Posts Tagged ‘Bobby Moore & the Rhythm Aces’

A Baker’s Dozen from 1966, Vol. 3

July 20, 2011

Originally posted July 21, 2008

One of the joys of music blogging is the occasional discussion that rises up, either here or at other blogs I visit. One of the questions that almost always sparks discussion is an attempt to identify the perfect single. I’ve joined in that conversation at several blogs over the past eighteen months, and my candidate for the perfect pop-rock single is always the same: “Cherish” by the Association.

It’s got a gorgeous melody, wonderfully glistening production (by Curt Boettcher, if I’m not mistaken), and its lyric tells a tale of unrequited love accepted sadly and with grace, probably far more grace than almost any of us could muster when faced with the reality that our beloved will never stand next to us.

I came to know the song in the autumn of 1966, when it was No. 1 for three weeks. It was a record that could not be avoided, even by those who were not particularly enamored of pop and rock. I liked it even though I had no real understanding of its lyric. That came three years later during my junior year. The young lady was kind but made it very clear that her interests were not congruent with mine. The next time I heard “Cherish,” I understood it much better.

It’s one of those songs perfectly crafted to provide teen-age solace: While so many songs about love embraced can be tabbed by happy young couples as “their” song, “Cherish” is one of very few records that a loving yet solitary young person could hold as his own, with the substance and eloquence of the lyric providing both consolation and the awareness – maybe for the first time – that love unreturned is not love in vain.

A Baker’s Dozen from 1966, Vol. 3
“Cherish” by the Association, Valiant single 747

“Loving You Takes All Of My Time” by the Debonaires, Solid Hit single 102

“Can’t You See” by the Countdowns, N-Joy single 1015

“Hey Joe” by the Leaves, Mira single 222

“Sweet Wine” by Cream from Fresh Cream

“Must I Holler” by Jamo Thomas, Chess single 1971

“Love Is A Hurtin’ Thing” by Lou Rawls, Capitol single 5709

“At the River’s Edge” by the New Colony Six, Centaur single 1202

“Searching For My Love” by Bobby Moore & the Rhythm Aces, Checker single 1129

“Stanyan Street, Revisited” by Glenn Yarbrough from The Lonely Things

“Cherry, Cherry” by Neil Diamond, Bang single 528

“Happenings Times Ten Years Ago” by the Yardbirds, Epic single 10094

“Pushin’ Too Hard” by the Seeds, GNP Crescendo single 372

A few notes:

The Debonaires – mistakenly listed as the “Debonairs” when “Loving You Takes All Of My Time” was originally released – were Joyce Vincent Wilson and Telma Hopkins, two Detroit-area cousins, and a few other people who, according to All-Music Guide, have never been identified. The group released a number of records on a number of Detroit-area labels in the early to mid-1960s, but never had a single reach the Top 40. Wilson and Hopkins ended up performing with Tony Orlando as Dawn, beginning with Dawn’s second hit, “Knock Three Times” in 1970.

The Leaves’ version of “Hey Joe” may not be the first recording of the song – the song’s lineage is one of those difficult to trace – but it was the first version to chart, reaching No. 31 during the summer of 1966.

The New Colony Six was from Chicago, a decent group that ended up putting two records into the Top 40: “I Will Always Think About You” in 1968 and “Things I’d Like To Say” in 1969. A college friend of mine was from the Windy City and took every opportunity he could during beer-fueled evenings in Denmark to let us know how good the New Colony Six was.

I’ve written here a few times about my affection for two of Glenn Yarbrough’s mid-1960s albums: For Emily Whenever I May Find Her and The Lonely Things. I acquired the first of those on CD some time ago and found the latter online recently. “Stanyan Street, Revisited” is sentimental – with Rod McKuen providing the lyric, how could it not be? – and its production values are clearly more in line with traditional pop than with rock. But set aside irony and give it a listen.

This set ended up with some good garage-y sounds: the Countdowns, the Leaves, the post-Clapton Yardbirds and the Seeds. The Countdowns’ single didn’t chart, and – as noted above – “Hey Joe” went to No. 31. The Yardbirds’ single went to No. 30, and “Pushin’ Too Hard” reached No. 36.

Corrections and clarifications:
I got a note this morning from Patti Dahlstrom, who gently corrected a few errors in my piece on her fourth album, Livin’ It Thru, which I posted here a week ago. She wrote: “Though I did play piano on stage for a song or two, I never played on my records.” The keyboard parts on Livin’ It Thru, she said, came from Larry Knechtel, Michael Omartian, Craig Doerge and Jerry Peters. The credits listed at West Coast Music, which I used as a jumping-off point, are incorrect in listing Daryl Dragon as playing keyboards on the record; Patti said he arranged the background vocals.

She also answered two questions I had: First, the astounding harp solo on the track “Lookin’ For Love” was by Knechtel. And second, Jay Cooper, who was listed in the credits on the record jacket, is Patti’s attorney and has been since 1967, “a powerful man with great heart and integrity . . . quite an unusual combination.”

Edited slightly from original posting.

Chart Digging: August 13, 1966

August 13, 2010

For your faithful narrator on August 13, 1966, eighth grade stood only a few weeks away, an obstacle course of classes like basic geometry, the physical sciences, and shop, which this year would include sessions on electricity, metalwork and plastic resins. There would, thankfully, also be time spent in English class, in geography and in band and choir.

And in the spring would come the welcome diversion of the school play, Plenty of Money. He would in the end be disappointed, claiming only the role of Mr. Johnson, a senior citizen who has business at the bank at the time it is robbed. Mr. Johnson’s sole utterance during the play was to tell the robbers, “You can’t do that!” Well, they could and they did, potentially wiping out Mr. Johnson’s nest egg and possibly leaving him to a life of tuna-noodle casserole and Saltine crackers. Admittedly, your narrator never considered Mr. Johnson’s post-robbery life; he was only interested in divesting himself of Mr. Johnson’s sport coat, slacks and wrinkles after the two scheduled performances.

But in mid-August, the disappointment of being Mr. Johnson for two evenings is still nine months away. The summer dwindles, and as it does, your narrator hears around him the sounds of popular music, most of them tunes he recognizes even though he’s not yet at the point of being an active listener.

Here’s the Billboard Top Ten for the week ending August 13, 1966.

“Summer in the City” by the Lovin’ Spoonful
“Lil’ Red Riding Hood” by Sam the Sham & the Pharaohs
“They’re Coming To Take Me Away, Ha-Haa” by Napoleon XIV
“Wild Thing” by the Troggs
“The Pied Piper” by Crispian St. Peters
“I Saw Her Again” by the Mamas & The Papas
“Sunny” by Bobby Hebb
“Mother’s Little Helper” by the Rolling Stones
“Somewhere, My Love” by Ray Conniff & The Singers
“Sweet Pea” by Tommy Roe

I liked most of those, with much of my affection reserved for Ray Conniff’s very middle-of-the-road performance of the theme from the film Dr. Zhivago, a piece of music that’s remained one of my favorites for more than forty years now. This record, Conniff’s only Top 40 hit, peaked this week at No. 9, though it spent four weeks at No. 1 on the chart now called Adult Contemporary.

My feelings for the silly record by Napoleon XIV couldn’t be called affection, but I thought the record – at its peak at No. 3 – was one of the funniest things I’d ever heard. Of course, I was only 12 – just twenty-three days from being 13 – and my tastes were still forming. But oddness was already prime among them, and “They’re Coming To Take Me Away” had that quality to a degree difficult to measure:

Napoleon XIV, according to All-Music Guide, “was actually Jerry Samuels, a 28-year-old recording engineer who had previously written small hit singles for pop crooners Johnny Ray and Sammy Davis, Jr., as well as making a conventional single of his own.” The flip side of “They’re Coming To Take Me Away, Ha-Haa,” as I’m sure many of you know, was the A-side played backwards, with, predictably, “!Aah-ah, Yawa Em Ekat Ot Gnimoc Er’yeht” serving as the title. Samuels got enough notoriety out of the hit to be able to release an album. His hit was the title song, accompanied by what AMG calls “more atonal odes to madness varying the bedrock elements of minimal percussion and speeded-up chant/vocals.” Other titles on the album included “Marching off to Bedlam,” “Let’s Cuddle in My Security Blanket,” “I Live In A Split-Level Head” and – credited to Josephine IV – “I’m Happy They Took You Away, Ha-Haaa!”

(I should note here the passing on August 4 of Bobby Hebb, who not only recorded “Sunny” but wrote the song. Forty-four years ago, during the week we’re examining here, the song was on its way to No. 2. That means that Hebb was keeping some exclusive company around this time in 1966: The Los Angeles Times noted last week that, “At the height of the song’s popularity, Hebb toured with the Beatles in the United States.”)

A little bit lower in the Top 40 lay at least one gem that week. Bobby Moore was a saxophone player from Montgomery, Alabama, and he and his group, the Rhythm Aces, recorded for Checker, a subsidiary label to the famous Chess label. The second week of August found the group’s “Searching For My Love” peaking at No. 27.

From No. 27, we’re going to drop way down in that chart from August 13, 1966, not stopping until we’re at No. 80, where we find the Alan Price Set, a group headed by the one-time organist for the Animals. Price might be best known in his post-Animals career for composing the soundtrack to the 1973 film O Lucky Man! But in 1966, he and the Set got to No. 80 with a terrific performance of “I Put A Spell On You.”

In early 1965, Alvin Cash & The Crawlers had a No. 14 hit with “Twine Time,” which went to No. 4 on the R&B chart. Since then, Cash had seen one more record hit the Billboard Hot 100: “The Barracuda” went to No. 59 (No. 29 on the R&B chart). On August 13, 1966, “The Philly Freeze” – credited to Alvin Cash & The Registers – was at No. 89 in the Hot 100. The record peaked at No. 49 and at No. 12 on the R&B chart, and I think it deserved better.

Three slots further down the Hot 100, we find Chicago’s Five Stairsteps, still four years away from their only Top 40 hit, “O-o-h Child.” But “World of Fantasy,” currently sitting at No. 92, sounded pretty good as it headed to peaks of No. 49 in the Hot 100 and No. 12 on the R&B chart.

Then, dipping into the Bubbling Over section of the August 13, 1966, chart, there’s a nifty instrumental by a group called the Dynatones, about which I know nothing more than this: “The Fife Piper” peaked at No. 53, where it spent the first two weeks of October. It, like “The Philly Freeze,” likely deserved better.

That should do it for today. I’ll be back tomorrow with a Saturday Single.