27 January 2015
True, they recorded an album of duets in 1971, Together, and a single off that, Baby Without You, had been a hit that I'd already written about at the website. Softly Whispering I Love You wasn't on the album, nor did it appear as a single the following year.
Mick Robbins spotted it immediately. He's long been a friend of the website, and he's often helped me out with his knowledge of 60s and 70s Australian pop, especially of female singers such as Allison Durbin. There's no such record, he said, must be a misprint somewhere, and he was right.
The phantom version was mentioned in two Wikipedia articles (now corrected) that had been cut and pasted many times on various websites, so a Google search certainly threw up a lot of mentions, giving the impression that this was a known record. I later found out that the source referenced by the Wikipedia article had somehow substituted Farnham and Durbin for the name of The Congregation, the UK group that charted in Australia in 1972 with a version of Softly Whispering I Love You. It was a simple transcription or cut-and-paste error that took on a little life of its own.
The non-existent Farnham-Durbin version is still listed in my website's index pages, but all you'll find at my page on the song is a brief explanation with a link to here, under the heading THE RECORD THAT NEVER EXISTED!
I had become attached to the song over the two or three days that I was researching it, and I still have it playing in my head. I remembered it only vaguely as a song that popped up in the early 70s with a familiar ring to it, which I recalled was down to its having been previously released by someone else, but I had no details.
It sounded to me like one of those pop tunes that originated with a classical piece, but that isn't so. (I was thinking of the likes of If I Had Words a 1978 record by Scott Fitzgerald and Yvonne Keeley that reggaes up a melody by Camille Saint-Saëns [YouTube]. My friend Ostin Allegro has a website devoted to these classic-to-pop cases.)
I was pleased to find that it originated with Roger Cook and Roger Greenaway, examples of those powerhouse British songwriting teams of the late 60s whose songs were always on the charts, even if we'd never heard of them. Not only had they written it, but they'd recorded it in 1967 as David And Jonathan whom I recalled only as having had a successful cover version of the Beatles' Michelle (1966, #11 UK). They also charted with Lovers Of The World Unite (1966, #7 UK).
I was also taken by a YouTube video a Top of the Pops performance of the 1971 version by The Congregation, This has vocalist Brian Keith out front with a guitarist. (Guitarist Alan Parker from Blue Mink was the brains behind the Congregation project but I don't think that's him. Another video from German TV [see below] has a different guitarist again.) The rest of the studio space is taken over with a choir, complete with an energetic conductor who I could swear is a model for the zany choir conductor in The Vicar of Dibley. (He is particularly noticeable from around 2:30.)
There is also a lead quartet of young female singers up front. They could be session singers, but there is something about the encouraging smiles they give each other that suggests choristers who are not used to being in the limelight in this way, on a major TV pop show. See what you think, but they add a lot of charm to the performance.
It reminds me of Ray Davies' recent performances of his songs with a choir (try Waterloo Sunset at Youtube), and of a 2006 Procol Harum concert (also on YouTube) recorded in Denmark with orchestra and choir (try A Salty Dog at YouTube).
It seemed pointless to leave up the background story of a recording that didn't exist, nor did I want to delete the whole story, so here it is, beginning with the original version and working down the page to the latest charting version.
DAVID AND JONATHAN
Softly Whispering I Love You (Roger Cook - Roger Greenaway)
#15 Brisbane #16 Perth
Single on Parlophone, produced by George Martin, arranged by Mike Vickers (of Manfred Mann). Charted in Australia mid-1968.
David And Jonathan were the composers, Roger Cook and Roger Greenaway. They had charted under this name in 1966 with Michelle, a cover of the Beatles song (#11 UK) and Lovers Of The World Unite, their own composition (#7 UK).
Greenaway and Cook wrote numerous hit songs together, beginning with The Fortunes' You've Got Your Troubles (1965, #2 UK, #7 USA).
Roger Greenaway was one half of The Pipkins (Gimme Dat Ding, recorded in Australia by Frankie Davidson and by Maple Lace). Roger Cook sang lead vocals with Madeline Bell in Blue Mink, a band whose repertoire was made up of Greenaway-Cook compositions, including Melting Pot (1969, #3 UK), Banner Man (1971, #3 UK) and Can You Feel It Baby (1970), covered in Australia by Sherbet.
Disambiguation: New Zealand musician Roger Greenaway is a different person.
Further reading: 1. For the extent of their output, see Hiroshi Asada's Cook &; Greenaway Song List. 2. The song catalogs of Roger Greenaway and of Roger Cook at Songwriters Hall of Fame include collaborations with many other songwriters. 3. Roger Cook: www.rogercook.comhttp://www.rogercook.com/; Roger Greenaway: www.rogergreenaway.com
THE CONGREGATION (aka THE ENGLISH CONGREGATION)
Softly Whispering I Love You (Roger Cook - Roger Greenaway)
#4 UK #29 USA #6 Sydney #12 Brisbane #4 Adelaide #5 Perth #9 Canberra
Single on Columbia (UK), released in USA on Atco, as The English Congregation to avoid confusion with The Mike Curb Congregation who also covered this song. The writers, Roger Greenaway and Roger Cook, had recorded the song themselves as David And Jonathan in 1967.
Lead vocals on this version are by Brian Keith.
The Congregation was a studio band put together by guitarist Alan Parker who, along with Roger Cook, was in Blue Mink, a band that recorded Cook-Greenaway songs.
Charted in USA and Australia early in 1972.
References: 1. Chronology (go to November 1971) at Roger Cook's website. 2. The English Congregation at All Music.
Thanks to Terry Stacey for chartology.
UNNAMED SINGER [=BRIAN KEITH]
Softly Whispering I Love You (Roger Cook - Roger Greenaway)
This was a track on album 9 of Hot Hits, the MFP label's budget series of cover versions of current hits.
Although the artists were unnamed on the Hot Hits albums, in this case the vocals are by Brian Keith, the singer from the band being covered, The (English) Congregation. Hear this version at YouTube.
There is another re-recorded version using the name New Congregation which may also be Brian Keith but I can't confirm that. My impression is that it exists only as a downloadable track on Internet-only compilation albums.
This is not Brian Keith the American star of TV's Family Affair, although you may notice a YouTube suggestion for a Family Affair video when you are listening to 'Softly Whispering I Love You'.
Further reading: There is a whole site about the MFP Hot Hits albums: see Hot Hits 9 or home page.
THE MIKE CURB CONGREGATION
Softly Whispering I Love You (Roger Cook - Roger Greenaway)
Single on MGM.
[An established US group called The Mike Curb Congregation covers a record by a newer British group called The Congregation, who have to be known as The English Congregation in the US to avoid confusion.]
Composer and producer Mike Curb (b. 1944) started up the Sidewalk label as a teenager in 1963. He became head of MGM and Verve records, and from the mid-70s he ran the Curb label through Warner.
He formed the Mike Curb Congregation in the 60s. Their notable recordings include Burning Bridges (1971, #34 USA, in the film Kelly's Heroes), The Sherman Brothers' Disneyland song It's a Small Small World (1973) and their appearance on Sammy Davis Junior's hit The Candy Man (1973, #1 USA, from Willy Wonka & The Chocolate Factory). Curb, a Republican, served as Lieutenant-General of California (and acting Governor) 1979-1983.
Further reading: 1. Biography at Mike Curb's website. 2. Mike Curb compositions and producer credits listed at 45Cat.com
Softly Whispering I Love You (Roger Cook - Roger Greenaway)
#21 UK #38 Perth
Single on CBS by British soul styled singer, previously lead singer of soul revival band Q-tips.
There is also a 2004 version by New Zealand singer Yulia (MacLean) on her album Into The West. No doubt there have been others.
06 July 2014
Years ago I decided to join the choir at Toowoomba Philharmonic (or it might’ve been the Choral Society). I turned up on the night they were starting to rehearse an oratorio of Handel. It was Solomon or Samson or Saul, one of those cats with the initial “S”.
At the door the book monitor said, “What are you?” This was open to interpretation, but all I could think of was Bob Hudson's Newcastle Song: This nine foot tall Hell's Angel came out of the Parthenon milk bar, looked at Norm and said Arr, what are ya?
When I looked baffled, he said, “Tenor, baritone, bass…?”
I’d always fancied myself as a tenor in the mould of Richard Tauber: I could sing along with his records, no worries. I could also do a fair impression of P.J. Proby, who is probably a baritone, but I didn't mention that. On this occasion it seemed more fitting to go for Richard Tauber.
Affecting confidence so I wouldn’t look silly, I said, “Oh, right! I’m a tenor.”
He gave me a little hardcover book, the score, and pointed me to four or five blokes sitting together: the tenors.
When we started singing, I had never heard such highly pitched adult male voices, except in recordings of countertenors or Alvin & The Chipmunks, and they weren't using falsetto. I was able to follow the score, and join in up to a point, but beyond that point I had no hope. It hurt me physically, in my head, to get anywhere close to those notes. This was nothing like Richard Tauber’s range, at least as I knew it from his hit recordings.
Someone I told about this recently suggested that, back in the day, this part might have been intended for countertenors. Forgive me, I'm not really up for researching The Voice in Baroque Choral Music in depth, so I can't expand on that. In the following days, though, when telling people about my experience, I did slip ungraciously into using the word “eunuchs”. Pejoratively. Sorry. It was my disappointment talking.
I couldn't see myself going back and confessing that I didn’t know what I was after all.
Before the next rehearsal, I took the score and skulked down our street to the house of another choir member. I was glad to find that he was out, so I was able to ask his wife pass it on so he could take the score back to the book monitor, and that was that.
The Wikipedia article on the Tenor seems to be well put together, and it doesn't carry any warnings about Wiki-non-compliance, so I'll risk using it as my source. It agrees with Bob: one nearly ubiquitous facet of choral singing is the shortage of tenor voices, and some men are asked to sing tenor even if they lack the full range.
It also reveals that my embarrassment was based partly on a lack of research. Seven varieties of the tenor voice are listed and described (Tauber is there under Lyric tenor).
I'm reassured by this: in some styles of music, tenor parts may be taken by light baritones singing in falsetto. I reckon P.J. Proby and I could both handle that.
09 November 2013
16. Duke Baxter - Everybody Knows Matilda
(Duke Baxter) Produced & arranged by Tony Harris
VMC single (USA) #740.
VMC single (Canada) #740.
Festival single (Australia) #FK-3201
Australian charts: #17 Melbourne (Ryan), #13 Melbourne (Guest), #27 Brisbane, #14 Perth, #35 Go-set magazine
Duke Baxter has been something of a mystery man, but (in collaboration with Erik Bluhm at West Coast Fog) I've established that he is James Blake, a Canadian also known as Dudley F. Baxter.
BMI's Repertoire Search will lead you to a list of 69 Duke Baxter compositions. An identical list is also found under Dudley F. Baxter, Dudley Ford Baxter, and James Blake.
More recently, James has posted to YouTube some of his Duke Baxter songs that were recorded for an unreleased album. Using the YouTube alias Jim Shaman, he writes:
Maybe some people want to know what happened to Duke Baxter. Did he just vanish or did he keep writing songs? I am that guy after a few incarnations or iterations.
In the US, Everybody Knows Matilda [YouTube] made it to #52 on Billboard, and it was on the Cash Box chart for seven weeks, peaking at #69. In Canada it spent three weeks on the RPM100 chart, peaking at #58.
Matilda appears on some US radio station charts at ARSA. This really tells us only that it was on the playlists of at least twelve North America stations; and that out of that random sample KJRB Spokane WA (#18) and KFRC San Francisco CA (#19) rated it most highly.
So let's say that Matilda probably did better on pop stations in Melbourne and Perth than in Spokane and SF, and better than on Billboard and Cash Box. Not quite Only in Oz, but going by online comments about the song it's fondly remembered by Australians, a bit of a lost oldie down here. I hate to repeat rumour and hearsay, but one YouTube poster suggests that many American listeners believe the record is Australian (it isn't): perhaps they associate "Matilda" with Australia and, who knows, the name might have struck a chord with listeners down here.
There was an Everybody Knows Matilda album that yielded three singles including the title track.
Duke Baxter appears at West Coast Fog as a paragraph in a long and detailed story about Tony Harris, the producer & arranger of Everybody Knows Matilda. I urge you to read the whole story, which is embellished with numerous label shots and printed ephemera. Harris was active as producer, writer, arranger and performer from 1963 till 1969. His name appears as a credit on Princess, Triumph, Dee Gee and VMC labels. West Coast Fog also goes into some film music written by Harris, partly in association with his father, producer Jack H. Harris.
After the VMC album and singles, there is a further Duke Baxter single on Mercury from 1970, Absolute Zero/Wings Of Love, then in 1977 an album on AVG , My Ship Is Coming In.
West Coast Fog also discusses Baxter's work on singles by The Rob Roys (1966) and Revelation (1968 and n.d.).
The Rob Roys' single on Accent #AC 1312 was Do You Girl? / Yes I Do. This label shot of the A-side at YouTube credits Baxter with writing, arranging and A&R.
There were two late-60s singles by Revelation with the participation of Duke Baxter (and, in one case, of Mike Post!):
1. Revelation - Cotton Candy Weekend (Duke Baxter - Kerry Hatch)/Wait And See (Duke Baxter - Kerry Hatch) Single on Music Factory #412, Prod. Mike Post, Arr. Mike Post, Kerry Hatch
2. Revelation, featuring Duke Baxter and Kerry Hatch - Kiss Your Mind Goodbye (Duke Baxter)/Dorplegank (Duke Baxter) Single on Combine #45-12 Arr. Duke Baxter
It seems likely (as West Coast Fog suggests) that Kerry Hatch, Baxter's collaborator on the Music factory single, is the future Oingo Boingo bassist.
There are a few Duke Baxter clips at YouTube, most of them for Matilda (no live action, though). The clip here (and embedded below) has a shot of the Matilda album sleeve. Searching eBay can throw up a range of Baxter's singles and albums; even if you don't buy it's a good source of label or sleeve shots. 45cat.com has some Duke Baxter label shots and other data; it also lists the Rob Roy single, and both Revelation singles, with a label shot of Kiss Your Mind Goodbye (embedded here).
Chart positions from Gavin Ryan's Australian chart books and Tom Guest's Melbourne chart book [Tom's email].
Duke Baxter discography
Everybody Knows Matilda (1969) VMC Records #VS 138
Everybody Knows Matilda
I Ain't No Schoolboy
53rd Card In The Deck
No Tell Motel
Don't Hurt Us
John Q. Citizen
My Ship Is Coming In (1977) AVI Records #AVL6024
Don't Forget How To Dream
My Ship Is Coming In
Baby Let Me Walk Next To You
One More Heart Beat Down The Line
Some Day Soon
Everybody Knows Matilda / I Ain’t No School Boy (1969) VMC #740
Superstition Bend / Crosstown Woman VMC (1969) VMC #749
John Q. Citizen / Don’t Hurt Us VMC (1969) #V750
Absolute Zero / Wings Of Love (1970) MERCURY #73107
3. SINGLE BY THE ROB ROYS (Duke Baxter writing, arranging, A&R)
Do You Girl? / Yes I Do* (1966) Accent #AC 1213
4. SINGLES BY REVELATION (Duke Baxter writing, co-writing, arranging or performing)
Cotton Candy Weekend* / Wait And See* (1968) Music Factory #412,
Kiss Your Mind Goodbye / Dorplegank (n.d.) Combine #45-12
All compositions by Duke Baxter except *
Cotton Candy Weekend (Duke Baxter & Kerry Hatch)
Wait And See (Duke Baxter & Kerry Hatch)
Sweet Sincerity, Alice May, and Yes I Do are not listed in Duke Baxter's repertoire at BMI but could well be his.
07 April 2013
15. Al Wilson - Do What You Gotta Do
Soul City single (USA) #761.
Liberty single (Australia) #LYK-2111
Liberty single (UK) #LBF 15044
Australian charts: #12 Melbourne (Ryan), #23 Melbourne (Guest).
Do What You Gotta Do has been recorded by many, but Al Wilson's version was the one I heard on Melbourne radio in 1968, and it remains the definitive version for me.
I probably heard it on 3XY which had recently switched to a pop format. If 3XY was pushing it, that might explain why it doesn't rate so highly on the chart collated by Tom Guest, whose data is purposely weighted in favour of the highest rating Melbourne station at that time, 3UZ.
Among Al Wilson's songs, Do What You Gotta Do hasn't always been easy to find. His four Billboard Top 40 hits appear often on compilations, especially The Snake (1968, #27 USA) and Show And Tell (1973, #1 USA) , the songs he is perhaps best remembered for.
Once again, a song that sounds to me as if it should have been a big worldwide hit, but even in Australia, Melbourne was apparently the only city where it made an impact. A beautiful Jim Webb composition, produced by Johnny Rivers, it has everything: smooth, wistful soul vocals by Wilson - strong but gentle, sad but collected - and a flawless arrangement, with strings and horns by Marty Paich.
It was first recorded by Johnny Rivers himself, on his album Rewind (1967), and other musicians clearly appreciated the composition. Larry's Rebels had a #6 hit version in New Zealand in 1968, and at my page about the song I also list 1968 versions by Nina Simone, Bobby Vee, Clarence Carter, Paul Anka, and Ronnie Milsap, as well as later versions by B.J. Thomas (1970), Roberta Flack (1970), Tom Jones (1971) and Linda Ronstadt (1993). A version by The Four Tops charted #11 in the UK in 1969.
Chart positions from Gavin Ryan's Melbourne chart book, and Tom Guest's Thirty Years of Hits 1960-1990: Melbourne Top 40 Research.
11 January 2012
The Morning Crew: Lutsy, Biggzy, Deaksy, Pricey, Galey, Inkie, Chappy, Labby, Abby, Snowy, Fitzi and Fitzy
18 February 2011
Their stories are long and fascinating, partly because they take us beyond Toowoomba, a regional city in Queensland, Australia. (I have lived there on and off since 1975.)
Peter Wright's 1967 single House of Bamboo, his own composition recorded for Festival in Sydney, is a cult classic, a 60s artefact that has persisted beyond the short burst of recognition upon its original release. Peter's career intersects with that of Chapter III, not least because his brother Kerry was a key member.
Chapter III's history takes an unexpected turn when we read that they worked in New Zealand, including a stint as regulars on TV's Clickety Click 66. At this stage they were still known as The Defenders, but they recorded in New Zealand as Hubb Kapp and The Wheels. (See Bruce Sergeants' page on the Wheels from a New Zealand perspective.)
Australians and New Zealanders are accustomed to stories about New Zealand artists decamping to Australia, in many cases to become big stars: think Dinah Lee, Max Merritt, The La De Das, Split Enz... But here was an Aussie act that reversed that trend. Intriguing, huh?
Read the full stories at Jeff's site.
20 September 2010
5KA was an AM station in Adelaide (population then around 800,000), the capital city of South Australia. It eventually went to FM as KAFM, now Triple M Adelaide.
The mp3s were available for a while at the now defunct 5KA Reunion site (2001), along with dozens of other 5KA sound files from the 1950s to the 1990s.1
An archived version of 5KA Reunion can be seen at Pandora, the Australian web archive. If you go here you will be redirected to the exact page. Fortunately, the audio files are still accessible: it's a treasure trove!
It's a shame that we have no thriving aircheck2 sites in Australia. For the US there are many such sites, notably ReelRadio's Top 40 Depository where you can listen to hundreds of historic audio clips from all over the country (paid sub required). For the UK, for example, the Pirate Radio Hall of Fame has numerous airchecks from the pirate stations (including the voices of a surprising number of Australian deejays).
My tattered copy of the Australian Radio Almanac (c.1968), lists only Stuart Jay under 5KA. (The 5DN entry has details of eight announcers: maybe they paid up.) Mike Fewster, heard below on Breakfast at 5KA, is listed under 5KA's country affiliate 5RM in Renmark.
The 5KA Reunion site also had a page packed with jingles, including some from the 1960s created in the US by the PAMS organisation. Listeners to other stations around the world might recognise them, with the callsign of their local station substituted. I have posted one example from 5KA.
5KA 1968 - Mike Fewster [Breakfast].mp3
5KA 1968 - Jim Slade [Drive].mp3
5KA 1968 - Ian Sells [Night].mp3
5KA 1968 - Stuart Jay [Late Night].mp3
5KA 1968 - Lawrie Bruce [Midnight-Dawn].mp3
5KA jingle 1960s.mp3
1. At this YouTube page, Jim Slade recalls that the 1968 set of 5KA airchecks was prepared as a showcase for prospective advertisers. This explains the announcer who introduces each clip, but apart from that they do seem to be genuine recordings of on-air programs.
2. Aircheck: a recording of a radio broadcast (as opposed to a recording made for a broadcast). It can be, for example, a showcase for a professional broadcaster, or an unofficial recording made by a listener. Many CDs of artists of the past are taken from airchecks of live broadcasts. See, for example, the Wikipedia entry.
17 September 2010
Melbourne researcher, writer and musician David Johnston has just just published his book The Music Goes Round My Head, a history and commentary about Australian pop music 1964-1969.
Those dates pretty much coincide with my teenage years, so I guess I'm part of the core target audience, those who will easily spot the Easybeats reference in the title. David is also a friend of my site, PopArchives.com.au, and he has given me some nice leads from time to time.
(It was David who finally solved the mystery of The Bowery Boys' original song Just A Poor Boy, long misattributed to Graham Gouldman. I speculated about its writer credits for years; David just went ahead and contacted Kevin Godley, who checked with Gouldman. No more mystery: the story is here.)
Accustomed to having my research - even my words - circulated online without credit, I am full of admiration for David's scholarly approach. His work is properly footnoted, he sources his quotes, and he has cited me and my site in several places, something I find refreshing in this era of cut-and-paste.
So, having declared my slight connection with the author, I can go ahead and recommend this work, which covers just about every artist, famous or obscure, that you'll want to look up in the comprehensive index. (Blimey, even Horsham's Sonamatics get a guernsey!)
It's not all dry facts, as David has managed to get eyewitness accounts from many participants themselves. Quoting Garry Spry, David calls these first-hand sources "the horse's mouth", by contrast with the "the horse's arse". (I am mentioned amongst the latter, but I am in some distinguished company!)
David's commentary is also enriched by his own knowledge of music, a pay-off from his years as a musician. As a non-musician, I often struggle to find the right words to conjure up a song, but he doesn't seem to have this problem. We have both written about The Black Diamonds' See The Way, for example, but David's insights go beyond those of a mere fan like myself.
David has published The Music Goes Round My Head independently, in a limited edition of 1000, with half the proceeds going to Support Act, the charitable foundation for Australian musicians.
I hope, though, that it will eventually attract mainstream distribution, as it will become an indispensable source for this era in Australian pop music. If that happens, no redesign will be needed, as this is a professionally presented work, generously illustrated on every page.
In the meantime, you can order through RoundMyHead.com, 394 pages, $40:00 + handling. Highly recommended, obviously.
Listen to Red Symons and David Johnston chatting about "The Music Goes Round My Head" on 774 ABC Melbourne this week: link.
15 June 2010
This live performance of Barbara Lynn's 1964 single It's Better To Have It is from only a couple of years later, in February 1966, but it shows.
Barbara Lynn's vocal styling and the instrumental groove are pretty much as they were in '64, but the live version has added a soulful brass section in place of the poppier backing vocals of the single. The fresh influence of the Stax-Volt sound, by this time familiar on records by the likes of Otis Redding, is evident in this fine performance.
I don't know whether Barbara Lynn recorded the song again in this style, but she should have, because it fits the song like a glove, and a stylish glove at that.
Enjoy this clip while you can: last time around it was removed from YouTube, where it was coupled with a very cool version of Ray Charles's What'd I Say from the same TV soul show, THE!!!! BEAT, hosted by Nashville disc jockey Bill "Hoss" Allen (aka "Hossman"). See my earlier post.
1. THE!!!! BEAT appearances listed at The Video Beat! (Vols. 1 & 2: links to further volumes).
2. THE!!!! BEAT at Wikipedia.
3. Bill "Hoss" Allen at Wikipedia.
4. Mick Patrick's definitive account of Barbara Lynn at Cha Cha Charming.
5. Red Kelly's post on Barbara Lynn at The B Side.
11 September 2009
After my recent post about The Town & Country Brothers and Sandy, Sandy, their 1963 Only In Oz hit, I heard from Ted Daryll, a member of the group and the writer of Sandy, Sandy.
Ted sent me his definitive account of the group. Not only does it retell the full recording adventures of Ted with Chip Taylor and Greg Richards, but it opens a fascinating window into a music business that no longer exists in quite the same form.
Rather than summarising it, I am giving you the whole document, a PopArchives exclusive, with Ted's approval.
Read the full story by clicking here (pdf).
The Town & Country Brothers: Ted (left) - Chip (right). 1962 photo taken at Adelphi Recording, 1650 Broadway, NYC (Image: Ted Daryll)
17 July 2009
14. The Town & Country Brothers - Sandy, Sandy
Tahoe single (USA) #2534 ("Distributed by London Records, Inc.")
London single (Australia) #HL-2123
Later anthologised on GAB (Sony) CD Hard To Get Hits Vol. 3, 1994
Australian charts: #7 Sydney (Gavin Ryan) or #2 Sydney (The Book) #1 Brisbane #29 Adelaide #17 Perth
I have some answers for anyone who has wondered about the identity of US group The Town And Country Brothers. They had a hit with Sandy, Sandy in 1963, but only in Australia. [listen]
Update: See my follow-up post for the exclusive, full story of The Town & Country Brothers as told by Ted Daryll, composer of Sandy, Sandy.Let's start with Chip Taylor. Before he wrote Wild Thing, or Angel of the Morning or I Can't Let Go, that is to say, before he worked at 1650 Broadway writing songs for a long list of legends including Dusty Springfield, Baby Washington, and Evie Sands, and before he released his own singles including the original of Cliff Richard's On My Word...
Before that, back in the late 1950s, Chip Taylor and two friends formed a rockabilly-folkie-style trio called Wes Voight and the Town And Country Brothers.
This was also before Taylor changed his name from Wes Voight (and, of course, before his brother Jon, keeping the Voight, became a famous movie actor).
None of Chip Taylor's early singles was a hit in the US, not as Chip Taylor or Wes Voight, or with the Town & Country Brothers. In Australia, though, Sandy, Sandy did well and is remembered as a classic oldie by Aussies who were around then.
Sandy, Sandy was written by Ted Daryll (b. Teddy Meister), another member of the Town & Country Brothers.
The third member of the group was Greg Richards (b. Greg Gwardyak). Ted Daryll and Greg Richards also wrote together, notably She Cried, first recorded by Ted Daryll himself but later a hit for Jay & The Americans (1962, #5 USA).
Sandy Sandy was on Volume 3 of Glenn A. Baker's Hard To Get Hits CD series in 1994. At that stage (1994), Glenn was unable to give any background on The Town & Country Brothers, concluding that they had "eluded all pop scholars".
To read more on Chip Taylor, see Tony Wilkinson's Wes Voight-Chip Taylor page at Black Cat Rockabilly, Taylor's current label Train Wreck Records, and the entries at All Music Guide and Wikipedia.
The most detailed source, though, is the Spectropop interview with Chip Taylor by Norman Druker and Mick Patrick which starts way back, covers the obscurities as well as the hits, and brings it up to Taylor's later work in country music.
I've joined the dots between Sandy, Sandy, its writer Ted Darryl and his Town & Country Brothers bandmate Chip Taylor, but none of the above sources mentions Sandy, Sandy.
Town & Country Brothers - Sandy, Sandy.mp3
Thanks to Doug for asking about this one, and to Kees for further background.
10 June 2009
I left it out of my Only in Oz series, though, because it had already been given the full treatment by Glenn A. Baker in Hard To Get Hits, a CD series from the 1990s with a similar premise to Only in Oz. In fact, it was Baker, in his liner notes to Hard To Get Hits Vol. 1, who finally identified Thane Russal as Doug Gibbons.
Thane Russal's Security even inspired a 1976 dip o' the lid by Australian band Jo Jo Zep & The Falcons, their first single. This gave me an excuse to write about everything I've ever been able to find out about Russal/Gibbons and his Security, over here at the website.
I can't recall seeing a photo of Russal/Gibbons until I saw this New Musical Express ad from March 1966.
Thane Russal & Three - Security.mp3
Images: New Musical Express, 4 March 1966, p.5
25 May 2009
Lee (Leyden) was our next-door neighbour's younger brother, so we often saw him at the time he started at 3SH. I was about twelve or thirteen, and he was probably about seventeen or eighteen, a cheerful, friendly, energetic kind of bloke.
My friends and I sometimes called him "Uncle Lee" because if he was on in the afternoons he would do the kids' show, so he would have to sign on as Uncle Lee. We were half-smart, cheeky young lads, and he must have found us pretty annoying.
I was a radio nut: I used to stay up late picking up remote stations (they started to come in around sunset), and I would mark their locations on a map of Australia.
One Saturday I had a big length of aerial wire that I was trying to string up in the yard outside my window, but I couldn't get much height. Lee saw I was getting nowhere, so he grabbed the end of it and climbed up a tall pine tree, right to its skinny top so that he was swaying dangerously from side to side, and he tied my aerial up there. After that, I pulled in those after-sunset stations better than ever.
Two kinds of people: those who won't rest until they've solved the Whatever Happened To...? puzzle, and those who prefer to move on and stay pretty much in the present. I'm with the first group, who can't resist Googling old friends' names, or searching for them at FriendsReunited or Facebook.
Last week I was thinking about radio in the sixties, and about my aerial up the pine tree in the side garden. I wondered what had happened to Lee Haig, and I found him at the Herald-Sun's Tributes website. He died in Melbourne last October.
I was thinking: I'll write about him here, and anyone who ever Googles "lee haig" + 3sh or 3ul will easily find this page.
09 May 2009
And yes, there is a photo of Bob at a broadcast from a country ball: see also the radio memoirs of Frank Avis and John Pearce for anecdotes about this country radio staple.
28 April 2009
I've just found another entertaining account of a country dance broadcast, this time from Frank Avis in The Ball Broadcast, recalling his time at 2LF Young in the mid-1950s. Avis, best known as a radio newsman, is publishing his memoirs as a blog at FrankAvis.com.
Frank Avis started in radio at 2MG Mudgee, and his latest post (15 February) takes his career up to 2DAY-FM Sydney in the 80s and 90s. Along the way, he's worked at 2LF Young, 3BO Bendigo, 7HO Hobart, 3UZ, 3XY, 3AK and 3DB Melbourne, 6PR Perth, 3MP Mornington Peninsula, and 2GB and 2MMM-FM Sydney.
Frank arrived at 3BO not long after the young John Laws left, and he tells a couple of good yarns about Laws's time at the station.
Great stories from a radio insider: highly recommended.