Elsie Dickson
I'm A Big Girl Now
Phil Medley-Joe Bollon, Starflower Productions
Arranged and conducted by Phil Medley
Domino D 200
1973
Female artist, or male, or both ? Awfully bad anyway. May appeal in certain circles.
Artie Malvin Rocks Again !
25 more top hits by Artie from Bell, 18 Top Hits, Waldorf & Prom Records
1 - See You Later, Alligator ( Waldorf 149/Waldorf BU 2 )
2 - After The Lights Go Down Low ( 18 Top Hits 198 A )
3 - Lotta Lovin' ( Bell 57 )
4 - Memories Are Made Of This ( 18 top hits 164 )
5 - Dim, Dim The Lights (Waldorf BU 2 Waldorf 149 )
6 - Rock Your Little Baby To Sleep ( Waldorf BU 2 )
7 - R O C K ( 18 Top Hits 189 )
8 - Ninety Nine Ways ( 18 Top Hits TH-12-2a )
9 - The Green Door ( Bell 11 )
10 - Sittin' In The Balcony ( Bell 36 )
11 - Catch A Falling Star ( Top Hit Tunes (TH-16-3-B) )
12 - Tina Marie ( 18 Top Hits 159 )
13 - Hambone ( Prom 1011 )
14 - That'll Be The Day ( Waldorf BU 2 )
15 - Razzle Dazzle ( Waldorf 149 )
16 - Going Steady ( 18 Top Hits TH-13-3-A )
17 - Mambo Rock ( 18 Top Hits 150 B )
18 - Since I Met You Baby ( Waldorf BU 2 )
19 - Happiness Street ( Waldorf Music Hall MH 3331 )
20 - Rock A Billy ( 18 Top Hits TH-12-3 )
21 - There’ll Be No Teardrops Tonight ( Prom 1077-B )
22 - Jailhouse Rock ( Bell 61 )
23 - Searchin’ ( Waldorf BU 2 )
24 - Rock Around The Clock ( Waldorf BU 2/Waldorf 149 )
25 - Ling Ting Tong ( 18 Top Hits 142-A )
1 - Juke Box Baby ( 18 top hits 175 )
2 - All Shook Up ( Waldorf BU 2 )
3 - Butterfly ( Bell 29 )
4 - The Darktown Strutter’s Ball ( Prom 1077 )
5 - Hound Dog ( 18 top hits 197 )
6 - InThe Middle Of An Island ( Bell 49 )
7 - The Saints Rock And Roll ( Waldorf 165 )
8 - Yes Tonight Josephine ( 18 top hits TH 12-3 )
9 - Green Door ( Waldorf )
10 - Rock Around The Clock ( Waldorf 149/ Waldorf BU 2 )
11 - Black Denim Trousers ( 18 top hits 161 b )
12 - I Beg Of You ( Bell 70 )
13 - The House Of Blue Lights ( 18 top hits 155 b )
14 - Come Go With Me ( 18 top hits TH 12-1a )
15 - The Garden Of Eden ( Bell 17 )
16 - I'm Stickin' With You ( 18 top hits TH 12-1b )
17 - At My Front Door (see note)
18 - Short Fat Fanny ( Waldorf CA-3-aa)
19 - Shake Rattle And Roll ( Waldorf BU 2, Waldorf 149)
20 - The Gandy Dancer's Ball ( Prom 1011 )
21 - Party Doll - ( Waldorf BU 2 )
22 - Blueberry Hill ( 18 Top Hits 203, Waldorf BU 2 )
23 - Don't Knock The Rock ( Waldorf Music Hall MHK 33-1211, 18 Top Hits – 207 )
24 - Fabulous ( Bell 42 )
25 - Sh-Boom ( Waldorf 3304LP )
note: track 17 : as The Brigadiers Quartet on Waldorf/Waldorf Music Hall and as Artie Malvin With The Brigadiers Quartet on Sparton (Canada)
Tracks recorded for 18 Top Hits, Waldorf, Waldorf Music Hall, Bell and Prom.
Of all the artists who recorded copies of hits for budget labels, Artie Malvin certainly had the most recognizable voice. An artist from the big band era, he was over thirty years old at the time of rock and roll. His covers are sometimes far enough from the real rock and roll, but are neither bad and for a man who did what he can to rock AND not hiding behind a pseudonym like so many others, we can only feel respect ...
"He wasn't a name, but he was a voice that everyone knew," Janet Malvin, his daughter, said.
Arthur Malvin was born July 7, 1922, in New York City, the youngest of five children of Bernard and Sophie Malvin, Jewish immigrants who had left czarist Russia. His father ran a small hand laundry.
After securing his first singing gig at the Waldorf-Astoria hotel, a teenage Malvin got through his first performance by hiding in his hand a 5-cent song sheet with lyrics to the popular songs of the day.
In 1942, he joined the Claude Thornhill Orchestra, a big band known for its innovative arrangements. Later that year, Malvin organized a vocal group called the Crew Chiefs that sang with Maj. Glenn Miller's Army Air Forces Orchestra.
After World War II, Malvin toured as a soloist with the Glenn Miller Orchestra that was led by Tex Beneke.
He also sang on children's records and recorded advertising jingles for Sominex, Blue Bonnet margarine, Tang drink mix and many others.
Malvin died in his sleep at his Century City home June 16, 2006 after a long illness,
We’re Gonna Hate Ourselves In The Morning
Strange
Cullman County, Alabama band fronted on vocals by Lynda Mitchell, a University of Alabama graduate in 1965 . Soon after Lynda Mitchell took part in several beauty pageants. Crowned Cullman Fair Queen in September of 1966. She performed locally with the Jokers in 1966-1968 at various musical programs. Later a math teacher.
Recorded at Bill Lowery's Master Sound Studios, Atlanta, Georgia in 1967.
Side 1 is a cover of a song composed by Dale Ward, and Arthur Alexander, first issued on Elf Records by Clifford Curry. Also recorded by Arthur Alexander but unissued at the time.
Side 2 is also a cover. Written by Tillis & Burch was first sung by Patsy Cline (Decca, 1962)
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Lynda Mitchell |
The Singing Jones Family
Sunnyland LP-1418
1972
Gospel on side one, country on side two. The family consisted of four members : D.A. Jones (bass), Dot Jones (rhythm guitar), Linda, 18 (piano) and Rose, 16 years old (drums).
They also issued four singles on the same label from 1970 to 1975. The family would travel the region for store openings and to perform in parking lots or shopping centers.
D. L. Hardin, vice-president of Sunnyland Records,
Inc., produced the album in Nashville. Only artists on the label was The
Jones Family who didn't, it seems, recorded again after 1975.
What better song to listen to to end the year than Whole Lotta Shakin’ Goin’ On sung by Linda (or is it Rose) ? You can also listen to their "Country Rock" posted at my blog 12 years ago here
★
This Jones Family shouldn't be confused with the numerous other Jones Family such as:
The Singing Jones Family from Albany, Georgia (lead: Doyle Jones)
The Jones Family and Friends Ensemble (South Carolina) on Strawberry Jamm Records
The Jones Family (lead: John D. Jones) from Missouri (Dungeon Studios)
The Jones Family (Charles, Shirley, Tonda, Jeff & Brian, Suroinsville, Tennessee)
The Jones Family Gospel Singers (LeRoy & Jeanet, their son Rocky, plus Becky Hubin) from Kansas
The Jones Family on New Frontier (Bob & his 4 sisters) recorded in Jackson, Tennessee
The Jones Family Band, a Detroit band produced by Vallen Zukowski. A psych band, no possible confusion, I guess. No member named Jones by the way.
I have 4 tracks only from Donna Danger, the crazy little mama from ? (Pennsylvannia I guess). If one of you have the full album recorded by her for the Jan imprint out of Sweden, feel free to share ...
Discography:
81 Bishop : Danger And The Country Express : Handsome Man / Just For You
83 Jan LP V/A All American Rock Vol. 1 : Handsome Man / Just For You
84 Jan LP : Donna Danger The Cherokee Chick : 14 tracks
1/1 Mean Little Mama 1/2 Rock The Joint 1/3 Cherokee Chick 1/4 The Shape I'm In 1/5 The Cats Were Jumping 1/6 High School Romance 1/7 That's Love85 Alexis : Donna Danger And The R-Tones : High School Romance (flip by The Tears And Laughters)
2/1 Rockin' Record Hop 2/2 Ooby Dooby 2/3 Well, I'm Weak 2/4 I've Got You Honey 2/5 Honey Bop 2/6 Rock-A-Bye Rock 2/7 Your Mama's Here
Cover of her album I would to hear
Donna Danger, The Cherokee Chick
Introducing Neita and The Drifters
Joe Sixpack, San Francisco Bay Area DJ, has nicely, as usual, reviewed this album here :
An archetypal custom-label indie album by an informal country'n'oldies band out of Lawrence, Kansas, featuring a middle-aged gal named Neita Bahnmaier on piano, organ and vocals, along with several local lads, several of whom also sing lead on a track or two: Harvey Boyd on drums, David Cloud (lead guitar), Lynn McKenzie (bass), Leo McMullen (harmonica), Mickey Penny (lead guitar) and Bill Smith (rhythm guitar).
Born [Neita M. Atchinson] in 1929, Mrs. Bahnmaier and her husband Joe lived on the outskirts of town, in rural Lecompton, although it isn't hard to imagine that the younger bandmembers were in some local rock bands, and possibly were enrolled at Kansas University... (I'm speculating: for the life of me, I couldn't find biographical info about most of these folks, other than Mr. McKenzie, who lived in Oskaloosa and passed away in 2003...) Anyway, this is an amateurish album that's easy to be charmed by, with some easy-to-play oldies such as "All Shook Up," "Johnny B. Goode," "Kansas City" (of course!) and also a decent amount of country stuff, tunes like "Your Cheatin' Heart," "Paper Roses" and "Snow Bird" (with Mrs. Bahnmaier singing lead.) My personal favorite is their unlikely cover of Wilson Pickett's "In The Midnight Hour," which could be dismissed as too whitebread and too rock'n'roll, but which I hear as an unexpectedly groovy, guitar-heavy power-pop confection... And in case anyone's keeping track, they also cover "Proud Mary," in this version, a duet between Neita and picker Mickey Penny. I'm not sure if these folks did much in the way of live public performances -- I did find some show listings a decade later, circa 1986-86 -- but this is a pretty cute little album.
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| " Shakespeare, Tchaikovsky & Me"(cover) |
Almost forgotten in the 18th century, and in the 19th century alternately applauded for his poetry’s lyricism and condemned for its “obscenities,” Robert Herrick is, in the latter half of the 20th century, finally becoming recognized as one of the most accomplished nondramatic poets of his age.
https://www.poetryfoundation.org/poets/robert-herrick
Upon The Nipples Of Julia's Breast
No one really knows for certain what prompted Jayne or MGM Records to make this album in the first place. No one, to this day, knows what to make of it. She certainly wanted to be taken seriously. But no one did: how could that have been possible :
The photography on the cover is one of the worst Jayne picture I have ever seen, Earl Wilson, the author of the liner notes contributed juvenile breast jokes, and finally few people admitted to have listened to it.
One of the few reviewers to admit he had lstened to it, Nick Jones of the Indianapolis News, wrote : If the idea is a gag - then P.T. Barnum has a new rival, [...] but if she's taking herself seriously, well, it's downright embarassing.
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| A better cover |
These Boots Are Made For Walking
The Billboard Book of Number 1 Hits says “These Boots Are Made for Walkin'” was a huge hit for Nancy Sinatra. The tune topped the Billboard Hot 100 for one week in 1966, becoming Sinatra’s first and only solo No. 1 single in the United States. So much played on radio and TV and at so many places in 1966, but also in expected places like Waco, Texas in 1993 as a part of the FBI playlist trying to disturb David Koresh and his disciples [1] or even in the eighties at the Roxy, a raunchy peep show theater at the edge of Eighth Avenue in New York City or at many of S/M venues. [note 2]
note 1 : David Thibodeau was a follower of David Koresh who survived the Waco siege. In his 1999 book Waco: A Survivor’s Story, Thibodeau discussed how the FBI and the Bureau of Alcohol, Tobacco, Firearms and Explosives treated the Branch Davidians.
“The cacophony of speeding trains and hovering helicopters alternates with amplified recordings of Christmas carols, Islamic prayer calls, Buddhist chants, and repeated renderings of whiny Alice Cooper and Nancy Sinatra’s pounding, clunky lyric, ‘These Boots Were Made for Walkin’,” he said.
https://www.cheatsheet.com/entertainment/alice-cooper-nancy-sinatra-songs-got-played-waco-siege.html/
note 2 : according to the Williams fields notes, quoted by Terry Williams,a professor in the Department of Sociology at the New School for Social Research. in his book The Soft City (Sex for Business and Pleasure in New York City). (NB: how come these academics have always a good alibi?)
"I offer my notes on the peep-show industry from the 1980s to reveal how these
particular venues have changed since then. Something that has emerged is how
the main action in these spaces engages some kind of physical, sensual stimulation, one derived from some aspect of the scene itself: the smell of leather, semen, perfumes, cigarette smoke, powders, body odor. Other sources of stimulation include body motion and touch, taste, and sound. The music is often raunchy, ribald, and risqué. A song heard at many of the S/M venues I encountered was Nancy Sinatra’s “These Boots Are Made for Walkin’”.
For a good overview of Dora Hall musical career, see The World's Worst Records. Not all her records are bad, as Darryl Bullock readily admits :
The difference between Dora and other similar artists is that Dora could actually sing. When she sings kid-friendly songs such as Tony the Pony she’s actually quite charming. Her failings, if you will, become most apparent when she tries to sing pop songs; her vaudeville-trained voice just isn’t right for contemporary music and it’s here she starts to sound ridiculous.
For a Dora Hall enthusiast's point of view, it is better to go to hallofdora blogspot :
Dora created a body of work that is diverse, entertaining, and sometimes questionable [...] The work of Dora Hall is flawed, but it's very entertaining. The fact that she was shooting to become a pop star when she was well past the average age for such pursuits is questionable, but it's made all the more fascinating because her husband (the founder of the Solo Cup company) freely gave her the financial backing to make her dreams come true. Her singing abilities have been widely criticized and dismissed, and yet she's often backed by amazing session musicians. For many people, the draw of Dora Hall is that her song choices and abilities are often just plain bad. If they can get beyond that, however, they'll find a body of work that is charming, enthusiastic, and entertaining in ways that they might never have expected.
Another opinion is expressed by the Left and to the back blog :
There appear to be two popular views on Hall's output. The first is that the woman was dire, couldn't sing or perform very well, and wasted her life pursuing a ridiculous fantasy. The second is that actually some of her output is pretty good with superb production values and some of the best session musicians available (The Wrecking Crew were known to be involved with some Dora Hall sessions).
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In this 1966 cover of "I Like It Like That" (Chris Kenner, 1961) Dora Hall, in my opinion, sounds good and absolutely charming.
Wanda Jackson
Don'a Wan'a
(Boudleaux Bryant, Acuff-Rose BMI)
Capitol F3863
1957
The song that Wanda doesn't want you to listen ! According to her autobiography "Every Night Is Saturday Night" :
When I got into recording rock and roll, I never abandoned country. I thought of them as different branches of the same tree, and Capitol really latched onto the practice of releasing one of my rockabilly songs on one side of a single and a country song on the other. I give Ken a lot of credit in being open minded to let me try different things. Because of that I was usually willing to try things that he brought to me, even if I was a bit skeptical. Sometimes, however, there were some things I was really unsure about.
One of those songs was «Don’a Wan’a,» which honestly, I «don’a wan’a» anyone to ever hear again. There was a small window of time when calypso music was very popular, thanks to the success of Harry Belafonte. He scored some big hits in the ’50s with songs like «Jamaica Farewell» and «Day-O.» And, of course, whenever one artist gets a hit with something unique, everybody else then tries to do the same kind of song. «Don’a Wan’a» was written by Boudleaux Bryant, who was one of the greatest country songwriters of all time. This is probably proof that even the great ones have an off day. I don’t know how Ken Nelson got the song, but he wanted me to record it to try to get in on the Calypso craze. He suggested I adopt an islander accent, but it sounded like I was mocking that kind of music. I didn’t want to do it at all. I said, «Ken, I feel silly, so it’s bound to sound silly.’ I was horrified by the whole thing. Capitol wasn’t great at rushing to get releases out, and by the time they did, the record got no attention. I’m not kidding you, it was almost like the day that song was released was the day calypso died. I don’t know for sure, but I may have been the one who killed it!
Actually, I like that song. Wanda sounds to me a little bit Japanese . . .
It's hard to do it better than Eddie Cochran. Quite a few have tried. Some have managed to do good, but not all.
On above picture is Scott Kernaghan from a video recorded, it seems to me, in a church. Perhaps he’s a pastor ? I’ve not included his Cochran cover in my playlist, but his video is here. As Pierre de Coubertin said: the most important thing is to participate.
18 covers, the original and a tutorial are included in this file. All taken from this YT playlist
10 City Run - Somethin' Else
April Mae & The June Bugs - Somethin' Else
Done Again - Somethin' Else
Eddie Cochran - Somethin' Else
Gavin Stanley - Somethin' Else
Hector & Mediators - Something Else (french?)
Jez Quayle - How to Play 'Somethin' Else' (tutorial)
Joe Eddie -Somethin' Else
Johnny Hallyday - Elle est terrible (french)
Kathi McDonald - Somethin' Else - 1974
Kazu, Iishi & Chuck - Somethin' Else
Keith Richards - Something Else - Live '93 Boston
Little Richard & Tanya Tucker (1994) (live)
PJ. Proby - Somethin' Else
Rummagin' Ray - Something Else
Sex Pistols - Something Else
Sylvie Vartan - Elle est terrible (french)
The Head Cat - Somethin' Else (Bass Cover With Vocal)
The King - Something Else
Trophies - Somethin' Else
