Listen: Go Now / Bessie Banks BessieBanksGoNow.mp3

Yes, even the blues and purples of the Decca, London and Soul City labels compliment each other. A lot of purists claim Bessie Banks’ original recording of ‘Go Now’ surpasses The Moody Blues later cover. I say we have endless love for many things, why not multiple versions of songs too?

Bessie Banks sounds so young here, and The Moody Blues vocalist at the time, Denny Laine, has such an authentic delivery, what’s not to like? That band never did replace him, nor did they try. Seems the guys were bright enough to go after a completely different, post Denny Laine sound.

Usually, it’s impossible to mess with the magic of an original song the calibre of Bessie Banks’ ‘Go Now’, especially given this Leiber & Stoller production. But thanks to the courage of The Moody Blues, I guess you could say we ended up with a win/win.

Listen: He Cried / The Shangri-Las ShangriLasHeCried.mp3

I remember when The Shangri-Las did a record hop at the Oneida Town Armory. I wasn’t old enough to get in. I’m still steaming. Not about the age thing, but that I allowed that to stop me. Dumb.

The lower their singles reached on the US charts, the more I liked them. I’m happy to say public taste for records in the US charts vs. Kevin’s taste are inversely proportionate.

‘He Cried’ peaked at #65, but to be fair, was a pretty big hit around the Northeast where I grew up.

Listen: The Sweet Sounds Of Summer / The Shangri-Las ShangriLasSummer.mp3

In ’67, when their original label Red Bird folded, the girls stuck with producer Shadow Morton (what a name, has there ever been a better one?) and moved to Mercury, and their back catalog, as with Shadow, went along. Mercury issued a GOLDEN HITS album including most, but not all the singles (an annoying and prevalent habit of the majors back then).

‘The Sweet Sounds Of Summer’, illogically released in November of ’66, oddly predated psychedelia by a good six months despite indeed capturing very much that sound. It wilted at a pathetic #123 in January of ’67 – again not an opportune time for a top-down-with-bad-girl Shangri-la in-back-seat single and hence not a surprise. But do check it out. Dark and eerie as usual, there were some great production and arrangement ideas lurking – way ahead of their time.

The Shangri-Las may have stuck with Shadow Morton, but his loyalty was not returned. Moving onto The Vanilla Fudge and The New York Dolls, seems the sound of ‘today’ beat out those hoodlum biker girls in the marketing department I’m guessing.

Listen: The Boy From New York City / The Ad Libs AdLibs.mp3

The Ad Libs were basically a Doo Wop act, leftover from a few years and name changes earlier, when the genre was more mainstream. I never got into the style. In hindsight, I’ve ended up collecting several genres I didn’t live through, but not Doo Wop. This sounded quite current, not at all out of place, blaring from my transistor AM radio in ’65. It’s one of those early musical memories that stuck into my little kid’s brain. I loved the line about ‘pockets full of spending loot’. Very 60′s and full of verve.

Lead singer Mary Ann Thomas had a fantastic voice, and I’m surprised the team of Jerry Leiber and Mike Stoller at Blue Cat’s parent label, Red Bird, didn’t recognize it.

Listen: ko Iko / The Dixie Cups
ko Iko / The Dixie Cups

This used to sneak on to my local Top 40 station every once in a while, but not near enough. Although appearing to be a mid-chart hit (it struggled to #20 in ’65), the song has proven seminal. Repeated film, TV and commercial uses turned this percussion (bottles and screw drivers apparently) strut and chant into a multi platinum seller, now straddling four decades.

The Dixie Cups brought a lot of colorful shaking to this year’s Rhythm & Blues Foundation event. You couldn’t mistake them as they made their entrance, looking every bit as exotic as that first time on AMERICAN BANDSTAND running through ‘Iko Iko’.

Even their website sparkles like no other.