Sleazy Gene

Is there any question about whether Gene Marshall could rise to just about any occasion, and deliver a vocal which matched the subject matter just about perfectly?

Today's lyric, the very directly titled "Girl, What Are You Saving it For?", required a bit of sleaze, particularly on that very title line, and Gene delivers. I must say, as well, that whoever wrote the music and directed the track did a good job of hitting something a bit darker than the typical Preview record, as well. If only they'd skipped those god-awful white-bread backup singers - they ruin the mood.

Do you suppose this song-poet presented his lovely lady with this record, in the hopes that it would be the final piece of the puzzle, in terms of him getting what she was saving?

Download: Gene Marshall - Girl, What Are You Saving it For?
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Upon hearing the opening moments of "Hey! Pretty Girl", one could be forgiven for thinking there's another sexual come-on in this lyric. But that opening guitar gives way to a more standard Preview track, with both the music and vocal sounding like dozens of other Preview discs from this period.

What stands out for me here, actually, is a rare flub from Gene Marshall, between 1:10 and 1:15, where the band modulates up a half-step and Gene holds on to the note he was singing, until well after the chord change is complete. It sticks out both as a moment of bad sounding music and as a truly unusual event in a Gene Marshall performance.

Download: Gene Marshall - Hey! Pretty Girl
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B-Atlas

While working for the Film City label, Rodd Keith found his work released on myriad secondary labels - vanity labels, smaller song-poem labels related to Film City, and others whose providence I can barely guess at. Typically, he shows up as Rod Rogers, but sometimes has a different name. Most of those tiny labels have names which have something to do with the label's primary songwriter (such as Kondas and Lutone), have a catchy name (Action and Planet Earth, for example) or at least interesting and perhaps thought provoking (Inner-Glo is a favorite of mine). 

But what to make of this label, which I've never seen referred to anywhere, and can't find anything about, and which carries the clunky name "B-Atlas". Were they hoping someone would misread it and think it said "Beatles"? I admit that seems unlikely, but it's the best I can come up with. 

Today's Rod Rogers songs are typical of the Rod Rogers, Film City sound. Neither one stands out to my ears - I'm sharing these at least as much because this label seems to be completely unknown to the song-poem world - but as I'm a fan of his mechanical, Chamberlin driven tracks from that era and label, I find these very enjoyable. 

First up is "My Honey Bee", a mid-tempo, yet peppy and danceable number. I do notice that there are some lines which do not scan well with the music Rod(d) chose, and he clearly finds those lines a challenge to sing effectively.  

Download: Rod Rogers - My Honey Bee
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From the same general sound style comes the flip side, the awkwardly titled "Lou, I'm in Love With You". Note that a typo on the label leads to an indication that the song is only 75 seconds long - 40 seconds under its actual length.

Download: Rod Rogers - Lou, I'm in Love With You
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A Brosh-Tastic EP

It's four for the price of two today, here at song-poem central, and what's more, today's EP, on the tiny Brosh label, features four different singers, all but one from the Globe song-poem empire.

First up is frequently used Globe female vocalist Kris Arden, with a song not written by Smokey Robinson, nor sung by Mary Wells, yet still titled "My Guy". The backing track is Globe 101 - if not for the lyrics, I'm sure Sammy Marshall would have been singing this. But just listen to these lyrics - her guy sounds like a dreamboat; he's swell.

Download: Kris Arden - My Guy
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Speaking of Sammy Marshall, he's up next, with a number titled "Just a Few". This is also paint-by-numbers Globe stuff, and Sammy sounds (to me, anyway) pretty darned wistful, as if he believes the songwriter doesn't expect to win the girl. The ache in his voice here doesn't match the promise of the lyrics.

By the way, I'm going to make another file of this record tonight and see if it gets rid of some of the harshness of the sax portions (I didn't notice at the time of making this file that there was so much distortion, and the other tracks seem to be fine, so it might just be the track).

Download: Sammy Marshall and the Keynoters - Just a Few
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Best of the batch by a wide margin is "Makes My Heart Start Flopping Around", sung by everyone's favorite, The Mystery Girl. Here we have a swingin' little track, with a winning vocal, a nice band sound, and a lyric that, with a few improvements, could have sounded like someone's attempt at a hit record, at least during the late '50's (although I'm pretty sure this record is not from the late '50's). I could do without the honking sax, but that's a minor complaint - this is a fun song and record.

Download: The Mystery Girl - Makes My Heart Start Flopping Around
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The final track, on the other hand, is as vapid as they come. It's called "I Love 'Em So", and it does NOT sound like it comes from the Globe world (so to speak). The lyrics here are literally as stupid as I've ever heard on a song-poem 45, and there are so few of them that some sections have to be repeated three times (almost everything is sung at least twice) in the 110 seconds it takes for the record to mercifully end. The bridge is especially inspired:

Nothing but girls
Lots of girls
Nothing but girls
I'm in a whirl

I don't believe I've come across the song stylings of Ronnie May before, and I'm not sure what casa-de-song-poems put this masterpiece together, but I'm sort of interested in hearing more.

Download: Ronnie May - I Love 'Em So
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Music of Crusty America

Although I've never featured it on this site before, the Star-Crest song-poem label holds a special fascination for me. Their albums (and it's almost always an album - I've only ever heard of four 45's on the label, and have only ever seen one of those) are unlike the products of any other label, except for perhaps Film-Tone, a label which they are reported to have had some sort of connection to.

Star- Crest releases are extra chintzy, often described on the label as featuring an orchestra, although rarely actually featuring more than four instruments, and often fewer than that. Their singers are either hopelessly incompetent, or at best are not very good at sight-reading - it certainly sounds to me like these singers have never seen the material before. That was rarely a problem for the likes of Gene Marshall, but the Star-Crest vocalists seem to trip over the melodies quite a bit more than was the average for song-poem vocalists.

The songs are also over in a flash. This album contains 22 songs in barely 40 minutes, many of them under 100 seconds long. Like many Star-Crest albums, it also contains a genuine hit song from the past, in this case WAY past (hello, public domain), "Columbia, Gem of the Ocean".

Then there is the material that Star-Crest received, or at least those lyrics they accepted. Much of their clientele seems to have been stuck in that period of the '30's where exceptionally corny novelties and sickly sweet sentimental clap-trap ruled the day. Those writers whose lyrics were in some way more contemporary (again, see the second track, below) were simply out of luck. Because to nearly all of these lyrics were paired arrangements that simply exist out of time entirely. There is no period in American music that I'm aware of when hit music (or potential hit music) was released which featured vocalists paired with piano, guitar and clarinet (or sax). True demo records are not typically this elaborate - and actual releases on real record labels not anywhere near this sparse.

The first example today is the song "The Little Grey Rabbit", as sung by Mary Martell. Here's a lyric which is clearly leading up to a moral, and when it arrives, it's more sudden and perhaps a bit harsher than one might have expected.

Download: Mary Martell - The Little Grey Rabbit
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From the other end of the spectrum comes a hapless attempt at Rock and Roll, sung by label stalwart Tony Rogers, titled "Rock N' Roll Rocker". This contains one of the weirdest couplets I have heard in a song-poem (or any song) in quite some time:

"Grandma may be dead and weak,
but her get her in her rocker and she's a freak."

Dead and weak?

That's the "best" line, but the whole thing is amazing, in a car-crash sort of way.

Download: Tony Rogers - Rock N' Roll Rocker
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Finally, as an example of what some of the other material on the album sounds like - the stuff that isn't hit-over-the-head moralistic or hopelessly misguided, here's an attempt at whimsy, titled "Just a Little Tugboat", sung again by Mary Martell.

Download: Mary Martell - Just a Little Tugboat
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A full Star-Crest album which I posted several years ago to WFMU can be found here.

Love Me, Love Me, Love Me, Love Me, Love Me!!!

Well, it seems like every time I get a head of steam lately, something else delays me. My plan was to speed up the posts until I was back on an every Monday or Tuesday schedule, but various issues keep interfering. This week it was a minor emergency involving a family member, now largely resolved.

The good news is that I've figured out the sound problem with my turntable, and have uploaded improved sound files to last week's post (the Bob Storm record). That post, with improved sound, can be found here. I'll continue to fix the previous three or four posts as soon as I have time.

And now....

The same family issue mentioned above has left me with little time to offer comments on today's record, "Love Me, Love Me, Love", by Norm Burns and the Satellites. I will say that I rather enjoy the sound of this record, due to the efforts of the spare backing band (dig one of the simplest guitar solos in history) and Norm's unique stylings, but the lyrics are about as basic, repetitive and uninspired as they come. 

Download: Norm Burns and the Satellites - Love Me, Love Me, Love Me
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I can say nothing good about the flip side, "Oh! The Precious Blood". I'm not automatically opposed to religious records, but the words here are stultifying and the music is awful. I hope the sound file here worked correctly - I couldn't bring myself to listen to all four and a half minutes of this tedium a second time.


Download: Norm Burns and the Satellites - Oh! The Precious Blood
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It's Bob Storm Time!

On those rare occasions when a new Bob Storm record makes itself available to me, I make every effort to be first in line to buy it. My hope against hope is that the resulting record will not only actually feature Bob Storm (and Halmark - or in this case "Hallmark" - records bearing that name aren't always actually Bob Storm records - some are even women!), but that it will also feature Mr. Storm in his ultra-unctuous singing mode.

After listening to tons of Bob Storm records, and debating those that seem questionable with other collectors, it seems likely to me that ol' BS had at least two or three styles he could switch on and off, ranging from Standard Big Band Belter to that otherworldly, Robert Goulet on steroids voice I love so much.

So, even though I might not have said so in the past, I do think that the Big Band style vocalist on "My Teen Age Queen" is Bob Storm. That leads to a bit of disappointment, but this is more than made up for by the fact that here we have a vocalist who sounds at least 40 years old paying tribute to his teen sweetheart. That, to me, would have benefited from the more over-the-top Storm vocal style, but this one will do.

It's also worth mentioning that although this backing track is right in Halmark's wheelhouse, I don't remember hearing it on any of their records.

Download: Bob Storm - My Teen Age Queen
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On the flip side, "Only Because I Love You", we have a more intermediate step in the Bob Storm stairway to Unctuosity. He never quite steps into the abyss of that wonderful ridiculousness, but it's still fun to hear him emote over the canned music behind him.

On a side note, it's interesting to me that these two songs barely reach 4 1/2 minutes together, a real rarity for Hallmark/Halmark records, which tend to reach or pass the 3 minute mark on most sides.

Download: Bob Storm - Only Because I Love You
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The Sea and The Mountain

Howdy, Y'all,

First, I want to address a question I got from an anonymous poster last week, who asked where I get my replacement phonograph needles. I get mine from http://www.lptunes.com/. I had to enter the brand name and item number of my turntable, I think - it's been awhile since I used them for the first time.

And now, on with the countdown:

Much more often than not, when I've shared a mid-period Tin Pan Alley record - whoever the singer, but often Mike Thomas - my comments have been dismissive or satiric. And I think in having a listen to the attached songs, many would find those comments well deserved.

But here we have one with many of the drawbacks of other TPA records of the era - limited lyrics, limited instrumentation, somewhat limited musicianship, perhaps not the best choice of musical setting for the lyrics - and yet, I kind of dig it. The DIY sound here works a bit better than usual, Mike Thomas stays on pitch and seems more suited for this particular material than I can remember on any of his other discs.

I do think a more dramatic setting might have worked better about a song which pays tribute to those who died at sea, and also serves as a warning to those who feel "The Call of the Sea", and yet.... this is sort of enjoyable...

Download: Mike Thomas - The Call of the Sea
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The flip side, "High on the Mountain" strikes me as pretty much a throwaway - it's 87 seconds long! It has some of the same qualities of "Sea", but nothing to distinguish it, or to make me want to hear it again.

Download: Mike Thomas - High On the Mountain
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Everyone Wants More Dick

Well, so much for the plan to fill up the site with posts every five days until I was caught up. Days after making the sound files for the last two posts, my needle gave up the ghost, and as I order new ones online these days, I had to wait a week for a new one.

But I think I've got something to make up for that delay, in one of the weirdest song-poem pairings you're likely to come across. 

I first saw these titles several years ago on the AS/PMA Preview page, but never thought I'd actually get a chance to hear them. Glory be, though, a copy came up for sale in a Buy It Now on eBay, and I snapped it up! Here we have someone named Alain Peron, offering up some thoroughly misguided (and limited) lyrics supporting the GOP ticket of Richard Nixon and Spiro Agnew.

On both sides of the record, the limited lyrics are padded out to nearly four minutes by lengthy instrumental sections. Note that the singing on side one ("We Want Dick, We Want Dick, We Want Dick") doesn't start until 70 seconds into the record, and ends (aside from some chanting) more than two minutes before the record ends. And doesn't the crowd at 2:20 sound enthused? That's all I'll say, I think - I'll let you discover the wonders of this record on your own.

Download: Gene Marshall - We Want Dick, We Want Dick, We Want Dick
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The Preview page has some contradictory information regarding when various records appear to have been released, but based on this label number, it appears much more likely that this record was put together for the 1972 campaign, rather than the 1968 campaign.

The flip side of this masterpiece - "We Want Dick and Spiro, We Want Dick and Spiro, We Want Dick and Spiro" - opens with music unlike anything ever heard on another Preview disc. It starts with a moment of polka-esque music, before moving into some Austrian-styled oompah music. The vocals here wait until the 75 second mark, and clearly are from a different recording - you can hear the source tape ramping up to speed on the first word. At least on this one, the vocals carry on for the remainder of the song.

Again, the lyrics here are the main show, and I encourage you to discover them on your own, with one exception that I will share, because it just makes me laugh out loud - has anyone actually ever referred to politicians in this way: "a Repub instead of a Demo?"

Download: Gene Marshall - We Want Dick and Spiro, We Want Dick and Spiro, We Want Dick and Spiro
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Sadd Rodd

Today's feature is shared more for an interesting side note about it than for any particularly high quality in terms of song, arrangement or performance. I actually find the song dull, the pressing of the vinyl abysmal, and the arrangement and performance absolutely pedestrian.

But that's sort of the point. Those reading this site are probably at least vaguely aware of Rodd Keith's decline during 1973-74, as detailed in booklets to various CD releases, ending in his death shortly before the end of 1974. It looks very much to me as if this record was one of the final releases that came out under any of Rodd's myriad names during his lifetime.

Admittedly, some of this is conjecture. But while the song-poem website is woefully incomplete, it does appear that there were VERY few records by Rodd Rogers (the name he used at the label at that time) after release number 784, heard below, "Leaving Chicago Today". And aside from one or two later releases, the others seem to be "vault" releases, if MSR did such a thing, one being a song pulled from the "Variety Songs for 1969" album, apparently well after that album's release, and one being released at least two years after Rodd's death.

I'm guessing I'm right, but whatever the cause, "Leaving Chicago Today" is just about the most lackluster performance I've ever heard from Rod/Rodd Keith/Rogers, and a cookie cutter arrangement which is just about the antithesis of what he had typically offered up, with none of the hallmarks of his style or abilities. my thought is that if you played some of Rodd's mid-'60's highlights from Film City and Preview for a neophyte, then played this one, the listener would likely say "what the hell happened to the guy?".

Download: Rodd Rogers - Leaving Chicago Today
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About the flip side, "I'm Talking to Myself", I could easily say most of the same things. This record sounds to me like someone's truly bad attempt to tap into a sound and style which was popular on the charts around the early '70's - attempts which fail miserably, in part at least because of what sounds like the disinterest of everyone involved.

Download: Rodd Rogers - I'm Talking To Myself
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If anyone out there has more insight into Rodd's life and times, and the likely release date of this record, by all means, let me know, and if I'm offbase, I'll update accordingly.

Back in Business!!!

I was effectively out of town the weekend before last, and knew I'd be a bit late updating the site as a result. What I didn't know was that, within about 24 hours of returning home, I'd lose my internet connection for the better part of a week. I was (and am) online at work, but that wasn't going to help, if you know what I mean.

So I've had one of those rare periods where I've been unable to post for two weeks. And I don't like it. I'm going to try and post every four or five days until I'm back on schedule in a few weeks. For this week, I don't have much time to blather on about it. Suffice it to say that it's a very late period Film City masterwork (okay, that's a bit of an overstatement - it's a work), featuring Jim Wheeler. Note that Wheeler gets co-writing credit on both sides.

The better of the songs, by a wide margin, is on the b-side. "Old Grey Mule" is no great shakes, and the sound quality is awful, but there is a home-spun charm about the lyrics, at least if you don't mind hearing about the singer getting beaten up by.... well, I'll let you hear it... and as always, the otherworldly sound of the Chamberlin.  

Download: Jim Wheeler and the "Swinging Strings" - Old Grey Mule
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The flip side of this record, "The Lawman's Creed" is a genuinely tedious (four and a half minutes!!!) telling of an Old West tale, with an ironic ending straight out of six dozen other songs and stories of this type. I swear this song seems ready to stop entirely at a few points along the way, and the story could be summarized in a half-minute at most.

Download: Jim Wheeler and the "Swinging Strings" - The Lawman's Creed
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More this weekend!

Cara is Blue, and Sonny Thinks You Want to Cry

The Air label typically released song-poem material produced by other companies - I can't think of one which didn't feature performers associated with one of the song-poem factories, and there are multiple examples of a record on Air Records existing on another label, sometimes in differing sound quality.

There are examples of both duplicated songs and questionable song quality on today's feature. The first song on this EP is a song called "Sugar", sung by Cara Stewart (with Orch). I'm not including it here, because I've already shared the exact same recording (which comes from the Lee Hudson song-poem empire) in a previous post, except that the release I've already featured appeared on the tiny Caveman label. You can find that enjoyable (if poorly written) song here (although, oddly, Orch didn't get the credit they deserved on the Caveman release of this material - perhaps it was a contractual issue).

The other Cara Stewart (with Orch) song on the EP is the equally enjoyable "I'm So Blue". As usual, Lee Hudson provides his dreamy backing, and Cara sings with that irresistible smile in her voice, one that can almost lead you to overlook the sad story she's telling us.

Download: Cara Stewart With Orch - I'm So Blue
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The flip side of the record comes to us from the Globe song-poem consortium, featuring their go-to guy, Sammy Marshall (with Orch). While the two songs on the A-side sound just fine, the songs on the flip sound to me as if they were literally mastered off of another 45. Given that, as I said, many Air 45's feature songs which also appeared on other labels, this is entirely possible. Sadly, the crappy sound on the songs on side two of this EP are far from the only recordings on Air Records which were released in this level of sound quality.

And that's kind of a shame, because the first song on this side has some appeal, with a peppy beat, a warm Sammy Marshall (with Orch) vocal, and some fun instrumental stuff going on in the backing track here and there, especially that opening guitar. I'd never claim this is great stuff, only borderline okay, but I'd still like to have heard it in decent sound quality.

Download: Sonny Marshall with Orch - I'll Always Love You
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"You Want to Cry", also featuring Sammy Marshall (with Orch), finishes off the disc. The sound quality again sucks, but I'd be hard pressed to work up the energy to care, as I doubt I'd want to hear this one twice even if it was digitally remastered and released in the highest sound quality ever achieved.


Download: Sonny Marshall with Orch - You Want to Cry
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It's impressive how different "Orch" sounds from the A-side to the B-side. It's almost as if there were two different bands playing. Oh, wait...

Forget You!

I was tempted to think that today's record, "Oh, I Forgot" by Randy and Sandy, might have been one of those rare Tin Pan Alley sides, all but gone by this point in the late '50's, which might have been intended for the legitimate world of charts and pop hitdom. In it, I hear a strong enough song, with a clever lyrical hook (to me, at least, genuinely funny),  and performed by the sort of male duo which were in vogue at that moment (1958-59).

But then there's that co-writer credit to "DeVito", a person who - whoever he was - turns up on a few dozen TPA records around this time (as frequently as (the overall more common) "Covais" for a short time. It would appear that "DeVito" was, at least for a year or so, part of the composing staff who would set the lyrics to a tune, rather than just happening to be part of more than 18 songwriting teams within a year. The presence of that name on the label, to me, is the killer blow saying that this is just another song-poem record, albeit a very catchy, funny and enjoyable one.

Download: Randy and Sandy - Oh, I Forgot!
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While I said I was tempted to think that "Oh, I Forgot!" was an attempt at a legitimate hit, I'm honestly not tempted to think about the flip side "A Little Bit of Love", at all. Although again credited to Randy and Sandy, it sounds to me that only one of the pair is audible on this side.


Download: Randy and Sandy - A Little Bit of Love
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