Posts Tagged ‘Billboard’
Sunday, September 19th, 2010
Listen: Sexy Ida (Part 1) / Ike & Tina Turner IkeTinaSexyIda.mp3
You are correct, this is not my first Ike & Tina Turner post, nor will it be the last. My wall shelf easily has a foot long upright section dedicated to their singles, all of them essentials.
I recently played ‘Sexy Ida (Part 1) at the Brooklyn Bowl residency, and man did it sound hot through a big PA. Parts 1 and 2 would certainly have you thinking a six or seven minute album version was lazily divided into halves so as to fit the whole song onto a 7″. Not the case here, which is a rare occasion – indeed possibly one of a kind.
Listen: Sexy Ida (Part 2) / Ike & Tina Turner IkeTinaIda2.mp3
‘Sexy Ida (Part 2) is in fact a less black, more rock-of -the day rendition. Sounds to me like their recent mainstream successes with ‘Proud Mary’ and ‘I Want To Take You Higher’ inspired Ike Turner to record a more guitar heavy rendition to the track, just in case the white underground and pop stations took a shine. In fact, it has a uncanny resemblance to The Rolling Stones, who Ike & Tina Turner had been touring with quite frequently at the time. Despite Part 2 being pressed up as a double sided DJ promo, it was Part 1 that got some traction, eventually struggling to an unjust #65 on Billboard’s Top 100 (#29 Black) in early ’74.
Choose your favorite – but it should be well easy to guess mine.
Tags: Billboard, Brooklyn Bowl, Ike & Tina Turner, The Rolling Stones, United Artists
Posted in Billboard, Brooklyn Bowl, Ike & Tina Turner, The Rolling Stones, United Artists | No Comments »
Friday, August 27th, 2010
Listen: Hello, Hello / Claudine Longet ClaudineHello.mp3
A horribly under appreciated icon, such is Claudine Longet, former wife of Andy Williams (himself not given enough props). Why she is not respected or even revered as one of the great French vocal impressionists is extremely unfair.
It wasn’t always that way, as her first few A&M albums indeed sold well, charted Top 30 and spawned a few much played singles on the adult contemporary stations.
Her cover of this Sopwith Camel hit, ‘Hello, Hello’ in ’67 was one such classic, a perfect mix of The Flying Lizards, Jo Ann Castle and Jane Birkin. As with most AC hits of the day, it struggled to a lowly pop #91 on the Billboard Top 100.
In good company though, as most of the great singles never got much traction on the US pop stations. Unfortunately, that hasn’t changed.
Tags: A&M, Andy Williams, Billboard, Claudine Longet, Jane Birkin, Jo Ann Castle, Sopwith Camel, The Flying Lizards
Posted in A&M, Andy Williams, Billboard, Claudine Longet, Jane Birkin, Jo Ann Castle, Sopwith Camel, The Flying Lizards | No Comments »
Friday, July 30th, 2010
Listen: Magic / Pilot Pilot.mp3
Even in the 70′s, nobody wanted 7″ singles. Not the employees at Discount Records on the Syracuse University campus, where I worked that is. It was all about albums.
Excellent. That meant when the salesmen from the various labels made their weekly rounds, I had zero competition rifling through their trunks for the latest releases.
I had seen this one enter the UK charts, and a week or so later, landed a copy from the local Capital rep. My eyes bulged later that night after the first spin. This was flawless. I moaned for months about it’s lack of US airplay, when slowly but surely, ‘Magic’ actually gained ground, eventually charting, then peaking at #5 on Billboard’s Top 100, even higher than it’s UK #11. Now that’s a first.
Listen: Just A Smile / Pilot PilotJustASmile.mp3
Having begun as former Bay City Rollers, most of Pilot ended up joining The Alan Parsons Project – not surprising given he himself produced all their recordings. A later single, their last UK chart entry, should have made it higher than #31.
Something about Pilot’s sound and songwriting that pointed towards The Buggles in a big way. Anyone else notice that?
Tags: Alan Parsons, Billboard, EMI, Pilot, The Bay City Rollers
Posted in Alan Parsons, Billboard, EMI, Pilot, The Bay City Rollers | No Comments »
Sunday, July 11th, 2010
Listen: Richard Corey / Them
Richard
I religiously collected local radio station charts placed in all the record shops and record departments at the variety stores. Every town had them. They’re really fun to scour nowadays for the national non-hits as well as being a great snapshot of the music you could hear at that given moment. If you search ‘music survey’ at eBay, there are always a bunch listed for auction.
I recall WT Grants on Salina Street in Syracuse had a huge record department, and stocked everything you could want, especially as WOLF, one of the town’s two Top 40 stations was pretty adventurous, playing a lot of obscure English rock and US RnB. This was a God send for me from ’65 – ’67, until they buckled and went all Billboard on us. That said record department had a soda counter attached to it, up a few steps with typical glittery colored American Graffiti style booths looking down on the hustle/bustle of kids pawing through and buying records (today you see the same activity at an Apple store or Game Stop), and they had a great jukebox. It was jammed with all the latest up and comers. I remember investing a dime to hear ‘Bend It’, well not only hear it but watch the single spin round on the store’s lavender/purple Rock-ola, at the same time admiring a factory printed Dave Dee, Dozy, Beaky, Mick & Tich jukebox tab to accompany it. I wonder where that tab ended up. Hate to think.
My only problem with WT Grants or Walt’s being there were so many choices, and not enough money to buy them all on my $1 a week allowance and some cash from mowing lawns. I still get cold sweats hearing a lawn mover. I would literally walk up and back neighbor’s yards behind their mowers deciding what record this torturous act would earn me and I distinctly remember suffering through several yards earning enough to buy The Cream FRESH CREAM. I went cheap, and sprung for the mono pressing as they were $1 less. Who knew then that monos would end up way more valuable than their stereo counterparts. Man, am I happy I bought them: The Pink Floyd PIPER AT THE GATES OF DAWN, The Jimi Hendrix Experience AXIS: BOLD AS LOVE and Big Brother & The Holding Company CHEAP THRILLS to mention a few that reaped incredible returns. Well if I ever decide to sell them that is. I soon figured out other ways to get all these records and more for free. That saga is covered in my Jack Dupree post for the more curious of you.
Meanwhile, the one record that got played by WOLF (and I bet only by WOLF in the whole of the US as I’ve never seen it on any other local chart, ever) but not stocked, was ‘Richard Corey’ by Them. It’s actually a Paul Simon cover and Van Morrison reportedly hated it.
If you couldn’t find something at Grant’s there was also Walt’s Records, just down a block and right next to a peanut shop, freshly roasting their wares.
Walt’s was a great shrine to obscure stuff, and very RnB heavy. The place smelled fantastic, a constant mixture of vinyl and those roasted nuts. Like Grant’s, I was told they “couldn’t get” this single by Them either. “Couldn’t get”, what the hell does that mean? Turns out the lyric “He went home last night and put a bullet through his head” was a big deal….I’m guessing neither outlet dared stock it just in case. Guns were not cool once. It’s a shame that’s changed. And it took me years to find this as I’m sure not many were pressed. How WOLF got away with playing ‘Richard Corey’ heavily for several weeks without a problem is surprising, but they did.
Tags: Big Brother & The Holding Company, Billboard, Dave Dee Dozy Beaky Mick & Tich, Decca, Jack Dupree, Jukebox, Music Surveys, Parrot, Paul Simon, Radio Charts, Rock-Ola, The Cream, The Jimi Hendrix Experience, The Pink Floyd, Them, Van Morrison, Walt's Records, WOLF, WT Grants
Posted in Big Brother & The Holding Company, Billboard, Dave Dee Dozy Beaky Mick & Tich, Decca, Jack Dupree, Jukebox, Music Surveys, Paul Simon, Radio Charts, Rock-Ola, The Cream, The Jimi Hendrix Experience, The Pink Floyd, Them, Van Morrison, Walt's Records, WOLF, WT Grants | No Comments »
Thursday, June 17th, 2010
Listen: (I Love You Babe But) Give Me My Freedom / The Glories GloriesFreedom.mp3
Like a lot of people, I have a soft spot for anything on Date, and Direction for that matter. They were sister US/UK companies and had great A&R. I wish I knew more about The Glories, but really don’t. Most of their stuff is in the Northern groove, so I’m in.
Listen: Try A Little Tenderness / The Glories GloriesTenderness.mp3
Obviously not a Northern ‘stomper’ as they like to say, but I love any version of ‘Try A Little Tenderness’. Luckily, everyone I know that recorded it had pipes, although Nico or The Flying Lizards would have made interesting listens.
Listen: Sing Me A Love Song / The Glories GloriesSing.mp3
There’s a beautiful trade ad from a ’67 issue of Billboard for this one. Full page. Awesome shot of the girls. Wish my scanner could have handled it’s size. Spun ‘Sing Me A Love Song’ at the Otis Clay show recently – sounded killer through the big speakers
Tags: Billboard, Date, Direction, Nico, Northern Soul, Otis Clay, The Flying Lizards, The Glories
Posted in Billboard, Date, Direction, Nico, Northern Soul, Otis Clay, The Flying Lizards, The Glories | No Comments »
Saturday, June 12th, 2010
Listen: Not So Sweet Martha Lorraine / Country Joe & The Fish CountryJoeLorraine.mp3
During the summer of ’67 when ‘the late night DJ was your fireside chat friend’, I would lie in bed with the transistor radio under my pillow, exactly as The Ramones described it in ‘Do You Remember Rock & Roll Radio’, dialing in these far beaming AM stations, usually from Boston. They’d play a nice array of all the hippie underground bands who looked so extreme and oozed the sound of San Francisico’s Haight-Ashbury seemingly dersirable lifestyle. Country Joe & The Fish were certainly tied with Big Brother & The Holding Company for best name, and after slowly climbing up the Bubbling Under The Hot 100 Billboard list for six weeks, ‘Not So Sweet Martha Lorraine’ finally peaked at #95. Not such a great result, but was I ever happy to lay my hands on this single.
Having heard it once during a quiet summer night, it sounded as alien at the time as it actually does now. Then, it was mysterious, now probably just not aging well. But my soft spot for it is still there.
You learn something everyday supposedly. I found out just tonght Corinne saw them at The Fillmore. After all these years, somehow this fact never came up. Bizarre.
Tags: Billboard, Bubbling Under The Hot 100, Country Joe & The Fish, Fontana, The Ramones, Vanguard
Posted in Billboard, Country Joe & The Fish, Fontana, The Ramones, Vanguard | No Comments »
Tuesday, June 8th, 2010
Listen: Happy Jack / The Who WhoHappyJack.mp3
Pull this out and give it a spin. You’re bound to say, “Man I have not heard this in ages”. Well, my guess is you’ll say that. I loved all the singles up through and including ‘Pictures Of Lily’. Then came ‘I Can See For Miles’. Something about that one, it was good but didn’t hit dead center. Was a first real understanding of my body’s reaction to music. ‘I Can See For Miles’ may have been the record that set the template for an A&R career years later: if I didn’t love it – chances were good it’d be a huge hit. Hey, as long as you know how to read the indicators, that’s all that really matters. ‘I Can See For Miles’ was in fact their only ever US Top 10. Hard to believe I know.
Back then, The Who weren’t much different than The Small Faces or The Move when it came to US radio. You never heard them. Yeah radio was much better in the 60′s, but still fairly narrow. These bands just didn’t get national airplay – if they were lucky, regional exposure was usually the extent of it and then maybe a crossover….leads me to an interesting memory about The Who.
I and my Anglophile friends religiously bought every single by The Who. My teenage girlfriend and I missed our junior prom the night I got ‘Substitute’ it was so good – we just played it over and over and fiddled about, as someone once coined. It was the plan anyways.
There were a few shops around town that would get two to five copies of the non hits, or hopeful to be hits – like Walt’s Records or Smith’s Records or that huge record department in WT Grant’s on Salina Street in Syracuse. So starting with ‘I Can’t Explain’, we bought ‘Anyway, Anyhow, Anywhere’, every single right through and including the immaculate ‘Substitute’, ‘I’m A Boy’, ‘The Kids Are Alright’ and this one, the psychedelic ‘Happy Jack’, which actually did crack the Billboard chart peaking at #24 in ’67. A few years later when TOMMY was released, everyone noticed a rock opera similarity between that and it’s predecessor, The Pretty Things S.F. SORROW, still we listened to them both regularly during several weekend Parcheesi matches. The Who finally made a return visit after opening for Herman’s Hermits a few years earlier. Even though in my opinion the glow of those earlier singles had dimmed down noticeably, of course I went along. TOMMY admittedly wasn’t bad.
After the show, a few of us waited around for autographs, brought albums, singles, the works. I wasn’t quite as fussed and brought nothing, but seriously, was there something better to do in Syracuse as a teenager than possibly say hello to The Who? When my best friend Denny went up to Pete Townshend proudly with his MY GENERATION album to get signed, the guy turned his nose away, dismissiveley refusing to sign anything. He proceeded to make his way toward their station wagon with band members including Keith Moon and Roger Daltry already inside waiting. Even Keith Moon jumped out of the car to oblige, looking at Pete with a ‘you asshole’ glare, I couldn’t resist. So I spoke up.
“Pete, you know those few copies of the older singles you used to sell in towns like this prior to your hits, we were were the kids that bought them.” As the car pulled away, plain as day, I recall him hanging out the window, wearing a coat that looked like a piece of ghastly ornate drapery, middle finger on both hands projecting at me and shouting “you got a show for your $6 prick”.
Hmm. Not really, you didn’t play any of the aforementioned songs I came to hear. Not one. Still it was rude, certainly embarrassing and I never bought another record by The Who. Big deal, basically my bitterness toward he and unfairly the other guys in The Who went unnoticed and I’m sure Pete Towshend never lost a wink of sleep because of me.
About thirty years later, his keepers were doing the rounds of labels trying to hawk a new, not very good Pete Townshend album. I was at Columbia then but decided to pass on the record, or more specifically on him, his talent to write those gems long ago withered in my opinion. Still, it was a very hard call. You’d be a fool to not want to work with Pete Townshend. Honestly, he is a higher form of life but I’d experienced his temper. Once bitten, twice shy.
‘Happy Jack’ really is a terrific single.
Tags: Billboard, Decca, Herman's Hermits, Kit Lambert, Pete Townshend, Smith's Records, The Creation, The Marquee, The Move, The Pretty Things, The Small Faces, The Who, Track Records, Walt's Records, WT Grants
Posted in Decca, Herman's Hermits, Pete Townshend, Smith's Records, The Move, The Pretty Things, The Small Faces, The Who, Walt's Records, WT Grants | No Comments »
Monday, June 7th, 2010
Listen: Land Of 1000 Dances / Cannibal & The Headhunters Cannibal1000.mp3
Often covered through the years, there were two ‘Land Of A Thousand Dances’ floating around during the mid 60′s. Thee Midnighters and this one. For some reason, Cannibal & The Headhunters’ rendition was live with an audience, sounded wilder, and with a band name like that, I couldn’t help it becoming my preferred version. Oddly enough, this wilder take was also the bigger hit, peaking on Billboard’s Hot 100 at #30. Through it’s entire initial chart run the single was always listed on the Rampart label, yet I have both a Rampart and Date pressing in my collection.
I never thought twice about it, just figured the logical explanation was Rampart was a tiny indie (indeed it was – from East LA) and when the record started getting traction, a major, or in this case, a major’s smaller imprint (CBS distributed Date) picked it up to take national. Oddly enough, that’s not what happened. Charting in early ’65 and peaking a few months later in May – for some reason (who will ever know?), Date reissued it a year or so later in summer ’66, when it sort of re-charted, meaning it Bubbled Under The Hot 100 for two weeks, peaking at #106.
Now why should anyone care about this? As far as I’m aware, no one does. But little things, about a record business era gone forever, I find vastly interesting. I wish someone out there was a former Date employee. I’d have a lot more questions about that infamous lime green label.
Tags: Billboard, Bubbling Under The Hot 100, Cannibal & The Headhunters, Date, Rampart
Posted in Billboard, Bubbling Under The Hot 100, Cannibal & The Headhunters, Date, Rampart | No Comments »
Saturday, May 22nd, 2010
Listen: Speard It On Thick / The Gentrys GentrysSpread.mp3
Listen: Brown Paper Sack / The Gentrys GentrysBrown.mp3
I really believe this band got cheated out a of much brighter career due to MGM’s mess up. After having a monster smash (#4) with ‘Keep On Dancing’, one of several local garage band records that caught on regionally, in hometown Memphis, and being quickly scooped up by a major, the single continued it’s ascent to success. Produced by ‘about to be’ super succeassful Chips Moman (The Box Tops, Merrilee Rush, Sandy Posey, Joe Tex, Wilson Picket, Herbie Mann), the label awarded the follow up, ‘Spread It On Thick’, with a full color sleeve (indicating ‘let’s go for it’), but confusingly the equally strong B side ‘Brown Paper Sack’ was afforded premier biling on the other side of the same sleeve (see above).
Talk about mixed signals. Some stations played one side, some the other – immediately splitting airplay reports and sales tallys, thereby watering down either song’s visibility to the all important, major market, tight playlisted Top 40 stations, most of who would seldom jump on a single until it reached at least #40, and then only if accompanied by that infamous brown paper sack.
And so the unravelling of a strong future began.
“Spread It On Thick’ peaked at #50. while ‘Brown Paper Sack’ (the song not the well known, aforementioned envelope slipped to radio PD’s and MD’s with a few honey bees inside. Yes, it’s called payola – still is) stalled at #101. Obviously there were many empty brown paper sacks from MGM for this one.
Listen: Everyday I Have To Cry / The Gentrys Gentrys.mp3
Somebody at MGM believed in The Gentrys and had juice, as they were allowed to struggle along, releasing more good singles and a second album, GENTRY TIME, from which ‘Everyday I Have To Cry’ comes.
No idea whatsoever where I picked up the promo of this, but only just now realized it must have come from a radio station library, and indeed one that used the Billboard chart positions as reference.
Have a look at each number crossed off in red. It’s the record’s chart progression on the Hot 100, when in it’s final week, whereby it peaked at #77, there are a couple of black, instead of red, lines through the number. Was the station’s coding system to use black as a way to indicate a record’s position during it’s final week? Who knows, but I like to speculate yes. NO ONE else on earth would care mind you.
I certainly heard this more than a few times on the air, and went for it straight away. What a great song, right down to the untouched Memphis accents.
Tags: Billboard, Chips Moman, Herbie Mann, Joe Tex, Mark Lindsay, Merrilee Rush, MGM, Sandy Posey, The Box Tops, The Gentrys, Wilson Pickett
Posted in Billboard, Chips Moman, Herbie Mann, Joe Tex, Merrilee Rush, MGM, Sandy Posey, The Box Tops, The Gentrys, Wilson Pickett | No Comments »
Wednesday, May 19th, 2010
Listen: I Was Kaiser Bill’s Batman / Whistling Jack Smith WJSKaiser.mp3
I know exactly what you’re thinking. Why in the hell is he writing about Whistling Jack Smith? Do I really need to bother visiting this blog again?
Well Billy Moeller aka Whistling Jack Smith (brother of Tommy Moeller who’s band, Unit 4 +2, Billy sometimes roadied for) was on Deram. All things cool in ’67 were on Deram, even The Les Reed Orchestra and Chim Kothari were hip by association – not to mention of course The Syn, The Move, Timebox, The Eyes Of Blue, The Crocheted Doughnut Ring, Tintern Abbey, Warm Sounds, The 23rd Turnoff…you get the point. And I was only too pleased that it had become a hit (#20 Billboard) in the States. I wanted Deram to stay in business, so to me this was good. Plus it was downright fun to hear it on the radio. Harmless, laugh along, don’t be so fucking serious music – nothing like droning funeral parlour label mates Procol Harum.
So yes, I liked Whistling Jack Smith.
And they released an album as well. This was crazy fun now.
Listen: Hey There Little Miss Mary / Whistling Jack Smith WJSMary.mp3
Next, the followup. Well a growth in sound was clearly in line if the career was to build the way Decca chairman, and apparently iron clad ruler, Sir Edward Lewis must have decided it should, given an LP was approved in short order, when hitmakers The Move or hipsters The Syn were not so fortunate. Within months of the ‘I Was Kaiser Bill’s Batman’s spring/summer UK/US run, seems the public was inexplicably not following WJS’s musical moves and ‘Hey There Little Miss Mary’ was ignored by radio, press as well as said consumers – this despite regrouping the original hit making team, writers Roger Cook and Roger Greenaway with arranger Ivor Raymonde and producer extraordinaire (and he seriously did a LOT of great records) Noel Walker (not to be confused with Scott Walker of course).
Uh oh.
Listen: Ja-Da / Whistling Jack Smith WJSJada.mp3
No worries. There is proven truth to the ‘if it ain’t broken, don’t fix it’ theory- hence back to a hysterically fun, basic re-write of ‘I Was Kaiser Bill’s Batman’. ‘Ja-Da’ so ridiculously similar, I’m surprised Cook/Greenaway didn’t chase the publishing. I’m glad I own it though, cause it is both fun and funny to play on occasion.
Again, not a blip, bubble or hint toward potential success. Sir Edward was not about to let this talent just wither on the branch.
Listen: Only When I Larf / Whistling Jack Smith WJSLarf.mp3
Then along comes a big break, just what the label needed and was hoping for, a 60′s version of an iPod commercial: the theme to a movie. The potential box office melter ,’Only When I Larf’.
‘Goldfinger’, ‘To Sir With Love’ and ‘A Hard Day’s Night’ move aside.
Instead trip, stumble, fall. A flop.
The writing was on the wall. Poor Billy should have never left the steady work of moving Unit 4 +2′s gear around. Now not only was he finished, they were between third base and home too, so no going back.
Can you imagine how awesome it would be if Whistling Jack Smith’s career had been allowed grow as it deserved to. He would have been at Live Aid, whistled on ‘We Are The World’, been remixed by Moby, collaborated with super talent MIA, not to mention help global leaders talk through their issues, met the Pope and gotten to put on well deserved weight. Yes he could have been Bono, and I don’t mean Sonny.
Except for one other small detail, he never whistled once on his records, instead The Mike Sammes Singers were brought in for the recordings.
Tags: Billboard, Billy Moeller, Bono, Chim Kothari, Deram, Ivor Raymonde, MIA, Moby, Noel Walker, Roger Cook, Roger Greenaway, Sir Edward Lewis, Sonny Bono, The 23rd Turnoff, The Crocheted Doughnut Ring, The Eyes Of Blue, The Les Reed Orchestra, The Mike Sammes Singers, The Move, The Syn, Timebox, Tintern Abbey, Tommy Moeller, Unit 4 + 2, Warm Sounds, Whistling Jack Smith
Posted in Billboard, Billy Moeller, Bono, Chim Kothari, Deram, Ivor Raymonde, MIA, Noel Walker, Procol Harum, Roger Cook, Roger Greenaway, Scott Walker, Sir Edward Lewis, Sonny Bono, The 23rd Turnoff, The Crocheted Doughnut Ring, The Eyes Of Blue, The Les Reed Orchestra, The Mike Sammes Singers, The Move, The Syn, Timebox, Tintern Abbey, Tommy Moeller, Unit 4 + 2, Warm Sounds, Whistling Jack Smith | No Comments »
Saturday, May 15th, 2010
Listen: Stop – Get A Ticket / Clefs Of Lavender HillClefsStop.mp3
I’m sure this happens to us all – occasionally there are a couple of records that basically get connected at the hip in one’s memory. For whatever reason, with me it’s usually a time period that links them.
On first airing, I was sure ‘Stop – Get A Ticket’ was the new Byrds single. Must’ve been that electric twelve string sound in the solo. Still feels like a Roger McGuinn moment.
No. it was a local garage band, one of hundreds that sprung up as a result of the British Invasion. The Clefs Of Lavender Hill were from Florida, and their followup singles were just, well not very good. This, in fact, was originally a B side, eventually getting national release and reaching a Billboard #80 as a result of play and instant reaction in Miami.
When Corinne, the kids and I ventured down for a long weekend last winter, there was an arts and crafts street fair just off the main drag of Collins Ave, with it’s endless blocks of beautifully restored art deco hotels and such. One local oldies station, their van set up, complete with free bumper stickers and ghastly t-shirts, was blaring a live feed, audible a couple blocks away. I was pleasantly surprised when The Small Faces ‘Itchycoo Park’ came on – man did it sound great and definitely out of place, but when The Clefs Of Lavender Hill got played about half an hour later, I was genuinely floored. Huh? What’s up? I had no idea then it was in fact a massive local smash.
Trust me, when both these songs were mixed in amongst a pretty common array of the usual overplayed hit staples, they were hands down standouts.
Listen: Peter Rabbit / Dee Jay & The Runaways DeeJayPeterRabbit.mp3
You’ve all heard of Spirit Lake, Iowa I’m sure. If not, let me tell you ‘Peter Rabbit’ probably still gets played down / over there. This band put the town on the map and from all accounts, the place is still pretty proud of the fellows.
Why not, great single. Heard it constantly at the time. It and ‘Stop – Get A Ticket’ always getting back to back spins on WOLF. These singles played a big part in my soundtrack of that summer. Proof below:
Tags: Billboard, Clefs Of Lavender Hill, Date, Dee Jay & The Runaways, Roger McGuinn, Smash, The Byrds, The Small Faces, WOLF
Posted in Billboard, Clefs Of Lavender Hill, Date, Dee Jay & The Runaways, Roger McGuinn, Smash, The Byrds, The Small Faces, WOLF | No Comments »
Wednesday, May 12th, 2010
Listen: Take A Look / Aretha Franklin ArethaTakeALook.mp3
It’s well known that Aretha Franklin and her family’s musical beginnings were in Gospel. Yet in early 1960, she signed with John Hammond at Coumbia, a historically well respected A&R executive, but oddly a musical mismatch for Aretha. Despite initially scoring a few semi-hits on the Billboard Pop and RnB Singles charts, those initial results began a slow downward spiral of misjudged A&R song choices, bland jazz leaning arrangements, tiringly safe, and quite frankly, dull results. However, by the end of ’66, with little commercial success in those six years with Columbia, they threw her on the scrapheap, a policy that insensitively continued and in fact grew exponentially during my time there.
As the story goes, desperate for a sound of her own, she signed with Atlantic Records to work with producer Jerry Wexler. By ’67, Aretha Franklin issued her first Atlantic single, ‘I Never Loved a Man (The Way I Love You)’, a blues ballad that eliminated the safe musical stench Columbia forced her way, and introduced listeners to her original Gospel influences. Recorded in Muscle Shoals, Alabama, and produced by Wexler, the song became her true breakthrough single, reaching the Hot 100 Top 10 and holding the #1 spot for seven weeks on Billboard’s R&B Singles chart. In fact, the B-side, “Do Right Woman, Do Right Man”, charted on the R&B side as well, and again introduced a more Gospel element to Franklin’s developing sound. It also set a pattern for ballady bluesy B sides ahead.
Her next single, ‘Respect’, written and originally recorded by Otis Redding, instantly became her signature tune for life, reaching #1 on both the RnB and Pop charts—holding the top spot on the former for a then record eight weeks. In the next eighteen months, she released a number of singles we all know and love: ‘Baby I Love You’, ‘Chain of Fools’, ‘Since You’ve Been Gone’, ‘The House That Jack Built’ and ‘Think’, to name the cream of her early successful, now decidedly upbeat run.
Part of all that fun in the spotlight was, behind the curtain, Columbia’s attempt to ride Atlantic’s successful coat tails by releasing what sure did sound to me like records parallel with her now current sound – from their vaults. Finally, at least, Coumbia was doing some work on her, and doing it pretty well. With just about everyone from the label then now long gone, it’s impossible to ever know if it was astute planning or random desperation.
A first of these, ‘Take A Look’, was a good vault find, and to be fair, probably previously released as an LP track. It was during that summer (’67 – read past post on WMCR to understand) when the little local station, WMCR, was in the full-on groove of giving me all their non-easy listening singles during my regular Friday night visits to their studios. And I ended up loving it, as I did “Ain’t No Way’, B side of ‘Since You’ve Been Gone’ – both interestingly recorded and performed in an almost identical style.
Listen: Mockingbird / Aretha Franklin ArethaMockingbird.mp3
Despite the play to piggy back onto Atlantic’s marketing spend toward making Aretha Franklin a household name, ‘Mockingbird’ was a great choice on Columbia’s part to compete with, yet actually compliment the groove her hits were in.
Written by Inez & Charlie Foxx, who had a Top 10 of their own with it in ’63, Aretha shined on ‘Mockingbird’. Had it been released at the time, things may have turned out differently. A great song, it did Carly Simon no harm when she took it to #4 in ’74.
Listen: Soulville / Aretha Franklin ArethaSoulville.mp3
This was originally an A side Columbia issue (reaching #121) in ’64, then reissued in ’68, coinciding timewise with ‘Think’, where it dragged it’s way to a tired #83. But I admit, I picked up the original as a closeout (it’s pictured above) on it’s title alone. In fact it was to be my first Aretha Franklin single, price: 10¢.
Although Columbia tried issuing a few more 7′s, none charted and basically they retreated, tail between legs.
Tags: Aretha Franklin, Atlantic, Billboard, Carly Simon, Columbia, Inez & Charlie Foxx, Jerry Wexler, John Hammond, WMCR
Posted in Aretha Franklin, Atlantic, Billboard, Carly Simon, Columbia, Inez & Charlie Foxx, Jerry Wexler, John Hammond, WMCR | No Comments »
Sunday, May 2nd, 2010
A few posts back, Manfred Mann on April 24th to be exact, I mentioned a terrific site lovingly maintained by Mary Payne and dedicated to 60′s pirate station Radio London. A day later, I get an email from this very iconic lady – thanking me for the kind words. I couldn’t have been more pleased – or so I thought.
Mary certainly did some trolling around, finding my post about the history of Dave Dee, Dozy, Beaky, Mick & Tich’s ‘Bend It’ in the US, and proceeded to include some of those details on her Radio London site. What an knockout – thank you Mary. If ever I’d have thought as a kid that someday, even my name alone would get a mention by Radio London, I would’ve expired.
Listen: Touch Me, Touch Me / Dave Dee, Dozy, Beaky, Mick & Tich DDDBMTTouch.mp3
Well within her post, she wonders what US Fontana did about a later single ‘Touch Me, Touch Me’, by the band for the American market – given ‘Bend It’ had been cock blocked due to suggestive lyrics. My real belief is US dj’s didn’t want to bother learning the band’s name – that simple. Add to it, they only visited Stateside once for press and local TV’s, never playing live, which also didn’t make for a successful recipe.
As for ‘Touch Me, Touch Me’, US Fontana simply didn’t release it. A few months later, (June ’67), it was included on the band’s US GREATEST HITS album, a collection of all their singles that traded pretty exclusively off some regional US hits like ‘Bend It’ and ‘Hold Tight’ (although I did hear ‘Hideaway’ twice on WOLF). It faltered at #155 in Billboard’s Top 200. Even that was a surprise showing. The icing on the Fontana brainforce’s cake was to NOT include the band’s then current single ‘Okay’ (released July ’67) on the LP – despite the group getting their first National US TV that very summer (August ’67) performing…..’Okay’. It was to be their last release with Fontana.
Debuting on Imperial with ‘Zabadak’ the following November, they finally got a loads of airplay and ultimately cracked Billboard’s Top 100.
As if the mention was not enough, I find on closer examination of her posting, that the Radio Caroline site has now been updated to include their weekly charts from the 60′s as well.
Oh boy. I’ve been there for a few hours and have barely had time to do this here post. Visit it and prepare. You will need to set aside even more hours.
Thank you again Mary, you’ve made my year – and keep up the great work on your Radio London site.
Tags: Billboard, Dave Dee Dozy Beaky Mick & Tich, Fontana, Imperial, Manfred Mann, Mary Payne, Radio Caroline, Radio London, UK Pirate Radio, WOLF
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Saturday, May 1st, 2010
Listen: A Walk In The Black Forest / Horst Jankowski HorstForest.mp3
A good dose of instrumental muzak never hurt anyone. Having been occasionally amazed in a supermarket or drug store by a version of some really un-obvious choice is the best part. I wish I could remember a few, but other than The Seeds ‘Pushin’ Too Hard’, I can not. Even hearing that took a good minute to identify, they can really trip you up.
Somehow, Horst Jankowski managed a US #12 Billboard single, and a UK #3 with ‘A Walk In The Black Forest’ in ’65. Great song title as well. The album from which it came reached #18 here in the States. His easy listening, and presumably inexpensive to make LP’s were released, minimum of three per year through 1970, with four in ’67 alone. It made for a nice break in a landscape of Motown and British Invasion pop radio I will admit. Today, it’s more than happening when it gets the unexpected spin my the jukebox.
Listen: Zabadak / Horst Jankowski HorstZabadak.mp3
I’ve not seen that many other singles by the fellow, given the number of albums issued, but they may have simply evaded me. One big surprise was stumbling on his extremely easy listening version of ‘Zabadak’. I knew of several others, easily a dozen from obscure places around Europe and Japan. The most famous being those by Boney M, Dana Valery and The Sorrows. The wildest one comes as part of the German Decca LP release by The Charing Cross Boys: DANCE TO THE SONGS OF DAVE DEE, DOZY, BEAKY, MICK & TICH, which by the way I’m jonsing for.
Found this one at a record fair – you guessed it, in a 10 for $1 box. That’s 10¢ each for those of you without a calculator or a knack for math.
Tags: Billboard, Boney M, Dana Valery, Dave Dee Dozy Beaky Mick & Tich, Decca, Horst Jankowski, Jukebox, Mercury, The Charing Cross Boys, The Seeds, The Sorrows
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Thursday, April 29th, 2010
Listen: Ain’t Nothin’ But A House Party / The Show Stoppers Showstoppers.mp3
I truly thought this was a much bigger national hit than it’s Billboard #87 peak (in ’68). I guess the song got well known but the charts never reflected it. Happens a lot. Often records quitely sell and sell weekly until one day – boom – you have a gold record. Example: Screamin’ Jay Hawkin’s ‘I Put A Spell On You You’ (platinum actually), The Ramones 1st album as well The Sex Pistols US debut.
Pretty sure this didn’t quite go gold, but God knows with all the shadey accounting rampant in the 60′s independent label and distribution world.
But what a stomper, Northern floor filler, and every other well coined, over used slogan. Of special interest to me: Solomon Burke’s two brothers were 1/2 of the lineup.
Tags: Billboard, Heritage, Screamin' Jay Hawkins, Solomon Burke, The Ramones, The Sex Pistols, The Show Stoppers
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Tuesday, March 23rd, 2010
Listen: The End Of Our Road / Gladys Knight & The Pips GladysEndRoad.mp3
Feeling victims, as were The Marvelettes and Mary Wells, of being tossed the leftovers, those songs passed on by Motown’s A level acts (The Supremes, Marvin Gaye, The Temptations) according to legend, really pissed off Gladys Knight and her Pips (all family members as it turns out). Having moved from Vee Jay to Motown in ’65 with wider success in mind, they quickly found themselves relegated to subsidiary Soul, set up for the more RnB, less leaning pop acts. good call there. From ’66 – ’68, they recorded some of the label’s dirtiest and most raw sides. I’m sure to Berry Gordy’s surprise, ‘I Heard It Through The Grapevine’ became the company’s biggest selling single at that point, leaping to #2 pop and bringing Gladys Knight’s signature rasp to the mainstream.
Even better was “The End Of Our Road’, it’s followup. Peaking at #15 on Billboard’s Hot 100, it was a mighty strong showing for such a picture perfect dirt and grime black single. Their performance, recording and mix are so aggressive, it’s impossible to not be dragged in. Played this a few nights ago at the Otis Clay show – it sounded mighty powerful through that big system, filled the room, every last head and foot surrendering.
Tags: Berry Gordy, Billboard, Gladys Knight & The Pips, Marvin Gaye, Mary Wells, Motown, Norman Whitfield, Otis Clay, Soul, The Marvelettes, The Temptations, Vee Jay
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Thursday, November 19th, 2009
Listen: Cry Baby / Garnet Mimms & The Enchanters GarnetCry.mp3
I’ll admit it. I had not heard this record, nor seeked it out, until Janis Joplin recorded her version of ‘Cry Baby’ in ’71. I’d seen Garnet Mimms’ records mentioned occasionally in the obscure sections of Billboard: like Bubbling Under The Hot 100, or listed as a possible minor hit in the ‘Chart’ section of their Singles Review page (the catagories were ‘Top 20′, ‘Top 60′ and ‘Chart’, in that order). Seemed like an eternity, those eight years between his release and hers. Now it’s just a blink.
Her rendition would make anyone want to seek out the original. She just tore it apart. Certainly Garnet Mimms’ RnB version had to be great too. Taste in black music Janis Joplin certainly had.
Garnet Mimms & The Enchanters’ ‘Cry Baby’ was worth the search. Turns out he’d sang in many gospel groups, as well as with Sam Cooke, before being drafted. Once discharged in ’57, he hit the circuit again before forming The Enchanters in ’62. They cut ‘Cry Baby’, and it went on to sell a million units, peaking in Billboard’s pop charts at #4. Within a year, the group disbanded.
Composed by then struggling Brill Building staff writers Norman Meade and Bert Russell (aka Bert Burns), and produced by Jerry Ragovoy, ‘Cry Baby’ is a now perfect snapshot of New York RnB in it’s heyday.
Tags: Bert Russell, Billboard, Brill Building, Bubbling Under The Hot 100, Garnet Mimms & The Enchanters, Janis Joplin, Jerry Ragovoy, Norman Meade, Sam Cooke, United Artists
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Tuesday, November 10th, 2009
Listen: Black Is Black / Los Bravos
Black Is Black / Los Bravos
Without a doubt, this was a signature song to my Summer ’66 soundtrack. This guy’s voice was almost scary. Between that and the lyrics, it especially sounded powerful late at night. I spent a week in Brooklyn that August, glued to the various New York City stations and heard this often. Along with The Lovin’ Spoonful’s ‘Summer In The City’, this song faithfully brings me back to that un-airconditioned summer vacation of listening to the radio by night and dragging my Aunt Nancy round the record shops by day: The House Of Oldies, King Karol and Colony basically. I spent hours in them. Thank God for her patience. Colony was really well stocked, but very expensive – list price: 98¢! This was huge money for a kid in his single digits. Much more interesting were the shops in the East Village. Most of them sold promos for a quarter. Lots of white label Fontana’s, pink label Decca’s and the London Group’s orange swirls. You could spot those a mile away. I vividly recall getting Pinkerton’s Assorted Colours ‘Don’t Stop Loving Me, Baby’ in one such place.
Los Bravos, from Spain, big in England, well ‘Black Is Black’ was. Now big here. What a concept. Play good music on the radio, people buy it.
You still catch this one occasionally on the Oldies stations in smaller US markets and it does pop right out .
Listen: I Don’t Care / Los Bravos
I Don't Care / Los Bravos
The UK followup actually did okay, #16. It was easily a song that band and producer Ivor Raymonde worked hard on. I still would bet my last dime they all knew it wasn’t quite good enough despite the almost good enough parts, yet my guess is they needed something out quick and just went with it, hoping no one would notice.
Their US label, London Records’ offshoot Press, did notice. It never got released Stateside.
Listen: Going Nowhere / Los Bravos
Going Nowhere / Los Bravos
Instead, ‘Going Nowhere’ was the US followup to ‘Black Is Black’. Not a big showing chartwise, it peaked at #91. In a very signature Ivor Ramonde production, it sounds identical to his approach with The Fortunes. He had his sound down. I heard this a bit around Christmas of that year (see chart below). Turns out lead singer Mike Kogel was German, adding a great accent to his Gene Pitney vocal style. Spanish band and the first ever to chart in Billboard, German singer, pretty exotic for the day.
Listen: Bring A Little Lovin’ / Los Bravos
Bring A Little Lovin' / Los Bravos
What a surprise. Almost two years later, an eternity then, when no one expected it, Los Bravos finally really followed up ‘Black Is Black’ with a song equal in greatness. ‘Bring A Little Lovin’ sounded fantastic on the radio. I lit up every time I heard that intro. It was everywhere in Spring of ’68. Oddly, it didn’t chart in the UK, making the British pressing a very pricey item. Even US copies are hard to unearth now. Had they come with this straight after ‘Black Is Black’, the sky would’ve been the limit.
Tags: Billboard, Decca, Fontana, London Records, Los Bravos, Pinkerton's Assorted Colours, Press, The Fortunes, The Lovin' Spoonful
Posted in Billboard, Decca, Fontana, Gene Pitney, Ivor Raymonde, London Records, Los Bravos, Mike Kogel, Pinkerton's Assorted Colours, Press, The Fortunes, The Lovin' Spoonful, WNDR | No Comments »
Friday, October 9th, 2009
Listen: Birds And Bees / Warm Sounds WarmSoundsBirds.mp3
In May ’67, my Mom went off to Ireland to visit her sister for a few weeks, armed with my 45 want list. She came back with some life-changers (see my post from October 7th, 2008 titled: The Move / The Who / The Small Faces / The Cream). An added unexpected bonus were two pull-out Top 50 charts from RECORD RETAILER, the UK equivalent of BILLBOARD. If I could scan them for you, I would. They’re too large, purposely made to hang on your shop’s wall so kids can easily identify their purchases. Sliding gently back from a #26 peak (to #27, then #28) was ‘Birds And Bees’ by Warm Sounds. It was on Deram. It had to be good.
The psychedelic summer of ’67 was just about to happen, and the great music that would define it was in full tsunami mode. Every week handfuls of ‘must hears’ were arriving in stores, at the radio stations and in trade magazine listings.
Before I could even worry about it, one of my local Top 40′s, WNDR, was playing ‘Birds And Bees’ (see chart below). Occasionally, they or the more loosely programmed, UK and garage band leaning WOLF, would add a gem that never went on to national success. Unlike WOLF, WNDR wouldn’t stick with them too long, but at least we’d have a chance to get a taste – and usually one of the local shops (Walt’s Records in particular) would stock 5 or 10 copies. You had to move quick to secure one though, there was fierce competition amongst us sickos.
Despite it’s rather mainstream pop leanings, it was undeniably English on first listen, the string breakdowns were perfectly LSD’d out, and the lyrics, so blatant (“don’t be afraid, come with me please, that’s all there is to the birds and the bees”).
I was in. Yet how did the program director not notice those lyrics?
Tags: Billboard, Deram, Record Retailer, Walt's Records, Warm Sounds, WNDR, WOLF
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Tuesday, September 29th, 2009
Listen: A Young Girl / Noel Harrison
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Everyone was drawn to teenage death records, it wasn’t just me. They would even get radio play and chart on BILLBOARD. ‘A Young Girl’ did just that (US #51 in ’66), and got played heavily on my local Top 40, WNDR. Possibly helped onto the airwaves by his role in NBC’s The Girl From U.N.C.L.E., one of many b&w spy/comedies of the mid 60′s, or his famous Dad, Noel Harrison’s English adaptation of this Charles Aznavour song indeed still sounded both very French and rather menacing. If you told me The Pet Shop Boys were influenced by it, I’d believe you.
It was an ear catching song to hear on the radio in the day and has become a perfect period piece, frozen in time while simultaneously disappearing into the black hole of never-to-be-airplayed-again records.
Tags: Billboard, Charles Aznavour, Decca, London Records, Noel Harrison, The Girl From U.N.C.L.E., WNDR
Posted in Billboard, Charles Aznavour, Decca, Giles Peterson, London Records, Noel Harrison, Talkin' Loud, The Girl From U.N.C.L.E., The Pet Shop Boys, WNDR | No Comments »
