Saturday, July 20, 2019

Trips to the Moon, With Gene Marshall, Part Two

Well, today is the day! My younger daughter turns 26 today! Yippee!!!

Wait, while that's true, it's not why I'm posting a set of special themed records this month and, particularly, today. Today, in case you've been melting and not able to pay attention, is the 50th anniversary of the day that a human first walked on the moon.



 And as promised last week, here we have part two of our Gene Marshall triple play, all about travels to the moon. And apropos of today's anniversary, the title of the song is "Footsteps on the Moon".

Admittedly, this is far from the most exciting or even interesting record that I've ever shared here (or even that I've shared this month), but I think given the magnitude of the event and the anniversary, it's the perfect song-poem for today. Sing it, Gene!

Download: Gene Marshall - Footsteps on the Moon
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On the flip side is a brief record  - "I Can't Make You Cry" - that I find fairly peculiar, lyrically. The writer (and of course, Gene, is his vocal) is despairing that his beloved is far too young to be in love with him, the tell-tale sign being that he can't make her cry. I guess I'm trying to picture how young a young woman would be who doesn't periodically cry, or who is unable to cry in response to something done by a boyfriend. And even if such a person exists, why is that the deciding factor for the writer?

By the way, the sudden increase in volume at 1:24 is not something I did. The record plays like that.

Download: Gene Marshall - I Can't Make You Cry
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Sunday, July 14, 2019

Trips to the Moon, With Gene Marshall, Part One

Well, we're back from vacation and I'm ready to rock and roll you... TO THE MOON!!!!

But before I get to that, I wanted to make sure everyone knew that, as promised, I have begun to re-up the broken files from prior to the summer of 2015. Today, I have restored three posts from spring of that year, a Gene Marshall post featuring the song "Beer Belly Polka", which can be found here, a Rod Rogers Film City classic featuring two patriotic ditties, which you can find here, and a ridiculous Mike Thomas record (but I repeat myself) from Tin Pan Alley, which can be found here

I will try to continue to fix the broken links as frequently as possible. 

And now, back to that satellite we all know and love!: 


As you've probably been unable to miss out on hearing, we're coming up on the 50th anniversary of the first moon landing, which took place on July 20th, 1969. Since there is an entire sub-genre of Astronaut-related song-poems, I'm going to take the rest of the month, once each weekend, and treat you to one of Gene Marshall's musical treatises, one fanciful and the other two in tribute to those intrepid outer space explorers.

Since we're not yet on the actual anniversary just yet, I'll start with the imaginary trip to the moon, on a record which was likely made not long after the actual moon shot. It has the completely unwieldy title of "Fly With Me Darling On a Rocket to the Moon", and for some reason it features some backup singers who sound as if they've never read music before (well, it is likely that they'd never seen this music before singing it). The  lyrics smack of someone using a rhyming dictionary while trying to shoehorn those rhymes into her poem.

Gene, on the other hand, does a wonderful job, and the peppy band does its job, too, particularly a fairly wonderful, at times hyperactive drummer - that drummer gives more to this backing track than this simplistic, sing-songy lyrics had a right to expect

Download: Gene Marshall - Fly With Me Darling On a Rocket to the Moon
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The flip side, "Masque", has little to offer, aside from trying to figure out why the song-poet decided on the unnecessary alternate spelling of "Mask". The backing band sounds more like the minimalist, barely talented folks on late '60's Tin Pan Alley records than the usual stellar Preview band.

Download: Gene Marshall - Masque
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Sunday, June 30, 2019

The Ted Lane Sound


I get a kick out of today's billing, and that's what's referenced in the name of this post. More on that just below. But first, I am featuring today one of the singers at the Sterling label, who hasn't been featured enough (because she's not on that many records, and because I have even fewer than that), Shelley Stuart. I have consistently - during three other posts feature her work - misspelled her name as Shelly, despite the fact that the correct spelling was clearly evident on the labels of all three records featured in those posts. I hope to fix those posts, or at least the labels, soon.

Anyway, in this case, Shelley has a peppy, pleading number to sing, titled "Come and Take Care of Me". She is accompanied (as is the case with her label mate on the flip side), by "Ted Lane's Orchestra", a combo which shows up infrequently enough on Sterling records that it is not found on any of the records indexed on the Sterling page of the song-poem website. But here's the thing: You'd be hard pressed to find anyone who can tell the different between Ted's band and Lew Tobin's ensemble, which is usually credited (if a backing "orchestra" is identified at all. This is clearly the same band. So what's the story there? I recognize that I may well be the only person who cares.

Download: Shelley Stuart, Ted Lane's Orchestra - Come and Take Care of Me
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On the flip side is everyone's favorite Norm, Norm Burns, here going by the more formal Norman Burns, backed again by Ted and the boys, led off by a loping and appealing guitar introduction, and then going into a tune, "Little Butterfly", that is completely in Norm(an)'s wheel house. It's fairly slight, but his vocal is appealing,and I sure do like that repeating guitar phrase.

Download: Norman Burns, Ted Lane's Orchestra - Little Butterfly
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Wednesday, June 26, 2019

Sugar Fluff Doll

Before I get to this week's posting, I wanted to share with everyone that, as a result of one of my other collecting passions - the collecting and sharing of interesting recordings found on reel to reel tapes - I have now been featured on a major podcast called Ephemeral. The story in question is about Merigail Moreland, who I featured at WFMU many years ago. The show is about 40 minutes long, and can be heard here.
 
And now.....
 


When I first featured the Lutone label, many years ago, I speculated that there was perhaps only one release on the label. Since then, I've obtained a few other records from Lutone, and am now featuring the label for the third time.
 
This isn't a full song-poem label, but more of a hybrid of vanity and song-poem. Label titan Luton Stinson wrote both the words and the music for his songs, unlike the vast majority of song-poets, but then engaged the various song-poem factories to make recordings of his masterpieces. So it was that the Film City company ended up with one of Mr. Stinson's songs, and Rodd Keith (under his Film City guise of Rod Rogers) ended up recording "Sugar Fluff Doll". This is a bouncy, happy little confection, and Rodd handles it beautifully from start to finish, complete with an infectious little solo. I sure do love that Chamberlin sound.
 
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~~
 
On the flip side is something a bit curious. The song is "Black Bottom Inn", and Luton Stinson appears to have really thought he was on to something here, as he commissioned its recording at least three times, including once that I have featured before. And this is the least of the three by a long shot. In fact, because I find this version - by Lance Hill out of the Globe factory - so tepid and uninspired, I'm going to fix the link on the previous posting so you can compare, even if you weren't reading this site before the earlier links went down.
 
First, here's Lance Hill's version, complete with little "whoop whoop" vocalizing, which sound to me a bit like someone trying to copy Roger Miller, without even the most basic of understanding of what made Roger Miller's vocalizing so great.
 
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And now, here's the link to the version I posted five years ago, by Jeff Reynolds - I just think it's fabulous - slinky and sexy and completely in keeping with what's going on in the lyrics. (This post also contains a link to the third version, a '60's rocker which is from Tropical Records, yet another song-poem outfit). The repaired post can be found here.
 
By the way, I'm going to do my best to use this as a starting point to repair the other broken links. Obviously, I haven't even posted every week for some time, so I'm not making promises, but I'm going to try.
 
 


Tuesday, June 11, 2019

Truth in Advertising

First up, a quick answer to someone who commented on a post last month. Yes, the "Air" label I feature here from time to time is the same label which released Hasil Adkins' first record. There are multiple labels within the song-poem universe that Adkins work was somehow connected with, at least for a few moments.
 

The song-poem world is filled with labels that tried to present themselves to the public with highfalutin names which seemed to indicate some actual connection to the legitimate music industry, such as "Hollywood Artists", "Film City" and "National Songwriter's Guild". There were also labels which chose names which sounded as much like a legitimate endeavor as any Columbia or RCA, including "Sterling", "Allstar", "MSR" and "Columbine". And then there is Halmark, which might well have been trying to confuse people into thinking they were somehow connected to the well known card company and TV sponsorship behemoth, even going so far to use the spelling "Hallmark" at times, which was likely a licensing no-no, albeit one which the larger company probably remained blissfully unaware.

Today's featured label made no such attempts. A seemingly bare bones company, not known to have any connection to any other song-poem outfit (a rarity in itself), Promo Records (much like Halmark often did), simply put the name of the song, and the song-poet, not bothering to mention the performer - although they went the extra non-mile and simply had the information typed onto the label, making the nature of the record just that much more apparent, to those in the know.

All of the records listed on the "Promo Records page at the song-poem database are one-sided acetates, and that's largely what I own, too - a bunch of them. But today, here's what appears to be an honest-to-goodness single release (although the crappy sound may indicate it actually is another acetate), with songs on both sides, credited to the author of the lyrics, which no doubt would confuse anyone not in the know, as the lyricist is male, and the singer female.

Both songs are pretty low-key, with basic instrumentation playing basic country arrangements. But there is something that connects with me about "Why Did Love Send Your Arrow?" I enjoy the chord changes, really like what the guitarist is doing in certain spots, and the singer's emoting strikes me as effective and sincere, even when the lyrics fail her and hit a spot (near the end) where they simply don't scan with the music at all. See what you think.

Download: No Artist Named: Why Did Love Send Your Arrow?
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On the flip side is the Gospel-inflected "My Prayer". Whatever I found to enjoy on the first song is absent here. This is very earnest, but doesn't have any aspects that connect or entertain me. While it's only 20 seconds longer than "Arrow", it seems almost twice as long to me.

Download: No Artist Named - My Prayer
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Tuesday, May 28, 2019

"The Suffering of a Serviceman's Wife" and Other Overwrought Titles

I'm back!!! As I've probably written nearly every year, the month of May is about the busiest one there is in my life - particularly the third week of the month, and as a result, I often end up posting less in May. Such is the case this month, with only two postings. But on the other hand, both were of EP's, so there's been a total of eight songs shared, and that's something....


The folks at Halmark certainly received more than their share of portentous, overwrought lyrics. On the AS/PMA website, Phil Milstein made a guess that this might be due to where Halmark tended to advertise - in "Writer's Digest" - perhaps pulling in a far higher number of people who thought of themselves as having great potential as serious authors and lyricists.

Whatever the cause, ridiculous, ponderous and pretentious song titles and lyrics abound on Halmark records. But never have I seen quite the collection of song-titles as came to me on this EP. Making all that much funnier is that all four tracks are attributed to Bob Storm, Halmark's resident over-the-top baritone (heard in my last post, as well), while in fact only one of the songs here seems to be sung by the singer typically labeled as Bob Storm - in fact, two of them have a lead vocal sung by a woman.

First up, the only true Storm vocal and the one with the least over-done title, is "Unapproachable". For that latter reason, it's probably the least interesting of the four songs to me.

Download: Bob Storm - Unapproachable
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Now, le'ts get to those juicy titles, starting with the one reference above. This is yet another Vietnam-related number, titled, yes, "The Suffering of a Serviceman's Wife", sung of course, not by the identified Bob Storm, but a female vocalist. Seems her man's been wounded over there, and she considers him "half a man".

The song is full of such musically flowing phrases as "fighting for something you thought had a good cause" and "I was expecting to see the same smiling face". Certainly there is good material to come out of this situation - and such songs exist. But this author comes off as petulant and irritated that the army gave her a different person than the one who left her - which I guess is to be expected with this title - his own struggles are pretty much a side note until the final line.

Download: Labeled as Bob Storm - The Suffering of a Serviceman's Wife
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Our favorite female Bob Storm is back again for the Broadway-esque 6/8 thang whimsically (and perhaps a bit less ridiculously) titled "Honeymoon on the Moon". In recent years, some of us have discovered that several of these mysterious Halmark backing tracks are actually dead ringers for existing songs' arrangements, including those for "By the Time I Get to Phoenix" and "Gentle On My Mind". I'm guessing this is another one, but can't put my finger on the song.

Anyway, this one works a bit better, to me, than the other three songs here, because it's at least a bit peppy, and the lyrics are actually a fairly decent match for the backing track and singer, although I'm thrown a bit by the female writer mentioning "my pretty bride and me", decades before that was a possibility. Again, not that any of this means I think this is very good, but it's definitely less "bad" than the rest of this EP.

Download: Labeled as Bob Storm: Honeymoon On the Moon
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Finally, there is the uniquely titled "Trench Coat, Umbrella and Boots", sung, again not by the man typically called "Bob Storm", but by the Halmark stalwart usually billed as "Jack Kim" - although this is not the only time his vocals have been identified as Storm, or vice versa. But since Jack Kim had a career under his real name, it's at least known that this "Jack Kim" is a match for the similarly named real singer behind the pseudonym.

Over one of the most stodgy and overused Halmark backing tracks, he sings a pathetic story of a pathetic feeling man, with the requisite un-musical phrases such a title would suggest - I'm particularly fond of "Walkin' in My Teardrops..."

Download: Labeled as Bob Storm - Trench Coat, Umbrella and Boots
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Saturday, May 11, 2019

Wishful Thinking on Vietnam

I've commented on the Brosh label before. I've never seen a Brosh release which features material that wasn't either a vanity pressing, or clearly from another song-poem factory - it's quite possible that they didn't do anything "in-house" at all. Similar to Air Records (whose label Brosh sort of resembles), most Brosh releases, including today's EP features singers who are well known to have worked for other production houses, specifically, Bob Storm at Halmark, Sammy Marshall (credited here as Sonny Marcell) at Globe and Cara Stewart with Lee Hudson's operation.

In some cases, records of the same some have been found on the Brosh label and on whatever label the song was originally produced by, sometimes with the latter having noticeably better sound quality. Even when a non-song-poem song shows up on Brosh, there is typically some record of the same material showing up on a different label, as well, and as I mentioned, most of these look like vanity pressings. (I will mention that AS/PMA documents that Brosh released the same songs, with two different label numbers, featuring backing by Floyd Cramer and Chet Atkins, but even those songs are known to have been released by another label, as well.)

What a weird label. I sometimes wonder what the average record collector thinks of a Brosh or Air release, upon listening to the haphazard, clearly unrelated material on one of their EPs or singles.




Today's first offering is definitely one of those with abysmal enough sound that it seems to be mastered directly from another 45. Even the surface noise is noticeably different than that of the song which follows it moments later on the same side of the EP. That's too bad, because "How Many Have Kissed You" is a fairly peppy, countrified Sammy Marshall performance, with some effective guitar picking and a lilting melody. I'd like to hear this from a clean copy.

Download: Sammy Marshall - How Many Have Kissed You
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The title of this post, though, is in reference to song two, "A Cold and Stormy Night", which is by far the most interesting lyric and arrangement here. The song-poets wrote what could have been a fairly harrowing story of a soldier's experience in Vietnam. I say "could have been" because it doesn't really work. First, the lyrics are hackneyed and obvious - exactly what you'd expect the average person on the street to think a soldier's experiences and thoughts would be. Second, the big lyrical build-up ends with a piece of fiction that can best be labeled "wishful thinking", and ruins whatever emotional resonance the earlier lyrics had delivered.

But the biggest mistake here was when the lyricists sent their poetry to Lee Hudson, who set those words to one of his sultry, romantic, Les Paul-esque backings for the equally sultry, echoey and dreamy vocals of Cara Stewart. I can hardly think of a song-poem where the lyrics and the arrangement/singer/performance were more of a mis-match. See what you think:

Download: Cara Stewart: A Cold and Stormy Night
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~~

I don't have nearly as much to say about the tracks on the flip side of the EP. The oddly titled "Drop Me Love" is yet another unctuous performance by Bob Storm, over vapid music, as is so often found on Halmark releases. Come to think of it, Bob Storm and Halmark probably could have given a much more appropriate and performance to "A Cold and Stormy Night" than Lee Hudson and Cara Stewart. Not that I believe it would have been good, you understand, just better matched to the subject and material.

Download: Bob Storm - Drop Me Love
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We end up where we began, with Sammy "Sonny Marcell" Marshall, with another track with terrible sound quality, this time without much, musically speaking, to distinguish it. It's Sammy in sad-sack mode, which he inhabited far too often, as he warbles about being "On Your List of Broken Hearts".

Download: Sammy Marshall - On Your List of Broken Hearts
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Tuesday, April 30, 2019

Leader Wanted!

Before I get to today's song-poem, I want to acknowledge this Friday which is the 100th anniversary of the birth of Pete Seeger. I consider Pete to have possessed the greatest voice ever recorded, and I also consider him to be the most important American musician of the 20th Century, when one takes into account his musical, political and social endeavors as a whole. Yes, I can argue this point thoroughly, no, I'm not interested in doing so here. 

But I did want to acknowledge the date, and also add that, on my other blog, "inches-per-second", I have featured an impossibly rare live recording of Pete Seeger with the Weavers, from January of 1958


In these dark days for America, it's somewhat comforting to know that, just over 50 years ago, people felt that things were just about to come apart, just as much as many of us do today. I suspect that these days are even darker, but I was only eight in 1968, so perhaps I can't speak with authority.

My poet Mae Burdette had thoughts about just these issues in 1968, and sent them to Sterling records (the date can be fairly well nailed down by the label number, along with the known dates of other Sterling releases (although it's possible this comes from 1969 - the issues, of course, had not changed in the six month swing around which this record may have been made).

You'll notice that I didn't describe the writer of "Leader Wanted" as a "song-poet", but rather just as a "poet". As you'll soon here, for whatever reason, Lew Tobin (of Sterling Records) made no attempt to have Ms. Burdette's lyrics set to a tune, but rather, had Norm Burns recite them over a music bed. I guess it's possible the author asked for this - if not, I suspect Sterling would have had a complaint on their hands. But it's hard to say why - the lines rhyme and certainly would not have been beyond (or close to it) setting to music.

I guess we'll never know. And I'm not suggesting that the majority of this is anything more than boilerplate speechifying. And Norm's stilted reading doesn't help, either. But it is worth listening to, and reflecting on how much of this could be said (or sung) by someone today with barely a changed syllable.

Download: Norm Burns - Leader Wanted
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On the flip side, we're in supper-club territory, with Norm Burns (again) warbling "Moonlight On the Water" over a modified cha-cha beat. Like the flip side, this is almost three and a half minutes long, an eternity for a song-poem, extended here by a lengthy solo section.

Download: Norm Burns - Moonlight On the Water
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Finally, I wanted to share a link to Sammy Reed's page. He recently posted a couple of Halmark songs which use the same backing track as "Life is a Flame", which I (long ago) provided to the ASPMA's MP3 page, and which is a track on the first song poem record I ever owned, long before I knew what it was (like, 1975). In the previous post, Sammy posted an entire Hollywood Artists LP. You can find his site here.

Saturday, April 20, 2019

Easter On Tin Pan Alley


Here, just in time for Easter, is a little proselytizing from our friends at Tin Pan Alley, headed up by the always casual sounding Mike Thomas, with a little number that functions as "The Gospel Stories Greatest Hits" in just 140 seconds. Presenting, "Jesus Christ, the Greatest Man".

Download: Mike Thomas - Jesus Christ, the Greatest Man
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For the flip side, here's a song-poem performance which has something interesting - there may be other song-poems which change musical styles mid-song, but I can't think of any right now. As you'll hear, this arrangement of "Gypsy Melody" makes a radical turn (well, as radical as one can make it, with a three piece combo of limited talent) about 40 seconds in.

Download: Mike Thomas - Gypsy Melody
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Friday, April 12, 2019

Hey! What's on the Flip Side?

Well, the final steps of replacing my car, an audit at work, followed by four days of off-site training have put me behind yet again. Hopefully, I can now post more regularly for a while....

I also wanted to chime in on a discussion which took place in the comments of a fairly recent post, asking about the number of records pressed up by any one of the various labels. I believe the number varied quite a bit between labels, and also within any one label. Somewhere, I have a copy of the sales pitch for one of the labels, and it made it fairly clear that you could pay for a variety of levels of product (demo, small band, full orchestra), for increasing amounts of money, and that you could also pay for a few records, a few dozen records, or several dozen records.

Many years ago, an eBay seller bought the contents of a warehouse of records, and for a while, he was listing, every single week, dozens of Rodd Keith Preview 45's. When a copy of one of them sold, he listed another and another. I believe he must have had 25-50 copies of some of these records, just from what he described in the eBay ads and what he told me when we corresponded, AND these were presumably copies which never went to the song-poet. Plus, there are certain records - mostly on Preview, in my experience - which show up again and again in auctions. Then again, I've rarely seen a copy of ANY Halmark release more than twice, and barely ever more than once.

~~~

Here's a keen thought I had: I've been fortunate enough to find copies of several of the records that those in the larger song-poem world released on compilations, during those days when compilations were released. Hell, I even supplied about a half-dozen of those which were released in one form or another, either on disc or on the two online comps that came out (not to mention having provided dozens of tracks for the old MP3 section of the ASP/MA, all of which were later posted to the WFMU blog.

So, I thought to myself, why not share some of the better numbers which appeared on the flip side of well-known (or semi-well know, as this is the song-poem world) song-poem records. So that's what I'm doing today.


I'll start with the flip side of one of my friend Stu's half-dozen favorite song-poems, Norm Burns' "Baby, Set Your Date on Time, which was on the third compilation and is available on Youtube. So here, in all its splendor, is the flip side, "Got No Tears to Spare". This, to my ears, is a nice, bouncy number, featuring the ubiquitous Sterling trebly guitar and a wonderful vocal from Norm, although they extended it a bit unconvincingly with a dull instrumental section. This side is also marred somewhat by a fairly severe scratch, which can be heard from time to time, and which really becomes prominent in the solo, and again in the final seconds.

Download: Norm Burns - Got No Tears to Spare
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An all time favorite of many song-poem aficionados is "I Can't Decide (If It's the Beatles, Elvis or Rick)". This Rod (Keith) Rogers masterwork is also readily available on Youtube and has been on multiple compilations, including one of the early song-poem collections and multiple unofficial Elvis-related compilations. 

While I love "I Can't Decide", I also believe that the flip side, "Unload the Shotgun", is equally ridiculous and nearly as fun. Here's Rod(d) in Western mode, complete with shotgun sound effects, and completely ineffective attempts to provide a country backing with the mechanized sounds of the Chamberlin. And it's always fun to hear Rodd trying to go for a Country vocal style - I usually read into it a level of contempt, or at least satire. 

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Finally, there is the absolutely lovely and quirkily off-kilter Preview 45 by Judy Layne, titled "Just Runnin' Wild", which can't be found online, but is featured on the wonderful Rodd Keith compilation "I Died Today", which I heartily suggest everyone find and purchase. As was sometimes the case with Preview releases, when a singer who only made a handful of tracks for the label was on one side, Rodd Keith ended up on the other, and such is the case here. He is heard with "The Raindrops", as he often was on peppy, sunny tracks. 

This flip side, "You Can't Fight It", is a bit off-kilter itself, with an awkward 6/8 beat and more country-tinged vocals (a previous owner even wrote "country" on the label, although he or she did not attempt to quantify the sound of "Just Runnin' Wild"). Those country vocals don't mesh well, to my ears, to the setting, particularly the sax fills, or the more pop-oriented lyrics. None of that makes it bad at all - the lyrics, by the fabulously named Rose Ann Gong, are quite nice - but it's a fairly weird record, one which sounds somewhat like aspects of the era's music and yet simultaneously not sounding like anything that would have been on the radio. 

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Sunday, March 31, 2019

Yours Cruelly, Mrs. Suds

Well, I haven't been posting much, what with a quadrennial visit from the accreditors, and the unexpected need to replace my car as quickly as possible. Hasn't left much time to do a lot of other things. And there still isn't a lot of time now, so although I'd hoped to respond to a couple of questions today, that will have to wait until next time.

As a reward for your patience, I'm going to offer up a full song-poem album, one that is so new-to-me that I haven't actually had a chance to listen to it yet - in fact, if there are glitches here, please let me know, because I literally didn't have the time to listen to this while the file was being created, or to the file, once it was done.

With one exception.

I bought this album despite the facts that I 1.) have almost no patience for the output of the Columbine label, and 2.) very rarely find anything to enjoy in the work of Kay Weaver, who dominates this album. And the reason I did, as soon as I saw it on eBay, was the presence of the song title you see up there at the top of this post, "Yours Cruelly, Mrs. Suds". I HAD to hear what that was.

And so, here is it. It does not disappoint.The lyrics do not contain the title phrase, and are instead concerned with the narrator of the lyrics seeking a "1-1-8". My friend Stu found a reference to this phrase meaning "drunk", and that could certainly be the meaning here, judging from the remainder of the lyrics. Lee Scott, in her only vocal on the album, gives a full bodied reading of those lyrics. And oh, those lyrics. Someone is having an issue with alcohol, and it doesn't sound like the rest of his life (the lyricist is male) is going that well either. I'll let you experience the joys of this song for yourself - it's certainly one of the more esoteric song-poems I've heard in recent months. Or years. And that may well be my favorite song-poem title phrase ever.

Download: Lee Scott - Yours Cruelly, Mrs. Suds
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And now, for your edification and enjoyment, the entire album. "The Now Sounds of Today" (which is the name of virtually every Columbine album), edition CRH - 81:


Again, I have not listened to these, so you all are actually going to get the chance to enjoy this collection before I do. As was often the case, the good (?) folks at Columbine included two public domain songs that nearly everyone would know, in order to make this look like a legitimate release. Kay Weaver handles 16 of the 18 tracks, with Ralph Lowe and the aforementioned Lee Scott each handling one. Enjoy!

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Tuesday, March 19, 2019

Hero Worship


Hot off the mailman's truck, and to your ears this week, is a record I was lucky enough to obtain just this week, and for a bargain of a price, given its contents.

What we have here is a tribute worthy of a hero, to that then-hero of the gridiron, O. J. Simpson. And who gets to do the honor but the voice of the label, circa 1973-74 (when this record dates from), Gene Marshall. Writer Thomas Hunter doesn't actually have a lot to say about O.J. - if someone didn't know who the man was, or what he did for a living, nothing in this lyric would give even so much as a clue. The backing track is suitably funky, and the Preview arrangers do a good job of extending a fairly short lyric into a standard 2 1/2 minute pop song.

And of course, the lyricist was 100% correct that (in a very musical phrase indeed) "his popularity is never going down". Of course that's the case - have you seen him on those Naked Gun movies? The guy is a stitch.

Download: Gene Marshall: O. J. Simpson
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The flip side presents a few fascinating areas of inquiry. It's a peppy record, with a sinewy melody and understated backing.

Here's what fascinates me: It features a vocal performance credited to "Dean Curtis", who's shows up on well under a dozen known Preview 45's. Maybe I'm projecting more onto this than is there, but the lyrics, in which the writer "thought was Superfly", seem to come from a writer with an African-American viewpoint. Did Preview have a male Black singer? Dean Curtis's name might certainly have been interpreted as being from such a singer, whether they actually had one or not.

But I have a suspicion that this might actually be Rodd Keith. It's not clear to me if Keith was even at Preview by this point (the records with his name on them cease about 200 label numbers earlier. But boy, that vocal is full of things that sound like his inflections, and has the understated sound of some of the records he made for MSR near the end of his life. And the Dean Curtis records dry up by the time that Rodd died.

Or maybe it's more simple - maybe Rodd, having moved on to MSR, had to appear under a different pseudonym - I have no idea how any of that works.

Or maybe it's not Rodd, but just a guy named Dean Curtis, I'm wrong about the Black angle, and there was no effort to deceive anyone, for any reason. What the hell do I know?

Download: Dean Curtis - I Can't Get No Sweet Lovin'
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