One Hit Wonders62

One Hit WondersVolume 031962FEATURING:CHRIS MONTEZLet’s DanceTHE TORNADOSTelstarKETTY LESTERLove LettersAnd Many More...ACKER BILKACKER BILKStranger On The ShoreStranger On The Shoreshapemedia.ukStrollStrollWith MeWith Me Down DownMemoryMemoryLane..Lane..

| 02 shapemedia.ukC o n te n t s196 204 ACKER BILKStranger On The Shore06 THE TORNADOSTelstar08 CHRIS MONTEZLet’s Dance10 WALTER BRENNANOld Rivers12 BOOKER T JONESGreen Onions14 THE CONTOURSDo You Love Me16 THE ROCKIN’ REBELSWild Weekend18 BARBARA LYNNYou’ll Lose A Good Thing20 NATHANIEL MAYERVillage Of Love22 KENNY BALL & HIS JAZZMENMidnight In Moscow24 BRUCE CHANNELHey! Baby!26 SHELLEY FABARESJohnny Angel28 PAUL PETERSONMy Dad30 SUE THOMPSONNorman32 BOBBY PICKETTMonster Mash34 KETTY LESTERLove Letters36 THE IKETTESI’m Blue (The Gong Gong Song)38 TONY RENISQuando Quando Quando40 JIMMY SMITHWalk On The Wild Side42 BENT FABRICAlley Cat44 JIMMY MCGRIFFI’ve Got A Woman46 CLAUDINE CLARKParty Lights48 THE DUPREESYou Belong To Me50 MARCIE BLANEBobby’s Girl52 ERNIE MARESCAShout Shout Knock Yourself Out54 THE SENSATIONSLet Me In56 JO ANN CAMPBELLI’m The Girl From Wolverton Mountains58 THE VALENTINOSLookin’ For A Love

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 Look out for the next issue... 1963 coming soon...issue... 1963 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

STRANGER ON THE SHORE© Acker BilkStranger on the Shore is a piece for clarinet written by Acker Bilk for his young daughter and originally named “Jenny” after her. The tune was written on a single scrap of paper by Bilk and handed over to Leon Young (1916-1991) who crafted the string arrangement, including the characteristic harmonic shifts at the very end.The recording was subsequently used as the theme tune of a BBC TV drama serial for young people, Stranger on the Shore. It was first released in 1961 in the UK, and then in the US, and reached number 1 in the US and number 2 in the UK.In May 1969, the crew of Apollo 10 took “Stranger on the Shore” on their mission to the moon. Gene Cernan, a “Telstar”, another instrumental. In the pre-rock era, Vera member of the crew, included the tune on a cassette tape used in the command module of the Apollo spacecraft.The track, performed by Bilk (as “Mr. Acker Bilk”) with backing by the Leon Young String Chorale, was recorded at the Lansdowne Studios and produced by Denis Preston. It was released as a single on EMI’s Columbia label, catalogue number DB 4750, in October 1961; the label text states “Theme from the BBC T.V. Series”. The UK B-side was “Take My Lips” whereas the US flipside was “Cielito Lindo”. The single became a phenomenal success, topping the NME singles chart and spending nearly a year on the Record Retailer Top 50. It was the UK’s biggest-selling single of 1962, the biggest-selling instrumental single of all time, and appears fifty-eighth in the official UK list of best-selling singles issued in 2002. It had sold 1.16 million copies as of November 2012.One off songwriter and music publisher Robert Mellin’s major songwriting successes came in 1962, when he wrote lyrics for this song, allowing it to be covered by vocal acts including Andy Williams and the Drifters.On 26 May 1962, “Stranger on the Shore” became the first British recording to reach number one on the U.S. Billboard Hot 100 where it was issued by Atlantic Records on the Atco label, but it was quickly followed, on 22 December, by British band The Tornados’ Lynn’s “Auf Wiederseh’n Sweetheart” had reached #1 in 1952, on the shorter “Best Sellers In Stores” survey. After “Telstar”, the next British performers to top the U.S. charts were the Beatles, with their first Capitol Records single “I Want to Hold Your Hand”. “Stranger on the Shore” was Billboard’s #1 single of 1962, and it spent seven weeks atop the “Easy Listening” chart, which later became known as the Adult Contemporary chart. The tune became the second of three “one-hit wonders” named “pop single of the year” by Billboard (the others being 1958’s “Volare (Nel Blu Dipinto Di Blu)” by Domenico Modugno and 2006’s “Bad Day” by Daniel Powter).| 04 shapemedia.uk1 9 1 9

STRANGER ON THE SHOREThe song is certified gold by the Recording Industry Association of America.The composition has been covered by many other artists, most prominently a vocal 1962 version by Andy Williams, which reached #9 on the adult contemporary chart, #30 in the UK, and #38 on the Billboard Hot 100, and a group vocal version by the Drifters, which reached #19 on the adult contemporary chart and #73 on the Billboard Hot 100. Kenny G covered it in 1999 on his album, Classics in the Key of G. A version in French, Savoir Aimer, was sung by Nana Mouskouri.Released in 1961, the original Stranger on the Shore album also featured the string arrangements of Leon Young and the performances of his Chorale string players. It primarily consists of melodies from classical, traditional and show music sources, but there is one more original: Is This the Blues, also assembled by Young from a Bilk melody.Bernard Stanley Bilk, MBE (28 January 1929 – 2 November on the Shore” for use in a British television series of the 2014), known professionally as Acker Bilk, was a British clarinetist and vocalist known for his breathy, vibrato-rich, lower-register style, and distinctive appearance – of goatee, bowler hat and striped waistcoat.Bilk’s 1962 instrumental tune “Stranger on the Shore” became the UK’s biggest selling single of 1962. It spent more than 50 weeks on the UK charts, peaking at number two, and was the second No. 1 single in the United States by a British artist.Bilk was born in Pensford, Somerset, in 1929. He earned the nickname “Acker” from the Somerset slang for “friend” or “mate”. His parents tried to teach him the piano but, as a boy, Bilk found it restricted his love of outdoor activities, including football. He lost two front teeth in a school fight and half a finger in a sledging accident, both of which he said affected his eventual clarinet style.Bilk played with friends on the Bristol jazz circuit and in 1951 moved to London to play with Ken Colyer’s band.Bilk disliked London, so returned west and formed his own band in Pensford called the Chew Valley Jazzmen, which was renamed the Bristol Paramount Jazz Band when they moved to London in 1951. Their agent then booked them for a six-week gig in Düsseldorf, Germany, playing in a beer bar seven hours a night, seven nights a week.During this time, Bilk and the band developed their distinctive style and appearance, complete with striped waistcoats and bowler hatsAfter returning from Germany, Bilk became based in Plaistow, London, and his band played in London jazz clubs. It was from here that Bilk became part of the boom in trad jazz in the United Kingdom in the late 1950s. In 1960, their single “Summer Set” (a pun on their home county), co-written by Bilk and pianist Dave Collett, reached number five on the UK Singles Chart, and began a run of 11 chart hit singles. (“Summer Set” was also used prominently in Daniel Farson’s controversial 1960 television documentary Living for Kicks, a portrait of British teenage life at the time). In 1961 “Acker Bilk and His Paramount Jazz Band” appeared at the Royal Variety Performance.Bilk was not an internationally known musician until 1962, when the experimental use of a string ensemble on one of his albums and the inclusion of a composition of his own as its keynote piece won him an audience outside the UK. He had composed a melody, entitled “Jenny” after his daughter, but was asked to change the title to “Stranger same name. He went on to record it as the title track of a new album in which his deep and quavering clarinet was backed by the Leon Young String Chorale.Acker Bilkshapemedia.uk 05 | 6 26 2

TELSTAR ©The Tornados| 06 shapemedia.ukTelstar is a 1962 instrumental by the English band the Tornados, written and produced by Joe Meek. It reached number one on the UK Singles Chart and the US Billboard Hot 100 in December 1962 (the second British recording to reach number 1 on that chart in the year, after “Stranger on the Shore” in May). It was the second instrumental single to hit number 1 in 1962 on both the US and UK weekly charts.Later in 1962, Meek produced a vocal version, “Magic Star”, sung by Kenny Hollywood. It was released as a single by Decca Records (cat. nr F11546), with “The Wonderful Story of Love” on the B-side, written by Geoff Goddard. The musical director for both songs was Ivor Raymonde.“Telstar” was named after the Telstar communications satellite, which was launched into orbit on 10 July 1962. Written and produced by Joe Meek, it featured either a clavioline or the similar Jennings Univox, both keyboard instruments with distinctive electronic sounds. It was recorded in Meek’s studio in a small flat above a shop in Holloway Road, North London. “Telstar” won an Ivor Novello Award and is estimated to have sold at least five million copies worldwide.In 2007, Tim Wheeler of Ash wrote that “Telstar” was one of the earliest pop tracks influenced by science fiction, and that “for its time it was so futuristic and it still sounds pretty weird today”. He observed the influence of “Telstar” in the 2006 single “Knights of Cydonia” by Muse; Muse’s singer and guitarist, Matt Bellamy, is the son of the Tornados guitarist George Bellamy.French composer Jean Ledrut accused Joe Meek of plagiarism, claiming that the tune of “Telstar” had been copied from “La Marche d’Austerlitz”, a piece from a score that Ledrut had written for the film Austerlitz (1960). This led to a lawsuit that prevented Meek from receiving royalties from the record during his lifetime, and the issue was not resolved in Meek’s favour until three weeks after his suicide in 1967. Austerlitz was not released in the UK until 1965, and Meek was unaware of the film when the lawsuit was filed in March 1963.The record was an immediate hit after its release, remaining in the UK Singles Chart for 25 weeks, five of them at number 1, and in the American charts for 16 weeks. “Telstar” was the first U.S. number one by a British group. Up to that point, and since World War II, there had only been three British names that topped the U.S. chart: the first was “Auf Wiederseh’n Sweetheart” by Vera Lynn (1952); the second was “He’s Got the Whole World in His Hands” by Laurie London (1958); and the third was in May 1962 with “Stranger 1 9 1 9

TELSTARThe Tornadoson the Shore” by clarinetist Acker Bilk.The Tornados (in North America: The Tornadoes) were an English instrumental rock group of the 1960s that acted as backing group for many of record producer Joe Meek’s productions and also for singer Billy Fury. They enjoyed several chart hits in their own right, including the UK and U.S. No. 1 “Telstar” (named after the satellite and composed and produced by Meek), the first U.S. No. 1 single by a British group. Today Dave Watts has his own version.The Tornados were formed in 1961 as a session band for Joe Meek, although the name did not come until early 1962. In 1961 they provided the instrumentals for the film short The Johnny Leyton Touch, including a jazzed up version of “Taboo”, originally by Margarita Lecuona. From January 1962 to August 1963, The Tornados were the backing band for Billy Fury (as well as recording and performing as an act in their own right); they toured and recorded with Fury as The Tornados. Their recordings with Fury were produced by Mike Smith and Ivor Raymonde.The Tornados made a scopitone film (an early form of music video) for “Telstar” and another for their chart hit “Robot” featuring members of the group walking around a woodland dressed in appropriate headgear with their guitars, flirting with various young women and being finally arrested by policemen after lighting a campfire.For a time The Tornados were considered serious rivals to The Shadows. The Tornados’ single “Globetrotter” made it to #5 in the UK Singles Chart. However, pop instrumentals began to lose a following with the British audience during 1963 as the “Mersey Sound”, from the Beatles and other groups, began to take root. In the summer of 1963, Joe Meek induced The Tornados’ bassist Heinz Burt to start a solo career, as The Tornados’ chart success as an instrumental outfit waned, and from that point onwards The Tornados began to fall apart. By 1965 none of the original lineup remained.On some promotional items, later lineups were credited as “Tornados ‘65” and “The New Tornados”, but these names were never used on The Tornados’ releases. In the mid-1960s The Tornados backed Billy Fury again, with Dave Watts on keyboards, Robby Gale on guitar and John Davies on drums. In 1968, in Israel to perform in Mandy Rice-Davies’ night club “Mandys”, the band stayed for a ten-week tour after which they disbanded, leaving Watts and Huxley in Israel, playing with The Lions of Judea and The Churchills, respectively.After drummer and bandleader Clem Cattini left The Tornados in 1965, he became a successful session musician, playing on recording sessions for other artists, and was featured in Cliff Richard’s backing bands. He holds the record for appearing the most times on UK #1 singles.Rhythm guitarist George Bellamy is the father of Matt Bellamy, the front man for British alternative rock band Muse.They re-formed as The New Tornados in the early 1970s as the backing group for Marty Wilde, Billy Fury and others on a year-long UK Rock n Roll Tour. They continued for another few years with lead guitarist Tony Cowell and drummer Jon Werrell touring with original members Norman Hale and Heinz Burt, plus “The King Of Rock Roll” Carl Simmons. The group was often part of a 1960s package with other artists, including Wee Willie Harris and Screaming Lord Sutch.Jon Werrell loaned his Silver Premier drum kit to John Bonham when Led Zeppelin played their famous impromptu December 1975 gig at Behans St Helier while tax exiles in Jersey.shapemedia.uk 07 | 6 26 2

LET’S DANCEPerformed By Chris MontezHey baby won’t you take a chance?Say that you’ll let me have this danceWell let’s dance, well let’s danceWe’ll do the twist, the stomp, the mashed potato too,Any old dance that you wanna doBut let’s dance, well let’s danceHey baby, yeah, you thrill me soHold me tight, don’t you let me goBut let’s dance, well let’s danceWe’ll do the twist, the stomp, the mashed potato tooAny old dance that you wanna doBut let’s dance, well let’s danceOk, wail nowOh, yeahHey, baby, if you’re all aloneMaybe you’ll let me walk you homeBut let’s dance, well let’s danceWe’ll do the twist, the stomp, the mashed potato too,Any old dance that you wanna doBut let’s dance, well let’s danceHey, baby, things are swingin’ rightYes, I know that this is the nightWell let’s dance, well let’s danceWe’ll do the twist, the stomp, the mashed potato tooAny old dance that you wanna doBut let’s dance, well let’s danceBut let’s danceBut let’s danceBut let’s dance| 08 shapemedia.uk1 9 1 9

Chris MontezLET’S DANCEChris Montez (born Ezekiel Christopher Montañez on January 17, 1943) is an American guitarist and vocalist, whose stylistic approach has ranged from rock & roll to pop standards and Latin music. His rock sound is exemplified in songs such as his 1962 hit “Let’s Dance”, which reached No. 4 on the Billboard Hot 100. When his early music’s popularity began to fade, he switched to a more traditional role as a popular singer of soft ballads, scoring hits with “The More I See You” and “Call Me” in 1966. He has also recorded in Latin styles. Over the intervening years, he has continued to work in all three modes.Born in Los Angeles, California, United States, Montez grew up in Hawthorne, California, in a Mexican-American family and was influenced by the Latino-flavored music of his community and the success of Ritchie Valens. He studied music composition at El Camino College.In 1962, he recorded the single “Let’s Dance” on Monogram Records (written and produced by Jim Lee).It went to No.4 on the Billboard Hot 100 chart in the US and to No.2 on the UK Singles Chart (spending four weeks there). The follow-up, “Some Kinda Fun”, was a lesser hit in the US, but reached No. 10 in the UK in January 1963. Nonetheless, both records sold over one million copies, and were awarded gold discs.Montez toured with Clyde McPhatter, Sam Cooke, The Platters, and Smokey Robinson and the Miracles. The Beatles opened London, York and Northampton concerts for him while Montez was performing with Tommy Roe. Montez commented “Who are these guys The Beatles? I try to keep up with the British scene, but I don’t know their work.Montez returned to the recording studio in 1965, this time at A&M Records. Montez was searching for the same rock and roll formula that would replicate the success of “Let’s Dance”. During a recording session, A&M co-founder Herb Alpert (who co-produced Montez’s first A&M album) suggested that Montez try a different approach: a middle of the road, soft ballad sound. Though reluctant at first, Montez agreed to go along with his mentor’s suggestion.“Call Me” (a Tony Hatch composition first recorded by Petula Clark) was the first single released from his 1966 A&M album, The More I See You. The title single from the album, sung in a soft, very high tenor range and played on primarily adult-formatted radio stations, confused some disc jockeys, who were unfamiliar with Montez’s past work. The track became popular and has been used many times in movies, notably Frantic, starring Harrison Ford.Released in November 1965, “Call Me” entered the Easy Listening Top 40 in Billboard that December, entering the Billboard Hot 100 in January 1966; that March “Call Me” peaked on the Easy Listening chart at No. 2 and on the Hot 100 at No. 22. The More I See You album yielded two additional Top 40 singles for Montez: the title track, plus “There Will Never Be Another You”.Montez recorded three more albums for A&M: Time After Time, Foolin’ Around, and Watch What Happens. None of these albums mirrored the success of The More I See You. The title track “Time After Time”, did reach No. 36 on the Billboard Hot 100, but no other singles made the top 40. Subsequent singles hit below the top 40, or only on the Billboard Easy Listening Top 40. Following the release of Watch What Happens in 1968, Montez left A&M Records.In November 1972, Montez charted a Latin hit in Brazil: “Loco Por Ti (Crazy About You)”. Montez resurfaced in 1974 at CBS Records, with the release of The Best of Chris Montez, a mix of both old and new recordings. Montez recorded one more album for CBS: Raza: Ay No Digas, which did well internationally, but failed to make an impact in the US. His final album, with exclusively Spanish-language material, was Cartas de Amor, released on the independent label AYM in 1983. “Let’s Dance” appeared on the soundtrack of John Landis’s Animal House. In 2013, the song was used as a jingle for a DSW Shoe Warehouse commercial.shapemedia.uk 09 | 6 26 2

OLD RIVERSPerformed By Walter BrenmanHow old was I when I first seen old Rivers?I can’t remember when he weren’t aroundWell, that old fellow did a heap of workSpent his whole life walking plowed ground.He had a one-room shack not far from usAnd well, we was about as poor as himHe had one old mule he called MidnightAnd I’d trailed along after them.He used to plow them rows straight and deepAnd I’d come along near behindA-bustin’ up clods with my own bare feetOld Rivers was a friend of mine.That sun’d get high and that mule would workTill old Rivers’d say, “Whoa!”He’d wipe his brow, lean back on the reinsAnd talk about a place he was gonna go.He’d say, one of these daysI’m gonna climb that mountainWalk up there amoung the cloudsWhere the cotton’s highAnd the corn’s a-growin’And there ain’t no fields to plow.--- Instrumental ---I got a letter today from the folks back home andThey’re all fine and crops is dryDown at the end my mama said, “SonYou know old Rivers died.”Just sittin’ here now on this new-plowed earthTrying to find me a little shadeWith the sun beating down ‘cross the field I seeThat mule, old Rivers and me.Now, one of these daysI’m gonna climb that mountainWalk up there amoung the cloudsWhere the cotton’s highAnd the corn’s a-growin’And there ain’t no fields to plow.With the sun beating down ‘cross the field I seeThat mule, old Rivers and me..| 10 shapemedia.uk1 9 1 9

Walter BrennanOLD RIVERSOld Rivers is a country music song written by Cliff Crofford which tells the story of a man recalling a childhood friendship with an elderly farmer. The song was most famously recorded as a recitation by actor and recording artist Walter Brennan.Released in March 1962, “Old Rivers” — prominently comfort in what Old Rivers one day told him about featuring The Johnny Mann Singers as the backing choir over Brennan’s recitation of the refrain — became a top 5 hit on the Billboard Hot 100, Easy Listening, and Hot C&W Sides charts by the end of May.The song was also recorded by Jimmy Dean, Dave Dudley and Red Sovine.Country-rock band Alabama used the line from “Old Rivers” at the beginning of their song “Mountain Music”: “... one of these days I’m gonna climb that mountain...”, albeit via an impersonation of Brennan’s voice by guitar technician Bob Martin.This song is sampled in Dickie Goodman’s novelty Break-in record called “Ben Crazy (1962), based on the successful TV show “Ben Casey”.The title character of “Old Rivers” is an elderly farmer, a childhood friend of the song’s main protagonist. The protagonist, whose family is very poor, recalls how Old Rivers used a mule-drawn plow to cultivate fields in the hot sun. The mule’s name was “Midnight,” and together man and mule would plow straight, deep rows for the crops, which was considered as much an indicator of prowess as a farmer as actual crop production. During rest breaks, Old Rivers would sometimes take the boy aside and tell of a place he one day was going to go, by “climb(ing) that mountain.” The place is not specifically named, but it can be inferred through the lyrics — “Walk up there among them clouds/Where the cotton’s high and the corn’s a-growin’/And there ain’t no fields to plow” — that Old Rivers was speaking of Heaven.Years later, the young boy is now an adult and, although having moved away from his dirt-poor farming community, is now a farmer himself and is plowing his own field. He talks about a letter he received from his family back home, by which he learns from his mother that, among other things, Old Rivers has died. The protagonist is deeply saddened by this news, and needs to find shade in which to rest and gather his thoughts and grief. He is able to take Heaven.The story continued with the last track of the album, “Old Rivers’ Trunk.” The narrator goes to Old Rivers’ place for a tax auction and buys Old Rivers’ trunk for two dollars. The narrator finds the only thing of worth in the trunk was a tattered Bible.Brennan’s success with The Real McCoys led to him making a few recordings, the most popular being “Old Rivers”, about an old farmer and his mule, which was released as a single in 1962 by Liberty Records with “The Epic Ride of John H. Glenn” on the flip side. “Old Rivers” peaked at number five in the U.S. Billboard chart, making the 67 year-old Brennan the oldest living person to have a Top 40 hit at the time, in fact, the oldest living person to have a top 5 hit. At age 68, Brennan reached the Top 40 again, this time with “Mama Sang a Song” on November 17, 1962.After The Real McCoys ended, Brennan provided the voice for a cartoon of The Shooting of Dan McGrew.shapemedia.uk 11 | 6 26 2

GREEN ONIONS© Booker T JonesGreen Onions is an instrumental composition recorded in 1962 by Booker T. & the M.G.’s. Described as “one of the most popular instrumental rock and soul songs ever” and as one of “the most popular R&B instrumentals to use a Hammond organ because he thought it of its era”, the tune is a twelve-bar blues with a rippling Hammond M3 organ line by Booker T. Jones that he wrote when he was 17, although the actual recording was largely improvised in the studio.The track was originally issued in May 1962 on the Volt label (a subsidiary of Stax Records) as the B-side of “Behave Yourself” on Volt 102; it was quickly reissued in August 1962 as the A-side of Stax 127, and it also appeared on the album Green Onions that same year. The organ sound of the song became a feature of the “Memphis soul sound”.Booker T. Jones was the keyboard player for the house band of Stax Records with Al Jackson on drums, Lewie Steinberg on bass, and Steve Cropper on guitar. They started jamming in the studio one Sunday when a recording session with another singer, Billy Lee Riley, failed to take place. They played around with a piano groove that Jones had performed in clubs before, although Jones decided sounded better on the tune. The owner of Stax, Jim Stewart, became interested in recording the resulting tune, “Behave Yourself”. However, the band needed a B-side for this song. Using a riff with a 12-bar blues bassline that Jones had, the band came up with a song that became “Green Onions”. The guitarist Steve Cropper used a Fender Telecaster on “Green Onions”, as he did on all of the M.G.’s instrumentals.After recording, Cropper contacted Scotty Moore at Sun Records to cut a record. He then took the record to a DJ on the Memphis station WLOK, who played “Green Onions” on air. Due to positive reaction of the public to the song, it was quickly re-released as an A-side.| 12 shapemedia.uk1 9 1 9

Booker T JonesGREEN ONIONSGREEN ONIONSAccording to Booker T. Jones, the composition was originally to be called “Funky Onions”, but the sister of Jim Stewart thought it “sounded like a cuss word”; it was therefore renamed “Green Onions”. According to Cropper, the title is not a marijuana reference; rather, the track is named after the Green Badger’s cat, Green Onions, whose way of walking inspired the riff. On a broadcast of the I Love You”, by Carla and Rufus Thomas. Willie radio program Wait Wait... Don’t Tell Me! on June 24, 2013, Jones was asked about the title and said, “The bass player thought it was so funky, he wanted to call it ‘Funky Onions’, but they thought that was too low-class, so we used ‘Green Onions’ instead”.“Green Onions” entered the Billboard Hot 100 the week ending August 11, 1962, and peaked at No. 3 the week ending September 29, 1962. The single also made it to No. 1 on the R&B singles chart, for four non-consecutive weeks, an unusual occurrence in that it fell in and out of top spot three times. It first appeared on the UK Singles Chart on December 15, 1979, following its use in the film Quadrophenia; it peaked at No. 7 on January 26, 1980, and stayed on the chart for 12 weeks.Booker Taliaferro Jones Jr. (born November 12, 1944) is an American musician, songwriter, record producer and arranger, best known as the frontman of the band Booker T. & the M.G.’s. He has also worked in the studios with many well-known artists of the 20th and 21st centuries, earning him a Grammy Award for lifetime achievement.Booker T. Jones was born in Memphis, Tennessee, on November 12, 1944. He was named after his father, Booker T. Jones Sr., who was named in honor of Booker T. Washington, the educator. Booker T. Jones, Sr. was a science teacher at Memphis High School, providing the family with a relatively stable, lower middle-class lifestyle.Jones was musically a child prodigy, playing the oboe, saxophone, trombone, double bass, and piano at school and organ at church. Jones attended Booker T. Washington High School, the alma mater of Rufus Thomas, and contributed with future stars like Isaac Hayes’s writing partner David Porter, saxophonist Andrew Love of the Memphis Horns, soul singer/songwriter William Bell, and Earth, Wind & Fire’s singer/songwriter Maurice White.Jones’s entry into professional music came at the age of 16, when he played baritone saxophone on Satellite (soon to be Stax) Records’ first hit, “Cause Mitchell hired Jones for his band, in which Jones started on sax and later moved to bass. It was here that he met Al Jackson Jr., whom he brought to Stax. Simultaneously, Jones formed a combo with Maurice White and David Porter, in which he played guitar.While hanging around the Satellite Record Shop run by Estelle Axton, co-owner of Satellite Records with her brother Jim Stewart, Jones met record clerk Steve Cropper, who would become one of the MGs when the group formed in 1962. Besides Jones on organ and Cropper on guitar, Booker T. and the MGs featured Lewie Steinberg on bass guitar and Al Jackson Jr. on drums (Donald “Duck” Dunn eventually replacing Steinberg on bass). While still in high school, Jones co-wrote the group’s classic instrumental “Green Onions”, which was a massive hit in 1962.shapemedia.uk 13 | 6 26 2

JE T’AIMEJE T’AIMEDO YOU LOVE MEPerformed By The ContoursYou broke my heart‘Cause I couldn’t danceYou didn’t even want me aroundAnd now I’m backTo let you knowI can really shake ‘em downDo you love me?(I can really move)Do you love me?(I’m in the groove)Now do you love me?(Do you love me)Now that I can dance(Dance)Watch me now, hey(Work, work)Ah, work it all baby(Work, work)Well, you’re drivin’ me crazy(Work, work)With a little bit of soul now(Work)I can mash-potato(I can mash-potato)And I can do the twist(I can do the twist)Now tell me baby(Tell me baby)Do you like it like this(Do you like it like this)Tell me(Tell me)Tell meDo you love me?(Do you love me)Now, do you love me?(Do you love me)Now, do you love me?(Do you love me)Now that I can dance(Dance)DanceWatch me now, hey(Work, work)Ah, shake it up, shake it(Work, work)Ah, shake ‘em, shake ‘em down(Work, work)Ah, little bit of soul now(Work)Ah, shake it, shake it baby(Work, work)Ah, you’re driving me crazy(Work, work)Ah, don’t get lazy(Work)I can mash-potato(I can mash-potato)I can do the twist(I can do the twist)Well now tell me baby(Tell me baby)Do you like it like this(Do you like it like this)Tell me(Tell me)Tell meDo you love me?(Do you love me?)Do you love me?(Do you love me?)Do you love me?(Do you love me?)(Now, now, now)I’m working hard baby(Work, work)Well, you’re driving me crazy(Work, work)And don’t you get lazy(Work)Ah, hey hey baby(Work, work)Well, you’re driving me crazy(Work, work)Oh don’t get lazy(Work)| 14 shapemedia.uk1 9 1 9

The ContoursDO YOU LOVE MEshapemedia.uk 15 |Do You Love Me is a rhythm and blues song recorded by the Contours in 1962. Written and produced by Motown Records owner Berry Gordy Jr., it appeared twice on the Billboard Hot 100 chart, reaching numbers three in 1962 and eleven in 1988.“Do You Love Me” references the 1960s dance moves result is not only classic rock and roll but a tribute the Mashed Potato and the Twist. The song includes a spoken recitation in the intro: You broke my heart, ‘cause I couldn’t dance You didn’t even want me around And now I’m back, to let you know I can really shake ‘em downBerry Gordy wrote “Do You Love Me” and earmarked it for the Temptations, who had no Top 40 hits to their name yet. He then decided it would be suitable for the Contours (Billy Gordon, Hubert Johnson, Billy Hoggs, Joe Billingslea, Sylvester Potts, and guitarist Huey Davis); it has been suggested that none of the vocalists in The Temptations had the sound he wanted. The Contours, who were in danger 100. Cash Box described the Dave Clark Five version of being dropped from the label after their first two singles (“Whole Lotta’ Woman” and “The Stretch”) failed to chart, immediately accepted. Instrumental backing was provided by the Funk Brothers: Joe Hunter on piano, James Jamerson on bass, and Benny Benjamin on drums.“Do You Love Me” became a successful dance record, built around Gordon’s screaming vocals. Selling over a million copies, “Do You Love Me” peaked at #3 on the Billboard Hot 100 for three weeks starting on October 20, 1962, and reached the top position on the Billboard R&B Singles chart. The song is included on the 1962 album Do You Love Me (Now That I Can Dance).In 1987 the Contours’ recording was included in the film Dirty Dancing. Re-issued as a single from the More Dirty Dancing soundtrack album, “Do You Love Me” became a hit for the second time, peaking at #11 on the Billboard Hot 100 in August 1988. The Contours, by then composed of Joe Billingslea and three new members, joined Ronnie Spector and Bill Medley, among others, on a “Dirty Dancing Tour” resulting from the success of the film.According to music journalist Dave Marsh, “Do You Love Me” is representative of Gordy’s talent as a musician, producer, arranger, and songwriter: “The to his stature as the greatest backstage talent in rock history.” Gordy viewed the song as an example of the musical overlap between rhythm and blues, pop, and rock and roll, telling Billboard in 1963, “It was recorded r. & b. but by the time it reached the half-million mark, it was considered pop. And if we hadn’t recorded it with a Negro artist, it would have been considered rock and roll.”As with many American R&B songs of the 1960s, “Do You Love Me?” was recorded by several British Invasion groups. A 1963 version by Brian Poole and the Tremeloes reached No. 1 on the UK Singles Chart. In 1964 it was a hit single for the Dave Clark Five, reaching 11th position in the Billboard Hot as “a ‘pull-out-all-the-stops’ pounder already busting loose on the charts. 6 26 2

WILD WEEKENDPerformed By The Rockin’ RebelsWe’ve been gettin’ beat up by this ol’ life,Seems all we got left is Friday and Saturday nightAnd sometimes Sunday if Monday is a holiday.I got a bunch of buddies I ain’t seen in a while,I got some good-time fun and hot dog buns in a stock pile,With some home brew, Malibu and Miller Lite.Girl put on that short little party dress and make me a little bit jealous.It’s gonna be a wild weekend,Been on the phone with all my friends.There’s a little spot in the river bendWere the sun sits high.Long as the keg don’t float and the ice don’t melt,We’ll loosen up a notch on the Bible belt.Girl you can bet we’ll fall in love again and again and again.It’s gonna be a wild, wild, wild weekend.It’s Friday afternoon and the countdowns on,Cell phone’s singin’ that All My Rowdy Friends Are Comin’ Over Tonight,Bad to the bone rington,Come on, come on, come on, baby let’s get gone.It’s bumper to bumper in the outbound,And we’re already gettin’ down.It’s gonna be a wild weekend,Been on the phone with all my friends.There’s a little spot in the river bendWere the sun sits high.Long as the keg don’t float and the ice don’t melt,We’ll loosen up a notch on the Bible belt.Girl you can bet we’ll fall in love again and again and again.It’s gonna be a wild, wild, wild weekend.Ill put on the short little party dress, make me a little bit jealous,Get me thinkin’ goodness.It’s gonna be a wild weekend, been on the phone with all my friends.There’s a little spot in the river bendWere the sun sits high.Long as the keg don’t float and the ice don’t meltWe’ll loosen up a notch on the Bible beltGirl you can bet we’ll fall in love again and again and againIt’s gonna be a wild, wild, wild weekendIt’s gonna be a wild, wild, wild weekend, yeahWe been needing this for a long, long time.Oh my baby sure is lookin’ fineWhat’s up man? How ya’ll been?Throw me a ski rope...| 16 shapemedia.uk 1 9 1 9

The Rockin’ RebelsWILD WEEKENDWILD WEEKENDWild Weekend is an instrumental written by Phil Todaro and Tom Shannon and performed by The Rockin’ Rebels. It reached #8 on the U.S. pop chart and #28 on the U.S. R&B chart in 1963. The song was originally recorded as the theme for Shannon’s show on WKBW in Buffalo, New York; the song title is not found in the song’s original lyrics (Shannon’s show aired on weekdays). and was later reworked and featured on The Rebels 1962 album Wild Weekend.The Rebels (also known as The Rockin’ Rebels) were a band from Buffalo, New York, known for their instrumental “Wild Weekend”. The original members were Jim Kipler (Guitar), Mick Kipler (Saxophone), Tom Gorman (Drums) and Paul Balon (Bass/Guitar).“Wild Weekend” was written by radio entertainer 17, 2003 at age 61.Tom Shannon and Phil Todaro as a theme song for Shannon’s WKBW weekend radio show. The lyrics were: “Top tunes, news and weather, so glad we can get together... on the Tom Shannon show... KB radio... KB Radio.” It was recorded with vocals and music by the Russ Hallet trio.A local band, the Buffalo Rebels – or just Rebels – who asked Shannon to play at a record hop also asked if they could play an instrumental-only version of his theme song. They did, and Shannon and Todaro thought there was something to it. They moved the group to a recording studio in the same building where they had a production office. The record came out locally and was a hit, but since it wasn’t on a major label, the song did not go any further. It came out on Marlee Records (ML0094) and Casino Records (1307).Two years later the track was re-issued on Swan Records (Swan 4125). It sold more than 1 million copies, peaked at No. 8 on the Billboard charts and earned an appearance for the band on Dick Clark’s “American Bandstand” TV show. The Rockin’ Rebels were inducted into the Buffalo Music Hall of Fame in 2002.To avoid confusion with Duane Eddy and his Rebels, the Rebels became the Rockin’ Rebels. Swan pressings can be found with either name; the British Stateside pressings had “Rockin’”. The band’s 1963 LP uses the name “The Rockin’ Rebels”.While the instrumental is the best-known version, the original lyrics were, as mentioned above, a promo for the Shannon radio show. Shannon would tweak the lyrics when he moved to WHTT many years later.Paul Balon died of heart disease on December Tom Gorman died; however, no information about his death is available.Shannon retired in 2005. He died May 26, 2021 in California, following a brief illness.shapemedia.uk 17 | 6 26 2

YOU’LL LOSE A GOOD THING© Barbara Lynn| 18 shapemedia.ukIf you should lose me, oh yeahYou’ll lose a good thingIf you should lose me, oh yeahYou’ll lose a good thingYou know I love youDo anything for youJust don’t mistreat meAnd I’ll be good to you‘Cause if you should lose me, oh yeahYou’ll lose a good thingI’m giving you one more chanceFor you to do rightIf you’ll only straighten upWe’ll have a good life‘Cause if you should lose me, oh yeahYou’ll lose a good thingThis is my last timeNot asking any moreIf you don’t do rightI’m gonna march out of that doorAnd if you don’t believe me, just try it daddyAnd you’ll lose a good thingJust try it daddy and you’ll lose a good thingJust try it daddy and you’ll lose a good thingJust try it daddy and you’ll lose a good thingJust try it daddy and you’ll lose a good thingJust try it daddy and you’ll lose a good thingJust try it daddy and you’ll lose a good thing1 9 1 9

Barbara LynnCOLOR HIM FATHERCOLOR HIM FATHERYOU’LL LOSE A GOOD THINGYOU’LL LOSE A GOOD THINGYou’ll Lose a Good Thing is a popular song written by rhythm and blues artist Barbara Lynn Ozen, who, performing as Barbara Lynn, scored a 1962 Top 10 hit, peaking at #8 and also the number 1 spot on the R&B charts, with her bluesy rendition of the song.Barbara Lynn (born Barbara Lynn Ozen, later Barbara Lynn Cumby, January 16, 1942) is an American rhythm and blues and electric blues guitarist, singer and songwriter. She is best known for her R&B chart-topping hit, “You’ll Lose a Good Thing” (1962). In 2018, Lynn received a National Heritage Fellowship..She was born in Beaumont, Texas, and attended Hebert High School. She was raised Catholic and sang in the choir at her local parish. She also played piano as a child, but switched to guitar, which she plays left-handed. Inspired by blues artists Guitar Slim and Jimmy Reed, and pop acts Elvis Presley and Brenda Lee, and winning several local talent shows, she created an all-female band, Bobbie Lynn and Her Idols.She began performing in local clubs in Texas. Singer Joe Barry saw her and introduced Lynn to producer Huey P. Meaux, who ran SugarHill Recording Studios and several record labels in New Orleans. Her first single, “You’ll Lose A Good Thing”, written by her, was recorded at Cosimo Matassa’s J&M studio with session musicians including Mac Rebennack (Dr. John). Released by Jamie Records, it was a number 1 US Billboard R&B chart hit and Top 10 Billboard Hot 100 hit in 1962. The song was later recorded by Aretha Franklin and became a country hit record for Freddy Fender. Reggae artist Mikey Dread also based the melody of his 1989 single “Choose Me” on this song. Lynn also released an album, also titled You’ll Lose A Good Thing, which featured ten of her compositions.Unusual for the time, Lynn was a female African American singer who both wrote most of her own songs and played a lead instrument. Soon Lynn was touring with such soul musicians as Gladys Knight, Stevie Wonder, Smokey Robinson, Dionne Warwick, Jackie Wilson, Sam Cooke, Otis Redding, James Brown, Al Green, Carla Thomas, Marvin Gaye, Ike and Tina Turner, the Temptations, and B.B. King. She appeared at the Apollo Theater, twice on American Bandstand. In 1965, she had her song, “Oh Baby (We’ve Got A Good Thing Goin’)” (1964) covered by the Rolling Stones on their album The Rolling Stones Now! in America and Out Of Our Heads in the UK. The song was also recorded by Bill Wyman’s Rhythm Kings, with Beverly Skeete lead singing. Lynn continued to record for the Jamie label until 1966 and had several more minor hits.In 1966 she signed to Meaux’s Tribe label, and recorded “You Left the Water Running,” which was covered by Otis Redding among others. She signed with Atlantic the following year, and recorded another album, Here Is Barbara Lynn, in 1968. She married for the first time, at age 28, in 1970 and had three children. This, together with dissatisfaction with poor promotion by the record company, contributed to her decision to largely retire from the music business for most of the 1970s and 1980s. However, while living in Los Angeles, she occasionally appeared at local clubs, and released several singles on Jetstream and other small labels.In 1984 she toured Japan, and recorded a live album, You Don’t Have to Go, which was released later in the US. She resumed her recording career after her husband’s death, and returned to Beaumont, Texas, where her mother lived. She also undertook further international tours, to Europe and elsewhere. In 1994, she recorded her first studio album in over twenty years, So Good, and released several more albums for various labels in later years.She continues to reside in Beaumont, and was given a Pioneer Award by the Rhythm and Blues Foundation in 1999. In 2002, electronic musician Moby sampled Lynn’s “I’m A Good Woman” on his album 18.She appears in the 2015 documentary film I Am the Blues.She is a recipient of a 2018 National Heritage Fellowship awarded by the National Endowment for the Arts, which is the United States government’s highest honor in the folk and traditional arts.shapemedia.uk 19 | 6 26 2

VILLAGE OF LOVE© Nathaniel MayerWhy don’t you come, come to the village of love,Why don’t you come, come to the village of love,Why don’t you come, come to the village of love.Let me,Take you,To the village of love.Let me,Hold you tight,Let me,Treat you right.Come on,Hey, hey,To the village of love.Tell your ma,Tell your ma,We goin back,To Arkansas.Come on,Hey, hey,To the village of love.| 20 shapemedia.uk1 9 1 9

Nathaniel MayerVILLAGE OF LOVEVILLAGE OF LOVENathaniel Mayer (February 10, 1944[1] – November 1, 2008) was an American rhythm and blues singer, who started his career in the early 1960s at Fortune Records in his birthplace of Detroit, Michigan. “Nay Dog” or “Nate,” as he was also known, had a raw, highly energetic vocal style and wild stage show. After a 35-year absence from music, in 2002 Mayer began recording and touring again, releasing albums with Fat Possum, Alive Records and Norton Records.Mayer started his career at Fortune Records, a Detroit record label owned by Jack and Devora Brown. There he became label-mates with fellow Fortune stars Nolan Strong and Andre Williams. Mayer would stay with the label for six years, recording a handful of records.When Mayer was 18 years old he scored a Top 40 hit record in 1962 with “Village of Love,” credited to Nathaniel Mayer and The Fabulous Twilights. It was originally released on Fortune Records, who then leased the record to United Artists Records for wider distribution. Follow-ups such as “Leave Me Alone” (1962) and “I Had A Dream” (1963) failed to duplicate the success of “Village of Love” (although both records, especially “Leave Me Alone,” sold well regionally). In 1966, Mayer released “I Want Love and Affection (Not The House Of Correction),” a funky offering in the James Brown vein. He then split with Fortune Records due to differencesAfter Mayer’s Fortune Records days, his whereabouts were practically unknown and only ever confirmed by rumors for several decades. Though he did surface in 1980 to record the “Raise the Curtain High” single. It would be the only release from Mayer between 1966 and 2002. Disappearing into the ghettos of East Detroit for the next two decades, rumors abounded. However, after Norton Records released “I Don’t Want No Bald-Headed Woman Telling Me What to Do” in 2002 (a never before released recording from 1968), Mayer was inspired to record and perform again.Mayer staged a full-fledged musical comeback in 2002. His once-sweet soul scream had deepened to a rasping growl, giving his latter albums a whole new feel. He played clubs and festivals, gaining a new generation of fans with his exciting live shows.In 2004, Mayer returned to the studio to record ‘I Just Want to Be Held’ for Fat Possum Records, a Mississippi label known mostly for releasing records by obscure bluesmen. In 2005, he toured with fellow Fat Possum artist The Black Keys. In 2006, the Dutch-based Stardumb Records released a 7” single featuring three songs taken from the Fat Possum album.Mayer’s last sessions were released across two albums, 2007’s Why Don’t You Give It To Me? and 2009’s Why Won’t You Let Me Black?, both on Alive Records and featuring Dan Auerbach of The Black Keys, Matthew Smith of Outrageous Cherry, Troy Gregory of The Dirtbombs, and Dave Shettler of SSM and The Sights. Why Don’t You Give It To Me? was Julian Cope’s Album of the Month on his Head Heritage site in May 2008.The Detroit Cobras remade “Village of Love” in 1996. While “Leave Me Alone” was covered by The Hard Feelings in 2001. Eve Monsees, The Exiles and the Gibson Brothers have all recorded “I Had A Dream.”In 2014, Nathaniel Mayer was inducted into the Michigan Rock and Roll Legends Hall of FameWithin a year after completing his first European tour, Mayer suffered multiple strokes. After months of hospitalization, Nathaniel Mayer died on November 1, 2008 in Detroit, Michigan.shapemedia.uk 21 | 6 26 2

MIDNIGHT IN MOSCOW© Kenny BallStillness in the groveNot a rustling soundSoftly shines the moon clear and brightDear, if you could knowHow I treasure soThis most beautiful Moscow NightLazily the brook like a silvery streamRipples in the light of the moonAnd a song afar fades as in a dreamIn this night that will end too soonYes a song afar fades as in a dreamIn this night that will end too soonDearest, why so sad, why the downcast eyesAnd your lovely head bent so lowOh, I mustn’t speak, though I’d love to sayThat you’ve stolen my heart awayPromise me my love, as the dawn appearsAnd the darkness turns into lightThat you’ll cherish dear, through the passing yearsThis most beautiful Moscow NightSay you’ll cherish dear through the passing yearsThis most beautiful Moscow Night| 22 shapemedia.uk1 9 1 9

Kenny Ball & His JazzmenMIDNIGHT IN MOSCOWMIDNIGHT IN MOSCOWComposer Vasily Solovyov-Sedoi and poet Mikhail Matusovsky wrote the song in 1955 with the title “Leningrad Nights” (Russian: Ленинградские вечера, tr. Leningradskije večera, Ibut at the request of the Soviet Ministry of Culture, the song was renamed “Moscow Nights” and made corresponding changes to the lyrics.In 1956, “Moscow Nights” was recorded by Vladimir Troshin, a young actor of the Moscow Art Theatre, for a scene in a documentary about the Russian Soviet Federative Socialist Republic’s athletic competition Spartakiad in which the athletes rest in Podmoskovye, the Moscow suburbs. The film did nothing to promote the song, but thanks to radio broadcasts it gained popularity.The British jazz group Kenny Ball and his Jazzmen had a hit with the song in 1961 under the title “Midnight in Moscow”. This version peaked at number two on the UK Singles Chart in January 1962. “Midnight in Moscow” also reached number two on the U.S. Billboard Hot 100 chart in March that year, kept out of the number one spot by “Hey! Baby” by Bruce Channel, and it spent three weeks at number one on the American Easy Listening chart.Kenneth Daniel Ball (22 May 1930[1] – 7 March 2013) was an English jazz musician, best known as the bandleader, lead trumpet player and vocalist in Kenny Ball and his Jazzmen.Ball was born in Ilford, Essex. At the age of 14 he left school to work as a clerk in an advertising agency, but also started taking trumpet lessons. He began his career as a semi-professional sideman in bands, whilst also working as a salesman and for the advertising agency. He turned professional in 1953 and played the trumpet in bands led by Sid Phillips, Charlie Galbraith, Eric Delaney and Terry Lightfoot before forming his own trad jazz band – Kenny Ball and his Jazzmen – in 1958. His Dixieland band was at the forefront of the early 1960s UK jazz revival.In 1961 their recording of Cole Porter’s “Samantha” (Pye 7NJ.2040 – released February 1961) became a hit, and they reached No. 2 at the end of 1961 on the UK Singles Chart, and in March 1962 on the Hot 100, with “Midnight in Moscow” (Pye 7NJ.2049 – released November 1961). The record sold over one million copies, earning gold disc status. Their next single “March of the Siamese Children” (Pye 7NJ.2051 – released February 1962), from The King and I, topped the pop music magazine New Musical Express’s chart on 9 March 1962, further hits followed and such was their popularity in the UK that Ball was featured, along with Cliff Richard, Brenda Lee, Joe Brown, Craig Douglas and Frank Ifield, on the cover of the New Musical Express in July 1962, although in the United States they remained a “one-hit wonder”. Ball appeared with his jazz band in the 1962 British musical movie It’s Trad, Dad!, directed by Richard Lester.In January 1963, New Musical Express reported that the biggest trad jazz event to be staged in Britain had taken place at Alexandra Palace. The event included George Melly, Diz Disley, Acker Bilk, Chris Barber, Alex Welsh, Ken Colyer, Monty Sunshine, Bob Wallis, Bruce Turner, Mick Mulligan and Ball. The same year, Ball was awarded the honorary citizenship of New Orleans, and appeared in the 1963 film Live It Up!, featuring Gene Vincent.In 1968 the band appeared with Louis Armstrong during his last European tour. Ball later appeared on BBC Television’s highly rated review of the 1960s music scene Pop Go The Sixties, performing “Midnight in Moscow” with his Jazzmen on the show’s broadcast on BBC 1 on 31 December 1969. His continued success was aided by guest appearances on every edition of the first six series of the BBC’s Morecambe and Wise Show. He later said that the peak of his career was when Kenny Ball and his Jazzmen played at the reception for the wedding of Prince Charles and Lady Diana.shapemedia.uk 23 | 6 26 2

HEY! BABY!© Bruce ChannelHey, heybabyI want to know if you’ll be my girlHey, hey babyI want to know if you’ll be my girlWhen I saw you walking down the streetI said that’s a kind of girl I’d like to meetShe’s so pretty, Lord, she’s fineI’m gonna make her mine, all mineHey, hey babyI want to know if you’ll be my girlWhen you turned and walked awayThat’s when I want to say“C’mon baby, give me a whirlI want to know if you’ll be my girl”Hey, hey babyI want to know if you’ll be my girlWhen you turned and walked awayThat’s when I want to say“C’mon baby, give me a whirlI want to know if you’ll be my girl”Hey, hey babyI want to know if you’ll be my girlHey, hey hey hey hey, baby c’mon, baby now| 24 shapemedia.uk1 9 1 9

Bruce ChannelHEY! BABY!Hey! Baby” is a song written by Margaret Cobb and Bruce Channel, and recorded by Channel in 1961, first released on LeCam Records, a local Fort Worth, Texas label. After it hit, it was released on Smash Records for national distribution. Channel co-produced the song with Major Bill Smith (owner of LeCam) and released it on Mercury Records’ Smash label. It reached number 1 on the Billboard Hot 100 for three weeks, starting the week ending March 10, 1962.The song features a prominent riff from well-known harmonica player Delbert McClinton, and drums played by Ray Torres. Other musicians on the record included Bob Jones and Billy Sanders on guitar and Jim Rogers on bass. According to a CNN article from 2002, while touring the UK in 1962 with the Beatles, McClinton met John Lennon and gave him some harmonica tips. Lennon put the lessons to use right away on “Love Me Do” and later “Please Please Me”. Lennon included the song in his jukebox, and it is also featured on the 2004 related compilation album John Lennon’s Jukebox.“Hey! Baby” was used in the 1987 hit film Dirty Dancing in the scene in which Johnny and Baby dance on top of a log..Channel performed originally for the radio program Louisiana Hayride and then joined with the harmonica player Delbert McClinton, singing country music. Channel wrote “Hey! Baby” with Margaret Cobb in 1959 and performed the song for two years before recording it for Fort Worth record producer Bill Smith. It was issued originally on Smith’s LeCam label, but as it started to sell well, it was acquired for distribution by Smash Records, a subsidiary of Mercury. The song went to number one in the US in March 1962 and held that position for three weeks. Besides topping the U.S. popular music charts, it also became number two in the United Kingdom. It sold more than one million copies and was awarded a gold disc. Channel had four more singles on the Billboard Hot 100, including “Number One Man” (which peaked at number 52), “Come On Baby” (number 98), “Going Back to Louisiana” (number 89), and “Mr. Bus Driver” (number 90, produced by Dale Hawkins in Memphis and recorded by Terry Manning), but none of them was as successful as “Hey! Baby”, and he is considered a one-hit wonder.Channel toured Europe and was assisted at one gig by the Beatles, who were then little known. John Lennon, who had “Hey! Baby” on his jukebox, was fascinated by McClinton’s harmonica. A popular legend is that Lennon was taught to play harmonica by McClinton, but by that time Lennon had already been playing the instrument live for some time. The harmonica segment in “Hey! Baby” inspired Lennon’s playing on the Beatles’ first single, 1962’s “Love Me Do”, as well as later Beatles records, and the harmonica break on Frank Ifield’s “I Remember You.”Channel’s only other top 40 recording in the UK Singles Chart was “Keep On” (June 1968), which reached number 12; it was written by Wayne Carson Thompson and produced by Dale Hawkins. “Keep On” also charted in Australia. Channel disliked touring, so he settled as a songwriter in Nashville, scoring a number of Broadcast Music Incorporated award-winning songs during the 1970s and 1980s – “As Long As I’m Rockin’ with You”, for John Conlee; “Don’t Worry ‘bout Me Baby”, for Janie Fricke; “Party Time”, for T. G. Sheppard; “You’re the Best”, for Kieran Kane; and “Stand Up”, for Mel McDaniel. In 1987, “Hey! Baby” was featured in the popular movie Dirty Dancing.In 1995, Channel recorded his cover of the song “Stand Up” for the Memphis-based record label Ice House. Delbert McClinton reprised his harmonica role on it and several other tracks, including another version of “Hey! Baby”. Channel then recorded a project in 2002 with the singer-songwriter Larry Henley (ex-Newbeats), billed as Original Copy.Channel was inducted into the Rockabilly Hall of Fame. He continues to perform in cruises with other 1960s musicians.shapemedia.uk 25 | 6 26 2

JOHNNY ANGELPerformed By Shelley FabaresJohnny AngelYou’re an angel to me (Sha dum da dum, sha dum da dum)Johnny Angel (Sha dum da dum)How I love him (Sha dum da dum)He’s got something that I can’t resist (Ah, da dum, da dum dum)But he doesn’t even know (Ah, da dum, da dum dum)That I exist (Sha dum da dum dum, sha dum da dum)Johnny Angel (Sha dum da dum)How I want him (Sha dum da dum)How I tingle when he passes by (Ah, da dum, da dum dum)Everytime he says hello (Ah, da dum, da dum dum)My heart begins to fly (Sha dum da dum)I get carried awayI dream of him and meAnd how it’s gonna be(Other fellas)Call me up for a dateBut I just sit and wait (Da dum)I’d rather concentrateOn Johnny Angel (Johnny Angel)‘Cause I love him (‘Cause I love him)And I pray that someday he’ll love me (Ah, da dum, da dum dum)And together we will see (Ah, da dum, da dum dum)How lovely Heaven will be (Sha dum da dum)I get carried awayI dream of him and meAnd how it’s gonna be(Other fellas)Call me up for a dateBut I just sit and wait (Ooh ooh ooh ooh)I’d rather concentrate (Ooh ooh ooh ooh)On Johnny Angel (Johnny Angel)‘Cause I love him (‘Cause I love him)And I pray that someday he’ll love me (Ah, da dum, da dum dum)And together we will see (Ah, da dum, da dum dum)How lovely Heaven will be (Johnny Angel)Johnny Angel (Johnny Angel)You’re an angel to me (Ooh)Johnny Angel (Johnny Angel)You’re an angel to me (Ooh)Johnny AngelOx sed ia ocus, conscitum acio C. Artam factuspio, praria L. But C. Effresc epoenatumus nos, que te, consumum ocaes| 26 shapemedia.uk1 9 1 9

Shelley FabaresJOHNNY ANGELJOHNNY ANGELJohnny Angel is a song written and composed by Lyn Duddy and Lee Pockriss. The song was originally recorded by both Laurie Loman and Georgia Lee, but those two versions were not successful. It first became a popular hit single when it was recorded by Shelley Fabares in the fall of 1961; she took it to No. 1 on the Billboard Hot 100 Chart when the song was released in 1962. In the same year, British singer Patti Lynn had a moderate hit on the UK Singles Chart with her cover of the song. The American pop music duo The Carpenters recorded “Johnny Angel” in 1973 as part of a medley of oldies on side two of their album Now & Then.“Johnny Angel” is the debut pop single by Shelley Fabares. My So-Called Life.Her cover version of the song was recorded in the fall of 1961, and was released in 1962 on the Colpix label. The track was the first single taken from Fabares’ debut solo album Shelley!, which was produced and arranged by Stu Phillips.The single premiered on an episode, “Donna’s Prima Donna” of Fabares’ sitcom, The Donna Reed Show, during the words Johnny Angel are sung at the end of several the fourth season (episode 20). It also has a sequel song entitled “Johnny Loves Me”, which tells the story of how the girl won Johnny’s heart.Darlene Love and her group, the Blossoms, sang backup vocals on the track. Fabares is quoted in The Billboard Book of Number One Singles by Fred Bronson as saying she was intimidated by Love’s group and their “beautiful” voices and was terrified at the prospect of becoming a recording artist, as she did not consider herself a singer, but was expected to sing on the show anyway. The song also featured an echo chamber, where the intro of the repeated title words: “Johnny Angel, Johnny Angel” was used by Fabares and the backup singers. Musicians who played on the track include Hal Blaine on drums, Carol Kaye on bass and Glen Campbell on guitar.The song is an expression of a teenage girl’s romantic longing for a boy who doesn’t know she exists, to the point where she declines other boys’ propositions for dates because she would rather concentrate on the boy she loves.Although Fabares’ career as an actress stayed strong for three decades, her career as a singer came to an end within a few years of “Johnny Angel” when she was unable to come up with another Top 20 hit. However, the song has become an oldies radio airplay favorite.“Johnny Angel” hit number one on the Billboard Hot 100 on April 7, 1962, during a 15-week run on the chart. It was a number one hit on the Top 100 Best Sellers chart in April 1962 as published by Cashbox. It charted at number one in both Canada and in New Zealand. “Johnny Angel” also peaked at number 41 on the UK Singles chart, where Patti Lynn’s recording of the song was a slightly bigger hit. It sold over one-million copies and was awarded a gold disc.In the media:The song was featured in the 1990 film Mermaids, the film Andre and the episode “Halloween” in the TV-series The song was also featured in a 1976 episode of Saturday Night Live hosted by Dyan Cannon, where Johnny Angel turns out to be three Hells Angels all named Johnny.In the song The Beat of Black Wings, which appears on Joni Mitchell’s album Chalk Mark in a Rain Storm, lines, in the same style as the Shelley Fabares cover, in an apparent reference to the Fabares version of the song.shapemedia.uk 27 | 6 26 2

MONEY, (THAT’S WHAT I WANT)Performed By Barrett StrongMY DADPerformed By Paul PetersonHe isn’t much in the eyes of the world He’ll never make historyNo, he isn’t much in the eyes of the world, But he is the world to meMy dad, now here is a manTo me he is ev’rything strong no he can’t do wrong, my dadMy dad, now he understands when I bring him troubles to shareOh, he’s always there, my dadWhen I was small I felt ten feet tallWhen I walked by his sideAnd ev’ry one would say, “that’s his son”and my heart would burst with prideMy dad, oh, I love him soAnd I only hope that some day my own son will say“My dad, now here is a man”My dad, now here is a manTo me he is ev’rything strong no he can’t do wrong, my dadMy dad, now he understands when I bring him troubles to shareOh, he’s always there, my dadWhen I was small I felt ten feet tallWhen I walked by his sideAnd ev’ry one would say, “that’s his son”and my heart would burst with prideMy dad, oh, I love him soAnd I only hope that some day my own son will say| 28 shapemedia.uk1 9 1 9

Paul PetersonMY DADMY DADMy Dad is a song written by Barry Mann and Cynthia Weil and performed by Paul Petersen. It reached #2 on the adult contemporary chart, #6 on the U.S. pop chart, and #19 on the U.S. R&B chart in 1963. It was featured on his 1963 album My Dad.The song was arranged by Jimmie Haskell and Stu Phillips and produced by Phillips.William Paul Petersen (born September 23, 1945) is an American actor, singer, novelist, and activist.Petersen first rose to prominence in the 1950s playing Jeff Stone on The Donna Reed Show, and transitioned to a singing career in the 1960s. In the early 1980s, he had a recurring role as a police officer on Matt Houston, and in the late 1990s, he played the author Paul Conway in the film Mommy’s Day.In 1990, Petersen established the organization A Minor Consideration to support child stars and other child laborers through legislation, family education, and personal intervention and counseling for those in crisis.Petersen began his show-business career at the age of 10 as a Mouseketeer on the Mickey Mouse Club. He appeared in the 1958 movie Houseboat with Sophia Loren and Cary Grant, but achieved stardom playing teenager Jeff Stone from 1958 to 1966 on the ABC family television sitcom The Donna Reed Show. Throughout eight seasons and decades of reruns in syndication, The Donna Reed Show became part of American popular culture, and in 1997, Petersen was honored by the Young Artist Foundation with its Former Child Star “Lifetime Achievement” Award for his role on the series.After The Donna Reed Show ended, Petersen had a small role as Tony Biddle in the 1967 musical film The Happiest Millionaire. He also appeared in many guest roles, including one as a military officer in the short-lived 1967 ABC Western series Custer, with Wayne Maunder in the title role. He also made a guest appearance on F Troop as “Johnny Eagle Eye” that aired on April 12, 1966.With the fame he achieved on The Donna Reed Show, Petersen received recording offers and had hit record singles with the songs “She Can’t Find Her Keys” (also introduced on The Donna Reed Show), “Amy”, and “Lollipops and Roses”. In 1962, the sentimental teen pop song “My Dad” was performed on The Donna Reed Show with Petersen singing the tune to his on-screen father, actor Carl Betz. Released as a single in the same year, it reached number six on the Billboard Hot 100 chart. He also recorded for Motown/Tamla throughout the 1960s releasing such singles as “Chained” and “A Little Bit For Sandy”.After his years as a child actor, Petersen attended university and obtained a degree in literature. He went on to write 16 adventure novels. Petersen’s authorship began after he met David Oliphant, a New York City publisher visiting Los Angeles. His first novel concerned car racing. Thereafter, he created a Matt Helm-type hero, Eric Saveman, also known as “The Smuggler”. In one year, Pocket Books published eight of his Smuggler novels, earning $75,000 for Peterson. In 1977, Petersen’s autobiography entitled Walt, Mickey and Me: Confessions of the First Ex-Mouseketeer was published.He is a board member of the Donna Reed Foundation and works for the Donna Reed Festival, which takes place annually on the third week of June in Reed’s hometown of Denison, Iowa. He also recently served on the board of directors of Screen Actors Guild-American Federation of Television and Radio Artists (SAG-AFTRA), a national media performers AFL-CIO union based in Los Angeles.In 1990, following the suicide of former child star Rusty Hamer, Petersen founded a child-actor support group, A Minor Consideration, to improve working conditions for child actors and to assist in the transition between working as a child actor and adult life, whether in acting or in other professions.shapemedia.uk 29 | 6 26 2

NORMANPerformed By Sue ThompsonNorman, ooh, ooh, oohNorman, hmm, hmm, hmmNorman, Norman, my loveJimmy called me on the phone but I was gone, not at home‘Cuz I was out parked all alone with darlin’ NormanBill invited me to a show but I said, “No”, cannot goThere’s a dress that I’ve got to sew and wear for NormanNorman holds me close to him, Norman kisses me and thenNorman knows my heart belongs to him and him and only him, ohNorman, ooh, ooh, oohNorman, ooh, ooh, oohNorman, Norman, my loveJoey asked me for a date, he wanted to take me out to skateBut I told Joey, he would have to make ‘rangements with NormanNorman is my only love, Norman’s all I’m thinking ofNorman gives me all his lovin’, kissin’, huggin’, lovey-dovin’Norman, ooh, ooh, oohNorman, hmm, hmm, hmmNorman, Norman, my love| 30 shapemedia.uk1 9 1 9

Sue ThonpsonNORMANNORMANNorman” is a popular song written by John D. Loudermilk. Recorded by Sue Thompson in 1961, the song reached No. 3 on the Billboard Hot 100. The next year, Carol Deene released her version of the song one million copies, and were awarded gold discs. Both in the United Kingdom, where it reached No. 24 on the UK were also chart successes in Australia, reaching #3 and #8 Singles Chart. Guy Lombardo recorded a version of the song for his 1962 Decca LP By Special Request.Sue Thompson (born Eva Sue McKee; July 19, 1925 – September 23, 2021) was an American pop and country music singer. She was best known for the million selling hits “Sad Movies (Make Me Cry)” and “Norman”, both pop hits in the early 1960s, and her 1965 hit “Paper Tiger”.Thompson was born in Nevada, Missouri in July 1925. By the age of 7, she was singing and playing the guitar on stage. She later moved with her family to live in San Jose, California.During World War II, she worked at a defense plant. She married when she was 17, and had a daughter at 20, but the marriage failed and she and her husband split up after three years. To keep supporting herself after her divorce, she returned to the nightclub scene in California, now using the name Sue Thompson. In San Jose, she won a talent contest, thus catching the attention of a bandleader and radio/TV host named Dude Martin (real name John Stephen McSwain), who invited her to sing with his band. This led to their marriage.They recorded duets together, including “If You Want Some Lovin’”, which helped her get a solo contract from Mercury Records in 1950. She released numerous singles on Mercury between 1951 and 1954, with no chart action.Within a year, she divorced Martin, and married Hank Penny, a comedian and singer, in 1953. Penny and Thompson hosted a TV show in Los Angeles together before eventually moving to Las Vegas. After her contract with Mercury ended, Thompson recorded for Decca Records from 1954–57, again without a commercial breaktrhough. Thompson and Penny had a son, Greg Penny, but divorced in 1963.In 1960, Thompson signed on with Columbia Records, who renamed the singer “Taffy Thomas” and issued one non-charting single under this artist name. Thereafter, the Taffy Thomas moniker was quickly dropped, and Thompson signed with Hickory Records. In 1961, after having issued over a dozen non-charting singles in a decade-long recording career, Thompson’s “Sad Movies (Make Me Cry)” became a No. 5 hit on the pop charts. She followed this up successfully with “Norman,” which reached No. 3. Both of these hit singles were written by songwriter John D. Loudermilk. They both sold over respectively.In 1962, “Have a Good Time” was a Top 40 hit and in 1963, “Willie Can” was a minor hit. Her early 1960s’ hits made Thompson, then in her late-thirties but with a much younger-sounding voice, a favorite among the teenage crowd and briefly a rival to the much younger Connie Francis and Brenda Lee. Two additional hits, also written by Loudermilk, were “James (Hold the Ladder Steady)” and “Paper Tiger.” The latter song, in 1965, was her last Top 30 hit, and her biggest hit in Britain and in Australia, where it reached #3.In the late 1960s, she went back to country music and released the album This Is Sue Thompson Country in 1969.[4] In 1971 she worked with country music singer Don Gibson on some albums, and they had minor hits with “I Think They Call It Love”, “Good Old Fashioned Country Love”, and “Oh, How Love Changes”. She recorded further solo singles for the country charts, like “Big Mable Murphy”, which made the Top 50 in 1975 and “Never Naughty Rosie”, her last chart single in 1976. She also performed mainly at the Las Vegas casinos and at clubs in Hollywood, like the Palomino Club. In the 1990s, she settled in Las Vegas, and continued to periodically perform. Sue Thompson died at her daughter’s home in Pahrump, Nevada, on September 23, 2021, at the age of 96.shapemedia.uk 31 | 6 26 2

MONSTER MASH© Bobby Picket| 32 shapemedia.ukI was working in the lab, late one nightWhen my eyes beheld an eerie sightFor my monster from his slab, began to riseAnd suddenly to my surpriseHe did the monster mash(The monster mash) It was a graveyard smash(He did the mash) It caught on in a flash(He did the mash) He did the monster mashFrom my laboratory in the castle eastTo the master bedroom where the vampires feastThe ghouls all came from their humble abodesTo get a jolt from my electrodesThey did the monster mash(The monster mash) It was a graveyard smash(They did the mash) It caught on in a flash(They did the mash) They did the monster mashThe zombies were having fun (Wa hoo, tennis shoe)The party had just begun (Wa hoo, tennis shoe)The guests included Wolfman, Dracula and his sonThe scene was rockin’, all were digging the soundsIgor on chains, backed by his baying houndsThe coffin-bangers were about to arriveWith their vocal group, ‘The Crypt-Kicker Five’They played the monster mash(The monster mash) It was a graveyard smash(They played the mash) It caught on in a flash(They played the mash) They played the monster mashOut from his coffin, Drac’s voice did ringSeems he was troubled by just one thingHe opened the lid and shook his fist and said“Whatever happened to my Transylvania Twist?It’s now the monster mash(The monster mash) And it’s a graveyard smash(It’s now the mash) It’s caught on in a flash(It’s now the mash) It’s now the monster mashNow everything’s cool, Drac’s a part of the bandAnd my Monster Mash is the hit of the landFor you, the living, this mash was meant tooWhen you get to my door, tell them Boris sent youThen you can monster mash(The monster mash) And do my graveyard smash(Then you can mash) You’ll catch on in a flash(Then you can mash) Then you can monster mashEasy Igor, you impetuous young boy (Wa hoo, monster mash)(Wa hoo, monster mash)(Wa hoo, monster mash)(Wa hoo, monster mash)(Wa hoo, monster mash)1 9 1 9

Bobby Picket & The Crypt KickersMONSTER MASHThe Original Monster Mash is an album by Bobby (Boris) Pickett and The Crypt-Kickers. It was recorded and released in late 1962, following the success of Pickett’s “Monster Mash” single. The Crypt-Kickers included Leon Russell and Gary Paxton. In addition to the hit single, the album features spin-off songs of “Monster Mash” as well as horror-themed parodies of contemporary hits and dance trends.The album’s somewhat unwieldy title arose from the need to distinguish it in the marketplace from an album by John Zacherle on the rival Cameo-Parkway label, titled Monster Mash and featuring Zacherle’s cover version of the songRobert George Pickett (February 11, 1938 – April 25, 2007), known also by the name Bobby “Boris” Pickett, was an American singer, songwriter, actor, and comedian known for co-writing and performing the 1962 hit novelty song “Monster Mash” at age 24. Born in Somerville, Massachusetts, Pickett watched many horror films as a result of his father’s position as a local movie theater manager. He started improvising impressions of Hollywood film stars at a young age. At a turning point in his career, Pickett was a vocalist for local swing band Darren Bailes and the Wolf Eaters. He would later serve from 1956–1959 in the United States Army, stationed in Korea for a period of time.He co-wrote his signature song, “Monster Mash”, with Leonard Capizzi in May 1962 as a spoof of popular contemporary dance crazes. Pickett’s performances includes impersonations of Boris Karloff (The Mummy (1932)) and Bela Lugosi (Dracula (1931)), and although major labels declined to distribute the song, Gary S. Paxton finally agreed to release it across the United States. “Monster Mash” became a million seller and for a while peaked at number 1 on the Billboard Hot 100.Though Pickett never achieved the same success as he did with “Monster Mash” on the charts, he continued to lend his voice to further parodies and other songs throughout the rest of his life. Pickett also made appearances as on television, film, and radio as a guest star, narrator, actor, and disc jockey. He released Monster Mash: Half Dead in Hollywood, an autobiography, in 2005. Pickett died of leukemia on April 25, 2007, at age 69.Pickett co-wrote “Monster Mash” with Leonard Capizzi in May 1962. The song was a spoof on the dance crazes popular at the time, including the Twist and the Mashed Potato, which inspired the title. The song featured Pickett’s impersonations of veteran horror stars Boris Karloff and Bela Lugosi (the latter with the line “Whatever happened to my Transylvania Twist?”). Every major record label declined the song, but after hearing it, Gary S. Paxton agreed to produce and engineer it; among the musicians who played on it was pianist Leon Russell and The Ventures drummer Mel Taylor. Issued on Paxton’s Garpax Records, the single became a million seller, reaching number 1 on the Billboard Hot 100 chart for two weeks before Halloween in 1962. It was styled as being by “Bobby (Boris) Pickett and the Crypt-Kickers”. The track re-entered the U.S. charts twice, in August 1970, and again in May 1973, when it reached the #10 spot. In Britain it took until October 1973 for the tune to become popular, peaking at number 3 in the UK Singles Chart. For the second time, the record sold over one million copies. The tune remains a Halloween perennial on radio and on iTunes. A Christmas-themed follow-up, “Monster’s Holiday”, (with “Monster Motion” on the B side) was also released in 1962 and reached number 30 in December that year. “Blood Bank Blues” (with “Me and My Mummy” on the B side) did not chart. This was followed by further monster-themed recordings such as the album The Original Monster Mash and such singles as “Werewolf Watusi” and “The Monster Swim”. In 1973, Pickett rerecorded “Me and My Mummy” for a Metromedia 45 (it did not chart). Another of Pickett’s songs, “Graduation Day”, made number 80 in June 1963. In 1985, with American culture experiencing a growing awareness of rap music, Pickett released “Monster Rap”, which describes the mad scientist’s frustration at being unable to teach the dancing monster from “Monster Mash” how to talk. The problem is solved when he teaches the monster to rap.shapemedia.uk 33 | 6 26 2

LOVE LETTERSPerformed By Ketty LesterThe sky may be starlessThe night may be moonlessBut deep in my heartThere’s a glowFor deep in my heartI know that you love meYou love me, because you told me soLove letters straight from your heartKeep us so near while we’re apartI’m not alone in the nightWhen I can have all the love you writeI memorize every lineI kiss the name that you signAnd darling, then I read againRight from the startLove letters straight from your heartI memorize every lineI kiss the name that you signAnd darling, then I read againRight from the startLove letters straight from your heart| 34 shapemedia.uk1 9 1 9

Ketty LesterLOVE LETTERSLove Letters” is a 1945 popular song with lyrics by Edward Heyman and music by Victor Young. The song appeared, without lyrics, in the movie of the same name performed by Dick Haymes, and was nominated for the Academy Award for Best Original Song in 1945 but lost out to “It Might as Well Be Spring”. The song has been covered by a number of artists, most notably by Ketty Lester (1961), Elvis Presley (1966), and Alison Moyet (1987).In 1961, Era Records released Ketty Lester’s version of “Love Letters” b/w “I’m a Fool to Want You”. Lester’s recording of “Love Letters”, which featured Lincoln Mayorga’s sparse piano arrangement and Earl Palmer on drums, reached No. 5 on the Billboard Hot 100 in early 1962.The record also reached No. 2 on the R&B chart and No. 4 on the UK Singles Chart, selling over 1 million copies, and was awarded a gold disc by the RIAA. In 1991, it was ranked 176th in the RIAA-compiled list of Songs of the Century.This version appeared on the soundtrack of the David Lynch film Blue Velvet (1986).Ketty Lester (born Revoyda Frierson; August 16, 1934) is an American singer and actress known for her 1961 hit single “Love Letters”, which reached the top 5 of the charts in the U.S. and the UK. Ketty Lester was born Revoyda Frierson on August 16, 1934 in Hope, Arkansas. Her parents were farmers who would eventually have a total of 15 children. As a young child, Lester first sang in her church, and later in school choirs. She won a scholarship to study music at San Francisco State College, and in the early 1950s, she began performing under the name “Ketty Lester” in the city’s Purple Onion club. She later toured Europe and South America as a singer with Cab Calloway’s orchestra.Ketty Lester (as Revoyda Frierson) appeared as a contestant on the December 26, 1957 episode of You Bet Your Life, hosted by Groucho Marx. Lester sang “You Do Something to Me”. The chosen category was “Mother Goose”, a subject she admitted knowing nothing about; George Fenneman fed the correct answers to her, and she and her partner won $1,000.Returning to California, she recorded her first single, “Queen for a Day”, for the Everest label. She was introduced by Dorothy Shay to record producers and songwriters Ed Cobb and Lincoln Mayorga of The Four Preps and The Piltdown Men, who won her a contract with Era Records in Los Angeles. In 1961 they released her single “Love Letters” b/w “I’m a Fool to Want You”.Lester’s recording of “Love Letters”, which featured Lincoln Mayorga’s sparse piano arrangement and Earl Palmer on drums rose to #5 on the Billboard Hot 100 early in 1962. The record also reached #2 on the R&B chart and #4 on the UK Singles Chart, selling over 1 million copies, and was awarded a gold disc by the RIAA. In 1991, it was ranked 176th in the RIAA-compiled list of Songs of the Century.In 1962, she toured the UK as support act on the Everly Brothers tour. The follow-up, a version of George and Ira Gershwin’s “But Not for Me” from the musical Girl Crazy, reached #41 in the U.S. pop charts and #45 in the UK. She released an album, Love Letters, which contained the tracks “You Can’t Lie to a Liar” and a cover of Woody Guthrie’s “This Land Is Your Land” (both of which were issued as singles) and was nominated for a Grammy in the Best Female Pop Vocal Performance category.shapemedia.uk 35 | 6 26 2

I’M BLUE (THE GONG GONG SONG)Performed By The IkettesGong gong gong gong gong gong gong gong gong gong gong yeah(I’m blue ue ue ue ue ue ue blue be doo be doo)Gong gong gong gong gong gong gong gong yeah)I want to tell a all you people(I dropped a penny in the well wished that you would come back soon)I couldn’t believe what I heardI hope her reading was wrong(I hope she was wrong ‘cause you been gone too long from home)Hey gong gong gong gong gong gong yeahGong gong gong gong gong gong gong yeah(I’m blue ue ue ue ue ue ue blue be doo be doo be doo)Gong gong gong gong gong gong gong gong yeahI can’t sleep at night for thinking of you(Every night about 2 my love for you comes tumbling down)I can’t stand being here aloneI hope her reading was wrong(I hope she was wrong ‘cause you been gone too long from home)Hey gong gong gong gong gong gong yeahHey! gong gong gong gong gong gong yeah(I’m blue ue ue ue ue ue eu blue be doo be doo be doo)Gong gong gong gong gong gong gong gong yeahMm mm mm yeah(I’m blue ue ue ue ue ue ue blue be doo be doo be doo)Gong gong gong gong gong gong gong yeah| 36 shapemedia.uk1 9 1 9

The IkettesTHE GONG GONG SONGI’m Blue (The Gong-Gong Song) is a song written by Ike Turner and recorded by Ike & Tina Turner’s backing trio The Ikettes in 1961. In 2017, Billboard ranked the song No. 63 on their list of 100 Greatest Girl Group Songs of All Time.Like most of the Ike & Tina Turner Revue’s music during this time, it was recorded while the group was on the road. By 1961, the formerly known Artettes had been singing as a backing trio with Ike & Tina for over a year, having been involved since the hit, “A Fool in Love”. To bide time in the studio, Ike Turner wrote a song custom-made for the girl group.Tina Turner herself was involved in the recording, helping to arrange the vocals and could be heard singing along in the background. Ike Turner credited the song’s production to him and Tina. Since Ike & Tina recorded for Sue Records, Ike Turner decided to distribute the record to another company, agreeing to sign an advance to Atlantic Records’ Atco subsidiary in late 1961 for the song.Released in November 1961, the song became a national hit reaching No. 19 on the Billboard Hot 100 and No. 3 on the R&B chart. “I’m Blue (The Gong-Gong Song)” was the fifth hit single associated with the Ike & Tina Turner Revue and the first of three charting singles for the original Ikettes between 1962 and 1965.The Ikettes, originally The Artettes, were a trio (sometimes quartet) of female backing vocalists for the Ike & Tina Turner Revue. Despite their origins, the Ikettes became successful artists in their own right. In the 1960s they had hits such as “I’m Blue (The Gong-Gong Song)” and “Peaches ‘N’ Cream.” In 2017, Billboard ranked “I’m Blue (The Gong-Gong Song)” No. 63 on its list of 100 Greatest Girl Group Songs of All Time.The group started as “The Artettes”, the backing group of Art Lassiter. The first official incarnation of The Ikettes was composed of Delores Johnson, Eloise Hester and Josie Jo Armstead. The most popular line-up consisted of Robbie Montgomery, Venetta Fields, and Jessie Smith. It was this trio that later morphed into The Mirettes.As the 1960s progressed, the Ikettes became known for their sexy onstage appearance; minidresses, long hair and high-energy dance routines that mirrored their mentor Tina Turner. “They represent me, and in my act they gotta look outta sight at all times. There’s simply no room for sloppiness and unprofessionalism,” Tina told Esquire. She added: “I also believe in the Ikette visual. I don’t see it as cheap or vulgar. Nor do I see myself as that. Sex is not cheap or vulgar. And I always loved the look of long straight hair. Ike says he patterned me after Sheena of the jungle. She was white, you know. But I still love the look and action of long hair movin’ and the short skirts shimmying. I want action on that stage at all times.”When Art Lassiter didn’t show up for a recording session in early 1960, Ike Turner took Lassiter’s backup singers, the Artettes (Robbie Montgomery, Frances Hodges, and Sandra Harding) and had them accompany Tina Turner on the recording “A Fool in Love.” Following the success of the single, Ike formed the Ike & Tina Turner Revue, but with a new group of backup singers: Delores Johnson, Eloise Hester, and Jo Armstead. Montgomery was pregnant and unable to tour. They recorded “I’m Blue (The Gong-Gong Song)” the following year, produced by Ike and leased to Atco Records. Released in November 1961, the single reached No. 3 on the Billboard R&B chart and No. 19 on the Hot 100. Montgomery rejoined the revue shortly after having her baby and was teamed with Jessie Smith (recruited from a group named Benny Sharp and the Zorros of Rhythm) and Venetta Fields (a gospel singer from Buffalo, New York) to form the first official incarnation of The Ikettes. The revue toured constantly through the U.S. on the Chitlin’ Circuit in the segregated South. Occasionally they’d play at major venues such as the Apollo Theater in New York, Howard Theater in Washington, D.C., and Uptown Theater in Philadelphia.In 1962, Ike switched them to his Teena record label for two singles: “Crazy in Love” (credited as Robbie Montgomery & the Ikettes) and “Prisoner in Love.” Soon after its release, the title of “Prisoner in Love” was changed to “No Bail in This Jail” in order to avoid confusion with “Prisoner of Love” by James Brown.shapemedia.uk 37 | 6 26 2

QUANDO QUANDO QUANDOPerformed By Tony RenisTell me when will you be mineTell me quando, quando, quandoWe can share a love divinePlease, don’t make me wait againWhen will you say yes to me?Tell me quando, quando, quandoYou mean happiness to meOh, my love please tell me whenEvery moment’s a dayEvery day seems a lifetimeLet me show you the wayTo a joy beyond compareI can’t wait a moment moreTell me quando, quando, quandoSay it’s me that you adoreAnd then, darling tell me whenEvery moment’s a dayEvery day seems a lifetimeLet me show you the wayTo a joy beyond compareI can’t wait a moment moreTell me quando, quando, quandoSay it’s me that you adoreAnd then, darling tell me whenOh, my darling tell me whenMmm, my darling tell me whenWhen?| 38 shapemedia.uk1 9 1 9

Tony RenisQUANDO QUANDO QUANDOQuando quando quando (or “Quando, Quando, Quando”, “When, When, When”) is an Italian pop song from 1962, in the bossa nova style, with music written by Tony Renis and lyrics by Alberto Testa. The song, originally recorded in two different versions by Tony Renis and Emilio Pericoli, competed in the Sanremo Music Festival in 1962, where it placed fourth, and later became a commercial success in Italy, topping the Musica e the years “Grande grande grande” have been covered by dischi singles chart. American entertainer Pat Boone, who recorded the song in 1962, sang the English lyrics written by Ervin Drake.The song has been used and remixed by many artists and in many different arrangements, including English pop singer Engelbert Humperdinck in 1968. In 2005, Michael Bublé performed the song as a duet with Nelly Furtado. There is an instrumental Latin version by Edgardo Cintron and The Tiempos Noventa Orchestra. The song was a 1962 Billboard Top 100 entry by Pat Boone.Quando is the only Italian word normally retained in most English-language renditions of the song.Pat Boone sang the starting piece in Italian but then carried on the rest of it in English, repeating every now and again some Italian words. The Italian words sung by Boone are: Dimmi quando tu verrai, dimmi quando... quando... quando... l’anno, il giorno e l’ora in cui forse tu mi bacerai...(in cui means when, or in which.)Tony Renis (born 13 May 1938), stage name of Elio Cesari, is an Italian singer, composer, music producer and film actor.Renis was born in Milan. In the mid-1950s he met with Adriano Celentano, and the two started performing an impression of Dean Martin and Jerry Lewis. In 1958, he was signed by the label “Combo Records”, and released a few cover versions of Italian and American rock ‘n’ roll songs as lead vocalist of the band Combos. In 1961, Renis debuted at the Sanremo Music Festival with the song “Pozzanghere”.In 1962, Renis returned to the Sanremo Music Festival where he gained international recognition with the song “Quando, quando, quando”, written with Alberto Testa. One year later, he won the Festival with the song “Uno per tutte”, and, in 1967, he finished second with the song “Quando dico che ti amo”.In 1972, Renis and Testa composed the song “Grande grande grande”. It was successfully interpreted by Mina, and later by Shirley Bassey as “Never Never Never”. Over Vikki Carr, Celine Dion with Luciano Pavarotti, Julio Iglesias, Patrizio Buanne with Renee Olstead, among others.In 1974, he won the Nastro d’Argento for the Best Score for his work on the soundtrack of the film Brothers Blue.In the 1980s, Tony Renis temporarily retired from performing and mainly worked as music producer. In 1981 he launched the career of child prodigy Nikka Costa.In 1999, Renis received a Golden Globe Award and was nominated for an Oscar for the song “The Prayer”, performed by Celine Dion and Andrea Bocelli, from the Quest for Camelot film soundtrack.In 2005, he won a David di Donatello for the song “Merry Christmas in Love” from the film Christmas in Love. The song was also nominated for Best Original Song at the 63rd Golden Globe Awards.In 2016 Renis received the America Award of the Italy-USA Foundation.shapemedia.uk 39 | 6 26 2

WALK ON THE WILD SIDEPerformed By Jimmy SmithHolly came from Miami F.L.AHitch-hiked her way across the U.S.APlucked her eyebrows on the wayShaved her leg and then he was a sheShe says, hey babe, take a walk on the wild sideSaid, “Hey honey, take a walk on the wild side”Candy came from out on the islandIn the back room she was everybody’s darlingBut she never lost her headEven when she was given headShe says, “Hey babe, take a walk on the wild side”Said, “Hey babe, take a walk on the wild side”And the colored girls goDoo, doo, dooDoo, doo, dooDoo, doo, dooLittle Joe never once gave it awayEverybody had to pay and payA hustle here and a hustle thereNew York city is the place whereThey said, “Hey babe, take a walk on the wild side”I Said, “Hey Joe, take a walk on the wild side”Sugar plum fairy came and hit the streetsLookin’ for soul food and a place to eatWent to the ApolloYou should have seen him go go goThey said, “Hey Sugar, take a walk on the wild side”I said, “Hey babe, take a walk on the wild side”All right, huhJackie is just speedin’ awayThought she was James Dean for a dayThen I guess she had to crashValium would have helped that dashShe said, “Hey babe, take a walk on the wild side”I said, “Hey honey, take a walk on the wild side”And the colored girls sayDoo, doo, dooDoo, doo, dooDoo, doo, doo| 40 shapemedia.uk1 9 1 9

Jimmy SmithWALK ON THE WILD SIDEWalk on the Wild Side originated as the title song of the 1962 film of the same name as performed by Brook Benton over the film’s coda and closing credits. Lyrics were written by Mack David and music was by Elmer Bernstein.The two earned an Oscar nomination for Best Original Song.The song evokes the jazz and gospel music musical styles of the film’s New Orleans setting, and the reputation of its Storyville district. It addresses an unnamed straying Christian — or perhaps all who …walk on the wild side Away from the promised landand seems to threaten them in terms understood within their life style: One day of praying, and six nights of fun. Odds against getting to Heaven: six to one.The song has had a second life in real-life gospel music.Jazz organist Jimmy Smith recorded an instrumental version of the song for his 1962 album Bashin’: The Unpredictable Jimmy Smith. The music was arranged by Oliver Nelson and features Nelson’s Big Band. The record cover displays a sticker-facsimile quoting “Includes the exciting jazz version of WALK ON THE WILD SIDE” in order to take advantage of the success of the movie soundtrack.The track was released spread over two sides of a 45-rpm single; Smith’s organ is not heard until Part Two. The single reached No. 21 on the Billboard Hot 100 chart in June 1962. On the Hot R&B Sides chart, the track peaked at No. 4.James Oscar Smith (December 8, 1925 – February 8, 2005) was an American jazz musician whose albums often appeared on Billboard magazine charts. He helped popularize the Hammond B-3 organ, creating a link between jazz and 1960s soul music.In 2005, Smith was awarded the NEA Jazz Masters Award from the National Endowment for the Arts, the highest honor that America bestows upon jazz musicians.He purchased his first Hammond organ, rented a warehouse to practice in and emerged after little more than a year. Upon hearing him playing in a Philadelphia club, Blue Note’s Alfred Lion immediately signed him to the label and his second album, The Champ, quickly established Smith as a new star on the jazz scene. He was a prolific recording artist and, as a leader, dubbed The Incredible Jimmy Smith, he recorded around forty sessions for Blue Note in just eight years beginning in 1956. Albums from this period include The Sermon!, House Party, Home Cookin’, Midnight Special, Back at the Chicken Shack and Prayer Meetin’.Smith signed to the Verve label in 1962. His first album, Bashin’, sold well and for the first time Smith worked with a big band, led by Oliver Nelson. Further big band collaborations followed with composer/arranger Lalo Schifrin for The Cat and guitarist Wes Montgomery, with whom he recorded two albums: The Dynamic Duo and Further Adventures of Jimmy and Wes. Other albums from this period include Blue Bash! and Organ Grinder Swing with Kenny Burrell, The Boss with George Benson, Who’s Afraid of Virginia Woolf?, Got My Mojo Working, and Hoochie Coochie Man.During the 1950s and 1960s, Smith almost always performed live, in a trio, consisting of organ, guitar and drums. The Jimmy Smith Trio performed “When Johnny Comes Marching Home” and “The Sermon” in the film Get Yourself a College Girl (1964). In the 1970s, Smith opened his own supper club in the North Hollywood neighborhood of Los Angeles, California, at 12910 Victory Boulevard and played there regularly with Kenny Dixon on drums, Herman Riley and John F. Phillips on saxophone; also included in the band was harmonica/flute player Stanley Behrens. The 1972 album Root Down, considered a seminal influence on later generations of funk and hip-hop musicians, was recorded live at the club, albeit with a different group of backing musicians.shapemedia.uk 41 | 6 26 2

ALLEY CAT SONG© Bent Fabric| 44 shapemedia.ukWhen I find myself in times of troubleMother mary comes to meSpeaking words of wisdom, let it beAnd in my hour of darknessShe is standing right in front of meSpeaking words of wisdom, let it beLet it be, let it beLet it be, let it beWhisper words of wisdom, let it beAnd when the broken hearted peopleLiving in the world agreeThere will be an answer, let it beFor though they may be partedThere is still a chance that they will seeThere will be an answer, let it beLet it be, let it beLet it be, let it beThere will be an answer, let it beLet it be, let it beLet it be, let it beThere will be an answer, let it beAnd when the night is cloudyThere is still a light that shines on meShine on until tomorrow, let it beWhen i wake up to the sound of musicMother mary comes to meSpeaking words of wisdom, let it be, let it beLet it be, let it beLet it be, let it beWhisper words of wisdom, let it beLet it be, oh let it beLet it be, let it beLet it be, let it beWhisper words of wisdom, let it beWhen i find myself in times of troubleMother mary comes to meSpeaking words of wisdom, let it beLet it be, let it beLet it be, let it beWhisper words of wisdom, let it be...(x8)1 9 1 9

Bent FabricALLEY CAT SONGAlley Cat, also known as “Alleycat” and “The Alley Cat,” is a popular instrumental song made most famous by the Danish pianist and composer Bent Fabric, released in 1962. Fabric (born Bent Fabricius-Bjerre) wrote the tune under the pseudonym Frank Björn..The song was originally released in November, 1961, under the Danish title “Omkring et flygel,” which means “Around a Piano.” In 1962, the Bent Fabric composition reached number 7 on the Billboard Hot 100 chart and number 2 on the Billboard Adult Contemporary chart.In Australia, it went to number 2 and in Germany it went to number 49. It also won a Grammy Award for Best Rock & Roll Recording during the 5th Grammy Awards. It sold over one million copies and was awarded a gold disc. Siw Malmkvist recorded the song in Swedish, “Våran katt”, in Danish, “Vores kat” and in German, “Schwarzer Kater Stanislaus” (1962).Bent Fabricius-Bjerre (7 December 1924 – 28 July 2020), better known internationally as Bent Fabric, was a Danish pianist and composer.Bent Fabricius-Bjerre was born in Frederiksberg, Denmark. He started a jazz ensemble after World War II and founded a label, Metronome Records, in 1950. However, he is best known for his 1961 instrumental “Omkring et flygel” (literally, “Around a Grand Piano”) which became a hit in Denmark. The song was re-released worldwide under the name “Alley Cat” on Atco Records the following year, and went to #1 in Australia and #49 in Germany. The tune also became a hit in the United States; the song hit #2 on the AC chart and #7 on the Billboard Hot 100, and the LP of the same name hit #13 on the Billboard 200. “Alley Cat” also won a Grammy Award for Best Rock & Roll Recording. It sold over one million copies, and was awarded a gold disc. The follow-up single, “Chicken Feed”, hit #63 in the U.S.Fabricius-Bjerre had done extensive work in film scores prior to the success of his singles, and continued to work in film for decades after. In 2003, Fabricius-Bjerre returned to the charts, this time in his native Denmark. He released the album Jukebox as Bent Fabric, where he worked with critically acclaimed Danish musicians, including Peter Frödin. The singles “Jukebox” hit #3 in Denmark and “Shake” hit #10 that year. In 2006, a remix of “Jukebox” was released, and the title track became a dance music hit, peaking at #7 on the US Dance/Club Play charts.The album was also re-released in the United States, this time featuring a remix of his famous instrumental song “Alley Cat”, formerly known as “Omkring et flygel” (“Around a Piano”), among others.In 2005 he released the compilation album, Kan du kende melodien (literally Do you recognize the melody) featuring some of his most famous and recognized film and TV scores.In 2018, Bent Fabricius-Bjerre was honored for his long and active career by naming a new species of beetle †Cacomorphocerus bentifabrici (Fabrizio Fanti & Anders Leth Damgaard, 2018). Married thrice, he died on 28 July 2020.shapemedia.uk 43 | 6 26 2

I’VE GOT A WOMAN© Jimmy McGriffI’ve Got a Woman is an album by organist Jimmy McGriff recorded and released by Sue Records in 1962. The Allmusic review by Michael Erlewine stated “McGriff’s first album is great ... Hi-impact early McGriff is the still the best, and this is the album that started it all”.James Harrell McGriff (April 3, 1936 – May 24, 2008) was an American hard bop and soul-jazz organist and organ trio bandleader.Born in Germantown, Pennsylvania, United States, McGriff started playing piano at the age of five and by his teens had also learned to play vibes, alto sax, drums and upright bass. He played bass in his first group, a piano trio. When he joined the United States Army, McGriff served as a military policeman during the Korean War. He later became a police officer in Philadelphia for two years.Music kept drawing McGriff’s attention away from the police force. His childhood friend, organist Jimmy Smith, had begun earning a substantial reputation in jazz for his Blue Note albums (the two played together once in 1967) and McGriff became entranced by the organ sound while Richard “Groove” Holmes played at his sister’s wedding. Holmes went on to become McGriff’s teacher and friend and they recorded together on two occasions in 1973 for two Groove Merchant records.McGriff bought his first Hammond B-3 organ in 1956, spent six months learning the instrument, then studied at New York’s Juilliard School. He also studied privately with Milt Buckner, Jimmy Smith, and Sonny Gatewood. He was influenced by the energy and dynamics of organist Buckner and the diplomatic aplomb of Count Basie, and by local organists such as Howard “The Demon” Whaley and Austin Mitchell.McGriff formed a combo that played around Philadelphia and often featured tenor saxophonist Charles Earland (who soon switched permanently to organ, and became one of the instrument’s renowned performers). During this time, McGriff also accompanied such artists as Don Gardner, Arthur Prysock, Candido and Carmen McRae, who came through town for local club dates.In 1961, McGriff’s trio was offered the chance to record an instrumental version of Ray Charles’ hit “I’ve Got a Woman” by Joe Lederman’s Jell Records, a small independent label. When the record received substantial local airplay, Juggy Murray’s Sue label picked it up and recorded a full album of McGriff’s trio, released in 1962.The album also turned out another hit in McGriff’s “All About My Girl”, establishing McGriff’s credentials as a fiery blues-based organist, well-versed in gospel, soul and “fatback groove”.McGriff recorded a series of popular albums for the Sue label between 1962 and 1965, ending with what still stands as one of his finest examples of blues-based jazz, Blues for Mister Jimmy. When producer Sonny Lester started his Solid State record label in 1966, he recruited McGriff to be his star attraction. Lester framed McGriff in many different groups, performing a wide variety of styles and giving the organist nearly | 44 ishapemedia.uk1 9 1 9

Jimmy McGriffI’VE GOT A WOMANunlimited opportunities to record. McGriff was heard everywhere from an all-star tribute to Count Basie: The Big Band (1966), a series of “organ and blues band” albums such as Honey (1968) and A Thing to Come By (1969), funk classics like Electric Funk (1970), covering pop hits (“Cherry”, “Blue Moon”, “The Way You Look Tonight”) and such original singles as “The Worm” and “Step One”.During this time, McGriff performed at clubs and concert halls worldwide. He settled in Newark, New Jersey, and eventually opened his own supper club, The Golden Slipper - where he recorded Black Pearl and another live album, Chicken Fried Soul with Junior Parker in 1971. Beginning in 1969, he also performed regularly with Buddy Rich’s band, though the two were only recorded once together in 1974 on The Last Blues Album Volume 1.McGriff “retired” from the music industry in 1972 to start a horse farm in Connecticut. But Sonny Lester’s new record company, Groove Merchant, kept issuing McGriff records at a rate of three or four a year. By 1973, McGriff was touring relentlessly and actively recording again. Around this time, disco was gaining a hold in jazz music and McGriff’s flexibility proved infallible. He produced some of his best music during this period: Stump Juice (1975), Red Beans (1976) and Outside Looking In (1978). These albums still stand out today as excellent documents of McGriff’s organ playing. By 1980, McGriff broke away from Sonny Lester and began working actively with producer Bob Porter (and recording engineer Rudy Van Gelder). McGriff began a long relationship with Fantasy Records’ Milestone label, collaborating with Rusty Bryant, Al Grey, Red Holloway, David “Fathead” Newman, Frank Wess and Eric Alexander.In 1986, McGriff started a popular partnership with alto saxophone player Hank Crawford. Their partnership yielded five co-leader dates for Milestone records: Soul Survivors (1986), Steppin’ Up (1987), On the Blue Side (1989), Road Tested (1997), and Crunch Time (1999), as well as two dates for Telarc Records: Right Turn on Blue (1994) and Blues Groove (1995). But it was only during their brief period at Telarc that McGriff’s name headlined the popular club and cruise-ship attraction.Between 1994 and 1998, McGriff also experimented with the Hammond XB-3, an organ synthesizer that increased the organ’s capabilities with MIDI enhancements. This gave McGriff an unnatural synthesized sound, which probably explains his retreat from the instrument on late recordings such as 2000’s McGriff’s House Party (featuring fellow organist Lonnie Smith). House Party did include the use of the XB-3; however, he did not use the MIDI functions.McGriff was one of the first B3 players to add MIDI to the upper keyboard of his personal B3 to add and extend “his sound” beyond just the drawbar sound of the B3. He incorporated synthesizers in his live performances as he liked vibes, piano, strings, brass and other sounds that could only be created by a synthesizer and which the classic B3 cannot provide. Jimmy purchased the XB-3 as he had more control over the MIDI functions, and the XB-3 weighs about half of the classic B3, which made it easier to move.Along with the soul-jazz sound, McGriff experienced renewed popularity in the mid-1990s, forming ‘The Dream Team’ group, which featured David “Fathead” Newman (a longtime saxophonist with Ray Charles) and drummer Bernard Purdie, and recording The Dream Team (1997), Straight Up (1998), McGriff’s House Party (2000), Feelin’ It (2001), and McGriff Avenue (2002) albums. On March 29, 2008, McGriff was given a last private concert by Bill “Mr. B3” Dilks and drummer Grant MacAvoy in his honor in Voorhees Township, New Jersey. Dilks brought his B3 and played for McGriff, his wife Margaret, their guests, and the folks at the Genesis Health Care Center. As Dilks said, “The Hammond reaches its players far beyond where the conscious mind lives”.A resident of Voorhees Township, New Jersey, McGriff died there at age 72 on May 24, 2008, due to complications of multiple sclerosisshapemedia.uk 45 | 6 26 2

PARTY LIGHTS© Claudine ClarkPa-ha-(They’re red and blue and green) -harty lights(Everybody in the crowd) Oh no (is there) I would have goneSo, so (they won’t) so (let me make) so (no scene) so, so, yeah, yeah, yeahToo late and mama dear, oh tell me, do you hear?We’re partying tonightI tell you, I can’t sleep, because across the streetOh-oh, oh-oh, I see the party lightsI (come on) see the lights, I see the party lightsThey’re red and blue (and blue) and greenOh, everybody (everybody) in the crowd is thereOoh, but you won’t let me make the sceneHelp, (come on) mama dear, oh look, aheal, oh dearThere goes Mary Lou (Mary Lou)I see Tommy and Joe, oh oh, and Betty and SueWo-oh oh-oh, and there’s my boyfriend tooI see the lights, I see the lightsI see the party lightsThey’re red and blue (and blue) and greenOh, everybody (everybody) in the crowd is thereBut you won’t let me make the sceneDo it, fine mama (hoo-hoo)...Help, mama dear, oh look, aheal, oh dearI’m feeling oh-so blueThey’re doin’ the Twist, the Fish, the Mashed Potato tooI’m here and lookin’ at youI see the lights, I see the lightsI see the party lightsRed and blue (and blue) and greenOh, everybody (everybody) in the crowd is thereBut you won’t let me make the sceneThey’re (come on) doin’ the Fish, they’re doin’ the TwistThe Watusi, the Mashed PotatoesI see the lights (everybody) I see the lights (is there)They’re doin’ the Bop, I wanna goI (come on) wanna goI wanna goI wanna goI see the lightsI wanna go (everybody...)| 46 shapemedia.uk1 9 1 9

Curtis LeePRETTY LITTLE ANGEL EYESClaudine Clark (born April 26, 1941) is an American R&B musician, best known as the singer and composer of the 1962 hit, “Party Lights”, which reached No. 5 on the Billboard Hot 100..Clark was born in Macon, Georgia, United States, but grew up in Philadelphia, and she began recording in 1958 for the Herald record label, with her debut single, “Angel of Happiness”. She was backed on that recording by the Spinners. Clark then moved to New York, but she also found no commercial return from her recording on Gotham Records, before moving to Chancellor Records.Clark then had a hit with her second single for Chancellor, with her self-penned “Party Lights”. Originally the B-side of the label’s preference for the A-side, “Disappointed”, “Party Lights” peaked at No.5 on 2012 album Peggy Sue Play the Songs of Scorpio the Billboard Hot 100. Clark’s follow-ups, “Walk Me Home from the Party” and “Walkin’ Through a Cemetery”, were commercial failures.She continued to record and compose, including under the alias Joy Dawn for the Swan Records label, but saw no further tangible success“Party Lights” is a song written and performed by Claudine Clark. It reached #3 on the U.S. R&B chart and #5 on the U.S. pop chart in 1962. It was featured on her 1962 album Party Lights.The song was arranged by Russ Faith and produced by Faith and Bob Marcucci.The song ranked #35 on Billboard magazine’s Top 100 singles of 1962.Other versionsJackie Lee released a version of the song as a single in 1962 in the United Kingdom, but it did not chart.Dee Dee Sharp released a version of the song on her 1962 album All the Hits by Dee Dee Sharp.The Palace Guard released a version of the song as the B-side to their 1964 single “Saturdays Child”.Sha Na Na released a version of the song on their 1975 album Sha Na Now.Sonic’s Rendezvous Band released a version of the song on their 2006 compilation album Sonic’s Rendezvous Band.Skid Roper released a version of the song on his 2010 album Rock and Roll Part 3.Peggy Sue released a version of the song on their Rising.shapemedia.uk 47 | 6 26 2

YOU BELONG TO ME Performed By The DupreesSee the pyramids along the Nile Watch the sun rise on a tropic isleJust remember, darling, all the whileYou belong to me.See the marketplace in old AlgiersSend me photographs and souvenirsBut remember when a dream appearsYou belong to me.I’ll be so alone without youMaybe you’ll be lonesome too---and blueFly the ocean in a silver planeWatch the jungle when it’s wet with rainJust remember till you’re home againYou belong to me| 48 shapemedia.uk1 9 1 9

The DupreesYOU BELONG TO MEYou Belong to Me” is a romantic popular music ballad from the 1950s. It is well known for its opening line, “See the pyramids along the Nile”. The song was published in Hollywood on April 21, 1952, and the most popular version was by Jo Stafford, reaching No. 1 a group name, but they remained as the Parisians until on both the UK and US singles charts..“You Belong to Me” is credited to Chilton Price, Pee Wee King, and Redd Stewart.Price, a songwriting librarian at WAVE Radio Louisville, had written the song in its virtual entirety as “Hurry Home to Me”, envisioning the song as an American woman’s plea to a sweetheart serving overseas in World War II. Afforded songwriting credit on the song mostly in exchange for their work in promoting it, King and Stewart did slightly adjust Price’s composition musically and lyrically, shifting the focus from a wartime background “into a kind of universal song about separated lovers” (World War II having ended some years previously) and changing the title original group members John Salvato, Mike Arnone and to “You Belong to Me”. Price had previously had success with another hit which she had written, “Slow Poke”, under a similar arrangement with the two men.A version by the Duprees made the Billboard Top 10, reaching No. 7 in 1962.The Duprees are an American musical group of doo-wop style who had a series of top-ten singles in the early 1960s. Their highest-charting single, “You Belong to Me” reached No. 6 on the Billboard Hot 100 in 1962. In 1970, they recorded as The Italian Asphalt & Pavement Company.The group was founded in the early 1960s in Jersey City, New Jersey, by William L. Dickinson High School students Michael Arnone, Joe Santollo, John Salvato, Tom Bialoglow and lead singer Joey Canzano (later known as Joey Vann).Originally Bialoglow and Canzano were singing with a local group, the Utopians, while Arnone, Santollo and Salvato were with another local group, the Elgins. One night while the Utopians sang at Hamilton Park, Arnone, Santollo, and Salvato came to hear Canzano. The Elgins had just broken up, and the three wanted Canzano to sing lead in a new group they were forming. Vann accepted under the condition Bialoglow came with him.Early in their run, Joey Vann got into a dispute with Joe Santollo causing him to leave the group. Without a lead, the group decided to hire a black lead singer sending them on a search through Jersey City’s black neighborhood. They asked a man on a street corner where they could find singers around there, who directed them to a local barbershop. As they pulled away, Santollo asked him his name to which he replied “Dupree.” Santollo liked it as signing with Co-Ed in 1962.In 1964, like many other groups, the Duprees were hurt by the British Invasion. Their final charting single came in 1965 with “Around The Corner” which peaked at #93 on the Billboard Hot 100 chart. Vann left the group sometime after “Have You Heard?” and was replaced, once again, by Kelly. Although they continued to record thereafter, the group turned in a more “pop” direction, releasing an album under the name “The Italian Asphalt & Pavement Company” in 1970.In 1978 Kelly left the Duprees and was replaced by Tommy Petillo on lead vocals. The last live performance of Joe Santollo (with Larry Casanova on vocals and Tommy Petillo on lead) was New Year’s 1979.Joe Santollo died in 1981, Joey Vann died in 1984, and Mike Arnone died in 2005. Mike Kelly died on August 7, 2012.The original Duprees (Joey Vann Canzano, Mike Kelly, John Salvato, Tom Bialoglow, Joe Santollo and Mike Arnone) were inducted into the Vocal Group Hall of Fame in 2006.shapemedia.uk 49 | 6 26 2

BONNY’S GIRLPerformed By Marcie Blane / Susan MaughanWhen people ask of meWhat would you like to beNow that you’re not a kid any more?(You’re not a kid anymore)I know just what to sayI answer right awayThere’s just one thingI’ve been wishing forI wanna be Bobby’s girlI wanna be Bobby’s girlThat’s the most important thing to meAnd if I was Bobby’s girlIf I was Bobby’s girlWhat a faithful, thankful girl I’d beEach night I sit at homeHoping that he will phoneBut I know Bobby has someone else(You’re not a kid anymore)Still in my heart I prayThere soon will come a dayWhen I will have him all to myselfI wanna be Bobby’s girlI wanna be Bobby’s girlThat’s the most important thing to meAnd if I was Bobby’s girlIf I was Bobby’s girlWhat a faithful, thankful girl I’d beWhat a faithful, thankful girl I’d beI wanna be Bobby’s girlI wanna be Bobby’s girlI wanna be Bobby’s girl| 50 shapemedia.uk1 9 1 9