(1980/RCA) 2-Track Single - RCA´s Golden Oldies Series - With company sleeve and wide center hole! A-Side, ´Clap For The Wolfman´ is featured by the legendary late great WOLFMAN JACK!
(Relic) 18 tracks - Certainly one of the most consistent popular oldies record over the years has been The Mellokings´ ´Tonite Tonite.´ Strangely enough, the song was not a hit when released (except in certain regions) nor does it seem to have ever been a staple of street corner groups. In spite of this, it is usually in the Top 5 of most oldies surveys. The group responsible for this enigma was from Mount Vernon, New York. In 1956, they got together as a result of try-outs for a version of ´South Pacific,´ being held at Washington High School. Arranger Dick Levister liked the way some of the hopefuls sounded and formed them into a group, initially known as The Mellotones. The members at the time were: Jerry Scholl (lead), Robert Scholl (tenor), Eddie Quinn (second tenor), Neil Arena (baritone) and Larry Esposito (bass). The group´s main influence was Frankie Lymon and The Teenagers, the originators of the ´kid-sound´ in popular music. In fact, The Mellotones were told they sounded too much like The Teenagers, so to create a different sound, Bob Scholl switched to lead. Prior to recording, the group used to attend New York City shows where they were most favorably impressed by Little Anthony and The Duponts and the above mentioned Frankie Lymon and The Teenagers. One night they were appearing at an amateur show, when they met a songwriter named Joe (whose last name has long since been forgotten). He promised to arrange an audition for them, if they would reciprocate by using it to sing one of his songs. When they agreed, he brought them to Al Silver, owner of Herald and Ember Records. Silver was taken with the group and signed them on the spot (although he hated Joe´s tune). Billy Myles (most widely known for his recordings of ´The Joker´) was a staff songwriter for Herald/Ember. He auditioned three or four songs for the guys. The only one they liked was ´Tonite Tonite,´ which they took home, rehearsed, and then brought the finished vocal back to Silver a week later, who said ´Let´s go into the studio immediately and cut it.´ From the time they first auditioned for Herald, it was less than a month later that the finished record was on the market. After about a thousand copies had been pressed, everyone discovered that there was another Mellotones group around, with a record on the charts. A quick name change was in order and the ´Mellokings´ were born. (The ´King´ part came from Dick Levister´s middle name.) The record, although it has sold over 2.5 million copies to date, never made it past number 87 on the national charts for 1957, hardly qualifying for hit status. In fact, everything happened so fast (or so slow) that the group never even realized that they had a hit. With the success of TONITE TONITE, the group went on the road doing one-nighters, sometimes for as long as three months at a time. Jerry Scholl, being of small stature, used to sleep in the luggage rack above the seats. On one tour, his ´rack-mate´ was Paul Anka. At their second session, the group cut ´Sassafras,´ a Bob Crewe composition. It, as well as all subsequent releases, did not do well on the charts. Since they had a ballad on the market, The Mellokings felt that it was wrong for Herald to have pushed ´Sassafras´ as their next release. In all the time they were with Herald, they never cut anything they wanted to cut. When asked the reason why none of their subsequent recordings went high on the charts, Jerry Scholl said, ´Just the way the business was run in those days. The capital wasn´t there. I think Herald wanted to back up TONITE TONITE with as big a hit but just didn´t have the resources. Distribution was a big problem. You were trying to go up against the big companies. Here we were, a little operation. You had to hire peddlers in the street to run around with the record trying to break it in small towns and then start all over again. That was the difficulty in those days. ´ However, Al Silver is remembered fondly by the group. He constantly had recording sessions for them. Unlike most record companies of the day, Herald stood behind its artists with as much promotion and financing as possible. The Mellokings appeared on the Dick Clark Show with every new release and did hundreds of radio programs. Jerry recalls doing the Clark Show at the time of their fourth or fifth release (just after ´Tonite Tonite´ was re-released) and Clark would not let them do the new song. They had to do ´Tonite Tonite´ as it was then the #1 record in
(Late Night) 25 tracks - Although the statement that ´they´re not writing songs like they used to´ has been toroughly disproved many times, there´s sometimes that old songs can do that new songs have to wait to do (until the´re old songs, of course), and that is to become revived. More and more, stoday´s top artists are dipping into the great oldies, trying to come up with ways to present them in today´s musical idiom. When it works, credit is due twice; first, to the song for its adaptability and second, to the artist and arranger for giving the song its new life. Certainly one of the best examples of this been the phenomenon of Vic Dana´s recording of ´Red Roses For A Blue Lady´´. However this wasn´t Vic´s first venture into the area of bringing songs back. His vocal recording of the old instrumental number ´Shangri-La´ already established him as having the ability to communicate yesterday´s song to today s listening audience. This album brings to the fore Vic ´s way with the oldies; all the songs here are standards-which means that each and every one has proven itself to be a hit. Now, a new generation has a chance to hear them the way they like to hear songs sung. And that means the Vic Dana way.
(Montel) 20 tracks - including the big seller ´I´m Leaving It Up To You´ - Reproduction of the original 1963 ´Montel´ album It was 2 a.m. and a young couple sat at a piano in Baton Rouge, La., running through some songs they would record the following day in New Orleans. Dale Houston, with his songs out of the way, was helping a young lady with her arrangements that would mean her debut as a single recording artist. But as all musicians will do, the girl, Grace Broussard suggested they sing a couple of old songs together ´Just For Kicks´. Here in the home of record producer Sam Montel, the exciting ´Dale and Grace´ sound was born. So impressed by their ability to blend their voices together in a different sound, they were recorded the next day by Sam Montel, and Sam´s arranger-guitarist Kenny.Gill. ´I´m Leaving It All Up To You´, once played for the Deejays at my station so im-pressed all of us that it was selected as our pick-hit of the week (an honor usually left to the hot labels and their artists), and our judgment was right, as the rest is now history, Dale and Grace were born and Sam Montel, after years of struggling´to get that first ´Big One´, controls one of the hottest singing groups in the country. Now, outdoing themselves Dale and Grace blend their voices together and present for their many new fans a collection of great songs. You´ll identify many of the tunes contained herein as hits of the past, but somehow they´ll take on a new feeling, a new meaning, and I´m sure you´ll agree with me when I say these oldies never sounded better. The same great ´Bayouland´ sound that made ´I´m Leaving It All Up To You´ one of the biggest sellers in our country is contained in every song in this great album. As for Dale and Grace, their sound remains as fresh an original as it was when you first heard the melody of ´I´m Leaving It All Up To You´. I know that this particular album will be the favorite of many people, just as it is already my favorite. But I´ll invite your comments...or should I coin a phrase and just say: I´m Leaving It All Up To You´! Chuck ´Baby´ Adams, Radio Station K-NUZ - Houston, Texas
(Michelle) 12 tracks - Originally sealed 1963 ´Michelle´ LP album - This album came out on ´Montel´ as well - also in 1963 but with two different songs, which were ´Tip Of My Finger´ and ´Gee Baby´ It was 2 a.m. and a young couple sat at a piano in Baton Rouge, La., running through some songs they would record the following day in New Orleans. Dale Houston, with his songs out of the way, was helping a young recording a:vtg her arrangements zernmuesnitItnh: tvvvir clod. meant gih ilerabcuet as Broussard suggested they sing a couple of old songs together´. ´´Just For Kicks´´. Here in the home of record producer Sam Montel, the exciting ´Dale and Grace´ sound was born. So impressed by their ability to blend their voices together in a different sound, they were recorded the next day by Sam Montel, and Sam´s arranger-guitarist Kenny Gill. ´I´m Leaving It All Up To You´, once played for the Deejays at my station so im-pressed all of us that it was selected as our pick-hit of the week (an honor usually left to the hot labels and their artists), and our judgment was right, as the rest is now history, Dale and Grace were born and Sam Monte!, after years of struggling to get that first ´´Big One´´, controls one of the hottest singing groups in the country. Now, outdoing themselves Dale and Grace blend their voices together and present for their many new fans a collection of great songs. You´ll identify many of the tunes contained herein as hits of the past. but somehow they´ll take on a new feeling, a new meaning, and I´m sure you´ll agree with me when I say these oldies never sounded better. The same great ´Bayouland´ sound that made ´I´m Leaving It All Up To You´ one of the biggest sellers in our country is contained in every song in this great album. As for Dale and Grace, their sound remains as fresh an orig.inal as it was when you first heard the melody of ´I´m Leaving It All Up To You´. I know that this particular album will be the favorite of many people, just as it is already my favorite. But I´ll invite your comments...or should I coin a phrase and just say: ´I´m Leaving It All Up To You´! Chuck ´Baby´ Adams - Radio Station K-NUZ- Houston, Texas On behalf of Michelle Records I would like to thank the rest of the team for helping make this album possible: Carol Rachou of La Louisiane Recording. Cosimo Matassa of Cosimo Recording, Bill Holford of ACA Recording. Kenny Gill for his outstanding technical arrangements, The Lively Sisters. Leo O´Neil, Paul Berlin. Ken Elliot and Tommy Guarino. I would like to personally thank Huey Meaux, the south´s most successful record producer and promotion man, for his keen ear in selecting ´I´m Leaving It All Up To You´ as a hit, and all the wonderful distributors and DJ´s and last but not least, Dale & Grace. Sam Montel, Producer
Taschenbuch - Billboard Publications - 484 Seiten - Englisch - 3rd Edition ´´It ain´t No. 1 ´til it´s No. 1 in Billboard.´´ Don Imus WNBC, New York ´´Joel Whitburn´s books are as much a part of my radio stations as my transmitters. Any time I buy or build a radio station, the first two pieces of equipment that I purchase are Joel´s books and my Billboard subscription.´´ Bruce ´´Cousin Brucie´´ Morrow President, Sillerman-Morrow Broadcasting Group ´´This new Whitburn/Billboard volume is an absolutely indispensible collection of music and record information—certain to become the ´music bible´ of the Top 40 era!´´ Dick Bartley SOLID GOLD SATURDAY NIGHT ´´America´s Live Request Oldies Show´´ ´´This is pop music´s greatest argument settler. I never let it out of my house.´´ Dr. Demento ´´This wonderful music incunabulum by Billboard and Joel Whitburn is a necessity for every disc jockey anywhere. I´ve been using Joel´s information for years—it has made me 2 inches taller, 10 pounds lighter, and a better dancer.´´ Gary Owens KPRZ, Hollywood Host of Watermark´s SOUNDTRACK OF THE SIXTIES, Worldwide
(Charly) 16 tracks ´What Foes Around, Turn Around´ runs on old maxim which still holds true. In music, as in all things to do with fashion, tastes go round in full circle. What was passe last year can well be this year´s in thing. We´ve seen *the return of the mini-skirt and now it´s the turn of 1960´s soul music to get a much deserved resurgence of popularity. Maybe it´s a sign that I´m getting old but — the explosion of rock ´n´ roll onto the scene around 1955 excepted — I can think of no other era or musical style which possessed quite the same measure of excitement and delightful discovery as did ´Sixties Soul. True, there have been many great records in the years since but I can´t imagine ever again feeling confident enough to place a standing order with my local record shop for every single release on not one but half-a-dozen labels, knowing that I´ll like every one of them! Sue, London American, Stateside, President, Jay Boy, Chess. Atlantic, Stax and Tamla Motown, were the much-sought-out UK labels amongst soul fans in those heady days. Now, two decades later, the music is ´coming back strong´ (to quote a Tony Clarke classic from the era) thanks initially to the efforts of such re-issue labels as Charly and, latterly, to the renewed chart status of oldies from the likes of Sam Cooke and Marvin Gaye, thanks to the use of the songs in TV commercials. Clubs up and down the land are playing the classic songs to a whole new audience while the faithful minority (and it isn´t a small one) who have never deserted the music have taken the chance to stock up on fresh copies of their well-worn favourites. I´ve a strong conviction that both groups will find plenty to entertain them in this great album. Birdlegs And Pauline : The British version of the Sue label, run for Island Records by that colourful character, the late Guy Stevens, was *prized by ´60s soul music collectors for unearthing the real rarities from the American RUB scene. Many were great. some were abysmal, all were interesting. ´´Spring´´ was one of the most talked about UK Sue issues, and one of the most obscure in origin (indeed, it wasn´t until sitting down to pen this present sleevenote that I discovered they had an *album issued, on the Cuca label). From that LP´s sleevenote I´ve gleaned the following information! It was the idea of Chicago bluesman Shakey Jake to put the two together — Birdlegs (aka Sidney Banks) and Pauline (a good friend of Pearl Bailey). Cut originally for Cuca. the quirky ´Spring´ was picked up by Ewan Abner (later to be a Motown exec) for release nationally on Vee Jay. Bob And Ear : Men of many names, Bob and Earl first rocked the emergent British disco scene with the emminently danceable ´Harlem Shuffle´ back in 1963 but it wasn´t until re-release in 1969 that it cracked the UK top-ten. Bobby Relf also recorded as Bobby Garrett while his partner Earl Nelson also masqueraded on records — with some success — as Earl Cosby, Jackie Lee and Jay Dee. Just to further clarify things, the original Bob in the duo had been Bobby Byrd. otherwise known as Bobby Day, of ´Rockin´ Robin´ fame! * The original pairing had emerged from the Hollywood Flames. for whom Nelson sang lead on the 1957 hit ´´Buzz Buzz´´, and recorded for Class until 1959 when Relf replaced Byrd. ´Harlem Shuffle´ was originally released in the US by Marc, one of several LA based labels for which they recorded, usually under the aegis of producer Fred Smith and arranger Barry White (later to be a soul superstar) who devised a totally distinctive sound. With the Rolling Stones´ recent cover version having returned that group to its ´60s R&B roots, the time seems ripe for the original ´´Harlem Shuffle´´ to return to the nation´s dance-floors. Barbara Lewis : A product of the Ollie McLoughlin stable, which also included Deon Jackson and the Capitols, Barbara Lewis had an R&B chart-topper in 1963 with the superb ballad ´Hello Stranger´´, leased from McLoughlin´s Carla label by Atlantic, and quickly scored again with ´Baby I´m Yours´ and ´Make Me Your Baby´. Shades Of Blue: Of Shades of Blue I know nothing except that they were a white Detroit based act and that their ´Oh How Happy´ was written by Edwin Starr and was widely performed by British soul acts in the late ´60s. It was released in the UK on Sue. Brenton Wood: Born in Shreveport, Louisiana, on July 26 1941, Los Angeles´ based Brenton Wood wasn´t a one-hit wonder, he was a two-hit wonder! It was Double Shot Records who