been hit songs.

This is wonderful stuff, evocative of a time and a place (late 1960s, California (even though it was recorded in New York)). The East Coast baroque and melancholy touches are kept in check here but there is a lot happening behind all the sunshine (pop). You don’t have to worry about that now those dark clouds (groan) would become more apparent on later albums.

The persistent problem is that is your long term friends may scratch their heads at your choice of this music. "Sunshine pop" appeals to teens and to "adults" not to a jaded, hard edged, cynical, trying to look tough 20 somethings we were all (well, I was) trying to cultivate, which is what they recall.

Growing older has its benefits though … you don't give a shit what anyone thinks anymore.

So, sit down with the sun on your back, pour a cocktail and enjoy.

Tracks (best in italics)

             Side One

  • We Can Fly – (Cowsill/Cowsill/Kornfeld/Duboff) – joyous, lush high energy pop which you could see on any number of television ads from the late 60s. "Flying" was used a lot in songs, perhaps, as a acceptable non-drug alternative to "high" though both referring to the same emotional joys. This song is so bouncy it was covered by MOR bandleader Lawrence Welk and trumpeter Al Hirt.
  • Gray, Sunny Day – (Cowsill/Cowsill/Sheppard/Powers) – more big East Coast pop. A very catchy song. "We now know the Ramones loved "Grey Sunny Day." We didn't find that out until we did Howard Stern's TV show in 1990. And the Ramones were pulling up in their limo and "Grey Sunny Day" was playing in it. They thought the vocal arrangement on that in particular was great. That was a big deal to us". http://bapresley.com/silverthreads/music/liner/wecanflycd.html
  • Heaven Held – (Sheppard/Powers) – Big, faux operatics. This was also done, not surprisingly by Gene Pitney in 1968 on his "She's a Heartbreaker" album. I'm not sure which version was released first.
  • A Time For Remembrance – (Cowsill/Cowsill) – in mood this is like a pop rock version of "Green Leaves of Summer". So, it very melancholy but quite good.
  • Gotta Get Away From It All – (Cowsill/Cowsill/Dean) – Familiar late 60s themes (look at the song title) with familiar late 60s songs. A great beat.
  • What Is Happy? – (Cowsill/Cowsill/Kornfeld/Duboff) – fluffy pop.

Side Two

  • In Need Of A Friend – (Cowsill/Cowsill) – high pop with more late 60s familiar themes.
  • Yesterday’s Girl – (Morier) – dramatic pop, the late 60s version of the teen operas of the early 60s. Quite effective. Writer Morier is the father of current singer and songwriter Nicole "Coco" Morier.
  • Beautiful Beige – (Cowsill/Cowsill/Kornfeld) – Monkees like and very catchy. "Beautiful beige" … and anti-racist theme in a pop song … I love it.
  • Mister Flynn – (Cowsill/Cowsill/Cowsill) – about the unhappy stage guy touring bands have to deal with and quite similar to the Kinks "Mister" songs
  • One Man Show – (Cowsill/Cowsill/Fishoff) – more television music of the time. It is both evocative and overly familiar. It is never less than pleasant on the ears.

And …

I love this and there is more going on than you pick up on the first listen. Highly underrated … I'm keeping it.

Chart Action

US

Singles

1968 We Can Fly #21

1968 In Need Of A Friend #54

Album

1968 #89

England

nothing

Australia

Singles

1968 We Can Fly #42

Sounds

The full album:

https://www.youtube.com/watch?v=-IuFf4ow5YU

We Can Fly

Live

https://www.youtube.com/watch?v=Pw1aFsdzoXI

https://www.youtube.com/watch?v=UW8aBAObrdo

Introduced by Sally Field & Mark Lindsay from "Happening '68":

https://www.youtube.com/watch?v=T3kMMt_Dy1w

mp3 attached

Gray, Sunny Day

https://www.youtube.com/watch?v=1Ac8BfxIYII

Heaven Held

https://www.youtube.com/watch?v=cwStz3F0Ckw

A Time For Remembrance

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

Gotta Get Away From It All

https://www.youtube.com/watch?v=KZM0uv-AE8Q

What Is Happy?

Video clip

https://www.youtube.com/watch?v=uJe58-1znn4

In Need Of A Friend

https://www.youtube.com/watch?v=BzpLP6zZaz4

Yesterday's Girl

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

Beautiful Beige

https://www.youtube.com/watch?v=9sz69hJIQv0

Mister Flynn

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

One Man Show

https://www.youtube.com/watch?v=vtMI0OhBeVI

Others

Doing the Beach Boys

https://www.youtube.com/watch?v=HKZK1HmgsxU

https://www.youtube.com/watch?v=ZhX1cBIpRN0

Review

https://www.allmusic.com/album/we-can-fly-mw0000673620

liner notes to the Cd

http://bapresley.com/silverthreads/music/liner/wecanflycd.html

Bio

https://www.udiscovermusic.com/stories/respect-due-to-the-cowsills/

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

https://www.allmusic.com/artist/the-cowsills-mn0000784760/biography

https://www.theaustralian.com.au/life/the-cowsills-fates-unkind-to-musical-family/news-story/8c0f8a2b3890c2c5004bdfb2742e114f

https://www.youtube.com/watch?v=A8QbCOJv4pg

Website

https://cowsill.com/home/

http://bapresley.com/silverthreads/

http://susancowsill.com/

Trivia

  • It was the first album sister Susan Cowsill sang on and became part of the group and her voice.
  • Arranged By – Artie Schroeck, Charlie Calello, Herb Bernstein .Producer – Bill Cowsill, Bob Cowsill.
  • "Today, Bob continues to be marvelled by We Can Fly's staying power, thirty-seven years after its original release. He closes with these thoughts: "You would not believe the emails that come in from all over the world… Songs from the We Can Fly album have been mentioned in the context of having some special memory for (our fans). We Can Fly gave us credibility and established us as producers. It was amazing and I was really glad we got to do it. If you ask any of us our favorite album of the eight or nine that we did. We Can Fly's gonna be number one. We did an OK job for kids." http://bapresley.com/silverthreads/music/liner/wecanflycd.html

Cowsills - We Can Fly - back

Cowsills family

 

 

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

BOYCE & HART – It’s All Happening on the Inside – (A&M) – 1969

Posted on July 8, 2018 by Franko

BOYCE & HART – It's All Happening on the Inside

I have commented on Boyce & Hart before check out the earlier entry for biographical detail.

This was their third album in three years. Their second album was impressive given the demands of coming up with another album of songs a year after their first album.

I mused on the harsh nature of the pop music world that requires songs to be churned out rather than inspired at leisure which causes a lot of second albums to fail.

Boyce & Hart overcame that and here are required to produce another twelve songs a year later.

They do.

And with the same consistency.

Part of this can be put down to the fact that they were professional songwriters so are well used to writing to a deadline / for a specific act or just for money.

Partly they can achieve the same because they had their specific pop sound down perfectly on the first album. With the second they just focussed on it and here it is just more of the same.

And, partly they can do this by introducing covers (done in their style) to pad out the album …and there is nothing wrong with that

The pop landscape was changing however. They have made concessions to newer sounds (some fuzz, some psych and a lot of southern gospel) but the basic sound remains the same. There are some experimental overtones which was acceptable in 1969, even for a mainstream act … you wouldn't get it nowadays.

The biggest influence (especially on the first side) seems to be Southern flavoured rock and gospel ala The Band, Dr John, Delaney & Bonnie, Dr John, The Allman Brothers Band, all who were emerging circa 1968-1969 as well as the gospel interludes of the 1968 Elvis Comeback Special filmed in California and released on LP in 1968.

This is, on first blush, an odd sound for a couple of Californians … though they weren't really Californians. They were transplanted . Bobby Hart was from Arizona (and his father was a church minister) and Tommy Boyce was from Virginia. They were also both turning thirty in 1969 so, perhaps, they were looking for something less pop and saw what was gaining popularity (especially with the critics) and it just happened to form part of their musical memory.

The second side seems to concentrate on adding psych to their pop sound which was a more natural progression though it certainly is BIG … which can probably be credited to the arranger, the great Jimmy Haskell.

I suspect the sound was too different for their established fans and others would have stayed away, still associating them with pop (and the Monkees) ….the old story of "too hip for the straights and too straight for the hips", so, the album sank.

Boyce & Hart went into decline until they hooked up with two Monkees in the mid-70s for Dolenz, Jones, Boyce and Hart.

All songs written and produced, unless otherwise indicated, by Tommy Boyce & Bobby Hart.

Tracks (best in italics)

Side One

  • Prelude – this has a revival feeling and opens as a, err "prelude" of what to come …
  • Change – this has a Southern gospel feel, like something Delaney & Bonnie would do. It is odd that it appears here
  • Maybe Somebody Heard – more gospel flavoured west coast counter culture …striking cosmic chords and peace love and understanding. I'm not sure where this came from but it is enjoyable.
  • It's All Happening On The Inside – this has gospel and fuzz psych and it is a winner
  • Abracadabra – (Billy Lewis, John Gallie, Louie Shelton) – not sure of how the song came about but the authors are session musicians who regularly played for the Monkees (and I assume Boyce & Hart) …so they wrote a song and plugged it. It's a funky instrumental.
  • Jumping Jack Flash – (Keith Richards, Mick Jagger) – the Rolling Stones single from 1968 (#3US, #1UK). The menace from the original is gone, but this isn't too bad because it is different (psych fuzz) rather than a copy of the original. https://en.wikipedia.org/wiki/Jumpin%27_Jack_Flash

Side Two

  • We're All Going To The Same Place – some trippy pop in a slightly baroque sound with familiar late 60s lyrics …check the song title again.
  • Strawberry Girl – a Monkees type song as if done by a garage band.
  • Thanks For Sunday – big psych and quite endearing.
  • My Baby Loves Sad Songs – a country hoot song with some hip asides …much like Lee Hazlewood of the time.
  • Standing In The Shadows Of Love – (Holland-Dozier-Holland) – the Four Tops soul and pop hit from 1967 (#6US, #6UK) is given a heavy psych treatment here (much like Vanilla Fudge). https://en.wikipedia.org/wiki/Standing_in_the_Shadows_of_Love
  • Alice Long –  apparently this was a hit in some parts of the world (you can do the googling and research). I'm not sure who Alice Long was though she is mentioned on the liner notes as a member of the Congregation Sound who sing on this album (and I suspect on this song). This is pure pop in The Hollies mould.

And …

This is the least regarded album of the three Boyce & Hart albums but it has many good (and great) moments. A vastly underrated album ripe for discovery. I love it … I'm keeping it.

Chart Action

US

Singles

1968 Alice Long (You're Still My Favorite Girlfriend) #27

1968 We're All Going to the Same Place #123

Album

—

England

—

Sounds

It's All Happening On The Inside

mp3 attached

Jumping Jack Flash

https://www.youtube.com/watch?v=TCRG3GR6bkE

We're All Going To The Same Place

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

My Baby Loves Sad Songs

https://www.youtube.com/watch?v=e3vzA1Vk-S0

Standing In The Shadows Of Love

https://www.youtube.com/watch?v=2sX429_mDtE

Alice Long

Clip

https://www.youtube.com/watch?v=HdGPrkQfP2M

Others

https://www.youtube.com/watch?v=mfnlBXLHd08

https://www.youtube.com/watch?v=Fs2OuGGsLXY

Review

https://www.allmusic.com/album/its-all-happening-on-the-inside-mw0001879383

Bio

http://www.forgottenhits.com/the_music_of_tommy_boyce_and_bobby_hart

https://www.allmusic.com/artist/boyce-hart-mn0000095455/biography

http://articles.latimes.com/1994-11-26/news/mn-1559_1_tommy-boyce

interview

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

Website

http://www.officialboyceandhart.com/

https://www.facebook.com/boyceandhart/

Trivia

  • It's all very well played with Billy Lewis on drums, Louie Shelton on guitar, John Gallie on keyboards and Joe Osborn on bass (I'm not sure why he isn't pictured, perhaps because he was more of a session guitarist with The Wrecking Crew).

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

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

 

BOYCE & HART – It's All Happening on the Inside - back

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

CONNIE FRANCIS – Sings Spanish & Latin American Favorites – (MGM) – 1960

Posted on July 1, 2018 by Franko

CONNIE FRANCIS - Sings Spanish & Latin American Favorites

I have said this before:

Connie could do anything.

She put out albums in (or partially in) Italian, Jewish, Spanish and German.

She sang rock, pop, Broadway standards, film songs, country, vocal jazz, R&B, vocal jazz, children's music, spiritual music, schlager music, waltzes, traditionals from various ethnic groups … and that’s just in the 1960s! http://whatfrankislisteningto.negstar.com/popular-crooners/connie-francis-connie-clyde-hit-songs-of-the-30s-mgm-1968/

Apparently, counting singles and performances, her singing portfolio extended to fifteen languages, though with most she had to learn most of the vowel sounds of her tunes phonetically and mechanical repetition.

She clearly had an aptitude for languages.

She grew up in an Italian household in an Italian Jewish neighbourhood of New Jersey. She grew up at a time when Spanish speakers made up a substantial minority in the north-east (and Spanish is a Latin based romance language like Italian) so she could speak Italian, Yiddish and Spanish fluently (on the liner notes it says she studies Spanish for five years).

Colloquially or conversationally, perhaps, but fluently.

Non-English speaking migrants have always made up a substantial minority of America’s consumer population at any given time.

The origins and numbers of the migrant waves may change from time to time but there always is a large group of newly arrived, or recently arrived migrants or first generation Americans brought up on their parents language.

It is a no brainer that a popular singer could increase their audience even more if they could tap into those markets.

And, Connie tapped.

I have said this, “The 60s was a big time for foreign language albums, especially in the US. Sure, there are many migrants and their offspring in the US, which probably accounted for most of the target sales, but I suspect some people were buying just because of the vocalist or because of the sound.

Gene Pitney put out an album of songs in Italian and another in Spanish, Connie Francis went a couple better and put our albums in (or partially in) Italian, Jewish, Spanish and German. Hell, even Elvis released songs in the American market in Italian, German and Spanish (check his soundtracks).

http://whatfrankislisteningto.negstar.com/ethnic/trini-lopez-viva-capitol-1972/

And, all things Latin (specifically Latin American) were all the rage in the late 1950s (though the rage probably started in the mid-40s) through to the late 1960s. The “rage” was based around the exotica of the language, and the “otherness” of the sounds. A genuine individual dual Latin voice in American mainstream rock and pop music emerged in the 1970s but its musical roots were in exotica (Latin America, was one of the central musical exotica destinations along with the Polynesian pacific (Hawaii) and the Caribbean), despite the fact the language was all around and had in many parts of the US pre-dated English.

A third of the US was of Latin origins, the Spanish language was common place the streets throughout the south-west and west-coast, and becoming prolific with migrants (specifically Puerto Ricans) on the east coast. The troubles and travails of Mexican farmworkers and migrants was an issue throughout the 1950s, whilst the dominant genre film form, the Western, was laced with Spanish language words and dialogue.

It was not foreign to the ear of many Anglo and European Americans.

And, the beats, groove and history it brought to American sounds were inevitable.

Cuban and Latin bandleaders like Perez Prado, Desi Arnez, Tito Puente, Xavier Cugat were popular.

Vocal groups like Trio Los Panchos were popular.

So it wasn’t long before the music crossed over.

It was natural enough to those with Latin ancestry like Trini Lopez, Richie Valens (and later Jose Feliciano, Santana, Linda Ronstadt, Albert Hammond, Los Lobos, El Vez and others) to do Spanish language songs and albums but non-Latin performers had also done songs and albums for the Latin market, Eydie Gorme, Dean Martin, Nat King Cole, Helen Merrill, Mel Torme, The Four Freshmen, Rosemary Clooney, Julie London, Bing Crosby, Carmen Miranda all put out albums of Latin material.

Exotica band leaders Arthur Lyman, Les Baxter and Martin Denny all explored Latin sounds as did Esquivel (a Mexican) himself. So did Henry Mancini, Percy Faith and others.

Herb Alpert and the Tijuana Brass, the Baja Marimba Band reigned supreme in the easy listening (and even pop) charts.

The 60s heralded the rise of new (in the US) sounds by João Gilberto, Astrud Gilberto and Antônio Carlos Jobim, Luiz Bonfá Laurindo Almeida, Sergio Mendes, Los Indios Tabajaras, Gilberto Gil and others, which was adopted by jazz musicians like Stan Getz, Charlie Byrd, and vocalists like Frank Sinatra.

Yes, yes, I know they speak Portuguese not Spanish, and not all Latin music is the same, but I’m just making a point about the great influx of a myriad of Latin sounds into the US mainstream musical market.

It was a matter of time before non-Hispanic rock and pop artists would jump aboard. 

Gene Pitney put out a Spanish language album, Bobby Darin recorded Spanish language songs and many like Johnny Cash and Pat Boone re-recorded their hit songs for a Spanish market. Hell, even Elvis put out a Latin flavoured album (a soundtrack) “Fun in Acapulco” (1963) with a number of Spanish language songs.

But when it came to pop rock Connie was well ahead of the curve musically.

And Connie nailed it.

Spanish music is ultra-romantic and heavy on the poetic imagery.

Something which suits the female (and some male) pop rock of the early 1960s.

Given her familiarity with the language and her musical tendency to clear, emotional pop this music is perfect for Connie.

She has really tapped into the soul and spirt of Latin songs.

These songs are written by Latin legends and though you may have not heard of them, the music, no doubt, would be familiar to anyone with any musical knowledge (or anyone who listens to old music, watches old movies or television shows, pays attention to the music in ads etc etc).

Whether you are a Spanish speaker or can't speak a word of you will immediately recognise the emotion in the songs and can guess the narrative.

There is plenty of brass, bongos and slick orchestrations here but there is also some rock 'n' pop beat (in vocal attitude).

The only problem is the recording.

The record was recorded in England.

Wait, wait, hear me out.

The backing vocals which are restrained are by The Rita Williams singers, a English vocal group. The music is by Geoff Love & His Orchestra. The orchestra never takes off though they are never less than competent (his series of movie themes album in the 70s are quite good) and they had backed Shirley Bassey before (and Judy Garland, Paul Robeson, Mel Torme, Marlene Dietrich) as well as Connie on her Yiddish album (which may have been done at the same time as this). I suspect Love was chosen because he had a lot of success as Manuel in a faux Latin band in London, 'Manuel and his Music of the Mountains'. That group had chart success in England and the US and was pop Latin which was required here.

Love wasn't about pushing boundaries. Much like (later) Percy Faith he was a populist who created melodic, hum-able and uncontroversial arrangements of tunes aimed at the broadest audience possible.

And that is not a problem, either.

I suspect the problem lies with the recording studio.  English studios, circa 1960, just weren't up to the standards of the American ones.

This is a small issue but the sound should be fuller and more lush.

But the main reason for coming is Connie’s voice.

Check out my other comments for biographical detail on Connie

Tracks (best in italics)

             Side One

  • Malagueña – (Ernesto Lecuona) – (Spanish) –  A legendary song by the great Cuban composer Ernesto Lecuona. This was a German language hit in the US for Caterina Valente in 1955 (#42 on the cashbox charts). Connie popularised the song in the US market. It is a familiar tune which is popular with marching band (and in figure skating circles)! I is sung well though drenched in echo.
  • Quiéreme mucho – (Gonzalo Roig, Albert Gamse, Jack Sherr) – (Spanish/English) –  a trad pop standard without any substantial hits ….the time is ripe. This is a wonderful romantic version of a wonderfully romantic song.
  • Siboney – (Ernesto Lecuona) – (Spanish) –  another standard done by everyone in Spanish or Englsih including Bing Crosby (1946). Another one with a lot of echo. Maybe they are aiming for a high, lonesome Andean feel? Still, Connie sings it well.
  • Solamente una vez – (Agustín Lara, Ray Gilbert) – (Spanish/English) –  aka “You Belong to My heart”. Done by everyone. Bing Crosby had a English language #4 hit with it in  1946. Elvis Presley, as part of the Million Dollar Quartet, performed a shortened version of the song, mixing Augustín Lara's original Spanish lyrics and Ray Gilbert's English lyrics. I love this version.
  • Quién séra – (Pablo Beltrán Ruiz, Norman Gimbel) – (Spanish/English) –  a well known bolero-mambo. Dean Martin had a hit with it as Sway (#1954 #15 US Pop, #6 UK). This swings!
  • Quizás, Quizás, Quizás – (Osvaldo Farrés) – (Spanish) –  which became a hit for NYC based Puerto Rican Bobby Capó in 1947). The English lyrics "Perhaps, Perhaps, Perhaps" were written by Joe Davis and are not a translation of the Spanish lyrics. The English version was first recorded by Desi Arnaz in 1948 (RCA).
  • Beso de fuego – (Ángel Villoldo) – (Spanish) –  "El Choclo" has been recorded (without vocals) by many dance orchestras, especially in Argentina. Vocal versions do well: Georgia Gibbs (#1 US Pop 1952, under the name "Kiss of Fire"), Tony Martin (1952  US Pop #6), Toni Arden (1952 US Pop  #14), Billy Eckstine (1952 US Pop #16), Louis Armstrong (1952 US Pop #20), and Guy Lombardo (1952 US Pop #30, vocal by Kenny Gardner). There is also a Spanish versions of "Kiss of Fire" by Nat King Cole (1959). This English word variant was translated back into Spanish as "Beso de Fuego".

Side Two

  • Granada – (Agustín Lara) – (Spanish) –  another standard done in English and Spanish by Mario Lanza (1949), Desi Arnaz (1951), Bing Crosby (1951), Frankie Laine (1954), Perez Prado (1956), Caterina Valente (1956), The Four freshmen (1958) and many others. Bring in the bulls!
  • Bésame Mucho – (Consuelo Velázquez, Sunny Skylar) – (Spanish/English) –  a magnificent song, the most famous (and best) version is sung by Trio Los Panchos but this is pretty special also. Connie's voice is erotically sublime.
  • Nosotros – (Junco) – (Spanish/English) –  a traditional sounding Latin pop tune written by Cuban Pedro Junco with a familiar, pleasant melody and wonderfully sung by Connie, though the arrangement is pure Hollywood (via London).
  • Vaya, con Dios – (Larry Russel, Inez James, Buddy Pepper) – (Spanish) –  Les Paul and Mary Ford had a instrumental #1 US Pop (1953). There have been many versions including Bing Crosby (1953), Pat Boone (1959), Nat King Cole (1962, in Spanish), Suitably haunting, and the crackle on my vinyl just adds to it. Like something out of "The Wages of Fear" , you can see a group of lost men sitting around a jukebox listening to this tune.
  • Te quiero, dijiste – (María Grever, Charles Pasquale) – (Spanish) –  first done by  Alfonso Ortiz Tirado (1930) but also done by Nat King Cole (1958). More Romantic Latin.
  • Celos (Jealousy) – (Jacob Gade) – (Spanish) – "Jalousie", a tango written by Danish composer Jacob Gade in 1925 became a standard. As "Jalousie" the song was released on a single in 1951 by Frankie Laine. Nice.

Song Links:

Malagueña

https://en.wikipedia.org/wiki/Malague%C3%B1a_(song)

Quiereme Mucho (Yours)

https://en.wikipedia.org/wiki/Yours_(Qui%C3%A9reme_Mucho)

Siboney

https://en.wikipedia.org/wiki/Siboney_(song)

Solamente Una Vez (You Belong To My Heart)

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

Quiensera (Sway)

https://en.wikipedia.org/wiki/Sway_(song)

Quizas, Quizas, Quizas (Perhaps, Perhaps, Perhaps)

https://en.wikipedia.org/wiki/Quiz%C3%A1s,_Quiz%C3%A1s,_Quiz%C3%A1s

Beso De Fuego (Kiss Of Fire)

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

Granada

https://en.wikipedia.org/wiki/Granada_(song)

Besame Mucho (Kiss Me)

https://en.wikipedia.org/wiki/B%C3%A9same_Mucho

Vaya Con Dios

https://en.wikipedia.org/wiki/Vaya_con_Dios_(song)

Jalousie (Jealousy)

https://en.wikipedia.org/wiki/Jalousie_%27Tango_Tzigane%27

And …

I love Connie's pop and I'm partial to Spanish language albums of this era. It is also perfect for dinner parties …. I'm keeping it.

Chart Action

US

Singles

1960 Malagueña  #43 Pop (a charting B-side)

Album

1960 #23 (cashbox charts)

England

Nothing, oddly …Connie was riding high in the English charts with here pop singles.

Sounds

Malagueña

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

Quiereme Mucho (Yours)

https://www.youtube.com/watch?v=kPH6sIme-DI

Siboney

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

Solamente Una Vez (You Belong To My Heart)

https://www.youtube.com/watch?v=mGMnJ2JdJZY

Quiensera (Sway)

mp3 attached

Quizas, Quizas, Quizas (Perhaps, Perhaps, Perhaps)

https://www.youtube.com/watch?v=e47oc_ntNsk

Beso De Fuego (Kiss Of Fire)

https://www.youtube.com/watch?v=ib7MBsrx6ws

Granada

https://www.youtube.com/watch?v=oZgnpIv30kY

Besame Mucho (Kiss Me)

https://www.youtube.com/watch?v=cf8jUgKZTpo

Nosotros

https://www.youtube.com/watch?v=mrED4jnJBGw

Vaya Con Dios

https://www.youtube.com/watch?v=QkV878UcG7I

Te Quiero Dijiste (Magic Is The Moonlight)

https://www.youtube.com/watch?v=pmnYsKL82Bg

Jalousie (Jealousy)

https://www.youtube.com/watch?v=TaN81eee0NI

Others

 https://www.youtube.com/watch?v=V8x5cUFoDnU

Review

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

Bio

http://www.allmusic.com/artist/connie-francis-mn0000117064/biography

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

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

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

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

Website

http://www.conniefrancis.com

Trivia

  • Orchestra leader Geoff Love later went African and recorded a number of albums in the 70s under the "Mandingo" name.
Posted in Pop Rock, Popular & Crooners, World Music | Tagged | Leave a comment

FRANKIE AVALON – Swingin’ On A Rainbow – (Chancellor) – 1959

Posted on June 24, 2018 by Franko

Frankie Avalon - Swingin on a Rainbow

I have waxed lyrical on the much maligned talents of Frankie Avalon before so check that for reasons, bio and pseudo philosophical ephemera.

Avalon had a time and place and never transcends it but he does reflect the time and place beautifully.

The northern (ie: the eastern US seaboard, the northern US states) music industry wasn’t as committed to rock ‘n’ roll as the south.

Well at least that was the case in the late 50s and early 60s.

Pat Boone, Bobby Darin, Frankie Avalon, Bobby Rydell, Bobby Vinton, Tommy Sands, and many others or tried their hand at a trad pop and rock hybrid (“pop ‘n’ roll”, “rock ‘n’ swing” – do any of those work?). Granted, none were out and out rock ‘n’ rollers but then even Elvis was recording his version of trad pop by 1960 (“It’s Now or Never”, “Surrender” etc).

The sound was especially prevalent in the north and east perhaps because they weren’t the originators of the form and didn’t know where to take it (yet). That is, the old musical veterans weren’t really sure how to deal with rock and kept dragging the music back to what they knew.

Trad pop.

Swingin’ trad pop.

And to make it appeal to a rock ‘n’ roll audience just have it swing a little harder and a little more.

This was Frankie Avalon’s second album and the rock ‘n’ roll stylings of his first album were ditched for big swinging arrangements by a host or music stalwarts:

Arranged By – Peter DeAngelis – A1,  Bob Mercey – A2, B5, B6,  Al Caiola – A3, A4, B2, B3, B4, Joe Scousa – A5, A6,  Aldo Provenzano – B1.

Peter DeAngelis (born 1929) was a songwriter and music business man who owned (with Bob Marcucci), Chancellor Records which owned the contracts on the lucrative Frankie Avalon and Fabian.

Bob Mersey (born Robert David "Bob" Mirsky 1917) was also a producer and musician and had worked as an arranger with Leiber and Stoller in the 50s.

Al Caiola was a legendary guitarist and session man who worked with everyone (and everyone must have come across at least one, two, three Al Caiola records on their op shop travels)

Joe Scousa seems to have had a career limited to this Frankie album.

Aldo Provenzano was an arranger, conductor, and songwriter who did a lot of MOR work in the 60s.

Okay there is one Jewish bloke but otherwise, this is Italians for Italians.

And, American-Italians like their trad pop as any Frank Sinatra, Dean Martin, Tony Bennett, Perry Como, Al Martino, Jerry Vale, Frankie Laine, or Vic Damone fan will tell you.

The plan is simple.

Dust off some popular trad pop tunes or write (or contract) some new songs in that style (that way the royalties come to you), put in some swinging arrangements, throw in Frankie’s youthful vocals and try to aim for the widest audience possible.

Do not offend anyone, do not make anyone uncomfortable, try to make music that the parents and the kids can both listen to (and buy)

Hey, there is nothing wrong with this.

We all need some downtime.

And it paid off. The album did well in the charts (his highest placing for an album in the US), which was itself unusual at the time for a rock 'n' popper, but it did so without having any hit singles to propel it which seems to me to indicate that the album buying public (the "adults") bought it as well.

At the time the music was taken for what it was but, subsequently, it was derided by those who want their early rock ‘n’ rollers pure (and perhaps one dimensional).  That’s all quite odd given that pop and rockers tackling the Great American Songbook is still something that goes on with varying degrees of success and respectability: Nilsson, Rod Stewart, Madonna, Ringo Starr, Lady Gaga, Bette Midler, Boz Scaggs, Queen Latifah, Cyndi Lauper, Glenn Frey, Paul McCartney, Dr John, Carly Simon, Joni Mitchell, Linda Ronstadt, The Supremes, Aretha Franklin, Marvin Gaye, Willie Nelson, Sinead O’Connor, George Michael, Rickie Lee Jones, Jeff Lynne, Brian Wilson, Bob Dylan and others have all given it a shot.

So leave Frankie the fuck alone … he was ahead of the curve.

Tracks (best in italics)

              Side One

  • Swingin' On A Rainbow – (R. Marcucci-P. DeAngelis) – written for Frankie. This swings nicely and is quite bouncy. It follows the usual trad pop swing path but it is catchy. Needless to say but the rainbow is traditional as well
  • Secret Love – (H. Woods-J. Campbell-R. Connelly) – a Doris Day song from her film “Calamity Jane” and a #1 hit for her in the US in 1953. Nothing comes close to Doris Day's original but this is a great version. It has been given a swing beat which helps you to avoid comparisons with the original. .https://en.wikipedia.org/wiki/Secret_Love_(Doris_Day_song)
  • She's Funny That Way – (R. A. Whiting-Neil Moret) – the first recording was by Gene Austin (1928) and it has been done by loads of people since https://en.wikipedia.org/wiki/She%27s_Funny_That_Way
  • Sandy – (Al Caiola) – I assume this was written for Frankie. This is great and could easily have been a Sinatra song circa 1957.
  • Trouble With Me Is You – (Pat Genaro) – Genaro had written many tunes for various Italian American trad pop singers in the 50s and 60s. Vic Damone had a US #1 with this in 1949. https://en.wikipedia.org/wiki/You%27re_Breaking_My_Heart
  • Talk, Talk, Talk – (R. Marcucci-P. DeAngelis) – written for Frankie

Side Two

  • You're Just Too Much – (A. Provenzano) – I assume this was written for Frankie. Another great, bouncy number.
  • What's The Reason (I'm Not Pleasin' You) – (C. Poe-J. Greer-P. Tomlin-E. Water) – the first performance was by Pinky Tomlin (1935) but also done by Fats Domino on his "This Is Fats Domino!" album from 1956. This is white and sweet with lush, full arrangements.
  • Try A Little Tenderness – (H. Woods-J. Campbell-R. Connelly) – first recorded by the Ray Noble Orchestra (with vocals by Val Rosing) in 1932. Ted Lewis and Ruth Etting had hits with it in 1933 and Bing Crosby also recorded it in 1933. The Platters did a version in 1958 and Italian-American pop star Connie Francis did one in 1959. It has been much recorded. This is ultra sweet with strings and things but it still works. https://en.wikipedia.org/wiki/Try_a_Little_Tenderness
  • Birds of a Feather – (A. Caiola-R. Ekstrand) – I assume this was written for Frankie and another great tune with some intentionally funny lyrics where love and romance is given an avian bent.
  • Step In The Right Direction – (A. Schroeder-W. Gold) – Aaron Schroeder and Wally Gold wrote many pop songs for the young rock n rollers. They wrote solo or together some seventeen songs for Elvis (or thereabouts) including his mammoth #1 in 1960 "It's Now or Never". This song (“Step in the Right Direction”) may have been first recorded by Frankie.
  • Them There Eyes – (M. Pinkard-W. Tracey-D. Tauber) – first recorded by either Bing Crosby or Louis Armstrong around 1931 this has been recorded by everyone. https://en.wikipedia.org/wiki/Them_There_Eyes

And …

Normally, I like my swing with a bit more gravitas than a nineteen year old has but this album swings nicely and is really pleasant on the ears. The originals compare well against the covers. Frankie nails it. It is perhaps one of the best examples of the rock 'n' swing traditions … I'm keeping it.

Chart Action

US

Singles

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Album

1959 #9

England

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Sounds

Whole album

https://www.albumsdepot.com/albums/frankie-avalon-swingin-on-a-rainbow/

Swingin' On A Rainbow

mp3 attached

She's Funny That Way

https://www.youtube.com/watch?v=cC7msJDFT3E

Talk, Talk, Talk

https://www.youtube.com/watch?v=cC7msJDFT3E

Step In The Right Direction

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

Others

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

https://www.youtube.com/watch?v=CCumGJ0y9lc

Review

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Bio

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

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

Website

https://frankieavalon.com/

Trivia

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Frankie Avalon - Swingin on a Rainbow - gatefold 01     Frankie Avalon - Swingin on a Rainbow - gatefold 02     Frankie Avalon - Swingin on a Rainbow - gatefold 03     Frankie Avalon - Swingin on a Rainbow - gatefold 04     Frankie Avalon - Swingin on a Rainbow - gatefold 05     Frankie Avalon - Swingin on a Rainbow - back

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

TOMMY SANDS – This Thing Called Love – (Capitol) – 1959

Posted on June 17, 2018 by Franko

Tommy Sands - This Thing Called Love

A while back I commented on Tommy Sand’s “Sands Storm” album and during the course of that comment I said this:

“Tommy Sands was one of the million Elvis rip-offs in the late 50s (eg: Gene Vincent, Terry Stafford, Bobby Darin, Ral Donner, Dion, Ricky Nelson, Buddy Knox, Jack Scott etc). No offence to any of these artists because some of them were legends in their own right but still "rip-offs". OK, rip-offs is perhaps a bit too strong but Sands, like the others, was influenced by Elvis and Elvis' success. They all took aspects of Elvis' style in different ways and adapted it to their styles … by way of example, Gene Vincent took the histrionics and made a career out of that, whilst Darin took the ballads and went down the lounge path. Tommy Sands took the "clean" Elvis path. He had, however, been a credible soft rockabilly singer who had some minor hits ("Teenage Crush" was a #2 hit in 1957). By the time of this album (his third) the record label were trying to soften his image, perhaps scared of any anti-rock backlash (which never happened) after the Presley riots and moral outrage in 1956/57”.

http://whatfrankislisteningto.negstar.com/rockabilly-and-rock-n-roll/tommy-sands-sands-strom-rca-1959/

Apart from the Colonel Parker link Sands and Elvis had paths that crossed a number of times:

  • He and Elvis worked together on the same bill a lot in the South through 1954-1955.
  • He got his break playing a Elvis-like singer in a TV drama, “The Singin’ Idol” in 1957 (a role they producers wanted Elvis for and when they failed to get him they searched for an “Elvis look-a-like”. He became an immediate overnight sensation as a result and the single, “Teenage Crush", from that show went to #2 on the US Pop charts. He went on to play in the expanded film version “Sing, Boy, Sing” in 1958.
  • He married Nancy Sinatra in 1960 who in the same year welcomed (on behalf of the media and all the young girls of America) Elvis back from the army at Fort Dix, New Jersey on March 3, 1960

“Sands was born (1937) into a musical family in Chicago, Illinois; his father, Ben, was a pianist (and a Russian Jewish immigrant), and his mother, Grace, a big-band singer. He moved with the family to Shreveport, Louisiana. He began playing the guitar at eight and within a year had a job performing twice weekly on a local radio station. At the beginning of his teen years, he moved to Houston, Texas, where he attended Lamar High School and joined a band with "Jimmie Lee Durden and the Junior Cowboys", consisting of Sands, Durden, and Billy Reno. They performed on radio, at county fairs, and did personal appearances. He was only 15 when Colonel Tom Parker heard about him and signed him to RCA Records”. https://en.wikipedia.org/wiki/Tommy_Sands_(American_singer)

His big break in music (and consequently acting) came in 1957 with the TV drama “The Singin’ Idol”, which was a hit and also provided a hit single, “Teenage Crush”.

From then on he had two crossover careers in music and in acting (in film and television).

Sands’ career was (apparently) on a big roll and he was being compared with Elvis (and Harry Belafonte) frequently, not just for his looks (Elvis) but for potential sales (Elvis and Harry). There was much hype but there was little pay off in chart success.

Perhaps that’s why Sands concentrated on acting from 1960 on. Apart from participation on two soundtracks he only issued two albums in the 1960s (“Dream with Me” (1960) and “Seasons in the Sun” (1969)).

Sands divorced Nancy Sinatra and moved to Hawaii around 1967, where he had a nightclub and a clothing business. He still performs, apparently.

The “Sands Storm” (1958) album which immediately preceded this album (his fourth) was the first of the Tommy Sands albums to hedge bets on whether rock and roll was a fad by adopting trad pop and adding some rock n roll attitude.

I said this in relation to “Sands Storm”, “I suspect the old record labels still did not really understand rock, so pairing a rock singer off with a old school orchestra was reasonably common place. Here, Sands is linked with the Bob Bain Orchestra. The album is subtitled "Tommy Sands Presents a Collection of Rock n' Roll Hits with the Music of Bob Bain” and that surely isn't a lie. The tracks are all well-known rock "hits" of the preceding three or four years so there are no surprises. The only interest then is incidental …  attaching those rock songs to an orchestra giving you a "lush pop" which isn't hard on the ears even if it is mildly forgettable. Pat Boone probably took that to the extreme, though Tommy is more raw than Pat and sometimes this is jarring as Sands vocals don't always compliment the lush orchestrations”.

http://whatfrankislisteningto.negstar.com/rockabilly-and-rock-n-roll/tommy-sands-sands-strom-rca-1959/

All of that applies here (including the Bob Bain arrangements) though on “Sands Storm” Tommy tackled rock and R&B numbers and added orchestrations whereas, here, Tin Pan Alley and trad pop songs are covered, and done relatively straight with orchestrations. The ballads are especially straight though the up-tempo numbers have some beat with more dominant electric guitar than normal for trad pop numbers.

I don't know (yet) if the next three albums he did were in the same paddock, but, two were with standards orchestrated by Nelson Riddle and another was a live set of (mainly) standards at the Sands Hotel.

With chart success (or lack of) hindsight the career as a trad pop singer and movie star was not a good move but, at the time, the same strategy was working well for Bobby Darin and Pat Boone.

So in some ways Tommy went from an Elvis inspired singer to a Bobby Darin inspired singer.

None of this is meant as criticism.

There are always a couple of touchstones who influence all those around them at any given time.

Tommy does have his own voice, a good voice, and does impart his personality on his music, but he just doesn’t get to do it enough.

Tracks (best in italics)

Side One

  • You're Driving Me Crazy – (Walter Donaldson) – a standard done by everyone and a hit for Nick Lucas in 1930 (#7 US Pop). This is quite fun. It's not rock though there is a guitar and saxophone break in the middle which takes it out of trad pop
  • I Only Have Eyes For You – (Al Dubin, Harry Warren) – Done by everyone. The song dates back to the film Dames (1934) where it was sung by Dick Powell and Ruby Keeler, The Flamingo's had a hit with it in 1959 (#11 US Pop, #3 US R&B). Quite a pretty ballad.
  • Don't Blame Me – (Jimmy McHugh, Dorothy Fields) – the song dates back to the early 30s. It has been done by everyone including Nat King Cole in 1948 (a #21 US pop hit) and Johnny Ray (1952). Very trad pop.
  • All I Do Is Dream of You – (Nacio Herb Brown, Arthur Freed) – dating back to the mid-1930s this has been done by everyone including Johnny Ray (1953), Pat Boone (1956), Bing Crosby (1959) and Dean Martin (1959). There is a bit more swing here and it is most enjoyable.
  • All Over Again – (Tommy Edwards) – a US R&B #10 in 1951 for Tommy Edwards. A beat ballad.
  • I'm Confessin' – (Al Neiburg, Doc Daugherty, Ellis Reynolds) – another song done by everyone and dating back to the late 1920s/ early 1930s. Versions include Ricky Nelson (1957), Bing Crosby (1957), Johnny Ray  (1958), and Frankie Laine (1958). One of the swooning songs teen girls loved so much.

      Side Two

  • Should I? – (Brown, Freed) – the song dates back to the late 1920s and has been covered on numerous occasions including versions by Frank Sinatra (1950) and The Four Aces (1952). A nice mid-temp pop which is very easy on the ear.
  • I'm Yours – (Robert Mellin) – Eddie Fisher had a #5 hit US Pop in 1952 and the Four Aces had a #21 hit in 1952. Another dreamy mid tempo ballad.
  • Sunday – (Chester Conn, Benny Krueger, Ned Miller, Jule Styne) – dating back to the mid 1920s with versions by Frank Sinatra (1954), Pat Boone (1956) and Al Martino (1959).
  • My Happiness – (Betty Peterson Blasco, Borney Bergantine) – another standard that has had a lot of chart success, The Marlin Sisters #24 1948 US Pop), Jon and Sondra Steele (#3 1948 US Pop), The Pied Pipers (#4 1948 US Pop), Ella Fitzgerald (#8 US Pop) and John Laurenz (#26 US Pop). The versions most relevant here i suspect would be Connie Francis #2 hit from early 1959 and Pat Boone and Shirley Boone version from the same year. Interestingly this is one of two songs Elvis recorded as an acetate at Sun in 1953 (it wasn’t released until the 1990s).
  • That Old Feeling – (Sammy Fain, Lew Brown) – Dating back to the late 1930s this has been recorded many, many times including versions by Doris day (1949), Eddie Fisher (1952), Frank Sinatra (1956), The Platters (1958), The Four Lads (1948)
  • Afraid – (Fred Rose) – Bluegrass singer Clyde Moody released the first version of this song written by country music song writing legend Fred Rose in 1949. I don't know if it was hit or if there were any other hit versions. The familiar country themes of romantic distrust are evident and don't sit with the other songs but it's a gentle hoot with some nice sharp guitar.

Song Links:

You're Driving Me Crazy  

https://en.wikipedia.org/wiki/You%27re_Driving_Me_Crazy

I Only Have Eyes For You

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

Don't Blame Me

https://en.wikipedia.org/wiki/Don%27t_Blame_Me_(song)

All I Do Is Dream of You  

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

I'm Confessin'

https://en.wikipedia.org/wiki/Confessin%27

I'm Yours

https://en.wikipedia.org/wiki/I%27m_Yours_(1952_song)

My Happiness

https://en.wikipedia.org/wiki/My_Happiness_(1948_song)

That Old Feeling

https://en.wikipedia.org/wiki/That_Old_Feeling_(song)

And …

Sands has a great voice which suits trad pop perfectly. It's nothing you haven't heard before but it would be perfect background music … and would have everyone guessing … I'm keeping it.

Chart Action

Nothing nowhere

Sounds

You're Driving Me Crazy  

mp3 attached

I Only Have Eyes For You

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

I'm Yours

https://www.youtube.com/watch?v=pHRDjCf55AU

My Happiness

https://www.youtube.com/watch?v=Yq67zzLsiSo

That Old Feeling

https://www.youtube.com/watch?v=HCbFDYMDw30

Others

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

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

a dance craze that didn’t catch on – but it should of:

https://www.youtube.com/watch?v=xHGI9iKSS_Q

Review

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Bio

https://en.wikipedia.org/wiki/Tommy_Sands_(American_singer)

https://www.allmusic.com/artist/tommy-sands-mn0000620578/biography

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

http://rockabillyhall.com/tommysands.html

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

interviews:

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

https://www.youtube.com/watch?v=v8_rG4FkogU

http://www.elvis2001.net/Tommy%20Sands.htm

with Nancy

https://www.youtube.com/watch?v=OPD79tEE5L8

the Singing idol

https://www.youtube.com/watch?v=MmZGPWV1Dlg

Website

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Trivia

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          Tommy Sands - This Thing Called Love - back          Tommy Sands - versus Elvis

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