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October 1964 (side C)
116 Plays5 days ago
More October fun. Side C, the first half of the American charts. The leader of the pack rolls on, Heuy P. Meaux, Elvis and Ike and Tina go "Vroom!", while we try and determine whether anyone is on that train to Anaheim, Azusa and CucaMonga. Meanwhile, A Hard Day's Night, Matchbox and Slow Down are still present for kids trick-or-treating to mime while going door to door in their Beatle wigs. Happy Halloween, everybody! Support this podcast at the $6/month level on patreon to get extra content! Create your podcast today! #madeonzencastr
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Transcript
The Beatles' Mantra and Ambitions
00:00:00
Speaker
The Beatles had this chant, John Paul and George, and probably then Stuart and Pete had this chant when things weren't going well, which in their world wasn't very often because mostly it was an upward trajectory. But nonetheless, sometimes you they would have a bad night or the gig didn't work properly or the amps broke or whatever. I say, where are we going, fellas? And they'd go to the top, Johnny. And I'd say, where's that, fellas? And they'd say to the top of most of the papamos. And say, right. And we'd all sort of cheer up.
00:00:31
Speaker
I'd say, where are we going, fellas? And they go to the top, Johnny. I'd say, where's that, fellas? And they say, to the top-a-most or the pop-a-most. And I'd say, right. And we'd all sort of cheer on.
Billboard Charts of 1964: An Introduction
00:00:57
Speaker
Welcome to Side C of Toppermose of the Poppermost, October of 1964, the start of the American Billboard charts. I'm Ed Shin. I'm Kid O'Toole. And I'm Martin Corbell. All right, we got a lot of songs this week, so we'll jump right into it. The week of October 3rd at number one is Oh Pretty Woman by Roy Orbison and the Candyman. At number 18 is Matchbox by The Beatles.
00:01:46
Speaker
At number 24 is Hard Days Night.
00:02:07
Speaker
At number 27 is Slow Down.
00:02:29
Speaker
At number 51 is Baby Love, which we covered over on the UK side. The first new song at number 66, Everybody Knows I Still Love You by the Dave Clark Five.
Dave Clark Five: Music and Tour Critiques
00:02:42
Speaker
Now, did Gary Lewis and the Playboys steal the opening for Everybody Loves a Clown from this? It sounds an awful lot like it. Good day.
00:03:17
Speaker
All in all, this song is okay, but it's awfully disjointed. it It never really settles on any one thing. However, it it is recorded well. The pieces are played well, particularly the guitar and drums, but it's really just a bunch of riffs in search of a melody to me.
00:03:34
Speaker
Yeah, I agree. It's just kind of all over the place. I appreciate that they were trying to do something different in terms of the interesting harmonics, but the song just doesn't work. And I completely disagree with Cashbox in that it said it was a good dance rhythm. I don't think so. This would be kind of difficult to dance to, in fact.
00:04:06
Speaker
I still love you. But again, I give them credit for doing something different with the harmonies, but other than that, definitely not up to Dave Clark Five's standards. I just thought it was the Dave Clark Five trying to do easy listening. boom That's true. I actually didn't like it very much. I thought it was bland. Well, I don't think anyone's liked it all that much.
00:04:30
Speaker
No. Compared to everything I've heard of the Dave Clark Five song so far, this is comparatively a letdown. Now we thought the Beatles tours in 64 were quite a handful. The Dave Clark Five spent from October the 31st to December the 21st, so basically not quite two months, and they played 45 shows in that time.
00:04:53
Speaker
Wow. Holy smoke. And it looked like they did much like the Beatles did and sort of crisscross back and forth from San Francisco to Dallas Memorial Coliseum to the University of Arizona Stadium in Tucson. And they managed to appear on the Ed Sullivan show on November 1st. Wow. Cheers.
00:05:14
Speaker
No time for a break there. I'm sure they needed one once
Golden Boy Musical: Analysis and Impact
00:05:17
Speaker
it was done. At number 68, I Want To Be With You by Nancy Wilson. It's a Broadway show tune throwaway. It's not a good tune and the strings are pretty decently recorded, but they're annoying. I'm also not a fan of the Sting at the very end there.
00:05:59
Speaker
Nancy Wilson sang it well. I mean, it's Nancy Wilson, great vocalist, but I just didn't think it was a particularly memorable Broadway song. A great Broadway song is one that you walk out of the show remembering it, being able to sing the words, to just remember it. This is not one of those songs.
00:06:19
Speaker
It was from a forthcoming production, which would be Golden Boy, which was a show that Sammy Davis Jr. starred in and he would be nominated for a Tony. It's not a show that I think is really produced today. I don't know of any revivals, but this is definitely not a standout.
00:06:40
Speaker
from that show. What's kind of amazing about that show is that was very much a political show, and it ended with an interracial kiss. Yes, it was definitely ahead of its time. Ooh, they beat Star Trek to it then with Kirk and Hohora. Exactly. Wow. There you go. And it even mentioned Malcolm X. Mm-hmm.
00:07:03
Speaker
wow I didn't mind the song too much. The arrangement was possibly overwrought on the orchestra. It could have been pulled back a bit. Nancy's voice was beautiful. ah I love Nancy Wilson's voice.
00:07:36
Speaker
I'm surprised that it is the way that it is, because when you look at the people behind it, you think, wow, the producer Dave Cavanaugh and the arranger Sid Feller, they would be behind Georgia on my mind and I can't stop loving you by Ray Charles. Two of the best songs, not just of Ray Charles, but they are two of the best songs ever. Those two do incredible work there. I don't mind this song, it's all right, but You know, like you said, it's maybe a bit overwrought on the orchestration. And by the way, the Broadway production was directed by Arthur Penn. And ah yeah, and among the ah the stars and in the cast, not only Sammy Davis Jr. Lola Filana and Louis Gossett. Wow. The late Louis Gossett. Yes. Yeah. e For those listening, Arthur Penn should sound familiar. That's the father of Christopher Penn, Michael Penn and Sean Penn.
00:08:33
Speaker
So what Cashbox said about this song, they called it a tender, slow shuffling lyrical romancer about a gal who decided that she wants a steady relationship with the guy of her dreams. Aw. A gal. That is such a simplistic a description of the plot. You know, when you read the whole plot of this play, that's not really what it is.
00:09:02
Speaker
You know, that description fits a play from the 1930s, 1940s, that sort of terminology. You think of, oh, just me and my gal. Yeah, that is not what this is.
00:09:17
Speaker
Well, Cashbox only has four lines to put the review, not only of the song, but of the show. Right. yeah And then the really weird thing, Neko, the folks behind the Neko Wafers, the New England Confectionary Company, created a short-lived candy bar inspired by Sammy Davis and this musical that they called Golden Boy. My gosh.
00:09:41
Speaker
Well, I guess they were trying to do everything they could to sell tickets to this and raise awareness of the show, but that's weird. I agree. Did it last a long time? It did not. I'm shocked. We still know about neko wafers, so. Not true. and That explains where Mel Brooks got his idea for the producers from then, I'm guessing.
Tony Bennett's 'Who Can I Turn To': Versions and Critiques
00:10:04
Speaker
At number 70, Who Can I Turn To When Nobody Needs Me by Tony Bennett, written by Rick Houston, Anthony Newley, sappy strings on the opening of the song. They are also very heavily overdone and continue through the whole record. It's Tony Bennett, so it's a good vocal. It's sung very well. It's a pretty good song, but it's not a great record, but it's not Tony's fault.
00:11:13
Speaker
This is a beautiful song from War of the Greasepaint's Ball of the Crowd. I don't know if this is the show that has been revived a lot. It's called the War of the Greasepaint, The Smell of the Crowd. But don't let the title throw you off. This play features classic songs with a definite theme, the haves versus the have-nots. O Ba Ba Ba Toon Day stars as Cocky. Tony-nominated actress Vivian Reed plays the woman Cocky dreams about. While the fires of dreams bend the truth,
00:11:42
Speaker
The play originated in 1962, starring veteran stage performers Anthony Newley and Cyril Richard. In the 1989 production, the actors say what's unique about this play is a classic will never grow old. People that are coming to see this are going to hear a lot of the wonderful, wonderful material that they're famous or that have been made famous from this show. But the style in which it's done is very new and very, very interesting. It's a wonderful, wonderful repertoire of some of the most marvelous songs ever written. The dialogue in this production of the play has been updated, but the producers made sure the music hasn't skipped a beat.
00:12:23
Speaker
Just to come, and if you want to reminisce about songs that you haven't heard in a long time that can maybe take you back and take you down memory lane, come for that. The roar of the grease paint, the smell of the crowd, plays at the Coconut Grove Playhouse through December 31st. In Coconut Grove, Lisa Petrillo, Channel 10 Eyewitness News.
00:13:05
Speaker
Tony Bennett, what a great vocal masterclass in singing. We carefully considers every word you're hanging on is every word, but yes, the arrangement. I feel like this would be okay for the stage. I've never seen the show. So I assume that this was a dramatic moment in the show. So from the stage, this would probably work.
00:13:30
Speaker
But on record, no, it sounds too overwrought the way the strings are. I think if this had been pared down, I know we sound like broken records here. We said it so many times, but I think if the arrangement had been pared down, I think this would have been a much stronger recording. And as you said, not Tony's fault, because he turns in a wonderful vocal performance here. Now, here's an interesting one.
00:13:55
Speaker
First of all, like you said, written by Leslie Brickhouse and Anthony Newley. Yes, to all those people listening, Anthony Newley, that's the second month on the truck we've had a song with his lyrics because he wrote the lyrics or co-wrote the lyrics for Goldfinger as well. Tony has recorded this song quite a few times.
00:14:15
Speaker
Yes. A lot with Barbara Streisand. Yes. Thinking of the three that jump out to me then, I'm thinking of this. Then there's the incredibly stripped back version with Bill Evans from the second album we did with Bill Evans. Yes. And then you've got the version that he did with, was it Queen Latifah? Yes, that's good too. So here we go then Kit. Your starter for ten is, which one of those would you choose if you wanted to to listen to this song?
00:14:45
Speaker
Probably I'd go with Bill Evans. Yep. Yeah. I like the duets version with Queen Latifah. That's good too. I'd put that in second place. I think what Kit would probably like, somewhere halfway between what you get with the Bill Evans version in 76 and this version that we've got now in 64, somewhere smack bang in the middle. Right. You read my mind, Murph. Absolutely.
00:15:13
Speaker
It's a beautiful song. That's why he's done it so many times. These two songwriters, it's up there in their writing, I think. It's one of their top songs. Absolutely. and The lyrics are so moving. Just beautiful. There's a reason why these two get called on to write for musicals and for all these different things, all they were. It's because they can churn out material that is to this quality.
00:15:36
Speaker
Yep, I agree. Well, and for a song that is not hugely remembered, we're actually doing a supercut this month. yeah Some of the versions that are going to show up, Shirley Bassey, as you just mentioned, Shirley Bassey knows how to do Tony Newley songs. Yeah, absolutely. Astrid Gilberto did a version of this. Yes, that's a great version. I forgot about that. Yes. Dionne Warwick, Dusty Springfield, The Temptations.
00:16:05
Speaker
o Van Morrison, Harry Connick Jr., one of the Barbastryzan versions, The Drifters, Sammy Davis Jr., Jerry and the Pacemakers. Their last album was basically Jerry and Co. trying to do Broadway things. And, of course, Jerry went on to attempt a Broadway career immediately after that record. Donny Osmond and the Supremes. Huh. Osmond's again.
00:16:35
Speaker
get everywhere. Mind you, there's enough of them. Donnie Marie Bruce, Linda Carter, you know, Jim neighbors. There's some that we like to put in supercards. Yes. I represent sort of the the New York scene with with Broadway, I guess, because that's where I'm currently involved in Golden Boy. So I would like thank you. I would like to sing a song from a Broadway show, if I may, not my show.
00:17:04
Speaker
But a show that was written by my very good friend, Mr. Anthony Newley. It's called Roar the Grease Paint and the Smell of the Crowd. And this is his hit song from that show with your kind permission.
00:17:24
Speaker
Who can I turn to?
Peter and Gordon's McCartney-penned Track
00:19:31
Speaker
At number 84, I Don't Wanna See You Again by Peter and Gordon, their next Lennon McCartney song, which did not chart on the UK side. It's not a great song, but it's ah actually a pretty good one. I think it may be better than Nobody I Know and On a Par with Woman.
00:19:50
Speaker
They're a woman, not the John Lennon woman, obviously. ah The song is in a minor key. It's a bit folky. It's actually kind of along the lines of no reply and I don't want to spoil the party. A bit downbeat, but the sad feeling works. I like the middle eight. Violence and the core anglais, which we last thought about on the Marianne faithful version as tears go by. That's my favorite bit of the song.
00:20:26
Speaker
I don't want to see you again
00:20:45
Speaker
As you turn your back on
00:20:52
Speaker
I don't think I liked it quite as much as you did it, but I do like the bridge, nice chord changes there. And Peter and Gordon's harmonies are just sublime. They really had beautiful harmonies. Folk crossed with pop here. I wouldn't say this is first tier Peter and Gordon, and I'm sorry, not Paul McCartney either in terms of his this composition. Very lazy lyrics. Yeah, the lyrics are just not top tier Paul. I agree.
00:21:22
Speaker
yeah I've already given away my opinion. I like the middle eight. I love the chords. Like you said, the lyrics I find incredibly lazy and almost first run through style. It's okay. I wouldn't even put it up to the level of woman, really. I put it a bit lower than that. And I actually prefer the B-side, the song they wrote themselves, Peter and Gordon. I would buy you presents. I think that's actually a better song with better lyrics. The B-side is gorgeous, yes. It is. It's a fabulous song.
00:21:51
Speaker
But as to this song, Cashbox, now we've got another one of those Cashbox reviews. A touching, thumper-rhythmic affair that zooms Skywards in no time flat. I vote for making thumper-rhythmic the new catchphrase of today. We need to use this in sentences as much as possible. Paging Merriam-Webster.
00:22:13
Speaker
So this was produced by Norman Newell, the Peter and Gordon producer. He had an interesting quote on how he discovered them or how he says he discovered them. I walked into a club one day and saw two boys singing. I thought all of show business has come to this club. Why hasn't someone recorded them? They were called Peter and Gordon, so.
00:22:33
Speaker
There you go. At number 90, Lumberjack by Brooke Benton. We've talked about Brooke Benton before, most well-known for Rainy Night in Georgia, and he would also work with Arif Marden, who would work with Ringo. This song, Talkie Opening, a nice guitar, although I actually would have liked that to be higher in the mix, yeah an appropriately smooth lead vocal. The drums are good, but sound a little bit brittle and weak as they're mixed here.
00:23:01
Speaker
It's a good idea, and I like the pieces, but the extended talky bits, they leave me a little bit cold. Feeling bad, I had to go.
00:23:42
Speaker
Interesting idea, but the execution leaves a lot to be desired. Yeah, Burke Benton, great voice. Beautiful, deep, rich voice. And he did what he could with the material. The songwriter Charles Arrington had tried to make this sound like an old folk song, and it just doesn't really work. This is from Burke Benton's album, The Bitter Earth. Seems like it's trying to cash in on the folk movement. Just kind of sounds like a copy of Glad Belly or something.
00:24:12
Speaker
ah didn't know the background that it was from an album where they were trying to make it sound bluesy, which makes sense. This guy could do so many different genres. It was amazing. He could go from like almost knocking coal sound like in some places to something with a bit more, I'm not going to say grit, but with a bit more of a bite bluesy wise, which this was trying towards And if they'd have carried on and got rid of some of the Schmaltz that's there, that's getting in the way and kept that more bluesy feel that's with that guitar and a couple of the other bits and his voice here and there, that would have made it a much better song. It's just that the Schmaltz and the leaning on the the nostalgia just pulled away from what the best bits about this song were.
00:25:00
Speaker
Agreed.
1960s Party Culture: The Beatles and Celebrities
00:25:01
Speaker
At number 93, a title longer than those Supreme's titles, believe it or not. Oh, here we go. The song is entitled the Anaheim Azusa and Kuka manga sewing circle book review and timing association by Jan and Dean. The best part of this record is the cover where they cannot fit the title of the song all the way across. So it sort of bends over onto the left-hand side.
00:25:31
Speaker
ah Really? It's a semi-sequel to the little old lady from Pasadena. Other than the horns, it's more or less standard Jan andine and Dean surf backing. There's a bit of the, here's George Jetson. I guess it's the other way around because the Jetsons weren't on the air yet in the backing, in the chord changes here. And then it ends with the Go Granny Go.
00:26:28
Speaker
This was a WTF for me. What is this? It was just a bunch of everything. It sounds like I get around in some parts. i't Yeah.
00:26:42
Speaker
Excuse me. The riff is right from I get around the excuse to recycle a little lady from Pasadena. Go, grannies, go. You've got that at the end. And I guess the joke, the Anaheim Azusa kookamunga was a Jack Benny routine. Rain leaning on ten five for Anaheim, Azusa and kookamunga.
00:27:07
Speaker
raining leaving on track five or anahi maupa and kuamanda I only bring that up here because there seems to be like this inside joke, which maybe was funny in 1964, but the joke has been lost to time. What?
00:27:26
Speaker
yeah I mean, yes, in a way it is standard Jan and Dean in terms of the sound, but it's got that. It's got lifts from the Beach Boys. It's just crazy. Absolutely crazy. Marv.
00:27:42
Speaker
Okay, okay. A cumbersome title and a strange composition and arrangement. Like I said, there's a riff that's taken straight out of I Get Around and I actually quite enjoyed this and I don't know why.
00:27:58
Speaker
it's ah okay It's like cut and paste in the 60s.
00:28:08
Speaker
You know, it's like, oh, we've got this bit of a song, we've got this bit of a song, and it's, happiness is a warm gun four years earlier. Now, let me just ask you one thing, Mark. Did you have a little drink before you listened to this? I was very tired on a train listening to this. Or did Paul McCartney visit you and offer you some of that stuff which he offered to that comedian? Yeah.
00:28:37
Speaker
Because I just wonder if you have to be in an altered state of some kind to fully appreciate it. I'm just asking. because um yeah Yeah, I think there was some alcohol or something maybe a bit stronger imbibed in the creation of this song. Well, I think so. Yeah, that would make sense. Kudos for trying to experiment, guys. Well done. Well done.
00:29:01
Speaker
Yeah. and great So quoting from the lyrics, they were organdy dresses and high button shoes. They read Playboy magazine and hot rod news. There's patience proper and prudence prim. You ought to see him do the swim. That should give you an idea of what this song is about. Kit, did you know what organdy dresses were? I had no clue until I looked it up.
00:29:24
Speaker
They're very old. That's definitely old school. I mean, like, before my time, that's for sure. I've never worn an organdy dress, but I've certainly heard of them. Could you explain it to me, please, ah Dr. Chen?
00:29:36
Speaker
Okay, so Organdy is a type of fabric. The only place I've ever seen anything like, go to Wikipedia, they have a nice picture of what Organdy dresses actually look like. But the only place I've ever seen anything like this is on dolls from the 20s and 30s. They're those thin cotton layered things where you got lots and lots of ruffles. Yes. Oh, yes. Those. Yeah. Makes sense now. I know what they are. Yeah.
00:30:05
Speaker
Yeah. So it does indeed go along with high button shoes. And of course, where we are today, the Playboy magazine is even an ancient reference. Yeah. Putting Organdy and Playboy in the same lyric already shows you that they may have been on an altered substance in writing these lyrics.
00:30:27
Speaker
And then then patience proper and prudence prim. It reminds me of something out of that cartoon, the great race or whatever they used to call it. You know what I'm talking about.
00:30:47
Speaker
wackiest racer. The cars are approaching the starting line. First is the turbo terrific driven by Peter Perfect. Next, Rufus Roughcut and Sawtooth in the buzz wagon. The maneuvering for possession is the army surplus speckled. Right behind is the anthill mob in their bulletproof bomb.
00:31:03
Speaker
And there's Ingenious Inventor, Pat Tending in his converter car. Oh, and here's the lovely Penelope Kidstop, the glamour gal of the gas pedal. Thanks to me at the Boulder Mobile with the Slyke Brothers rocking gravel. Working along in the creepy coupe with the gruesome twosome. And right on their tail is the red mac. And there's the Arkansas Chugabug with Luke and Blubber Bear.
00:31:34
Speaker
to some dirty trick, and they're off to a standing start. And why not? They've been chained to a post by
00:31:49
Speaker
In the 70s, Hanna-Barbera put all of their characters together and every week they would go on this weird little race. I don't know if I remember that part. so Anyway, there's a reference to a prudence before the Beatles. yeah yeah Hey, maybe that whole story about the Maharishi, maybe that wasn't true.
00:32:13
Speaker
Maybe it came from this song. ah
00:32:17
Speaker
And so, as Kit mentioned, the cities came from a routine that Jack Benny did, the Anaheim Azusa Cucamonga. That was a Jack Benny routine, which was actually written and performed by Mel Blanc. Mm-hmm. Wow. Training leaving on track five for Anaheim, Azusa, and Cucamonga.
00:32:39
Speaker
um on somebody
00:32:58
Speaker
That brings us to our second diversion on this song. You know, we all know about the 64 party that the ah Beatles had at Capitol Records. Turns out there was actually a 65 party as well. Jack Benny showed up at that party at Allen Livingston's house.
00:33:16
Speaker
That guy was everywhere. Jack Benny wasn't necessarily everywhere. He he didn't show up at the 64 party. ah Okay. Groucho Marx showed up at both the 64 and 65 parties. Other folks at that party, people we would come to know from 70s television, Polly Bergen and Suzanne Plachette. Ah, yes. There's a wonderful picture from that party, which includes Dean Martin and a very young Bill Cosby. Oh my gosh.
00:33:46
Speaker
No, we've mentioned the British figures who have had their issues. So here's a Bill Cosby mentioned to go along with that. See, it's not just you guys,
George Harrison's Musical Influences
00:33:55
Speaker
Marv. Oh, no. No, no, it's not just us. No, we're going to get some more of those as we go through the 60s. Yeah, probably. The Beatles were not pleased with this party. George begged out somehow. He snuck off. So only John Paul and Ringo were there. John Lennon was observed leaving an evident boredom before 9.30 PM, which is very early, you know. That's for sure. And then about 15 minutes later, Ringo star and Paul McCartney followed John back to their secluded mansion on Benedict Canyon Road or elsewhere, perhaps to livelier happenings.
00:34:29
Speaker
Who can blame them? George was later discovered by beat reporters at the Columbia Records Hollywood studio at a recording session by the birds. And you know, that may be the session where George was really first to learn about Ravi Shankar. Don't know that for certain, but maybe, maybe the story is always that George first heard about Ravi Shankar and first got played the records by the birds during one of their recording sessions. And I can't imagine George visited too many of their recording sessions.
00:34:58
Speaker
now Well, McGwynn would have probably introduced him because McGwynn was a big fan of Ravi. So it's just kind of amazing that over the course of one year it went from being a razor to a party that the Beatles didn't even want to hang around at. Yeah. And we will come back to Allen Livingston a little bit later at number 94 So Long Dearie by Louis
Louis Armstrong and Chuck Jackson: Performance Critiques
00:35:22
Speaker
Armstrong. now let you come on
00:35:50
Speaker
Another song from the Hello Dolly musical done in a style very similar to Hello Dolly. It manages to still hold some of the charm, but it's too close to Hello Dolly. And at this point, the sound is just leaking oil.
00:36:02
Speaker
Yeah, of course, it's said another song from the musical and it's fun. I mean, it's Louis Armstrong, you know, it's Ashmo, but this is getting a little repetitive. Love the New Orleans touch of the banjo and then of course the trumpet, but Hello Dolly is so much better. This is just the lesser version of that. Stick to Hello Dolly.
00:36:24
Speaker
Yeah, I wouldn't turn this off because I do like it. Louis' voice is fabulous through this. Let's face it, whenever you put him in front of like it a New Orleans Dixie style, he's going to sing the heck out of it. Oh yeah. It suits him to a T. Yeah. And Cashbox in their review, once again, reviews both the show a little bit and the song. What they say is that Mercury has latched onto the fabulous vocal and instrumental talents of Louis Armstrong. So he had changed labels. He was now on Mercury.
00:36:53
Speaker
And it's more than likely there'll be money in the bank for all concerned with this first time out entry on it. Louis six with the Hello Dolly score. That's a nice way of putting it. Yeah. As he nimbly bounces over the sentimental toe tapper. So long, dearie. Watch it. Take off undercuts a happy razzamatazz item co-cleft by Satchmo. Razzamatazz.
00:37:18
Speaker
Coke left. I don't think I've ever heard that term before. No. That's interesting. If I buy a record, it suits my taste. Got the beat and the tone and what I like. That's all I know about the fellas. They ain't what they ain't doing. That ain't my position. I got a lot of my personal worries. So I go by my ear, what I hear. That's why I buy records. I like the Beatles. Ain't no record going to top the hard days night.
00:37:45
Speaker
in my library in my house. At number 95, somebody knew by Chuck Jackson, a Luther Dixon song, a very strong lead vocal. Yes. Well played and recorded horns with just a touch of the Latin rhythm. The bass and drums lock in together and hold this record in one piece. I like it a lot.
00:38:29
Speaker
Chuck Jackson, what a vocalist, what a voice he has. I kind of disagree with the recording. I felt like there were times where particularly the horns and trumpets were a bit high in the mix. I felt like there were times where they almost drowned him out. But he sang this and incredibly well. I mean, his voice was the star here. Marv, was this a Northern Soul record?
00:38:53
Speaker
I think so. Sounds like it for sure, especially with those horns. You're right, the mix is a bit off. The arrangement is good, but the mix is slightly out. Yeah, the mix kind of dimmed the record for me, but his voice was the big star here. I mean, just incredibly soulful voice. When this started I actually wrote Holy Smoke, that vocal. Yep. His voice was amazing on this, really good. But I enjoyed the song, just the mix was a bit off. One of the reasons why I liked the song turned out to be it's written by Luther Dixon. Luther Dixon, he's written songs for the Shirelles, Pat Boone, Barry Como, Elvis Presley, The Beatles, did Money, that was one of his. And he was also an uncredited writer on Baby It's You as well. Jerry Lee Lewis is written for Jimmy Reed. And the arrangement was by Stan Green, who did arrangements for the Shirelles, Shirley Ellis, Dionne Warwick, King Curtis and many more. There's some good people behind this.
00:39:59
Speaker
And this song is indeed considered a Northern soul song. Okay. yeah I thought so. Sure had all the hallmarks at number 96. Don't spread it around by Barbara Lynn, the return of Huey P. Moe, who we have discussed before another one of those slightly disgraced figures, although he's less well-known. This is a girl group type song.
Barbara Lynn and Ike & Tina Turner: Song Analysis
00:40:22
Speaker
The backing is pure syrup, although the drums are good, but awfully busy, fairly forgettable though.
00:40:51
Speaker
Is this too early for this to be innuendo? It feels like what happens in Vegas stays in Vegas to me. They're not making sandwiches. Yeah. I didn't really love this song. I mean, not because of that. I just thought the lyrics were kind of repetitive. Drums, I thought, were way overdone, overplayed, particularly in the chorus. I thought the fills and the roles were too much, way overplayed. Interesting. I found out that this was co-produced by Steve Terrell, who is now a standard singer.
00:41:27
Speaker
and I reviewed one of his albums many years ago when I was with a blog critic's website. He co-produced this. It's definitely not one of Barbara Lynn's best. She didn't write this and it shows. It's just not a particularly standout song. You've said all that needs to be said about it. I like her voice, but other than that, I just thought it was a bit standard and yeah, the lyrics are not the best. Maybe it would have been better back then. Time's not done it any favors lyrically, we'll say.
00:41:58
Speaker
Yeah, true. And we've got a bit of background on exactly how Barbara Lynn came to Huey P. Mo and which eventually led to this record. So what Huey Mo said was this guy wanted to sell me an act by the name of T-Baby Green. You got to love that. So they had those names even before the rappers. Wow.
00:42:19
Speaker
hey In between the T-Baby cuts was this girl that they had just recorded over. It was knocking me out. O-U-T. It was reaching at the roots of my heart. I just wanted to meet that voice. I had a guy working for me named Big Samba. Another name, Big Samba. Looking at the gang stars.
00:42:40
Speaker
ah known in the deep south and the midwest for his regional hit, The Rains came. I played in the tape and said, who is this? He said, oh, that's Barbara Lynn. If you want her, I'll go get her. So I went back to cutting hair. Remember, QEPO owned a barbershop at the time.
00:42:56
Speaker
And he came back around 6.30 with Barbara Lynn. She was around 15 or 16, well, actually 19. And she limped a little because she had one leg longer than the other. I said, Barbara, if you'll pay the expenses for you and your mother, I'll meet you in New Orleans at Cosimo's studio. I'll pay for the musicians and the tape. She went for it and we recorded her first hit, You'll Lose a Good Thing. She went on from there to hit the road with some of the biggest stars of the day, including James Brown, Al Green, Stevie Wonder, Ike and Tina and Marvin Gaye. Wow. And then probably what most people or at least most listeners of the show might remember her for is Barbara Lynn wrote, Oh baby, we got a good thing going on, which would be covered by the stones. Yes.
00:43:44
Speaker
At number 98, I can't believe what you say for seeing what you do by Ike and Tina Turner. Considering these lyrics, I find it real interesting that this song was written by Ike.
00:44:23
Speaker
A strong church choir female backing. The sax isn't bad, but it demonstrates why the instrumented kind of had its day in rock and roll records by this time. A lower level hit.
00:44:51
Speaker
Believe it or not, Tina was 25 when they recorded this song, and she had been with Ike for eight years. You listen to this record, you think, oh, this is an early Ike and Tina. No, they've been together for nearly a decade at this point.
00:45:04
Speaker
oh That's amazing. I mean, they may have been together for a while, but in terms of hit making, they hadn't quite found their groove yet. Yes, definitely hear the gospel influence in this, particularly in the backing vocals, but they seem like they're trying for kind of a dance sound here. They want to cross over even though there's definitely gospel influence here. They're trying for kind of a dance pop sound overall. It doesn't really showcase Tina's incredible voice here. You're kind of waiting for her to really
00:45:35
Speaker
break loose, and and she doesn't really do it. You can see why this wasn't a big hit. It just isn't really that distinctive. But you've got to start somewhere, and this is their earlier sound, and if they would find their groove in the later 60s, this is earlier Ike and Tina, so it's interesting on that level. yeah And also, we've talked about it, that's a mouthful title.
00:46:03
Speaker
Well, at least it's got parentheses in between this. Yes, that's true. At least it's got the parentheses. Despite the fact they'd been together for eight years, Tina had really only started to come to the fore recently. Her first credited single as a solo artist, Too Many Ties That Bind, was released on Ice label's Sonya Records earlier in 1964.
00:46:23
Speaker
you At least the title is more interesting, shall we say, than the chorus of, ah, ah, ah, ah, ooh, ooh, ooh. Lots of Tina doing that.
00:46:47
Speaker
I like the drums on it. I love the tone of the bass and what the bass is doing on it, but nothing else in the song matches how good the drums and the bass are on it. Right. You know, and you're waiting for Tina, you know, you're just like, come on, where's that great Tina vocal? Let's go. And, you know, and it just really doesn't showcase her effectively. no We're not in proud Mary territory here.
00:47:10
Speaker
Oh, hell no. For sure. Not anywhere near that is still to come in the future. You recently performed at the Prince Charles charity trust. Yeah. With Tina Turner saying and get back. That must've been exciting. That was great fun. You know, and it was kind of honor to be asked. So I did saw her standing there and long tool Sally. And then they threw in, get back when it, when we arrived, when I arrived on the day. In 1986, Tina was at the Prince's Trust concert with Paul McCartney, and Paul and Tina did a duet on Get Back, which is really pretty hot. I love that performance. That's a classic. You like it more than I do, but it it it is good, yes. And then Tina would be inducted into the Rock and Roll Hall of Fame in the same class as Ringo Starr. So she should.
00:47:57
Speaker
aner i At number 99, The Things in This House by Bobby Darin.
Bobby Darin and Rufus Thomas: Stylistic Explorations
00:48:02
Speaker
It's a Bobby Darin song. It's got a strong country feel, much more than you would think or associate with Bobby Darin. It's a bit of the Bakersfield sound. ah It actually suits Bobby Darin's voice decently well, although nowhere near Buck Owens level. ah This is kind of the chameleon Bobby Darin. I like this record. I don't love it.
00:48:23
Speaker
Boy, you liked it a lot better than I did. Yeah, I mean, it does try to match the Bakersfield sound a bit, but it's Bobby Darin trying to go country. I mean, he sings it fine, but it's like he was trying to write a country song and tried to pull out cliches. But with a twist, I did not care for these lyrics. I thought these metaphors were pretty painful.
00:48:48
Speaker
The fact that even the objects in the house are missing her, you know, lamps don't shine as bright and the TV won't go on. The pictures on the wall seem to hide their face and I can't find a smile around here any place.
00:49:02
Speaker
The things in this house miss you just as much as I. The only difference is they don't know how to cry. Oh man. I thought that was a pretty painful metaphor. I mean, that even the objects have feelings. That did not work for me. I didn't care for that at all. That was a stretch. Marv, what did you think?
00:49:22
Speaker
Why the heck do we need 50 million singers in the background? It's like you've got an entire arena of people there where you only need like three or four at the most. And that orchestra, take the orchestra away altogether and leave us with all the other instrumentation that's there, two or three singers, and make it a real country and western song without all of that sugary stuff there in the way.
00:49:49
Speaker
That didn't help either. But yeah, the lyrics just really bothered me. Well, you're the one who likes the gens don't gen line. I don't know. That metaphor just did not work.
00:50:24
Speaker
on to the next week, the second week of October. October the 10th at number one is Roy Orbison's Oh Pretty Woman. At number 18 is Matchbox.
00:50:54
Speaker
At number 25 is Slow Down.
00:51:04
Speaker
Today, the Beatles return from America, where they played 32 shows in 34 days in 24 different cities. But there's no rest for the boys. In two weeks, they'll be back out on the road here in the yeah UK.
00:51:23
Speaker
at number 50 is Hard Day's Night.
00:51:43
Speaker
at number 61 is, I don't want to see you again, at number 77, Ain't That Loving You Baby by Elvis Presley. Oh boy. um I know I'm the one who doesn't like Elvis, and I don't like Elvis's singing on this song. It sounds like what we're going to get from Dion in about three years. It it almost sounds like a second-rate runaround sue, although I will say.
00:52:06
Speaker
We don't get run around soon for a couple of years. There are some good bits. I like the guitar. Floyd Kramer and DJ Fontana are great. I prefer the original, the Eddie Riff version from 1956. That is good R and&B. Elvis recorded the song in 1958 and who knows why it took them six years to release it. Well, I feel like the contrary one on this episode.
00:53:03
Speaker
I like this better than you did. I mean, I agree. The anti-riff original is the best. I absolutely agree with that. That's some great R and&B. But I kind of like this version because this is like the earlier Elvis. And I liked his voice on this. He has the swagger in his voice.
00:53:24
Speaker
Elvis just sounds so young and that Hank Garland guitar solo on this is just fire. I thought that was another highlight. I like this. I'm not saying it's up there with Elvis's best. Why this took so long to be released, I don't know. I couldn't find an answer to that. All right, Marv, you gonna break the impasse here?
00:53:47
Speaker
Middle tier Elvis, the backing singers do the best that they can to it. I like the youth in his voice. I can sort of see why it might not have come out before then because it might not have worked on an album around that time or in with a set. But I don't understand otherwise why it didn't come out in 58. It might have actually been more popular in 58. Like I said, middle to lower, middle to Elvis Presley Fair. But myself and yourself, Kit will always look on Elvis a bit more favorably than Ed does. yeah Yep. And we do have a little bit about how this song came to Elvis. Elvis was visited by the songwriter in Memphis in the spring of 1957. The two spent the day together singing, I Almost Lost My Mind and Other Songs.
00:54:34
Speaker
Hunter the songwriter commented. He is very spiritually minded He showed me every courtesy and I think he's one of the greatest Presley recorded several of his songs including I need you so my wish came true and ain't that loving you, baby So that was why Elvis recorded them. I guess we should look up those other songs and see when they came out.
00:54:52
Speaker
Yeah. Okay. We move on to number 78, jump back by Rufus Thomas, a lively dance track, energetic lead vocal, the backing vocals, the jump back baby, jump back. I like that. All those exclamations as they come out, a great guitar riff, although not quite enough to be a solo. The sax really should have been cut about in half in favor of more of the guitar and the drums.
00:55:15
Speaker
Yeah, it's a fun record. I would have loved to have seen him perform this live. I bet Rufus would have ham this up, the back and forth with the audience. And the lyrics are hilarious. Really funny. Last night, night before, 24 Robbers at my door, I got up and let him in, hit him in the head with a rolling pin. It goes on and on. Some of that you could even argue it's a little early rap. It's kind of fun. Rufus Thomas, what a showman. Got a great voice. Yeah, I agree. The backing vocals are also would make it. That's jump back, baby, jump back. You're going to find yourself singing along, humming along. You'll remember it. It's a fun record. Yep. The hand claps at the beginning are a great start as well. The instrumentation's great. Love his vocal. It's fun. It's upbeat. My only gripe with it would be the organ is barely there. And when it is there, the organ is great. But a lot of the time you can't actually hear what the organ's doing.
00:56:12
Speaker
Yeah, that's true. It is a bit buried in the mix. Do you agree with me that there's just too much of that sax or ever so slightly too much of that sax? Yeah. When you've got great guitarists there to fall back on, it could easily have been rearranged to do a bit of one and then the other. You know, sometimes where you get a solo section or an instrumental section and you have one instrument starts and then the other one takes over. They could have done that instead, so split that in half to make half of it a sax, and then the other half the guitar takes over.
00:56:45
Speaker
Yeah, I would agree with that. I think that could work. I mean, it wasn't as big a deal for me, but I could see that. We move on to number 86, leader of the pack by the Shangri-Laz.
The Shangri-Las' 'Leader of the Pack': Iconic Storytelling
00:56:57
Speaker
A good record, although I really wish it didn't stick in my mind quite as much as it does. I also really wish it had different lyrics and theme. The whole splatter platter thing is annoying to me. Teenage tragedy redux.
00:57:12
Speaker
The song is mostly about the lead, the backing vocals and the FX. I hate to say it, but I like it. Okay, this song brings some PTSD for me because I had to sing this in my eighth grade chorus class. Mr. Tantillo. What? My eighth grade chorus teacher. Yep. He loved this song. He made kids sing this? Not a solo. Now, not a solo. I didn't have to sing that, but the whole group, we had to sing this. We even had to do the vroom vroom sound effects.
00:57:46
Speaker
Okay, that's like in the 1970s, making kids do bat out of hell. I have had PTSD ever since we had to do this in 1985. Okay, so I cringe when I hear that. I mean, we had to do the backing vocals, the vroom vroom, the whole thing. So I have feelings about this song. But I'm going to try to put my feelings of PTSD aside and do this. For what it is, I mean, yes, it's the splatter platter kind of song. It's definitely Phil Spector-ish. The production is more than influenced by that. It is like a mini movie.
00:58:28
Speaker
yeah well-produced, well-constructed, but I have to admit, boy, it's hard to listen to this without remembering having to do all the sound effects and sing this thing. It's just not for me. but Classic song that's got a good wall of sound style to it, better than most of Mr Spector's production sounds to me. Multi-layered narrative storytelling, which only somebody that wasn't even paying attention to the song wouldn't notice.
00:59:05
Speaker
It's a huge, or was a huge influence on Mr. Steinman, especially when he was doing the Backout of Hell project. It's more than a song, it's an adventure, because it goes all over the place. It's not a standard song, even though people might think so. And I've always been surprised that when Jim Steinman had that girl group Pandora's Box in the 80s, I'm always surprised that he never got Ellen Foley and those girls to do this.
00:59:33
Speaker
Yeah, that's true. I think it's a good point you made of that. It's the production, maybe even a better than Phil Spector because it's not overdone in terms of the reverb. There's a bit of it there, yeah but it's not overdone and it could have easily been overwrought. So we'll go to the Beatles connection before we go to the G. There are a lot of questions still about this song. So the.
00:59:57
Speaker
The song is written by, or one of the writers was George Shadow Morton. Shadow Morton, we told that story about him and L.A. Greenwich and Jeff Berry. Once he actually got into the business, he had the Shangri-Laws. He had a group called the Bethel Ats. Earlier in the year, the Bethel Ats had put out a song called Only Seventeen, which is an answer record to Sauler standing there.
01:00:25
Speaker
You don't say. Steels riffs from Hold Your Hand and She Loves You and Saw Her Standing There. And the Beatles released an entire album entitled Outside Carnegie Hall with a poster for the Beatles at Carnegie Hall on the cover of the album. Wow. Okay, that's a good seven point. For years, the identity of the Beatles was rumored to be the Shangri-Laws, but the actual musicians have since been revealed and we now know they are not the
01:01:21
Speaker
Now, as to the questions about this song, first off, those effects that you talked about, the motorcycle going vroom vroom, what was reported was that a motorcycle was driven through the lobby and up to the floor of the recording studio.
01:01:38
Speaker
No one was arrested, but a ticket was issued. We even have an owner for this motorcycle, the assistant engineer, Joe Veneri. However, in an interview four decades later, Shangri-La's lead singer, Mary Weiss, said the motorcycle sound was taken from an effects record.
01:01:55
Speaker
Which is it? Who knows? But we do know that when they were out there on the road, they were on the road with the zombies and they had the drummer for the zombies, Hugh Grundy, revving up an actual motorcycle during the song when they sang it. Nice.
01:02:13
Speaker
That's question number one. Question number two, who is playing that piano on actually both this record and Remember? Billy Joel claims that that was him at about 15 years old. Yeah. But other people, including Tony Visconti and Ellie Greenwich said Billy didn't actually play on the record.
01:02:35
Speaker
Which is it? One possible explanation is Billy was not a member of the Musicians Union. So Billy did certainly no Shadow Morton at that age, and he might have come into the studio, but if they found out that he wasn't in the Musicians Union, they would have needed to have somebody else re-record the piano part.
01:02:56
Speaker
right And in 2007, Tony Visconti wrote that pianist Artie Butler played on the track, which actually makes much more sense. Artie Butler was behind the scenes on both this record and ah Walking in the Sand and Chapel of Love. oh We got another cash box review. Oh, this ought to be good. Here we go.
01:03:19
Speaker
Cashbox described Leader of the Pack as a heartbreaking cha-cha thumper about a gal in love with the leader of the pack who loses his life in a cycle crash with sensational vocal and instrumental sounds and a powerhouse production. What more could you want than that, eh?
01:03:38
Speaker
oh And I got to say, I think my eighth grade chorus class produced the Vroom Vroom sound effects that sounded just as good as the original recording. yeah ah But you didn't have Hugh Grundy there to help you. That's true. You won't get a recording of that on Patreon, by the way.
01:03:54
Speaker
You sort will have to recreate that for you. I think so. We may have to do that. In 2004, Rolling Stone ranked this song amongst the 500 greatest songs of all time at number 447. In 2010, it was moved to number 454.
01:04:11
Speaker
And in 2021, it moved up over a hundred spots to number 315. Wow. And Marv has mentioned their list of the greatest girl group songs of all time. This was number nine on their list of hundred greatest girl group songs. Number nine? Number nine. Wow. And in 2019, the song was inducted into the Rock and Roll Hall of Fame under the new singles category created in 2018.
01:04:42
Speaker
So it was one of the first singles to go into the Rock and Roll Hall of Fame. Wow. Wow.
01:05:48
Speaker
aroundnodom me to get the picture get
01:06:08
Speaker
That it came from the wrong side of town.
01:08:30
Speaker
One, two, three!
01:08:46
Speaker
Another Elvis song we get ready. I don't like this one much either at number 88. Ask me Elvis Presley with the Jordan airs. It's an English cover of an Italian song. I owe the Italian song is so much better. Elvis's lead vocal is subdued and you'll listen to the original Elvis just does not express the emotion there. It would have taken a Roy Orbison to pull off.
01:09:13
Speaker
the English version of this song. it's It's an insult to easy listening. It's decent backing. I like the Jordaners here, but this record is not good.
01:10:00
Speaker
yeah I'll agree with you here, Ed. Yes, this is not good. The organ, it's awful. This is like organ from a funeral home. This is just, wow. I mean, the A side, even you have to agree, Ed, the A side, the Elvis song we talked about earlier, this is way better. I don't like that song all that much, but I don't hate it. This song is terrible. This is just awful. This version would fit in on Lawrence Wilk. This is just terrible.
01:10:28
Speaker
Absolutely terrible. Elvis's vocal is phoned in here. You can tell Elvis was not enthusiastic about recording, Ask Me. Marv? Yep. Yeah. The q guitar has a nice tone to it. And other than that, formulaic by the books and incredibly bland.
01:10:51
Speaker
Yep. Do you think I'm right that maybe Roy Orbison could have pulled it off? You need that strong, operatic lead vocal in order to make it work. If you kill the organ, maybe. And then brought in Roy Orbison, maybe. Maybe. Okay, I'll take that. The organ needs to be thrown out into space. Never mind dropped six or eight feet below ground. It needs to be away from this planet. Exactly. As I said, it belongs in a funeral home. Absolutely.
01:11:19
Speaker
That's a good idea, actually. Just set fire to it and put the ashes somewhere where we can't get to the ashes and reconstitute them. We don't even want to do that. Wow. At number 89, something you got by the Ramsey Lewis trio. It's a nice bit of jazz. I'm actually kind of surprised that this song charted. It's definitely not a populist record, but it is well played and the band is tight. This came from their live Bohemian Caverns album, their biggest seller to this point. And soul infused funky jazz was having a moment of popularity following on from Herbie Hancock's Watermelon Man. from the previous year. That's right. Shout out to my parents, particularly Betty, who's a huge Ramsey Lewis fan. They used to see them all the time in downtown Chicago. Ramsey Lewis is a Chicago legend. Just a year later, he would have the huge hit with the in crowd.
01:12:48
Speaker
This is a jazz instrumental with a slight pop sheen to it foreshadowing in crowd. This was written by Chris Kenner who was an American artist and it was New Orleans based R and&B singer and songwriter and he was best known for two-hit singles in the early 60s. I like it like that. That's a superb song. And the original version, I believe, of Land of a Thousand Dances. And on the original version of Something You Got, Alan Toussaint was on piano. The original version by Chris Kenner was way more of a New Orleans R&B song. And this is obviously much more of a jazz remake. It's closer to a free-form version of it.
01:13:32
Speaker
Right. I heard this and I was shocked that it was in the charts. I thought it's almost like Miles Davis and all these people where you have a generic idea for a tune and then the jazz musicians will take that idea and then wherever they go from there is what you get. And this is closer to that than it is to the almost rigid following of the writing in the original version.
01:13:59
Speaker
And it's a big sound for just three instruments. They are on fire. Yep, absolutely. At number 98, Yes I Do by Solomon Burke. It's Solomon Burke doing country. Really nice guitar with an appropriate amount of twang. Although the guitar doesn't appear to be completely in tune. I like the piano. The backing is good if just a touch too high. Here the talky bit works and I like it. The strings are appropriate in the mix but could be a bit lower.
01:15:03
Speaker
Kit, did you know that Solomon Burke started out wanting to be a country star? I did not. That's interesting. Early on in his career, Solomon Burke had a song called Just Out of Reach of My Two Empty Arms, which was a hardcore country song. And that was presented to Gene Autry. Gene Autry, the singing cowboy who managed to get it on several pop stations that he owned nationwide. Despite being a country song, the song rose to the top 10 of billboards, R and B charts, but a country song by an African-American gentleman just wasn't going to fly in the late fifties. Yeah, unfortunately. How the world's changed. I guess you can hear the bits of country in this record, but I just didn't think it was a strong song. It's okay. I love Solomon's voice on this. I wish they'd have had somebody different doing the guitar and it would have been a different thing going on there, paging Steve Cropper to do something a bit more funky and soulful on there. Yes, good call. but Do you agree that it's slightly out of tune? Yeah, agreed. I thought it was. It really stood out like a sore thumb that guitar from everything else. Yes. We've got a much better song next. At number 99, that's where it's at by Sam Cooke. As you expect, a really strong lead vocal, tasteful backing, horns that don't overpower the rest of the players. yeah The guitar works well, a nice ending. Smooth is about the best adjective I can use for this recording.
01:16:38
Speaker
Eating fast.
01:17:01
Speaker
Sam Cooke's voice. It's like butter. It's so romantic, so beautiful, so warm with just a hint of grit at just the right times. You can tell this would have been like a slow dance. Just perfect. I wouldn't call this, you know, top tier Sam Cooke, maybe middle tier, but his voice on this is the star. He was a vocalist of just the top quality. I mean, you can hear the gospel roots, you can hear the, you know, obviously soul, you can hear the blues accents. Oh my gosh. Masterclass.
01:17:40
Speaker
Yep. I think this is upper middle tier Sam Cooke. Lovely brooding horns on this and the guitars. There's two guitars, the sort of like chord or work that's going on there by Rene Hall.
01:17:53
Speaker
That's gorgeous. But the lead work that's going on there, the little licks that are being thrown in there by Bobby Womack are incredible. They are amazing. Really great guitar work by Bobby on this and Rene Hill. And Bobby Womack has actually covered this.
01:18:10
Speaker
You know, artists covered at Van Morrison, Ray Charles, and Bobby. All right, we will close out side C here with a little bit of new Beatles connections that we hadn't had with Sam Cooke before. I was listening to a Billy Preston interview. Sam Cooke was actually on that 62 tour, the Little Richard tour. Little Richard was a headliner. Sam Cooke was second on the bill. But Sam Cooke seems to have left that tour before it got to the Liverpool shows.
01:18:38
Speaker
o no wow And October the 28th, 1962 at the Liverpool empire as part of that tour, a NEMS enterprise promotion featuring eight acts performing in two separate concerts at five 40 and eight PM. The headliner was little Richard and joining the Beatles as support acts were Craig Douglas, who was backed by the Beatles.
01:19:02
Speaker
ah Former Shadows bassist, Jet Harris and the Jet Blacks, Kenny Lynch, The Breakaways, and Sounds Incorporated. Brian Epstein had hoped to lure Sam Cooke back as a surprise guest, but Cooke could not be swayed. Wow. So that is Side C. We'll be back real soon with Side D. See you then. Take care.
01:19:46
Speaker
There was a piece in the NME, a news piece, that said that Top Rank Records, remember when Top Rank had a record label? and They introduced an LP series next week that will be called Toppamos and it's coinciding with their current advertising slogan topper most of the popper most. Yes, and thought, they got it from somewhere. They saw that, they must have seen that in either the NME or record mirror or disc, record and show mirror as it was then. And they've taken it from there. They've obviously thought how stupid that is. How stupid is is one of those phrases that someone, an older person who doesn't understand teenagers comes up with a slogan that they think is gonna be the hip slogan of the month. Topper most of the popper most,