1. COMPLETESIDE COLLECTOR ONE 3. SGT. PEPPER’S2. HARMONY 40 LANE 5. 10 SONGS THAT ROCKED THE WORLD 4. POP QUIZTH ANNIVERSARY

A collection of crowd-pleasingGoldmine’s articles.

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GMN_50829_Inside_Tr_Prem.indd 1 1/19/09 2:29:36 PM such things — its value can only be mea- Complete Collector: sured in fractions of a cent. Don’t let the seller try to sweet talk you, Grading Tapes and either. Every collector, finding a shot- CDs to-hell Shangri-Las LP and asking why it’s still $50, has been informed that “if it By Dave Thompson for Goldmine wasn’t for the bullet holes, it’d be in mint condition.” And that’s true, especially if or all the confusion that surrounds the bullet holes are indeed the only imper- accurately grading records, the fection. But if the record won’t play, it’s a Fsystem itself is relatively simple. Frisbee. And some don’t even fulfill that American record dealers tend to work function properly. from the eight-point scale developed for Mint (M), at the other end of the scale, use in Goldmine; in the U.K., the seven- means factory-fresh, unplayed — even point scale is now the accepted system. unopened (still sealed). There will be no These scales are applicable to both vinyl creases or ring wear on the cover (picture and packaging, and many sellers will now sleeve for 45s and EPs), no fingerprints on grade both separately, particularly if there the vinyl, no spindle marks (light silvery is some disparity between the two — a lines) around the center hole. Any original clean disc and a torn sleeve, for example. extras, ranging from lyric sheets and post- Both of these scales are excellent ers to printed inner sleeves, will be present guides. Where problems can arise is when and pristine. There will be no indication transactions cross international boundaries, at all that human hands have ever touched especially when a record falls outside of the record. And one will notice that very the most self-evident of grades. few experienced American dealers or price To begin at the bottom, Poor (P) or, in guides ever advertise their wares in this the U.K., Bad (B), should leave nobody state, no matter how perfect they appear. in any doubt. In a nutshell, the record is Instead, Near Mint is the preferred term, wrecked. The sleeve is tattered, if it is even simply because even unplayed, unopened present. The vinyl might be cracked or records may well have some undetected broken, it might be scratched or warped. defect. Mint, in America, implies “per- It certainly will not play very well and, fect.” Near Mint adds “as far as we can unless the record itself represents one of tell.” the world’s most fabulous rarities — say, a British grading doesn’t make this same red vinyl pressing of the Hornets’ “I Can’t distinction. Mint still means exactly the Believe,” a $20,000 disc if you care for same as it does in the U.S., but there is no safety net a few points down the grading scale to catch any unforeseen problems. Perhaps the British trust the dealer to make good any serious shortfall in the quality of the disc. Perhaps they understand that, once they break the seal and spin the record, it is no longer either unopened or unplayed. Or maybe they have simply come to terms with the fact that “Perfect” is just an old John Travolta movie. However they look at it, the sys 1

GMN_50829_Inside_Tr_Prem.indd 2 1/19/09 2:29:38 PM tem works for them. American buyers is stored, they will not affect the sound in may not be so sure. the slightest. These are the extremes. On a numerical The American Very Good Plus (VG+) scale, a Mint record should score 100 (with and British Excellent (Ex) imply a record Near Mint no less than 95), a Poor would that, while showing some signs of use, was barely scrape zero. What, however, of all also clearly the property of a very careful the numbers in between — for it is there owner. This is the province of the surface that the majority of records one finds on marks and similar light scuffs which do the second-hand/used circuit, be it internet, not interfere with the play, but may be con- thrift store or record fair, will lie. And it’s sidered unsightly; a barely noticeable warp there that controversy most likely rears its or dish might also creep into this grade if head. no other damage is in evidence. Spindle There are four basic flaws to which marks will be minimal and the spindle vinyl is prone, most brought about through hole will still be tight. So-called “light misuse of some sort: warping, dishing, scratches” are those that have cut into the scratching and breaking. The last of these groove and are responsible for occasional, is self-explanatory. If the record is broken, and very brief, sequences of light clicks as and that means anything from a minor a record is playing. Clicking, however, is crack on the edge to a huge chunk torn all that they will do. Medium scratches are from the soul of the disc, then that’s the those that actively interfere with the music, end of the story. It’s broken. Move along. without actually causing the needle to skip Warping, caused by exposure to exces- or stick. They can be felt by running a fin- sive heat, is the term applied to records gertip over the surface of the record (make that, in the simplest terms, are no longer sure it’s a clean tip, though, or you’ll just flat. Sometimes, the warp will gently bow add to the problem). On both sides of the the vinyl, so that when viewed edge-on, ocean, the grade Very Good (VG) allows it takes on a pronounced wave. In more these scratches to intrude into the listening extreme cases, just one area of the record experience, together with further deteriora- will be buckled, while the remainder of the tion (but still no loss or significant dam- disc is unharmed. age) in the state of the packaging. Dishing is similar to warping but this Other accepted VG ailments include time, when viewed edge-on, the record surface noise evident during quiet pas- takes on the appearance of a bowl. Again, sages. Should the record have belonged to the effect can be minimal and may not af- somebody who regularly played certain fect the sound quality. But it may. cuts, there may be some minor clicking Scratches are more problematic. Every at the beginning and end of each one, grade below Near Mint makes some al- caused by the needle having been placed lowance for wear and tear. The question less than delicately down on the vinyl. In is, how much wear and tear can one expect extreme cases, this can also affect (again, for any stated state? Some scratches are so without skipping or sticking) the outro of light as to barely touch the vinyl — “sur- the preceding cut and/or the intro of the face marks,” as they are commonly called, next. However, while a VG record will can be caused by the record coming into suffer from some of these faults, it should contact with absolutely anything, including not suffer from them all. Two or three is the stylus that is playing it or even its own more than enough - any more and a serious packaging. However, as surface marks lie reappraisal is called for. Most U.S. price across the surface of the record, and do not guides regard VG as the lowest grade cut into the grooves where the music itself worth valuing. 1 2

GMN_50829_Inside_Tr_Prem.indd 3 1/19/09 2:29:38 PM On both sides of the Atlantic, the grade Harmony Lane: Good describes records which have pa- tently been played a few times too often. TV archives are Groove wear will be evident in the loss of the shiny black glow that a better-condi- untapped treasure tioned disc should retain. Label and sleeve alike will be tatty - stained, torn, defaced. chest of musical gems Upon playing, the record will not sound By Todd Baptista for Goldmine as sharp as it once did, surface noise will be audible throughout, and the scratches will be louder, too. The record will still be playable without skipping or sticking, but it’s a sorry sight to behold regardless. The wholly unnecessary American grade of Good Plus (G+) is differentiated as not having quite as many defects as a mere Good. The lowest grade in which a record is actually playable is the American Fair (F), which equates to the British Poor (P). In this state, the deepest scratches come into play, those that not only cut through the grooves, but also force the needle to follow them, leading to the dreaded skips and jumps. Or maybe they displace one of the ecently, I read a letter to the groove walls, shifting it into the path of the editor from a reader requesting a needle, thus causing it to become stuck. story on 1950s vocal groups on (Dirt, hair, grease and a million other for- R television. It’s a subject in which I person- eign bodies can also cause this.) Or maybe ally have a lot of interest. It’s frustrating they do both and really give you your for many of us to know that in the kine- waste-of-money’s worth. The sleeve may scoped archives of programs, including still be intact, but it just as likely may not; “American Bandstand,” the “Saturday and if there was a lyric sheet or similar Night Beechnut Show,” the “Tonight included, it long ago went walkabout. Show with Steve Allen,” and the “Ed Basically, unless we are again discuss- Sullivan Show,” are hours of vocal group ing some fabulous rarity, records in this gems waiting to be unearthed. condition are as worthless as those graded Through trade journals, program logs even more disparagingly, and the only and professional contracts, we have been reason they are even offered up for sale is able to identify a number of appearances because modern society frowns so fiercely made by vocal groups on various televi- on simply giving rubbish away. One man’s sion programs. That’s the good news. meat and all that. Likewise, there are few The bad news is that much of the foot- worthwhile reasons for even wanting to age may no longer exist. While a kin- purchase a record in this state - unless, per- escope or two of some early regional pro- haps, you really hate the song and want to grams, including the Milt Grant, Art Laboe watch it suffer. In which case, are you sure and Johnny Otis shows, have surfaced in you even need to know about grading? recent years, most others, like the

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GMN_50829_Inside_Tr_Prem.indd 4 1/19/09 2:29:39 PM Clay Cole and Alan Freed shows, did paired with the video of another artist’s not survive. In fact, all tapes of the Cole intro. I recently contacted DCP to learn show, which ran from 1959-1968, were about the existence and future plans for erased by WPIX-TV in a cost-cutting this vintage material, but my inquiry went move decades ago. unanswered. Some artists have contacted the own- Various anniversary shows and unau- ers of the material in search of their early thorized bootleg tapes confirm that footage appearances. The late James “Pookie” of artists — including Huey “Piano” Smith Hudson had contacted Dick Clark Produc- and the Clowns, the Monotones, Coast- tions in search of video of his group, the ers, Dion and the Belmonts, the Imperials, Spaniels, in the early 1990s, but was disap- Crests, Impalas and Skyliners exists. Occa- pointed to learn that none of their appear- sionally, a clip will show up on YouTube. ances could be found. com, but they are quickly removed at the For many years, underground Web sites request of the “copyright owner.” and mail-order catalogs have been the There are other oddities that have lone supplier of these vintage clips, which surfaced — the Crystals/Metros lip-synch- often are poor quality. However, Andrew ing “Watching You”, Frankie Lymon and Solt Productions’ purchase of the Ed Sul- the Teenagers on the Frankie Laine show, livan Show archives and subsequent DVD and one of my own personal favorites, the releases of the show’s Beatles and Elvis original Larks performing “Lucy Brown” Presley appearances, along with Reelin’ In on the Perry Como show from 1951. The Years Productions’ incredible three- While “The Pied Piper Of Cleveland” may volume “American Folk Blues Festival” be the Holy Grail of unseen rock ’n’ roll DVD series has given new hope to collec- films, for me and many vocal group fans, tors of this material. our wish list is topped by “The Robins OK, motion pictures aside, if we had Sing.” The Robins, then consisting of Carl an opportunity to create our own personal Gardner, Bobby Nunn, Terrell Leonard, vocal group harmony archive, where and Billy and Roy Richard, were signed by would we begin? I’d probably start with Universal-International Pictures to make a “The Dick Clark Saturday Night Beechnut film short in the fall of 1954. Show” (Feb. 15, 1958-Sept. 10, 1960). “The Robins Sing” featured the group Broadcast live from the Little Theatre in lip-synching several of their most popular , it primarily featured art- sides, including “Riot In Cell Block #9,” ists lip-synching to their records. “Framed,” and “Ten Days In Jail.” The In 1986, Vestron Music Video released often reproduced photograph of the group “Dick Clark’s Best of Bandstand,” a com- clad in matching white suits is, in fact, a pilation of clips from these Saturday night still from the movie. In a 1998 interview, shows. Among the artists featured were the Terrell Leonard remembered attending Silhouettes, Dion and the Belmonts and multiple showings of “The Robins Sing” the Fleetwoods. in , hoping that some of the While the firm has fielded numerous young ladies in the audience might recog- queries through the years about footage nize him as one of the group. of early rock ’n’ rollers Buddy Holly “I haven’t seen it since,” Gardner re- and Ritchie Valens, DCP contends that marked recently. “The whole production, no footage of either performer exists in I thought, was pretty lousy. But we did their archives today, and the clip of Clark do the film.” Unfortunately, “The Robins introducing Valens in the film “La Bamba” Sing” film short has never been seen by was actually a newly recorded voice-over even the most ardent of R&B fans. Today, 3 4

GMN_50829_Inside_Tr_Prem.indd 5 1/19/09 2:29:39 PM GMN_50829_Inside_Tr_Prem.indd 6 When It’s 40? Love “Sgt.Pepper” Will You Still sal archives. Kings ofPop. Road studiosto reclaimtheircrownsasthe had inyears,theFabsretired to Abbey a better-soundingshowthanthe Beatles and JamesBrown,bothofwhom puton such seasonedroadwarriorsas theStones of touring,tiredtryingtocompete with roll versionoftheChristmasstory.Tired Pass.” for thesameoldstoryof”HowItCameto its 40thwithonemorebatchofgo-rounds fulfilled —theworldwillbecelebrating (the answer’sno,bytheway),havingbeen she’ll stillneedandfeedhimwhenhe’s64 more ofitsprophecies,Paulfindingoutif from thatmilestone—withatleastone Hearts release oftheBeatles’ 1987 markedthe20thanniversaryof By Dave for Goldmine Thompson Milestone Beatles’ MasterpieceHitsa

it languishessomewhereintheUniver It’s almostBiblicalbynow,therock’n’ ClubBandLPand,twodecadeson ‘IT WAS AN EVENT’ Sgt Pepper’s Lonely

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galaxy offacescutandpastedinatten were themyriadmugshotstoporeover,a you evencrackedtheshrink-wrap,there was.” was goingtobesomethingspecial,thenit in theBeatles.Iftheysaidtheirnextrecord work ofgenius,becausepeoplehadfaith it, do inayear.Evenbeforeanybodyheard in afewmonths,imaginewhattheycould like it.Well,ifthat’swhattheycoulddo single, andthere’dneverbeenanything with the‘StrawberryFieldsForever’ studio, andtheypromptlyturnedaround they said,socouldconcentrateonthe Beatles.” “TheBeatlesgaveuptouring, running radioshow”BreakfastWithThe founder andhostof97.1FREEFM’slong- less. immaterial. face on,say, Home” —couldscarcelyhaveshowntheir “Sergeant Pepper,”“She’sLeaving Morning GoodMorning,”“LovelyRita,” songs theywerenowproducing—“Good accomplish. Andthefactthatactual production, justimaginewhattheycould songwriting, songarrangements,and they wastedontheroadandpouritinto could harnessjustafractionoftheenergy from everycorner oftheglobe. heard theexactsamesounds emanating from somewhereindeepspace wouldhave alien spacecraftlisteninginto theplanet were doingexactlythesame thing. An the restofit,severalmillionother people Western world,andthroughvast swathsof was intheknowledgethat,allacross very firsttime,thatsunnyJune1,1967,it you placedtheneedleonvinylfor first freecut-outmoustache.And,when sleeve. ThefirstBeatleslyricsheet. first (ornearasdamnit)singleLPgatefold Blake. Andthenyouopeneditup.The dance ’roundtheBeatlesbyartistPeter They madeitlookspecial,too.Before “It wasanevent,”explainsChrisCarter, It wasamasterfulmaneuver.Ifthey Sgt. Pepper Pepper Rubber Soul wasbeingdescribedasa wouldtriumphregard or Revolver 1/19/09 2:29:40 PM , was - - Parlaphone 5 Parlaphone 5 GMN_50829_Inside_Tr_Prem.indd 7 for note,it’sprobablytheweakestBeatles time pointingoutthat,songforsong,note cynics havespentmuchoftheintervening even thoughagrowingnumberofgrumpy still regardedastheBeatles’masterpiece, platter weatheredtheyears?Ofcourse,it’s Well, nowit’s40,andhowhastheold TEST OF TIME Anthology 2 the historicaloverviews before you,justfour—andthat includes tioned Beatlescompilationsspread out Sgt. Pepper the verybestofBeatleband.” Howmuch funny, squeakyvoices,“adisccontaining all about.“Makeus,”theyinsistintheir demanded toknowwhatthefusswas and, handingyouablankCD-R,have met afewsentencesagohavejustlanded, we expectfromanalbum.” plained, “Itrevolutionizedmusicandwhat because, asBBCDJSimonMayoex Sgt. Pepper it hadalotofgreatperformancesonit. world. Thriller,afterall,islovedbecause defeat wouldnothavebeentheendof challenger, MichaelJackson’s votes separated ily asgrandonemightexpect.Just201 at 10. eight andTheBeatles( Ten — three otherBeatlesalbumsmadetheTop anniversary oftheU.K.albumchart,while U.K.-wide polltocommemoratethe50th hanging chad. know theblipwasprobablycausedbya Sounds to either top (andoccasionallyitslips,losingout albums ofalltime.If Sale. album ofall.Or,atleast,since Fact: Withcloseto20officially sanc But askyourselfthis.Thosealienswe The marginofvictorywasnotnecessar Most recently,itcameoutontopofa But runapolloftheTop100rock ), thenit’scloseenoughthatyou Revolver Revolver wouldyouincludeonthat? , ontheotherhand,islionized , andtherevised Sgt. Peppe atsix, ortheBeachBoys’ Pepper the White Album Abbey Road 1967-1970 r fromitsclosest ’s notatthe Yellow

Thriller Beatles For and at - Pet , but - ) -

His firststepsintotheworldofcinema, Robert Stigwoodwasfeelinginvincible. come nobodyactuallylikesit? the Beatles’greatestalbum,right?Sohow has goneseriouslyawry.Sgt.Pepperis Day InTheLife”?),youknowposterity Better” (orwouldyouprefertheFall’s“A Status Quochuggingthrough“Getting notwithstanding, whenyourbesthopeis (“With ALittleHelpFromMyFriends”) current albumTwelve)andJoeCocker (“Within YouWithoutYou,”fromher Sgt. Pepper Mystery Tour nine, andeventheAmerican is coveredbyseven,the of Medley”) foundroomforonlyfiveflakes of the1982UKTop10hit“BeatlesMovie better ifitwasn’tsimplyaninferiorrehash way, thatwouldhaveprobablybeenalot requires anLPfullofBeatles. Greatest Album”toanybodywhosimply to conveythemajestyof”AllTime ing Home,”ononealbum, tunes. Thatleavesonesong,“She’sLeav any choiceinthematter—feature Submarine Beatles precisely whatthey’dmissed knew thatnowwasthetimeto showthose if youwanttoproveapoint, and Stigwood al anthem.But10yearsisnot alongtime Beatles neverrecordedtheiratonal nation ment. came soclosetotakingovertheirmanage album thebandwasworkingonwhenhe liked were bringingtothemusicalwing.Andhe the likesofBeeGeesandEricClapton movie divisionofhisRSOorganizationas brought thesamesterlingsuccessto ”Saturday NightFever”and”Grease,”had By early1978,veteranentrepreneur And let’snotevengetstartedon Even lastyear’s He’d backeddownintheend, andthe Pepper Sgt. Pepper STIGWOOD’S FOLLY ; bycomparison, soundtrack,noneofwhichhad cover versions.PattiSmith LPbyfour. —itwas,afterall,the Love (analbum,bythe White Album Abbey Road Love Songs Magical 1/19/09 2:29:41 PM Pepper by ,

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6 out on when they shrugged him aside so Frampton objected to. The soundtrack, coldly. “Sgt. Pepper” — the movie! too, horrified him, as Stigwood outlined On paper, too, it was hard to see how the litany of talent who would be filing it could fail. True, Stigwood’s vision for through the studio to cut their own nearly- the movie scarcely adhered to the Beatles’ note perfect renditions of the Fab Four’s own conceptual blueprint. But still it finest. would be very difficult to sneer at a project Inevitably, the Bee Gees were on board, that brought together some of the biggest alongside Paul Nicholas, a singer Stig- names in late-1970s rock to pay tribute to wood had been working with since the late the biggest record of the late-1960s. 1960s. Earth, Wind And Fire, Aerosmith Difficult, but not quite impossible, as and Alice Cooper rounded up the rock ’n’ the movie’s star, Peter Frampton, reminds rollers, and that wasn’t so bad. But where us. Frampton was riding high at the time, did comedian Steve Martin fit into things? following up the multi-million selling Actor Donald Pleasance?? British music Frampton Comes Alive with a studio set, hall veteran Frankie Howard??? George I’m In You, that sold through the roof on Burns???? momentum alone. So, when Stigwood “I’m all for good cover versions,” started casting around for a suitable face Frampton shudders. “But if you’re gonna to front the movie, he really didn’t need to do a Stones song, do it like I did ‘Jumpin’ look any farther. Jack Flash,’ and if you’re gonna do a Bea- Frampton recalls, “Robert Stigwood tles song, do it like Joe Cocker did ‘With went to the management, and said... A Little Help From My Friends.’ Don’t do obviously this is how it went... he said it exactly the same way as the Beatles.” ‘I’ll make you executive producer, if you But that was precisely how Stigwood get me Frampton.’ There’d be a hefty imagined it being done. And, as if that fee for him, plus 20 percent of me, plus wasn’t bad enough, there were some who knows what went on under the table. damned eccentric couplings to be drawn Anyway, I said ‘no, I don’t want to do from that cast — Alice and the Gib- it’; they asked why. I said, ‘Because it’s blings duetting on “Because;” Pleasance sacrilegious!’” and Stargard blending tonsils on “I Want Sgt. Pepper — the record — meant a lot You (She’s So Heavy)”... and who was to Frampton; the Beatles themselves rated ringmastering this increasingly bizarre among his idols. The idea of even attempt- concoction? “George Martin!” Frampton ing to recreate one of their masterpieces still sounds incredulous. for big bucks alone was one that gave him “Thrilled, I was, to work with him, but cold sweats. they gave him the orders, and I’m sure he It wasn’t only the movie’s premise that turned around and said, ‘Excuse me, old

Photo courtesy of Parlaphone 7

GMN_50829_Inside_Tr_Prem.indd 8 1/19/09 2:29:42 PM chap, one fatal flaw here. Don’t have ‘You want to try a new record? Hold on the Beatles.’ We’re dealing with a session while we put this out. We’ll destroy you band, with the Beatles’ producer, and I had again.’ But... I’m hearing now that it’s already said, ‘Look, if one of the Beatles becoming almost a cult movie, and it’s were in this film, then it might validate it.’ nowhere near as bad as it was made out to So now Stigwood came in and said Paul be at the time. McCartney was going to be the savior of “It’s just... you had the Bee Gees in it, the movie and play the part that in the end and Saturday Night Fever’ was zooming was played by Billy Preston, who was up the chart at the time we were mak- almost a Beatle. So I said, ‘If Paul McCart- ing it; you had me, who was at the top ney’s doing this movie, then I’ll do it’.” of the chart; we had the cover of Time, Big mistake. Contracts were signed, Newsweek, and everyone going, ‘Oh this dates were arranged, and then Frampton is going to be a blockbuster movie,’ and went to see Wings at Wembley, just a it was useless! It was a piece of crap; it night or two before his own show at that was horrible. The only thing the director same venue. Backstage, all was chit-chat had ever directed before was “Car Wash,” until Frampton, taking his leave, said, and I don’t think he’d ever heard of the “’See you on the film set,’ and he goes, Beatles! ‘What, what do you mean?’ And Linda “We were up the creek without a paddle, says, ‘Oh, Peter’s doing that Sgt. Pep- definitely. I always said it wasn’t that bad; per thing,’ and Paul goes, ‘Oh you’re not Steve McQueen was in “The Blob,” and doing that, are you?’ I went, ‘But aren’t it didn’t hurt him. But, I’ve made many you...’; ‘No, I’m not doing that.’ Oh shit. albums and I’ve made some stinkers, and But that was it; there was no getting out people bring them up with the good ones. of it.” I only made one movie, and people jump Taking the role of Billy Shears, on it every time, and rightly so, because I Frampton would appear on eight of the don’t like it either. soundtrack’s 28 tracks, and he does try to “There was no script. There was a big dignify the proceedings somewhat; a lush blue book we all got given, but it was basi- (what else?) rendition of “The Long And cally what song we were miming to, that Winding Road” became a surprisingly was about it. And I think I took the rap for unsuccessful single that same year, while everybody. No one ever mentions it to the “Golden Slumbers” also was acceptable Bee Gees!” enough. Elsewhere, his duets with the Bee Gees across “She Came In Through The THE LEGACY Bathroom Window,” “Getting Better,” The failure of Stigwood’s “Sgt. Pepper” “With A Little Help...,” “Mr. Kite” and did, in fact, do a lot of damage to everyone “Sgt. Pepper” are at least peculiar enough concerned, including the company that to enjoy a certain kitsch appeal. created it in the first place. According to The movie itself, however, remains a Fred Gershon, Robert Stigwood’s partner grueling test of endurance, not only for in RSO, the album shipped an unheard-of anyone versed in the original album, but triple platinum — most of which came for anybody who considers themselves to back as returns, together with maybe an- possess a modicum of taste and discern- other million in bootleg copies! The label ment. folded soon after. “I’ve watched it,” Frampton cringes. “It Meanwhile, Sgt. Pepper himself marches seems every time I put a new record out, on, still exciting admiring glances, still Stigwood puts it out on TV somewhere. encouraging cover versions, still topping 7 8

GMN_50829_Inside_Tr_Prem.indd 9 1/19/09 2:29:42 PM polls. It even made it aboard a set of British postage stamps this year, as part Pop Quiz of a set of six issued to commemorate the In each issue of Goldmine, we pose 16 50th anniversary of John Lennon’s first questions in three categories – easier, meeting with Paul McCartney on July 6, medium and harder. Of course, the degree 1957, at a school fête in their native Liver- of difficulthatbjective; sometimes, the pool. The Beatles, Help, Revolver, Abbey questions that are difficult come easily, Road and Let It Be complete the package, while those that I think are easy turn out to although designer Michael Johnson isn’t be the stumpers. convinced that it was the wisest choice for (Note: Any references to chart positions, the format. unless otherwise noted, are from Bill- “You have to reduce, reduce, reduce. You board.) have to be really careful with levels of detail, because anything that looks good at A4 may look awful on a stamp. Paradoxi- ENTRY LEVEL cally, Sgt. Pepper’s is the probably the weakest of the Beatles’ stamps because it 1) Though not credited on the 45, who was has too much detail. It was designed for a the female backing vocalist on John Den- 12-inch square, not for one inch.” ver’s 1975-76 hit single “Fly Away?” You could say the same thing about the album itself. Most records, especially at 2) What group consists of former members that time, were cut with just their immedi- of Longbranch, Pennywhistle, Shiloh, The ate market in mind. Few people gave a James Gang and Poco?

thought as to how their latest opus might sound four months down the road, let 3) “I was born in a cross-fire hurricane” is the first line of what Top 10 hit and classic- alone 40 years. The fact that Sgt. Pep- rock staple from 1968? per still resonates today — the fact that

people are probably already planning its 4) What famous band got its name from an 50th anniversary, just a decade down the early pseudonym used by Paul McCartney? road — assures us that, no matter what its faults, its failings or its ill-conceived 5) What song was the biggest hit for Keith spin-offs, Sgt. Pepper was designed for the Whitley, the biggest hit for Alison Krauss & ages. What a shame that so few of us will Union Station and the first British solo hit be around for its centenary... (and #1 in the UK) for Ronan Keating?

ADVANCED FANS

6) The popular 2000s band Maroon 5 origi- nally recorded under what name?

7) Who had the first charted version of “Summer Wind” in 1965?

8) What still-active group has had one change in members in its 55 years of history and has not had a personnel change in the past 49 years?

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GMN_50829_Inside_Tr_Prem.indd 10 1/19/09 2:29:43 PM 9) When new lyrics were put to the Beach 2. Eagles Boys’ 1963 album cut “Catch a Wave,” it 3. “Jumpin’ Jack Flash” (by the Rolling Stones) became a hit single in 1964. What was the 4. The Ramones 5. “When You Say Nothing At All” name of this new song? 6. Kara’s Flowers 7. Wayne Newton 10) What two astronauts are mentioned in 8. The Dells the lyrics of Billy Joel’s 1989 hit “We Didn’t 9. “Sidewalk Surfin’” (by Jan and Dean) Start The Fire?” 10. John Glenn and Sally Ride 11. “It Must Have Been Love (by Roxette) FOR THE EXPERTS 12. “Sweetheart” 13. “Early in the Morning;” The Ding Dongs; The Rinky-Dinks 11) What #1 hit from 1990 originally was 14. “Video Killed The Radio Star” (by the recorded and released with the subtitle Buggles) “Christmas for the Broken-Hearted?” 15. “The End of the World” by Skeeter Davis BONUS. “Within You Without You What song, originally recorded by the 12) Scale: 1-5 Correct: You’re still a rookie Bee Gees as an LP cut and a B-side, became 6-10 Correct: Not bad a chart hit in a remake by Engelbert Hump- 11-14 Correct: Borderline genius erdinck? 15-16 Correct: Want a job?

13) In 1958, Bobby Darin made a single for the Brunswick label, although he was signed 10 Songs That to Atco at the time. It was released with a fake group name on the label. Eventually, Rocked The World! Atco found out, and Brusnwick was forced There were hundreds of to relinquish the master to Atco, which re-released the record using a different fake great songs in the 1950s, group name. What was the hit song, as well but these 10 helped define a as the Brunswick fake name and the Atco music generation. fake name? o inject a little fun into this issue of 14) Linda Jardin and Debi Doss were the Goldmine, a tribute issue to great female singers on what influential 1979 song ‘50s stars and songs, we decided to that peaked at #40 on the Hot 100? T enlist the help of some of our best oldies writers to come up with a list of the “Top 15) Only one recording in music history has 10 Most Influential 1950s Songs.” Gee, made the top five on Billboard’s Hot 100, that’s not going to start an argument or R&B, country and easy listening charts, anything. though it hit #1 only on the easy listening Pinpointing the best songs of the ‘50s list. What are the title and the artist of this is like asking who serves the best pizza 1962 hit song? in Chicago, the best ribs in Texas, or who has the best legs among the Rockettes. BONUS QUESTION There’s an awful lot to pick from, and way too much good stuff to narrow it down to Of the songs on Sgt. Pepper’s Lonely Hearts 10. But we’ll give it a shot anyway, and Club Band, which was the last to be com- include a list of “The ” pleted? THE ANSWERS songs that could certainly have made it 1. Olivia Newton-John onto this, or any other, list of the best 9 10

GMN_50829_Inside_Tr_Prem.indd 11 1/19/09 2:29:44 PM songs from a great decade in music. Cry Guy,” “The Naibob of Sob,” and the The list below comes from a five-per- “Prince of Wails.” son panel of guys who follow, collect and However, label mate was write about ‘50s music. The Top 10 songs quoted in the liner notes of High Drama: are presented in chronological order by the The Real Johnny Ray (Sony Legacy, 1997) year they were recorded. as saying, “He smashed all the rules, standing up at the piano — no one ever did “Cry” — Johnnie Ray — 1951: that, everybody sat at the piano — and it Initially released on the R&B Okeh would become a great performance, a great label, with subsequent pressings made visual performance. And I really consider available through Columbia, Johnnie Ray Johnnie Ray to be, in that sense, the father made a huge impact with his first and of rock and roll.” greatest hit. Simultaneously vulnerable and If Ray ever thought of himself as rock’s emotionally provocative, Ray revolution- father, the Four Lads never heard him say ized pop music by incorporating naked so. “I think he was just involved in his amounts of R&B into this simple song style,” Busseri told me. “You know, they of consolation. Running the sounds of Al called him ‘Mr. Emotion,’ and that’s what Hibbler, Jimmy Scott, Jimmy Wither- he did, he emoted. I don’t think he catego- spoon, and Dinah Washington through his rized himself as a rhythm and blues singer mental blender, he fashioned a bedtime or as pop singer. He just did his thing and ballad that both vented and empathized it was very successful.” with deep romantic grief. The result was — Ken Burke “Cry” b/w “The Little White Cloud That Cried,” which dominated the #1 and #2 “How High The Moon” — Les Paul and spots on the national charts. Mary Ford — 1951: Part of the record’s success was due to Look at a list of the songs that hit #1 on the Four Lads, whose background vocals the Billboard best-selling singles list in helped make Ray’s yelping emotionalism the first five years of the 1950s sometime. palatable to pop audiences. In 2001, this There are many good performances, but writer spoke with the group’s founding most of them are waltzes, ballads and baritone Frank Busseri, who was asked novelty records. In other words, they could if Ray had trouble recording. “Well, yes, just as easily have been recorded in the probably because he had a hearing prob- 1940s. lem. [Ray wore a hearing aide.] We just “How High The Moon” is different. went straight ahead and he did his thing, From the first notes of the record, with but we had to stop and start sometimes Les Paul’s ringing, up-tempo guitar, you because he might get a little behind be- know this is no ordinary early-1950s hit. It cause of the hearing situation. But it really might fit firmly in the pop tradition — after wasn’t bad at all.” all, “How High The Moon” was written Ray’s monster hit made him a star over- in 1940 — but this is the closest the pop night and his live shows were sensational charts came to rock ‘n’ roll before the — he dropped to his knees, slid across the music had a name. stage, hysterically pounded on the piano, Paul was more of a jazz musician, and and threw the most beautifully executed Mary Ford, his then-wife, would never dramatic fits in pop music history. These have been mistaken for Ruth Brown. But angst-ridden antics provoked weeping a lot of things you hear in the best rock adulation from bobby-soxers but earned ‘n’ roll music are present in this 2-minute, the scorn of critics who dubbed him “The 6-second masterpiece. 11

GMN_50829_Inside_Tr_Prem.indd 12 1/19/09 2:29:44 PM his film, “Blackboard Jungle.” Hoping to boost sagging sales of the year-old record- ing, Gabler signed over the rights for a single dollar. As the first rock ’n’ roll record to be featured in a motion picture, it quickly be- came an anthem for a generation of young rock and rollers, spending eight weeks at #1 on the pop charts in mid-1955. It served as the title song for the genre’s first full- length film a year later. It also made an unlikely international star out of the 31-year-old former western- swing bandleader and later came to repre- sent the decade to younger listeners when First is Paul’s guitar. Rock music would it was included in the American Graffiti not have been possible without Paul’s in- soundtrack and as the theme to the “Happy novations in the solid-body electric guitar. Days” television show. Chuck Berry must have been listening, and Visiting him backstage in London in both Jeff Beck and Jimmy Page admit they 1968, John Lennon autographed a photo were. Yes, he used some studio trickery to to Haley with the inscription, “To Bill do what he did, but nonetheless, the guitar — You started it all!” solo in “How High The Moon” is worthy — Todd Baptista of any rock guitar god. Of course, Ford’s multi-tracked vocals “That’s All Right” — Elvis Presley stand out, too. She wasn’t the first to do — 1954 this; Patti Page did duets with herself While it’s true that brazen visionaries earlier on such hits as “The Tennessee across the South dared to experiment with Waltz.” But Ford’s harmonies, especially various amalgams of country and R&B in the “Ahs” as the guitar solo ends, are 1954, “That’s All Right” represents the electrifying. Finally, “How High The Moon” rocks. It’s almost impossible not to tap your feet, snap your fingers, play air guitar or other- wise react when you hear it. And to think that this record, years ahead of its time, spent nine weeks at #1 in 1951! — Tim Neely

“Rock Around The Clock” — Bill Haley & The Comets — 1954: Recorded in April of 1954, Haley’s ver- sion of “Rock Around The Clock” admit- tedly didn’t set the world on fire upon its initial release. After hearing his daughter playing the record, director Richard Brooks opted to license the song from Milt Gabler at Decca Records for inclusion in 11 12

GMN_50829_Inside_Tr_Prem.indd 13 1/19/09 2:29:45 PM flashpoint when rockabilly was officially “Blue Suede Shoes” – Carl Perkins born — not just musically, but in terms of — 1955: its defiant attitude. The rules were about I can’t think of a more important or in- to change forever in the country music fluential record from the 1950s. Recorded field, thanks to a shy, sideburned young and released in December, 1955, this re- Memphian who chose not to recognize the cord simply changed the face of American idiomatic boundaries traditionally separat- popular music. Among its many accom- ing blues, hillbilly, and pop. His imagina- plishments, “Blue Suede Shoes” helped tion changed the world. establish rockabilly as a powerful (if In a scenario that long ago assumed short-lived) musical trend, indicated that a mythical proportions, the whole thing single recording could dominate the pop, came about pretty much by happenstance. country and R&B charts at the same time, Fooling around in the humble Memphis and solidified the reputation of the tiny studio of Sun Records with guitarist Scotty Memphis-based Sun label. Perkins’ music Moore and upright bassist Bill Black at his also helped establish the notion that a side, Elvis was in search of anything that “band” could consist of nothing more than might strike Sun bossman Sam Phillips as two guitars, a bass and drums. It is hard to possessing commercial potential. Just for overstate the importance of that simple fact kicks, he launched into a hoary blues origi- — both in America and overseas. nated by one of his many musical heroes, Ironically, the one who benefited least Arthur “Big Boy” Crudup. An excited from the success of ”Blue Suede Shoes” Phillips rushed in, spewing enthusiasm was its composer and performer, Carl for whatever the hell it was that they’d Perkins. His career never fully recovered stumbled into, convinced he’d finally from a car crash en route to perform his located a white kid who could sing black song on Perry Como’s TV show in New music without losing its inherent down- York. Nevertheless, Perkins remained an home feel. With Phillips egging them on, icon to rockabilly collectors, became a pa- the trio polished their supercharged hybrid tron saint to The Beatles, and made many to glistening perfection. fine records in the decades to come. But Moore’s guitar solos were the defini- the married and balding sharecropper’s tion of melodic, understated perfection, son never stood a chance in the teen-idol wasting nary a note. Together with Black’s sweepstakes. Carl’s record entered the frisky slapped bass, the duo’s fluid back- charts in March, 1956 and remained there ing served as a model for the countless for nearly half a year. Its title became the rockabilly outfits that sprang up in Elvis’s symbol of an era. Perhaps equally impor- eye-popping wake. After four more simi- tant, the record was simply spectacular and larly essential Sun singles (“Good Rockin’ deserved its success. Tonight,” “Milkcow Blues Boogie,” “Baby It retains its raw power today, over half Let’s Play House,” “Mystery Train”), a century later. Carl’s clever lyrics, asser- Phillips sold his discovery to RCA Vic- tive vocal and driving guitar work were tor, Presley assuming kingly status from never eclipsed. And, with all due respect to the moment “Heartbreak Hotel” hit the Mr. Presley, his version of the song (origi- market. But he would never make a more nally released on an EP) simply doesn’t important platter than “That’s All Right,” hold a candle to Carl’s. for this is where rockabilly began. — Hank Davis — Bill Dahl

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GMN_50829_Inside_Tr_Prem.indd 14 1/19/09 2:29:45 PM “Ain’t It A Shame” — mediately welcoming for white teens just — 1955 leaping onto the rampaging rock and roll was a southern breeding bandwagon, and Domino’s warm vocal ground for the development of rock and oozed Creole charm. Herbert Hardesty’s roll during the ‘50s. The Crescent City’s sax solo wasn’t too wild but highly tune- indigenous sound was instantly identifi- ful, and Domino’s rhythm section was able, ladled over second-line parade clean and crisp — in short, a formula for rhythms, jazzy melodies, and fat-toned longterm success. horn sections that roared like caged lions. Along with pacing the R&B hit parade, Above all the Big Easy’s R&B luminar- “Ain’t It A Shame” broke into the pop ies during the ‘50s loomed a soft-spoken, Top Ten and propelled Domino into the somewhat chubby piano pounder whose mainstream spotlight despite competition real name was Antoine Domino, Jr. But from young crooner Pat Boone’s tepid everybody called the good-natured, unas- whitebread cover, which siphoned off suming kid Fats. a ton of Fats’s potential crossover sales By the time he crossed over to the bur- (Boone even cleaned up the song’s title to geoning rock and roll movement in 1955 “Ain’t That A Shame” so as to not offend with his immortal “Ain’t It A Shame,” his well-mannered followers). The platter Fats had already been a genuine R&B inaugurated a glorious seven-year era star for half a decade. His debut single when Domino’s Imperial output reigned for Hollywood-based Imperial Records, as a fixture on the uppermost reaches of “The Fat Man,” had been a 1950 smash, the pop and R&B charts, the Domino/Bar- and he’d piled up hit after hit after that, tholomew-penned smashes “I’m In Love usually composing with his trumpet- Again,” “I’m Walkin’,” and “Whole Lotta blowing bandleader and producer, Dave Loving” climbing the hit parade. Bartholomew. Truth be told, “Ain’t It A New Orleans generated way more Shame” wasn’t a great deal different from than its share of R&B and rock and roll what Fats had been up to immediately pioneers during the 1950s — , before. Yet there were subtle differences; , Huey “Piano” Smith — but its catchy stop-time structure was im- none of them could top the Fat Man. — Bill Dahl

“Memories are Made of This” — Dean Martin — 1955: Three reasons for this choice. Well, four if you include the fact that it’s a wonder- ful record. First, I had a feeling that most of the Top 10 choices on this list would concentrate on the later part of the 1950s. After all, that’s a time of major change in American pop music — the birth of rock & roll, Elvis, etc. This record was released in 1955 — still technically the second half of the decade, but a time just before the rock ‘n’ roll/Elvis explosion. Second, the record was drastically under-produced by the standards of its day. Other records on the charts at the time in 13 13

GMN_50829_Inside_Tr_Prem.indd 15 1/19/09 2:29:46 PM cluded Nelson Riddle’s “Lisbon Anti- gua,” ’s “Love and Marriage” and Roger Williams’ “Autumn Leaves,” all of which featured lush orchestral ar- rangements. “Memories,” which reached #1 and stayed on the charts for 24 weeks, featured only an acoustic guitar and a string bass, with discrete and tasty vocal backing by The Easy Riders. Third, like it or not, Elvis was tremen- dously influenced by Dean Martin. That influence may have started before this record, but the smooth yet passionate warbling by Dean on this title was as much a cornerstone of Elvis’s hybrid style as the R&B jumpers and shouters and gospel quartets. — Hank Davis as the crowd chanted appreciatively, “Go! “Johnny B. Goode” — Chuck Berry Go Johnny, Go!” — 1958: During this hallowed decade, “Johnny The peerless Chuck Berry embodied B. Goode” was not Berry’s biggest pop the Holy Trinity of rock ’n’ roll — singer, record. “Maybellene” (1955), “School songwriter, and lead guitarist — with love, Day” (1957), and “Sweet Little Sixteen” humor, and verve on his fourth Top 10 pop (1958) all rose higher. Yet, the #8 chart- hit. Blaring sped-up T-Bone Walker/Char- ing “Johnny B. Goode” proved to be the lie Christian licks as a bad-ass substitute guitar slinger’s most enduring statement. for big band brass and allowing plenty Appreciated in its time — it was used as of room for Lafayette Leake’s tumbling the title song for the 1959 Alan Freed flick high-octave piano riffs, the Missouri native ”Go Johnny Go!” — it also became one crafted a wildly cathartic rocker. Berry’s of those rare compositions that existed as early pianist/mentor Johnnie Johnson be- an artist’s signature song and a staple for lieved that he inspired the song, “The only other rockers the world over. recording I didn’t play on was ‘Johnny B. Indeed, the ”All Music Guide” lists over Goode,’” he told Travis Fitzpatrick, author 650 different recorded versions of the of “Father of Rock & Roll: The Story of song. Throw in the fact that nearly every Johnnie ’B. Goode’ Johnson.” “Chuck did start-up rock band from the ‘50s through that as a surprise for me.” the ‘70s has included a simplified version Perhaps the character’s name was based of the tune in their set, and you have the on Johnson’s, but the story is clearly most universally loved rock song of all derived from the artist’s conception of time. himself. The hero of Berry’s inner psyche — Ken Burke is a poor boy armed with little more than a guitar and his mother’s love. Driven “Maybellene” — Chuck Berry — 1955: by the storming beat of locomotives on Chuck Berry’s ability to blend his gift the nearby railroad tracks, he obsessively for songwriting with his primary influ- practiced his guitar while dreaming of his ences — the jazzy guitar licks of Charlie name in lights and leading a “big ol’ band” Christian and Carl Hogan, the emotive 14

GMN_50829_Inside_Tr_Prem.indd 16 1/19/09 2:29:47 PM blues of T-Bone Walker, and various image of its title, such as “Pipeline” by the country & western and novelty tunes — is Chantay’s or “Wipe Out” by the Surfaris, simply unique. “Maybellene,” and his owes “Rumble” a debt. Pete Townshend string of hit records that followed, changed of the Who claimed that “Rumble” is the the scope of popular music forever. record that caused him to want to play the Sure, a number of other records spent 11 guitar. “Rumble” has also been cited as a weeks atop the R&B chart in the 1950s, proto-metal song because of its early use but “Maybellene” did so much more. of what became known as power chords. While the major labels may have been able Wray re-recorded “Rumble” several to sell cover versions of Fats Domino and times, and each new recording has merit, to white America, it simply but none match the power and majesty, never happened with Chuck. Berry and much less the fear and dread, of the his music transcended racial and cultural original. barriers in the 1950s, turning millions on — Tim Neely to this explosive new music. Equally notable, Berry’s talents influ- enced countless artists from Buddy Holly, Elvis Presley and the Everly Brothers to The Beatles and Rolling Stones. While it may not have been his biggest seller or most recognized composition, “Maybel- lene” got aspiring musicians and fans of the music to stand up and take notice. — Todd Baptista

“Rumble,” — Link Wray And His Ray Men — 1958: How often do instrumentals sound like their title? “Rumble” is one of them. Listening to the dual-guitar attack, with all that ominous fuzztone, it’s easy to imagine two gangs of toughs, clad in leather jackets and/or T-shirts with rolled-up sleeves hiding packs of smokes, slowly stroll- ing toward each other, ready to pull their switchblades at the slightest provocation. It’s no wonder that it has a reputation as the first instrumental song to be banned in certain markets. This was Link Wray’s first record, and his only one for the Cadence label. It’s said that the label’s president, Archie Bleyer, hated the song, but that his stepdaughter loved it. Her judgment proved correct: The single got to #16 on Billboard. It proved to be Wray’s only huge hit, but its influence was felt far and wide. Any surf instrumental that tried to convey the 14 15

GMN_50829_Inside_Tr_Prem.indd 17 1/19/09 2:29:48 PM