Showing posts with label 1963. Show all posts
Showing posts with label 1963. Show all posts

September 17, 2019

Randy & the Rainbows - Denise (1963)

Formed in Maspeth, Queens, New York in 1962, this doo-wop ensemble consisted of brothers Dominick and Frank Safuto, brothers Mike and Sal Zero, and Ken Arcipowski. When they initially came together, they first operated under the name Junior & the Counts, later The Encores, and finally Randy & the Rainbows, which was bestowed upon them by the owners of Laurie Records, the group’s label. There wasn’t actually a “Randy” in the group, but the record label thought it had a nice ring to it, so Dominick, the lead singer, had to adopt it as his nickname.

The song heard below was written by Neil Levenson; its title was inspired by Levenson’s childhood friend, Denise Lefrak. When the song was recorded and released by Randy & the Rainbows in 1963, it spent seventeen weeks on the Billboard Hot 100, eventually peaking at number ten. It was the group’s only notable song, as their follow-up single, “Why Do Kids Grow Up,” only reached number ninety-seven. The group failed to chart again.

Blondie covered the song in 1978, changing the subject of the song from Denise to Denis.

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Randy & the Rainbows - Denise (1963)

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Lyrics:

(Oh, oh)
(Oh, Denise)
(I'm in love with you, Denise)
(I'm in love with you, Denise)
(I'm in love with you)

Denise, Denise
Oh, with your eyes so blue
Denise, Denise
I've got a crush on you
Denise, Denise
I'm so in love with (you)

Oh, when we walk, it seems like paradise
And when we talk, it always feels so nice
Denise, Denise, I'm so in love with you

(You’re my dream)
(And I'm in heaven every time I look at you)
(When you smile it’s like a dream)
And I'm so lucky ‘cause I found a girl like you

(Oh, Denise)
(I'm in love with you, Denise)
(I'm in love with you, Denise)
(I'm in love with you)

Denise, Denise
Oh, won't you hold me tight?
Denise, Denise
Oh, can we kiss goodnight?
Denise, Denise
I'm so in love with you

(Oh, Denise)
(I'm in love with you, Denise)
(I'm in love with you, Denise)
(I'm in love with you, Denise)
(I'm in love with you…)

October 26, 2016

The Denvermen - Surf City Stomp (1963)

This surf was stitched together in Sydney, Australia from the ex-members of two recently broken up groups: Digger Revell and the Lonely Ones and Paul Dever and the Denvermen. The Denvermen featured guitarist Les Green, who provided his old band’s name when the two groups merged together.

They began working on their first major single, “Surfside,” in December 1962, which went to number one in Sydney after its release in January 1963. The song also went to number six on the Melbourne charts, eventually charted in each state around the country, and thus because the first hit Australian surf song. The success of the song resulted in the group recording and releasing more material throughout 1963, as well as touring the neighboring New Zealand. To provide some perspective of their popularity, the band was paid a whopping £8,000 to tour New Zealand, which was exceptionally more than the £2,500 recently paid to The Beatles for their tour of the country.

The song below was released on the band’s 1963 album Let’s Go Surfside on the Australian branch of RCA Records. It was also re-released in 1964 on the four-track Stomp Fever. It’s assumed that the song was written by the ‘50s rock star Johnny Devlin, as most of their surf instrumentals during that period were.

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The Denvermen - Surf City Stomp (1963)

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Lyrics:

(instrumental)

October 12, 2016

The Kingsmen - Louie Louie (1963)

Although there were quite a few bands to don the “Kingsmen” moniker in the early sixties, it was the stardom of this particular band which forced all of the others to change their name. Formed in Portland, Oregon in 1959 by Lynn Easton and Jack Ely, the group is most associated with their biggest hit, “Louie Louie,” heard below. And although the band failed to reach the same success they had had with that hit, they were not, as popularly thought, one hit wonders. They had a handful of songs on the Billboard Hot 100, albeit none of them as widely successful as their first monster of a hit.

The song itself was written by Richard Berry in 1955. Berry’s version was recorded as a B-Side and released in 1957. It became a local success on the West Coast, selling around 40,000 copies. But, after failing to find success with any follow-up records, Berry sold the rights to his song for $750 to Flip Records in 1959.

In 1962, The Kingsmen would often hear a rendition of the song by Rockin’ Robin Roberts, who was signed to Flip Records, from the jukebox at the Pypo Club in Seaside, Oregon. And since the song always seemed to get the crowd on its feet, The Kingsmen began to incorporate it into their live performances. What they didn’t realize was that they had misheard the song a bit and, thus, made it unique in their own future recording.

Speaking of their recording of the song, The Kingsmen’s version was recorded on April 6, 1963 during a one-hour recording session at the Northwestern Inc. studios. Because they had practiced the song for 90 minutes prior to going into the studio, the band was somewhat tired, lazy, and irritated. Making matters worse, everyone was crammed into a single room with only three microphones to record simultaneously, causing the lead singer, Jack Ely, to have to uncomfortably “lean backward and scream” rather than sing, in order to be heard over the instruments being played around him.

All in all, it was these complications which wound up giving the song its character. The combination of Ely’s tired voice (and him having braces) resulted in his infamously slurred lyrics- slurred lyrics which caused suspicious parents and radio station managers to accuse the song’s lyrics of being potentially “obscene.” And although the song’s lyrics were entirely innocuous, there were enough public outcries that the FBI began an investigation. Luckily for the members of the group, no charges were filed once the harmless nature was revealed. Perhaps the most ironic bit, however, is that if you listen carefully (specifically at 0:54), you can hear the band’s drummer, Lynn Easton, yell the F-word after fumbling his drumsticks, which he admitted to much later in life.

Ultimately, the song reached number two on the charts; it has been covered well over 1,600 times; and it is known as one of, if not the, most iconic garage rock songs in the history of recorded music.

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The Kingsmen - Louie Louie (1963)

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Lyrics:

Louie Louie
Oh no, me gotta go
Yeah, yeah, yeah, yeah, yeah, I said
Louie Louie, oh baby
Me gotta go

A fine little girl waits for me
Catch a ship across the sea
Sail that ship about, all alone
Never know I make it home

Louie Louie, no, no, no, no
Me gotta go, oh no
I said, Louie Louie
Oh baby, I said we gotta go

Three nights and days I sailed the sea
I think of that girl, oh, constantly
On that ship, I dream she's there
I smell the rose in her hair

Louie Louie, woah no
Sayin’ me gotta go
I said Louie Louie, oh baby
I said me gotta go

Okay, let's give it to 'em, right now!

See-

See Jamaica, the moon above
It won't be long, me see me love
Take her in my arms again
I tell her I'll never leave again

Louie Louie, oh no
Sayin’ we gotta go
Yeah, yeah, yeah, yeah, yeah
I said Louie Louie, oh baby
Sayin’ we gotta go

I said we gotta go now

Let’s go on out of here

Let's go!

July 13, 2016

Eddie & The Showmen - Mr. Rebel (1963)

As mentioned in a previous post, this band was created when guitarist Eddie Bertrand of The Bel-Airs left his group to start a new one that he would lead in a “harsher” surf rock sound. Formed in Southern California, the group had other notable members throughout their history, such as Dick Dodd- previously a Mouseketeer and later a member of The Standells- who was their original drummer; guitarist Larry Carlton would later become a famous jazz guitarist; and Rob Edwards would later be in the psychedelic band known as Colours.

Released in late 1963, the song heard below was composed by Bertrand and definitively the group’s most popular release, despite all of their singles selling well. The group was in a unique position, being an instrumental band signed to a big label (Liberty Records). Unfortunately, Liberty never saw fit to release a full-length album, and the band only put out singles. The song below reached number four on the local Los Angeles market in February 1964, making it the group’s highest (albeit locally) charting hit. The song was produced by Bert Bertrand, Eddie's father.

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Eddie & The Showmen - Mr. Rebel (1963)

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Lyrics:

(instrumental)

September 06, 2013

Little Peggy March - I Will Follow Him (1963)

Peggy March was born March 8, 1948 in Lansdale, Pennsylvania. Her birth name was Margaret Annemarie Battavio and she was first discovered at the age of thirteen while singing at her cousin’s wedding. She was introduced to the record producing cousins, Hugo Peretti and Luigi Creatore. Given that the thirteen year old girl was only four feet nine inches (1.4478 meters), she was nicknamed “Little Peggy March.” In early January 1963, at the age of fourteen, March would record what would be her most famous song, which can be heard below. Although it would be her only Top Ten hit in the United States, March found continuing success in Germany, where she remained popular through the 1970s. March continues to sing to this day, having recently released a new album in 2010 titled Always and Forever.

This song was originally a French song titled “Chariot” with lyrics written by Jacques Plante and music written by Franck Pourcel and Paul Mauriat, who used the pseudonyms J.W. Stole and Del Roma, respectively). In early 1963, the song was adapted into English by Arthur Altman, using Norman Gimbel to translate the lyrics. Although Petula Clark had a number one hit with “Chariot” in France in 1962, it was Little Peggy March who took the English version to number one in the United States in April 1963. Having been fourteen years old when she recorded and released it, she had only just become fifteen by the time the song reached number one, making her the youngest female artist to this day to have a number one hit on the US charts.

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Little Peggy March - I Will Follow Him (1963)

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Lyrics:

I love him
I love him
I love him
And where he goes
I'll follow
I'll follow
I'll follow

I will follow him
Follow him wherever he may go
There isn't an ocean too deep
A mountain so high it can keep
Me away

I must follow him
(Follow him)
Ever since he touched my hand, I knew
That near him I always must be
And nothing can keep him from me
He is my destiny
(Destiny)

I love him
I love him
I love him
And where he goes
I'll follow
I'll follow
I'll follow

He'll always be
My true love
My true love
My true love
From now until
Forever
Forever
Forever

I will follow him
(Follow him)
Follow him wherever he may go
There isn't an ocean too deep
A mountain so high it can keep
Keep me away
Away from my love

I love him
I love him
I love him
And where he goes
I'll follow
I'll follow
I'll follow

He'll always be
My true love
My true love
My true love
From now until
Forever
Forever
Forever

I will follow him
(Follow him)
Follow him wherever he may go
There isn't an ocean too deep
A mountain so high it can keep
Keep me away
Away from my love

(And where he goes)
I'll follow
I'll follow
I'll follow
I know I’ll always
Love him
I love him
I love him
And where he goes
I'll follow
I'll follow
I'll follow
I know I’ll always
Love him
I love him…

August 02, 2013

The Ronettes - Be My Baby (1963)

Composed of sisters Veronica and Estelle Bennett and their cousin, Nedra Talley, these three girls first began singing together at their grandmother’s house when they were just teenagers. Originally accompanied by the Bennett’s other cousins, Diane, Elaine, and the only male, Ira, the six relatives landed a gig at amateur night at the Apollo in the late ‘50s. When it came time to perform, Ira, who was supposed to be the lead singer, froze. Veronica, now going by her nickname Ronnie, rushed to the rescue and belted out the lead of Frankie Lymon’s “Why Do Fools Fall In Love.” After that night, Ira, Diane, and Elaine left the group. Ronnie, with her sister and cousin, continued on as Ronnie and the Relatives, signing to Colpix Records in 1961. When their first two singles failed to chart, the girls found themselves at the front door of a club, the Peppermint Lounge, trying to get in despite being underage. After receiving some tips from the girls’ mothers about how to look and act older, the doorman mistook the trio as dancers scheduled to perform on stage with Joey Dee and the Starliters. The girls were brought on stage, danced, and Ronnie was even handed the microphone to sing a song. Soon, Ronnie and the Relatives were making regular appearances at the Peppermint Lounge and renamed themselves The Ronettes.

Released in August 1963, this song was written by Phil Spector, Jeff Barry, and Ellie Greenwich. It was the first song to be released on Spector’s label, Philles Records, and reached number two in the US and four in the UK. The technique used to record the song was Phil Spector’s “wall of sound,” a technique that involved recording multiple instruments in unison for supreme clarity on AM radio and jukeboxes. Among the many musicians and vocalists heard on the track are Sonny and Cher, Darlene Love, and The Wrecking Crew. The song is said to have had a huge impact on The Beach BoysBrian Wilson (who wrote "Don't Worry Baby" as a response-song), The Beatles, and nearly everyone else of the '60s pop era. It has been covered countless times by famous artists and is one of the most enduring songs of the 1960s.

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The Ronettes - Be My Baby (1963)

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Lyrics:

The night we met
I knew I needed you so
And if I had the chance
I’d never let you go
So, won’t you say you love me?
I’ll make you so proud of me
We’ll make ‘em turn their heads
Every place we go

So won’t you, please
(Be my- be my baby)
Be my little baby?
(My one and only baby)
Say you’ll be my darling
(Be my- be my baby)
Be my baby now
(My one and only baby)

I’ll make you happy, baby
Just wait and see
For every kiss you give me
I’ll give you three
Oh, since the day I saw you
I have been waiting for you
You know I will adore you
‘til eternity

So won’t you please
(Be my- be my baby)
Be my little baby?
(My one and only baby)
Say you’ll be my darling
(Be my- be my baby)
Be my baby now
(My one and only baby)

So, come on, and please
(Be my- be my baby)
Be my little baby
(My one and only baby)
Say you’ll be my darling
(Be my- be my baby)
Be my baby now
(My one and only baby)

(Be my- be my baby)
Be my little baby
(My one and only baby)
(Be my- be my baby)
(My one and only baby)

(Be my- be my baby)
(My one and only baby)
(Be my…)

July 31, 2013

Johnny Mathis - What Will Mary Say (1963)

Born John Royce Mathis on September 30, 1935 in Gilmer, Texas, this American singer’s family moved to San Francisco, where Mathis was brought up singing and dancing from a young age. At the age of thirteen, he received professional singing lessons in exchange for doing chores around his instructor’s home. In high school, Mathis was a star athlete, performing as a high jumper, hurdler, and member of the basketball team. In 1954 he enrolled at the local San Francisco State University with the intention of becoming a physical education or English teacher. In 1955, Mathis was discovered by Helen Noga, a co-owner of the Black Hawk nightclub in San Francisco. Noga got Mathis a job singing at Ann Dee’s 440 Club, earning extra cash on the weekends. When she learned that famed jazz producer, George Avakian, was in town on vacation, she arranged for him to come listen to Mathis sing. Upon hearing the young Mathis, Avakian sent a telegram to Columbia Records stating, “Have found phenomenal 19-year-old boy who could go all the way. Send blank contracts.” Things weren’t that simple for Mathis, though. In 1956, Mathis was faced with a decision to make. At his University, he was asked to attend the Olympic trials for hurdling for the upcoming Summer Olympic Games being held in Melbourne, Australia. If he qualified, he would represent the US in for the 1956 Olympics. The trouble was, Mathis had a conflicting appointment in New York City around the same time as the trials. Consulting his father, Mathis eventually chose to pursue his singing career. His first album, Johnny Mathis, was published in late 1956 just mere months before he began his rise to international stardom.

Most popular just before rock began to dominate the 1960s, Johnny Mathis was known for his strong vocals. This adulterous song was Mathis’ first released single in 1963 and the second-highest charting release of his career. It reached number nine on the US pop charts and forty-nine in the UK. It was backed with the B-Side "Quiet Girl".

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Johnny Mathis - What Will Mary Say (1963)

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Lyrics:

I must be going
(Don’t go)
My heart is showing
(Don’t go)
I better hurry away
If I don’t leave, I’ll be sorry
What will my Mary say?

Your lips are thrilling
My arms are willing
I know that I shouldn’t stay
If I don’t leave, I’ll be sorry
What will my Mary say?

What would I do if she should meet me
And find me kissing you?
She’s always trusted me completely
Her poor heart would break in two

I must be going
(Don’t go)
My heart is showing
(Don’t go)
I better hurry away
If I don’t leave, I’ll be sorry
What will my Mary say?

If I don’t leave I’ll be sorry
What will my Mary say?

(Don’t go)
(Don’t go)

June 19, 2013

The Astronauts - Baja (1963)

Bob Demmon and Jon “Storm” Patterson were friends in Boulder, Colorado when they got together with Rich Fifield, Dennis Lindsey, and Jim Gallagher to form The Storm Troopers. When friends and family told the band that that name was a little too harsh sounding, resembling the fascist Third Reich, they turned to their new local hero for inspiration. Scott Carpenter, a Boulder, Colorado astronaut, had brought pride to the city of Boulder by becoming the second American to orbit the Earth and the fourth American ever in space. The band chose the name The Astronauts and cut their first single in 1962, “Come Along Baby.” When they got the attention of an RCA Records executive, the band was quickly signed and they released their most popular song, heard below, in early 1963. The success of their hit led to numerous appearances on television, full-length albums, and numerous surf-movie appearances. When RCA found out that the band was out-selling the biggest surf group of the era, The Beach Boys, in Japan, they quickly arranged for the band to tour there with The Ventures. What resulted were five albums and three singles making Japan’s Top 10, with “Movin’” (renamed to “Over the Sun”) reaching the number one spot. Dennis and Jim were drafted into Vietnam in 1967, being replaced by Rod Jenkins and Mark Bretz. Soon, Bob quit the band and was briefly replaced by Robert McLerian. After a tour of Asia in 1968, original members Storm Patterson and Rich Fifield decided to retire the band.

Not having been known to have stellar vocals, the band usually shined its brightest when performing instrumentals. This song, written by Lee Hazlewood, had been intended by its author to be given to his friend, Al Casey, to record, but it never panned out. Instead, the song was released by this band in early 1963, where it reached number ninety-four on the Billboard Top 100. It was the band’s highest charting song and best-known release in the USA.

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The Astronauts - Baja (1963)

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Lyrics:

(instrumental)

March 28, 2013

Bob Dylan - Percy's Song (1963)

Bob Dylan’s first album, appropriately titled Bob Dylan, was comprised mostly of traditional folk tunes or tunes written by other folk artists. There were only two songs that were penned by Dylan himself (“Talkin’ New York” and “Song to Woody”). Dylan’s second album, The Freewheelin’ Bob Dylan, featured nineteen tracks, most of which were written by him, with three borrowing heavily from other artists (“Corrina, Corrina,” “Honey, Just Allow Me One More Chance,” and “I Shall Be Free”). Containing many political and some humorous songs, the popularity of the album began Dylan’s legacy as the “spokesman of a generation” as he shot to international stardom. By the time of Dylan’s third album, The Times They Are a-Changin’, he was recording one hundred percent of his own material. Attempting to reach the same success as Freewheelin’, which featured “Blowin’ in the Wind” and other lasting compositions, Dylan laced a-Changin’ with classics such as the eponymous “The Times They Are a-Changin’,” “With God On Our Side,” “Only a Pawn in Their Game,” and more. The album reached number twenty in the United States and number four in the United Kingdom.

With ten tracks being chosen for the release of the album, there was quite a bit of material that had to be set aside. Three days after recording the final track of the song, Dylan performed a concert at Carnegie Hall that featured eight tracks from his soon-to-be-released album, as well as numerous songs that didn’t make the album’s final cut. Heard below is a song written by Dylan in 1963, omitted from the final cut of The Times They Are a-Changin’ and not officially released until the 1985 album Biograph. Although not officially released until 1985, the song was available via bootleg in a very rough version which was full of scratches, clicks, pops, and warps. This version is clean.

The song itself is based on the melody of the song “The Wind and the Rain,” which had been taught to Dylan by his friend, the folksinger Paul Clayton. The lyrics, written by Dylan, tell the story of a man who approaches a judge on behalf of his friend in Joliet Prison having recently been convicted of manslaughter. If you’re not a big fan of Bob Dylan, there’s a cover of this song performed by Fairport Convention which I highly recommend. That version appeared on their third album, Unhalfbricking.

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Bob Dylan - Percy's Song (1963)

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Lyrics:

Bad news, bad news
Came to me where I sleep
Turn, turn, turn again
Sayin’, “One of your friends”
“Is in trouble deep”
Turn, turn to the rain
And the wind

Tell me the trouble
Tell once to my ear
Turn, turn, turn again
Joliet Prison
And ninety-nine years
Turn, turn to the rain
And the wind

Oh, what is the charge
Of how this came to be?
Turn, turn, turn again
Manslaughter
In the highest of degrees
Turn, turn to the rain
And the wind

I sat down and wrote
The best words I could write
Turn, turn, turn again
Explaining to the judge
I’d be there on Wednesday night
Turn, turn to the rain
And the wind

Without a reply
I left by the moon
Turn, turn, turn again
And was in his chambers
By the next afternoon
Turn, turn to the rain
And the wind

“Could you tell me the facts?”
I said without fear
Turn, turn, turn again
“That a friend of mine”
“Would get ninety-nine years”
Turn, turn to the rain
And the wind

A crash on the highway
Flew a car into a field
Turn, turn, turn again
There was four persons killed
And he was at the wheel
Turn, turn to the rain
And the wind

But I know him as good
As I’m knowin’ myself
Turn, turn, turn again
And he wouldn’t harm a life
That belonged to someone else
Turn, turn to the rain
And the wind

The judge spoke
Out of the side of his mouth
Turn, turn, turn again
Sayin’, “The witness who saw”
“He left little doubt”
Turn, turn to the rain
And the wind

“That may be true”
“He’s got a sentence to serve”
Turn, turn, turn again
“But ninety-nine years”
“He just don’t deserve”
Turn, turn to the rain
And the wind

“Too late, too late”
“For his case, it is sealed”
Turn, turn, turn again
“His sentence is passed”
“And it cannot be repealed”
Turn, turn to the rain
And the wind

“But he ain’t no criminal”
“And his crime it is none”
Turn, turn, turn again
“What happened to him”
“Could happen to anyone”
Turn, turn to the rain
And the wind

At that the judge jerked forward
And his face it did freeze
Turn, turn, turn again
Sayin’, “Could you kindly leave
My office now, please?”
Turn, turn to the rain
And the wind

The room was funny
And I stood up so slow
Turn, turn, turn again
With no other choice
Except but for to go
Turn, turn to the rain
And the wind

I walked down the hallway
And I heard his door slam
Turn, turn, turn again
I walked down the courthouse stairs
And I did not understand
Turn, turn to the rain
And the wind

I played my guitar
Through the night to the day
Turn, turn, turn again
And the only tune
My guitar could play
Was, “Oh the Cruel Rain
And the Wind”

January 17, 2013

The Pyramids - Penetration (1963)

Formed in Long Beach, California in 1961, this surf group had one big hit from their second single, heard below. In July 1964, the group landed a collective role as a band for the teen beach movie, Bikini Beach, starring Frankie Avalon. In the film, the band appeared getting onstage wearing Beatles wigs and then removed them to reveal shaven heads. Although they released five singles and one full-length album, the group never matched the success of their second single. The band was composed of lead guitarist Skip Mercier, rhythm guitarist Willie Glover, bassist Steve Leonard, saxophonist Tom Pitman, and drummer Ron McMullen. The band called it quits in 1965.

Released in the US and the UK in 1963, this song was written by the group’s bassist, Steve Leonard, and was the A-Side to the group’s second single. It reached the Billboard Hot 100’s Top 20 in early 1964 and was backed by the B-Side “Here Comes Marsha.”

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The Pyramids - Penetration (1963)

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Lyrics:

(instrumental)

December 18, 2012

The Crystals - Santa Claus is Coming to Town (1963)

This American vocal group from New York, New York was of the premiere girl groups, which dominated the charts in the first half of the 1960s. When they were first discovered by Phil Spector in 1961, none of the five members were even close to finishing high school. Signed to Spector’s label, Philles Records, the girls shot to stardom with hit songs like “Da Doo Ron Ron” and “Then He Kissed Me.” Although the 1960s saw talent come and go, Dolores “Dee Dee” Kenniebrew rekindled the group in 1971 and still performs with new Crystals members to this day. Eventually the relationship between Spector and the girls soured, as many of the girls believed that Spector was withholding royalty money from them. Spector was also giving the girls far less attention, as his new obsession was on his latest discovery, The Ronettes. The group left Philles Records in 1964 and eventually disbanded in 1967. It wasn’t until 1971, as mentioned above, that they reunited around Dee Dee.

Written by John Frederick Coots and Haven Gillespie, this song was first sung in November 1934 on a radio show by Eddie Cantor. Cantor decided to give the song a chance after many other famous vocalists had rejected the song as being “too childish” and “silly.” This particular version of the song was recorded and released in 1963 on the album A Christmas Gift for You from Phil Spector.

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The Crystals - Santa Claus is Coming to Town (1963)

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Lyrics:

Jimmy, I just came back from a lovely trip along the Milky Way
I stopped off at the North Pole to spend the holiday
I called on old, dear Santa Claus to see what I could see
He took me to his workshop and told his plans to me

Now Santa is a busy man, he has no time to play
He's got millions of stockings to fill on Christmas day
You better write your letter now and mail it right away
Because he's getting ready his reindeers and his sleigh


You'd better watch out, you'd better not cry
You'd better not pout, I'm telling you why
Santa Claus is coming to town
Santa Claus is coming to town
Santa Claus is coming to town

He's making a list, he's checking it twice
He's gonna find out who’s naughty or nice
Santa Claus is coming to town
Santa Claus is coming to town
Santa Claus is coming to town

He sees when you are sleeping
He knows when you're awake
He knows if you've been bad or good
So be good for goodness sake

Oh, you'd better watch out, you'd better not cry
You'd better not pout, I'm telling you why
Santa Claus is coming to town
Santa Claus is coming to town
Santa Claus is coming to town

With little tin horns and little toy drums
Rooty-toot-toots and rummy-tum-tums
Curly head dolls that toddle and coo
Elephants, boats, and kiddie cars too
Santa Claus is coming to town
Santa Claus is coming to town
Santa Claus is coming to town

The kids in Girl’s and Boy Land will have a jubilee
They're going to build a Toyland all around the Christmas tree
So, you’d better watch out, you’d better not cry
You’d better not pout, I'm telling you why
Santa Claus is coming to town
Santa Claus is coming to town
Santa Claus is coming to town

Santa Claus is coming to town

February 22, 2012

The Penguins - Memories of El Monte (1963)

Formed by former classmates Cleve Duncan and Curtis Williams (previously of The Hollywood Flames), this group was formed in late 1953 when the two men decided they wanted to form a new vocal group. One of the members smoked Kool cigarettes, which featured the advertising character “Willie the Penguin”. Considering themselves cool and following the trend of groups named after birds, they named themselves after the character. In 1954, they released their biggest hit, “Earth Angel (Will You Be Mine)”.

Wanting to pay tribute to the music of the '50s, Frank Zappa and Ray Collins (before forming The Mothers of Invention) wrote this song. With lead vocals from Cleve Duncan, this song references eight hits from the doo wop era: “In the Still of the Night” by The Five Satins; “You Cheated” by The Shields; “A Thousand Miles Away” by The Heartbeats; “The Letter” and “Buick 59” by The Medallions; “Cherry Pie” by Marvin & Johnny, “Nite Owl” by Tony Allen and The Chimes/The Champs; and “Earth Angel,” originally by this group, being mentioned and sang toward the end.

album art

The Penguins - Memories of El Monte (1963)

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Lyrics:

I'm all alone feeling so blue
Thinking about you
And the love we once knew
And each time I do
It brings back those memories
of El Monte

Remember the dance?
I held you so tight
The Satins were singing
“In the Still of the Night”
You gave me your heart
And your love undying
Now I'm alone
I'm sitting here crying

If only they had
Those dances again
I'd know where to find you
And all my old friends
The Shields would sing
"You cheated, you lied"
And The Heartbeats
"You're a thousand miles away"
And The Medaillons with "The Letter" and
"Sweet words of his mortality"
Marvin and Johnny with
"Cherry Pie"
And then, Tony Allen with
"Night Owl"
And I, Cleve Duncan, along with The Penguins
Will sing
"Earth angel
Earth angel
Will you be mine?"
At El Monte

If I could go back
To those days of the past
I'd show you a love
A love that would last
Oh, I remember
Those wonderful dances
In El Monte

In El Monte
Ooh

"Earth angel
Earth Angel
Will you be mine?"
At El Monte…

December 23, 2011

The Beatles - From Then To You (1963-1969)

Unable to respond to the countless fan mail that they received each year, The Beatles decided that they would send out a special album every Christmas to the members of their fan club. Released annually from 1963 to 1969, the albums contained impromptu sketches, songs, humor, and messages of thanks from John, Paul, George, and Ringo. In 1970, a compilation LP was sent out combining all previous recordings.

Merry Christmas!

album cover

The Beatles - The Beatles' Christmas Record (1963)

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The Beatles - Another Beatles Christmas Record (1964)

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The Beatles - Christmas Message Outtake (1964)

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The Beatles - The Beatles' Third Christmas Record (1965)

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The Beatles - The Beatles' Fourth Christmas Record (1966)

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The Beatles - Christmas Time is Here Again! (1967)

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The Beatles - Christmas Time (Is Here Again) (1967)

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The Beatles - The Beatles' 1968 Christmas Record (1968)

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The Beatles - The Beatles' Seventh Christmas Record (1969)

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November 07, 2011

Peter, Paul and Mary - Flora (1963)

Inspired by Woody Guthrie, Pete Seeger, and other folk legends, this trio became one of the top folk acts in the 1960s. They were composed of Peter Yarrow, Noel “Paul” Stookey, and Mary Travers. Much of their success came from singing songs written by others, notably much from Bob Dylan.

This song was released on their album, Moving, in 1963. Although it wasn’t released as a single, it’s my favorite song from the album. The first two singles released, “Big Boat” and “Settle Down (Goin’ Down That Highway)” didn’t do as well on the charts as they had hoped. The third single released, “Puff the Magic Dragon,” fared much better, achieving huge success and becoming their defining song.

Peter, Paul and Mary - Flora

Peter, Paul and Mary - Flora (1963)

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Lyrics:

When first I came to Louisville
My fortune there to find
I met a fair young maiden there
Her beauty filled my mind
Her rosy cheek, her ruby lips
They gave my heart no rest
The name she bore was ‘Flora’
The lily of the west

I courted lovely Flora
She promised ne’er to go
But soon a tale was told to me
That filled my heart with woe
They said she meets another man
Who holds my love in jest
And yet I trusted Flora
The lily of the west

Way down in yonder shady grove
A man of low degree
He spoke unto my Flora there
And kissed her 'neath a tree
The answers that she gave to him
Like arrows pierced my breast
I was betrayed by Flora
The lily of the west

I stepped up to my rival
My dagger in my hand
I seized him by the collar
And I ordered him to stand
All in my desperation
I stabbed him in his breast
I killed a man for Flora
The lily of the west

And then I had to stand my trial
I had to make my plea
They placed me in a prisoner's dock
And then commenced on me
Although she swore my life away
Deprived me of my rest
Still I love my faithless Flora
The lily of the west

October 28, 2011

Bob Dylan - Masters of War (1963)

One of the most influential figures in the history of popular music, this reluctant “voice of a generation” started by writing folk music centered on US civil rights and anti-war themes. His music has evolved numerous times over the past fifty years and has incorporated folk, rock, blues, country, gospel, and much more. He was a large influence on The Beatles, specifically John Lennon, and later helped create the supergroup, The Traveling Wilburys, with George Harrison. This is an artist who cannot be summed up in the space provided here.

This song comes from 1963, a time before he electrified his music and was still writing folk songs for social change. The music is based on the English folk song "Nottamun Town". Though not as popular as “Blowin’ in the Wind” or “The Times They Are A-Changin’,” this song, in a darker sense, fits to the same lyrical theme. Of the lyrics, he said he had never written about hoping anyone dead before, but he felt he “couldn’t help it with this one.”

[Note: this probably isn't the type of song you can play as “background music” and be entertained. Its strong point is its message/lyrics and is suggested to be listened to as if hearing a speech. Enjoy!]

Bob Dylan - Masters of War

Bob Dylan - Masters of War (1963)

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Lyrics:

Come you masters of war
You that build the big guns
You that build the death planes
You that build all the bombs
You that hide behind walls
You that hide behind desks
I just want you to know
I can see through your masks

You that never done nothin’
But build to destroy
You play with my world
Like it’s your little toy
You put a gun in my hand
And you hide from my eyes
And you turn and run farther
When the fast bullets fly

Like Judas of old
You lie and deceive
A world war can be won
You want me to believe
But I see through your eyes
And I see through your brain
Like I see through the water
That runs down my drain

You fasten all the triggers
For the others to fire
And then you set back and watch
While the death count gets higher
You hide in your mansion
While the young people’s blood
Flows out of their bodies
And is buried in the mud

You’ve thrown the worst fear
That can ever be hurled
Fear to bring children
Into the world
For threatening my baby
Unborn and unnamed
You ain’t worth the blood
That runs in your veins

How much do I know
To talk out of turn?
You might say that I’m young
You might say I’m unlearned
But there’s one thing I know
Though I’m younger than you
That even Jesus would never
Forgive what you do

Let me ask you one question
Is your money that good?
Will it buy you forgiveness?
Do you think that it could?
I think you will find
When your death takes its toll
All the money you made
Will never buy back your soul

And I hope that you die
And your death will come soon
I’ll follow your casket
On the pale afternoon
And I’ll watch while you’re lowered
Down to your deathbed
And I’ll stand over your grave
’Til I’m sure that you’re dead