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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