Watching daytime re-runs of The Donna Reed Show as a kid during summer vacations made me an admirer of Shelley Fabares.
“Johnny Angel” was recorded a couple of times by others before Shelley turned it into a #1 hit.
“Johnny Angel”, as performed by Shelley and produced by Stu Phillips, is an excellent example of the importance of studio production in capturing the right sound for a song to turn it into a hit record. The effect here seems to almost be a nod to Roy Orbison.
In February of 1962, Shelley, Paul Peterson and I went into United Recording, and together we recorded four sides. “Johnny Angel” with Shelly and “She Can’t Find her Keys” with Paul. The recording engineer was the legendary Bones Howe. — “Stu Who?”, by Stu Phillips, page 125
In 1966, Bones Howe engineered this #1 record by The Mama’s & The Papa’s. It was produced by Lou Adler, Shelley’s first husband.
That same year, Howe was the producer behind this fantastic Turtles single.
Does making a complete album available on YouTube make it less likely that people will buy it? The data seems to indicate otherwise.
I bought the 2-LP set of Rhino’s new album, Crosby, Stills, Nash & Young – Live At Fillmore East, 1969 that comes with a digital download. You can stream it here for free, thanks to Rhino. I assume this has an expiration date.
Here’s another one from the ad hoc quartet. Their greatest, the classic Deja Vu.
Face Front, frantic Marvel fanboys! The Avengers are here, along with Prince Namor, the Sub-Mariner.
Monday: Captain America / Tuesday: The Hulk / Wednesday: Iron Man / Thursday: Thor (of course) / Friday: Sub-Mariner
All of the Marvel Super Heroes theme song records from the 1966 cartoons are out, and I’ve got ’em! They’re assembled here in this YouTube playlist, presented in the order the characters appeared daily in the syndicated TV series.
An album version will be released on Record Store Day next week.
Among the records I was obsessed with in high school was Randy Newman’s Sail Away.
I was especially taken with his song “Political Science.”
The song influenced me to such an extent, I even quoted it for my high school yearbook picture, not caring what anybody would think of it, or of me.
I was thrilled when hearing the announcement on WBCN that Randy Newman would be appearing at Boston’s Symphony Hall. Immediately, I mailed in my order for two tickets.
One ticket for myself, and one for my girlfriend, a truly amazing person named Gael, whose confidence in me and my potential transformed my life. This picture of us was taken by my sister Jean on prom night, a month after the concert.
We took the commuter rail to North Station in Boston, then the subway to Symphony Hall for my first visit to the venerable venue. I knew of Sandy Denny from her time with Fairport Convention, and she got the evening off to a nicely subdued start.
Gonzo comedic performance artist Martin Mull provided quite a contrast. I remember laughing so hard at his “Ukulele Blues” that my sides hurt.
The main event, Randy Newman at the piano, didn’t disappoint. I was enraptured as he played most of Sail Away, while offering a very funny running commentary between the songs.
Why am I rhapsodizing about these memories from more than fifty years ago? I’m getting there!
Randy Newman appeared in the finale of The Colbert Report in 2014, playing piano for a singalong of “We’ll Meet Again” with a large number of friends and past guests.
Newman’s Facebook page had a picture of him with Stephen Colbert after the finale. I commented, “I saw Randy at Boston Symphony Hall in April, 1973, before Colbert’s eighth birthday.”
Here’s what triggered me. Yesterday, a notification popped up on Facebook that someone on Randy Newman’s private chat had “loved” that comment I made ten years ago. You’ll have to expand this image to see what I’m talking about.
Was it actually Randy Newman who liked my comment while searching through old posts on his Facebook page? I doubt it, but it’s nice to be noticed.
I have one more Randy Newman memory to offer here. While taking Econ 101 in college, the professor played a song as an example of political economy. The faces of the other kids in class were blank, so I spoke up and offered, “That’s ‘Political Science’ by Randy Newman.”
Grinning with a sort of “we’ve got a live one here” expression, Dr. Darrow was obviously pleased that I knew the song. He invited me to attend an upcoming lecture he had arranged with John Kenneth Galbraith, and Economics became my major.
There is no record of Walt Disney saying anything about the Beatles. A Hard Day’s Night was released on August 12, 1964 and Disney’s Mary Poppins arrived on August 27.
I was eight when the Beatles arrived in America, and fourteen when Paul made the breakup official. Six short years, but in those years I went from being a little kid in the third grade to being an adolescent in the ninth grade.
“All of you youngsters out there,” as Ed Sullivan would say, may not even be aware of the Beatles, let alone appreciate their significance. But having lived through it and grown up with it, the effect and influence of THE BEATLES cannot be overstated.
“I say in speeches that a plausible mission of artists is to make people appreciate being alive at least a little bit. I am then asked if I know of any artists who pulled that off. I reply, ‘The Beatles did’.” – Kurt Vonnegut, 1997
