Parade PRC 5052 Italy 10 Jan 1968
For many years I’ve been a huge fan of those dark Italian cinematic soundtracks from the 60’s and 70’s, but If I had to specify a period in my life where it all started, I have to honestly say it was way back in my childhood. Growing up in the 70’s, occasionally those great spaghetti westerns were screened on the TV, if very late, on a Saturday night. And while I was most of the time permitted to sit alongside and experience these great films with my papa, I somehow doubt I would have lasted the distance at that time of night. However the dramatic opening titles definitely pulled me in, and they stuck and still are quite memorable for me today. The Good, The Bad And The Ugly was one of those films, and it so happened that my papa also owned the picture sleeve 45 (the Hugo Montenegro version) which I would play over and over.
But it wasn’t until many years later, as I was growing up and started to dig deeper into the heart and soul of music, did I start realising the great names and achievements of these composers. Nino Rota, Armando Trovajoli, Piero Umiliani, Piero Piccioni…these and many more were true masters of the genre. But there is no argument that it is Ennio Morricone who is the ruler of the castle, who stands tallest without a doubt, on that high cinematic mountain.
One of Morricone’s strongest elements of his work has to be depth and atmosphere, and in the 60’s, there was a plenty of it. Many of his compositions and film scores were immersed with very deep, haunting and many times sensual flavours. Moody female vocals would be key, and were often used as background instruments rather than lyrically. Now while this Morricone sound is famous today, and those vocals are such an important and recognisable ingredient, it’s still difficult to find out a real lot about these incredible singers, as is the case with Christy (and also Edda Dell’Orso from previous post). Luckily I have a few friends who are big fans (such as Brendan Young aka dj Diabolik) who have been able to give me a few leads to follow.
Maria Cristina Brancucci was born in Rome on April 20, 1940. In 1966 Morricone took her into the recording studio to lay down some vocal tracks for Sergio Sollima’s feature La Resa Dei Conti. It was a big spaghetti western that deserved a big opening title track, which she provided so appropriately with Run Man Run. The film falls under the subgenre called Zapata Westerns (spaghetti westerns with some political context usually concerning the Mexican revolution) and was co-written by long time Sergio Leone collaborator Sergio Donati. With Tomás Milián who plays Cuchillo and bounty hunter Jonathan Corbett, who is played by Lee Van Cleef, it is today considered as one of the best Italian Westerns ever made due to its tightly directed staged scenes and genius score. The English release, The Big Gundown, would also provide an alternate English version of “Run”, but I definitely lean more towards the more pure Italian version.
In 1967, Christy calibrated with Morricone for the spy spoof OK Connery (re-titled Operation Kid Brother for the US). The plot involves an evil criminal named Thanato, who is bent on taking over the world, using a magnetic wave generator that will cause all metal-based machinery to grind to a halt. However, the secret agent normally assigned to such tasks isn’t available, so they engage his civilian brother, Neil, who is a world class plastic surgeon, hypnotist, and lip reader, which turn out to be precisely the skills required for thwarting Thanatos. Sean Connery’s brother Neil, actually plays the role of the surgeon, and the film includes a bunch of familiar bond faces including Bernard Lee, the original M from the Bond series, and the original Moneypenny, Lois Maxwell. Former Miss Rome and Miss World 1960 runner up Daniela Bianchi, is also starring in the wild romp and she sizzles just as you would hope and expect from an Italian beauty queen!
In 1968 Christy would be called upon again for another western, Tepepa (also known as Long Live the Revolution and Blood and Guns), this time directed by Giulio Petroni. The film stars Tomas Milian as the Mexican revolutionary leader, Jesus Maria Moran a.k.a. Tepepa, and in opposing roles, Orson Welles as Colonel Cascorro, and John Steiner as Doctor Henry Price, who saves Tepepa from the firing squad in order to exact personal revenge for the death of his fiancée. Christy provides the fitting dramatic Al Messico Che Vorrei, again with Morricone at the wheel.
In the late sixties, Christy’s 7″ release Deep Down was recorded for Mario Bava’s diabolical Danger: Diabolik masterpiece. If you happen to be a fan of pop mod spy action films, then this is your movie! It’s bizarre Italian cult cinema at it’s best, and needless to say, it’s legendary with Italian genre film buffs. But even before the 1968 cinematic hero existed, the myth was well and truly alive in the form of a long running controversial pocket sized publication entitled Diabolik. It was created by former secretary, editor and model Angela Giussani, who founded the Astorina publishing house, a company that was limited to board and Western card games. Angela really studied the market and concluded that many commuters liked to read mystery novels. She imagined a magazine commuters could read during their trips, that was entertaining yet intriguing, with breathtaking action.
Inspired by Marcel Allain and Pierre Souvestre’s Fantomas, Angela and her younger sister Luciana, who had now started working with her, came up with the handsome masked criminal, who would be seen really as an anti-hero for grown-ups of both sexes. The first issue had a dark yet vibrant cover of a masked man in the background and a woman screaming in the foreground, with the subtitle “Il fumetto del brivido” (The comic book of terror). This really highlighted that the publication was aimed at an audience of grown-ups, who likely preferred noir novels, something rather unique for those times when comics were considered as light entertainment for kids. Luciana collaborated with her on the series’ stories starting from issue #13, and the exciting adventures evolved. Diabolik was soon a successful working man’s super hero which has sold more than 150 million copies since he made his first appearance.
In the Dino De Laurentiis produced feature film, John Phillip Law plays the “master sports car racer, master skin diver, master lover”, Diabolik, and the stunning Austrian Marisa Mell plays his girlfriend Eva Kant. The movie is a real trip. It’s got that great 60’s vibrant Technicolour palette, over the top action and charismatic characters, and like its De Laurentiis companion Barbarella, it’s damn sexy! (1*)
So the plot in a nut shell is. After an armored car leaves the bank with ten-million dollars, Diabolik manages to attack and steal the money, escaping with his partner. He heads back to his secret underground electronic hideout where he decides to steal the famous Aksand emerald necklace for Eva’s birthday from the Saint Just Castle. He out smarts the law, as he has done so many times before, and succeeds, but gangster Ralph Valmont finds a way to kidnap Eva and holds her up for ransom. With the ten million dollars and emerald necklace for trade, Diabolik sets off to the rescue. Eva makes her escape and Diabolik kills Valmont, but this time he is trapped and faces a shiny gold plated death. The police find Diabolik and proclaim him dead, but soon it is revealed that he has in fact faked his death through a technique taught to him by Tibetan lamas. He returns to life, however if he does not get the antidote within 12 hours, he will die. I think I’ll leave it there and keep you all hanging, so you can go out and find a copy to see how it all unfolds for the anti hero.
The film is typical of a De Laurentiis production, and while some just can’t see the beauty in this genre, tagging it as camp and cheese, I seriously love this kind of film making. For me everything works as it only could have, in that late sixties era of cinema history. And when the psychedelic spiraling open titles kick in, again we have the great Christy-Morricone collaboration with Deep Down. This time, as opposed to her previous more expressive soundtrack recordings, Christy is far more subtle with her approach. It’s actually very sensual and her vocals riding nicely up alongside the distorted whaling guitar that brands the composition. Don’t get me wrong, she stills sings with her gusto and passion, but this time it’s the whispery voice that really draws you in here. The genius of Morricone shines in this perfect collaboration. Some may find this surprising, but this Parade 1968 single featured, is the only vinyl to be officially released from this infamous underground cult film. The word on the street is that all masters and recordings of Morricone’s work for the film were destroyed in a studio fire. An “unofficial” soundtrack on Sycodelic in 2001 was released but it is believed that these recordings may have been ripped from a laser disc edition of the film, as some sound effects and dialogue are evident throughout. What you will find on this release are 3 alternate versions of Deep Down performed by Edda Dell’Orso (featured on my last post) and the incredible psychedelic Valmont’s Go Go Pad and Underwater Wah-Wa. Crazy fabulous stuff! This featured isolated Diabolik single is flipped with the unconnected Amore Amore Amore, which was produced by Piero Piccioni for Alberto Sordi’s 1967 film Un italiano in America.
Deep Down is such a great little 7″ and a bit of a shining gem in my collection, obviously because it’s an important piece of Diabolik history, but also because I just love this song so, so, so very much. It’s not too difficult to find and it plays nicely for those early cocktail sets. Deep Down was recently covered by Mike Patton on his Mondo Cane Lp, and there’s some great clips online, in particularly the live footage at the Holland Festival in Amsterdam, you may want to search. Whether fans agree if Patton gives the song it’s deserved justice or not, I don’t know, But I have to say, once those horns kick in on that live version, the hairs do rise!
In the late 60s Christy recorded more pop songs (including a great version of Quando Quando Quando) and ended up a popular Italian TV variety artist for a number of years. Today she’s now a well known voice actor, who dubbed Barbara Streisand’s voice for the Italian version of Funny Girl, and has worked on countless animated films including The Princess and the Frog, Anastasia, Bambi, Beauty and the Beast, The Three Musketeers and The Lion King 3.
(1*) The release of Barbarella and Danger: Diabolik lead to a minor trend of adaptations of comic strips that emphasized mild sado-masochism and late 1960s fetish gear. These films were followed up with Piero Vivarelli’s Satanik (1968), Bruno Corbucci’s Isabella, duchessa dei diavoli (1969) and Corrado Farina’s Baba Yaga (1973) which had a Piero Umiliani soundtrack.
Black and white photo. Angela and Luciana Giussani, the creators of the comic book Diabolik, in their studio, 27th September 1966 (photo credit unknown).
Danger: Diabolik! Trailer
Recommended reading… Anna Battista’s irenebrination
Well for this post it was actually not too difficult to find some strong reference and facts (which is a nice change), for this featured artist who is the dazzling Wanda Jackson. The difficulty this time was instead, trying to chose which 7″ to feature, as she has just so many that thrill me! I’ve decided to go with the glorious Japanese picture covered dancer Fujiyama Mama.
Wanda Lavonne Jackson was born on October 20, 1937, to Tom Robert Jackson and Nellie Vera Jackson, in Maud, a small town on the outskirts of Oklahoma City. Her father, who himself was a country singer, moved the family to Bakersfield, California in 1941, in hopes of a better life, by escaping the poverty created by the Dust Bowl during the Great Depression. He was also a guitar player and a fiddle player, but in a time of deep and sad depressing surrounds, once little baby Wanda came along, he couldn’t continue with his music.
Wanda’s father noticed that his little young Wanda showed an interest in music, so he bought his only child that first musical instrument. Wanda recalls to Craig Morrison in the book Rockabilly The Twang Heard ‘Round The World, “When I was about six, he bought me a little guitar – it had the Uncle Sam hat on it because it was wartime. He put it in my hands and eventually I could reach around and he started teaching me chords”. He gave her lessons, taught her plenty of Jimmie Rodgers songs, and encouraged her to play piano, and in addition, he took her to see such acts as Tex Williams, Spade Cooley, and Bob Wills, which left a lasting impression on her impressionable young mind.
Tom moved the family back to Oklahoma City when his daughter was 12 years old. In 1952, she won a local talent contest and was given the prize of her very own 15 minute daily show on KLPR. The program soon after extended her spot to 30 minutes, which lasted throughout Jackson’s high school years. It was through this radio exposure that Jackson was discovered by country star Hank Thompson, who invited her to sing with his band, the Brazos Valley Boys. She began performing with them on weekends.
In 1954, she recorded the single You Can’t Have My Love, a duet with bandleader Billy Gray, which hit No. 8 on the country charts. Thompson tried to get her signed with Capitol Records, but Ken Nelson, a company producer, said “Girls don’t sell records,” so Jackson signed with Decca instead, recording a good batch of singles for the label between 1954 to 1956.
Jackson insisted on finishing high school before hitting the road, and when she did, her father became her road manager and traveled by her side. While her mother stayed back and continued to work, somehow on top of that, she found time to make and help design Wanda’s stage outfits. “I was the first one to put some glamour in the country music…fringe dresses, high heels, long earrings,” Jackson said of these outfits. When she first toured in 1955 and 1956, she was placed on the Ozark Jubilee tour that featured many up and coming acts including Elvis Presley. The two hit it off almost immediately and actually dated for a brief time. Jackson said it was Presley, along with her father, who influenced and encouraged her to sing rockabilly.
In 1956, Jackson finally signed with Capitol, and one of her first 45’s has one of my favourite rockabilly B-sides Hot Dog! That Made Him Mad. It’s a cracker! The next year Jackson cut the rockabilly hit Fujiyama Mama, penned by Earl Burrows. Jackson told country music expert Rich Kienzle that she first became aware of the inflammatory tune when she heard R&B artist Annisteen Allen‘s 1954 version playing on a juke box when she was still in school in 1955. Jackson recalls that she “just flipped over it.” Burrows’ lyrics demonstrate that the bombings in Japan a decade earlier, were still viewed as being an impressive display of American might, without any consideration given to the moral implications of the devastating destruction which was unleashed onto the enemy. It is only now that I’m featuring this song (this Japan pressing comes with the lyrics…if you’re lucky) and as I read the lines, do I wonder how this song could have been taken so lightly, and how would it go down today. Sensitivity versus tongue in cheek. In the end, it’s really just a damn good dance floor country stomper, with some very fiery vocals, sexy attitude and flammable one liners.
I drink a quart of sake, smoke dynamite!
I chase it with tobbacy and then shoot out the lights!
Well you can talk about me, say that I’m mean!
I’ll blow your head off baby with nitroglycerine!
Well you can say I’m crazy, so deaf and dumb!
But I can cause destruction just like the atom bomb!
‘Cause I’m a Fujiyama Mama
And I’m just about to blow my top!
And when I start erupting,
Ain’t nobody gonna make me stop!
Ironically, the song was a major hit in Japan and Jackson was treated like a dignitary when she toured there briefly in 1959. There are a few other versions of Fujiyama Mama that are totally enjoyable, one in particular released just after Allen’s version in 1955, by the very cutesy Eileen Barton, that has absolutely nothing wrong with it at all! For a punkish version, check Pearl Harbour‘s spin from 1981, and for something quite cheeky and off beat, go to Petty Booka‘s take, released in 1996, which sadly isn’t available on a 7″.
Jackson’s relationship with Capitol lasted until the early ’70s and in that time she released some “must have” 7 inches. Hot ones that I would suggest you add to your collection (as if you don’t already have them) are… the 1961 release Funnel of Love, B side to Jackson’s major country-pop single Right Or Wrong, the remarkable and favourite popcorn number Whirlpool from 1962, and the Elvis cover Hard Headed Woman which you can find on a french and Aussie 45 if you dig deep enough (likely pressed 1961). Another popular cut would be Let’s Have a Party, yet another Elvis cut, which was a U.S. Top 40 pop hit for her in 1960, after which she began calling her band the Party Timers. There’s also the fiery, violent My Big Iron Skillet from ’69, which humorously (perhaps) threatened death or assault for cheating on a spouse, made her a top 20 hit!
Jackson’s popularity bounced back and forth between country and rockabilly; she did this by often putting one song in each style on either side of a single. This is certainly the case with the flip of Fujiyama, which has the slow country ditty No Wedding Bells For Joe. As rockabilly declined in popularity in the mid-1960s, she moved to a successful career in mainstream country music with a string of hits between 1966 and 1973, including Tears Will Be the Chaser for Your Wine, A Woman Lives for Love and Fancy Satin Pillows.
Wanda was a big attraction in Las Vegas from the mid ’50’s into the ’70s, and toured regularly, and in fact still does. She married IBM supervisor Wendell Goodman in 1961, and instead of quitting the business, as many women singers had done at the time, Goodman, like a good man, instead gave up his job in order to manage his wife’s career. Jackson followed Kitty Wells‘ lead as only the second country female vocalist to have her own syndicated television show, Music Village, from 1967 to ’68.
Obviously I’ve only touched here, on the talent and the star quality that is Wanda Jackson. Don’t be surprised if she turns up here again with another smokin’ 7″, cause as I said, she was packin’ them!
In 2009, Wanda Lavonne Jackson was inducted into the Rock and Roll Hall of Fame.
References and interests…
Rockabilly – The Twang Heard ‘Round The World – published 2011, Voyageur Press.
Express Compact ETP-4277 Japan 1970
Track 2 – A1 Yoru Ga Aketara
Maki Asakawa was a born in Ishikawa Prefecture, January 27, 1942. After graduating high school she worked as a civil servant for a short time before moving to Tokyo to pursue a far more inspirational career in music. She started by playing at United States military bases and cabarets, where she refined her style, which she says was largely influenced by Blues queens such as Billie Holiday and Mahalia Jackson.
In 1967 Asakawa made her debut recording, releasing Tokyo Banka with B side Amen Jiro on Victor. In 1968, Asakawa got her big break when she appeared for three days running at the Shinjuku underground theater known as Sasoriza, a project of underground playwright Shuji Terayama. She soon signed with Toshiba, and by the next year had released the very, VERY cool and slick Yo ga aketara (At the Break of Dawn) and Kamome (Gull) on Toshiba’s subsidiary Express label.
1970 saw this featured Asakawa release, which has as the B2 track, Chicchana Toki Kara. This wonderful, yet not easy to find EP, has to be my favourite from Maki, with it’s big beat drive, high energy horns and cinematic production. Every time I play this I get comments as to how hasn’t Tarantino used this track for one of his movies. It’s 70’s sex, has a good amount of sting, and would be the ideal punch for a strong femme fatale introduction. And having the slow swinging Yo Ga Aketara as the opening track makes this 7″ a real delight (that distant train at the end…I mean really, what a way to see out such a cool track). Just the thought of seeing this performed in a dark underground club of Tokyo by Maki and that time just does my head in. The smoke, the black, the neons and the distant traffic outside…not too difficult to visualize. But this wasn’t just a time for Asakawa’s musical exploration.
In 1971, Asakawa made her big screen debut when she played the stairway prostitute in Shuji Terayama’s experimental Throw Away Your Books, Rally in the Streets. It was the first film for poet-playwright Terayama, and it was about an angst-ridden teen who hits the streets after dealing with his dysfunctional family. This hard to find movie has a strong underground following due to it’s non-linear Avant-Garde vision and amazing pre-punk psychedelic soundtrack. Asakawa’s recording of Nemuru No ga kowai is included amongst the tracks, and can also be found on her 1971 Maki II album, which by the way also include covers of Gin House Blues and The House Of The Rising Sun. That great LP also happens to include the incredible psychedelic Govinda (there should be a link below)…such a stand out Asakawa composition! The next year in ’72, Asakawa would release Blue Spirit Blues, and again here her voice somehow feels so right within the warm minor chords.
In 1973 Asakawa would this time hit the small screen on the dark Japanese TV Series Kyôfu Gekijô Umbalance. From what I can put together, she appeared in season 1 episode 7, and I’m almost certain the link below is the clip from that episode, where she plays herself singing Yo Ga Aketara, on a cinema screen in a dark seedy theater, and with the dark seedy characters to match.
Over the next 30 or so years, Asakawa recorded quite a lot of records, but it wasn’t all dark moody blues and folk jazz. I discovered the Catnap album through a favourite blog, Interstellar Medium – Foriegn Lavish Sounds, which you should hit up, for a far more detailed look into the great album. Released in 1982, it’s a colourful, bold yet smooth collision of electronic jazz funk post punk plus, and for myself, it was so exciting to discover this side of Asakawa. The opening track Kurai Me Wo Shita Joyuu and also Shinkyoku B are real high lights, if I was forced to choose. This album holds up to quite high to today’s very standard standards in my opinion.
As Maki Asakwa grew older, she never stopped performing live. Just before an appearance on January 15-17, 2010 where she had a concert in Nagoya, she died of heart failure before the show could go on. She was 67.
References and inspirations…
Ambush (Side 2 Track 2)
I only just recently stumbled across this gem in a box of random rough 45’s in my favourite local record store, but somehow, I just knew there was going to be a little “something special” about it, so I grabbed it. When I got home, I polished it up, flicked the switch to 45 and placed the needle down. Yeah, it was alright, straight country beat…but as track 2 on 2 started up, a feeling inside told me to turn up the volume…and that something special was certainly affirmed! I had to find out more about Miss Dallas!
So I start to dig around for some history lessons on who I thought was certainly a Nashville singer, but to my surprise, I find out that she is in fact currently living here in the north of Australia, in Queensland. But that wasn’t the only surprise…she was actually born and breed in New Zealand!
And once again, I find that not a lot of information can be found on her, but I wil try and gather what I can, mash it all together, with hopefully some facts here and there.
Marina Devcich was born to a Croatian family, on April 14th 1946, in the provincial town of Morrinsville (in the Waikato region of New Zealand’s North Island) and was the second youngest of twelve children. She was gifted with a distinctive voice which you seriously could compare to say, Wanda Jackson, with a stir of Brenda Lee.
In 1964, Marina (who was a hairdresser at that time) and Isabel Leigh won a Johnny Cooper talent quest in Morrinsville. Further solo performances with the Lew Manson Band around the Waikato area followed. One night in 1965, she was booked to appear in a Morrinsville hotel with Howard Morrison (who started up the very popular Howard Morrison Quartet with guitarist Gerry Merito) and Auckland bandleader Mike Perjanik (who formed The Mike Perjanik Band after departing The Embers, and would go on produce the “sound” for the NZ beat girls The Chicks, write hits for Dinah Lee and arrange for Ray Colombus).
Perjanik went straight back to Auckland to tell Viking Records’ chief Ron Dalton that he’d found his next star in the Waikato. Dalton decided to rename her Maria Dallas, and almost overnight the girl with the power packed voice found herself in an Auckland professional recording studio.
In ’66, Viking released a bunch of 7’s for Dallas including an EP titled Queen of the House (VE 224), which included a very oddly produced version of How Does That Grab You Darlin’, with very kooky keyboard backing. But it was her recording of Jay Epae’s Tumblin’ Down, that would bring her success! It in fact became a massive hit and it would be Maria’s signature tune. The song made it to number 11 on the national charts and was entered into the Loxene Golden Disc Awards, where it took first place!
Tumblin’ does have a catchy pop quality to it, and it has grown on me. It is also included on this EP, but it certainly isn’t the star on this spinner as far as I’m concerned. That title goes to…well…the infectious title track…Ambush! With it’s big kick start, instantly we have fuzz guitar, searing keyboards, and killer cool backing vocals. And who doesn’t love a song that starts straight into it’s punchy chorus?! This track has got a lot of sass to it…that kinda Ann Margaret sass (well I think it does), and it’s relentlessness makes it a good dance floor shaker! And it looks like it made it to number 12 in Oz, in October of 1967!
Viking churned out six albums during 1966 and 1967, and a similar number of singles. None of the singles fared as well as Tumblin’, and despite it’s success, Maria never felt at home as a pop singer, so she would return to her country music roots. She moved to Australia in late ’67, before venturing off to Nashville where she recorded in the famous RCA Victor Studios with producer Felton Jarvis (who was working with Elvis at this period and almost until his death) and also with Chet Atkins.
Although singles were still released during her absence, New Zealanders had almost forgotten about her until she returned in 1970 with a song called Pinocchio, which went all the way to number 1 on the national charts. Viking capitalised by releasing another album in 1971 and a follow up in 1972, but Maria wasn’t able to reproduce her success after that. She would also release a few more singles on the Kontact label, in ’73, ’75 and even up to ’81.
Maria married an Australian an has lived here for many years. I would love to hear from anyone who knows how she’s doing!
Referencing sites and related links…
Janis Darlene Martin was born in Southerland, Virginia, just east of Danville, on March 27, 1940. With a stage mum on one side and a father and uncle who were musicians on the other, surely it was inevitable that her destiny was laid out as a musical performer.
By the age of six, the little lady had mastered basic chords on the guitar and began singing, and although the young Janis may have been small, she packed a voice that was loud and strong. At eight, she entered her first talent contest and scored a proud second place. For the next two years, she entered eleven contests over a three-state area, winning first place in each one…and one those talent shows had over 200 contestants that took four days of elimination.
By 11, Martin was playing and singing as a member of the WDVA Barndance in Danville, Virginia. From the barndance, she traveled with Glen Thompson’s band for two years and then went on the road with Jim Eanes, a former Starday recording artist.
In 1953, the teenager appeared at a Tobacco Festival with Ernest Tubb and Sunshine Sue. As a result of this appearance, Martin was invited to become a regular member of the Old Dominion Barndance in Richmond, Virginia.
At that time, that stage show was the third largest in the nation, and included such stars as Jean Shepherd, Hawkshaw Hawkins, Sonny James, Martha Carson, and the renowned Carter Sisters who encouraged Martin to try for the “big time”. With two years of travels with the show, Martin would not only gain valuable show business experience, but also the realization that she now only lived for one thing – entertaining people.
Two staff announcers at WRVA (the station that carried the barndance over the CBS network) were successful songwriters and wrote a song called Will You, Willyum (this was just at the birth of the fifties rockabilly music explosion). They asked Janis to sing it on the barndance for audience reaction, and also cut a demo tape of it which they passed on to their publisher in New York. When the demo tape arrived at Tannen Music in New York, the publisher not only accepted the song but rushed over to Steve Sholes of RCA Victor, so he could hear it. Sholes wanted to know who the vocalist was on the tape and called Richmond to find out. Janis was contacted and invited to Nashville to record the song on Victor Records.
So, at the age of fifteen, she became a recording artist, and that release would end up being her biggest career hit, selling a massive 750.000 copies! To add to that, on the flip Drugstore Rock And Roll, a song that Janis wrote herself, which you could easily say is her most well known song and is probably the most played in the current scene.
Now this was must have been all very exciting for Martin, who although was still relatively very young, had already felt really bored with the slow mainstream country songs she had be singing in the past. She’d already had the spell of R&B over whelm her even as a younger girl, but at that time in the fifties, she would found it difficult to follow that path, being a white girl.
In a interview with Bobby Tremble, Martin would remember…”I would go up the road…there was a black church right up above my house…my little cousins wanted to play on Sundays and I would want to go up and lay in the weeds and listen to them sing”. She goes on to say…”It was that soul, it was that rhythm….and when I heard it…I said that is my music”. Martin and accompaniment were determined to find a new sound however, so they combined what you would then call hillbilly music with rhythm and blues…and this was all part of the birth of rockabilly music…which would grow like a beast and change many lives.
But Martin recalls just how tough it was for those first ladies, who were breaking out into this new crossover wave, which would include Wanda, Brenda Lee and of course Charline Arthur (who was the first female singer in country music to perform in pants, and she supposedly used the extra freedom to prowl the stage). There was some nasty slander coming from some of the men at the time, accusing Martin of being spawned from the devil, but the barefooted ponytail teen would not let that get in the way!
This was all happening at the time when Elvis Presley was the biggest rock singer in the country, who also happened to record for RCA Victor. Presley and RCA were so impressed with Janis’ delivery of a song, that Janis was given permission to use the title of “the Female Elvis Presley.”
But some of the publicity rebounded for Janis as fans felt she was hooking her style as a means of exploitation. And although they both used the same session musicians and shared the same country-R&B interests, Martin never saw the Memphis Flash perform until he made it to national television. By that time she had independently developed her own amazingly similar performing style which was well established and locked down. Additionally, she only met Elvis twice, both times very briefly, with hardly a word exchanged. The two found themselves converging on a similar point.
There was a 10″ Ep release titled Janis And Elvis (RCA-T31,077) which included 4 tracks from Martin as well as 4 tracks from the King himself, however it seems it was was pulled only 2 days on the market! And all because Elvis’ manager, Colonel Tom Parker didn’t want Janis’ name printed in front of Elvis’ name! Of course this record is worth a heap!
Eventually Martin was not only accepted, but would be in constant demand for TV, radio and stage appearances all over the US, and would appear on the Tonight Show, American Bandstand and Ozark Jubilee. She did her first road tour with Hank Snow and went on other tours with many greats including Johnny Cash and Carl Perkins.
Martin was voted the Most Promising Female Artist of 1956 at the annual disc jockey convention and received the Billboard Magazine award on plaque. With much success behind her, she formed her own band called Janis Martin and the Marteens and began her travels in the U.S. and Canada, playing clubs and fairs. Apparently she also did a screen test for MGM, but not sure that pretty face made it on film…which would be a damn pity!
In 1957, she was chosen by RCA to become a regular member of the Jim Reeves show and traveled with him exclusively. The show went overseas to entertain the armed forces in Europe. On returning to the States, Janis appeared on the Today Show with Dave Garroway to tell of their experiences and to sing her latest record, My Boy Elvis. After this show, she was invited to appear at the Grand Old Opry.
The next year Janis and Her Boyfriends released this little beauty, Bang Bang. It’s credited to Clavelle Isnard, someone I can’t seem to find out too much about, other than he co wrote some tracks with Jimmy Holland…but never the less…this has to be my Janis Martin pick! Martin also loved this tune, as noted by Stephanie P. Lewin-Lane on her 2012 Sweet Nothings thesis…”I loved it because it moved. Bang Bang Bangitty Bang Bang…(laughing)…kinda vulgar for the ’50’s, ya know? Hidden messages and all of that, but I mean I liked the song, I didn’t think about the words then, I just liked the tempo, the tune of it, how it moved…” It certainly does move Miss Martin!
Everything seemed to be going well for Martin, well until 1958, when it was discovered that the teen had been secretly married to Tommy Cundiff, since 1956. Martin met the singer who was about six years older, when she was only 11 (they both played on the same show on WBTM), and the two started dating when she was 13. He would soon join the paratroopers but before being shipped out to Germany, he wanted to marry Martin and showed her a diamond ring. The two eloped when Martin was only 15…they married on January the 2nd of 1956. Martin actually didn’t record for RCA until March the 8th of 1956, so she didn’t tell the record company, nor did she mention it to her parents until about 3 months later. Tommy was off overseas only 8 days after their marriage and Martin wouldn’t get to see him for another fourteen months or so.
Martin was on the USO tour in March/ April of 1957 and meet up with her husband in Frankfurt, who was able to get a 30 day leave so they could spend some time together. As a consequence from their a romantic interlude, Martin fell pregnant. The record executives were furious with Martin when they had finally found out about this, saying she had destroyed the innocent teenage image they worked so hard to sell her on…and was dropped by the label in short order. A pregnant teen they believed, would not be to good for marketing, especially upon learning that this innocent cute girl got hitched at 15.
For all of her early success, Martin was never able to sustain a rock & roll career, mostly because of her gender and the changing times. Her stage moves and lusty delivery appeared unseemly (or so people said, especially on the country circuit) in a girl, once the initial furor and enthusiasm for rock & roll quieted down. Her record company and management wanted her to keep pushing rockabilly in her stage act, while promoters doing the bookings preferred that she do straight country, and Martin found herself caught between conflicting currents.
Martin tried to keep a music career going and was courted by both King Records and Decca Records before signing with a Belgian-owned label called Palette, for which she cut four sides in 1960. She was on her second marriage by then, and husband number two (whom she later divorced) didn’t take well to her popular stage career, and persuaded her to leave show businesses.
But by the seventies, Janis had had enough of being the “ordinary” little housewife and cook, and really missed the adoration that she once got from her fans. So she formed a new band…Janis and the Variations, which included her husband on drums. The band did become fairly successful in that they had constant work playing 3 state areas every weekend. However hubby wasn’t liking the journey as much as Martin, claiming it was interfering with their marriage. In 1973, he mistakenly gave her the ultimatum again, their marriage or the band! But this time…about 13 years after that first time he made such a statement, Janis gladly chose her music. Her son, who had been playing drums since the age of 7, gladly took the vacant spot and they would go on to tour Europe, where she encountered strikingly enthusiastic audiences, ready to embrace her as though it were still 1958. The band continued ’til 1982.
Martin passed away on September 3, 2007, after being diagnosed with terminal cancer which had spread all over her body. She had been suffering from severe headaches over the past several months so she found it necessary to cancel her recent booking at the Americana Festival in England. The headaches turned out to be stress related from all the grief she had to endure from losing her son Kevin who passed away in January that year.
She may have had a short career in recording music, but it was so fantastic, and so very important, as without a doubt she paved the way for future women rock singers!
1956 – Drugstore Rock And Roll / Will You, Willyum RCA VICTOR 47-6491 35
Ooby-Dooby / One More Year To Go RCA VICTOR 47-6560
My Boy Elvis / Little Bit RCA VICTOR 47-6652
Barefoot Baby / Let’s Elope Baby RCA VICTOR 47-6744
1957 – Two Long Years / Love Me To Pieces RCA VICTOR 47-6832
Love And Kisses / I’ll Never Be Free RCA VICTOR 47-6983
All Right Baby / Billy Boy, Billy Boy RCA VICTOR 47-7104
1958 – Cracker Jack / Good Love RCA VICTOR 47-7184
Bang Bang / Please Be My Love RCA VICTOR 47-7318
1960 – Hard Times Ahead / Here Today And Gone Tomorrow PALETTE PZ 5058
1961 – Teen Street / Cry Guitar PALETTE PZ 5071
1977 – I’m Movin’ On / Beggin’ To You BIG DUTCH 2085
Rockin’ All Over The World / Live And Let Live BIG DUTCH 2086
1956 – Let’s Elope Baby/ Barefoot Baby
All I Can Do Is Cry/ St. James Infirmary RCA Victor (N.J.) DJ-38
1957 – Love Me To Pieces/ Two Long Years
Calypso Sweetheart/ Marriage And Divorce RCA Victor (N.J.) DJ-76
Just Squeeze Me (But Don’t Squeeze Me)/ My Confession
I Don’t Hurt Anymore/ Half Loved RCA Victor (N.J.) EPA-4093 [mono]
1978 – THE FEMALE ELVIS WITH THE JORDANAIRES : THE UNISSUED
William / Love Me Cha Cha / Love Me Love / Blues Keep Calling DOG GONE EP 81677
1959 – Janis And Elvis RCA T 31.077 (South African only)
Referencing and recommendations!
Stephanie P. Lewin-Lane Sweet Nothings
Cat Tales #20
Janis Martin Kickstarter
History of rock
Interview with Bobby Tremble
Track 1 – Harley Davidson Track 2 – Contact
Brigitte Anne-Marie Bardot was born in Paris on 28 September 1934. Daughter to a very strict homemaker mother, Anne-Marie “Toty” Bardot and a wealthy industrialist Louis Bardot, she grew up in a middle-class Roman Catholic observant home, with her younger sister, Marie-Jeanne.
It was particularly tough for the young girls growing up with incredibly harsh, stringent parents. At one point in her young life, after an innocent playful incident, which lead to an accidental breakage of an expensive Chinese lamp, Brigitte was told by her parents, they would from that day on, disown her as a daughter, as she was to address them only in a formal way, as a stranger would. This alienated her for the rest of her life. Inwardly, Brigitte dreamed of escaping her rigid monitored world….and she would hunger for that missing love.
Her socially ambitious mother pushed her daughters to do well not only at school, but also at ballet. Brigitte had an adoration towards for dance, and progressed particularly well, however her younger sister, Marie-Jeanne didn’t share that passion, and eventually gave up the lessons and did not tell her mother. Brigitte worked hard with determined concentration, and in 1947, was accepted to the Conservatoire de Paris.
Gifted with ridiculous amounts of beauty, the young starlet was noticed during her ballet studies at 14, and was approached with offers of modelling, a direction her mother encouraged her daughter to follow. Soon she would have her first modelling experience in a fashion show in 1949. In the same year, she modeled for a fashion magazine Jardin des Modes and soon the stunning 15 year old appeared on the cover of the french edition of Elle magazine in March 1950.
Director and screenwriter Marc Allégret was captivated by this image of beauty, and ordered his assistant, who was a young upcoming rebel film director named Roger Vadim, to go out and find her. He tracked her down and Allégret quickly offered Bardot the opportunity to audition for Les lauriers sont coupés. There’s conflicting stories whether Bardot landed the role or not, but the film was cancelled, and it is certain that this opportunity made her consider becoming an actress. Vadim became immediately smitten by her pouty sensuality…Brigitte fell madly in love with this bad boy…she had never meet anyone like him before, and in 1952 the 22 year old became her husband. Her parents were infuriated, but funnily enough, the two newly weds had to spend their honeymoon night at her parents home, as they had no where else to stay. They were forced to sleep in separate rooms, and Bardot was not even permitted to kiss her new husband goodnight. But Bardot wasn’t too bothered…”we had our wedding night a long time ago”.
A new path had been laid out for Bardot, leading away from her early ballet desires…now it was a different stage and spotlight calling her name. 1952 saw the start of her acting career, and she would appear in obscure films, generally lightweight romantic dramas, some historical, in which she was cast typically as “Ingenue” or “Siren”, often appearing nude. But in ’57 she really became world-famous with the release of the Vadim’s controversial film Et Dieu créa la femme (And God Created Woman).
Vadim’s now infamous film was certainly the vehicle that launched Bardot into the public spotlight, immediately creating her “sex kitten” persona, making her an overnight sensation. When the film was released in the US, it pushed the boundaries of the representation of sexuality in American cinema, and most available prints of the film were heavily edited to conform with the prevailing censorial standards of 1957. The film was also condemned by the Catholic League of Decency. Bosley Crowther, the film critic for The New York Times, wrote, “Bardot moves herself in a fashion that fully accentuates her charms. She is undeniably a creation of superlative craftsmanship”.
A proper English TV journalist asked the vivacious but innocent Bardot about these sexy roles she was becoming famous for, “Do you really like doing these kind of films, or would you want to be a serious actor?”. B.B. replies “On no, I prefer this kind of films…I will be a serious actor when I get older”.
Vadim and Bardot separated in ’56 amidst rumors that Bardot was having an affair with her And God Created Woman co-star Jean-Louis Trintignant, but remained friends for the rest of Vadim’s life. He would later direct her in The Night Heaven Fell, and Don Juan, or If Don Juan Were a Woman.
Bardot would continue to follow her acting demands playing some very famous roles in new wave cinema. She later starred in Jean-Luc Godard’s 1963 masterpiece Le Mépris (Contempt) and Masculin Féminin in 66. Bardot was nominated for a BAFTA Award for Best Actress in a Leading Role for her part in Louis Malle’s 1965 film Viva Maria! Although she was in high demand in Hollywood, she continued to declined offers of filming in the US…she detested the way Marilyn Monroe was treated, a woman who she so much adored, and she didn’t have an enjoyable experience previously there. Eventually, Hollywood would accept her terms and they would have to come to France to film her, where she had a cameo in Hello Brigitte (which also starred Billy Mumy from Lost In Space fame, who apparently scored the first American on-screen kiss from the french beauty).
Bardot was appearing on record covers long before she first sang a note, and it’s pretty obvious the marketing strategy was aimed to appeal to the male audiences. She was plastered on covers for soundtracks to films she’s appeared in, unofficial tributes and promo records and of course, to her own musical efforts. Virtually everything Bardot-related is sort after, with collectors rarely distinguishing between albums merely depicting her likeness and ones on which she sings. But while there’s definitely a desirable kitsch and kookie wonderment about her recordings, I find that there’s a further unique beauty there, behind her stunning looks, that drew me in a long time ago, and which I have always obsessed over, for some time.
Bardot’s first 7″ vocal release was on the lullaby Sidonie, (delicate guitar work by Bardot) which was the first track on the Vie privée (A very private affair) EP in ’62, a film directed by Louis Malle which she herself starred in, alongside Marcello Mastroianni. This track was included alongside three instrumentals on a French EP issued by Barclay as well as a US single on MGM. An early version of “Sidonie” also appeared in the autumn of 1961 as part of issue 23 of ‘Sonorama’, the innovtive 7″-sized playable magazine which incorporated several flexidiscs to accompany the features. It’s such an adorable track…innocent, so gentle and so sweet!I love this side of Bardot!
Bardot had now signed to Philips, and the next year she would have two more Ep releases, Invitango and the great L’Appareil À Sous. The title track, penned by Gainsbourg (who was still concentrating on writing for other artists at this stage of his career), is a favourite upbeat dance floor spinner for me…1.24 mins. of french hip twisting mayhem! Her self titled debut album followed which was made available in two versions – a superb deluxe edition with a gatefold sleeve and a poster, and a standard single-sleeve album. The album contained a mix of styles and tempos, and included the beautifully strummed El Cuchipe sung in Spanish, and Everybody Loves My Baby sung in English.
The following couple of years she would continue to release fun pop french hits including Moi Je Joue (taken form her 64′ lp B.B) Bubble Gum in ’65, and the ever so dreamy Le Soleil in ’66, which had the fab off beat Gang Gang on the EP flip (these tracks were arranged by the British musical director Charles Blackwell, perhaps best-known for his work with Joe Meek in the early 60s).
In 1967, Gainsbourg was having some kind of an affair with Bardot, who was going through a difficult time with current husband, German businessman Gunter Sachs. One night in particular, Gainsbourg, who often was nervous around Bardot, drunk with his infatuation…and probably something more, made an ass of himself. And he was sure that this time, there was no hope in hell that Bardot would ever fall back into his arms. But Bardot’s request, as an apology, was that Gainsbourg write her the most beautiful love song he could imagine. That night he wrote two songs, Bonnie and Clyde, and also Je t’aime…moi non plus. They soon recorded an arrangement at a Paris studio in a two-hour session in a small glass booth, however, news of the recording reached the press and an angry Mr. Sachs! Bardot pleaded with Gainsbourg not to release it. He protested that “The music is very pure. For the first time in my life, I write a love song and it’s taken badly”.
But in 1969, Gainsbourg recorded a version with his new lover, Jane Birkin. The single had a plain cover, with the words “Interdit aux moins de 21 ans” (forbidden to those under 21), and would end up being banned in several countries owing to its sexual content. In the UK, it was released on Fontana Records, but, after reaching number 2, it was withdrawn for sale. Gainsbourg arranged a deal with Major Minor Records and on re-release it reached number one, the first banned number one single in the UK and the first single in a foreign language to top the charts. It stayed on the UK chart for 31 weeks. Bardot may have regretted not releasing her version, but she did give permission for a release of her Gainsbourg recording in 1986. With a slight re-edit, it was virtually ignored by the public, who were perfectly happy with the existing Jane Birkin version.
On New Year’s Eve 1967, French TV broadcast a special colour programme devoted to B.B. called Le Bardot Show. Filmed over several months between November and December, the 60 minute show was years before its time, and it effectively consisted of a collection of video-clips, which made an incredible impression on the French public. And this when audiences would first hear…and SEE, Bardot’s Harley Davidson. Phew! I can only imagine the thoughts that were going through both male and females minds when they first shared this moment. Yeah, she had the look, the big wild blonde waves, the tiny leather shorts and high boots, and her signature dark eyeliner, but the way she sang this, is just so defiant and…well…so Bardot (can’t think of any other way to describe it). I don’t need anyone…on a Harley Davidson…I no longer recognize anyone….on a Harley Davidson…I press the starter…and here is where I leave the earth…maybe I’ll go to heaven…but at top speed on a train from hell!
These songs were released on the soundtrack LP, Brigitte Bardot Show in ’68. Adding to the sexual appeal, Bardot was pictured on the sleeve of the LP (and the spin-off EP) virtually naked, but carefully masked by a layer of wrapping-paper. Fans declared the design a masterpiece. The flip to this iconic track is Contact, and I have to say that this track I find even more desirable, but I’m a sucker for 60’s psychedelic spaced out minimalist sitar flavored dance floor grooves! And I’ll never forget the first time I laid eyes on the film clip of Contact, with Bardot draped in Paco Rabanne!
Bardot retired in 1973, aged just 39, withdrew to her beloved Madrague, her retreat in St Tropez where she could dedicate herself to animals and a barefoot Mediterranean life. She would only leave her home to protest about animal rights (and make some ill-advised comments about immigration). Bardot’s passion for animals could be traced back to her childhood, a time when she transferred affection she missed from home, to whatever 4 legged creatures she could find. In 1986, she established the Brigitte Bardot Foundation for the Welfare and Protection of Animals, and would constantly meet with the French President and other world leaders to protest any case of cruelty towards animals. Bardot has never resorted to any cosmetic surgery, (as so many of her contemporaries have) and has retained her authenticity.
I know many of us were bitten by the BB phenomenon many years ago, but it’s always great to get these records out again and play them out, especially to the “hip kids”, that for some reason are new to her. Her songs always bring back fond memories of great times, and they can still get the punters dancing…and smiling! I think she was an amazing woman with a whole lot more going on than meets the eye! And still is quite beautiful.
Recommended reading and references…
Okeh 4-7147 US Year 1962 Marie Roach was born June 1, 1925, in Sanford, Florida, and grew up in Newark. At the sweet little age of 5, she impressed the congregation at her parents church by singing the gospel song Doing All the Good We Can, and of course later became a soloist in her church’s youth choir.
In 1939, the young lady first toured with Evangelist Frances Robinson, touring the national gospel circuit (she married preacher Albert Knight in ’41 but divorced later).
In 1946, she made her first recordings as a member of The Sunset Four (aka Sunset Jubilee Singers) for Signature and Haven (these labels would merge, but became defunct at the end of 1960 after being purchased earlier in the year by Roulette Records), and released a mighty fine handful of spiritual releases.
The now legendary guitar playing Sister Rosetta Tharpe, who was a major recording artist on the Decca Records label, and who many would say, brought gospel music to a broad audience, first heard Knight sing at a Mahalia Jackson concert in New York in 1946. Tharpe recognized “something special” in Marie’s contralto voice, and two weeks later, she showed up at Knight’s house in Newark, N.J., to invite her to go on the road with her.
Tharpe and Knight toured through the late ’40s, appearing in clubs, arenas, churches and auditoriums, sometimes acting out the parts of “the Saint and the Sinner”, with Tharpe as the saint and Knight as the sinner.
Together they had plenty of successes, including Up Above My Head, credited jointly to both singers, and reached # 6 on the US R&B at the end of 1948. The great Didn’t It Rain also did well and Knight’s solo version of Gospel Train reached # 9 on the R&B chart in 1949.
Knight left Tharpe to go solo around 1951, and released further more gospel recordings on Decca. But around April 1954, Marie Knight makes a change as she records straight ahead R & B songs I Know Every Move You Make and You Got A Way Of Making Love. These Rhythm & Blues tunes may have turned away a great many of Knight’s gospel fans, but she continues this move with a release during July of This Old Soul Of Mine and I Tell It Wherever I Go, and a November release of Trouble In Mind and What More Can I Do.
Both Knight and Tharpe’s friendship has stayed very strong and close, and in ’55, they get back into the recording studio together and release Stand and Storm on Decca, and together they score a two week stand at Chicago’s Black Orchid. In October, Knight lands a part of the lineup of the “Lucky Seven Blues Tour” along with Earl King, Little Willie John and other greats! Soon after the tour is over, she signs on for another all star touring show called the Rock ‘n’ Roll Jubilee which kicks off at L.A.’s Shrine Auditorium and again features star players including B.B. King, the classy Shirley Gunter, and sax cat Hal Singer.
In the spring of ’56, Knight follows her close friend Tharpe, from Decca to Mercury Records. While a couple more gospel releases sprouted once again, Knight decides to release another R&B beauty Grasshopper Baby (flip to Look At Me). In march of 1957 Mercury brings out the doo-wopping Am I Reaching For The Moon? and I’m The Little Fooler. In ’59, Knight and Tharpe record together again, and release Shadrack on Decca, which has to be one of my top picks from their almighty strong partnership!
1961 saw the release of the Knight bomb To Be Loved By You on Addit…you need to hear this if you don’t know it…amazing! That same year she recorded Come Tomorrow, released on Okeh, a tune which became much more famous after it was covered four years later by British rockers Manfred Mann.
And in ’62, she hits us with this…Come On Baby (hold my hand), again on the Okeh label. Quite slinky for Miss Knight, and you can’t help but feel this kinda tune has been waiting to burst out from her for some time. Another heart felt sound about love, but much more personal here than say spiritual. Not a lot can be found about this Roy Glover arranged session, and why this track is very rarely mentioned when reading up on Knight is a mystery to me, but it is well respected in the R&B community and on many collector’s want list for good reason.
Knight recorded and released a bunch more 45’s with various labels up til about 65, then slowly faded away from the scene. Her ripping version of Cry Me a River reached # 35 on the U.S. Billboard R&B charts in ’65, and was a powerful stamp to close an important chapter.
Knight remained friends with Tharpe, and helped arrange her funeral in 1973. In 1975, having given up performing secular music, she recorded another gospel album, Marie Knight: Today.
In 2002, Knight made a comeback in the gospel world, recording for a tribute album to Tharpe. She also released a full-length album, Let Us Get Together, on her manager’s label in 2007. She died in Harlem of complications from Pneumonia on August 30, 2009, but her legacy will live on…no doubt about it!
Track 1 – 7 heures du matin Track 2 – Ce Soir Je M’en VaisBorn 1948 in Carthage, Tunisia, the young Taïeb arrived in France with her parents at age eight. Her father gifted her with a guitar at 12 (like every good dad should do) which she must have really connected with, because soon she would be composing her own songs. It wasn’t long before a talent scout would discover her while singing with friends. It was ’66, and what an exciting time it must have been for the perky 18 year old singer-songwriter, scoring a contract with the record label Impact, and then being quickly whisked away off to London for her first recording sessions.
1967 saw a string of 7″ releases for the now 19 year old Jacqueline, but it’s this debut EP release (in January) that she is most well worshiped for. All four songs on the EP were composed by the young singer herself, which you have to remember for that time, was quite rare, as most female singers were expected to perform songs that had been written for them, or perhaps covers of other popular high selling hits.
Though the lead track, the almighty ye ye classic 7 heures du matin, was only a small hit at the time, it has gone on to become considered a classic of the French girl pop genre. It is the story of a young student waking up too early, at 7am, on a Monday morning, struggling with the thoughts of what the day will throw at her. She fantasizes about her boy crush Paul McCartney, helping her complete her homework, while tormenting on which sweater to wear for the day. Obviously a girl who is after trouble, the rebellious girl even considers playing her Elvis record loudly just to upset the neighbors. I mean really…how cute is that!?
It’s a simple song, but a huge dance floor monster! With it’s Steppin’ Stone garage power chords and it’s rebellious Elvis meets The Who attitude, it’s freakin’ impossible no to adore this one! And obviously very high in demand in the collectors circle. This track really brings back some great memories of the Sounds Of Seduction nights we once were fortunate to encounter here in Sydney in the 90’s, hosted by the great Jay Katz, (a friend who is responsible for introducing me to so much great lost European dance and film music of the sixties). And this song was also the trigger to the beginnings of my Yeye obsession!
“She earned the moniker ‘High Priestess of Soul’ for she could weave a spell so seductive and hypnotic that the listener lost track of time and space as they became absorbed in the moment.” Official ninasimone.com.
As we all know, she was arguably one of the most important and influential women of the soul, blues and jazz genre, and I think the only real place to start a 45 collective journey is at the beginning. And it was in the early 60’s, a time when Nina was singing some of her most intimate and bluesy compositions of her career, when this little fiery monster surfaced amongst it all!
But first a little bit about Eunice Kathleen Waymon. She was born in Tryon, North Carolina on February 21st, 1933, the sixth child to a Methodist minister mother and a handyman and preacher father, and started playing piano by ear at the age of three. Her parents taught her right from wrong, to carry herself with dignity, and to work hard, which would in time mold her into the incredibly strong woman she grew up to be. She played piano in her mother’s church, displaying remarkable talent early in her life, but didn’t sing at that time.
Able to play virtually anything by ear, she was soon studying classical music with an Englishwoman named Muriel Mazzanovich, and quickly developed a lifelong love of Bach, Chopin, Brahms and Beethoven. After graduating from her high school, her local community raised money for a scholarship to study at Julliard in New York City before applying to the prestigious Curtis Institute of Music in Philadelphia. Eunice’s hopes for a career as a pioneering African American classical pianist were dashed when the school denied her admission. To the end, she herself would claim that racism was the reason she did not attend.
To survive, she began teaching music to local students, and also began singing in bars, which Eunice’s mother would refer that practice as “working in the fires of hell”. But quickly she attracted club goers up and down the East Coast with her unique jazz-blues renditions of Gershwin, Porter and Rodgers standards. And then Eunice Waymon became Nina Simone, taking the nickname “Nina” meaning “little one” in Spanish and “Simone” after the actress Simone Signoret.
At the age of 24, Nina came to the attention of Syd Nathan, owner of the Ohio-based King Records, and was signed to his Jazz imprint, Bethlehem Records. While at first Nathan had insisted on choosing songs for her debut set, he eventually relented and allowed Nina to delve in the repertoire she had been performing at clubs and was well known for. What I think is one of her most outstanding jazz compositions on Bethlehem is the B sided African Mailman released in 1960, and one you really need to check out!
Nina’s stay with Bethlehem Records was short lived and in 1959, after moving to New York City, she was signed by Joyce Selznik, the eastern talent scout for Colpix Records, a division of Columbia Pictures, founded in 1958. Her stay with Colpix resulted in some incredible recordings, including 9 albums, and some mighty fine 45’s including Forbidden Fruit and her beautiful version of I Got It Bad.
Produced by big band legend Stu Phillips, Come On Back, Jack is Nina’s response to Ray Charles dance floor bomb Hit The Road Jack, (written by rhythm and bluesman Percy Mayfield) which was released that same year! But while it does share a similar riff and beat, I have to say it’s Nina’s jam that has got Jack running the fastest and packs as much, if not more, dance floor impact. Unavailable on LP, this is a prized diamond hidden amongst so many jewels in Nina’s treasure trove that’s worth hunting for!
Finally, this post is only a very small chapter of this remarkable woman’s life and her recording career, but please stay tuned for future Simone posts here, as there’s certainly a few more 45’s that deserve to be spotlighted!
To find out so much more on this incredible woman’s highly influential life and music visit ninasimone.com.
And also….I Put A Spell On You: The Autobiography Of Nina Simone
United Artists 50328 US Year 1968 The Kane Triplets were a three piece vocal sensation made up of the sweet identical triplets Lucille, Jeanne and Maureen Kane, and started their professional show business career very early in life. As children, they were discovered by the McGuire Sisters after performing on the Arthur Godfrey Talent Scout Show, and were asked to join with them in their act on the road and on several television shows. As you can imagine, these little ladies must have been so overly cute and wholesome, but from the footage that you can track down on the net, you cannot deny them of their harmony abilities!Reaction to the girls was amazing! The triplets established their own act and with their growing success, worked in very renowned venues throughout the country, and making Vegas their second home. They even got to work with huge celebrities like Tony Bennett, Andy Williams, Sergio Mendes, Smokey Robinson and the Temptations
The ladies released a few 45’s but it was in 1968 when this little monster was unleashed to the world! Easily their most stinging and thrilling recording, which really does give justice to Lalo Schifrin’s original 66′ master piece. While writing credits go to Fred Milano and Angelo D’Aleo of The Belmonts, I can’t tell you if this was in fact the first vocal release, but it’s by far the best I’ve heard. The fact that these now adorably blossomed but still innocent looking ladies are behind this big composition and production makes it even more tastier!
The Kane Triplets were in show business for more than 20 years and made dozens of television appearances, but sadly another sad ending to this story learning that Jeanne Kane was found murdered at a Staten Island (New York City) commuter rail station parking lot, murdered by her ex-husband and retired sergeant John Galtieri in 2007. But on a nicer note, this song always get a great reaction on the dance floor when played and will keep these three little sisters shining on together for many more years.
Track 1 – I Want Your Love Track 2 – The Rider One of my top tens here and it just kills me that I cannot find out any real information on these gals and this killer garage recording! It’s looking like this mighty 4 piece girl group may have only ever laid down 4 studio tracks in their career, including this release with The Rider on the flip, and also You Can’t Stop Loving Me (Columbia 4-43587), which I’m guessing was released that same year. Strange that you also get a very delightful Dressed In Black on that flip, made popular by The Shangrilas in ’66 on Red Bird.
I Want Your Love, written by Tony Michaels, has all you could possibly want in my opinion. Opening with a dangerous blues riffing companionship with overdrive guitar and bar piano, insert seductive vocal “Hey you…. come here” and before you know it, you’re in the widow’s web. The first verse is playful and desperate, and the backing doo-wops and harmonies are starting to spin you in a spiral. We are now only 30 seconds in and the guitar gets dirtier and the build up, like a steep roller coaster climb, is making you nervous. You’re pretty much trapped by now, and can’t help feeling like that little mouse that kitty just won’t let die…all in the name of selfish pleasure perhaps. This track ticks all the boxes for me! It’s raw and driving, like good garage should be. It’s got great horns and pace, stomping percussion and stinging guitar, and of course those femme fatale vocals….innocent yet sultry, and even soulful! Great production from Michaels and killer arrangement by Artie Butler!
The Rider is more down tempo but still just as charming and has more of that Spector sound that I can’t get enough of! All 4 Pussycats recordings also came out as an EP (Portugal) through CBS in ’66 with a killer pic sleeve (above) of all 4 band members. As always, I would love to know more about these elusive ladies and their recordings.
Prolific French ye ye singer Sylvie Vartan, who is actually Bulgarian, really does a nice swinging beat cover of the classic Comin’ Home Baby. Although it was originally recorded by the Bob Dorough Quartet in 1961 on Two Feet in the Gutter (Epic BA 17021) and composed by Ben Tucker (Bailey’s Pianist), it’s the ultra cool and hip Mel Torme version that most people know and love. Bob Dorough of School House Rock Fame added lyrics to the song and the vocal version became a Top 40 hit for the American jazz man, but I find Vartan’s more obscure version which was released in ’63, even more exciting!
Sylvie started her professional singing career while still at school, in her late teens, firstly with the hit song “Panne d’essence” (1961) alongside French rocker Frankie Jordan. Dubbed by journalists as “la collégienne du twist” (the twisting schoolgirl) she quickly started attracting a lot of attention, and it was only a matter of time that this young self confessed jazz/rock n’ roll fanatic, got signed up and began her illustrious recording career. In 1963, Paul Anka offered her “I’m watching”, her first international hit (Japan, Korea) which is the opening B side track of this EP. It’s adorably sweet and quirky with her broken English vocals, and holds a pretty respectful beat! That same year her dreams of being an aspiring actress came true, starring in the movie D’où viens-tu, Johnny? alongside french rock legend Johnny Hallyday, who she toured with in France and ended up marrying in 1965. Six of her thirty-one songs released in 1962/1963 became top 20 European hits and she became the darling of teen magazines and TV, so suffice to say this was an exciting and pivotal moment in her early career!
So back to Ne T’en Vas Pas! The back beat is strong and mean, as it should be, although I do wish it was pushed up in the mix a bit more as with the driving bass (you dj’s will be doing just that on your mixer) and I love the high energy modish Hammond solo. I have to say I always find French female vocal translations of standards or other, so much more attractive and desirable (this is not open for debate!) and Vartan’s approach on this makes it so ultra sexy and worthy! As far as I can tell, it doesn’t look like this recording was ever released on any other 7″ format other than the picture RCA EP. Maybe some foreign presses were released? Not too difficult to find and highly recommended!
Track 1 – I Know How It Feels Track 2 – Wondering If You Miss Me
This heart wrenching soul ballad is an absolute pearl and one I keep very close to my heart. A song to play late at night, with a stiff hard drink, on your own (well maybe with a pet friend), and not one that I play in public too often. A mysterious recording, certainly not an easy one to find particular specs on, so I had to visit my fav’ research web site Soulful Detroit once again for most of the info here.
Laura Johnson, an amateur singer from Detroit, who happened to work in the Correc-tone’s offices, paid for her own studio time and recorded these two stirring tracks at Wilbert Golden’s legendary Correc-tone studios. The self-penned “Wondering If You Miss Me”, and “I Know How It Feels”, which was written by infamous Popcorn Wylie and Motown’s Janie Bradford, and produced by Robert Bateman, were released in ’62 on Bob Shad’s New York Brent label. It’s likely that Correc-tone’s session musicians of that time, bassist James Jamerson, drummer Benny Benjamin and guitarist Robert White recorded on these tracks, but I can’t confirm that. I’m pretty sure that’s the incredibly beautiful “Andantes” backing her up here.
Laura also had a hand in writing a couple of gems cut by Marva Josie, including the excellent “Later For You Baby” which was released on Brent’s sister label,Time, also released in ’62.
“I Know How It Feels” was earlier released by The Satintones on Motown (the first band to ever record for that label) in ’61, then also with The Marvelettes on their Please Mr.Postman LP debut, that same year in November. Both versions are a delight in their own ways, but Johnson gets the badge of honor for me.
Seems not too many people out there really knew much more about this elusive artist and these remarkable isolated recordings. Sadly, it doesn’t look like Johnson was to ever record again, and with that remarkable tone, it’s the greatest shame!
Born Isabelle Genevieve Marie Anne Gall 09.10.1947
I discovered this french chic many years ago searching through some old records in Paris, during my honeymoon. I couldn’t play my purchases until we returned back home, here in Australia, on the other side of the world, but when I finally did put down the needle to the vinyl, I was hooked on her…and still am to this day! What an amazing talent!
So much can be said about Gall, it’s fair to say the queen of the “ye ye” genre, but she is so much more. Having musical success from the age of 16, then soon collaborating with the legendary genius Serge Gainsbourg, and married to the late and great Michel Berger, this little lady, while quite prolific and mainstream, proved to be quite a power house vocalists, with a versatility that ranged from playful innocent teen pop, to scatty jazz and then more. Way too much to talk about in regards to this amazing woman here, but let’s just say her 60’s career was a bumpy ride. Although winning some worthy successful hits, a few of her recordings were marred with controversy and bad taste (thanks to Mr. Gainsbourg), not helping the young innocent and naive artist, and resulted in poor sales. But having said that, there is no Gall recording I don’t love, and I will have to do a special feature on her and her career some time soon.
So let’s talk ZOZOI! Easily the most sought after 45 of hers and rightly so. Released on La Compaigne, a new label for Gall, this is a contrast to her early sixties sweet pop and “yeye” recordings. Here, she is really turning on the seductive and steamy vocal chords in this latin bossa bonanza. Penned by her father-lyricist Robert Gall, recorded with the Brazilian master Pianist Cesar Camargo Mariano and his Sambalanço Trio, this is definitely new ground for her and is she just loving it. According to musicaltaste.com, while the band recorded in Brazil, the vocals were overdubbed later in France. Not an easy one to find in today’s market, but even rarer is the fantastico Italian vocal version, and I mean RARE! Sadly, I don’t have it, but really want it, so if you have a spare copy, I’ll be happy to take it! Released in 1970, it’s a must have! It’s French, it’s Latin, it’s Brazilian, it’s Tropicalia, and with that great horn section and that tempo, it’s as hot as this sweet little lady gets!
Music credits also go to Nelson Angelo.
Other France Gall recommendations…..
Le Temps du Tempo (1968), Jazz a gogo (1964) and Laisse tomber les filles (1964).
Highly recommended yeye website….