Posts Tagged ‘Mary Wells’

A Baker’s Dozen from 1962

May 22, 2011

Originally posted November 28, 2007

I’ve been staring at the songs included in today’s Baker’s Dozen for a few minutes now, trying to think of what to say about 1962. I have a few vague memories of the year, but the only thing I clearly remember was that President John Kennedy was scheduled to visit St. Cloud that October. His visit was planned in support of a local Democrat who was running for a seat in the U.S. House of Representatives.

The president canceled. I recall being disappointed, but I don’t remember what forced the cancellation (although I do have vague memories of snow on the ground that day). I found an answer this morning. According to a page at the American Presidency Project, an archive at the University of California, Santa Barbara that has a seemingly extensive online presence, Kennedy’s October 7 trip to St. Cloud was canceled due to inclement weather. Instead, the president spoke by telephone from Minneapolis to a Democratic rally in St. Cloud.

As that’s not a lot to support any kind of discussion of 1962, let’s go the library and find out what people were listening to that year. Here’s a list of the No. 1 hits from the year:

“Peppermint Twist – Part 1” by Joey Dee & the Starliters
“Duke of Earl” by Gene Chandler
“Hey Baby” by Bruce Channel
“Don’t Break the Heart That Loves You” by Connie Francis
“Johnny Angel” by Shelley Fabares
“Good Luck Charm” by Elvis Presley
“Soldier Boy” by the Shirelles
“Stranger on the Shore” by Mr. Acker Bilk
“I Can’t Stop Loving You” by Ray Charles
“The Stripper” by David Rose from the film The Stripper
“Roses Are Red (My Love)” by Bobby Vinton
“Breaking Up Is Hard To Do” by Neil Sedaka
“The Loco-Motion” by Little Eva
“Sheila” by Tommy Roe
“Sherry” by the Four Seasons
“Monster Mash” by Bobby “Boris” Pickett & the Crypt-Kickers
“He’s A Rebel” by the Crystals
“Big Girls Don’t Cry” by the Four Seasons
“Telstar” by the Tornadoes

That’s not an entirely awful list. In fact, it’s a lot better than I thought it would be when I began paging through the year’s entries in The Billboard Book of Number One Hits. Still, any year in which Shelly Fabares, Connie Francis and Bobby Vinton can all reach the top of the chart . . . well, that’s not a very good year.

Leaving aside the novelty of “Monster Mash,” the oddest entry on the list has to be “Stranger on the Shore,” the lilting clarinet instrumental by Britain’s Mr. Acker Bilk. But then, the occasional odd instrumental – “The Stripper” falls there, too – is almost a tradition on the Top 40 chart. I think of 1972’s “Popcorn” by Hot Butter (No. 9), “Keem-O-Sabe” by the Electric Indian in 1969 (No. 16), 1962’s own “Midnight In Moscow” by Kenny Ball (No. 2) and Ferrante & Teicher’s 1969 release of the theme to the film Midnight Cowboy (No. 10). And those are just the ones that came quickly to mind.

That list of No. 1 songs make it very clear that 1962 was a far different musical world. But, even when keeping in mind that pop and rock music was still clearly a singles medium, the list of 1962’s top albums gives one pause:

Holiday Sing Along With Mitch by Mitch Miller & the Gang
Breakfast at Tiffany’s by Henry Mancini
West Side Story soundtrack
Modern Sounds in Country and Western Music by Ray Charles
Peter, Paul & Mary by Peter, Paul & Mary
My Son, The Folksinger by Allan Sherman
The First Family by Vaughn Meader

If the singles from 1962 show a different world, then the albums – with the exception of the Ray Charles and, I guess, the Peter, Paul & Mary – show an entirely different universe. But two events that took place on September 15, 1962, however, showed that the universe was about to change:

On that day, the Billboard chart showed the first appearance on the Top 40 of the Beach Boys, with “Surfin’ Safari,” a single that peaked at No. 14. On the same day, the British label Parlophone signed to a recording contract a Liverpool quartet called the Beatles.

As to the world at large, there were also hints of changes to come. On July 10, AT&T’s Telstar, the first commercial communications satellite, went into orbit, and thirteen days later, it relayed the first live trans-Atlantic television signal.

And that’s where we’ll begin our songs from 1962, with “Telstar,” which turned out to be the last No. 1 single of the year.

A Baker’s Dozen from 1962
“Telstar” by the Tornadoes, London single 9561

“House of the Risin’ Sun” by Bob Dylan from Bob Dylan

“Oh, Lonesome Me” by Ray Charles from Modern Sounds in Country and Western Music (Vol. Two)

“The Night Has A Thousand Eyes” by Bobby Vee, Liberty single 55521

“The One Who Really Loves You” by Mary Wells, Motown single 1024

“Stone Crazy” by Buddy Guy, Chess single 1812

“Smile” by Ferrante & Teicher, United Artists single 431

“You’ll Never Change” by Bettye LaVette, Atlantic single 2198

“Blue Guitar” by Earl Hooker, Age single 29106

“That’s No Way To Do” by Pink Anderson, from Carolina Medicine Show Hokum and Blues with Baby Tate

“What’s A Matter Baby (Is It Hurting You)” by Timi Yuro, Liberty single 55469

“I Found A Love” by the Falcons, LuPine single 1003

“The Stripper” by David Rose, MGM 13064, from the soundtrack to The Stripper

A few notes on some of the songs and performers:

“Oh Lonesome Me” comes from the second of Ray Charles’ two volumes of country and western music. Backing country songs with horns, strings and a background choir that sounds pretty saccharine today was revolutionary in 1962, and – I think – was the beginning of a trend that today finds the difference between country and pop pretty well gone except for the occasional insertion of a fiddle break. Even without their historical significance, the two Modern Sounds . . . albums are worth finding simply for Brother Ray’s extraordinary vocals.

“The Night Has A Thousand Eyes,” which went to No. 3, is one of the better records by Bobby Vee, who reached the Top 40 fourteen times between 1960 and 1968. Vee’s career is intriguing for a couple of reasons. First, he got his first big break in February of 1959, after Buddy Holly’s plane crashed just outside of Clear Lake, Iowa. Holly’s place on the tour’s next stop – Fargo, North Dakota – was filled by what Wikipedia terms “a hastily-assembled band” called Bobby Vee and the Shadows. The other intriguing thing to me is Vee’s 1972 album, a pretty good singer-songwriter/folky release called Nothing Like A Sunny Day that he released under his birth name of Robert Velline. (As he lives in the St. Cloud area, I’ve been tempted for a while to look Vee up and see if he’ll autograph my copy for me.)

Ferrante & Teicher’s version of “Smile” barely reached the charts, hitting No. 93 in a two-week stay on the Cash Box charts. The song’s melody was written by Charlie Chaplin and used as the romance theme for his film Modern Times in 1936. (The film marked the last appearance of Chaplin’s Little Tramp character.) In 1954, John Turner and Geoffrey Parsons added lyrics to Chaplin’s composition and gave the song its title.

Earl Hooker was born in Clarksdale, Mississippi, in 1929 and was a cousin of blues legend John Lee Hooker. After “Blue Guitar” was released as a single by Age records in 1962, Muddy Waters used it as the backing for his recording of “You Shook Me,” making Earl Hooker the only slide guitarist besides Waters to ever appear on a Muddy Waters record. (Water’s record was released as Chess 1827.)

Carolina blues performer Pink Anderson is one-half of the answer to one of rock’s great trivia questions: How did Pink Floyd get its name? According to several sources, Syd Barrett noticed the names of Pink Anderson and Floyd Council in the liner notes of a 1962 Blind Boy Fuller album.

When you listen to “What’s A Matter Baby (Is It Hurting You),” pay attention to the drums. When the producer for Yuro’s session bailed for some reason, Phil Spector was brought in. And the drums sound like the work of Hal Blaine to me.

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A Baker’s Dozen from 1960

April 29, 2011

Originally posted July 25, 2007

Not long after I rose this morning, at about seven o’clock, someone in Clichy, France, a city of about 60,000 on the northwest edge of Paris, clicked on this blog. It was about one o’clock in the afternoon in Clichy, so it might have been someone just finishing lunch. I’ll never know.

But when that unknown resident of France clicked on the blog, it turned the counter here to 50,000. And I’d like to thank him or her as well as all of you who stop by here. I started the blog on a whim, creating a place to share music I love, and I am gratified that so many people out there – from Clichy, France, and Klagenfurt, Austria, to Yamagata, Japan, and Karachi, Pakistan, and on to Warwick, Rhode Island. and Madison, Wisconsin – seem to enjoy the same music I do and seem to enjoy reading my tales.

I’d like to thank all of you who stop by. Obviously, I know who only a very few of you are, but that’s fine. It really is enough to know that the music I love and the tales I tell are circling the world.

But I thought something a little more might be in order for that unknown resident of France. No, I’m not going to lapse into French here. (Years ago, my high school French served me fairly well during five days in Paris. Well, it did except for the time in a restaurant when the waiter asked if we wanted dessert and I told him we were going to die. Nous sommes fini, I told him, saying, “We are finished,” instead of the appropriate “We have finished.” His eyes got quite wide for a moment.) Rather, I thought I would find my favorite song in French – of the maybe fifty I have – as a start to a Baker’s Dozen. I hope my unknown visitor from Clichy likes the song as much as I do.

A Baker’s Dozen from 1960

“Je Ne Regrette Rien” by Edith Piaf, recorded in Paris November 10.

“Bye Bye Johnny” by Chuck Berry, Chess single 1754

“Late Last Night” by Slim Harpo, Excello single 2171

“Ruby Baby” by Ronnie Hawkins, Roulette single 4249

“Sleepless Nights” by the Everly Brothers from It’s Everly Time

“I’ve Got My Mojo Working, Part 2” by Muddy Waters from Muddy Waters at Newport

“Lonesome Cabin” by Sonny Boy Williamson II, Checker single 956

“The Magnificent Seven” by Elmer Bernstein from The Magnificent Seven soundtrack

“Close To You” by Bobby “Blue” Bland, Duke single 322

“Bye Bye Baby” by Mary Wells, Motown single 1003

“Greenfields” by the Brothers Four, Columbia single 41571

“Spoonful” by Howlin’ Wolf, Chess single 1762

“North to Alaska” by Johnny Horton, Columbia single 41782

With a very few exceptions, I tend to dislike most of the music that ruled the Top 40 charts during the early 1960s, and the list here reflects that. Of the thirteen acts in the above list, only two – as far as I can tell; I may have missed something — reached the Top 40 during 1960: The Brothers Four’s version of “Greenfields” was No. 2 for four weeks in the spring, and Johnny Horton’s “North to Alaska” reached No. 4 in the autumn.

A few comments about some of the songs:

The Edith Piaf performance was evidently released several times not long after it was recorded, and my uncertain reading of Ebay’s French site indicates that the EP releases came about in 1961. But the notes for Éternelle, the Piaf compilation I have, say the song was recorded in 1960, so we’ll call it a 1960 song.

Ronnie Hawkins’ performance of “Ruby Baby” may be backed by at least some of the Hawks who went on to become The Band. The time is right, generally, and I swear I hear Richard Manuel’s voice among the background singers.

“I’ve Got My Mojo Working, Part 2” comes from the July 1960 appearance by Muddy Waters and his band at the Newport Jazz Festival. A four-minute performance of “I’ve Got My Mojo Working” was so well received that after the song ended, Muddy and the band went back into it, creating the version heard here. Most blues fans think that Waters’ performance at Newport – available on a remastered CD – was among the finest of his long career.

For those of my vintage, who recall when there were commercials for cigarettes on television, Elmer Bernstein’s main theme for The Magnificent Seven conjures visions of rugged cowboys herding cattle through valleys surrounded by snow-capped mountains. The song was for much of the 1960s used in commercials for Marlboro cigarettes, and its genesis as the stirring theme of an iconic western movie was, alas, lost. From what I can tell, the theme wasn’t released as a single in the U.S. although there was a single released in the United Kingdom.

“North to Alaska” was one of the historical songs that Johnny Horton seemed to specialize in. He’d reached No. 1 for six weeks a year earlier with “The Battle of New Orleans.” (“We fired our guns and the British kept a-comin’. There wasn’t nigh as many as there was a while ago.”) And in the spring of 1960, his song “Sink the Bismarck,” inspired by – but not formally connected with – the identically titled film, went to No. 3.

A Random Twenty-Five

April 17, 2011

Originally posted February 15, 2007

Just for fun, and for those who might be interested in what ninety minutes of my listening might be like, I thought I’d post a list of twenty-five songs that come up with the RealPlayer set on random:

“Maggie” by Redbone from Potlatch, 1970

“Turn It Over” by the Youngbloods from Elephant Mountain, 1969

“Hamm’s Beer Jingle” from television commercial, ca. 1953

“A Candle In The Window” by Linda Eder from Civil War: The Complete Work, 1999

“Kansas” by Melanie from Gather Me, 1971

“Every Christian Lion Hearted Man Will Show You” by the Bee Gees from Bee Gees’ First, 1967

“Hootchie Kootchie Woman” by Tim Hardin, previously unreleased from 1964

“Full Force Gale” by Van Morrison from Into The Music, 1979

“Manic Monday” by the Bangles from Different Light, 1986

“Water Colors” by Janis Ian from Between The Lines, 1975

“Turn Around” by the Everly Brothers from Roots, 1968

“Ophelia” by the Animal Liberation Orchestra from Endless Highway: The Music Of The Band, 2007

“You Know You Can’t Lose” by Shelagh McDonald from The Shelagh McDonald Album, 1970

“You Beat Me To The Punch” by Mary Wells, Motown single 1032, 1962

“Little Maggie” by Bob Dylan from Good As I Been To You, 1992

“Into The Fire” by Bruce Springsteen from The Rising, 2002

“Rock Me” by Muddy Waters and Memphis Slim, Chess recording session, 1961

“Texarkana” by R.E.M. from Out of Time, 1991

“Who’s Gonna Be Your Sweet Man When I’m Gone?” by Muddy Waters from The London Muddy Waters Sessions, 1971

“From The Morning” by Nick Drake from Pink Moon, 1972

“In the Land of Make Believe” by Dusty Springfield from Dusty In Memphis, 1969

“You Don’t Miss Your Water” by William Bell from Coming Back For More, 1977

“You Must Be Laughing Somewhere” by Jimmie Spheeris from You Must Be Laughing Somewhere, 1984

“Pink Elephant” by Cherry Poppin’ Daddies from Rapid City Muscle Car, 1994

“Bierdna” by Hedningarna (Swedish neo-folk group) from Hippjokk, 1997

Well, it’s a little surprising that there’s no music from before 1960. A fair number of the 17,558 mp3s on the RealPlayer come from the 1950s or earlier. It’s also a little light on R&B. I’m not sure what this proves, if anything. But I was interested to see how it came out, and I hope you out there might be, too.

Look for another piece of resurrected vinyl tomorrow!