Monday, August 21, 2017

A Travelogue with Sammy Marshall

I really do intend to get back to posting once a week... I can hardly believe how busy my home and work life is getting - I truly intended to get back to once-a-week posting - it's Summer, for God's sake, how much can there possibly be to do. I had no idea....


The question for today is: Did Alice Lindhout write today's pair of songs in some sort of official capacity, with a mandate to publicize Palm Springs and the then-brand new Aerial Tramway into the San Jacinto mountains (this would have presumably been in 1963 or, more likely, 1964). Or did she simply take it upon herself to send it two sets of lovely lyrics about her environs and their most recently added feature?

Which is the true story, she (or the city) paid the good (?) folks at the Globe Song-Poem Factory to produce her two songs, with Sammy Marshall offering stellar vocals, and press them up on the "Souvenir Records of Palm Springs and Aerial Tramway" records label. I'm guessing there weren't a lot of releases in the label's catalog.

But these two are lovely, particularly the bouncy "Come On Down". It's a minimalist arrangement, driven by chugging piano and what sounds like a quartet of Sammys, although it could just as well be a real vocal group, supporting Sammy's enthusiastic lead vocal. Whoever is singing (and playing) is a winner from start to finish.

Download: Sammy Marshall: Come On Down
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The flip is a more sedate story of The San Jacinto Mountains, here mislabeled as "The Sanjacinto Mountains". Oddly, Ms. Lindhout's lyrics portray the very first reason for going to area being that it grants wishes, with the specific wish one should make being a wish that Sammy Marshall would "be your fella". That would not be my wish.

Download: Sammy Marshall: The Sanjacinto Moutains
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Sunday, August 06, 2017

Mystery Upon Mystery


Here is a new addition to my collection of Halmark 45's. And it presents a number of mysteries, at least one of which is completely unseen (at least by me) up to this point in the saga of the song-poem industry.

I very excitedly bid on, and watched myself win, this Halmark 45, because its label indicated that the vocalist was Rod Rogers. This seemed to me an impossibility. Rodd Keith worked in Los Angeles, and the folks at Halmark (in Boston) could very well have barely been aware of him. Rodd had also retired that particular spelling of his nom-de-song-poem when he moved from Preview (where he was Rodd Keith) to MSR (where he remained Rodd Keith for a time then became Rodd Rogers). The name Rod Rogers (in that spelling) hadn't regularly appeared on records since he'd left Film City, in the mid '60's. Given that the majority of the Halrmark records which can be dated seem to come from 1973-76 (although they existed well before and after these dates), it's not even certain that Rodd Keith was still alive when this recording was released. Could Rodd Keith have made a record, near the end of his life, for the Halmark label?

Sadly, that's not the case. The song is called "Daddy I Love You", and it's quite clearly sung by the husband and wife team of Dodie Frost and Jack Kimmel, who were Halmark stalwarts (with Kimmel's name usually shorted to "Jack Kim", when he was credited at all). It's sung over one of Halmark's patented, reusable backing tracks - and they didn't even bother starting over again when the tape stuck a bit and caused a glitch at the very beginning. I find the Frost/Kim Halmark records to be particularly, egregiously horrible, and this one is no exception.

The song itself is a fairly desperate answer record of sorts to the massive hit song "Daddy Don't You Walk So Fast", by the very unfortunate Wayne Newton, which hit number four in Billboard in 1972. While in that song, the father is leaving the mother, only to be pulled back in, for one more try, due to the calls of his daughter, in this case, the child herself is narrating: the mother died in childbirth, and rather than the poignant, life altering moment (or, at least, intended so) of the original song, her lyrics are mostly a complaint that, when her daddy would take her out for a stroll, he would, literally, walk too fast for her. Given the lyrics to this thing, it's downright weird that the title is "Daddy I Love You", which is hardly the main point of the lyrics.

But I would LOVE to know how Rod Rogers' name got attached to this thing.

Download: Dodie Frost and Jack Kimmel (Labeled as Rod Rogers): Daddy I Love You
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Okay, so that's one mystery. When I got done with my disappointment after hearing that Rod Rogers was not on "Daddy I Love You", I flipped the record over and saw that the Frost/Kim team were credited on the flip side. For a moment, I thought - "Maybe the artist credits were reversed, and THIS will be Rod Rogers".

But it's not. However, it's also not Frost and Kimmel! It's quite clearly a vanity recording! As I found in a record I posted in January, Halmark apparently pressed up their song-writer's own recordings from time to time. Or, in this case, someone outside of the Halmark facilities singing the song-writer's song. For, unless there are other mistakes on this record (which is entirely possible), this song was also written by the composer of "Dadd, I Love You", Mrs. Aristy Ledford.

The song has the unlikely titled "My Trailways Bus Driver", and it's a true winner. I don't doubt that Mrs. Ledford wrote the song, or at least that some woman did, at least given that it was written in those hetero-centric days, as the lyrics have a definite, "I'm attracted to the male bus driver" tilt to them. Why, then is the vanity recording performed by what appears to be a mail vocalist?

And what a song (and recording) it is. For one thing, if the early lyrics are to be trusted, the driver is apparently holding the singer while driving the bus. Then there's the whole focus of the song, which is literally a tribute to the driver of a bus doing his job. The sound quality is abysmal, and the "High Fidelity Vocal and Orchestra Directed by Ted Rosen", which are described in exactly that way on the label, consist here of a single six-string guitar.

Download: Labeled as Dodie Frost and Jack Kim - My Trailways Bus Driver
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Who is singing this song? Why did Frost and Kimmel get the credit? Why did Mrs Ledford pay for one song to be produced by the Halmark factory yet submitted another one complete and on tape, sung by a male singer with his guitar? And how on earth did the name of Rod Rogers (who may well have been dead by the time this record was released) end up on this 45?

I'd love to hear anyone's thoughts on this matter!



Wednesday, July 26, 2017

Zombie Song-Poem

It's always a good time for an early Tin Pan Alley record - in this case, one from 1956. And with the recent death of George Romero, there couldn't be a better time for a tribute to the man behind the modern zombie film, than a Tin Pan Alley song-poem about....yes.... ZOMBIES! 

Here's "Zombies Dance in the Night". It's sung by Alberta Jordan, whose name turns up on only a handful of TPA singles. And that's too bad, because she had a fun sound to her voice, which would have enhanced any number of song-poem records. The AS/PMA website lists one Jordan record, and I own two others, both of which I've now shared here (the other is currently mothballed, due to the loss of the links to my earlier posts.

The record has a bump and grind beat, which is an interesting choice for a song describing Zombies dancing. The author did not provide a whole lot of lyrics, leading to a lot of "La-La-La's" at a few points. But they still paint quite a picture.

Download: Alberta Jordan: Zombies Dance in the Night
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The flip side, "Mister Radio Operator". And this is a fine, fun record, with a swinging, early rock and roll beat, with a nice sax solo, and a great feeling throughout. I'm not sure where the protagonist is located, but in the song, she's beginning the title character to somehow manage to pull in a strong signal so that she can hear her favorite music. Alberta Jordan does has a weird way of pronouncing words ending in a long O - including "Radio" - not sure where that accent comes from.

And how do I know this record is from 1956? Well, I did a search for the titles as well as the name of the label, and I found this listing. It seems that label honcho Jack Covais was thorough enough (proud enough?) of his co-writing credits - for writing the music - that he took the time to copyright these songs.

Download: Alberta Jordan: Mister Radio Operator
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Monday, July 17, 2017

A Mid-Summer Treat - A Full MSR Album from 1971!


I thought I'd send out something extra special today, especially in light of the fact that I've been sharing more like three "song poems of the week" each month instead of four for most of the year.

So.... here's a FULL album from MSR, titled "New Songs for '71", featuring Dick Kent and the Lancelots on most of the tracks, and Bobbi Boyle (Bobbi Blake, I do believe) and the MSR singers on the remainder.

Just a few notes:
     - I believe that "Hot Pants and Leather Boots That Shine" has traveled the song-poem collector  circuit, although I'm not sure. I just know that I'd heard it before getting this album.
      - Even though that's the case, it is not, by far, in my estimation, the most interesting track here. The next to last song on side, for example, "Do Right", stood out to me for it's ridiculously simplistic sloganeering, and the final track on side one, "California City" is a marvel, in the way it seems to be wanting to tell a story, but simply repeats the same incomprehensible and pointless anecdote twice.
      - The most amazing track here, by far, is on side two, and is called "Forty Going North". I was actually inspired to get up and make sure I still had the same album on the turntable, so different was this from anything else on the album, and indeed, from anything else MSR was doing around this time. Truly an amazing track.

I have not separated out the tracks - they are linked here simply as side one and side two.

Enjoy!!!!      

Download: Dick Kent and the Lancelots and Bobbi Boyle and the MSR Singers - New Songs for '71, Side One
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Download: Dick Kent and the Lancelots and Bobbi Boyle and the MSR Singers - New Songs for '71, Side Two
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Friday, July 07, 2017

First, I Will Serve My Country


Well, here we are, with a patriotic tune, appropriate for the week, just a few days late for Independence Day. And it's an early effort by Norm Burns and the folks at Sterling records, from that brief period when they were making a few wonderful, early-'60's sounding rock and roll records. The release comes just a few label numbers after the unimpeachable "Darling, Don't Put Your Hand On Me", which may well be my favorite song-poem record, and which you can hear here.

"Twenty-Three" isn't the equal to that masterpiece - and what is? - but it's a solid record in the same genre, clearly cut from the same cloth, with another unique Norm Burns vocal, and a lyric that tells its story effectively enough. Interesting enough, the lyricist here is female, but wrote a song from the point of view of a young man who has been drafted.

Download: Lew Tobin's Orchestra, Vocal, Norman Burns - Twenty-Three
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On the flip side is a straightforward, sad ballad titled "Lost in Hopes of You". The singer's been gone for awhile, and has learned that, in his absence,  his sweetheart has found another. Since this has the same lyricist as "Twenty-Three", it seems at least possible that writer Mary Genco saw this song as being from the perspective of the same person who was portrayed on the flip side, a few months later.

Download: Lew Tobin's Orchestra, Vocal, Norman Burns - Lost in Hopes of You
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Friday, June 30, 2017

My Heart Has a Flat


I love many of the 1960's Preview label releases. But as the early '70's move into the mid '70's, I tend to find fewer and fewer of the recordings on this label to be of interest, as more and more of them feel like poorly arranged, tossed off, forgettable nothings.

So I didn't have a lot of hope for this record, which seems to date from around 1974. But I was pleasantly surprised - delighted, actually, to find a funny, pun-filled record. "A Check Up With Love" is certainly not the first - or even close to the best - record to use car metaphors to describe a relationship, but it's a well done example of that concept, with several genuinely unusual, dryly humorous lyrics (although someone should have told the song-poets that no one has ever called it a "window-shield".

Gene Marshall does a solid job singing it, although it's not up to his standards. He was probably sight reading (as was usually the case) and he sounds a bit unsure here and there, tripping over the unexpected turns of phrase (I do love the little "yeh" at 1:33). The band sounds good, particular the excellent drumming.

Download: Gene Marshall - A Check Up With Love
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On the flip side, a more typical recording of the era, built around the phrase "Why Waste Time, Time Does Not Waste On Us", a trite thought which somehow puts me in the Yakov Smirnoff. The song is heard in a suitably blandly professional performance.

Download: Gene Marshall - Time Does Not Waste On Us
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Friday, June 23, 2017

My Minutes with Demento

In July of 1975, I was a month beyond my 15th birthday. I was hooked on buying all things Beatles, watching (and recording) episodes of Monty Python's Flying Circus every Sunday night on our local PBS station, and cutting a bunch of lawns for money.

Over the course of a few weeks, I heard from two different friends about a radio show they knew I'd love, The Dr. Demento show, heard Sunday nights over WSDM, 97.9 (SDM = "Smack Dab in the Middle" of your dial). On July 20th, I gave it a listen.

I was hooked from the very first song, "The Q5 Piano Tune" by Spike Milligan, an amazing feat of nonsense wrapped up in a hooky, noisy and extremely well produced package (not surprising, as it was produced by George Martin). As the show went on, I heard several more excellent records that I'd had no idea existed, in styles and genres I barely had known about, as well as a few that I'd grown up knowing, such as "Three Little Fishies" and "The Purple People Eater".

I was getting very into this new show, but then, near the end of the episode, came "My Boomerang Won't Come Back" by Charlie Drake, and I was over the moon. The record is a masterpiece of production (and, again, by George Martin!), has funny lyrics, great harmonies and an absolutely indelible tune. I have no doubt it was the record I listened to the most over the next two or three months, and remains one of my very favorite records.

For that treat alone, I made sure to listen the next week, and the next, and the next, in the hope of hearing something else that I would love. I was usually rewarded with something else wonderful. I was hooked on Dr. Demento's show. And like most things I fall headlong into, I have continued to be into Dr. Demento, full bore, ever since. His show changed stations a few times in those early years, but it eventually landed on WLUP (curiously, the station which took over the frequency of WSDM), and stayed there for more than 30 years, before the show itself moved to an online-only presence.

Over the course of those years, I recorded nearly every episode on reel to reel, copying onto cassette tape after cassette tape all of the material that I loved, and there was far too much of that loved material to mention here, although I will point out that his show was the source of my introduction to Thurl Ravenscroft, whose career I celebrated here.

Being a major record collector myself, Dr. Demento (AKA Barry Hansen) became a hero to me, for his collection, his knowledge and his desire to/excellent ability at sharing his collection with the world.

I even got a song on his show. After I completed a self-produced, privately distributed cassette tape of funny songs, I sent off a copy of a few of them to the good Doctor, and was rewarded a few months later when my song "Bad TV Acting" (a parody of "Sweet Soul Music") got a spin on the show (later, the entire cassette album was posted online, here).

Flash forward a few more years, and an episode of the show was done which paid tribute to Elvis, 25 years after his death. I wrote a very favorable post about it in the Dr. Demento Usenet Newsgroup (remember those), and someone in his camp forwarded it to Dr. Demento himself. Thus began an occasional correspondence between us. This was more than I would ever have dreamed of, but over the last couple of years the correspondence has became more frequent, starting with my making suggestions for the show, and offering up items from my own collection. Soon, he and I were going off on tangents and writing to each other about our lives, our collecting, etc.

Hearing that Dr. Demento and I would someday become friends would have probably put the 16 year old, or 26 year old me into shock. And yet, that's what had happened. I had, by this point, started recording my own material again, and I began sending some of these songs to him, as well. Since early last year, he's played four of these, and has featured several additional items from my collection, several of them song-poems.

When I learned last fall that Dr. Demento would be appearing live in a theatre about an hour from my home, around Halloween, I quickly bought a ticket, and inquired with him whether he thought there'd be a chance for us to meet before the show. The answer was yes, and so, last October, prior to what was a wonderful presentation, I got to spend about 20 minutes with the Good Doctor, in the theatre's "green room".

What did we talk about? Lots of things, including, of course, being a collector and ways of having a collection. But does it really matter? Someone I considered a hero, someone who built an amazing career out of something I've done as a life-long hobby, is now a friend. And we had a really nice conversation, and that's what matters. Since then, our conversation continued, via e-mail. So have my submissions of records from my collection for the show: Just last week, he played "The 23rd Channel", a ridiculous Noval label song-poem, during a segment on television.

Thank you, Dr. Demento - Barry Hansen - for more than 40 years of entertainment, for the myriad beloved songs and other recordings you've introduced me to, and for welcoming me into friendship with you.

Tuesday, June 20, 2017

An All Time Favorite


Today is my 57th birthday, although I prefer to look at it as being 19 for the third time. Regardless of all that, I'm going to give a gift to you - a record which I've owned for a long time as part of a shared tape exchanged from long, long ago, but only acquired on vinyl in the last few days. And it is, as indicated in the title, an all-time favorite of mine. I was actually amazed (in searching, prior to making this post) that it never seems to have been shared by anyone before.

It's Rodd Keith, in his Rod Rogers mode, in a recording clearly made at the Film City song-poem factory, but released by a vanity label run by Roy "Curly" Rivers and Evelyn Sheets, who wrote songs together, and who combined their last names to form the Shevers label.

What's so special about this one? Well, there are several records made by Rodd Keith in a country vein wherein he sounds like he's less than serious about the genre, and seems to have his tongue in his cheek to varying degrees. For this song, however - the aptly named "Poverty" - his complete contempt for the material and the style fairly drips off of the grooves. The addition of a few added sounds tied into the lyrics is a nice touch. (The awful edit at 1:01, on the other hand, might be another indication of the level of seriousness with which he took this particular recording.)

Perhaps his intentions wouldn't be as clear if we didn't have Rodd's other records to compare this to - if all we knew was that this record sounded if it was made by an idiotic backwoods hick. But we know what he could do when he was serious, or even doing something lighthearted that he respected. This is just a complete deconstruction of a genre.

The couple behind the scenes at Shevers seem to have not been bothered by this - or perhaps it's what they asked for - as this is actually a single lifted from an entire album of songs that they commissioned, one which goes for a whole bunch of dollars, on the rare occasions that it turns up for auction.

ENJOY!!!

Download: Rod Rogers - Poverty
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On the flip side - and also from the "Singing in the Country" album, is a much more typical Rodd Keith Film City era record, titled "Luella". This track has a swinging Chamberlin track, with some creative soloing and voicing choices. The song has an interesting lyric, and Rodd sounds fully engaged with this one, with good reason, I'd say.

Download: Rod Rogers - Luella
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Thursday, June 08, 2017

Don't Make Love On a Merry-Go-Round!

Before getting to this week's offering, I want to write about a new project, a massive undertaking being made by a wonderful (and not at all obscure) person who has been my closest friend for what is now approaching 40 years, Stu Shea. Stu is also a frequent commenter here, and I've already commented on several of his new posts.
 
Stu is now featuring "A Song a Day" on his site, and not just the song, but typically, extensive background information, thoughts on the performer and song, and other information. In over a month of posts, he's featured music from a wide variety of time periods, genres and performers. It's already an impressive project, and it can be found here. I'll also link to it on the right.
 
 

Air Records doesn't seem to have been in the business of creating song-poem recordings, as least as far as I can tell. Instead, by some process and for some reason, they released the work of various song-poem factories, and as often as not, more than one production house would be represented on a single 45 or EP. In the case of today's feature, we have three songs from the Globe factory, two of which feature Sammy Marshall under one of his slightly adjusted names, as well as a very nice entry, from the almost always very nice Lee Hudson outfit.

First up is a song which will be of interest, if it's not already known, to the Vietnam War Song Project, as it's "A Soldier's Prayer" by "Sonny Marshall". This is a particularly treacle-laden number, complete with a lengthy spoken word section in which the soldier speaks directly to God.

A side note - I always look to see if the songs I'm considering have been posted anywhere before, in the hopes to avoid duplicating someone else's work (last week notwithstanding). The only reference I found to this record was in a book about "Music of the Vietnam War", in which the author dedicates a paragraph to the song, not knowing it was a song-poem (or, most likely, what a song-poem is), and expressing a certain level of confusion as to the type of songs which were paired on the EP, with this deeply religious, serious song. That page can be found here.

Download: Sonny Marshall: A Soldier's Prayer
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My favorite of the four tracks also comes from the Globe stable, with label stalwart (who I have not featured here before) Joan Auborn, with the bouncy and silly "Dizzy Love" from which comes the title of this post. The typically, fairly sterile Globe band backing doesn't do the material any favors, but the sweet, lighthearted lyrics, and especially the warm lead vocal make up for the lack of energy by the band.

Download: Joan Auborn - Dizzy Love
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Flipping the record over, we're again greeted with Sammy/Sonny Marshall, and an even more canned sounding track backing him up on the song "Talk, Talk, Talk". The way that the folks at Globe fit that title into a rapid-fire melody didn't do the lyrics, or Sammy/Sonny any favors - it's remarkably clumsy sounding. And this is a remarkably bouncy setting for a song in which the singer complains that no one likes him, that everyone talks crap about him, and, based on one set of lyrics, he's apparently about to die.

Download: Sonny Marshall: Talk, Talk, Talk
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Finally, we have the track submitted by the great Lee Hudson company, featuring his standard male singers, Jeff Reynolds on the song "My Valentine". It has elements of the features which make many of the Hudson records stand out from the typical song-poem release, but doesn't have as much varied instrumentation or energy as most of the company's best work.

Download: Jeff Reynolds - My Valentine
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Wednesday, May 31, 2017

The Hard Sell

I have always tried to avoid posting records which have also been posted on other blogs or elsewhere, but today, I'm making an exception, first because this is such an extraordinary one-sided record (a copy of which I only recently obtained - and I couldn't be more pleased!) and second, because the download at the only other posting is no longer available, due to the same divshare meltdown that too most of my earlier posts. The poster was Darryl Bullock, he of the masterful "World's Worst Records" blog, which is linked, to the right, and the post in question, which you can find here, has far more detail than I could hope to have put together. The post is there, the track is not.

For those who didn't just click on that link, this is a holy grail for lovers of the Halmark label. For here we have the sales pitch, complete with a performance by Bob Storm over what may well be a canned backing track, for the lugubrious product that Ted Rosen at Halmark. The sales pitch is remarkable in its ridiculousness, and goes a long way to explaining how anyone would have been satisfied in the typical overwrought, often unbearably unctuous performances that came out of Halmark - they were submitted by people who thought this record was good.

Download: Bob Storm - In That Mood Again (with Sales Pitch)
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And I really encourage you to read the much more detailed and researched post by Darryl Bullock, linked above.

And hey, look - the owner really loved and played this record - it's got one of those plastic doo-hickeys in it to fit it to the spindle!:


Wednesday, May 24, 2017

I Dreamed I Heard Joe Hall Last Night



 
I have very recently picked up two records - the first two in my collection - by song-poem singer Joe Hall. His name dominates the earliest known releases on the Sterling label - a favorite of mine - and then disappears, never to appear again, around the time that Norm Burns shows up, with barely a dozen known releases to his name. So I thought I'd share this previously rather unknown warbler with all of you. To me, he sounds more than a bit like the latter day Film City singer, Jimmie Jones.
 
But there I go, burying the lead, all for the chance to put a joking reference in the title of my post. Because the real news here is that we have yet another "song-poet" who made minor changes to an existing song, and presented the results as his own. Granted, this is not the wholesale theft of "Nobody's Child", which was submitted to a song-poem company without one word changed, or even "Watching Scotty Grow", which was submitted to another company with the name of the child changed. (Those examples will be able to be found elsewhere in this blog if I ever find the time to fix the older posts.)
 
Because there are lyrical changes here. But a simple reading of the words to "Old Black Joe", and a listen to Floyd Davis' "Old Miner Joe" will show those changes to be largely cosmetic. I really have to wonder if Mr. Davis proudly played this record for his friends and said "listen to the song I wrote!", and if so, if anyone pointed out that Stephen Foster wrote nearly the same song more than a century earlier.
 
Have a listen!
 
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The flip side, featuring the truly unwieldy title "In the Garden of Home Sweet Home", is as clunky a song as its title suggests it will be. Not much here to make the song entertaining...
 
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Friday, May 12, 2017

Kitchen Table Boogie


Howdy, everyone!

Well, problems getting Opendrive to accept my uploads, and some truly busy job and home requirements have  left me nearly a week behind. Hopefully, today's offering makes up for the delay.

As I've documented several times, Prior to mid-1972, the Cinema label's releases (always labeled as having been performed by "The Real Pros") usually featured a  one-man-band operation, and then, during 1972, the label slowly transitioned over to the MSR gang (which would soon take over the label's product almost entirely).  And I've also probably made it clear that my tastes run to the former over the latter by a wide margin. So it is that I have another one of those early Cinema releases today, albeit one with a significant difference from the others I've shared.

On the side of the record featuring the remarkable and ridiculous "Kitchen Table Boogie", we have the early Cinema label vocalist I've come to know and love, and he's got a doozy for us. Here we have another lyricist who seemingly grabbed any word that rhymed with the end of the previous line, then created a line that could end with that rhyming word. Man, Combine that with a wah-wah styled keyboard setting, a swinging beat, and some wild soloing at the end, and it's a complete packing. In Fact, That's Country Style!

Download: The Real Pros - Kitchen Table Boogie
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The difference comes up with the rather bland flip side, a song with the clunky title "Wondering Memories". Here we still have the same home-organ console, played very likely by the same person who is on most or all of the other Real Pros records from this period. But the singer in this case is a woman, a vocalist I don't recognize, and who does not have much vocal personality (or talent). Perhaps I've heard others from this label/era with this or another female vocalist (perhaps I've even shared one), but if so, I don't remember it. The song is very forgettable, the only thing that stands out me being this exceptionally poorly written couplet: "More Heartbreak Could Be Fatal / Especially For Me".

Download: The Real Pros - Wondering Memories
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