LIsten to the Eagle Scream!

Howdee, 

I'm going to lead off with a funny comment from Sammy Reed, in response to my last post, in which a song about a steel guitar didn't actually feature a steel guitar. He wrote, regarding two other songs I've posted:

Gene Marshall was also "Hummin' and a-Strummin' on a steel guitar" with no steel guitar. Then there was his "Didgeridoo" song with no didgeridoo.

 

Quite right, indeed. I would add that, so far as I know, one doesn't usually "strum" a steel guitar, at least not in the way I would use the word "strum"....

On to some ridiculous patriotism!

I've probably explained the "Air" label far too many times. Suffice it to say that the label re-released (or provided the only release) for the products of multiple other song-poem labels, and does not appear to have produced any work of its own. I don't understand how or why this worked, but there it is. 

And like plenty of other Air releases I've  heard, both of these sides seem to have been mastered directly from a 45 or acetate provided by the respective song-poem factories, as the sound is relatively poor and, on each side, there is a moment in which the sound dips, considerably, for no apparent reason. I doubt those dips in sound were on the original tapes or on the original discs which contained these songs. Both sides also cut off VERY suddenly, before the last chords have a chance to fade away. 

From the Film City company - complete with requisite Chamberlin, played, perhaps, by Rodd Keith - comes the rarely utilized Joe Staunton, manly vocalist. (Air also released multiple tracks by a Joe Stanton, a much less manly singer and clearly not the same person - also, Joe Stanton's records were clearly not Film City productions. Whether either Joe was related to Film City and Fable Records maestro Sandy Stanton, I just don't know.)

ADDENDUM: My friend Stu suggests that Joe Staunton is Rodd Keith. I can certainly hear that, after the fact, but I don't think it occurred to me because as far as I know, Rodd didn't use any pseudonyms on Film City apart from "Rod Rogers". But then, this was licensed out to Air Records. So yeah, it could well be. Probably is!

 

Joe Staunton gets to sing - double tracked, yet - the song "Stand Proud and Tall On the U.S.A.". And it's exactly the sort of patriotic clap-trap that I'd expect from a title like that. The march arrangement is perfectly suited to the lyric and yet ridiculous at the same time. 

By the way, shouldn't that be "With the U.S.A." or "For the U.S.A." Maybe that's just me. And then there's the line that made me laugh out loud the first time: "This is the land where the eagle screams". I looked it up, and I guess eagles really do scream, and there are even alcoholic drinks and restaurants called "Screaming Eagle", but it still sounded REALLY weird to me. And that ending is classically incompetent. 

Download: Joe Staunton - Stand Proud and Tall On the U.S.A.

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The flip side is from the fabulous Lee Hudson's song-poem factory. And I would have to say that, well over 95% of the time, if I have a record with Cara Stewart on only one side, I'm going to lead with the Cara side. She might just be my favorite song-poem singer. However, the oddness of the U.S.A. song won out here, especially since Cara turns out to be a supporting player on "Wishful Thinking". It's a duet with Jeff Reynolds, but Jeff gets all the solo bits, as it's clearly - in this arrangement anyway - the man's story being told. In fact, it's a little weird that Lee Hudson put Cara on it at all, as she seems to be singing Jeff's story along with him, while he's singing about her. I mean, by the end of the first chorus, wouldn't she know all the things he seems to think she doesn't know? 

Anyway, this song bounces along in a pleasant slow clip-clop, with an absolutely typical Lee Hudson arrangement, and that's just fine with me - I love his sound. 

Download: Cara Stewart and Jeff Reynolds - Wishful Thinking

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"Can Anyone Here Play a Steel Guitar?" "A What? What's a Steel Guitar?"

The band at Tin Pan Alley must have thought they knew exactly what to do when they received the song-poem lyric "Steel Guitar Waltz". We know how to play a waltz!!! However, having heard the output of the TPA gang from the mid 1960's on into the late '70's at least, I am pretty sure that none of the members of this small, extremely limited combo knew anything about steel guitars. You could even convince me without trying to hard that some of them had no idea what a steel guitar was. 

So here we have the "Steel Guitar Waltz" put forth by Mike Thomas with his usual level of aplomb - that is to say, frightfully little of it - backed by a band performance that is noticeably sans steel. That's okay - their oom-pah-pah style would fit better in a German beer hall anyway. "Lederhosen Waltz", anyone? 

This is also one of the many, many song-poem submissions where even someone who has never written a lyric can guess the rhyme that's coming up long before it gets there. In an all to quick mercifully short 122 seconds, it's over. 

Download: Mike Thomas - Steel Guitar Waltz

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If "Steel Guitar Waltz" contained rhymes one could probably sniff out in advance, the flip side, "Country Boy Going Home", contains to obvious a five year old might guess some of them. 

Even so, getting to those rhymes is a really fun ride at a couple of points, wherein the words ending the line are just as expected, but the syntax is odd, at the very least. 

For example, why, exactly, is the word "though" doing in this phrase?: 

And though it's pouring down outside, I'll leave here in the rain. 

I was also a little befuddled by the line "there won't be a town". Nice home you're going back to, country boy. 

And this one - in the same key as its flip (helpfully, I'm sure, for the band) takes two seconds longer than the other side. 

Download: Mike Thomas - Country Boy Going Home

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Starting the Year with Norris

 Happy New Year, everyone, 

It's been almost three weeks since I've posted, and I suspect that there will be only two posts this month. I'm absolutely Captain ADHD, and thrive on keeping ridiculously busy - I'm pretty nuts when I don't have too much to do - but this last month has just swept my legs out from under me, with a couple of brief but intense illnesses, end of the year madness and work demands. I hope and intend to be back to at least three posts a month in February. 

Thanks to everyone who has commented recently. I've received multiple comments on older posts in the last month, from a few readers who seem to be getting caught up on the site. Welcome, and thanks again. 

During the last three weeks, I've had a couple of interesting conversations about the last post - the New Image 45. At the time, I had meant to point out that its label number - 1717 - was the highest I could remember seeing, and the highest by about 250 numbers recorded anywhere. I overlooked the records Sammy Reed has posted in thinking that there have been no such high numbers found until now, but still, it was clear that the label continued for far longer than I had expected, and a range of 250 releases, of which only one or two have been documented, is astounding. More astounding than that was the email I got from Sammy himself, in which he reported: 

Looking at Tin Pan/New Image records on Discogs, I found out that in 1984, they used the QCA pressing plant, so from that year on, you can tell what years they were made, from the first number of the QCA code on the label. This means that "Pride"/"A Girl and a Guy in Love" was pressed in 1984 and "Lady Wildcat"/"Fortune Teller" is from 1986. My record "Still the Same", which mentions Andy Warhol's death among many other things, is in fact from 1987. My latest one, 1711, is from 1992. And the one in your latest post is from 1993! 

So TPA was still in business until at least 1993. That's astonishing to me. They also seem to have stuck with the "New Image" band name for a decade, which is unusual for them too. Thanks for the research, Sammy. I am amazed. 

~~

As I frequently do when I feature a record that came from the mind of Norridge Mayhems, I have to offer the disclaimer that I include him in this site, and label his posts as being "Song Poems of the Week", even though his output, prior to the late 1950's, does not technically qualify as part of the larger world of the song-poem. "Vanity Release" is a more accurate term, and, it should be noted, he had an honest-to-goodness band on an honest-to-goodness record label very early in his career as a songwriter and musician. But he did, extensively, use the song-poem companies for the last 25 years of his life, often having them re-record songs he had released much earlier in his life. And his story, and his records, are fascinating to me, so I include them when I come across them. 

Anyway, what I'm getting at is that today's featured record is not a song-poem. It features Norridge compositions (typically, one side is credited to Mayhams under his real name, and the other is listed as being co-written by his altar-ego, Norris the Troubadour, and Mayhams' wife), and appeared on his own label, in fairly terrible quality - like all records he released on his Co-Ed label, this is definitely a vanity release. And the second of the two songs is one that he continued to promote, sing, pay others to sing, and release, in multiple versions, for much of the rest of his life. If you want to hear more, just click on "Norris the Troubadour" in the labels at the bottom of this post. I find him utterly and endlessly fascinating, and hope you will, too. 

Can I just say, I LOVE the Co-Ed record label. 

Both sides are credited to Jimmie Miller, although Mr. Miller leads two different bands on the two sides. Interestingly, the label numbers do not match, and this first song, " 'A Wedding In May' Or a Funeral in June" (to use his preferred punctuation) was released with at least three B-sides that I've been able to find reference to. This particular one is a documented "upcoming release" in Billboard Magazine in 1949, dating it quite nicely. The A-side features Jimmie Miller All Star Quintet, and features a fairly brief lyric/vocal performance framing lengthy solo sections

Download: Jimmie Miller All Star Quintet - "A Wedding In May" or a Funeral In June

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The flip side features Jimmie Miller and the Charlestonians, and as with the A-side, this record was released at least twice, with a different flip side each time. The song is "The Seaboard, The Southern and the A.C.L.", and as noted, he had this song re-recorded in other versions at least twice in later years. This very brief record is a slow, bluesy number, sung by a female vocalist, a rarity on Norris records. 

And, as you'll hear, someone wasn't paying attention at the start of the recording of the master. I've only ever heard one other 78 that starts like that, and I don't understand enough about the recording of 78s to know exactly what happened. 

Download: Jimmie Miller and the Charlestonians - The Seaboard, The Southern and the A.C.L.

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A New Image For the Old Year

Happy Almost New Year, Everyone. Let's Hope For the Best. 

When I recently solicited requests, after honoring one for Christmas song-poems, my pal and fellow blogger Sammy Reed jumped in and requested more of the female-led, very-late-period Tin Pan Alley house band, New Image. 

I dug around, and found that I have just one New Image 45 left, for which I had not previous shared the contents. So even if it was terrible, I'd have shared it, of course, having been asked so nicely. But this is FAR from terrible. In fact, there are things - wildly different things on each side - which make it a delightful record to share. 

Let's start with the side officially identified as the b-side, a religious rocker: 

This is called "One By One the Savior's Calling", and I gotta say, for all the (completely) mercenary facts behind the making of this lyric into a song and a record, this end result "works" for me as a Christian rock song several thousand percentage points more effectively than almost any serious "Christian Rock" song I've ever heard. 

It's ragged at the edges, for sure. The band shows its limitations repeatedly, not least all the places where the bass player hits the wrong notes, and the singer has more far in the areas of energy and emotion than she does in the area of accuracy (she misses far more notes even than the bass player). 

But the song is catchy as hell, and the entire arrangement fits it perfectly, at least to my ears. Most four minute song-poems seem like they'll never end, but this one flies by, entertaining from start to finish. I think (unless I'm forgetting some) that this will go to my personal top five of religious song-poems

Download: New Image - One By One the Savior's Calling

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The flip side, "A Love Song" is as ridiculous, from start to finish, as the above song is memorable. The lyrics had me laughing out loud a couple of times. 

First we are told what the writer would do "if I were to write a love song", which are fun words to start a lyric for a love song. But that's just the appetizer. The following lines have to go into the short list of the most unsingable lyrics ever sent in for song-poem creation: 

The goodness of your very soul has no value in the weight of gold 

Your compassion for your fellow man overshadows your beauty within

The remaining lyrics are not as clunky as that, although "redundancy of life" comes close, but, as you'll hear, they in no way fit the parameters of what will fit into the beat of a song - or at least not into this song's construction. I give the vocalist a 9.5 for making it through this tongue-twister and anti-rhythmically structured song with her voice intact. 

Download: New Image - A Love Song

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A Hendrix Christmas

That's Bill Hendrix, of course, the famous.... well, I don't know who he was, actually. 

Anyway, I promised y'all a Christmas vanity/song-poem hybrid last week, and here I am to provide it! The aforementioned Bill Hendrix clearly paid his money and got to perform two songs of his own creation, with the help from the ol' Film City Chamberlin, which I'm fairly certain was played here by Rodd Keith. 

The first side, "Sharing Christmas With You" is actually a it of an outlier, as it starts with what is clearly a flourish on a real, honest to goodness guitar, one of the rare examples of a non-Chamberlin instrument being heard on a Film City (or related) release. Note that the Chamberlin (with the additional few seconds of guitar here and there) is identified as an "Orchestra and Chorus". Not hardly. 

I find this song something of a dirge, and a long dirge at that. He does not sound nearly as excited about the title prospect as I think a guy ought to, given the words he's singing. My guess is it was meant to sound like a romantic, 1940's style holiday standard, but I'm not much of a fan of those either, and this one seems to be threatening to slow to a stop at any moment. The backing track is skillfully done, for what it is, but it's a drag, too. 

Download: Bill Hendrix and Orchestra and Chorus - Sharing Christmas With You

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After a far from promising, downright smarmy opening 25 seconds, "I Wish I Was Santa Claus" proves to be a major improvement on the flip side, bouncing along with another creative - and much more enjoyable - backing arrangement, although it doesn't come close to matching Ringo Starr's similar named wish-in-song. 

Still, it's an improvement on the A-side and a typical entry into the "if I ran the world" type song. 

Download: Bill Hendrix and Orchestra and Chorus - I Wish I Was Santa Claus

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Now, if you've been hanging around my blogs for more quite a while, you know that my family tries to create a funny Christmas card - we've done it every year except for one over the past fifteen years or so. If you've seen all of those I posted here, then you've gotten to see my kids grow and change, the addition of our son-in-law, and my wife and I get older and older. Here is this year's entry: 

Little Joey Writes a Letter

I had a request for a few Christmas song-poems, and I spent part of this last weekend searching my holding for just that sort of record. While I didn't check the song-poem albums in my collection, I did look through the vast majority of my 45s, and I found.... that for the most part I've already shared most of my Christmas related song-poems over the years, either here, or, in one case, in a large post of Christmas song-poems at WFMU. Three are still way too many unshared religious song-poems (almost all of them Christian), but few of them are specifically about Christmas. 

I found two. Or rather, I found one song-poem 45 and one vanity record on the Film City label. Today is the song-poem, and in a week or so I'll offer up the Film City delight. 

From the vapid, post-Rodd Keith, cheapo synth strings era of the Preview label (and not at all long before the demise of the label), we have Gene Marshall singing "Little Joey to Santa Claus". Note how very few lyrics there are in this nearly three minute track, stretched out by an interminable instrumental break and a repeating of about half the lyrics a second time. 

Alas, as we all know, Little Joey grew up to learn to play Trombone before becoming a criminal and ending up in prison with Shifty Henry, Sad Sack and Elvis Presley. Oh, and that cutie known as Number Three. Perhaps if Santa had only brought him those roller skates. 

Download: Gene Marshall - Little Joey to Santa Claus

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This record actually has TWO Christmas songs on it. On the flip side, Barbara Foster (AKA Bobbie Blake). It's called "A Joyous Christmas", but it does not suggest anything joyful to me. I find her vocal performance really sweet at a few moments, but that's about it. Your mileage may vary. 

Download: Barbara Foster - A Joyous Christmas

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Please note that I've tried my best to honor a request. If you have a request, let me know - if I can fill it, I will!

I'll Take "Song-Poems About Utah" For 400, Alex!

Happy Post-Thanksgiving to all who celebrated it yesterday! 

Today's song poem does in fact involve Utah, and was "Song Poems About Utah" to actually be a category on Jeopardy! (I wish), I suspect there might only be two answers in the category, used across the five slots. There is a song on the Roxie label called "Utah, The Beehive State" (which, sadly, I do not own), and then there's today's offering: 

Technically, of course, this is not about Utah, but rather, it deals with "My Utah Sweetheart". And who better to sing it (who, better to sing most anything song-poem related) than Norm Burns, and his backing group, named to differentiate them from what Norm is doing I guess (?), as "Singers". 

This waltzy number has everything you'd want in a song about a sweetheart from Utah, including that ringing guitar, some sweet backing vocals, the echoey production on Norm's voice, and, of course, a reference to beehives. 

It's also worth noting that, via an instrumental solo section (shame about that missed note) and a lengthy instrumental coda, the good folks at Sterling managed to stretch the song-poet's two short verses and one bridge into a robust 134 seconds. 

Download: Norm Burns and Singers - My Utah Sweetheart

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On the flip side is a religious number, "My Fate". I find this title odd, given that it's a hymn of devotion, the choice to follow the writer's savior, and self-assuredness within that faith, rather than anything about heading unseeing into something that "Fate" has in store for him. And "My Fate" is not heard anywhere in the lyrics, either. "My Faith" would be a better title, so much so that I really wonder if there was a mistake somewhere along the line in printing the label. 

Oh, and one more thing. There is a pretty dang weird line early on. Among those lines of devotion, we hear that God "tempts me to stray". I'm a lifelong Episcopalian and that concept stuck out like a sore thumb to me. Perhaps there are other branches of Christianity that believe that God plays GOTCHA with his worshipers, sort of a cosmic version of "Survivor" or "Fear Factor"? 

Anyway, this is tedious stuff, and seems a lot more than 44 seconds longer than its flip side. 

Download: Norm Burns and Singers - My Fate

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Where Else Would You Put a Rainbow?

I find that it's been more than six months since I featured Sammy Marshall, and thought I'd better remedy that. Here he is, on the tiny, tiny Sigmar Records label. This label seems to have been created in order to have a place for the Globe Records song-poem factory to release songs written by a Mr. or Ms. Severtson, and is only documented to have released two 45s (although there may, of course, be more).

The first side - "Rainbow in Your Sky" - is a pretty typical Globe production, sounding like it's from early in their existence. It's got a bouncy feel, some nice echoey production and guitar playing that sounds a bit like Les Paul on an off day, but otherwise a bit sterile (Globe leaned further and further into that sterile sound as time went on). 

Download: Sammy Marshall - Rainbow In Your Sky

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On the flip side, "The Old Songs", is about just that. It's just about as bouncy as the other side, but less engaging, at least to my ears. And the song-poet made his or her job a bit easier by shoehorning in the names of at least a half-dozen "old songs", rather than writing a complete lyric from scratch. 

Download: Sammy Marshall - The Old Songs

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Fred Hastings Sings For You

In the late '60s and into about 1970 or so, the Preview label's releases were dominated by Rodd Keith, and to a lesser degree by Teri Summers and Bonnie Graham, among a few others, as well as records released by one of them under a pseudonym or three. There were plenty of other credited artists, as well, but their releases were relatively sparse. Around the time that the label numbers hit 1500, the volume of Rodd's releases slowed, and by label release 1600, he had virtually disappeared from the credits on Preview labels, with only about a dozen further releases for the company after that. I imagine this is about the time he moved over to MSR, but that's completely supposition on my part. 

Anyway, if you look at the Preview page on the AS/PMA website, you'll find that it is also not long after release number 1500 that Preview seems to have begun trying out various alternate vocalists. Some of these may well be Rodd under pseudonyms (again), but there sure are a bunch of them, each of whom seems to have made anywhere from one to six records for the label before disappearing for good. Then, a short time later, Gene Marshall and Barbara Foster (who I think.... someone correct me... is also the singer known as Bobbi Blake?) show up and they dominated the label for the rest of its existence. It  sort of looks like they were casting out for whoever could be their next main vocalist. 

Anyway, during that period, someone named Fred Hastings made about a half-dozen records for the label. The one I am sharing today is the only one I've heard, and what I find curious about it is that it's very clearly, to my ears, a Rodd Keith arrangement. Why didn't Rodd sing it? Was he helping Preview find his successor? Whether he was or wasn't, Fred Hastings wasn't going to be it, based on this record, anyway. 

"Left Over Love" is the better of the two songs. The arrangement - and again, it sounds like Rodd's work - isn't bad, and something more listenable could have been made out of this with a better singer. But Fred Hastings reminds of a cross between Harry Burgess of "Chicago Policeman" fame and the sort of pompous hotel lounge singer that Vivian Stanshall liked to parody, And I like both of those records I just linked, for extremely different reasons, but here, the style, such as it is, just puts me to sleep. 

Download: Fred Hastings - Left Over Love

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The flip side "My Dream", doesn't even have that interesting arrangement, although it still puts me in the mind of Rodd Keith. The lyrics here are also dimwitted - assuming one believes in angels, my guess is that no one who does, ever imagined a situation in which one of those angels asked "would you like some company". But maybe I'm wrong. 

Download: Fred Hastings - My Dream

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Ohoo! Ohoo Who? OHOO! Who's That? And What Did Ohoo Do?

Today, a record I've wanted to share for a really long time, but always held back because.... well because the record came to me with a chip out of the outside edge, and neither side will play all the way through from the start. But several days ago, I decided to see if I could create a sound file from each side which starts early enough that nothing but a few opening chords or riffs were missed, and hopefully almost make it sound like nothing was missing. Happily, I was able to do that well with one side, and passably with the other. Or at least they sound good enough to me. No more than five seconds appears to have been missed on either side.

The focus of all of this burning desire to share a record with you is the song "Ohoo Made a sin Out of Sex". And really, how could it NOT be. Especially when it features a singer as consistently awful as Eleanor Shaw (look for her other songs posted here if you don't believe me). This is the side with the nearly passable attempt at correcting for the missing music at the start. 

Other than that, I think I'd like to let you experience the weirdness, the downright otherness of this track, rather than go into much detail. Suffice it to say that it's truly awful in every aspect possible, particularly the vocal, and as the late host of a local radio show used to say "What the Hell is She Singing About". 

Download: Eleanor Shaw - Ohoo Made a Sin Out of Sex

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The flip side is "What Is Love?", happily not the insipid and mind-numbing number from 1960 by the Playmates, but unhappily, a song just as bad. And whoever wrote a melody line which contained the sweeping high notes of the sort heard at the 0:29 point.... well, clearly that person was not aware of Eleanor Shaw's vocal limitations. 

On the other hand, it's not too many songs, particularly not songs addressing aspects of the human condition (as this one does) which make reference to flat tires and a sprocket wrench. So there's that. 

Download: Eleanor Shaw - What is Love?

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Kris "Patsy Cline" Arden

To quote a previous post featuring the Inner-Glo label: 

As I do whenever I feature either an Edith Hopkins composition and/or a record on her custom label (out of Emporia, Kansas), "Inner-Glo", I will again explain that Ms. Hopkins is my favorite song-poet, based on the high quality of her (large number of) best songs, and also that she was a bit of a curio in the song-poem world in that, although she used the song-poem factories, particularly Globe, it appears that she wrote all the words AND music to her songs, so she was not technically fully part of the song-poem world. Additionally, although it doesn't apply here, she also wrote and commissioned records of certain songs meant to be directed at the legitimate radio/record store/Billboard magazine world, most notably with (but not limited to), the incomparable "What's She Got (That I Ain't Got)", by Betty Jayne.

"I Don't Get Over You" is another solid piece of songwriting. And as I wrote about a previous Inner-Glo release by Kris Arden, the singer and the arranger had clearly been listening to some of the later recordings made by Patsy Cline. The flute doesn't really fit in with that description, and seems superfluous to me, but otherwise, this is countrypolitan, Cline style all the way around. The harmony vocal on the bridges is particularly nice. 

Download: Kris Arden - I Don't Get Over You

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The flip side is "So You're Sorry Again", and pretty much everything I said about "I Don't Get Over You" applies here, although in this case, the unnecessary addition is a tenor sax player, whose honking is distracting and doesn't fit with the feel of the rest of the band. I don't think this is as solid a performance as the flip, but I do like a few moments of tight harmony, and it's worth a listen.

Download: Kris Arden - So You're Sorry Again

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Bob Bonn's Greatest Hit

Okay, so I wrote this post about six days ago, and went in today to start building the next one, and found that I never went live with it. Probably the effects of my then new tooth extraction and related pain - pain which has continued to this day, due to complications. Yay. Today, the pain seems to finally be calming down. 

But anyway, the fact that I did delay going live with this one means that it gives me a chance to publicize something I received in email over the weekend. A correspondent named Michael has found, and posted, a Rodd Keith "Real Pros" release from 1974. And to my ears, it's really something special. The opening couplet is downright weird and may make you think something goofy is on the way. But it's anything but. That weird line notwithstanding, it's a deeply meaningful and affecting lyric and a really pretty record, sung very effectively with deep emotion. 

It's worth keeping in mind that this record is Cinema 7452, that is, a Real Pros record from 1974, and well beyond the halfway point of that year's releases. It's likely this is at least from the summer of that year, and more likely that it's from the fall. Rodd died that December. This is almost certainly from among the last batch of song-poem sessions he took part in. 

Thanks, Michael! Here it is - I highly recommend it!

~~

I am always hesitant to post Fable 45's, or at least to post them and describe them, outright, as song-poems. And that's because I just don't know. Sandy Stanton used that label to release song-poems, but also vanity records and, I think, actual attempts at producing hit records. 

On the other hand, I adore a good percentage of what Stanton released on Fable - I would certainly rank it as one of my five favorite labels within the song-poem world, maybe top three, along with Film City and Tin Pan Alley. And when I get a "good" Fable release I want to share it with the larger song-poem community. 

I don't think this one was in any way an attempt to be "legit", but I could easily see it as either a song-poem or a vanity record, and can't really close the argument in either direction. The songwriter (or song-poet), George Blevins, does not appear to have ever written another song that was released in any way, aside from these two tracks, and singer Bob Bonn similarly does not appear to have ever sung,  under that name at least, on any other records. 

"Ooo Baby" is the winning side to my ears, a fun little 123 seconds of rockabilly, with a spare and effective backing featuring some nice, staccato guitar picking. Bob Bonn does as well as many a rocker of the era (this is from 1957), and the whole thing swings quite nicely. And those stop-chord sixth chords are to die for. 

Download: Bob Bonn, Music by Sandy Stanton - Ooo, Baby

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The flip side features 122 seconds of Country and Western, 1957 style, as Bob Bonn croons about the "Soft Spot in My Heart". He's a little more tentative giving forth with vocal style that requires a bit more accuracy than the flip, but overall, both he and the band submit another winning performance. 

Download: Bob Bonn, Music by Sandy Stanton - Soft Spot In My Heart

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