One Hit Wonders63

One Hit WondersVolume 041963PEGGY MARCHI Will Follow HimGARNET MIMMSCry BabyAnd Many More...THE SURFARISTHE SURFARISWipe OutWipe Outshapemedia.ukStrollStrollWith MeWith Me Down DownMemoryMemoryLane..Lane..FEATURING:THE TRASHMANSurfin’ BirdTHE FIREBALLSSugar Shack

| 02shapemedia.ukC o n te n ts 196 304 THE SURFARISWipe Out06 PEGGY MARCHI Will Follow Him08 THE TRASHMENSurfin’ Bird10 THE FIREBALLSSugar Shack12 THE CASCADESRhythm Of The Rain14 DORIS TROYJust One Look16 GRANDPA JONEST For Texas18 RUBY & THE ROMANTICSOur Day Will Come20 THE ROOFTOP SINGERSKiller Joe22 THE ANGELSMy Boyfriend’s Back24 LONNIE MACKMemphis26 GARNET MIMMSCry Baby28 NINO TEMPO & APRIL STEVENSDeep Purple30 THE CHANTAYSPipeline32 STEVE LAWRENCEGo Away Little Girl34 THE ESSEXEasier Said Than Done36 INEZ & CHARLIE FOXXMockingbird38 THE EXCITERSTell Him40 CONNIE HALLFool Me Once42 THE JAYNETTSSally Go Round The Roses44 DARRELL MCCALLA Stranger Was Here46 SŒUR SOURIREDominique48 LOS INDIOS TABAJARASMaria Elana50 JAN BRADLEYMama Didn’t Lie52 THEOLA KILGOREThe Love Of My Man54 THE TAMSWhat Kind Of Fool ....56 ORVILLE COUCHHello Trouble58 DALE & GRACEI’m Leaving It Al Up To You

shapemedia.uk 03 |Produced by the Editor of Write Away Produced by the Editor of Write Aw a y Magazine, and Country Music Express Magazine, and Country Music Express Magazine, JANE SHIELDSMagazine, JANE SHIELDSLook out for the next issue... Look out for the next issue... 1964 coming soon...1964 coming soon...The list of top singles for 1960’s The list of top singles for 1960’s comes from the Playback.fm comes from the Playback.fm charts. These artists had only charts. These artists had only one top 10 hit which charted one top 10 hit which charted during 1960-1969during 1960-1969www.writeawaymag.co.ukwww.writeaw aymag.co.ukwww.countrymusicexpress.co.ukwww.countrymusicexpress.co.uk

WIPE OUT© The SurfarisWipe Out is a surf rock instrumental composed by Bob Berryhill, Pat Connolly, Jim Fuller and Ron Wilson. Composed in the form of twelve-bar blues, the tune was first performed and recorded by the Surfaris, who became famous with the single in 1963.The single was first issued on the independent labels DFS (#11/12) in January 1963 and Princess (#50) in February and finally picked up for national distribution on Dot as 45-16479 in April. Dot reissued the single in April 1965 as 45-144.The song—both the Surfaris’ version as well as cover versions—has been featured in over 20 films and television series since 1964, appearing at least once a decade.A “wipe out” is a fall from a surfboard, especially one that looks painful.Bob Berryhill, Pat Connolly, Jim Fuller and Ron Wilson wrote “Wipe Out” almost on the spot while at Pal Recording Studio in Cucamonga, California, in late 1962, when they realized they needed a suitable B-side for the intended “Surfer Joe” single. One of the band members suggested introducing the song with a cracking sound, imitating a breaking surfboard, followed by a manic voice babbling, “ha ha ha ha ha, wipe out”. The voice was that of the band’s manager, Dale Smallin.“Wipe Out” spent four months on the Billboard Hot 100 in the summer of 1963, reaching number 2, behind Stevie Wonder’s “Fingertips”. Meanwhile, the original A-side “Surfer Joe”, sung by Ron Wilson, only attracted airplay in the wake of “Wipe Out”’s success, peaking at number 62 during its six-week run. “Wipe Out” returned to the Hot 100 in 1966, reaching number 16 on the Hot 100 (and number 63 for the year), peaking at number 9 on the Cash Box chart, selling approximately 700,000 copies in the U.S. The single spent a grand total of 30 weeks on the Hot 100. Wilson’s energetic drum solo for “Wipe Out” (a sped-up version of his Charter Oak High School marching band’s drum cadence) helped the song become one of the best-remembered instrumental songs of the period. Drummer Sandy Nelson issued different versions on multiple LPs. In 1970, “Wipe Out” peaked at number 110 on the Bubbling Under Hot 100 Singles chart.Following the 2001 death of television personality Morton Downey Jr., news reports, obituaries and Downey’s official website incorrectly credited him as the composer of “Wipe Out”.In science fiction author Robert J. Sawyer’s | 04 shapemedia.uk1 9 1 9

WIPE OUTNeanderthal Parallax series, the DNA sequence for a deadly virus is saved in a computer folder entitled “Surfaris”. A character immediately recognizes this as a reference to “Wipe Out” and determines that the virus will wipe out all of the Neanderthals on a parallel universe’s Earth. She then rewrites the DNA code to a non-lethal version and calls the file “Surfer Joe” in reference to the A-side of “Wipe Out”.In the late 2000s, the track was used on Harry Hill’s TV Burp, usually played when Harry or the Knitted Character ride a jelly.“Wipe Out” has been included in a number of film soundtracks, including those of Dark Star (1974), Dirty Dancing (1987), The Sandlot (1993), Toy Story 2 (1999), Recess: School’s Out (2001), The Cat in the Hat (2003), Herbie Fully Loaded (2005), Surf’s Up (2007), Far Cry New Dawn (2019), and Stranger Things (2022).In 2014, the track was played in the 29th episode of season 5 of Regular Show as the “ancient call of the surfers”.The Surfaris are an American surf rock band formed in Glendora, California, United States, in 1962. They are best known for two songs that hit the charts in the Los Angeles area, and nationally by May 1963: “Surfer Joe” and “Wipe Out”, which were the A-side and B-side of the and reissued as Dot 45–144 in April 1965. It sold over same 45 rpm single.The Surfaris were inducted into the Musicians Hall of Fame and Museum in 2019 for their hit instrumental song, “Wipe Out”.In the fall of 1962, Southern California high school students Jim Fuller and Pat Connolly competed against Bob Berryhill in a local talent show and were wanting to create a band. Fuller and Connolly called Berryhill one day to ask if he wanted to practice, since he had an amp. After practicing the two told Berryhill they were going meet with drummer Ron Wilson at a high school dance. After adding Wilson then Berryhill the band was set. That night they played their first dance at Pomona Catholic High School after a football game. Using the drum cadence from his high sig school but sped up, with the guitar riff Jim Fuller originally was writing it for a song named “Switchblade” he had been working for a couple months prior. Wipe Out” was written and recorded by the quartet later that winter, with the song reaching No. 2 nationally in 1963 before becoming an international # 1 hit.Saxophone player Jim Pash joined after their “Wipe Out” / “Surfer Joe” recording sessions at Pal Studios engineer Paul Buff.Ken Forssi, later of Love, played bass with The Surfaris after Pat Connolly left.Wilson’s energetic drum solo made “Wipe Out” one of the best-remembered instrumental songs of the period. “Wipe Out” is also remembered particularly for its introduction. Before the music starts, Berryhill’s dad found a piece of plywood in back of the studio and Pat broke the board (imitating a breaking surf board) over the mic, followed by a maniacal laugh and the words “Wipe Out” spoken by band manager Dale Smallin. After needing a second song to record, Jim Fuller had been working on a guitar riff for almost a month for a song he was writing named “Switchblade”. They used the guitar riff and used a sped up Charter Oak High School drum cadence and “Wipe Out” was born and recorded studio by the four original members (Berryhill, Connolly, Fuller, and Wilson). It was initially issued on the tiny DFS label (#11/12) in January 1963. It was reissued on the tiny Princess label (#50) in February 1963. It was picked up by Dot (45-16479) in April 1963, one million copies and was awarded a gold disc.The Surfarisshapemedia.uk 05 | 6 36 3

I Will Follow HimPerformed By Peggy March| 06 shapemedia.ukI will follow himFollow him wherever he may goAnd near him, I always will beFor nothing can keep me awayHe is my destinyI will follow himEver since he touched my heart I knewThere isn’t an ocean too deepA mountain so high it can keepKeep me awayAway from his loveI love him!I love him!I love him!And where he goesI’ll follow!I’ll follow!I’ll follow!I will follow himFollow him wherever he may goThere isn’t an ocean too deepA mountain so high it can keepKeep me awayI will follow him (follow him)Follow him whereverHe may go! (uhh uhh uhh)There isn’t an oceanToo deep (too deep!)A mountain so high it can keepKeep me away!Away from his love!Oh oh yeah!(I love him!)Oh yes, I love him(I’ll follow!)I’m gonna follow(True love!)He’ll always be my true love(Forever!)From now until foreverI love him!I love him!I love him!And where he goesI’ll follow!I’ll follow!I’ll follow!He’ll always be my true love(My true love! My true love!)From now until forever!(Forever, forever)There isn’t an ocean too deepA mountain so high it can keepKeep me away!!Away from his loveI will follow him (follow him)Follow him whereverHe may go! (uhh uhh uhh)There isn’t an oceanToo deep (too deep!)A mountain so high it can keepKeep me away!Away from his love!Oh oh yeah!(I love him!)Oh yes, I love him(I’ll follow!)I’m gonna follow(True love!)He’ll always be my true love(Forever!)From now until foreverI love him!I love him!I love him!And where he goesI’ll follow!I’ll follow!I’ll follow!He’ll always be my true love(My true love! My true love!)From now until forever!(Forever, forever)There isn’t an ocean too deepA mountain so high it can keepKeep me away!!Away from his love1 9 1 9

I WILL FOLLOW HIMPeggy MarchI Will Follow Him is a popular song that was first recorded in 1961 by Franck Pourcel, as an instrumental titled “Chariot”. The song achieved its widest success when it was recorded by American singer Little Peggy March with English lyrics in 1963. The music was written by Franck Pourcel (using the pseudonym J.W. Stole) and Paul Mauriat (using the pseudonym Del Roma).[2] It was adapted by Arthur Altman. The completely new English lyrics were written by Norman Gimbel.On January 22, 1963, Little Peggy March’s version of “I Will Follow Him”, backed with “Wind Up Doll”, conducted by Sammy Lowe, in studio RCA Victor Studio A, New York City on January 7, 1963, after running take 9, was released by RCA Victor. March’s version spent 14 weeks on the Billboard Hot 100, reaching No. 1 on April 27, 1963 and spending three weeks in this position, making 15-year-old March the youngest female artist to have a U.S. chart-topping single. Her version also reached No. 1 in Australia, Hong Kong Israel, South Africa, Uruguay, Canada’s CHUM Hit Parade, New Zealand’s “Lever Hit Parade”, and Billboard’s Hot R&B Singles chart.The song also reached No. 1 on the Cash Box Top 100, in a tandem ranking of Little Peggy March, Franck Pourcel, Petula Clark, Rosemary Clooney, Betty Curtis, Jackie Kannon, Joe Sentieri, and Georgia Gibbs’ versions, with March’s version marked as a bestseller. It was one of the nominees for the 1964 Grammy Award for Best Rock and Roll Recording.In 2011, Peggy March re-recorded “I Will Follow Him” with Dutch singer José Hoebee (who covered this song and reached the number-one spot in the Netherlands and Belgium in 1982). The release of this new version song, however, was delayed one year later and finally came out on the German edition of March’s album Always And Forever.Peggy March (born Margaret Annemarie Battavio, March 8, 1948) is an American pop singer. In the United States, she is primarily known for her 1963 million-selling song “I Will Follow Him”. Although she is sometimes remembered as a one-hit wonder, she continued to have success in Europe well into the 1970s.Born to an Italian-American family, March was discovered at age 13 singing at her cousin’s wedding and was introduced to record producers Hugo & Luigi. They gave her the nickname Little Peggy March because she was only 4 ft 10 in (1.47 m) tall, she was only 13, the record she did with them was “Little Me,” and her birthday was in March.On April 24, 1963, her single “I Will Follow Him” soared to number one on the United States charts. She recorded the song in early January 1963 and it was released on January 22, when she was only 14. March became the youngest female artist with a number-one hit, at 15, in late April 1963, a record that still stands for the Billboard Hot 100. The recording also reached number one in Australia, New Zealand, South Africa, Japan, and Scandinavia. It failed to chart in the United Kingdom. It was a translation of the French song “Chariot” recorded a year earlier by Petula Clark. March also became the first white female solo artist to hit number one on the Billboard R&B chart.March’s success also came with financial trouble. She was a minor and the “Coogan Law” prevented her parents from managing her money. The responsibility was placed on her manager, Russell Smith. It was discovered in 1966 that he had squandered the fortune, leaving her with $500. March graduated from Lansdale Catholic High School in 1966.Although she is remembered in the United States by some as a one-hit wonder, her singles, “I Wish I Were a Princess” and “Hello Heartache, Goodbye Love”. made the top 30 in the US, with the latter also reaching No. 29 on the UK Singles Chart.shapemedia.uk 07 | 6 36 3

SURFIN’ BIRDPerformed By The TrashmenSurfin’ Bird is a song performed by American surf rock band The Trashmen, containing the repetitive lyric “the bird is the word”. It has been covered many times. It is a combination of two R&B hits by The Rivingtons: “Papa-Oom-Mow-Mow” and “The Bird’s the Word”.The song was released as a single in 1963 and reached No. 4 on the Billboard Hot 100. The Trashmen also recorded an album named after the track, released two months later.The Trashmen were an American rock band formed in Minneapolis, Minnesota, United States, in 1962. The original line-up of the group featured guitarists Tony Andreason and Dal Winslow, bassist Bob Reed, and drummer Steve Wahrer.Along with Colorado-based contemporaries the Astronauts, the Trashmen have been described as “the premier landlocked Midwestern surf group of the ‘60s.” The band took their name from “Trashman’s Blues”, a song written and recorded in 1961 by Minneapolis musician Kai Ray (Richard Caire, 1935–2017), who later wrote songs for the band.Tony Andreason and Mike Jann were friends who learned and played guitar together, starting in 1955. They primarily played country. In 1957, at the Crystal Coliseum, Tony and Mike met Steve Wahrer, a drummer, which reached No. 4 on the Billboard Hot 100 in the Dallas “Dal” Winslow, a guitar player, and a saxophone player. Tony, Steve, Dal, and the saxophone player played as The String Kings for a brief time period. Mike wasn’t part of the group, due to being more interested in country music. Tony met Jim Thaxter through Steve and Dale. Jim was a singer who was looking to front a band. “Jim Thaxter and the Travelers” was then formed with the following line-up: Jim Thaxter on lead vocals and guitar (tuned to a bass guitar); Tony Andreason on lead guitar; Dal Winslow on rhythm guitar; Tom Diehl on piano; and Steve Wahrer on drums. In Spring 1961, the group took a break as Tony and Jim had to go into the military. In February or March 1962, the two returned. However, disagreements on musical direction between the two caused Tony to leave the band. Steve and Dal left with him.Don Woody joined the group on bass. After Don’s friend showed the group a record called “The Trashmen’s Blues” by guitarist Tony Caire aka Kai Ray, Steve decided to call the band “The Trashmen”. The group was primarily an instrumental group, with occasional lead vocals by Steve. Steve began to sing more and more. Tony has occasionally sung lead. Don left the band and was replaced by Bob Reed, picked from an audition. The group gained an interest in surf rock after listening to Dick Dale. A song called “Surfin’ Bird” was conceptualized by Steve and was instantly liked by their audience at showsThe Trashmen’s biggest hit was 1963’s “Surfin’ Bird”, latter part of that year. The song was a combination of two R&B hits by The Rivingtons, “The Bird’s the Word” | 08 shapemedia.uk1 9 1 9

The TrashmenSURFIN’ BIRDand “Papa-Oom-Mow-Mow”. Early pressings of the single credit the Trashmen’s drummer and vocalist Steve Wahrer as the composer, but following a threat from The Rivingtons’ legal counsel, the writing credit was removed from Wahrer and transferred to the members of The Rivingtons.The song was later covered by The Ramones, The Cramps, Silverchair, The Psychotic Petunias, Pee-Wee Herman, Equipe 84, and the thrash metal band Sodom. It has also been featured in several films, including Full Metal Jacket, Fred Claus, Pink Flamingos, Back to the Beach, and The Big Year.“Surfin’ Bird” was the subject of the episode “I Dream of Jesus” of the television series Family Guy, sending the song to No. 8 on the iTunes Top 10 Rock songs chart and No. 50 on the UK Singles Chart in 2009. The episode “Rich Old Stewie” included the song played in slow motion.In 2010, a Facebook campaign was launched to send the song to No. 1 in the UK over the Christmas season; this was largely intended (as with Rage Against the Machine’s “Killing in the Name”, in 2009) as a protest against the takeover of the Christmas No. 1 spot by The X Factor winner’s song. The track debuted in the UK Top Ten for the first time on December 19, at No. 3.It was also featured in the video game Battlefield Vietnam.Beyond “Surfin’ Bird”, The Trashmen experienced limited success. In 1964, “Bird Dance Beat” reached No. 30 on the Billboard Hot 100 in the United States and was a top 10 hit in Canada. The group disbanded in 1967. A four-CD box set of their work was released by Sundazed Records.The group made sporadic reunions in the 1970s and 1980s, performing together until Steve Wahrer died of throat cancer in 1989. Later, Tony Andreason’s brother Mark replaced Wahrer as drummer. Reed’s son Robin joined as a touring member in 2009 on drums, filling in for Mark Andreason.In 1999, the Trashmen played at the Las Vegas Grind. They also performed in Illinois, Ohio, Wisconsin, and Spain in 2007 and 2008.The Trashmen toured Europe in 2008 and in 2010, performing in Germany, the Netherlands, France, Spain, Belgium, Italy, Austria, Norway, Sweden, and Finland.The band recorded four tracks at Custom Recording Studios in Golden Valley, Minnesota, with longtime fan and guitarist Deke Dickerson, for the record label Major Label, releasing the 7” EP I’m a Trashman in March 2013. A full-length follow-up LP, Bringing Back the Trash, was released in April 2014. After several 2015 shows in the band’s hometown of Minneapolis, the band re-entered retirement..Classic line-upTony Andreason – lead guitar, vocals (1962–1967, 1970s, 1982–2016)Dal Winslow – rhythm guitar, vocals (1962–1967, 1970s, 1982–2016)Bob Reed – bass guitar, vocals (1962–1967, 1970s, 1982–2016)Steve Wahrer – drums, lead vocals (1962–1967, 1970s, 1982–1989)Other membersJim Woody – bass guitar (1962); replaced by Bob ReedMark Andreason – drums, backing vocals (1989–probably 2009)Robin Reed – drums, backing vocals (2009–2016)Deke Dickerson – guitar (2013–2014 (possibly featured in other years))shapemedia.uk 09 | 6 36 3

SUGAR SHACKPerformed By The FireballsThere’s a crazy little shack beyond the tracksAnd everybody calls it the sugar shackWell, it’s just a coffeehouse and it’s made out of woodEspresso coffee tastes mighty goodThat’s not the reason why I’ve got to get backTo that sugar shack, whoa, babyTo that sugar shackThere’s this cute little girlie, she’s a-workin’ thereA black leotard and her feet are bareI’m gonna drink a lotta coffee, spend a little cashMake that girl love me when I put on some trashYou can understand why I’ve gotta get backTo that sugar shack, whoa, babyTo that sugar shack, yeah, honeyTo that sugar shack, oh yesTo that sugar shackAnd now that sugar shack queen is a-married to me, yeah, yeahWe just sit around and dream of those old memoriesAh, but one of these days, I’m gonna lay down tracksIn the direction of that sugar shackJust me and her, yes, we’re gonna go backTo that sugar shack, whoa-ohTo that sugar shack, yeah, honeyTo our sugar shack, yeah, yeah, yeahOur sugar shack| 10 shapemedia.uk1 9 1 9

The FireballsSUGAR SHACKSugar Shack is a song written in 1962 by Keith McCormack. McCormack gave songwriting credit to his aunt, Beulah Faye Voss, after asking what are “those tight pants that girls wear” to which she replied “leotards”. The song was recorded in 1963 by Jimmy Gilmer and the Fireballs at Norman Petty Studios in Clovis, New Mexico. The unusual and distinctive organ part was played by Petty on a Hammond Solovox, Model J. The original instrument is on display at the Norman Petty Studios today.“Sugar Shack” hit No. 1 on both the Billboard Hot 100 (where it spent five weeks from October 12 to November 9, 1963) and Cashbox singles charts (where it spent three weeks from October 19 to November 2, 1963). It ended up being Billboard’s number 1 song of 1963. (“Surfin’ U.S.A.” was originally listed as the number 1 song of the year, but later lists place “Sugar Shack” at number one). Its run on the Billboard R&B chart was cut short because Billboard ceased publishing an R&B chart from November 30, 1963 to January 23, 1965. “Sugar Shack” has the distinction of being the last single to make it to No. 1 on the Billboard R&B chart because Billboard did not publish an R&B chart for fourteen months. In Canada the song was No. 1, also for five weeks, from October 14 to November 11. On November 29, 1963, the song received RIAA certification for selling over a million copies, earning gold record status. In the UK, “Sugar Shack” also reached No. 45 on the Record Retailer chart. Gilmer and The Fireballs were the last American band to chart before Beatlemania hit.The Fireballs, sometimes billed as Jimmy Gilmer and the Fireballs, were an American rock and roll group, particularly popular at the end of the 1950s and in the early 1960s. The original line-up consisted of George Tomsco (lead guitar), Chuck Tharp (vocals), Stan Lark (bass), Eric Budd (drums), and Dan Trammell (rhythm guitar).The Fireballs were formed in Raton, New Mexico, in 1957 and got their start as an instrumental group featuring the distinctive lead guitar of George Tomsco. They recorded at Norman Petty’s studio in Clovis, New Mexico. According to group founders Tomsco and Lark, they took their name after their standing ovation performance of Jerry Lee Lewis’s “Great Balls of Fire” at the Raton High School PTA talent contest in New Mexico, USA. They reached the top 40 with the singles “Torquay” (1959), “Bulldog” (1960), and “Quite a Party” (1961). “Quite a Party” peaked at No. 29 in the UK Singles Chart in August 1961. Tharp, Budd, and Trammell left the group in the early 1960s, but the Fireballs added Doug Roberts on drums, plus Petty Studio singer Jimmy Gilmer (born September 15, 1940, in Chicago and raised in Amarillo, Texas) to the group.Besides their own recordings, the Fireballs were studio musicians for dozens of other recording artist projects from 1959 through 1970 at the Norman Petty Studio, including folk singer Carolyn Hester and Arthur Alexander. Norman Petty had been Buddy Holly’s main recording producer; after Holly’s death, he obtained the rights to Holly’s early rehearsal and home demo recordings. From May 1962 until August 1968, Petty had the Fireballs overdub the Holly material, making them the band he never knew he had, though the band had met Holly at Petty’s studio in 1958. The overdubs were originally released on four albums of “new” Holly material throughout the 1960s with four of the efforts, released as singles, charting. In 1964, they recorded and released an album (solely under Jimmy Gilmer’s name) of a dozen Holly covers called Buddy’s Buddy, likely inspired by the posthumous collaborations.The Fireballs reunited in 1989 for the Clovis Music Festival, then continued performing with original members George Tomsco, Stan Lark, and Chuck Tharp until 2006, when Tharp died of cancer. Gilmer returned as lead vocalist in 2007. Lark retired from the group in 2016.Lark (born Stanley Roy Lark on July 27, 1940 in Raton, New Mexico) died on August 4, 2021, at age 81.shapemedia.uk 11 | 6 36 3

RHYTHM OF THE RAIN© The Cascades| 12 shapemedia.ukListen to the rhythm of the falling rain (ahh)Telling me just what a fool I’ve been (pitter patter, rap-tap-tap)I wish that it would go and let me cry in vain (ahh)And let me be alone again (pitter patter, rap-tap-tap)The only girl I care about has gone away (ahh)Looking for a brand new start (pitter patter, rap-tap-tap)But little does she know that when she left that day (ahh)Along with her she took my heart (pitter patter, rap-tap-tap)Rain please tell me now does that seem fairFor her to steal my heart away when she don’t care?I can’t love another when my hearts somewhere far away (ooh)The only girl I care about has gone away (ahh)Looking for a brand new start (pitter patter, rap-tap-tap)But little does she know that when she left that day (ahh)Along with her she took my heart (pitter patter, rap-tap-tap)Rain won’t you tell her that I love her soPlease ask the sun to set her heart aglowRain in her heart and let the love we knew start to grow (ooh)Listen to the rhythm of the falling rain (ahh)Telling me just what a fool I’ve been (pitter patter, rap-tap-tap)I wish that it would go and let me cry in vain (ahh)And let me be alone again (pitter patter, rap-tap-tap)Oh, listen to the falling rain (ahh)Pitter patter, pitter patter (ahh)Ooh listen, listen to the falling rain (ahh)Pitter patter, pitter patter, ohh (ahh)Ooh listen, listen to the falling rain (ahh)1 9 1 9

The CascadesRHYTHM OF THE RAINRHYTHM OF THE RAINRhythm of the Rain is a song performed by The Cascades, released in November 1962. It was written by Cascades band member John Claude Gummoe. On March 9, 1963, it rose to number 3 on the Billboard Hot 100, and spent two weeks at number 1 on Billboard’s Easy Listening chart. Billboard ranked the record as the number 4 song of 1963.In March 1963, the song was a top 5 hit in the United Kingdom and, in May that same year, was a number 1 single in Ireland. In Australia it rose to number 2. In Canada, the song was on the CHUM Chart for a total of 12 weeks and reached number 1 in March 1963. In 1999 BMI listed the song as the 9th most performed song on radio/TV in the 20th century.The Cascades’ recording was used in the soundtrack of the 1979 film Quadrophenia, and included in its soundtrack album. The song arrangement features distinctive use of a celesta. The sound of rain and thunder are heard at the beginning and at the end of the song. The lyrics are sung by a man whose lover has left him; the rain falling reminds him ‘what a fool’ he has been. He rhetorically asks the rain for answers, but ultimately he wishes it would ‘go away’ and let him cry alone.The Cascades was an American vocal group best known for the single “Rhythm of the Rain”, recorded in 1962, an international hit the following year.n 1960, the Silver Strands were a group of United States Navy personnel serving on the USS Jason (AR-8) based in San Diego, California. They recruited John Gummoe, who originally acted as manager, then left the Navy to become The Thundernotes. The group’s membership consisted of John Claude “John” Gummoe (born August 2, 1938) (lead vocals), Lenny Green (vocal and lead guitar), Dave Wilson (drums and vocal), Dave Stevens (bass), and Art Eastlick (rhythm guitar). Their first and only recording, “Thunder Rhythm” (and “Payday” on the reverse of the 45rpm) was with DelFi Records of Hollywood, owned and managed by Bob Keane. It was a surf-type instrumental. Lenny left soon after to pursue his own goals and the group acquired Eddie Snyder (guitar), David Szabo (keyboards), Dave Stevens (bass) and Dave Wilson (drums).Influenced by the Beach Boys, the group became more interested in vocal harmony. They recorded demos and signed with Barry De Vorzon at Valiant Records, a subsidiary of Warner Bros., and changed their name to The Cascades – inspired by a nearby box of dishwashing detergent. Their first release, “There’s a Reason”, became a minor regional hit; in the summer of 1962, they went to Gold Star Studios in Los Angeles to record a song Gummoe wrote in his Navy days on watch during a thunderstorm. The song was to become “Rhythm of the Rain” and the musicians on the recording included the “Wrecking Crew” - including Hal Blaine on drums, Carol Kaye on bass, and Glen Campbell on guitar - arranged by Perry Botkin Jr. “Rhythm of the Rain” was issued in November 1962. It rose to No. 3 on the U.S. Billboard Hot 100 chart in early 1963, becoming a major hit in over 80 countries. It peaked at No. 5 in the UK Singles Chart. “Rhythm of the Rain” sold over one million copies, and was awarded a gold disc.The Cascades continued to record, produced an album and several additional singles, including the follow-up “The Last Leaf”, but did not match the charm or success of their big hit. The group continued to receive major radio airplay in their hometown, San Diego. The Cascades’ cover version of Bob Lind’s “Truly Julie’s Blues” received spins on KCBQ and KGB in 1966, and their song “Maybe the Rain Will Fall” fared well on San Diego radio charts in mid-1969. The group was active, played local San Diego clubs like The Cinnamon Cinder, and at other times, toured widely. In 1967, The Cascades appeared onscreen in the Crown International Pictures teen comedy adventure film, Catalina Caper, which included their version of a song written by Ray Davies of the Kinks, “There’s A New World Opening For Me”.shapemedia.uk 13 | 6 36 3

JE T’AIMEJE T’AIMEJUST ONE LOOK© Doris TroyJust one lookAnd I fell so hardIn love, with you, oh, ohI found outHow good it feelsTo have your love, oh ohSay you willWill be mineForever and always, oh, ohJust one lookAnd I knewThat youWere my only one, oh, ohI thought I was dreamingBut I was wrong, oh yeah yeahAh, but I’m gonna keep on schemingTill I can make youMake you my ownSo you seeI really careWithout youI’m nothing, oh, ohJust one lookAnd I knowI’ll get you someday, oh, ohJust one lookThat’s all it tookHa, just one lookThat’s all it tookWhoa, just one lookThat’s all it whoa babyYou know I love you babyI’ll build my world around youCome on baby| 14 shapemedia.uk1 9 1 9

Doris TroyJUST ONE LOOKshapemedia.uk 15 |Just One Look is a song co-written by American R&B singers Doris Troy and Gregory Carroll. The recording by Doris Troy was a hit in 1963. The Hollies, Anne Murray and Linda Ronstadt each achieved great success with the song. There have also been many other versions.Details vary as to how the Doris Troy version came to be released on Atlantic Records. According to the book Billboard Book of One-Hit Wonders, James Brown saw Troy performing in a nightclub (under her then-stage name Doris Payne), and introduced her to Atlantic. According to a more recent and detailed story in Soulful Divas, Payne recorded a studio demo of the song and took it to Sue Records first, but their lack of response led her to offer it to Jerry Wexler at Atlantic, where the label released the demo unchanged. The personnel included Ernie Hayes on piano, Wally Richardson on guitar, Bob Bushnell on bass and Bernard Purdie on drums.The single’s release was the first time she started using “Doris Troy” as her stage name, though her pen name remained Doris Payne. The album also lists the surname Payne in the songwriting credits.Doris Troy (born Doris Elaine Higginsen; January 6, 1937 – February 16, 2004) was an American R&B singer and songwriter, known to her many fans as “Mama Soul”. Her biggest hit was “Just One Look”, a top 10 hit in 1963.She was born as Doris Elaine Higginsen, in the Bronx, the daughter of a Barbadian Pentecostal minister. She later took her grandmother’s name and grew up as Doris Payne. Her parents disapproved of “subversive” forms of music like rhythm & blues, so she cut her teeth singing in her father’s choir. At age 16, she was working as an usherette at the Apollo where she was discovered by James Brown. Under the name Doris Payne, she began songwriting and earned $100 in 1960 for the Dee Clark hit “How About That”.Going into the recording industry, Troy worked as a backup vocalist for Atlantic Records alongside Dionne and Dee Dee Warwick. She was also part of the original lineup of The Sweet Inspirations in 1963, with Cissy Houston and the two Warwicks, who were Houston’s nieces. Taking her stage name from Helen of Troy, Troy sang backup vocals for Solomon Burke, the Drifters, Houston, and Dionne Warwick, before she co-wrote and recorded “Just One Look” (the songwriting credits use the name Doris Payne). This song hit No. 10 on the US Billboard Hot 100 in 1963.“Just One Look” was the only charting US hit for Troy. The song was recorded in 10 minutes in October 1962, with producer Buddy Lucas, as a demo for Atlantic Records. However, after Atlantic Records heard the demo, they decided not to re-record it, instead opting to release it as was. The musicians included Ernie Hayes on organ, Wally Richardson on guitar, Bob Bushnell on bass, and Bernard “Pretty” Purdie on drums. The song has been covered by The Hollies, Faith, Hope & Charity, Major Lance, Linda Ronstadt, Bryan Ferry, Anne Murray, Klaus Nomi, and Harry Nilsson in a duet with Lynda Laurence. Troy’s only foray into the UK Singles Chart, “Whatcha Gonna Do About It”, peaked at No. 37 in December 1964.After moving to London in 1969, she was signed by The Beatles to their Apple Records label, and released the Doris Troy album the following year, co-produced by Troy and George Harrison. Troy worked in the UK throughout the 1970s, appearing at Ronnie Scott’s Club and recording a live album, The Rainbow Testament. Neither The Rainbow Testament nor her People Records album, Stretching Out, sold well.Mama, I Want to Sing is a stage musical based on her life, and was co-written with her sister, Vy Higginsen, a popular New York City radio personality. It ran for 1,500 performances at the Heckscher Theatre in Spanish Harlem. Troy played her own mother, Geraldine. Chaka Khan played her aunt in the London production, as did Deniece Williams. Mama, I Want to Sing! was also made into a motion picture, starring Ciara, Patti Labelle, and Hill Harper, which was released on DVD in 2012.Troy died from emphysema at her home in Las Vegas, Nevada, aged 67. 6 36 3

T FOR TEXASPerformed ByGrandpa Jones T for Texas, T for TennesseeT for Texas, T for TennesseeT for Thelma, the gal that made a wreck out of meIf you don’t want me, mama you sure don’t have to stallIf you don’t want me, mama you sure don’t have to stallI can get more women than a passenger train can haulI’m gonna buy me a pistol just as long as I’m tallI’m gonna buy me a pistol just as long as I’m tallI’m gonna shoot poor Thelma, just to see her jump and fallI’d rather drink muddy water and sleep in a hollow logI’d rather drink muddy water and sleep in a hollow logThan to be in Atlanta, treated like a dirty dogI’m gonna buy me a shotgun with a great long shiny barrelI’m gonna buy me a shotgun with a great long shiny barrelI’m gonna shoot that rounder that stole away my gal| 16 shapemedia.uk1 9 1 9

Grandpa JonesT FOR TEXAST FOR TEXASLouis Marshall Jones (October 20, 1913 – February 19, and Chubby Wise among them) were invited to become a 1998), known professionally as Grandpa Jones, was an American banjo player and “old time” country and gospel music singer. He is a member of the Country Music Hall of Fame.Jones was born in the small farming community of Niagara in Henderson County, Kentucky, the youngest of 10 children in a sharecropper’s family. His father was an old-time fiddle player, and his mother was a ballad singer and herself adept on the concertina. His first instrument was guitar. Ramona Riggins, one of several women who began to gain some recognition in a musical form long dominated by men was Grandpa’s wife and musical partner of over thirty years. Ramona first started playing the mandolin when she was six or seven years old. Jones spent his teenage years in Akron, Ohio, where he began singing country music tunes on a radio show on WJW. In 1931, Jones joined the Pine Ridge String Band, which provided the musical accompaniment for the very popular Lum and Abner show. By 1935 his pursuit of a musical career took him to WBZ radio in Boston, Massachusetts, where he met musician/songwriter Bradley Kincaid, who gave him the nickname “Grandpa Jones” when he was 22 years old, because of his off-stage grumpiness at early-morning radio shows. Jones liked the name and decided to create a stage persona based around it. Later in life, he lived in Mountain View, Arkansas. In the 1940s he met rising country radio star Cousin Emmy, from whom he learned to play the banjo.Performing as Grandpa Jones, he played the guitar or banjo, yodeled, and sang mostly old-time ballads. By 1937, Jones had made his way to West Virginia, where Cousin Emmy taught Jones the art of the clawhammer style of banjo playing, which gave a rough backwoods flavor to his performances. First experience playing music in public came at the age of 11 or thereabouts The music of the WLS Barn Dance in Chicago was a major influence on Louis, as were the Jimmie Rodgers records his sister brought home. In 1942, Jones joined WLW in Cincinnati, Ohio. It was there that he met fellow Kentuckian Merle Travis. In 1943, they made their recording debuts together for Syd Nathan’s upstart King Records. Jones was making records under his own name for King by 1944 and had his first hit with “It’s Raining Here This Morning.”His recording career was put on hold when he enlisted in the United States Army during World War II. Discharged in 1946, he recorded again for King. Through 1946-1949, when he and several Opry cast members (Clyde Moody part of the burgeoning world of television by Washington D.C. entrepreneur Connie B Gay, he became a cast member at the Old Dominion Barn Dance, broadcast over WRVA in Richmond, Virginia. In March 1946, he moved to Nashville, Tennessee and started performing on the Grand Ole Opry. He married Ramona Riggins on October 14, 1946. As an accomplished performer herself, she would take part in his performances. Jones’ vaudeville humor was a bridge to television. His more famous songs include “T For Texas,” “Are You From Dixie,” “Night Train To Memphis,” “Mountain Dew,” and “Eight More Miles To Louisville.”In the fall of 1968, Jones became a charter cast member on the long-running television show Hee Haw, often responding to the show’s skits with his trademark phrase “Outrageous.” He also played banjo, by himself or with banjo player David “Stringbean” Akeman. A musical segment featured in the early years had Jones and “his lovely wife Ramona” singing while ringing bells held in their hands and strapped to their ankles. A favorite skit had off-camera cast members ask, “Hey Grandpa, what’s for supper?” in which he would describe a delicious, country-style meal, often in a rhyming, talking blues style. Sometimes he would describe something not so good; i.e. “Because you were bad, thawed out TV dinners!”In January 1998, Jones suffered two strokes after his second show performance at the Grand Ole Opry. He died at 7:00 p.m. Central Time on February 19, 1998 at the McKendree Village Home Health Center in Hermitage, Tennessee, at age 84.shapemedia.uk 17 | 6 36 3

OUR DAY WILL COME© Ruby & The Romantics| 18 shapemedia.ukOur day will comeAnd we’ll have everythingWe’ll share the joyFalling in love can bringNo one can tell meThat I’m too young to know (young to know)I love you so (love you so)And you love meOur day will comeIf we just wait a whileNo tears for usThink love and wear a smileOur dreams have magicBecause we’ll always stayIn love this wayOur day will come(Our day will come; our day will come)Our dreams have magicBecause we’ll always stayIn love this wayOur day will comeOur day will come1 9 1 9

Ruby & The RomanticsCOLOR HIM FATHERCOLOR HIM FATHEROUR DAY WILL COMEOUR DAY WILL COMEOur Day Will Come is a popular song composed by Mort Garson with lyrics by Bob Hilliard. It was recorded by American R&B group Ruby & the Romantics in early December 1962, reaching #1 on the Billboard Hot 100.The song’s composers were hoping to place “Our Day Will Come” with an established easy listening act and only agreed to let the new R&B group Ruby & the Romantics record the song after Kapp Records’ A&R director Al Stanton promised that, if the Ruby & the Romantics’ single failed, Kapp would record the song with Jack Jones. Stanton cut two versions of “Our Day Will Come” with Ruby & the Romantics, one with a mid-tempo arrangement and the other in a bossa nova style; the latter version, featuring a Hammond organ solo, was selected for release as a single in December 1962 and reached #1 on the to “Ruby & the Romantics”. Their hit song was originally Billboard Hot 100 in March 1963. “Our Day Will Come” also charted at #11 in Australia and at #38 the United Kingdom. The personnel on the original recording were: Leroy Glover on organ; Vinnie Bell, Al Gorgoni and Kenny Burrell on guitars; Russ Savakus on bass; Gary Chester on drums; and George Devens on percussion.Ruby & the Romantics were an Akron, Ohio-based American R&B group in the 1960s, comprising Ruby Nash, 100 and a third release, the original version of “Hey There George Lee, Ronald Mosely, Leroy Fann and Ed Roberts.The group had several pop and R&B hit records, topping the US Billboard Hot 100 chart in 1963 with their first recording, “Our Day Will Come”. The song, written by Mort Garson and Bob Hilliard, was a worldwide hit, reaching No. 1 and selling over one million copies in the US, also topped the Billboard R&B chart at # 1, and peaked group broke up in 1971.at #38 in the UK Singles Chart. It also reached No. 11 on the Australian Charts.Despite their relative obscurity compared to many of their 1960s contemporaries, Ruby and The Romantics reign as one of the most-covered and influential R&B vocal groups of the 1960s. They were inducted into the Vocal Group Hall of Fame in 2007, and are winners of The Rhythm and Blues Foundation’s prestigious Pioneer Award. In 1963, they were also nominated by The National Academy of Recording Arts and Sciences for the Best Rock and Roll Recording for “Our Day Will Come”. In 2013, Ruby & The Romantics became charter inductees into the inaugural class of the Rhythm and Blues Music Hall of Fame in Cleveland, Ohio.Ruby Nash, the female lead of the group, originally sang with a group, consisting of her sister and three friends. They sang at record hops, mixers, talent shows and clubs in Akron and surrounding areas. Ruby attended Central High School in Akron. No one knew she could sing until after she graduated from high school. Some of the male members of the Romantics sang with The Embers. Eventually, The Embers became known as The Supremes[citation needed] (not to be confused with The Supremes of Motown Records fame), and then The Feilos.Since they all grew up in Akron and knew each other, Leroy Fann, a member of The Feilos, (pronounced FAY-LOWS) asked Ruby to sing with them on occasions.[citation needed] After auditioning, the group was signed to New York-based Kapp Records; Kapp Records artist and repertoire chief Allen Stanton changed their name intended for another artist on the label, crooner Jack Jones, but the group saw its potential and persuaded Stanton to let them record it. Their song became a smash, reaching number one on the Billboard Hot 100, as well as reaching the top of the Billboard R&B Chart.By the year 1963, the group’s next release, “My Summer Love”, reached The Top 20, charting at No. 16 on the Hot Lonely Boy” climbed to No. 27. Several more singles were released by Kapp which generally achieved minor chart status. A short spell with ABC resulting in three singles and an album was unsuccessful. A single for A&M in 1969, “Hurting Each Other”, saw them re-united with Allen Stanton. Originally recorded by Jimmy Clanton some years earlier, it proved to be their final recording before the shapemedia.uk 19 | 6 36 3

WALK RIGHT INPerformed By The Rooftop SingersWalk right in, sit right downDaddy, let your mind roll onWalk right in, sit right downDaddy, let your mind roll onEverybody’s talkin’ ‘bout a new way of walkin’Do you want to lose your mind?Walk right in, sit right downDaddy, let your mind roll onWalk right in, sit right downBaby, let your hair hang downWalk right in, sit right downBaby, let your hair hang downEverybody’s talkin’ ‘bout a new way of walkin’Do you want to lose your mind?Walk right in, sit right downBaby, let your hair hang downWalk right in, sit right downDaddy, let your mind roll onWalk right in, sit right downDaddy, let your mind roll onEverybody’s talkin’ ‘bout a new way of walkin’Do you want to lose your mind?Walk right in, sit right downDaddy, let your mind roll onDaddy, let your mind roll on| 20 shapemedia.uk1 9 1 9

The Rooftop SingersWALK RIGHT INWALK RIGHT INWalk Right In is a country blues song written by musician Gus Cannon and originally recorded by Cannon’s Jug Stompers in 1929. Victor Records released on a 78 rpm record[1] and in 1959, it was included on the influential compilation album The Country Blues. A revised version of the song by the Rooftop Singers, with the writing credits allocated to group members Erik Darling and Bill Svanoe, became an international hit in 1963.In 1962, the American folk trio the Rooftop Singers recorded a version of the song. Group member Erik Darling recruited two friends to record a folk version of “Walk Right In” after hearing the original Cannon recording. Darling wanted the record to have a distinctive sound, so he and group member Bill Svanoe both played twelve string guitars on the song, although they had some difficulty in acquiring the instruments. Darling is quoted as saying that prior to the making of this record, “you couldn’t buy a 12-string guitar ... I ordered one from the Gibson Company, but in order to record [the song] with two 12-strings, we had to wait for the company to build a second one for Bill!” (a left-handed model). The success of the song was a boon to Cannon, who was in his late 70s and had been forced to pawn his banjo the previous winter to pay his heating bill; he received royalties as a songwriter and saw renewed interest in his music, which led to a recording contract of his own. When released as a single, it spent two weeks at number one on the Billboard Hot 100 chart in early 1963. It spent five weeks atop the Easy Listening chart, which later became known as the Adult Contemporary chart. In addition, “Walk Right In” reached both the R&B chart (peaking at number four) as well as the country music chart, peaking at number 23. The song reached number 10 on the UK Singles Chart in the United Kingdom. The song was included on the album Walk Right In, and was nominated for a Grammy Award in the category Best Folk Recording.The Rooftop Singers were an American country folk-singing trio in the early 1960s, best known for the hit “Walk Right In”.The group was composed of Erik Darling and Bill Svanoe (vocals, guitar) with former jazz singer Lynne Taylor (vocals). Darling put the group together in June 1962, specifically to record an updated and uptempo version of a 1929 Gus Cannon folk blues song, “Walk Right In”. The trio recorded the song for Vanguard Records, with updated lyrics and an arrangement featuring paired 12-string acoustic guitars. The record became the most successful single in Vanguard’s history.In the U.S., the song was No. 1 for two weeks on the Billboard Hot 100 chart in early 1963. It spent five weeks atop the Easy Listening chart, which later became known as the Adult Contemporary chart. In addition, “Walk Right In” reached both the R&B chart (peaking at No. 4) as well as the country music chart (peaking at No. 23). The song reached No. 1 in Australia, according to the Kent Music Report, and it made the UK Singles Chart, peaking at No. 10. The record sold over one million copies, gaining gold disc status.The album that contained the song was also called Walk Right In, and was nominated for a Grammy Award in the Best Folk Recording category. The group was more influenced by ragtime, blues, and songster material than contemporaneous folk groups such as The Weavers, to which Darling belonged until just before he formed the Rooftop Singers. They were also less overtly political.The group played at the Newport Folk Festival in 1963. Vanguard released several further singles, the most successful being “Tom Cat” (No. 20, May 1963). Yielding to pressure from her husband, Taylor left the trio shortly after Vanguard released the group’s second album, Good Time!, and Darling and Svanoe recruited Mindy Stuart to replace her. That line-up recorded one final album, Rainy River. Patricia Street replaced Stuart shortly before the Rooftop Singers formally disbanded in 1967. Darling and Street continued working as a duo into the early 1970s, recording the album The Possible Dream for Vanguard.Lynne Taylor, who was married to radio DJ Skip Weshner, died by suicide on 21 April 1979, aged 43. Erik Darling died on August 3, 2008, aged 74, in Chapel Hill, North Carolina, from Burkitt’s lymphoma.shapemedia.uk 21 | 6 36 3

MY BOYFRIEND’S BACKPerformed By The AngelsHe went away and you hung aroundAnd bothered me, every nightAnd when I wouldn’t go out with youYou said things that weren’t very niceMy boyfriend’s back and you’re gonna be in trouble(Hey-la-day-la my boyfriend’s back)You see him comin’ better cut out on the double(Hey-la-day-la my boyfriend’s back)You been spreading lies that I was untrue(Hey-la-day-la my boyfriend’s back)So look out now ‘cause he’s comin’ after youHe’s been gone for such a long time(Hey-la-day-la my boyfriend’s back)Now he’s back and things’ll be fine(Hey-la-day-la my boyfriend’s back)You’re gonna be sorry you were ever born(Hey-la-day-la my boyfriend’s back)‘Cause he’s kinda big and he’s awful strong(Hey-la-day-la my boyfriend’s back)(You’re a big man now but he’ll cut you down to size(Wait and see)My boyfriend’s back he’s gonna save my reputation(Hey-la-day-la my boyfriend’s back)If I were you I’d take a permanent vacation(Hey-la, hey-la, my boyfriend’s back)Yeah, my boyfriend’s back (La-day-la, my boyfriend’s back)Look out now, yeah, my boyfriend’s back (La-day-la, my boyfriend’s back)I could see him comin’ so you better get a runnin’ alright now (La-day-la, my boyfriend’s back)Yeah, yeah, yeah, yeah, yeah (La-day-la, my boyfriends’s back)My boyfriend’s back now (La-day-la, my boyfriend’s back)Know he’s comin’ after you because he knows I’ve been true now (La-day-la, my boyfriend’s back)| 22 shapemedia.uk1 9 1 9

The AngelsMY BOYFRIEND’S BACKMY BOYFRIEND’S BACKMy Boyfriend’s Back” was a hit song in 1963 for The Angels, an American girl group. It was written by the songwriting team of Bob Feldman, Jerry Goldstein and Richard Gottehrer (a.k.a. FGG Productions who later formed the group the Strangeloves). The track, employing the services of drummer Gary Chester, was originally intended as a demo for the Shirelles, but ended up being released as recorded. The single spent three weeks at No. 1 on the Billboard Hot 100 chart, and reached No. 2 on the R&B Billboard.The song is a word of warning to a would-be suitor who, after being rebuffed by the female narrator of the song, spread nasty rumors accusing her of romantic indiscretions. Now, the narrator declares, her boyfriend is back in town and ready to settle the score, and she warns the rejected admirer to watch his back. Billboard named the song No. 24 on their list of 100 Greatest Girl Group Songs of All Time.The Angels are an American girl group that originated from New Jersey, best known for their 1963 No. 1 hit single, “My Boyfriend’s Back”.The group originated in New Jersey as the Starlets which consisted of sisters Barbara “Bibs” and Phyllis “Jiggs” Allbut, Bernadette Carroll, and Lynda Malzone. They had minor local hits and wound up doing back-up work in the studio. When Malzone left, Linda Jansen became the new lead singer. Their manager, Tom DeCillis, turned his focus to Bernadette Carroll and dropped the rest of the group. Carroll would find solo success in 1964 with her Laurie Records single “Party Girl”. After a failed attempt at a record deal with producer Gerry Granahan, the Allbut sisters turned their focus to education: Phyllis was in teacher’s college at the time and Barbara was accepted into the Juilliard School for her abilities as a musical arranger.Soon Granahan, who had previously rejected the group, saw hit potential in the song they had performed for him in their audition, a version of “Till”, and wanted them to record it in the studio. “Till” became their first single under their new name, the Angels, and also their first hit (No. 14 US) when it was released by Granahan’s Caprice label in 1962. The song was followed up with a second national hit, “Cry Baby Cry”. The Angels had one album on Caprice, titled ...And the Angels Sing, in 1962.Jansen left the group in late 1962 to go solo and was replaced by Peggy Santiglia, formerly of The Delicates (with Denise Ferri and Arleen Lanzotti). Santiglia had sung jingles for WINS Radio, appeared on Broadway, and had songwriting experience. In 1963, the trio signed to Mercury Records’ subsidiary label Smash Records and began working with the Feldman-Goldstein-Gottehrer songwriting team, who wrote “My Boyfriend’s Back”. The Angels’ performance (with Santiglia on lead) was originally intended as a demo for The Shirelles’ consideration, but the music publishers chose instead to release it as it stood.The song was a major hit, reaching number one on the Billboard Hot 100. “My Boyfriend’s Back” sold over one million copies, and was awarded a gold disc. The follow-up was the lower-charting “I Adore Him” (No. 25 US). The B-side “Thank You And Goodnight” charted at No. 84 US. During their Smash career, the Angels maintained a steady string of moderately successful singles which included “Wow Wow Wee (He’s The Boy For Me)” (No. 41 US). Their album My Boyfriend’s Back made the top forty, charting at No. 33. but their next, A Halo to You, did not chart. The group left Smash in 1964 and signed with Congress Records.On October 5, 2018, former member Bernadette Carroll died at the age of 74.On February 19, 2019, the Angels’ original lead singer Linda Jansen died at the age of 74.On July 10, 2021, founding member Barbara “Bibs” Allbut Brown died at the age of 80 leaving her sister Phyllis and Peggy as the last remaining founding members of the group still alive.shapemedia.uk 23 | 6 36 3

MEMPHIS© Lonnie MackLonnie McIntosh (July 18, 1941 – April 21, 2016), known as Lonnie Mack, was an American singer-songwriter and guitarist. He was an influential trailblazer of blues-rock music and rock guitar soloing.Mack emerged in 1963 with his breakthrough LP, The Wham of that Memphis Man. It earned him lasting renown as both a blue-eyed soul singer and a lead guitar innovator. In the album’s instrumental tracks, Mack added “edgy, aggressive, loud, and fast” melodies and runs to the standard chords-and-riffs pattern of early rock guitar. These tracks raised the bar for rock guitar proficiency, helped launch the electric guitar to the top of soloing instruments in rock, and became prototypes for the lead guitar styles of blues-rock and, soon thereafter, Southern rock.Shortly after the album’s release, however, the massively popular “British Invasion” hit American shores, and Mack’s career “withered on the vine”. He marked time until 1968, when Rolling Stone magazine rediscovered him and Elektra Records signed him to a three-album contract. He was soon performing in major venues, but his multi-genre Elektra albums downplayed his lead guitar and blues-rock appeal and record sales were modest. Mack left Elektra in 1971. For the next fourteen years he was a low-profile multi-genre recording artist, roadhouse performer, sideman, and music-venue proprietor.In 1985, Mack resurfaced with a successful blues-rock LP, Strike Like Lightning, a promotional tour featuring celebrity guitarist sit-ins, and a concert at Carnegie Hall with guitarists Roy Buchanan and Albert Collins. In 1990, he released another well-received blues-rock album, Lonnie Mack Live! Attack of the Killer V, then retired from recording. He continued to perform, mostly in small venues, until 2004Shortly before Mack’s birth, his family moved from Appalachian (eastern) Kentucky to Dearborn County, Indiana, on the banks of the Ohio River. One of five children, he was born to parents Robert and Sarah Sizemore McIntosh on July 18, 1941, in West Harrison, Indiana, near Cincinnati, Ohio. He was raised on a series of nearby sharecropping farms.Using a floor-model radio powered by a truck battery, his family routinely listened to the Grand Ole Opry country music show. Continuing to listen after the rest of the family had retired for the night, Mack became a fan of rhythm and blues and traditional black gospel music.He began playing guitar at the age of seven, after trading his bicycle for a “Lone Ranger” model acoustic guitar. His mother taught him basic chords, and he was soon playing bluegrass guitar in the family band. Mack recalled that when he was “seven or eight years old” an uncle from Texas introduced him to blues guitar and that when he was about ten years of age, an “old black man” named Wayne Clark introduced him to “Robert Johnson style guitar”. He soon taught himself to merge finger-picking country guitar with acoustic blues-picking, to produce a hybrid style which, Mack said, “sounded like rockabilly, but before rockabilly”.| 24 shapemedia.uk1 9 1 9

Lonnie MackMEMPHISshapemedia.uk 25 |His musical influences remained diverse as he refined his playing and singing styles. In his pre-teen years, Mack was mentored by blind singer-guitarist Ralph Trotto, a well-regarded country-gospel performer. Mack would skip school to play music with Trotto at the latter’s house. Mack considered country picker Merle Travis, pop/jazz guitarist Les Paul, and electric blues guitarist T-Bone Walker the most significant influences on his developing guitar style. Significant vocal influences included R&B singers Jimmy Reed, Ray Charles, Bobby “Blue” Bland, and Hank Ballard, country singer George Jones, traditional black gospel singer Archie Brownlee, and soul music singer Wilson Pickett. Mack recorded tunes associated with each of these artists.Mack’s career-long pattern of switching and mixing within the entire range of white and black Southern roots music genres made him “as difficult to market as he was to describe.” He experienced flashes of significant commercial success as a rock artist during the 1960s and 1980s, but was mostly absent from the rock spotlight for two long stretches of his career (1971–1984 and 1991–2004), during which he continued to perform, mostly in small venues, as a roots-rock “cult figure”. In the end, his “influence and standing among musicians far exceeded his commercial success.”In 1954, at age 13, Mack dropped out of school after a fight with a teacher. Large and mature-looking for his age, he obtained a counterfeit ID and began performing professionally in bars around Cincinnati with a band led by drummer Hoot Smith. As a 14-year-old professional electric guitarist in 1955, he “was earning $300. per week—more than most workers in the area’s casket and whiskey factories.” He played guitar on several low-circulation recordings in the late 1950s.In the early 1960s he became a session guitarist with Fraternity Records, a small Cincinnati label. In 1963, he recorded two hit singles for Fraternity, the proto-blues-rock guitar instrumentals “Memphis” and “Wham!” He soon recorded additional tunes to flesh out his debut album, The Wham of that Memphis Man (1963). Mack made some notable recordings later, particularly in the 1980s, but his 1963 debut album is widely considered the centerpiece of his career. It became a perennial critics’ favorite:1968: Guitar: “...in a class by himself.”...Vocals: “...sincerity and intensity that’s hard to find anywhere.” – Rolling Stone, calling for re-issuance of Mack’s discontinued 1963 debut album.1987: “With so many trying to copy this same style, this album sounds surprisingly modern. Not many have done it this well, though. – Gregory Himes, The Washington Post1992: “The first of the guitar-hero records is also one of the best, and for perhaps the last time, the singing on such a disc is worthy of the guitar histrionics.”– Jimmy Guterman, ranking the album No. 16 in The 100 Best Rock ‘n’ Roll Records of All Time2007: “...a spectacular feast of down-home blues, gospel, R&B, and country chicken-pickin’...a unique vision of American roots music that was]five years ahead of the British blues-rockers.” – Dave Rubin, Inside the Blues, 1942–19822016: “Of all the Mack material available this is the one album I’d regard as absolutely essential.” – Dave Stephens, ToppermostHe recorded many additional sides for Fraternity between 1963 and 1967, but few, if any, were broadly released and none charted. Three decades later, Ace Records (UK) packaged the entirety of Mack’s Fraternity output (previously released, unreleased, alternate takes, and demos) in a series of compilations. In the mid-’60s, however, Mack’s commercial prospects were stymied by Fraternity’s thin financial resources and, even more, by the arrival of the overwhelmingly popular British Invasion only two months after release of The Wham of that Memphis Man. 6 36 3

CRY BABYPerformed By Garnet MimmsCry cry baby, cry baby, cry baby,Welcome back home.Now he told you, that he loved you much more than IBut he left you and you don’t you just don’t know whyAnd when you don’t know what to doYou come running andCry cry baby, cry baby, cry baby,Welcome back home.Well I can always lose,Don’t you know nobody can love you the way that I doTake the pain and the heartache tooAh honey you know that I’ll be aroundWhen you need toCry cry baby, cry baby, cry baby,Welcome back home.Welcome back homeI’ve spent so many nightsJust waiting for you to come walking through that doorAnd even tho you’ve made a fool of me so many times beforeI know that all it takes is just the sight of your faceTo make me realize that I will always love you darlinAnd I can see that you got some more tears to shedI can see it baby, cause your eyes, your eyes are getting redSo c’mon, c’mon, c’mon, c’mon c’monCry cry baby, cry baby, cry baby,Cry cry baby, cry baby, cry baby,| 26 shapemedia.uk1 9 1 9

Garnet MimmsCRY BABYCRY BABYCry Baby is a song originally recorded by Garnet Mimms and the Enchanters, in 1963, and later recorded by rock singer Janis Joplin in 1970. Bert Berns wrote the song with Jerry Ragovoy. Garnet Mimms and the Enchanters recorded it for the United Artists record label. It topped the R&B chart and went to #4 on the Billboard Hot 100 chart in 1963, paving the way for soul hits by Aretha Franklin and Otis Redding later in the decade. The third verse was spoken by Mimms until the repeated refrain of the repeated song title.Garnet Mimms (born Garrett Mimms, November 26, 1933) is an American singer, influential in soul music and rhythm and blues. He first achieved success as the lead singer of Garnet Mimms & The Enchanters, and is best known for the 1963 hit “Cry Baby”, later recorded by Janis Joplin. According to Steve Huey at AllMusic, his “pleading, gospel-derived intensity made him one of the earliest true soul singers and his legacy remains criminally underappreciated.”Born in Ashland, West Virginia, United States, Mimms grew up in Philadelphia, where he sang in church choirs and in gospel groups such as the Evening Stars and the Harmonizing Four. He first recorded as a member of the Norfolk Four, for Savoy Records in 1953. He returned to Philadelphia after serving in the military and, after a spell in a doo-wop group, the Deltones, formed another group, the Gainors, in 1958, with Sam Bell, Willie Combo, John Jefferson, and Howard Tate. The Gainors recorded several singles over the next few years for the Red Top, Mercury and Talley Ho labels, but failed to have any chart success. Mimms and Bell left the group in 1961, and joined with Charles Boyer and Zola Pearnell to form Garnet Mimms and the Enchanters.The group moved from Philadelphia to New York in 1963, and began to work with the songwriter and record producer Bert Berns, who signed them to the United Artists label and teamed them with fellow songwriter and producer Jerry Ragovoy. Dominic Turner wrote that “the partnership between the Enchanters on the one hand and Ragovoy and Berns on the other was very much an experiment in applying Mimms’ gospel and deep soul roots to the new uptown soul in vogue in New York.” The new team had an immediate hit with “Cry Baby”, written by Berns and Ragovoy, and with uncredited vocal backing by the Gospelaires, featuring Dionne Warwick, Dee Dee Warwick, and Estelle Brown.The song topped the R&B chart and went to number 4 on the Billboard Hot 100 chart in 1963. It sold over one million copies, and was awarded a gold disc. The group followed it up with “For Your Precious Love,” a cover of Jerry Butler and the Impressions’ original, which hit the Billboard Top 30 later that year, as did the flip side, “Baby Don’t You Weep.” Another hit recording with the Enchanters, “A Quiet Place”, became a popular song among the Carolina beach music community.In 1964, Mimms left the Enchanters for a solo career; with Sam Bell as lead vocalist, the group went on to have a minor hit with “I Wanna Thank You”. Mimms continued to record for United Artists, and had several minor R&B hits over the next two years, including “One Girl” and a cover of the Jarmels’ “A Little Bit of Soap.” Some of his recordings at that time, including “It Was Easier to Hurt Her”, “As Long As I Have You”, and “Looking For You”, later became popular on the British Northern soul scene. Berns and Ragovoy produced Mimms’ final Top 40 hit in 1966, “I’ll Take Good Care Of You”, which climbed to number 15 in the R&B chart and number 30 in the Hot 100. Mimms also released three albums on United Artists, As Long As I Have You (1964), I’ll Take Good Care Of You and Warm and Soulful (both 1966).shapemedia.uk 27 | 6 36 3

MONEY, (THAT’S WHAT I WANT)Performed By Barrett StrongDEEP PURPLEPerformed By Nino Tempo & April StevensWhoa whoa-ho-ho, whoa-ho-ho, whoa-ho-hoWhen the deep purple falls over sleepy garden wallsAnd the stars begin to twinkle in the nightIn the mist of a memory you wander all back to meBreathing my name with a sighIn the still of the night once again I hold you tightThough you’re gone, your love lives on when moonlight beamsAnd as long as my heart will beat, sweet lover, we’ll always meetHere in my deep purple dreamsWhen the deep purple falls over sleepy garden wallsAnd the stars begin to twinkle in the nightIn the mist of a memory you wander back to meBreathing my name with a sighIn the still of the night once again I hold you tightThough you’re gone, your love lives on when moonlight beamsAnd as long as my heart will beat, sweet lover, we’ll always meetHere in my deep purple dreamsAnd as long as my heart will beat, sweet lover, we’ll always meetHere in my deep purple dreamsWhoa whoa-ho-ho, whoa-ho-ho, whoa-ho-ho| 28 shapemedia.uk1 9 1 9

Nino Tempo & April StevensDEEP PURPLEDEEP PURPLENino Tempo & April Stevens (Antonino and Carol Vincinette LoTempio) are a brother and sister singing act from Niagara Falls, New York. Formed in the early 1960s when Nino Tempo and April Stevens signed as a duo with Atco Records, they had a string of Billboard hits and earned a Grammy Award as “best rock & roll record of the year” for the single “Deep Purple”“Deep Purple” is notable for April Stevens speaking the lyrics in a low, sweet voice during the second half of the song while her brother sings. When the duo first recorded the song as a demo, Tempo forgot the words, and Stevens spoke the lyrics to remind him. The producers thought Stevens’ spoken interlude was “cute” and should be included on the finished product, but according to Stevens, her brother was not as easily convinced; “He didn’t want anyone talking while he was singing!” The duo would employ this tactic again on “Whispering.”Producer Ahmet Ertegün had originally intended “Deep Purple” to be the B-side of a song called “I’ve Been Carrying A Torch For You So Long That It Burned A Great Big Hole In My Heart”; he was dubious of Tempo’s belief that it would be a hit, calling it “the most embarrassing thing” the duo had ever recorded. When radio stations preferred “Deep Purple,” Ertegun relented, and so “I’ve Been Carrying A Torch ...” was the longest title of a flipside of a Billboard number one record, until Prince’s “When Doves Cry” in 1984 had “17 Days ...” on its flipside.Despite being considered “rock and roll,” “Deep Purple” also reached number one on Billboard’s Adult Contemporary singles chart. The record was followed by a series of singles of more oldies in a similar style: “Whispering”, “Stardust”, “Tea for Two”.Music journalist Richie Unterberger has described the later disc All Strung Out as Nino Tempo & April Stevens’ “greatest triumph”, declaring it “one of the greatest Phil Spector-inspired productions of all time”. For years following their charting singles, the duo continued recording, but failed to achieve continued sales success.However, in March 1973 the duo scored a number 5 hit in the Netherlands with “Love Story” on A&M Records, two years after Andy Williams took that same song to number 13 in the Dutch Top 40.This version of Deep Purple was the second most popular version, which hit number one on the U.S. pop charts (the 100th song to do so) in November 1963 and also won that year’s Grammy Award for Best Rock and Roll Record. Recorded by Nino Tempo & April Stevens (who are brother and sister). It remained in the Top 40 for twelve weeks and was number one on the Hot 100 the week before John F. Kennedy was assassinated. This version of the song is notable for April Stevens’ speaking the lyrics in a low and sweet voice during the second half of the song while her brother sings. According to the Billboard Book of Number One Hits by Fred Bronson, when the duo first recorded the song as a demo, Tempo forgot the words, and Stevens spoke the lyrics to the song to remind him. The record’s producers thought Stevens’ spoken interludes were “cute” and should be included on the finished product, but according to Stevens, her brother was not as easily convinced: “He didn’t want anyone talking while he was singing!”The Nino Tempo/April Stevens version was intended to be the flipside of a song called “I’ve Been Carrying A Torch For You So Long That It Burned A Great Big Hole In My Heart”. However, radio stations preferred “Deep Purple”. “I’ve Been Carrying A Torch...” held the distinction of being the longest title (contains 67 letters and/or numbers) of a flipside of a Billboard number-one record, according to Bronson. The flip of Prince’s 1984 number-one hit “When Doves Cry”, titled “17 Days (the rain will come down, then U will have 2 choose, if U believe, look 2 the dawn and U shall never lose)”, is now the longest such flipside title, with 85 letters and/or numbers.shapemedia.uk 29 | 6 36 3

PIPELINE©The ChantaysThe tune, originally called “Liberty’s Whip” after The Man Who Shot Liberty Valance, was renamed after the band members saw a surfing movie showing scenes of the Banzai Pipeline in Hawaii. The record, fitting in with the popular surfing craze of the time, swiftly rose up the Billboard Pop charts, reaching #4 and becoming acoustic version of the tune, entitled “Pipeline a classic 1960s hit. The tune featured Alberti bass arpeggios.Although they had myriad surf tunes, “Pipeline” was The Chantays’ only hit single, and is considered BBC Match of the Day “Goal of the Month” one of the landmarks of the surf genre. The track’s distinctive sound was largely due to the mix being “upside down” compared to typical rock and roll of the era; the bass guitar, electric piano and rhythm guitar were at the forefront, while the lead guitar and drums were less prominent. Although the 45-rpm was released only in monaural, the track was recorded in wide stereo, with the rhythm guitar hard left, the bass and drums hard right, and the electric piano and lead guitar centered. Modern reissues, beginning with the 1980 MCA Records 7” single, are stereophonic.The hit single was released in December 1962 on the label Downey, and was picked up for nationwide distribution by Dot Records as Dot 15-16440 in January 1963. Both releases spelled the band name as Chantay’s.In November 1997, The Chantays recorded a new Unplugged”, which was released on their album Waiting for the Tide.The song was used as background music for competition. It was also used for many years during the 1980s and 1990s as the entrance music for the Edmonton Oilers ice hockey team at home games in Northlands Coliseum, “pipeline” being a pun on the oil industry.The Chantays, sometimes credited as Chantay’s, is an American surf music band from Orange County, California, United States, known for the hit instrumental “Pipeline” (1963). Their music combines electronic keyboards and surf guitar, creating a unique ghostly sound.The Chantays were formed in 1961 by five high-| 30 shapemedia.uk1 9 1 9

The ChantaysPIPELINEPIPELINEschool friends. Bob Spickard, Brian Carman (co-writers of “Pipeline”), Bob Welch, Warren Waters and recent albums include The Next Set (live recording) Rob Marshall were all students at Santa Ana High School in California. In December 1962, the group recorded and released “Pipeline”, which peaked at No. with remakes of “Pipeline”, “El Conquistador” and 4 on the Billboard Hot 100 in May 1963. The track also peaked in the UK Singles Chart in 1963 at No. 16. The Chantays recorded their first album in 1963, also titled Pipeline, which included “Blunderbus” and California, from complications of Crohn’s disease on “El Conquistador”. Their follow-up album was Two Sides of the Chantays in 1964.The Chantays toured Japan and the United States, joining the Righteous Brothers and Roy Orbison on a few occasions, and they were the only rock and roll band to perform on The Lawrence Welk Show.“Pipeline” (published as sheet music in 1962 by Downey Music Publishing) has become one of several surf rock hits. The tune has since been covered by Bruce Johnston, Welk (on the Dot album Scarlet O’Hara), Al Caiola (on the United Artists album Greasy Kid Stuff), the Ventures, Takeshi Terauchi & Blue Jeans, Agent Orange, Hank Marvin, Lively Ones, Pat Metheny, Dick Dale with the help of Stevie Ray Vaughan (Grammy Nominated), by the thrash metal band Anthrax, Bad Manners and Johnny Thunders. “Pipeline” has been used in many films, television programs and commercials, and appears on numerous compilation albums.The Chantays have been honored for their contributions to music. Highlights include being honored on April 12, 1996, by Hollywood’s Rock Walk, that was founded to honor individuals and bands that have made lasting and important contributions to music. “Pipeline” is listed as one of the 500 Songs that Shaped Rock and Roll. Along with Bill Medley of the Righteous Brothers and Diane Keaton, the Chantays were honored by the City of Santa Ana, California, and Santa Ana High School when they named a street after them, Chantays Way. OC Weekly magazine also named the Chantays as one of the Best Orange County Bands.The Chantays are still playing. Original members Bob Spickard and Bob Welch are joined by longtime members Ricky Lewis and Brian Nussle. More and Waiting for the Tide. Some of the tracks are the new songs “Crystal T” and “Killer Dana”, along “Blunderbus”.Brian Carman died at his home in Santa Ana, March 1, 2015. He was 69. Another longtime member Gil Orr died on September 19, 2017. He was 79.Members:Bob Spickard — guitar: original memberBrian Carman (born Brian Craig Carman; August 10, 1945 – March 1, 2015) — guitar: original memberBob Welch — drums: original member (not the Fleetwood Mac member).Warren Waters — bass guitar: original memberRob Marshall — piano: original memberRicky Lewis — guitar: longtime memberGil Orr (July 17, 1938 – September 19, 2017) — guitar/bass guitar: longtime memberBrian Nussle — bass guitar: longtime membershapemedia.uk 31 | 6 36 3

GO AWAY LITTLE GIRLPerformed By Steve Lawrence| 32 shapemedia.ukGo away, little girl. Go away, little girl.I’m not supposed to be alone with you.I know that your lips are sweet,But our lips must never meet.I belong to someone else, and I must be true.Oh, go away, little girl. Go away, little girl.It’s hurtin’ me more each minute that you delay.When you are near me like this,You’re much too hard to resist.So, go away, little girl, before I beg you to stay.”Go away.Please don’t stay.It’ll never work out.When you are near me like this,You’re much too hard to resist.So, go away, little girl.Call it a day, little girl.Oh, please, go away, little girl,Before I beg you to stay.Go away.1 9 1 9

Steve LawrenceGO AWAY LITTLE GIRLGo Away Little Girl is a popular song written by Gerry Goffin and Carole King. It was first recorded by Bobby Vee for Liberty Records on March 28, 1962. The lyrics consist of a young man asking a young attractive woman to stay away from him, so that he will not be tempted to betray his steady girlfriend by kissing her. The song is notable for making the American Top 20 three times: for Steve Lawrence in 1963 (US number 1), for The Happenings in 1966 (US number 12), and for Donny Osmond in 1971 (US number 1). It is also the first song, and one of only nine, to reach US number 1 by two different artistsIn late 1962, Steve Lawrence released the second recording of this song (Bobby Vee recorded it first in March 1962). The single reached number 1 on the Billboard Hot 100 in January 1963 and remained in the top position for two weeks. This recording also spent six weeks atop the U.S. Easy Listening chart. “Go Away Little Girl” went to number 14 on the Hot R&B Singles chart. Outside the US, “Go Away Little Girl” also went to number 1 on the New Zealand Lever chart and number 18 in Canada.Steve Lawrence (born Sidney Liebowitz; July 8, 1935) is an American singer, comedian and actor, best known as a member of a duo with his wife Eydie Gormé, billed as “Steve and Eydie”, and for his performance as Maury Sline, the manager and friend of the main characters in The Blues Brothers. Steve and Eydie first appeared together as regulars on Tonight Starring Steve Allen in 1954 and continued performing as a duo until Gormé’s retirement in 2009. Gormé died August 10, 2013.Lawrence was born as Sidney Liebowitz in the Brooklyn borough of New York City to Jewish parents, Max, a cantor at a synagogue in The Bronx, and Helen, a homemaker. He attended Thomas Jefferson High School. During his high school years, Lawrence earned some money after school singing for songwriters in the Brill Building. When he was only 18, Lawrence was hired by Steve Allen to be one of the singers on Allen’s local New York City late night show on WNBC-TV in 1953, along with Eydie Gormé and Andy Williams. When the show got picked up by NBC to be seen on the national network, becoming “The Tonight Show,” Lawrence, Gormé and Williams stayed on until the program’s end in 1957. In the late 1950s, Steve Lawrence was drafted into the United States Army and served as the official vocal soloist with The United States Army Band “Pershing’s Own” in Washington, D.C.Lawrence is also an actor, appearing in guest roles on television shows in every decade since the 1950s. After getting his start with Steve Allen’s late night show, he was seen in programs such as The Danny Kaye Show, The Judy Garland Show, The Julie Andrews Hour, Night Gallery, The Flip Wilson Show, Police Story, Murder, She Wrote, and CSI. Lawrence and Gormé starred in the 1958 summer replacement series on NBC, The Steve Lawrence and Eydie Gormé Show. Lawrence made many appearances on The Carol Burnett Show (1967–78), with and without Eydie. The Steve Lawrence Show, with supporting actor Charles Nelson Reilly, ran for 13 weeks in 1965, a variety show that was one of the last CBS television shows to only air in black and white. Lawrence also served as a panelist on What’s My Line? (1950–67). In 1964, Lawrence starred in the Broadway musical What Makes Sammy Run?. It centered on an ambitious young man clawing his way to the top in Hollywood. It ran for 504 performances at the 54th Street Theater.With Gormé, he has been the recipient of two Emmys for Our Love is Here to Stay, a tribute to George and Ira Gershwin; a “Best Performance By a Vocal Duo or Group” Grammy Award for We Got Us; a Film Advisory Board’s Award of Excellence and a Television Critics Circle Award for From This Moment On, a tribute to Cole Porter. The duo also won a Las Vegas Entertainment Award for “Musical Variety Act of the Year” four times, three of them consecutively. They were honored with a lifetime achievement award from the Songwriters Hall of Fame, and in 1995 were the recipients of an Ella Lifetime Achievement Award from the Society of Singers, a non-profit organization that helps professional singers with counseling and financial assistance.shapemedia.uk 33 | 6 36 3

EASIER SAID THAN DONEPerformed By The EssexMy friends all tell meGo to him, run to himSay sweet lovely things to himAnd tell him, he’s the oneDeep in my heart I know itBut it’s so hard to show it‘Cause it’s easier, easier said than doneMy buddies tell meFly to him, sigh to himTell him I would die for himAnd tell him, he’s the oneAlthough he gives me a feelingThat sets my heart a-reelingYet it’s easier, easier said than doneWell, I know (I know) that I love him soBut I’m afraid that he’ll never knowBecause I (I-I) I get so timid and shyEach time that I look him in the eyeThey all tell meSing to him, swing with himAnd just do anything for himAnd tell him, he’s the oneI got a love so trueAnd yet I’m sad and blue‘Cause it’s easier, easier said than doneWell, I know (I know) that I love him soBut I’m afraid that he’ll never knowBecause I (I-I) I get so timid and shyEach time that I look him in the eyeThey all tell meSing to him, swing with himAnd just do anything for himAnd tell him, he’s the oneI got a love so trueAnd yet I’m sad and blue‘Cause it’s easier, easier said than doneEasier-er-er-er, said than done| 34 shapemedia.uk1 9 1 9

The EssexEASIER SAID THAN DONEEasier Said Than Done is a popular song sung by The Essex that was a number-one song in the United States during 1963. It topped the Billboard Hot 100 singles chart on July 6, 1963, and remained there for two weeks. The song was written by William Linton and Larry Huff.The Essex were active-duty members of the United States Marine Corps at the time, as was Linton, who wrote the song at the request of Essex member Walter Vickers. Linton said the song’s rhythm was inspired by the sound of the Teletype machines in the communications office at Camp Lejeune. The group was not thrilled with the composition, but recorded it for use as the B-side of their debut single, “Are You Going My Way”. The recording was unusually short, and editing was used to repeat part of the recording; even so, the song was only a little over two minutes. The single was released in May 1963, but “Easier Said Than Done” quickly emerged as the more popular side. It became a major hit with broad appeal, reaching #1 on both the pop and rhythm and blues charts. The song became the title track of the group’s first album, which reached #113 on the Billboard album chart, becoming their only charting album.The Essex was an American R&B vocal group formed in 1962. They are best known for their 1963 song “Easier Said Than Done”.Founding members Walter Vickers (guitar) and Rodney Taylor (drums) were members of the United States Marine Corps stationed in Okinawa, Japan. After being transferred to Camp LeJeune in North Carolina, they enlisted fellow Marines Billy Hill (aka Billy Proctor) and Rudolph Johnson as group members. Next they added a female lead singer, Anita Humes, another Marine.The band was signed to a recording contract in 1963 after submitting a demo to Roulette Records. “Easier Said Than Done” was written by Larry Huff and William Linton. Released as the B side of their first single, the song reached the top of the U.S. Billboard Hot 100 chart. The track sold over one million records and received a gold disc award from the R.I.A.A. “Easier Said Than Done” charted at No. 41 in the UK Singles Chart in August 1963.Rudolph Johnson left the group, and the Essex became a quartet. Three months after “Easier Said Than Done” reached No. 1 in July 1963, the group had a No. 12 hit with the follow-up song, “A Walkin’ Miracle” in September 1963. On the label of this single, the group name appeared as ‘The Essex Featuring Anita Humes.’ “She’s Got Everything”, their next single, written by Jimmy Radcliffe and Oramay Diamond, was a No. 56 hit. Being Marines made it hard for the group to take advantage of their hits; for example, before long, Johnson was posted to Okinawa. Rodney Taylor was killed in 1966 in New York City during an attempted mugging. He was buried at Oak Hill Cemetery in Gary, Indiana. All of his former bandmates attended his funeral.Humes released several solo singles for Roulette, but had no chart success. She died on May 30, 2010, in Harrisburg, Pennsylvania, aged 69. In the 1970s, Hill headed up a group called the Courtship.Band member origins:Walter Vickers - New Brunswick, New JerseyRodney Taylor - Gary, IndianaRudolph Johnson - New YorkWillie “Billy” Hill - Princeton, New JerseyAnita Humes - Harrisburg, Pennsylvaniaashapemedia.uk 35 | 6 36 3

MOCKINGBIRD© Inez & Charley FoxxEverybody have you heard?Mock (yeah)Ing (yeah)Bird (yeah)Yeah (Oh yeah)Mockin’ bird nowEverybody have you heardHe’s gonna buy me a mockingbirdAnd if that mockingbird don’t singHe’s gonna but me a diamond ringAnd if that diamond ring won’t shineSurely break this heart of mineAnd that’s why I keep on tellin’ everybodySay yeah, yeah, whoa, whoa, whoa, whoa, whoa, uh, ohHere me now and understandHe’s gonna buy me some peace of mindAnd if that peace of mind don’t stayI’m gonna find myself a better wayAnd if that better way ain’t soI’ll ride with the tide and go with the flowAnd that’s why I keep on shoutin’ in your earSay yeah, yeah, whoa, whoa, whoa, whoa, whoa, uh, ohI said everybody have you heardSh’e gonna buy me a mockingbirdYeah, if that mockingbird don’t singShe’s gonna buy me a diamond ringIf that diamond ring won’t shineYes, it will break this heart of mineAnd there’s a reason why I keep on tellin’ everybodySay yeah, yeah, whoa, whoa, whoa, whoa, whoa, uh, ohListen now and understandShe’s gonna find me some peace of mindYeah, if that peace of mind don’t stayI’m gonna get myself a better wayI might rise above, I might go belowRide with the tide and go with the flowAnd that’s the reason why I keep on shoutin’ your ear sayingYeah, yeah, whoa, whoa, whoa, whoa, whoa, uh, ohMockingbirdYeah I might rise above, I might go belowRide with the tide and go with the flowAnd that’s the reason why I’m shoutin’ in your ear sayingYeah, yeah, yeah, oh, no, no, no, no| 36 shapemedia.uk1 9 1 9

Inez & Charlie FoxxMOCKINGBIRDMockingbird is a 1963 song written and recorded by Inez and Charlie Foxx, based on the lullaby “Hush Little Baby”.The original single was credited to Inez Foxx with vocal accompaniment by her brother Charlie, as they alternated the lyric on a syllabic basis. Considered something of a novelty song, it was a great success for them upon its release by Sue Records (Symbol Records), reaching number 2 on the U.S. Top Black Singles / Rhythm & Blues chart and number 7 on the U.S. popular music singles chart in late summer 1963. Chris Blackwell of Island Records company heard “Mockingbird” playing in a record store in Kingston, Jamaica and flew to New York City to negotiate the track’s U.K. release; resultantly Island Records leased the Sue brand for UK distribution to vend the American company’s output in the U.K., beginning with “Mockingbird” in December 1963. However “Mockingbird” would not become a U.K. success until its 1969 re-issue when it scored No. 33.The song was covered by Dusty Springfield for her album A Girl Called Dusty (1964); Springfield sang both parts of the track. “Mockingbird” was also recorded by Aretha Franklin for her album Runnin’ Out of Fools (1965); Franklin performed the song (with Ray Johnson providing the counter-vocal) on the March 10, 1965, episode of the TV program Shindig!. Franklin’s version of “Mockingbird” was one of several tracks to which Columbia Records company gave a single release after the singer’s commercial success with Atlantic Records in 1967; released at the same time as Franklin’s Atlantic single album “Chain of Fools”—which would reach #2—Franklin’s version of “Mockingbird” scored two weeks at No. 94 on the Billboard Hot 100 in December 1967.Inez Foxx (September 9, 1937 – August 25, 2022) and her elder brother Charlie Foxx (October 23, 1933 – September 18, 1998) were an American rhythm and blues and soul duo from Greensboro, North Carolina. Inez sang lead vocal, while Charlie sang back-up and played guitar. Casey Kasem, and doubtless many others, mistakenly thought that the two were husband and wife.Both children were born in Greensboro to John and Peggy Fox. According to published information in the North Carolina Birth Index, and the U.S. census, Charlie James Fox was born in 1933 and Inez Rebecca Fox in 1937, though subsequent publicity indicated later birth years for both siblings. They changed their professional names to Foxx with a double ‘x’.Charlie Foxx began singing with a gospel choir as a child in the early 1950s, and was later joined by his sister Inez. In 1960, Inez traveled to New York City and recorded for Brunswick Records using her then-married name Inez Johnston, but with little success. In early 1963, the pair introduced themselves to Henry ‘Juggy’ Murray, the owner of Sue Records, and sang him their arrangement of the traditional lullaby “Hush, Little Baby”. The song, re-titled “Mockingbird,” was released on Sue’s subsidiary label Symbol Records in June 1963. The single reached the top 10 on both the US rhythm and blues and pop charts. It was their most successful record, selling over one million copies, and was awarded a gold disc by the RIAA. It was later covered by artists including Aretha Franklin, James Taylor and Carly Simon, Dusty Springfield, Etta James with Taj Mahal and Toby Keith.The record company, keen to promote Inez Foxx as a solo singer, issued later recordings under her name alone, despite the presence of two voices on the records. Perhaps because “Mockingbird” was seen as a novelty record, the pair had difficulty following it up, although “Ask Me” and “Hurt by Love” made the lower reaches of the US charts, and “Hurt by Love” also reached the UK singles chart. In 1966, the pair joined Musicor Records and recorded for its subsidiary label, Dynamo. They returned to the pop charts in 1967 with “(1-2-3-4-5-6-7) Count the Days”, and became known for their exciting live performances. They toured extensively in Europe and their music played a key role in the development of the Northern soul movement, in which scene they had the very popular “Tightrope” single.shapemedia.uk 37 | 6 36 3

TELL HIMPerformed By The ExcitersI know something about loveYou’ve gotta want it badIf that guy’s got into your bloodGo out and get himIf you want him to beThe very heart of youMakes you want to breatheHere’s the thing to doTell him that you’re never gonna leave himTell him that you’re always gonna love himTell him, tell him, tell him, tell him right nowI know something about loveYou gotta show it andMake him see the moon up aboveOut and get himIf you want him to beAlways by your sideIf you want him toOnly think of youTell him that you’re never gonna leave himTell him that you’re always gonna love himTell him, tell him, tell him, tell him right nowEver since the world began, it’s been that way for manAnd women were createdTo make love their destinyThen why should true love be so complicated, oh yeah?I know something about loveYou gotta take his handShow him what the world is made ofOne kiss will prove itIf you want him to beAlways by your sideTake his hand tonightSwallow your foolish prideTell him that you’re never gonna leave himTell him that you’re always gonna love himTell him, tell him, tell him, tell him right nowOh, you hafta tell him now (tell him that you’re never gonna leave him)Oh yeah (tell him that you’re always gonna love him)Yeah (tell him, tell him, tell him, tell him right now)Darling, don’t you let him go, now (tell him that you’re never gonna leave him)Oh yeah (tell him that you’re always gonna love him)Yeah (tell him, tell him, tell him, tell him right now)Take his hand in yours and tell him (tell him that you’re never gonna leave him)Oh yeah (tell him that you’re always gonna love him)| 38 shapemedia.uk1 9 1 9

The ExcitersTELL HIMTell Him, originally Tell Her, is a 1962 song that was written and composed by Bert Berns, who, when he did so, used the pen name of Bert Russell, and which was popularized through its recording by the Exciters. The song was recorded as “Tell Her” by Dean Parrish in 1966, and Kenny Loggins in 1989. Billboard named the Exciters version at No. 95 on their list of 100 Greatest Girl Group Songs of All Time.The song was first recorded in 1962 as “Tell Her”, by Gil Hamilton, aka Johnny Thunder, with Berns producing. “Tell Her” was also a single for Ed Townsend in 1962, before Jerry Leiber and Mike Stoller produced the version by the Exciters, released as “Tell Him” in October 1962. “Tell Him” reached No. 4 on the Billboard Hot 100 dated 26 January 1963. A No. 5 R&B hit in the United States, “Tell Him” was No. 1 in France for two weeks, and reached No. 5 in Australia.The Exciters were an American pop music group of the 1960s. They were originally a girl group, with one male member being added afterwards. At the height of their popularity the group consisted of lead singer Brenda Reid, Herb Rooney, Carolyn Johnson and Lillian Walker.Brenda Reid, Carolyn (Carol) Johnson, Lillian Walker, and Sylvia Wilbur formed the group while at high school together in Queens, New York City, in 1961. They were originally called the Masterettes, as a sister group to another group called the Masters, and released their first recording, “Follow the Leader”, in early 1962. Wilbur then left the group to be replaced by Penny Carter, and they auditioned for Jerry Leiber and Mike Stoller, winning a recording contract. Penny Carter then left, and was replaced by Herb Rooney, a member of the Masters; Reid and Rooney later married.The group’s name was changed to the Exciters, and their first hit record, arranged by George “Teacho” Wiltshire and produced by Leiber and Stoller for United Artists Records, was “Tell Him”, which reached no. 4 on the U.S. pop chart in early 1963. The song had previously been released unsuccessfully, as “Tell Her”, by Gil Hamilton later known as Johnny Thunder. According to Jason Ankeny at AllMusic, the Exciters’ version of “Tell Him” “...boasted an intensity that signified a sea change in the presentation and perception of femininity in popular music, paving the way for such tough, sexy acts as the Shangri-Las and the Ronettes.”Dusty Springfield was on a stop-over in New York City en route to Nashville to make a country music album with the Springfields in 1962, when she heard the Exciters’ “Tell Him” playing while taking a late-night walk by the Colony Record Store on Broadway. The song helped Springfield decide to embark on a solo career with a pop/soul direction. She’d recall: “The Exciters sort of got you by the throat...out of the blue comes blasting at you “I know something about love”, and that’s it. That’s what I wanna do.”Other songs by the group included “He’s Got the Power” (written by Ellie Greenwich and Tony Powers), “Get Him”, and Northern Soul classic “Blowing Up My Mind”. The Exciters also recorded “Do-Wah-Diddy”, written by Greenwich and Jeff Barry, in 1963; with a revised title of “Do Wah Diddy Diddy” it was covered shortly after by Manfred Mann, for whom it was an international hit. They were one of the opening acts for the Beatles during their first North American tour in August–September 1964. During this tour, they became the first black musicians to perform at the Gator Bowl in Jacksonville, Florida; the stadium’s management had initially refused to allow the Exciters to perform because of their race, but when the Beatles said they would refuse to perform too, the group was allowed to go on.In 1965, the Exciters left the Leiber-Stoller management team, and the United Artists label, for Roulette Records. There they issued a remake (with revised lyrics) of the Frankie Lymon & the Teenagers’ song “I Want You to Be My Boy”. They continued to record through the 1960s for Bert Berns’ labels Bang and Shout, and later for RCA, but with little success. Ronnie Pace and Skip McPhee replaced Johnson and Walker. The group broke up in 1974.In 1975, Brenda and Herb Rooney, credited as the Exciters, enjoyed a hit single in the UK with “Reaching for the Best”, produced by Rooney and young newcomer producer Ian Levine. The song was aimed at the British Northern soul scene but crossed over to the UK Singles Chart where it peaked at No. 31. As Brenda & Herb, Reid and Rooney had a final R&B chart hit in 1978 with “Tonight I’m Gonna Make You A Star”. The pair later separated, and Reid later launched a new version of the Exciters with members of her family. Brenda Reid and Lillian Walker still occasionally perform together as The Exciters.Herb Rooney died in the early 1990s. Brenda and Herb Rooney’s son, Mark Cory Rooney, is a music business executive. Carolyn ‘Carol’ Johnson died on May 7, 2007, aged 62.shapemedia.uk 39 | 6 36 3

FOOL ME ONCEPerformed By Connie HallFool me once shame on you fool me twice shame on meYou broke my heart and told me lies and everybody sympathizedWith the fool who loves you so much she was blindBut when I took you back once more and you hurt me like you did beforeThe only sympathy I got was mineFool me once shame on you fool me twice shame on meShame on me for giving in and taking your love back againI should have gone and found somebody elseHow big a fool can one girl be for once you made a fool of meAnd now I made a fool out of myselfFool me once shame on you fool me twice shame on meFool me once shame on you fool me twice shame on me| 40 shapemedia.uk1 9 1 9

Connie HallFOOL ME ONCEConnie Hall (June 24, 1929 – January 7, 2021) was an American singer who had promised Hall would have a hit. With his help, brief success as a country music artist in the late 1950s and 1960s. She was also a songwriter.Hall had a career as a country music artist in the late 1950s and 1960s. This was helped by her two hits “Fool Me Once” and “It’s Not Wrong”. Hall was born in Walden, Kentucky, but grew up in Cincinnati, Ohio. She started singing and performing as a teenager. At age 21, Hall worked at the Jimmie Skinner Music Center in Ohio. She soon got a spot on a radio show on WZIP in Covington, Kentucky, the birthplace of popular 1960s Country singer Skeeter Davis. It was in 1954 that Jimmie Skinner hired Hall to sing on his radio show at WNOP in Newport, Kentucky, and Hall accepted. She appeared on his show, and others, regularly for several years and also worked as a weather girl on Jimmy Skinner’s television show.In 1957, Hall signed a recording contract with Mercury Records. Her recording debut came that same year. The debut single was a duet with Jimmie Skinner called “We’ve Got Things In Common”. The song was very successful, climbing to Top 10 in Billboard. She released her first single as a solo artist in 1958, with the song “I’m the Girl In the USA”. Once again, her single climbed the charts.The following year, 1959, proved to be more successful than the previous two years. The single she released that year, called “The Bottle or Me”, peaked in the Country Top 40 and came close to making the Top 20. In 1960, Hall signed on with Decca Records (which would become the future home of Patsy Cline and Loretta Lynn). Her producer Harry Silverstein she soon achieved one. He produced Hall’s first two singles, which were released on a back-to-back single. The A-side of the single was the song “There’s Poison In Your Hand”. The A-side made it to the Country Top 25 in 1960. Its B-side, “It’s Not Wrong” (which was an answer song to the 1958 Warner Mack hit “Is it Wrong (For Loving You)?”), became Hall’s biggest hit. The song reached the Country Top 20, meaning Hall had achieved an official hit song.For three more years, Hall remained under Decca Records, making seven more hits, such as “Sleep, Baby Sleep” and “Fool Me Once”. Also during this time, she performed on the Grand Ole Opry, Louisiana Hayride, and Midwestern Hayride. In 1964, Hall left Decca Records and switched to Musicor Records, where she remained until 1967.shapemedia.uk 41 | 6 36 3

SALLY GO ROUND THE ROSESPerformed By The Jaynetts| 44 shapemedia.ukSally go ‘round the roses (Sally go ‘round the roses)Sally go ‘round the roses (Sally go ‘round the pretty roses)Roses they can’t hurt you (roses they can’t hurt you)Roses they can’t hurt you (no, the roses they can’t hurt you)Sally don’t you go, don’t you go downtownSally don’t you go, don’t you go downtownSaddest thing in the whole wide worldIs to see your baby with another girlDon’t you go downtown (Sally go ‘round)No, don’t you go downtown (‘round and ‘round)Yes, because the saddest thing in the whole wide worldIs to see your baby with another girlSally go ‘round the roses (Sally go ‘round the roses)Sally go ‘round the roses (Sally go ‘round the pretty roses)They won’t tell your secret (they won’t tell your secret)They won’t tell your secret (no, the roses won’t tell your secret)Sally baby cry, let your hair hang downSally baby cry, let your hair hang downSit and cry where the roses growYou can sit and cry, not a soul will knowLet your hair hang down (Sally go ‘round)Yes, let your hair hang down, yeah (‘round and ‘round)Because the saddest thing in the whole wide worldIs to see your baby with another girlSally go ‘round the roses (Sally go ‘round the roses)Sally go ‘round the roses (Sally go ‘round the pretty roses)Sally go ‘round the roses (Sally go ‘round the roses)Sally go ‘round the roses (Sally go ‘round the roses)1 9 1 9

The JaynettsSALLY GO ROUND THE ROSESSally Go ‘Round the Roses” is the name of a 1963 hit by The Jaynetts, a Bronx-based one-hit wonder girl group, released by J&S Records on the Tuff label.The producer of “Sally Go ‘Round the Roses”, Abner Spector, was an A&R man for the Chicago-based Chess Records. Spector was responsible for The Corsairs’ 1962 number 12 hit “Smoky Places”, which had been released on Tuff, a subsidiary of J&S Records. In the summer of 1963, Spector asked J&S owner, Zelma “Zell” Sanders, to assemble a vocal ensemble to record a girl group style record, to which end Sanders wrote the song “Sally...” with Spector’s wife Lona Stevens, drawing inspiration from the nursery rhyme “Ring around the Rosie”. The songwriting copyright for “Sally...” is now in the name of Abner Spector who died in 2010; Zell Sanders died in 1976.The Jaynetts were an American girl group based in the Bronx, New York, who became a one-hit wonder in 1963 with the song “Sally Go ‘Round the Roses”, which reached No. 2 on the US Billboard Hot 100.In 1954, Bronx-native Zelma “Zell” Sanders produced “Lonely Nights” by a female R&B vocal group called The Hearts (not to be confused with “Long Lonely Nights” by Lee Andrews & the Hearts). With no major labels interested in a track by a female R&B group, “Lonely Nights” was eventually released on the small independent label Baton and became one of the earliest girl-group hits when it made the US R&B Top 10 hit single in 1955.This success allowed Sanders to found her own doo-wop-oriented label, J&S.The Jaynetts name was conceived by adding the “J” in “J&S” to “Anetta”, the middle name of Lezli Valentine, a session vocalist who sang on the group’s 1957 debut, “I Wanted To Be Free”, as well as on other J&S releases. The lead vocal on “I Wanted to Be Free” was by Justine “Baby” Washington, who regularly performed on the Hearts’ releases in 1956–57; Washington also began recording solo in 1957 with the B-side of her second release, “Hard Way to Go” (1958), being a track credited to the Jaynetts entitled “Be My Boyfriend.”J&S Records had its first national success in 1961 when Abner Spector, an A&R man for the Chicago-based Chess Records, utilized J&S’s Tuff subsidiary for the release of The Corsairs’ hit “Smoky Places” which reached #12 in March 1962. In 1963 Spector had Zell Sanders assemble the line-up to cut a girl group record, and Spector’s wife Lona Stevens wrote “Sally Go ‘Round the Roses” with Sanders for this purpose.The credited members of the Jaynetts who recorded “Sally Go ‘Round the Roses” were Yvonne Bushnell, Ethel Davis (aka Vernell Hill), Ada Ray Kelly and Johnnie Louise Richardson, who had all previously recorded for J&S; a fifth credited member Mary Sue Wells (aka Mary Sue Wellington/Mary Green Wilson) was recruited through a newspaper advertisement. It was announced that Johnnie Louise Richardson, Sanders’ daughter, who had been a member of Johnnie & Joe, was not intended as a group member beyond singing on their first track.Vocalists who sang on “Sally Go ‘Round the Roses” besides the five credited personnel include J&S veterans Selena Healey, Marie Hood, Marlene Mack (aka Marlina Mack/Marlina Mars), Louise (Harris) Murray (a member of the original Hearts), Lezli Valentine and Iggy Williams. According to Richardson, “Anybody that came in the studio that week, Spector would put them on the track. Originally, I think he had about 20 voices on ‘Sally.’” The sessions produced only the one song, “Sally Go ‘Round the Roses” being released with the song’s instrumental track as its B-side, credited to ‘Sing Along Without the Jaynetts’. The single reached No. 2 on the Billboard Hot 100 chart dated 28 September 1963. In 1963, American Bandstand signed the Jaynetts to Dick Clark’s Caravan of Stars national U.S. tour, which was scheduled to perform its 15th show on the night of November 22, 1963 at the Memorial Auditorium in Dallas, Texas, until suddenly the Friday evening event had to be cancelled, moments after U.S. President John F. Kennedy was assassinated that afternoon while touring Dallas in an open car caravan.shapemedia.uk 43 | 6 36 3

A STRANGER WAS HERE© Darrell McCall| 44 shapemedia.ukThe door said a stranger knocked on it todayAnd that you let him in while I was goneAnd when I talked to a chair it said a stranger set hereAnd the floor said it knew something was wrongA stranger was here Did you see him hereCould it be that everything was wrongBut the lamp swears it’s soSaid you turned it way down lowAnd my highfi said you played our favorite songNow the clock said that it keptKept track of the timeAnd for three long hours he was aroundThe mirror said it sawHim hold you close in his armsAnd the window shade said you pulled it downYes a stranger was hereDid you see him hereCould it be that everything was wrongBut the lamp still swears it’s soSaid you turned it way down lowAnd my highfi said you played our favorite song1 9 1 9

Darrell McCallA STRANGER WAS HEREDarrell McCall (born April 30, 1940) is a country music performer, known for his honky tonk and traditional country musical style at the height of his career in the 1960s, and his return to popularity during the Outlaw country era in the late 1970s.McCall was born and raised in New Jasper Township, Greene County, Ohio. He was a boyhood friend of fellow future musician Johnny Paycheck. At the age of 15, he landed a job as a disc jockey at a local Ohio radio show on Saturday mornings. During this time, he also performed as a musician at dances and other events. After graduating from high school, McCall joined the military and was stationed in Kentucky.In 1958, after finishing his duty in the army, McCall moved to Nashville with Paycheck to record as a duo. The duo failed but McCall soon found work as a background singer during recording sessions for various artists including Faron Young, George Jones and Ray Price. Next, he began to tour with the bands of Young, Price and the newcomer Hank Williams Jr.In 1959, McCall was contacted by Nashville producer Buddy Killen, and asked to join a pop band he was forming called The Little Dippers. The band released the top ten pop hit “Forever” in 1960. The next year, McCall was signed by Capitol Records as a solo singer. He released two singles for the label, but neither charted and the performer was subsequently released by Capitol. In 1962, McCall signed with Philips Records as a country music singer. He released the hit “A Stranger Was Here,” which peaked at No. 17. Later in the year he performed the theme for the film Hud, which starred actor Paul Newman.McCall decided to begin an acting career in 1965. He appeared in numerous films including Nashville Rebel, Road to Nashville and What Am I Bid. During his acting career, McCall also traveled to the American Southwest to perform in rodeos as a cowboy. In 1968, he decided to return to recording.In 1968, McCall signed with “Wayside Records” and released four singles. In 1970, he released his first album, Meet Darrell McCall for Mercury Records. Hank Williams Jr. recorded a song penned by McCall in 1971 entitled “Eleven Roses.” It became a No. 1 hit for Williams and resulted in a songwriting contract offer from “Tree International Publishing” for McCall, who accepted. In 1974, he signed with Atlantic Records, releasing the single “There’s Still a Lot of Love in San Antone.” The following year he left Atlantic and signed with Columbia records. During this period his popularity grew due to the Outlaw Country sound being pushed into the mainstream. With Columbia he recorded the hit duet “Lily Dale” with Willie Nelson, which became a top 40 hit and was awarded the “Best Duet of 1977” by Cash Box Magazine. After a few more singles with the label, McCall signed with Hillside Records in 1980 and released a single, but then decided to sign with RCA Records. With RCA, he released his final top 40 hit “Long Line of Empties.” His final charting single “Memphis in May” was released for Indigo Records in 1984. In 1986, McCall recorded two albums, including one with Johnny Bush. Following these releases, he stopped recording but continued to tour. However, he did appear as the lead singer on a few tracks of the Ace in the Hole’s 1995 debut album.McCall continues to tour and perform on a regular basis. His wife Mona is also part of the touring band, where she contributes guitar and vocals. More recently, McCall began recording new material for Heart of Texas Records, an independent record label specializing in classic country music. He has released several albums through the label, including studio albums, a greatest hits collection and a duets record called “Survivors,” with fellow classic country artists Curtis Potter and Tony Booth.shapemedia.uk 45 | 6 36 3

DOMINIQUE© Sœur SourireDominique -nique -niqueS’en allait tout simplementRoutier, pauvre et chantantEn tous chemins, en tous lieuxIl ne parle que du Bon DieuIl ne parle que du Bon DieuÀ l’époque où Jean Sans TerreD’Angleterre était le roiDominique notre père, combattit les albigeoisDominique -nique -niqueS’en allait tout simplementRoutier, pauvre et chantantEn tous chemins, en tous lieuxIl ne parle que du Bon DieuIl ne parle que du Bon DieuCertains jours un hérétiquePar des ronces le conduitMais notre Père Dominique, par sa joie le convertitDominique -nique -niqueS’en allait tout simplementRoutier, pauvre et chantantEn tous chemins, en tous lieuxIl ne parle que du Bon DieuIl ne parle que du Bon DieuNi chameau, ni diligenceIl parcourt l’Europe à piedScandinavie ou Provence, dans la sainte pauvretéDominique -nique -niqueS’en allait tout simplementRoutier, pauvre et chantantEn tous chemins, en tous lieuxIl ne parle que du Bon DieuIl ne parle que du Bon DieuEnflamma de toute écoleFilles et garçons pleins d’ardeurEt pour semer la parole, inventa les Frères-PrêcheursDominique -nique -niqueS’en allait tout simplementRoutier, pauvre et chantantEn tous chemins, en tous lieuxIl ne parle que du Bon DieuIl ne parle que du Bon DieuChez Dominique et ses frèresLe pain s’en vint à manquerEt deux anges se présentèrent, portant de grands pains dorésDominique -nique -niqueS’en allait tout simplementRoutier, pauvre et chantantEn tous chemins, en tous lieuxIl ne parle que du Bon DieuIl ne parle que du Bon DieuDominique vit en rêveLes prêcheurs du monde entierSous le manteau de la Vierge, en grand nombre rassemblésDominique -nique -niqueS’en allait tout simplementRoutier, pauvre et chantantEn tous chemins, en tous lieuxIl ne parle que du Bon DieuIl ne parle que du Bon DieuDominique, mon bon PèreGarde-nous simples et gaisPour annoncer à nos frères, la vie et la véritéDominique -nique -niqueS’en allait tout simplementRoutier, pauvre et chantantEn tous chemins, en tous lieuxIl ne parle que du Bon DieuIl ne parle que du Bon Dieu| 46 shapemedia.uk1 9 1 9

Sœur SourireDOMINIQUEDominique is a 1963 French language popular song, written and performed by the Belgian female singer Jeannine Deckers, better known as Sœur Sourire (“Sister Smile” in French) or The Singing Nun. The song is about Saint Dominic, a Spanish-born priest and founder of the Dominican Order, of which she was a member (as Sister Luc-Gabrielle). The English-version lyrics of the song were written by Noël Regney. In addition to French and English, Deckers recorded versions in Dutch, German, Hebrew, Japanese, Korean, and received by her fellow nuns and visitors that her religious Portuguese. It was a top selling record in 11 countries in late 1963 and early 1964.“Dominique” reached the Top 10 in 11 countries in late 1963 and early 1964, topping the chart in the United States, international hit, and her album sold nearly two million Canada, Australia and New Zealand. It reached the Top 5 in Norway, Denmark, Ireland and South Africa, with the song making it into the lower reaches of the Top 10 in the Netherlands, West Germany, and the United Kingdom. The song reached and stayed at No. 1 on Top 40 radio station WABC in New York City for the four weeks of 19 November through 10 December. On WLS Chicago, the song was No. 1 for the three weeks 15–29 November 1963. On both the U.S. Billboard Hot 100 and “Easy Listening chart”, “Dominique” was No. 1 for the four weeks 7–28 December 1963.The song won the Grammy Award for Best Gospel or Other Religious Recording (Musical) in 1964. It was also a nominee for Grammy Award for Record of the Year, and Sœur Sourire was a nominee for Best Female Vocal Performance. It was the second foreign language song to hit No. 1 on the Hot 100 in 1963, the first being “Sukiyaki” by Kyu Sakamoto. For the next ten years or so, although there were a number of hits with most of the vocals in a language other than English (e.g., The Sandpipers’ “Guantanamera”, René y René’s “Lo Mucho Que Te Quiero”, etc.), no other purely foreign language song reached the Billboard Hot 100’s top 40 until the Spanish language hit “Eres tú (Touch The Wind)” in 1974. “Dominique” outsold Elvis Presley during its stay on the Billboard Hot 100; it was the second to last No. 1 hit before the British Invasion.Jeanne-Paule Marie “Jeannine” Deckers (17 October 1933 – 29 March 1985), better known as Sœur Sourire (French for ‘’Sister Smile’’) and often called The Singing Nun in English-speaking countries, was a Belgian singer-songwriter and a member of the Dominican Order in Belgium as Sister Luc Gabriel. She acquired widespread fame in 1963 with the release of the Belgian French song “Dominique”, which topped the US Billboard Hot 100 and other charts. Owing to confusion over the terms of the recording contract, she was reduced to poverty, and also experienced a crisis of faith, quitting the order, though still remaining a Catholic. She died by suicide with her lifelong partner, Annie Pécher.While in the convent, Sister Luc Gabriel wrote, sang, and casually performed her own songs, which were so well superiors encouraged her to record an album, which visitors and retreatants at the convent would be able to purchase. In 1962, the album was recorded in Brussels at Philips; in 1963 the single “Dominique” became an copies. Sister Luc Gabriel became an international celebrity and took the stage name of Sœur Sourire (“Sister Smile”). She gave several live concerts and appeared on The Ed Sullivan Show on television on 5 January 1964. “Dominique” was the first song by a Belgian artist to be a number one hit single in the United States. The song’s chorus refrain “Dominique, nique, nique” was the source of some unintended amusement amongst French listeners as the word “niquer” is short for “fornicate”, with “nique” the equivalent of “f**k”; Deckers was unaware of the connotation, as were the other Belgian Catholics of that era. Sister Luc Gabriel found it difficult, however, having to live up to her publicity as “a true girl scout,” always happy and in a good mood. “I was never allowed to be depressed,” she remembered in 1979. “The mother superior used to censor my songs and take out any verses I wrote when I was feeling sad.” In 1963 the General Music Company published a book of 15 Soeur Sourire songs with English lyrics provided by Noël Regney, who later claimed that he had co-written “Dominique.” Later that same year she was sent by her order to take theology courses at the University of Louvain. She liked the student life, if not her courses.shapemedia.uk 47 | 6 36 3

MARIA ELINA ©Los Indias TabajarasMaría Elena is a 1932 popular song written by Lorenzo Barcelata (Spanish words and music). It was published by Peer International Corporation of Mexico. The English lyrics are by Bob Russell.An instrumental version was recorded in 1958 and released in the United States in 1962 during Portuguese colonization, in the 16th by Natalicio and Antenor Lima, better known century.as Los Indios Tabajaras. This popular revival hit No. 6 in the Billboard pop chart and No. 3 on the Billboard easy listening chart in the USA in late 1963, as well as making No. 5 on the UK singles chart at the same juncture. The Family Four released a Swedish version (called “Mari Helena”), crediting Henrick Lindstrom (and L. Barcelona) in the 1960s.The Los Indios Tabajaras version is used in Wong Kar Wai film Days of Being Wild (1990), starring Leslie Cheung.Los Indios Tabajaras (The Tabajara Indians) was a guitar duo of two brothers, Antenor Lima and Natalicio (Nato) Lima, from Tianguá, Ceará in the Northeast of Brazil. The group name refers to the Tabajara, indigenous people who lived on the easternmost portion of the Atlantic coast of northeast Brazil in the period before and Their beginnings are not clear, though most stories have them becoming accomplished guitar players after finding a guitar near Ceará, in spite of the improbability of the story. They found success in Rio de Janeiro, performing as Natalicio and Antenor Lima and dressing in ceremonial Indian costumes. Using classical guitars and playing transcriptions of classical violin and piano works, they were soon playing all over South America.| 48 shapemedia.uk1 9 1 9

Los Indios TabajarasMARIA ELINAProbably as early as 1943, RCA’s Latin American arm signed them to a recording contract. In the early 1950s, they took a break from performing and went back to study the guitar. After returning to the stage later that same decade, they took on the name “Los Indios Tabajaras” and released an album in the United States on an RCA-owned label Vox.Throughout this period, they had a steady stream of releases on RCA in Mexico and one of these, a Mexican popular tune named “María They also recorded and released material with Elena” (Lorenzo Barcelata; named after the wife singer Don Gibson, including a re-recording of of a Mexican president and recorded in 1958), became a steady seller, a success throughout Latin America and was finally released on a single in the U.S. in 1963. It spent 14 weeks on the Hot 100 in the fall of 1963, four of which were in the top 10 in November 1963, reaching number 6 and had similar success in the United Kingdom. It sold over one million copies, and was awarded a gold disc.Los Indios Tabajaras continued touring throughout the Americas and Europe, and in 1964 they had another two releases, “Always in My Heart” and “Marta.” Although “Always in My Heart” made the Billboard Hot 100, neither of these were nearly as successful as “Maria Elena.”Their fluent guitar playing caught the ear of American guitarist Chet Atkins and, along with pianist Floyd Cramer, they recorded an instrumental album in Nashville, Tennessee. Gibson’s 1958 hit “Oh Lonesome Me”.RCA released albums by Los Indios Tabajaras into the 1980s. They were produced by Herman Diaz, Jr. until his retirement in 1975. They then worked with RCA producer Ethel Gabriel.Antenor retired from performing in 1979, and died in 1997. Natalicio continued to perform into the 1990s with his wife, Michiko. He died in November 2009.shapemedia.uk 49 | 6 36 3

MAMA DIDN’T LIEPerformed By Jan BradleyMama didn’t lie, she didn’t lieMama didn’t lie, she didn’t lieHere comes that boy and his friendsMaking eyes at me againDo they all think that I’m a toy?To be played with by every boy?Well, they’re wrong to think IWill be caught by the wink of an eyeMy mama didn’t lie(Mama didn’t lie)She didn’t lieMama didn’t lieShe didn’t lieThe greatest pastime in this man’s worldIs playin’ tricks on every young girlTo have one is how they get their kicksBut not me, because I know their tricksAnd they’re wrong to think IWill be caught by the wink of an eyeMy mama didn’t lie(Mama didn’t lie)She didn’t lieMama didn’t lieShe didn’t lieI remember what my mama told meShe said, “Girl, stay in your class”“You got a whole lot of growin’ and a’learnin’ to do”“So girl, don’t you go so fast”The greatest pastime in this man’s worldIs playin’ tricks on every young girlTo have one is how they get their kicksBut not me, because I know their tricksAnd they’re wrong to think IWill be caught by the wink of an eyeMy mama didn’t lie(Mama didn’t lie)She didn’t lieMama didn’t lieShe didn’t lie| 50 shapemedia.uk1 9 1 9