Wednesday, December 30, 2009

One Year In!

Today, to celebrate the completion of one year of song-poem of the week posts (52 of 'em!), I'm going to do something a little different, and hope both that I will be forgiven a bit of self indulgence and also that readers of this blog will find today's extra tracks enjoyable. 

On several occasions, I've been part of performances of song-poems. Mostly, these have taken part at music-and-comedy parties that my friends and I have been holding for 25 years now, but I've also done recordings of a couple of song poems in my "home studio". Today, the original versions of four of my favorite song poems, each followed by a performance of the same song that I've taken part in. 

First up, the record that is quite possibly my very favorite from the extended song-poem world. I say "extended", because this is a Norridge Mayhams record in which he himself takes the lead. For that reason, this is probably more of a vanity record than a song-poem, although Mayhams was, of course, actively involved in the latter, as well. With my love of Calypso, Rhumba and other Latin rhythms from the middle of the 20th century, the lilt of this one was a natural for me to love. And Mayhams Vaudeville-type delivery gets to me, too. 

This song was part of the AS/PMA download page, so I'm sure it circulates among collectors, but may be unheard by some readers. The sound quality is horrendous (the 45 copy I own appears to be a copy mastered directly from a 78), but it's one of the strangest, most amazing records I've ever been lucky enough to hear, and it's called "Mary Ann McCarthy (She Went Out to Dig Some Clams) (Yes She Went to All the Parties)".

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Five years ago, at one our periodic parties, I recorded a backing track for a live performance of this song, played the lead part on the same keyboard, and two friends played guitar and uke in the live rendition that I sang. My flubbed lead keyboard playing, and the fact that we repeatedly played too loud to hear the backing track (getting woefully off beat with it at least three times), would both normally be considered significant flaws, but somehow, they seem just perfect for a performance of a song poem. I hope you find this as enjoyable as it was to take part in: 

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From the other side of the musical and song-poem world comes David Fox, and his arrangement and performance of the Caglar Juan Singletary's fascinating and indescribable "Non-Violent Taekwondo Troopers". Here's the original, another of my all time favorites: 

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And here, from the same party as that performance of "Mary Ann McCarthy", comes a rendition of "Non-Violent Taekwondo Troopers". A friend of mine and I worked out a backing track for the song, including a "cold" ending for the song (which faded on the original record). During the performance heard here, I played the lead keyboard parts over the backing track, and my friend - dressed as "Captain Bicycle" - sang the song with great verve and panache. Again, I hope this recording, with the audience comments and reactions, captures the energy of the moment: 

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If there is a competition for my favorite song-poem (with "Mary Ann McCarthy"), one of the few other records in the race is Norm Burns' exquisite early '60's-sounding gem "Darling, Don't Put Your Hands On Me". Everything about this record is perfect, from the overall sheen of the thing to Norm's expert reading of the lyrics to... well, I'll just say that on some days I think of this as being as good as any record ever made. This one also was on the AS/PMA website, so I'm certain it's well known in some circles, but perhaps others have not heard it. Here it is: 

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Now, from another one of our parties, here's my friend Stu and I, with Stu singing, on an almost impromptu version of the song. I say "almost", because we had discussed possibly performing the song, prior to the party, and I had worked out what keyboard settings to use in case we did it, but there was no rehearsal and no other preparation, which explains the many moments of poor keyboarding (a couple of flubbed moments have been edited out) and some of the alternate lyrics employed. The sparse applause indicates that this was at the tail end of the party, with most of the attendees and participants long gone.


Finally, the first Halmark record I ever heard, sent to me in trade from song-poem hero Phil Milstein way back in the late '90's, long before this song appeared on an online offering of one of the final "MSR Madness" compilations. I was immediately taken by this song, "My Hamburger Baby", and wrote, requesting an entire cassette of Halmark records, the next time we traded from our collections. It remains an all time favorite of mine, a completely ridiculous lyric married to an out of date backing track, sung with complete sincerity: 

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A few years ago, I set out to make a note-for-note remake of this record (or as close as possible - there are no backing vocals, for one thing). Obviously, this has all of the authenticity of a McDonald's Hamburger, due to the midi instrumental track, but I still think it was worth the effort. This will part of my self-produced CD "A Few More Plans", whenever I finish the final tracks for this ten-years-in-the-making epic. 


I hope you found these cover versions (and, of course) the originals, and would welcome any feedback or other comments regarding what you thought of them. And I'm always open to any requests for more of a particular style or label. I tend to feature tracks that appeal to me, of course, but am quite willing to expand that to include requests. A Happy New Year to all who have stopped by to read and enjoy! Much more to come! Bob

Monday, December 21, 2009

A Few Christmas Favorites

Today, a couple of Santa songs. First up, here's one of the first song-poem 45's I ever found, probably around 1998 or so. It's Sammy Marshall, performing here as "Bob Rule" with the group The Rays. I do love the ridiculous lyrics to this one, particularly the inspired verse line: "Dancing, dancing, dancing, dancing". To be fair, there are other lines here which work really nicely, including "they condition for their mission, and especially "feel that rhythm and you're in there with 'em". This is the only record in my collection on the Dial label, the same outfit which brought us the fascinatingly off kilter "Our Hearts Were Meant to Beat as One". In this case, much as I enjoy "The Santa Claus Polka", I do wonder if the songwriter was the least bit upset that it wasn't set to music which at least resembled a polka. On the other hand, this is more enjoyable record, in my opinion, than anything on the Song-Poem Christmas CD that came out several years ago. 

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For completeness sake, here's the flip side of the record, "That's My Desire, Dear".


  Along with one of my first acquisitions, here is the most recent addition to the collection, a nice Frank Perry vocal on "Santa's Making History" from the Film City label. I sure do love that Chamberlain sound. Or should I call it "New Sounds from Hollywood"? 

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  And again, for those who like to have the complete set, here's the flip side, "His Love". This song threw me off the first time I heard it, with its lines about outer space mixing with religious thoughts throughout. The instrumental hook from the Chamberlain is especially nice here. Both of these songs come from the pen of song-poet Sandee Shoare. Come to think of it, I think I vacationed at Sandee Shoare once. Nice.

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Saturday, December 12, 2009

Teaser

I don't know that I'll ever post entire albums here, but I have been working on a post to WFMU of a very nice Gene Marshall album. Time remains very tight at our home this week, and as a result, what I'm offering today is a teaser for a much bigger post which will show up around 11 CST tomorrow, 12/13/09 at blog.wfmu.org , the "Here's Gene Marshall" album, on Preview. *Update: The album is now posted, HERE Here is my favorite track from the album, a quick little number which manages to recall (for me, anyway) both the patriotic tune "Over There" and Edith Piaf's "Milord". It's called "I'm On My Way to Success".

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Monday, December 07, 2009

It's Norm Time!

Time is very short today, so I'm going to dispense with my usual wordiness and just introduce one of my favorite song-poem singers, Norm Burns, sounding even more than usual like an early '60's teen crooner, on "Baby, Give Me Some Lovin'": 

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And here he is, in supper club mode, with "Golden Moments":

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Finally, I'd like to say Happy Birthday, Dad, wherever you are. We miss you. 12/7/21-5/3/96

Sunday, November 29, 2009

Norris Mayhams: The Early Years

Although I just featured a Norridge Mayhams single a few weeks ago, I'm returning to that well again today, because I've just obtained one of the earliest known Mayhams Co-Ed label singles. The AS/PMA site puts the date on this one at "1945?", and given the lyrics, it certainly seems to date from some time during WWII. 

It's also the second lowest number of the listed Co-Ed singles (most of which pre-date his Mayhams label records), meaning it is likely among his earliest self-released records. He made earlier records with the Blue Chips (and wondrous many of those are), but they were released on established labels. I find the Mayhams story (what little I know of it) and his records endlessly fascinating. 

Today's feature carries the amazing name "The Hopewell Junction (To Wartime Function)" Those of you who have heard Mayhams later 78 - one with an far more amazing name - "Yamtang Yamtang Rankytang (No Meat Sweet Potato Swing", might notice a subtle similarity between the melody to the chorus and bridge of that record with the same sections of this record. For those of you not lucky enough to have heard "Yamtang...", here's a hint - the tunes to those sections of both songs are virtually identical. 

Please excuse the surface noise as you enjoy Carl Bostic and his Orchestra: 

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On the flip side is a real rarity on Mayhams' records - a song not written by the maestro himself. This song, "Married Man Blues", performed by "The Ministers of Melody", carries a writers credit to someone named "Lowe":

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Sunday, November 22, 2009

A Late One From Rodd

Today's offering appears to be among the final records made by Rodd Keith for Preview, at least based on the available evidence. As my friend Stu points out, the label number for this one is within 100 numbers of the highest one found in the song poem database. And this is a pretty interesting one, at that, capturing in ballad style, the true story of a mining disaster. The details of this event can be found on this website, which (aside from being fairly difficult to read - at least on my browser) is quite fascinating. Here's "The Explosion of Holden 22 Mine": 

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The B-Side, "Blue Baby" is more of a standard issue Rodd Keith record, although it's still fairly catchy, and features a soulful vocal, and a particularly great vocal finale.

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Sunday, November 15, 2009

What the Hell???

It's Tin Pan Alley Blowout Day here at the home of Song Poem of the Week, with six for the price of two. And the usual two are free! Was there any other song-poem label which displayed more variety during its years of operation than Tin Pan Alley? From 1950's efforts in doo-wop, they moved into the sounds of the day, taking stabs at calypso, topical song, novelty pop, and 1960's pop, among many other genre's, and plenty of hard to define releases. Beyond that, Tin Pan Alley records' lyrics can be among the weirdest I've found on song-poem records. Here, in chronological order, are three supremely odd releases. First up, an almost comical pairing of marital complaints, both from the pen of the perfectly named Larry Loco. First up, Billy Grey offers up Mr. Loco's views of Marriage, from the male perspective. 

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  Then, on the flip side, Eleanor Shaw presents Larry's conception of the complaints of a woman, not only about her marraige, but about all men. The sound quality here is terrible, by the way, but the words more than make up for it.

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  Moving up several years now: Near the end of their days as a label, Tin Pan Alley stopped identifying the performers by name, and started slapping a couple of group names on their labels. The last four songs are by "New Image". First up is "Pride", with the lyrics shoehorned - no, pistol-whipped - into a rockin' backing track. I've listened to this nearly a half-dozen times, and have no idea what the hell she's singing about. 

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 No such problems with the flip side, "A Girl and a Guy in Love", the problems here, instead, being the sheer banality of the lyrics (have there ever been worse or more obvious rhymes than those featured in this record?), and the barely in tune vocal.


  Leaving the best for last, here's one of the highest numbers I've ever seen on a TPA record - meaning it is among their last releases. Beyond that, it's easily one of the most unhinged things I've heard on a TPA record (on both sides) - in both cases, my first thought, again, was "what the hell???". But I think I'll let both sides speak for themselves. Here's "Fortune Teller": 

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And perhaps my favorite of the six, this little slice of Steppenwolf wannabe rock, "Lady Wildcat".

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Sunday, November 08, 2009

A Song For Jackie

It's EP day here! And what better kind of EP to share than a Halmark EP, or, in this case, a "Hallmark" EP. For their "Hallmark" releases, the label actually went so far as to bother to name the singers on the tracks, something they rarely did on the more common "Halmark" series. This EP is by Bob Storm. 

As a special request to a blog correspondent, and in honor of the upcoming 46th anniversary of the death of JFK, here's a very vaguely written tribute to Jackie Kennedy, one which has always been a favorite of mine, "My Fair Lady". It's worth noting that, like most of the Halmark records in circulation, this record came out some time in the 1970's, meaning that not only is it completely out of time with the pop music of the day, but that the song-poet waited about a decade to submit his Kennedy tribute to the song-poem mill, which would have meant that any audience the song might have had, had no doubt lost interest at least a half-dozen years earlier. 

However, this is one Halmark (or Hallmark) record in which the song, as written, actually seems to go very well with the backing selected, rather than having been shoehorned in. 

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The second song on the EP was part of the AS/PMA download page for years, and no doubt circulates among collectors. However, it is one of the most amazing lyrics to be heard among song-poems, and an equally amazing match of lyric and singers (although it was written by a male, which surprises me), and perhaps there are those out there who have never heard it. Also, this version of the MP3 should be in significantly higher quality than the one which circulates. Perhaps one of you can make sense to the lyrics of "Let's Lay it On the Line". 


(Incidentally, if there's something any reader out there is looking for, or a genre, subject matter or label you'd like to see represented here, please don't hesitate to let me know, via a comment on this or any other posting.)

Anyway, the songs on the flip side, "Michigan Baby" and "Ageless Love", don't hold the same fascination for me, but perhaps they will connect with you a bit more.

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Sunday, November 01, 2009

The Songs They Play Are On Vellez!

From what was undoubtedly a tiny label, Vellez, comes an irresistible bit of hillybilly rock song-poemetry. The label slogan - "The Songs They Play Are on Vellez" - seems exceptionally unlikely, as much as I wish it had been the case. 

There's a lot to love in "I'd Be a Fool to Keep On Loving You", from the start stop arrangement, to Ray Phillips' vocal, to the sound of the band, to the name of the author, the fantastically named Jimmy Manship. This sounds a bit like something Country Dick Montana of the Beat Farmers might have done, if he'd been around in the '50's. I am particularly fond of the no-doubt unintended noise captured right at the end of the song, after the last drum beat. 

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The flip side, "Our Tomorrow Ended Today", has charms of its own. I noticed in passing that the sound of the band, particularly the pianist, reminded me of the record I recently posted by The Allison Sisters (on the Blue Hen Label). I was amazed, then, when I went to see if this record was listed at the American Song-Poem Archives, and found that the very next record released by Vellez, in sequence after this one, was by the Allison sisters! While that Blue Hen Allison record contained originals, the Vellez record by the Allisons contained what are likely song-poems, as one of them was written by - you guessed it - Jimmy Manship. I wonder if "Strong Chords of Love", on Blue Hen, was recorded at the same sessions as this record and the Allisons' Vellez single.



As a bonus, here's a link to my post today at WFMU's blog, which is of another, far more ridiculous song-poem.

Wednesday, October 28, 2009

Phil and Don Meet Jimmy and the Boys

Here's something a little different than what I usually post. I put this little mixture of sounds together late last month. It combines one of the best sounds of the '50's with one of the best sounds of the '70's. I called it "Wake Up Zeppo". Lemme know what you think! 

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Thursday, October 22, 2009

Mayhams Mayhem

I first heard of song-poems (and heard my first one, "How Long Are You Staying"), when Dr. Demento mentioned the genre in 1993. By the time I got around to trying to order that first compilation album, it was out of print, but instead, I got the second volume (and first CD), "The Makers of Smooth Music". And my first favorite song-poem, by a wide margin, was "The Watusi Whing-Ding Girl". The insane sound of the track - I had no idea it was a one-man band at the time - had me wondering "what the hell is going on here?" I loved the sound of the Chamberlain, the fact that the drumming was rarely in the same song as the rest of the performance, the melody of the thing, the soulful vocal (with its cracking on one note) and the insane solo section. 

While I've never been lucky enough to find a copy of that 45, I have recently been lucky enough to find and purchase a close relative of the performance, and not only that, it overlaps with one of my favorite song-poem stories, that of Norridge Mayhams. For this is a Mayhams Collegiate record, credited to "Variety Joe", but clearly (on the A side anyway), Rodd Keith, in his Film City guise of one man band Rod Rogers. And while this performance is not as off-the-deep-end winningly bizarre as "Watusi...", it's in the same ballpark. 

Rodd has used some of the same backing settings, including that drumbeat, which for some odd reason, plays the fill every FIVE bars, and in the middle of a measure, at that. Not only that, the drums again get completely off the beat with the rest of the track, and the solo section is again messed up - I think there's an edit in there. And of course, there is the fact that we're being encouraged to do a dance step named "The Rattlesnakin Mama". Everyone groove! 

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 The other side seems to feature a different vocalist, one I'm not familiar with, although the backing track seems very likely to be another Rod Rogers' special. I love the deep vibrato on that one setting that recurs throughout. While you're enjoying "You Left Me Honey Honey", particularly the distinctive yelp near the end, please also notice that the songwriter credits on the two sides are different, and yet each is a name used regularly by Norridge Mayhams. Also enjoy Mr. Mayhams' record label design, which is one of my favorites, one which is far better than most of the designs used by major labels over the years.

      

Thursday, October 15, 2009

Daddy!

I sure love these 1950's Tin Pan Alley singles. There's apparently some overlap on the early TPA singles between legit releases, vanity pressings and song-poems, and to be honest, today's sample (at least the A-side) seems, to me, too professional and too conventionally "good" to be a song-poem. On the other hand, the '50's TPA records have a fairly high level of performance and production quality, even those which are likely or clearly song poems. And the flip side of this one certainly sounds like a song-poem to me. So who knows? Regardless, I did want to share this one, "Daddy!", by Alberta Jordan, because it's a really fun record, one which should be recalled fondly by people of a certain age, as a favorite big late '50's hit, but of course, that's not the case. I don't know why - who could resist that opening section. You know you're in for something fun. And I find the lead vocal irresistible - dig the sharp intake of breath at the one minute mark! The echo on the final verse is the only clue (to me) that something outside of the norm is going on here. Enjoy!: 

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Side two, as mentioned above, sounds much more song-poemy to me, although I suppose one could also say it sounds like any number of pop hit b-sides from the same era. Here's Alberta Jordan, again, with "Should I Trust You With My Heart?":