Click on the headline to link to a YouTube film clip of The Shirelles performing their 1960s teen angst classicMama Said
CD Review
The Rock ‘n’ Rock Era: 1961, various artists, Time-Life Music, 1989
Scene: Brought to mind by one of the pieces of teen life-driven artwork that graces each CD in this series.
Saturday night, any third Saturday of the month from September to May, when every red-blooded teen boy and girl in the 1961 North Adamsville High School be-bop,be-bop night could only be in one locale, or want to be. That was the night of the monthly seasonally-themed high school hop where anyone, even freshmen and sophomores, could ante up the dollar admission and dance the night away. Well, almost dance the night away. And that is the dilemma confronting one freshman, Gary Ladd (he is the “wallflower” way off to the side of the gym almost into the wall if you didn’t think you saw him on one of the nights in question).
Gary, well, we might as well have our moment of truth right up front, can’t dance. Can’t dance a damn, to hell, heaven or any place in between. Two- leftfeet. Two left-feet despite the best efforts of one Agnes Ladd, North Adamsville Class of 1961 Vice President, whose own feet have taken a terrible beating trying to teach little brother Gary the elements of the waltz, the fox trot, and hell, even the twist to no avail. But Gary, no twerp under his two left-footed exterior, has always, as he put it, exercised his democratic right to be at these universal dances, come hell or high water.
But this night, this warm April Springfest Dance night, things might just be a little different as Gary takes his place against the far wall (the wall farthest away from the girl “wallflowers” just in case you wanted an exact location. Mostly wallflowers, boy or girl, are keeping their respective distances on the odd chance that someone may actually come up and ask them to dance). First off this month the local craze rock band sensations, The Rockin’ Ramrods, are here live on the makeshift bandstand. And just this minute they are tuning up with the appropriately named Please Stay by the Drifters. Secondly, a new girl in town, Elsie Mae Horton, is here. Naturally the mere fact that she is here is added reason why Gary is here (and why he tortured his sister Agnes to try, try in vain, to teach him some dance steps). See Gary has the “bug” for Elsie Mae, ya, he is smitten.
Now this Elsie Mae is maybe, on a scale of one to ten, about a six so it is not looks that have Gary (and about six other guys), well, smitten. But what Elsie Mae has is nothing but smarts, book smarts, idea smarts, talk smarts you name it smarts and one of the sweetest smiles this side of heaven. And, as Gary found out early on in one of their shared classes, very easy to talk to about anything. Yes, he is smitten; the only unknown is whether she can dance good enough to stay out of his way. That is if he gets up the nerve to ask her. And as the Ramrods start their first set with Gary Bonds’ School Is Out (praise be) he notices her coming in the door. Heart pounding he starts sinking into the wall again. As they finish with Brother Bonds the Ramrods start in on The Impressions’ Gypsy Woman before Gary realizes that Elsie Mae has drawn a bee-line straight for him and is standing right in front of him, turning a little red. “Oh, my god,” Gary whispers under his breathe, “she is going to ask me to dance. No way.” The usually easy to talk to Elsie Mae though says nothing, nothing but turns a little redder as the Ramrods cover the Pips Every Beat Of My Heart (nicely done too). She is waiting for Gary to ask her, if you can believe that. Well, two-left feet or not, he does ask her. And she smiles a little smile as she “accepts.” Relief.
Needless to say when they did their dance, The Edsels’ Rama Lama Ding Dong, it was nothing but a disaster. A Gary disaster? Yes. But here is the funny part. Elsie Mae Horton, formerly of Gloversville and new to North Adamsville so of unknown dance quality, had two-left feet too. Get this though. When the dance was mercifully finished, and the two had actually survived, Elsie Mae thanked Gary and told him that he was a wonderful dancer and she wished that she could dance like him. Whee! Here is the real kicker though. Elsie Mae had also been taking dancing lessons, unsuccessfully. Dancing lessons so that two-left feet Elsie Mae Horton could dance with Gary Ladd. See, she was “smitten” too. And so if you did not see Gary or Elsie Mae at the Mayfair Dance you have now solved that mystery. They were sitting, sitting very close to each other, on the seawall down at Adamsville Beach laughing about starting a “Two-Left Feet” Club. With just two members.
Showing posts with label teen romance. Show all posts
Showing posts with label teen romance. Show all posts
Wednesday, September 21, 2011
Tuesday, August 23, 2011
Growing Up Absurd In The 1950s- Penny’s Brand New Phonograph
Click on the headline to link to a YouTube film clip of The Penguins performing their 50s classic, Earth Angel.
CD Review
The Golden Age Of American Rock ‘n’ Roll; Volume One, various artists, Ace Records,1994
Scene: Prompted by the cover photograph, the memory cover photograph, which grace each CD in this The Golden Age Of American Rock ‘n’ Roll series. The photo on this CD, as might be expected, shows the ubiquitous, highly coveted, then and today, old time LP (and 45’s convertible) record player and the family radio, probably RCA, both weapons in the 1950’s teenage wars to have our own music, and to be able to listen to said music 24/7 without parental interference, or knowledge. Of course, not everybody, teenage everybody, and that’s what counted, including rock dizzy Penny had one or the other and that is the struggle we are to presently witness.
“Good night, Mr. and Mrs. Dodd, the kids were no problem and thanks again for the money.” “Whee,” Penny Parker whispered under her breathe, as she went out the door. Those kids were nothing but monsters, refusing to go to bed unless, and until, they watched Maverick on television, Penny played checkers with Bobby and Billy Dodd (sister Laura was satisfied to be a spectator), and they each (all three on this one) got not one, but two scoops of ice cream before surrendering to Penny’s demands. And all for a lousy seventy-five cents an hour. Those were slave wages, slave wages even for a thirteen year old girl and Penny, Parker proud if not Parker bright, bright yet anyway thought for just a minute to give up this monster-sitting, well, baby-sitting really, up. “No,” she yelled into the Clintondale night, “No way after all I have put up with from those beasts am I giving up my dream record player now, no way.” And that was that.
Penny, Parker bright or proud notwithstanding, was a creature of her times, as we all are more or less. And the times called for every self-respecting teenager, and teenagers were all that counted in Penny’s universe, had his or her own private, up in his or her room, phonograph to play his or her favorite music, rock ‘n’ roll music, naturally. Not some lame Benny Goodman or Doris Day mumble that her parents listened to on the radio downstairs and drove Penny up a wall, maybe up more than one wall. And drove her right out of the Parker door down to Bop Benny’s Record Shop to play the jukebox there when the newest of the new records came out. See, Penny did not have her own record player like every other girl, every other teen-age girl that counted in her class at Clintondale Junior High School. Even Pammy Fuller had one, and Pam’s parents had them practically living on the county farm. But Peter Parker, father Parker, was adamant that he would not pay for anything that was connected with rock ‘n’ roll. Not out of religious principles, or anything like that, but he just hated the sound. Yes, I know, Peter Parker, square, square cubed.
So that left Penny down at Benny’s throwing nickels, dimes, and quarters in that old juke box. Many nickels when Kathy Young’s A Thousand Stars was hot, or when she had a crush, a big crush, on Zack Smith and she “broke the bank,” playing Earth Angel by the Penguins and When We Get Married by The Dreamlovers whenever Zack was in Benny’s and she wanted to draw his attention to her. Or the time when “Foul-Mouth” Phil Jackson dared her to play Eddie My Love by the Teen Queens when he was trying to date her up, or what passed for a date at twelve.
One day her brother, Paul, a year older than Penny but seemingly about a million years wiser saw that she had put at least fifty cents in the box when she was feeling all sentimental about Jimmy Kelly, her ex-beau, or as ex-beau as any thirteen year old girl is allowed to have, and was playing I Love How You Love Me by the Paris Sisters like crazy. He just flat-out told her after dinner that night that it would be a whole lot easier and less expensive to just get her own record player and play up in her room to her heart’s contend. Penny stood there in disbelief, not in disbelief about the idea but that dear old dad would go for it. Well, the long and short of it, was that dear old dad did go for it, with the usual provisos that there would be no loud or late playing. Sure daddy.
And that prospect, that record player of her very own, with her own platters to spin (records, grooved vinyl records to the squares), and no bother, except maybe to invite Jimmy or Zack over bother, is why this night as she walks home she is muttering about wage slavery, the injustices of the world, the teenage world, the only one that counted in case someone might have forgotten, and other communistic sentiments, if anybody had hear her. Penny figured after that night that another twelve hours of drudgery, another nine dollars and she could get that cool one that she saw in the Sears&Roebuck catalogue.
But then Penny, Parker bright just then, looked pensively down at the sidewalk when she realizes that she would have to buy records to feed that record player and that she would have to continue baby-sitting for slave wages forever with Dodd monsters to get all the 45s that she absolutely needed. And then, horror of horrors, what if Jimmy liked Sixteen Candles by the Crests and Zack didn’t but liked Rockin’ Robin by Bobby Day (and he probably would) and she had to buy both records. Well, what’s a girl to do but, Penny, Parker proud just then, thought she would be able to figure it out.
CD Review
The Golden Age Of American Rock ‘n’ Roll; Volume One, various artists, Ace Records,1994
Scene: Prompted by the cover photograph, the memory cover photograph, which grace each CD in this The Golden Age Of American Rock ‘n’ Roll series. The photo on this CD, as might be expected, shows the ubiquitous, highly coveted, then and today, old time LP (and 45’s convertible) record player and the family radio, probably RCA, both weapons in the 1950’s teenage wars to have our own music, and to be able to listen to said music 24/7 without parental interference, or knowledge. Of course, not everybody, teenage everybody, and that’s what counted, including rock dizzy Penny had one or the other and that is the struggle we are to presently witness.
“Good night, Mr. and Mrs. Dodd, the kids were no problem and thanks again for the money.” “Whee,” Penny Parker whispered under her breathe, as she went out the door. Those kids were nothing but monsters, refusing to go to bed unless, and until, they watched Maverick on television, Penny played checkers with Bobby and Billy Dodd (sister Laura was satisfied to be a spectator), and they each (all three on this one) got not one, but two scoops of ice cream before surrendering to Penny’s demands. And all for a lousy seventy-five cents an hour. Those were slave wages, slave wages even for a thirteen year old girl and Penny, Parker proud if not Parker bright, bright yet anyway thought for just a minute to give up this monster-sitting, well, baby-sitting really, up. “No,” she yelled into the Clintondale night, “No way after all I have put up with from those beasts am I giving up my dream record player now, no way.” And that was that.
Penny, Parker bright or proud notwithstanding, was a creature of her times, as we all are more or less. And the times called for every self-respecting teenager, and teenagers were all that counted in Penny’s universe, had his or her own private, up in his or her room, phonograph to play his or her favorite music, rock ‘n’ roll music, naturally. Not some lame Benny Goodman or Doris Day mumble that her parents listened to on the radio downstairs and drove Penny up a wall, maybe up more than one wall. And drove her right out of the Parker door down to Bop Benny’s Record Shop to play the jukebox there when the newest of the new records came out. See, Penny did not have her own record player like every other girl, every other teen-age girl that counted in her class at Clintondale Junior High School. Even Pammy Fuller had one, and Pam’s parents had them practically living on the county farm. But Peter Parker, father Parker, was adamant that he would not pay for anything that was connected with rock ‘n’ roll. Not out of religious principles, or anything like that, but he just hated the sound. Yes, I know, Peter Parker, square, square cubed.
So that left Penny down at Benny’s throwing nickels, dimes, and quarters in that old juke box. Many nickels when Kathy Young’s A Thousand Stars was hot, or when she had a crush, a big crush, on Zack Smith and she “broke the bank,” playing Earth Angel by the Penguins and When We Get Married by The Dreamlovers whenever Zack was in Benny’s and she wanted to draw his attention to her. Or the time when “Foul-Mouth” Phil Jackson dared her to play Eddie My Love by the Teen Queens when he was trying to date her up, or what passed for a date at twelve.
One day her brother, Paul, a year older than Penny but seemingly about a million years wiser saw that she had put at least fifty cents in the box when she was feeling all sentimental about Jimmy Kelly, her ex-beau, or as ex-beau as any thirteen year old girl is allowed to have, and was playing I Love How You Love Me by the Paris Sisters like crazy. He just flat-out told her after dinner that night that it would be a whole lot easier and less expensive to just get her own record player and play up in her room to her heart’s contend. Penny stood there in disbelief, not in disbelief about the idea but that dear old dad would go for it. Well, the long and short of it, was that dear old dad did go for it, with the usual provisos that there would be no loud or late playing. Sure daddy.
And that prospect, that record player of her very own, with her own platters to spin (records, grooved vinyl records to the squares), and no bother, except maybe to invite Jimmy or Zack over bother, is why this night as she walks home she is muttering about wage slavery, the injustices of the world, the teenage world, the only one that counted in case someone might have forgotten, and other communistic sentiments, if anybody had hear her. Penny figured after that night that another twelve hours of drudgery, another nine dollars and she could get that cool one that she saw in the Sears&Roebuck catalogue.
But then Penny, Parker bright just then, looked pensively down at the sidewalk when she realizes that she would have to buy records to feed that record player and that she would have to continue baby-sitting for slave wages forever with Dodd monsters to get all the 45s that she absolutely needed. And then, horror of horrors, what if Jimmy liked Sixteen Candles by the Crests and Zack didn’t but liked Rockin’ Robin by Bobby Day (and he probably would) and she had to buy both records. Well, what’s a girl to do but, Penny, Parker proud just then, thought she would be able to figure it out.
Saturday, August 6, 2011
He’s Got You- With Kudos to Miss (Ms.)Patsy Cline
Click on the headline to link to a YouTube film clip of Patsy Cline performing ht every appropriate (for this entry, juts reverse it) She's Got You.
CD Review
Patsy Cline: The Definitive Collection, Patsy Cline, MCA, 1991
Rick Roberts wanted to cry, wanted to just go into a corner and cry. Of course, as a man of the 1950s, of the hard-hearted Cold War shoulder-to-the-wheel, no prisoners taken love wars of the 1950s that was impossible. Impossible as well because although he felt himself a man in many ways, large, strong, virile and smart enough to make it to sixteen without too many mishaps he was still a boy, a Clintondale High junior boy. And that was the crux of the matter. No self-respecting boy (and, maybe, no self-not respecting boy if it came to it) would dream of going to a corner, or anywhere else, and cry, or let it be known that he was about to cry, or that he had cried at all past the age of six, maybe earlier . But Rick still wanted to cry. And it took no deep thought, no deep insight, no nothing to know the reason- a woman, well really a girl. June Davis, his "June Bug" (his pet name for her, although he would be the first to tell you do not, under any circumstances, call her that, or else-the “or else” part related to his being large, strong, virile and sixteen).
And, of course, if it’s a woman driving you to tears then it is almost a certainty that there is some guy behind the scenes stealing your time. And the name of the thief in this case is one Freddie Jackson, June’s elementary school flame, or something like that, but back a while ago. For christ sakes. And the way that Freddie did it was not so sneaky, well not sneaky, backdoor sneaky, but right in front of Rick at the last school dance. Freddie, for old time’s sake he said, asked Rick if it was okay for him to dance with June Bug when they played Patsy Cline’s I Fall To Pieces. Rick didn’t think anything of it, he wasn’t much of a slow dancer and June liked the song and wanted dance.
What Rick didn’t know was the song was something like “their” song, their song for christ sake, along with Patsy’s Always and So Wrong. Rick thought Patsy was okay but not enough to make her songs “their” songs. Jerry Lee’s Breathless, for very private reasons, don’t ask or else, was their song (and for fun, as joke between them, since they met at the Wash-All Laundromat, Leader of the Laundromat). And now he is poring though every Patsy record he can find like Crazy, She’s Got You, Why Can’t He Be You, Back In Baby’s Arms, and Sweet Dreams Of You to figure out where he went wrong, and how to get his June Bug back. Back from that Freddie Jackson, for christ sakes.
CD Review
Patsy Cline: The Definitive Collection, Patsy Cline, MCA, 1991
Rick Roberts wanted to cry, wanted to just go into a corner and cry. Of course, as a man of the 1950s, of the hard-hearted Cold War shoulder-to-the-wheel, no prisoners taken love wars of the 1950s that was impossible. Impossible as well because although he felt himself a man in many ways, large, strong, virile and smart enough to make it to sixteen without too many mishaps he was still a boy, a Clintondale High junior boy. And that was the crux of the matter. No self-respecting boy (and, maybe, no self-not respecting boy if it came to it) would dream of going to a corner, or anywhere else, and cry, or let it be known that he was about to cry, or that he had cried at all past the age of six, maybe earlier . But Rick still wanted to cry. And it took no deep thought, no deep insight, no nothing to know the reason- a woman, well really a girl. June Davis, his "June Bug" (his pet name for her, although he would be the first to tell you do not, under any circumstances, call her that, or else-the “or else” part related to his being large, strong, virile and sixteen).
And, of course, if it’s a woman driving you to tears then it is almost a certainty that there is some guy behind the scenes stealing your time. And the name of the thief in this case is one Freddie Jackson, June’s elementary school flame, or something like that, but back a while ago. For christ sakes. And the way that Freddie did it was not so sneaky, well not sneaky, backdoor sneaky, but right in front of Rick at the last school dance. Freddie, for old time’s sake he said, asked Rick if it was okay for him to dance with June Bug when they played Patsy Cline’s I Fall To Pieces. Rick didn’t think anything of it, he wasn’t much of a slow dancer and June liked the song and wanted dance.
What Rick didn’t know was the song was something like “their” song, their song for christ sake, along with Patsy’s Always and So Wrong. Rick thought Patsy was okay but not enough to make her songs “their” songs. Jerry Lee’s Breathless, for very private reasons, don’t ask or else, was their song (and for fun, as joke between them, since they met at the Wash-All Laundromat, Leader of the Laundromat). And now he is poring though every Patsy record he can find like Crazy, She’s Got You, Why Can’t He Be You, Back In Baby’s Arms, and Sweet Dreams Of You to figure out where he went wrong, and how to get his June Bug back. Back from that Freddie Jackson, for christ sakes.
Thursday, August 4, 2011
The Times Are Out Of Joint- The Heart Of Rock ‘n’ Roll: 1965-1966
Click on the headline to link to a YouTube film clip of Percy Sledge performing his classic When A Man Loves A Woman.
CD Review
The Heart Of Rock ‘n’ Roll: 1965-1966, various artist, Time-Life Music, 1997
Susie Roberts, Rick’s youngest sister was stuck. No, not stuck in some car stuck place on some desolate road looking for sir galahad to show up and rescue the fair damsel, pulling might and main to win her favors. And, decidedly, not stuck on some Clintondale High Math class Pythagorean Theorem math problem looking for the square root of some distance from point A to point B. She had Lenny Linsky for that, and for any other mathsciencehistoryenglish problem that she needed resolved. Yes, Lenny was that way about her. As were a few others, a few hopeless others, not willing however to join Lenny in the slave quarters. Everyone, hopeless or hopeful agreed, that while Susie was not up to speed in the mechanical or smarts departments she was cute (not knock-down drag-out beautiful but pretty enough, pretty enough not to have to worry about mechanics or math now, and probably ever), tall, blonde, real blonde if you can believe that in this day, this 1966 day in age, pert, and miss personality. And in the final analysis isn’t that what you want in a high school honey?
That though is exactly where Susie’s stuck problem comes in. See she is stuck on a soda jerk over at Doc’s Drugstore in North Adamsville. And not just any of Doc’s five jerks (yes, I know soda jerks, but let’s just shorthand this thing as jerks, no slander intended, okay) but Jeff Brigham. Yes, Jeff Brigham the big time politico, student body version, who had his picture taken with Robert Kennedy at some Northeast anti-war student conference where they were mapping out ways to end the war in Vietnam. And that is really where the problem comes in. Jeff, bright, agile, good-looking Jeff, these days has no time for Susie, well, Susie no brains, although not really no brains but more no political brains. And why should a sophomore, a good-looking sophomore girl in the year of our lord, 1966, have to care about war, about black civil rights, about whether Red China should be in the United Nations or not, or about which way America should be going just to keep up to speed with a jerk.
Something is out of whack and Susie can’t figure an angle to get to Jeff. Hey, any other time Jeff would be so much putty. Jerk proud, like the others at Doc’s, just to have Susie come in and talk to them. But, damn, Susie muttered under her breath they aren’t Jeff. And as many signals as she has given Jeff when she plays Doc’s juke box, plays it to perdition, and tries to interest him in talking about songs like The Temptations’ crooning My Girl; Otis Redding’s be-bopping I’ve Been Loving You Too Long; Barbara Lewis practically begging her man to get what he wants on Baby, I’m Yours; and when she turns the volume up for Percy Sledge’s When A Man Loves A Woman he just smiles his non-committal smile and starts talking about whether Robert Kennedy should, or should not, run for President in 1968, or some such thing. And then Susie fumes under her breath, the times are damn well out of joint.
CD Review
The Heart Of Rock ‘n’ Roll: 1965-1966, various artist, Time-Life Music, 1997
Susie Roberts, Rick’s youngest sister was stuck. No, not stuck in some car stuck place on some desolate road looking for sir galahad to show up and rescue the fair damsel, pulling might and main to win her favors. And, decidedly, not stuck on some Clintondale High Math class Pythagorean Theorem math problem looking for the square root of some distance from point A to point B. She had Lenny Linsky for that, and for any other mathsciencehistoryenglish problem that she needed resolved. Yes, Lenny was that way about her. As were a few others, a few hopeless others, not willing however to join Lenny in the slave quarters. Everyone, hopeless or hopeful agreed, that while Susie was not up to speed in the mechanical or smarts departments she was cute (not knock-down drag-out beautiful but pretty enough, pretty enough not to have to worry about mechanics or math now, and probably ever), tall, blonde, real blonde if you can believe that in this day, this 1966 day in age, pert, and miss personality. And in the final analysis isn’t that what you want in a high school honey?
That though is exactly where Susie’s stuck problem comes in. See she is stuck on a soda jerk over at Doc’s Drugstore in North Adamsville. And not just any of Doc’s five jerks (yes, I know soda jerks, but let’s just shorthand this thing as jerks, no slander intended, okay) but Jeff Brigham. Yes, Jeff Brigham the big time politico, student body version, who had his picture taken with Robert Kennedy at some Northeast anti-war student conference where they were mapping out ways to end the war in Vietnam. And that is really where the problem comes in. Jeff, bright, agile, good-looking Jeff, these days has no time for Susie, well, Susie no brains, although not really no brains but more no political brains. And why should a sophomore, a good-looking sophomore girl in the year of our lord, 1966, have to care about war, about black civil rights, about whether Red China should be in the United Nations or not, or about which way America should be going just to keep up to speed with a jerk.
Something is out of whack and Susie can’t figure an angle to get to Jeff. Hey, any other time Jeff would be so much putty. Jerk proud, like the others at Doc’s, just to have Susie come in and talk to them. But, damn, Susie muttered under her breath they aren’t Jeff. And as many signals as she has given Jeff when she plays Doc’s juke box, plays it to perdition, and tries to interest him in talking about songs like The Temptations’ crooning My Girl; Otis Redding’s be-bopping I’ve Been Loving You Too Long; Barbara Lewis practically begging her man to get what he wants on Baby, I’m Yours; and when she turns the volume up for Percy Sledge’s When A Man Loves A Woman he just smiles his non-committal smile and starts talking about whether Robert Kennedy should, or should not, run for President in 1968, or some such thing. And then Susie fumes under her breath, the times are damn well out of joint.
Friday, July 1, 2011
Growing Up Absurd In The 1950s-In The Time Of The Great 45 RPM Clip-The "Cradle Of Love" Indeed
Click on the headline to link to a YouTube film clip of Johnny Preston performing his Cradle Of Love.
CD Review
21 Hard To Find 45s On CD; Volume One, various artists, Eric Records, 1996
“ Hey Jimmy have you heard the latest Sonny Knight 45, Confidential, its all slow, smooth, and girl close hold-able, and maybe even kissable, “ yelled Sammy Rizzo across the seventh period study hall classroom. “ Christ, Sammy Whammy, where do you come up with those words, 'close hold-able,’ what does that mean, you’re poking her,” yelled Jimmy, Jimmy Cullen, back at his old friend. Just then Miss Wilmot, that old bitch thought Sammy, came into the room signaling lock-down, prison lock-down and that there would be no more talking, no more talking, period, except of course for the flurry, the massive flurry of notes, between boys and girls, girls and girls, boys and their confederates, boy or girl. Confederates like Sammy Rizzo and Jimmy Cullen, who from appearances would seem like an unlikely pair, except they had been friends, well, since way back in old Clintonville Elementary School days.
Jimmy, long, long and slender, wiry, sneaky wiry if you decided that he was an easy target in a hard fistfight, although all bets were off if you decided on switchblades, knives that every boy, every smart boy, carried, carried concealed on his person somewhere, and let’s just leave it at that. Carrying just in case he caught trouble at school in some dark back hall, or more likely, found himself on some foreign corner, some corner boy corner without his boys, and some king hell corner boy king decided he didn’t like your looks, or just didn’t like the idea of you on his corner. And Jimmy also had a handsome face set off by deep-blue eyes, a cross between Paul Newman movie star glamour eyes and the steel-blue eyes of "Stacks McGee," a serial killer now waiting to fry up in the death row of the state pen, if the appeals process ever ended. And long eyelashes, girl-driving crazy long eye lashes, to go with those eyes. Ya, Jimmy would never, probably until he was old and grey and maybe not even then, lack for female company, if that is what he wanted.
And Sammy, "Sammy Whammy," Rizzo, the Whammy part given a few years back in junior high school when the rhyming simon craze swept through Clintonville Junior High School and all the girls spent all their time making up names, double names, for every boy, and some boys did it too although not Jimmy and Sammy. So the Whammy part stuck to Sammy, like it or not, which he did. Sammy, some Sancho Panza sad-sack dumpling, stocky, hell no, kind of fat, with a non-descript face, except that it seemed to always need a shave even at eight in the morning, and no description eyes. Except that Sammy never lacked for girls, at least one date girls, or maybe two. See Sammy was the max daddy be-bop 45 record king hell king of the town of Clintonville, maybe of all Dewar County if someone decided to count. And so Sammy could use that old gag on the girls, on the be-bop rock and roll record-starved girls, about coming up to see his etchings after a date, except he actually had the records. Had them so it seemed as soon as they came off the presses. So he could work his magic, let’s say, for example, on some Born Too Late-crazed girl, some girl who liked an older guy, a guy, who had no time for, well, jail bait, and be the soul of compassion about her woes while the 45 played in the background. See it worked for that one date, maybe two, until she got tired of the song, or found a new boyfriend or that older guy said the hell with it and took his chances.
But see Sammy did not have those hundreds, seemingly hundreds, of 45s just by accident, or just by his parents having deep pockets to allow him to buy whatever he wanted right off the presses. No way. Sammy Whammy was from hunger. What Sammy was also master of, king hell king master of, was the clip. The clip from Bugsy’s Big Tent Record Shop up in Clintonville Center (in the heart of downtown Clintonville, according to Bugsy’s ads on the local 24/7/365 rock and roll radio station, WJDA, where his ads ran about every six seconds, or so it seemed, alternating with Benny’s Car Hop, a drive-in restaurant that also was owned by Bugsy).
See, here is how it worked, and this is where friend Jimmy came in (and also why Jimmy didn’t care if he had three, or three hundred, records as background for one of his dates, his girl crazy eyelashes dates. He could just cop one from Sammy). Let’s say they wanted Jimmy Jones’ Handy Man (a favorite of Sammy’s, he had two copies of it because the first one got worn out from working his gag about his being a handy man- and Christ, everybody knew about it because it got all around school, all around Monday morning girls’ lav talk school to be exact, the girls went for it, strictly one date went for it). Jimmy and Sammy would make the couple of mile trek to Bugsy’s, usually on foot since car times were few and far between in the Cullen and Rizzo households, especially for no work, no want to work, clip artist kids. Most of the time Bugsy’s daughter , Cindy, would be working out front helping customers, showing people to the record booths to play the latest, or ring up the sales.
And here was the beauty of it, Cindy, fellow classmate of theirs, was nothing but head over heels crazy for Jimmy, or maybe it was those long eyelashes and would get a little confused, or something, when Jimmy stepped up and asked her a question about a record. Maybe a weepy one like Mark Dinning’s Teen Angel, about a dizzy teenage dame who, after being led to safety from a car stranded on a railroad by her boyfriend, got the bright idea of tempting the fates and going back for the boy’s high school ring. She was last seen in heaven, or somewhere like that. Just then Sammy was looking for Ricky Nelson’s A Teenager's Romance because his upcoming date was with a girl all hung up of that twerp. So while Jimmy and Cindy were talking Sammy went to the record bin, grabbed the 45, and slipped it under his shirt. Easy, almost like taking candy from a baby. No just like it.
But being the king of the 45 record night ain’t easy, or maybe better, is filled with all kind of funny things. One time Jimmy and Sammy were in Bugsy’s for the clip and they were going through their normal paces. Jimmy started talking animatedly to Cindy about Johnny Preston’s Cradle of Love, and really laying it on in a way that made Cindy think he was making a play for her, a big play. Now Sammy was in looking for Ray Peterson’s Corrina, Corrina for a hot date. He grabbed the 45 okay but as he signaled to Jimmy that the deal was done and went to leave the store Cindy called him over and directed him to follow her to a certain record bin. Jimmy, meanwhile, waited outside. At the bin she put a record under his shirt and said, “That’s for Jimmy.” Sammy rushed out the store, called to Jimmy to move quickly, and when they got around the corner Sammy pulled out the Cindy picked record. Ya, a pristine Cradle of Love.
CD Review
21 Hard To Find 45s On CD; Volume One, various artists, Eric Records, 1996
“ Hey Jimmy have you heard the latest Sonny Knight 45, Confidential, its all slow, smooth, and girl close hold-able, and maybe even kissable, “ yelled Sammy Rizzo across the seventh period study hall classroom. “ Christ, Sammy Whammy, where do you come up with those words, 'close hold-able,’ what does that mean, you’re poking her,” yelled Jimmy, Jimmy Cullen, back at his old friend. Just then Miss Wilmot, that old bitch thought Sammy, came into the room signaling lock-down, prison lock-down and that there would be no more talking, no more talking, period, except of course for the flurry, the massive flurry of notes, between boys and girls, girls and girls, boys and their confederates, boy or girl. Confederates like Sammy Rizzo and Jimmy Cullen, who from appearances would seem like an unlikely pair, except they had been friends, well, since way back in old Clintonville Elementary School days.
Jimmy, long, long and slender, wiry, sneaky wiry if you decided that he was an easy target in a hard fistfight, although all bets were off if you decided on switchblades, knives that every boy, every smart boy, carried, carried concealed on his person somewhere, and let’s just leave it at that. Carrying just in case he caught trouble at school in some dark back hall, or more likely, found himself on some foreign corner, some corner boy corner without his boys, and some king hell corner boy king decided he didn’t like your looks, or just didn’t like the idea of you on his corner. And Jimmy also had a handsome face set off by deep-blue eyes, a cross between Paul Newman movie star glamour eyes and the steel-blue eyes of "Stacks McGee," a serial killer now waiting to fry up in the death row of the state pen, if the appeals process ever ended. And long eyelashes, girl-driving crazy long eye lashes, to go with those eyes. Ya, Jimmy would never, probably until he was old and grey and maybe not even then, lack for female company, if that is what he wanted.
And Sammy, "Sammy Whammy," Rizzo, the Whammy part given a few years back in junior high school when the rhyming simon craze swept through Clintonville Junior High School and all the girls spent all their time making up names, double names, for every boy, and some boys did it too although not Jimmy and Sammy. So the Whammy part stuck to Sammy, like it or not, which he did. Sammy, some Sancho Panza sad-sack dumpling, stocky, hell no, kind of fat, with a non-descript face, except that it seemed to always need a shave even at eight in the morning, and no description eyes. Except that Sammy never lacked for girls, at least one date girls, or maybe two. See Sammy was the max daddy be-bop 45 record king hell king of the town of Clintonville, maybe of all Dewar County if someone decided to count. And so Sammy could use that old gag on the girls, on the be-bop rock and roll record-starved girls, about coming up to see his etchings after a date, except he actually had the records. Had them so it seemed as soon as they came off the presses. So he could work his magic, let’s say, for example, on some Born Too Late-crazed girl, some girl who liked an older guy, a guy, who had no time for, well, jail bait, and be the soul of compassion about her woes while the 45 played in the background. See it worked for that one date, maybe two, until she got tired of the song, or found a new boyfriend or that older guy said the hell with it and took his chances.
But see Sammy did not have those hundreds, seemingly hundreds, of 45s just by accident, or just by his parents having deep pockets to allow him to buy whatever he wanted right off the presses. No way. Sammy Whammy was from hunger. What Sammy was also master of, king hell king master of, was the clip. The clip from Bugsy’s Big Tent Record Shop up in Clintonville Center (in the heart of downtown Clintonville, according to Bugsy’s ads on the local 24/7/365 rock and roll radio station, WJDA, where his ads ran about every six seconds, or so it seemed, alternating with Benny’s Car Hop, a drive-in restaurant that also was owned by Bugsy).
See, here is how it worked, and this is where friend Jimmy came in (and also why Jimmy didn’t care if he had three, or three hundred, records as background for one of his dates, his girl crazy eyelashes dates. He could just cop one from Sammy). Let’s say they wanted Jimmy Jones’ Handy Man (a favorite of Sammy’s, he had two copies of it because the first one got worn out from working his gag about his being a handy man- and Christ, everybody knew about it because it got all around school, all around Monday morning girls’ lav talk school to be exact, the girls went for it, strictly one date went for it). Jimmy and Sammy would make the couple of mile trek to Bugsy’s, usually on foot since car times were few and far between in the Cullen and Rizzo households, especially for no work, no want to work, clip artist kids. Most of the time Bugsy’s daughter , Cindy, would be working out front helping customers, showing people to the record booths to play the latest, or ring up the sales.
And here was the beauty of it, Cindy, fellow classmate of theirs, was nothing but head over heels crazy for Jimmy, or maybe it was those long eyelashes and would get a little confused, or something, when Jimmy stepped up and asked her a question about a record. Maybe a weepy one like Mark Dinning’s Teen Angel, about a dizzy teenage dame who, after being led to safety from a car stranded on a railroad by her boyfriend, got the bright idea of tempting the fates and going back for the boy’s high school ring. She was last seen in heaven, or somewhere like that. Just then Sammy was looking for Ricky Nelson’s A Teenager's Romance because his upcoming date was with a girl all hung up of that twerp. So while Jimmy and Cindy were talking Sammy went to the record bin, grabbed the 45, and slipped it under his shirt. Easy, almost like taking candy from a baby. No just like it.
But being the king of the 45 record night ain’t easy, or maybe better, is filled with all kind of funny things. One time Jimmy and Sammy were in Bugsy’s for the clip and they were going through their normal paces. Jimmy started talking animatedly to Cindy about Johnny Preston’s Cradle of Love, and really laying it on in a way that made Cindy think he was making a play for her, a big play. Now Sammy was in looking for Ray Peterson’s Corrina, Corrina for a hot date. He grabbed the 45 okay but as he signaled to Jimmy that the deal was done and went to leave the store Cindy called him over and directed him to follow her to a certain record bin. Jimmy, meanwhile, waited outside. At the bin she put a record under his shirt and said, “That’s for Jimmy.” Sammy rushed out the store, called to Jimmy to move quickly, and when they got around the corner Sammy pulled out the Cindy picked record. Ya, a pristine Cradle of Love.
Monday, June 27, 2011
Growing Up Absurd In The 1950s- In The Heart Of The Last Kiss Night- A CD Review
Click on the headline to link to a YouTube film clip of Elvis Presley performing his classic, Love Me.
CD Review
The Heart Of Rock ‘n’ Roll: 1956-1957, Time-Life Music, 1996
Scene: (Prompted by the cover photograph, the memory cover photograph, which graces each CD in this Heart of Rock ‘n’ Roll series. The photo on this CD, as might be expected, shows a he, Johnny Riley, and a she, Peggy McGuire, half-dancing, half-embracing, half-kissing (wait a minute that is too many halves, right?). Kissing that last dance kiss as if their lives depended on it, and maybe it does. Or it had better be so else this scene will turn to ashes)
Johnny Riley had been thinking, thinking hard about Peggy, Peggy McGuire, all day as he prepared himself in anticipation of his date with her for that night’s school dance over at the North Adamsville High gym. Although they had only gone out a few times, a few glorious down the day time beach, out to the movies, and after school bowling at Jake’s Bowling and pizza at Salducci’s times he was thinking hard about her just the same. Ya, it was getting to be like that. More pressing though was, if she liked him too, and he thought she might, what it would be like on their first kiss. She looked like a good kisser but kissing, although he didn’t have all that much experience at it truth to tell, wasn’t something you could tell about by looking; only doing. With that “wisdom” in mind he planned, planned hard, almost as hard as he was thinking about Peggy on how he would “work” around to that first kiss tonight. Ya, tonight was the night he thought to himself later as he made his final preparations, teeth brushed, check, mouth wash, check, deodorant, check, hair tonic-ed and combed, check. Ready.
And out the door with the keys to father’s, clueless father’s, automobile on loan, on special Johnny loan for this evening because Johnny’s father “liked” Peggy. Johnny wondered, wondered for just a second, whether his father and mother kissed. Nah, no way. And as he drove to pick Peggy up Johnny went through his plan in his head one more time. At the dance he was going to dance all the slow dances real close and real physical to get her worked up a little. Then after the dance suggest that they go to Salducci’s for some pizza and then down the beach to “watch the submarine races.” Although he wouldn’t say that but more like it was nice night and let’s go down to the beach and watch the moon or something like that. The key though was to get her “in the mood” with that slow dancing.
Well, Johnny picked Peggy up, they talked in the car on the way over, just chitchat stuff, Johnny parked the car, and they went into the dance. No problems so far, and things were going according to Johnny plan because no sooner had they got there than the DJ played Fever by Little Willie John and Johnny “worked” his closeness magic and a few songs later with Long Lonely Nights by Lee Andrews and The Hearts. After intermission the DJ played Ivory Joe Hunter’s Empty Arms, a song, no question, designed to bring lips together. And Johnny could sense that Peggy, every time he held her closer, didn’t try to back off but just followed his lead and stayed close. Yes, this was going to be the night. A couple of songs they sat out as both agreed they were drippy like old foggy Pat Boone’s April Love and Lloyd Price’s Just Because.
Then Elvis’ Love Me came on and they got up again to dance. About two seconds into the dance Peggy gave Johnny the biggest kiss he had ever received in his life, not a long kiss but big, big with meaning, kiss. Right on the dance floor. And then Peggy said she had enough of dancing and since it was such a nice night maybe they could go down to the beach to cool off and “watch the submarine races.” See, as hard as Johnny was thinking about Peggy that day, Peggy McGuire was thinking just a little harder about him, and about why he was taking so long to give her a first kiss like he didn’t want to. So a girl had to take things in hand sometimes. Of course old clueless Johnny only found this out, between kisses, as they were watching those submarine races on that nice night down at the beach. Thanks Elvis.
CD Review
The Heart Of Rock ‘n’ Roll: 1956-1957, Time-Life Music, 1996
Scene: (Prompted by the cover photograph, the memory cover photograph, which graces each CD in this Heart of Rock ‘n’ Roll series. The photo on this CD, as might be expected, shows a he, Johnny Riley, and a she, Peggy McGuire, half-dancing, half-embracing, half-kissing (wait a minute that is too many halves, right?). Kissing that last dance kiss as if their lives depended on it, and maybe it does. Or it had better be so else this scene will turn to ashes)
Johnny Riley had been thinking, thinking hard about Peggy, Peggy McGuire, all day as he prepared himself in anticipation of his date with her for that night’s school dance over at the North Adamsville High gym. Although they had only gone out a few times, a few glorious down the day time beach, out to the movies, and after school bowling at Jake’s Bowling and pizza at Salducci’s times he was thinking hard about her just the same. Ya, it was getting to be like that. More pressing though was, if she liked him too, and he thought she might, what it would be like on their first kiss. She looked like a good kisser but kissing, although he didn’t have all that much experience at it truth to tell, wasn’t something you could tell about by looking; only doing. With that “wisdom” in mind he planned, planned hard, almost as hard as he was thinking about Peggy on how he would “work” around to that first kiss tonight. Ya, tonight was the night he thought to himself later as he made his final preparations, teeth brushed, check, mouth wash, check, deodorant, check, hair tonic-ed and combed, check. Ready.
And out the door with the keys to father’s, clueless father’s, automobile on loan, on special Johnny loan for this evening because Johnny’s father “liked” Peggy. Johnny wondered, wondered for just a second, whether his father and mother kissed. Nah, no way. And as he drove to pick Peggy up Johnny went through his plan in his head one more time. At the dance he was going to dance all the slow dances real close and real physical to get her worked up a little. Then after the dance suggest that they go to Salducci’s for some pizza and then down the beach to “watch the submarine races.” Although he wouldn’t say that but more like it was nice night and let’s go down to the beach and watch the moon or something like that. The key though was to get her “in the mood” with that slow dancing.
Well, Johnny picked Peggy up, they talked in the car on the way over, just chitchat stuff, Johnny parked the car, and they went into the dance. No problems so far, and things were going according to Johnny plan because no sooner had they got there than the DJ played Fever by Little Willie John and Johnny “worked” his closeness magic and a few songs later with Long Lonely Nights by Lee Andrews and The Hearts. After intermission the DJ played Ivory Joe Hunter’s Empty Arms, a song, no question, designed to bring lips together. And Johnny could sense that Peggy, every time he held her closer, didn’t try to back off but just followed his lead and stayed close. Yes, this was going to be the night. A couple of songs they sat out as both agreed they were drippy like old foggy Pat Boone’s April Love and Lloyd Price’s Just Because.
Then Elvis’ Love Me came on and they got up again to dance. About two seconds into the dance Peggy gave Johnny the biggest kiss he had ever received in his life, not a long kiss but big, big with meaning, kiss. Right on the dance floor. And then Peggy said she had enough of dancing and since it was such a nice night maybe they could go down to the beach to cool off and “watch the submarine races.” See, as hard as Johnny was thinking about Peggy that day, Peggy McGuire was thinking just a little harder about him, and about why he was taking so long to give her a first kiss like he didn’t want to. So a girl had to take things in hand sometimes. Of course old clueless Johnny only found this out, between kisses, as they were watching those submarine races on that nice night down at the beach. Thanks Elvis.
Sunday, February 27, 2011
When Be-Bop Bopped In The Doo Wop Night- “Street Corner Serenade”- A CD Review
Click on the headline to link to a YouTube film (From American Bandstand) of The Classics performing the old time classic ( I think originally from The Mills Brothers) , Till Then.
CD Review
The Rock ‘n’ Roll, Era: Street Corner Serenade, Time-Life Music, 1992
Sure I have plenty to say about early rock ‘n’ roll, now called the classic rock period in the musicology hall of fame. And within that say I have spent a little time, not enough, considering its effect on us on the doo-wop branch of the genre. Part of the reason, obviously, is that back in those mid-1950s jail-breakout days I did not (and I do not believe that any other eleven and twelve year olds did either), distinguish between let’s say rockabilly-back-beat drive rock, black-based rock centered on a heavy rhythm and blues backdrop, and the almost instrument-less (or maybe a soft piano or guitar backdrop) group harmonics that drove doo-wop. All I knew was that it was not my parents’ music, not close, and that they got nervous, very nervous, anytime it was played out loud in their presence. Fortunately, some sainted, sanctified, techno-guru developed the iPod of that primitive era, the battery-driven transistor radio. No big deal, technology-wise by today’s standard’s, but get this you could place it near your ear and have your own private out loud without parental scuffling in the background. Yes, sainted, sanctified techno-guru. No question.
What doo-wop did though down in our old-time working class housing projects neighborhood, and again it was not so much by revelation as by trial and error, is allow us to be in tune with the music of our generation without having to spend a lot of money on instruments or a studio or any such. Where the hell would we have gotten the dough for such things when papas were out of work, or were one step away, and there was trouble just keeping the wolves from the door. Sure, some kids, some kids like my home boy elementary school boyhood friend Billie, William James Bradley, were crazy to put together cover bands with electric guitars (rented occasionally), and dreams. Or maybe go wild with a school piano a la Jerry Lee Lewis, Little Richard, or Fats Domino but those were maniac aficionados. Even Billie though, when the deal went down, especially after hearing Frankie Lymon and The Teenagers was mad to do the doo-wop and make his fame and fortune.
The cover art on this compilation shows a group of young black kids, black guys, who look like they are doing their doo wop on some big city street corner. And that makes sense reflecting the New York City-derived birth of doo-wop and that the majority of doo-wop groups that we heard on the AM radio were black. But the city, the poor sections of the city, white or black, was not the only place where moneyless guys and gals were harmonizing, hoping, hoping maybe beyond hope, to be discovered and make more than just a 1950s musical jail-breakout of their lives. Moreover, this cover art also shows, and shows vividly, what a lot of us guys were trying to do-impress girls (and maybe viz-a-versa for girl doo-woppers but they can tell their own stories).
Yes, truth to tell, it was about impressing girls that drove many of us, Billie included, christ maybe Billie most of all, to mix and match harmonies. And you know you did too (except remember girls just switch around what I just said). Ya, four or five guys just hanging around the back door of the elementary school on hot summer nights, nothing better to do, no dough to do things, maybe a little feisty because of that, and start up a few tunes. Billie, who actually did have some vocal musical talent, usually sang lead, and the rest of us, well, doo-wopped. We knew nothing of keys and pauses, of time, notes, or reading music we just improvised. (And I kept my changing to teen-ager, slightly off-key voice on the low, on the very low.) Whether we did it well or poorly, guess what, as the hot sun day turned into humid night, and the old sun went down just over the hills, first a couple of girls, then a couple more, and then a whole bevy (nice word, right?) of them came and got kind of swoony and moony. And swoony and moony was just fine. And we all innocent, innocent dream, innocent when we dreamed, make our virginal moves. But, mainly, we doo-wopped in the be-bop mid-1950s night. And a few of the songs in this doo-wop compilation could be heard in that airless night. The stick outs here: Deserie, The Charts; Baby Blue, The Echoes; Till Then, The Classics; Tonight (Could Be The Night), The Velvets.
CD Review
The Rock ‘n’ Roll, Era: Street Corner Serenade, Time-Life Music, 1992
Sure I have plenty to say about early rock ‘n’ roll, now called the classic rock period in the musicology hall of fame. And within that say I have spent a little time, not enough, considering its effect on us on the doo-wop branch of the genre. Part of the reason, obviously, is that back in those mid-1950s jail-breakout days I did not (and I do not believe that any other eleven and twelve year olds did either), distinguish between let’s say rockabilly-back-beat drive rock, black-based rock centered on a heavy rhythm and blues backdrop, and the almost instrument-less (or maybe a soft piano or guitar backdrop) group harmonics that drove doo-wop. All I knew was that it was not my parents’ music, not close, and that they got nervous, very nervous, anytime it was played out loud in their presence. Fortunately, some sainted, sanctified, techno-guru developed the iPod of that primitive era, the battery-driven transistor radio. No big deal, technology-wise by today’s standard’s, but get this you could place it near your ear and have your own private out loud without parental scuffling in the background. Yes, sainted, sanctified techno-guru. No question.
What doo-wop did though down in our old-time working class housing projects neighborhood, and again it was not so much by revelation as by trial and error, is allow us to be in tune with the music of our generation without having to spend a lot of money on instruments or a studio or any such. Where the hell would we have gotten the dough for such things when papas were out of work, or were one step away, and there was trouble just keeping the wolves from the door. Sure, some kids, some kids like my home boy elementary school boyhood friend Billie, William James Bradley, were crazy to put together cover bands with electric guitars (rented occasionally), and dreams. Or maybe go wild with a school piano a la Jerry Lee Lewis, Little Richard, or Fats Domino but those were maniac aficionados. Even Billie though, when the deal went down, especially after hearing Frankie Lymon and The Teenagers was mad to do the doo-wop and make his fame and fortune.
The cover art on this compilation shows a group of young black kids, black guys, who look like they are doing their doo wop on some big city street corner. And that makes sense reflecting the New York City-derived birth of doo-wop and that the majority of doo-wop groups that we heard on the AM radio were black. But the city, the poor sections of the city, white or black, was not the only place where moneyless guys and gals were harmonizing, hoping, hoping maybe beyond hope, to be discovered and make more than just a 1950s musical jail-breakout of their lives. Moreover, this cover art also shows, and shows vividly, what a lot of us guys were trying to do-impress girls (and maybe viz-a-versa for girl doo-woppers but they can tell their own stories).
Yes, truth to tell, it was about impressing girls that drove many of us, Billie included, christ maybe Billie most of all, to mix and match harmonies. And you know you did too (except remember girls just switch around what I just said). Ya, four or five guys just hanging around the back door of the elementary school on hot summer nights, nothing better to do, no dough to do things, maybe a little feisty because of that, and start up a few tunes. Billie, who actually did have some vocal musical talent, usually sang lead, and the rest of us, well, doo-wopped. We knew nothing of keys and pauses, of time, notes, or reading music we just improvised. (And I kept my changing to teen-ager, slightly off-key voice on the low, on the very low.) Whether we did it well or poorly, guess what, as the hot sun day turned into humid night, and the old sun went down just over the hills, first a couple of girls, then a couple more, and then a whole bevy (nice word, right?) of them came and got kind of swoony and moony. And swoony and moony was just fine. And we all innocent, innocent dream, innocent when we dreamed, make our virginal moves. But, mainly, we doo-wopped in the be-bop mid-1950s night. And a few of the songs in this doo-wop compilation could be heard in that airless night. The stick outs here: Deserie, The Charts; Baby Blue, The Echoes; Till Then, The Classics; Tonight (Could Be The Night), The Velvets.
Monday, February 7, 2011
Those Oldies But Goodies…Out In The Be-Bop ‘50s Song Night- The Teen Queens’ “Eddie My Love” (1956) - A 55th Anniversary, Of Sorts-Billie's 1956 View
Click on the headline to link to a YouTube film clip of the Teen Queens performing the classic Eddie My Love.
Markin comment:
This space is noted for politics mainly, and mainly the desperate political fight against various social, economic and moral injustices and wrongs in this wicked old world, although the place where politics and cultural expression, especially post-World War II be-bop cultural expression, has drawn some of my interest over the past several years. The most telling example of that interest is in the field of popular music, centrally the blues, city and country, good woman on your mind, hard working, hard drinking blues and folk music, mainly urban, mainly protest to high heaven against the world’s injustices smite the dragon down, folk music. Of late though the old time 1950s kid, primordial, big bang, jail-break rock and roll music that set us off from earlier generations has drawn my attention. Mostly by reviewing oldies CDs but here, and occasionally hereafter under this headline, specifically songs that some future archeologists might dig up as prime examples of how we primitives lived, and what we listened to back in the day.
EDDIE MY LOVE
(Aaron Collins / Maxwell Davis / Sam Ling)
The Teen Queens - 1956
The Fontane Sisters - 1956
The Chordettes - 1956
Dee Dee Sharp - 1962
Also recorded by:
Lillian Briggs; Jo Ann Campbell; The Sweethearts.
Eddie, my love, I love you so
How I wanted for you, you'll never know
Please, Eddie, don't make me wait to long
Eddie, please write me one line
Tell me your love is still only mine
Please, Eddie, don't make me wait too long
You left me last September
To return to me before long
But all I do is cry myself to sleep
Eddie, since you've been gone
Eddie, my love, I'm sinking fast
The very next day might be my last
Please, Eddie, don't make me wait too long
You left me last September
To return to me before long
But all I do is cry myself to sleep
Eddie, since you've been gone
Eddie, my love, I'm sinking fast
The very next day might be my last
Please, Eddie, don't make me wait too long
Please, Eddie, don't make me wait too long
(Transcribed from the Teen Queens
recording by Mel Priddle - May 2006)
**********
Billie here, William James Bradley, if you don’t know already. To “the projects” born but you don’t need, or at least you don’t absolutely need to know that is get the drift of what I have to say here. I am here to give my take on this latest song, Eddie My Love, that just came out and that the girls are going weepy over, and the guys are saying “that a boy, Eddie.” At least that’s what the wiser guys I hang around with say when they hear the record played on the radio. Except, of course, sappy Markin, Peter Paul Markin if you don’t know, my best friend at Adamsville Elementary School (or maybe best friend, he has never told me one way or the other what it was with us from his end, but sappy as he may be at times, he is my best friend from my end) who thinks Eddie should be righteous and return to his forlorn girl. What is he kidding? Eddie keep moving wherever you are, and keep moving fast. And please, please don’t go within a mile of a post office.
Why do I hold such an opinion and what gives me the “authority”, some authority like the pope of rock and roll, or something to speak this way? Well, first off, unlike Markin, I take my rock and roll, my rock and roll lyrics seriously, hell, I have written some myself. Also I have some talent in this field and have won vocal competitions (and dance ones too), although there have been a few more I should have won. Ya, should have won but the fix was in, the fix was in big time, against project kids getting a break, a chance to make something out of the jailbreak music we are hearing. I’ll tell you about those bad breaks some time but now I am hot to straighten everybody out, even Markin, on this one. Markin pays attention to, too much attention to, the “social” end of the question, looking for some kind of teenage justice in this wicked old world when there ain’t none. Get it, Peter Paul.
Look, I can read between the lines of this story just like anybody else, any pre-teenage or teenage anybody else. Parents, my parents, Markin’s parents, Ozzie and Harriet, whoever, couldn’t get it if you gave them that Rosetta Stone they discovered to help them with old time Egyptian writing and that we read about in Mr. Barry’s class. No way. But Billie, William James Bradley, who will not let any grass grow beneath his feet is wise, very wise to the scene. Hey, it’s not rocket stuff, it’s simply the age old summer fling thing. Eddie, handsome, money in his pocket, super-charged car under his feet, gas in the tank, and an attitude that he is king of the known world, the known teenage world, sees this cutie, makes his play, they have some fun, some teenage version of adult fun for any not wise kids, school days come and he is off to his next cutie. Ya, he said he would write and, personally, I think that was a mistake. A quick “I'll be in touch,” and kiss on the cheek would have been smarter.
See Eddie, love ‘em and leave ‘em Eddie, is really a hero. What did this teen queen think was going to happen when Eddie blew into town? Love, marriage and here comes the teen queen with a baby carriage. Please. Eddie, Eddie your love ain’t got no time for that. And that old threatening to do herself in or whatever she means by “my next day might be my last,” is the oldest trick in the book, the oldest snare a guy trick that is. Ya, maybe someday when things are better, and guys don’t have that itch, that itch to move on, and maybe can settle down in one place and have plenty of dough, plenty of ambition, and the old wicked world starts taking care of its own better. Whoa… wait a minute, I’m starting to sound like Markin. Jesus, no. Eddie just keep moving, okay. Billie’s pulling for you.
Markin comment:
This space is noted for politics mainly, and mainly the desperate political fight against various social, economic and moral injustices and wrongs in this wicked old world, although the place where politics and cultural expression, especially post-World War II be-bop cultural expression, has drawn some of my interest over the past several years. The most telling example of that interest is in the field of popular music, centrally the blues, city and country, good woman on your mind, hard working, hard drinking blues and folk music, mainly urban, mainly protest to high heaven against the world’s injustices smite the dragon down, folk music. Of late though the old time 1950s kid, primordial, big bang, jail-break rock and roll music that set us off from earlier generations has drawn my attention. Mostly by reviewing oldies CDs but here, and occasionally hereafter under this headline, specifically songs that some future archeologists might dig up as prime examples of how we primitives lived, and what we listened to back in the day.
EDDIE MY LOVE
(Aaron Collins / Maxwell Davis / Sam Ling)
The Teen Queens - 1956
The Fontane Sisters - 1956
The Chordettes - 1956
Dee Dee Sharp - 1962
Also recorded by:
Lillian Briggs; Jo Ann Campbell; The Sweethearts.
Eddie, my love, I love you so
How I wanted for you, you'll never know
Please, Eddie, don't make me wait to long
Eddie, please write me one line
Tell me your love is still only mine
Please, Eddie, don't make me wait too long
You left me last September
To return to me before long
But all I do is cry myself to sleep
Eddie, since you've been gone
Eddie, my love, I'm sinking fast
The very next day might be my last
Please, Eddie, don't make me wait too long
You left me last September
To return to me before long
But all I do is cry myself to sleep
Eddie, since you've been gone
Eddie, my love, I'm sinking fast
The very next day might be my last
Please, Eddie, don't make me wait too long
Please, Eddie, don't make me wait too long
(Transcribed from the Teen Queens
recording by Mel Priddle - May 2006)
**********
Billie here, William James Bradley, if you don’t know already. To “the projects” born but you don’t need, or at least you don’t absolutely need to know that is get the drift of what I have to say here. I am here to give my take on this latest song, Eddie My Love, that just came out and that the girls are going weepy over, and the guys are saying “that a boy, Eddie.” At least that’s what the wiser guys I hang around with say when they hear the record played on the radio. Except, of course, sappy Markin, Peter Paul Markin if you don’t know, my best friend at Adamsville Elementary School (or maybe best friend, he has never told me one way or the other what it was with us from his end, but sappy as he may be at times, he is my best friend from my end) who thinks Eddie should be righteous and return to his forlorn girl. What is he kidding? Eddie keep moving wherever you are, and keep moving fast. And please, please don’t go within a mile of a post office.
Why do I hold such an opinion and what gives me the “authority”, some authority like the pope of rock and roll, or something to speak this way? Well, first off, unlike Markin, I take my rock and roll, my rock and roll lyrics seriously, hell, I have written some myself. Also I have some talent in this field and have won vocal competitions (and dance ones too), although there have been a few more I should have won. Ya, should have won but the fix was in, the fix was in big time, against project kids getting a break, a chance to make something out of the jailbreak music we are hearing. I’ll tell you about those bad breaks some time but now I am hot to straighten everybody out, even Markin, on this one. Markin pays attention to, too much attention to, the “social” end of the question, looking for some kind of teenage justice in this wicked old world when there ain’t none. Get it, Peter Paul.
Look, I can read between the lines of this story just like anybody else, any pre-teenage or teenage anybody else. Parents, my parents, Markin’s parents, Ozzie and Harriet, whoever, couldn’t get it if you gave them that Rosetta Stone they discovered to help them with old time Egyptian writing and that we read about in Mr. Barry’s class. No way. But Billie, William James Bradley, who will not let any grass grow beneath his feet is wise, very wise to the scene. Hey, it’s not rocket stuff, it’s simply the age old summer fling thing. Eddie, handsome, money in his pocket, super-charged car under his feet, gas in the tank, and an attitude that he is king of the known world, the known teenage world, sees this cutie, makes his play, they have some fun, some teenage version of adult fun for any not wise kids, school days come and he is off to his next cutie. Ya, he said he would write and, personally, I think that was a mistake. A quick “I'll be in touch,” and kiss on the cheek would have been smarter.
See Eddie, love ‘em and leave ‘em Eddie, is really a hero. What did this teen queen think was going to happen when Eddie blew into town? Love, marriage and here comes the teen queen with a baby carriage. Please. Eddie, Eddie your love ain’t got no time for that. And that old threatening to do herself in or whatever she means by “my next day might be my last,” is the oldest trick in the book, the oldest snare a guy trick that is. Ya, maybe someday when things are better, and guys don’t have that itch, that itch to move on, and maybe can settle down in one place and have plenty of dough, plenty of ambition, and the old wicked world starts taking care of its own better. Whoa… wait a minute, I’m starting to sound like Markin. Jesus, no. Eddie just keep moving, okay. Billie’s pulling for you.
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