Listen: Sugartime / The McGuire Sisters
Sugartime

My Dad’s cousin, Dominic Bruno, owned a nightclub in the 50′s/60′s called the Three Rivers Inn, somewhere near Syracuse. I suppose it was that period’s version of today’s Casinos, but on a way smaller scale. The acts would do a week or so. The many headliners included Jayne Mansfield, Sammy Davis Jr, Mae West, Paul Anka, Tony Bennett, very lounge and nowadays known as Bachelor Pad stuff.

The first act I ever saw live, at the Three River Inn, were The McGuire Sisters. They scored big (#1 in ’57) with ‘Sugartime’, and it appealed to all little kids for years to follow. My Mom and Dad had a copy. It was probably my first discovery of music. How was I to know then that the “sugar in the morning, honey in the evening” being referred to was about sex. Other than their ballads, most of the uptempo ones, like this, were completely rock and roll, especially those clean Chet Atkin’s hollow body solos.

They were the first victims of my record collecting as well. I pestered my parents, even aunts and uncles, to buy me every last record they had out. Anytime a present was due, I wanted a McGuire Sisters record. Whether it be Easter, Halloween, birthday, Christmas, getting a passing report card, you name it, The McGuire Sisters were the gift that kept giving in my world.

Then Mom and Dad faithfully took me along to see them, all arranged through Uncle Dominic, as we knew him. His house was mad, never will I forget the all pink kitchen, including appliances, that he and Aunt Elia had. Whew.

I don’t really know the year of that show, I may have been five, it was the mid 60′s. They were most likely running out of steam career-wise by then. Clearly out of obligation, The McGuire Sisters invited me up on stage. I froze but couldn’t let my folks down, so trembled onwards. I sang along to ‘Sugartime’, probably spoiling everyone’s reason for attending. And the cherry on top was a visit to their dressing room afterwards, a motel room actually, part of the club’s complex, where the three of them were playing cards and eating sandwiches between shows.

Pretty good start, right? My first taste.

Listen: Don’t Ever Leave Me / Connie Francis
ConnieFrancis.mp3

Shortly thereafter, I got into Connie Francis. This all preceded The Ronettes and Shangri-Las fixations which were just around the corner. Suggestive women in tight skirts was the common thread I guess.

I’m not quite sure what my infatuation with Connie Francis was all about but I went off her pretty quickly, probably due to a chilly and quick dressing room visit right after the show. Hey I was a little kid, lighten up lady. Still, to be fair, it was probably cramping her style. She absolutely made many, many great records.

‘Don’t Ever Leave Me’, her one and only attempt at the girl group sound, written and produced by Jeff Barry and Ellie Greenwich, the team you went to for just this type of material then, is a keeper. A classic single in fact. (#42, 10/64).

She wore a very nice blue chiffon ensemble that night, that I do remember, and she smelled great.

Listen: Double Barrel / Dave & Ansil Collins
Double

Once Desmond Dekker & The Aces’ ‘Israelites’ became a US hit in ’68, occasional ska tracks began getting domestic releases, usually on small indies. Occasionally, as with Johnny Nash or Prince Buster, a major might take a chance, but not often.

Such was the case with Dave & Ansil Collins ‘Double Barrel’. Future Atlantic subsidiary Big Tree, then funded by Apmex Tape, took a shot, so to speak and ended up with a #22 US hit. And believe me, it cleansed the ear palate when it hit the airwaves back then, the song sounded fantastic.

By this time, I was blagging risqué RnB, soul and English rock singles every Friday evening from the local easy listening station, WMCR, who had absolutely no use for them, and certainly no use for ska. Half the fun of the impending weekend for me was tearing out of school right after last period and biking it to the station, rain, sleet or snow. Nothing stood between me and those 45′s. My pile was always waiting, and the anticipation was a buzz in itself. Size did matter here, the bigger the stack, the better.

Other than the evening DJ, and station owner Mrs. Warner, the place was deserted. She’d encourage me to sit in their production studio, complete with two turntables, full broadcast board, headphones, microphone, the works and just play the pile to my heart’s content. Clearly she got a charge out my hysteria for the records, and told me such many times through the years. Honestly, I don’t think records have ever again sounded as good as they did in that fluorescently lit, climate controlled, new equipment, newly pressed vinyl scented studio so many years ago.

Like when this would come on the air of the local Top 40′s after charting nationally, that first listen in the WMCR studio just wiped clean my ears. Ska, blue beat and reggae were in short supply then.

Listen: Double Barrel (Instrumental) / Dave & Ansil Collins
Double

My first knee jerk about the infamous instrumental B sides were that we were getting burned. I recall the flip to Napoleon XIV’s ‘They’re Coming to Take Me Away, Ha Haa!’ being the A side backwards. If ever there was an act I wanted to hear another song by, it was him, so it seemed cheating. Same with all those Philles B sides. No Ronettes or Crystals on the flips, instead dreadful instrumentals that took me years to appreciate. And so with this, on first look, I was annoyed.

Turns out the much anticipated dub B side was just ahead, and this instrumental ended up getting played almost as much as the A side that night, and at home. In fact, I probably choose it on the jukebox 2 to 1 over the A.

Listen: She’s Mine / The Chants
Chants.mp3

The Chants, despite a very ordinary name, were different than most from the British Invasion era. Basically a five piece vocal group with no musicians in their lineup, their real historical moment came late in ’62 when turning up at The Cavern Club for an audition without a band. The Beatles offered to fill in, but Brian Epstein objected. John Lennon overruled and The Chants made their Cavern dubut in November of that year with his band providing the backing.

Phil Ward turned me on to this one, having been hooked on it big time. At first, I mistook them to have Phil Spector involvement, given ‘She’s Mine’ could double for any number from The Crystals or The Ronettes songbook pretty easily with the arrangements and even production not unlike his.

Released in the US on Interphon got my curiosity up. Being Vee Jay’s subsidiary imprint, created exclusively for UK product, meant The Chants were English. Digging through my hardcore, only for obsessed collectors, research books allowed the plot to thicken and the above piece of trivia to be uncovered. Never knew it until recently.

Why didn’t Interphon market them via that Beatles connection? This was ’64, and anything Beatles was contagious. The label could easily have spread the rumor it was indeed them on the record. What a blunder.

Above and below: Ronnie Spector & The E Street Band ‘Say Goodbye To Hollywood’ picture sleeve, front and back

Listen: Say Goodbye To Hollywood (Mono) / Ronnie Spector & The E Street Band
Say Goodbye To Hollywood / Ronnie Spector & The E Street Band

Matt recently told me of his experience discovering The Ronettes via Pandora Radio, just a few weeks back. It was his first exposure. I often refer to certain vocalists, like Ronnie Spector, as being from a time period when one had to really sing in order to make records. That technical ability resonated, and upon hearing ‘Be My Baby’ during Pandora’s random, computer logic song choice playlist, got up to check the LED read out. His story concluded with an exclamation of her undeniable singing abilities, and now knowing exactly what I meant.

Every once in a while, along comes a superstar to the rescue of an idol, feeling more than indebted to said legend. Such was the case in ’77 for Ronnie Spector, with Little Steven Van Zandt (using his beyond brilliant alias Sugar Miami Steve) and Bruce Springsteen getting involved.

Recording and releasing Billy Joel’s apparent Ronnie Spector tribute song, ‘Say Goodbye To Hollywood’, as the first single (posted above in promo only mono) from the forthcoming album (Epic PE 34683), a benchmark moment in 45 rpm history occurred. Lending The E Street Band’s entire line-up, signature sound (the group an obvious Phil Spector salute themselves) and services to her avail, a flop seemed clearly impossible. Not.

Leave it to US radio. No airplay was deemed worthy, despite the clout of Bruce Springsteen, Epic, Billy Joel, you name it. What a sacrilegious scar to every programmer involved.

Typically, in major label fashion, that forthcoming album (Epic PE 34683) was shelved, and back to the salt mines/oldies circuit went Ronnie Spector, frustratingly having made yet another timeless single and earning nothing. How fucked up.

Listen: I Wanna Be Your Man / The Rolling Stones RollingStomesWannaBe.mp3

Like every other kid, I was crazy about The Beatles after seeing their first Sunday night ED SULLIVAN SHOW performance, and that was quite by accident. I knew nothing of The Beatles prior to them appearing on the screen. My folks watched the program religiously, it’s how we ended the weekend basically, it’s 9pm broadcast, then off to sleep.

Most parents regretted the moment that band hit the airwaves, a nationwide frenzy occurred on the spot. Seriously, there was chaos in school that next day. It was like no one could concentrate, and Beatlemania literally avalanched the youth of America. Little did we know, the best was yet to come.

I have forever proudly said, “I loved The Beatles until one minute into ‘Not Fade Away’ on HOLLYWOOD PALACE.” For true, nothing can compare to The Rolling Stones’ US television debut. Suddenly, we’d been hit dead center, this time for real.

Two days later, by the Monday, I had somehow mustered up enough money to buy The Rolling Stones’ full length, ENGLAND’S NEWEST HIT MAKERS and their single ‘Not Fade Away’ at Perrin’s Drug Store. Having eyed multiple copies of each sitting unsold for several weeks prior, I was panicked all day Sunday they’d be gone. Luckily, there they sat, waiting. The album had the poster insert, and the 7″ was in the picture sleeve. I still tingle at the memory. How could I have been so stupid as to leave the others behind?

Along with the great black and whites being printed in 16 MAGAZINE and TEEN SCREEN, the articles mentioned the band’s previous single having been a Beatles song. And this I needed a copy of. Given my cousins were in the jukebox business, they became my prime target for as much Rolling Stones content as possible, and it was my Dad who convinced Uncle Dominick to search out more records for the little pest, me.

Low and behold, he delivered a copy of ‘I Wanna Be Your Man’, as an A side, a few weeks later. I had often asked about the record’s origination, and was told it came from his regular one-stop. Years later, when I got my first job in a one stop record distributor, it all became clear, as indeed there were always a few piles of promo 7′s in the office, said copies waiting to be auditioned and considered for bulk purchase. Bless them for rescuing this gem from the rubbish bin.

The official US commercial release of ‘I Wanna Be Your Man’ has forever been in question. Seems the choice was quickly overshadowed by ‘Not Fade Away’ and apparently very few copies, promo or stock, found their way to the public, making this even more cherished.

Listen: Stoned / The Rolling Stones RollingStonesStoned.mp3

As with ‘Now I’ve Got A Witness’ from ENGLAND’S NEWEST HIT MAKERS and ’2120 South Michigan Avenue’ from 12X5, B side ‘Stoned’ grabbed my ear. Where’s the singer?

Yes, I was at first disappointed with the lack of vocals, but there was always so much enjoyment coming off these instrumental tracks, you could just tell the band loved playing this stuff, almost like it was home to them. And having worked very early on with Phil Spector, it’s clear his blessing encouraged them, given so many of his singles by The Ronettes and The Crystals coupled throwaway (at the time) jams on their B sides. Quick on the studio time and easy as a publishing grab.

Listen: Stu-Ball / Ian Stewart & The Railroaders IanStewartStuBall.mp3

When Bill Wyman produced Bobbie Miller’s ‘Everywhere I Go’ for UK Decca in ’66, word is he assembled various Rolling Stones and the band’s life long silent member Ian Stewart for the session. In true Phil Spector fashion, the resulting studio jam yielded B side ‘Stu-Ball’, credited to Ian Stewart & The Railroaders. Unlike earlier instrumentals from The Rolling Stones, this copy took more than a few weeks to land. More like a few decades.