Hit Parade Trade Ads 1956 – Part 6
June 30, 2018
June 30, 2018
June 28, 2018
I was listening to Dick Clark’s “Rock, Roll & Remember” syndicated radio program this past Saturday and during the program he played “Miss” Toni Fisher’s “The Big Hurt”.
I have always had a fond place in my heart for the “Big Hurt” and captivated by the eerie effect present on the track. After playing the song Mr. Clark addressed that eeriness – more or less explaining that it had been a recording “defect” which – when played back during editing, appealed to the producer – and was thus released as such.
“The Big Hurt” was recorded by Miss Toni Fisher in 1959 and released on the Signet record label entering the Hot 100 on November 16th, 1959 – moving up the charts until it reached the number 3 position – and remaining in the Hot 100 for 17 weeks.
(NOTE: Toni received the “Miss” attachment to her name from radio DJ Wink Martindale who attributed it to her “powerful” voice.)
If you scout around the web you get various explanations for the strange effect – with some simply presenting the effect as “phasing” or “flanging” which it certainly was – but a more detailed history claims that it only occurred on the Signet release because the studio engineer erroneously cross-mixed the mono and stereo tracks – or something like that – with a slight delay between the two.
Bottom line is that it worked out well – made the song special. The song was recorded in Hollywood’s famed Gold Star Studio – home for tons of hit records – and the Gold Star founders claim that “The Big Hurt” was the first record to employ phasing.
Another account attributes the effect to – who else – pioneer musician and experimenter Les Paul in the 1940’s.
1967’s “Itchycoo Park” by the Small Faces utilizes phasing and that same year Jimi Hendrix’s “Bold As Love” does the same.
Well, enough of that. Going a little further past “The Big Hurt” I learned that the song was composed solely by Wayne Shanklin who was Signet Records’ founder firing up the label in 1959.
Very early on in his writing career, Shanklin wrote “Jezebel” which Frankie Laine recorded in 1951 – The song reached the number 2 position on the pop charts and enjoyed a 21 week run.
Shanklin’s next big composition was presented to Arthur William Todd and his spouse Doris “Dotty” Todd formerly miss Doris Dabb. “Chanson D’Amour (Song of Love)” would be a huge hit for the couple and their only Hot 100 showing – landing at number 6 in the spring of 1958. Shanklin would contribute a couple of additional songs to the Todds – neither charting.
In May of 1959 Jerry Wallace took “Primrose Lane” co-written by Shanklin along with George Callender. This resulted in Wallace’s biggest hit – peaking at number 8.
Shanklin would immediately hand Wallace another charting record – “Little Coco Palm” topping off in the summer of 1959 at number 36. Shanklin contributed a few more tunes for Wallace before turning his attention to more and more to Signet.
Toni Fisher would chart two more times after “The Big Hurt” – first with a minor showing Irving Berlin’s “How Deep is the Ocean” (number 93) and then an interesting hit “West of the Wall” an ode the the sadness of the Berlin Wall and an expressed hope that the wall would fall. Toni Fisher in 1962 had moved on from Signet and was now recording as “Toni Fisher” but again benefited from her management by Shanklin – who once again was the composer for this number 37 recording, a unique and early protest-like track – and the song would mark her last association with Shanklin.
On occasion, Shanklin would compose along with Al Sherman – a versatile writer who worked with many others. From a pop point of view his “For Sentimental Reasons” as recorded by Sam Cooke, was probably his best known hit composition a number 17 hit in 1957. He also composed the pop tune “You Gotta Be a Football Hero which he actually composed for a Popeye cartoon in 1935!
Signet Records released a couple dozen singles from 1959 up into 1965 before folding up. Shanklin would compose the soundtrack for a 1961 motion picture “Angel Baby”
Wayne Shanklin passed away on June 16th, 1970 in California. Toni Fisher passed away on January 11th, 1999 at the age of 75 – the victim of a heart attack.
Frankie Laine – Jezebel – Number 2, 1951
Art & Dotty Todd – Chanson D’Amour – Number 3, 1958
The Fontane Sisters – Chanson D’Amour – Number 12, 1958
Jerry Wallace – Primrose Lane – Number 8, 1959
Miss Toni Fisher – The Big Hurt – Number 3, 1959
Jerry Wallace – Little Coco Palm – Number 36, 1960
Toni Fisher – West of the Wall – Number 37, 1962
Del Shannon – The Big Hurt – Number 94, 1966
Frankie Laine & Jimmy Boyd – The Little Boy and the Old Man – 1953
Brad Marro – A Man Can Only Fly So High – 1955
Wayne Shanklin – Up To My Pockets in Tomahawks b/w Plink-A-Plink – 1955
Eddie Albert & Sondra Lee – Little Child – 1956
Gene Vincent and His Blue Caps – Jezebel – 1956
Earl Grant – Through the Eyes of A Girl and A Boy – 1957
Gloria March with The Players – The Other Side of the Moon – 1957
The Whips – Yes, Master! – 1958
Russell Arms – Der Glockenspiel – 1958
Art and Dotty Todd – Along the Trail With You b/w Au Revoir Amour – 1958
Bobby Hammack & His Orchestra – Little Child – 1959
Linda & Bill Marine – Little Child – 1959
Orchestra of Heinie Beau – Chico’s Theme – 1959
Johnny Krag with the Orchestra of Heinie Beau – The World’s a Speck b/w Jenny Angel – 1959
Miss Toni Fisher – Memphis Belle – 1959
Art and Dottie Todd – Straight As an Arrow – 1959
Jerry Wallace – By Your Side – 1959
Gogi Grant – I Never Meant To Fall In Love – 1960
Jerry Wallace – King of the Mountain – 1960
Dobie Gray – I Can Hardly Wait – 1960
Miss Toni Fisher – Blue Blue Blue – 1960
Trudy Todd – Bandido b/w Pathetique Melody – 1960
Huston Bell – King of the Mountain – 1960
Miss Toni Fisher – Everlasting Love b/w The Red Sea of Mars – 1960
Heinie Beau and Orchestra – Tango Apache b/w Our Love’s No Ordinary Thing – 1960
Teddy Harper – Water Boy of Batusa b/w Straight As An Arrow – 1960
Allen Dare – The Old Prospector – 1960
George Hamilton – Jenny Angel – 1961
Miss Toni Fisher – You Never Told Me b/w A Man’s That’s Steady – 1961
Michael Montana – The New Frontier b/w Straight As An Arrow – 1962
Martha Shanklin with The Wayne Shanklin Orchestra – Beach Boy b/w The Star Of Love – 1962
Toni Fisher – The Music From the House Next Door – 1962
Jerry Wallace – Keep a Lamp Burning – 1964
Art and Dotty Todd – Bernadette Soubirous b/w The Bodie Tree – 1965
Andy Russell – Longin’ – 1966
The Lettermen – Chanson D’Amour – 1966
June 26, 2018
June 25, 2018
Ed Ames started off in Boston singing with his brothers while still in high school first known as “The Amory Brothers (their birth last name was Urick – and Ed was born Edmund Dantes Urick).
Ed and his brothers teamed up with band leader Art Mooney and soon underwent a name change “The Ames Brothers” landing a recording contract with Decca Records. They would move onto the Coral record label in 1947 – a subsidiary of Decca.
The brothers Ames would chart often while with Coral – placing 19 songs on the pop charts from 1949 into 1952 with scoring two number one’s with “Rag Mop” and “Sentimental Me”
In the summer of 1953 they switched over to RCA Victor and quickly chalked up their third number 1 with “You, You, You” remaining at the number 1 spot for 8 weeks. That would be their final number 1 record but they did enjoy a very productive run with RCA with 21 hit recordings – their final being “China Doll” (#38 in early 1960).
Of the four brothers – only Ed remains alive today – Joe – Gene and Vic all having passed on.
Ed Ames actually recorded a few solo recordings for RCA Victor way back in 1956 while still with his brothers – tracks released as “Eddie Ames”.
Ed Ames also tried his hand at an acting career (he portrayed the native American character “Mingo” in the TV show “Daniel Boone”) and made a memorable TV appearance on the Tonight Show with Johnny Carson on April 29th, 1965 – in doing so established a world record:
“During the course of the show, Ames and Johnny Carson were discussing Ames’ tomahawk throwing abilities. When Ames claimed that he could hit a target from across the room, Carson asked Ames if he could demonstrate this skill. Ames agreed, and a wood panel with a chalk outline of a cowboy was brought on to the stage.
As the studio band played a bar of the Adventures of Pow Wow theme, Ames proceeded to throw the tomahawk, which hit the “cowboy” square in the groin with the handle pointing upward. This led to a very long burst of laughter from the audience, which has been called the longest sustained laugh by a live audience in television history.”
His first h”hit” RCA solo recording was met with meager success “Try Too Remember” in early 1965 – only charting at number 73. Seems like I heard that song on the radio a lot more than a number 73 would have warranted. This was followed by three very modest hits and then Ed became angry. Perhaps he felt it was time to step up to the plate with Sonny and Cher, The Turtles and Barry McGuire (among others) – Ed would pose the question “Who Will Answer?” which surprisingly (for me) reached number 19.
Ed Ames sort of stumbled into his biggest solo hit “Who Will Answer”. The song started off as “Aleluya No. 1” a Spanish-language song composed by Luis Eduardo Aute (shown above). The song charted number 1 in Spain in 1967 before coming to the attention of Nashville music producer Jim Foglesong and publisher Eddie Deane.
Lyric writer Sheila Davis took on the assignment of composing English lyrics took lines which translate from:
“A flash of dreams
Between whips and owners
An ocean of life
A suicidal tear
A spilled blood
The reasons for the sword
Hallelujah”
and…
“The nostalgia of a heartbeat
A love that has been lost
A thousand fireflies in heat
An ice bat
Some bodies that are knotted
Some souls that doubt
Hallelujah”
Seems something might have gone by the wayside in the translation to:
“From the canyons of the mind
We wander on and stumble blindly
Through the often tangled maze
Of starless nights and sunless days
While asking for some kind of clue
Or road to lead us to the truth
But who will answer?”
and….
“On a strange and distant hill
A young man’s lying very still
His arms will never hold his child
Because a bullet running wild
Has struck him down and now we cry
“Dear God, oh, why, oh, why?”
But who will answer?”
Oh well, such is life…. I remember really struggling with both symbolism in literature classes and my 101 college philosophy course……
“Changing, Changing” was yet another Sheila Davis lyrical composition gem
From the February 1st, 1969 Cash Box Ad:
“A lot of songs talk about our mushroom clouds and our illusions and our inequities – Here’s one that finally says something.”
Whew! Now please tell me just what in the heck does this song mean?
My goodness Eddie!
But not to be outdone by Ed Ames – Jimmy Webb and Richard Harris teamed up in the Spring of 1968 to give us:
“There will be another song for me
For I will sing it
There will be another dream for me
Someone will bring it
I will drink the wine while it is warm
And never let you catch me looking at the sun
And after all the loves of my life
After all the loves of my life
You’ll still be the one”
and…
“MacArthur’s Park is melting in the dark
All the sweet, green icing flowing down
Someone left the cake out in the rain
I don’t think that I can take it
‘Cause it took so long to bake it
And I’ll never have that recipe again
Oh no!”
I could just never figure out how Harris lost the recipe…. Very careless.
MacArthur Park would chart at number 2 and would test dj’s and radio stations with it’s 7-minute plus running time. Changing, Changing failed to chart altogether. Sheila Davis wrote a couple of books based on her word-smith talents, one being – “The Craft of Lyric Writing”!
June 24, 2018
June 23, 2018
“Transistor radios were extremely successful because of three social forces — a large number of young people due to the post World War II baby boom, a public with disposable income amidst a period of prosperity, and the growing popularity of rock ‘n’ roll music.”
The timing of the arrival of the transistor radio was ideal. When the first marketable model arrived in the spring of 1954, the stage was set. Rock and Roll was just starting to assert itself and within two years would reluctantly be acknowledged by the recorded music establishment as a force to be dealt with – especially in light on a massive population of up and coming teenagers armed with disposable cash and ready to spend it.
The TR-1 was developed by two companies working together – Texas Instruments along with Industrial Development Engineering Associates (I.D.E.A.). Texas Instruments needed a radio manufacturer to take the TR-1 to the next level. The big boys all turned them down including RCA, Emerson and Philco and so I.D.E.A. jumped at the opportunity imagining sales in the millions.
By mid-1955 the first 100,000 units were in the hands of the public.
Hot on the heals of I.D.E.A. came the Raytheon 8-TP in mid 1955 – a considerably larger model featuring a 4-inch speaker and equipped with additional transistors vastly improving the sound quality.
Then a biggie occurred also in mid 1955 – Chrysler teamed up with Philco introduced the Mopar 914HR – a transistor for automobiles. Teens were ecstatic! Now they could take to the streets toting along those adult-annoying rock and roll songs.
Sony then jumped into the fray (Sony is often incorrectly credited with the first transistor radio) first with their TR 55 in 1955 and later with their very popular TR-63 model in late 1963. The TR-63 was desirable due to it’s compact size – good sound quality – and due to being produced in Japan – more affordable (around $25) – Sony continued to improve the radio and lower the price and by 1962 units were going for about $15. Japanese competitors Toshiba and Sharp soon jumped into the transistor radio market and by 1959 more than six million little radios were being toted around primarily by America’s teens.
For my part – the “fall classic” (the World Series) was the event that would cause myself and many of my friends to sneak their tiny transistors into the classroom to listen in when the teacher wasn’t paying attention. World Series games back in the day used to take place in part during the week days in the middle of the day – a tradition that stuck for a long time due to ball parks not having night time lighting.
The transistor radio was the first assault leading to the decline of the jukebox. A further blow came in 1960’s with the introduction of the cassette tape player. The jukebox had enjoyed a very long and successful run and would hold a special nostalgic place in the hearts of Americans – Jukeboxes were for a time the major measuring stick for record popularity ranking – so much so that jukebox distributors were the recipients of the record industry’s promotional records and stacks of commercial releases to place into the machines.
It goes without saying that today the transistor radio is a mere fading memory – They were displaced first by the “boom boxes” of the 1970’s, then portable CD players and now on-line streaming….
But back in 1961 Freddy observed….
“It’s Presley, Darin, and U.S.Bonds
And it’s Fats and Connie and Orbison
She’s my transistor sister
Playing her radio
Yeah, now early in
The morning til late at night
She’s in tune with the local D.J.s
Sings all the words to the latest hits
Right along with the records they play…….
Whoa, oh, transistor sister
Transistor sister
Transistor sister
Playing her radio”
“Whatever happened
To Tuesday and so slow
Going down to the old mine with a
Transistor radio
Standing in the sunlight laughing
Hide behind a rainbow’s wall
Slipping and a-sliding
All along the waterfall
With you, my brown-eyed girl
You, my brown-eyed girl”