Category: 1964

Tommy James and the Shondells started out as Tom and the Tornadoes in 1959, when Tom was 12 years old. A few years later they changed their name in honor of guitarist Troy Shondell, and they cut their second record in a local radio station after under-age Tom saw a band playing the song “Hanky Panky” in a club and noted the huge reaction it got from the crowd.

The record did well in the Midwest for a bit, and that was about it because it didn’t have national distribution. Suddenly a Pennsylvania station picked it up, and that was the start of Tommy James becoming an employee of an organized crime family.

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In 1964 the Shangri-Las got on a sudden hot streak with their sultry recording of “Remember (Walking in the Sand)”, written by George “Shadow” Morton.

Morton had bluffed his way into the Brill Building by telling Lieber and Stoller that he was a songwriter (he wasn’t), and when he was asked what kind of songs he wrote, he said “hit songs” (also a lie). But Lieber and Stoller took his word for it and asked him to write a song. A week later, Morton came back not only with a song, but with a quartet of teenage girls from Long Island City called The Shangri-Las. Lieber and Stoller liked both the song and the girls, and signed them to a contract (well, their parents signed the contract; they were still minors at the time). I saw somewhere that there might have been some controversy about the Shangri-Las already being signed to another label, but I couldn’t substantiate that claim.

And that’s just one of several nebulous stories that surround the Shangri-Las and their first couple of hits. We look at a few of the ones that are connected to their second, much larger hit. Have fun with it.

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Click here for a transcript of this episode.

Click here for a transcript of this show.

The Dixie Cups began as two sisters and their cousin performing here and there in the New Orleans area, when they were discovered by Joe “You Talk Too Much” Jones and brought to New York to make an album with Lieber and Stoller.

Their first single was a Number One hit, making them the first American group to knock a British Invasion band off that lofty Billboard perch. And the band they bumped off? A group called The Beatles. (I think they were okay after that setback, though.)

If your habit is to read these show notes that I post, my apologies for repeating the Tarpon Springs story during this week’s show. I know that’s a little bit redundant for you. But yes, this week’s artwork is derived from the album I purchased, though I lopped off the top (just more black) and the bottom (catalog number) to make the whole thing more visible. Mea culpa.

Also, a technical note: I have no idea why my microphone sounds so hot this week; I promise I’ll be better in the future.

Next week I have something pretty special lined up, and the format of the show will be a little bit different, so Get Ready for Stuff!

Here’s Episode 84.

By nearly all accounts, the Supremes were starting to look like a failure. Between 1961 and 1963, they had recorded six singles, five of them for Motown, and none of them reached the Billboard Top 40 chart. There was a glimmer of light when the song “When the Lovelight Starts Shining Through His Eyes” reached #23, but the act still wasn’t getting a lot of traction.

It wasn’t until the songwriting/producing team of Holland/Dozier/Holland (who also wrote “Lovelight”) wrote a song and produced a musical track for the Marvelettes, which the Marvelettes hated and refused to record. Desperate to get an artist to record a vocal (lest they be forced to pay for the musicians out of their own pockets), they managed to strong-arm the “No-Hit Supremes” into recording the song, even though the finished music track wasn’t in Diana Ross’ key. But the key change, and the bad attitude that the girls brought to the recording studio, was enough to turn the song into their first Number One hit, and that was the start of a string of chart toppers.

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Before I start this week’s windup, let me point you to a different podcast for a moment. The guys at the TMDR Podcast describe their show as being simultaneously about nothing and about everything, but they keep the shows confined to a couple of topics. I’ve been listening in on their discussions of the HBO series Westworld, and just this week they did a show where they spent some time reviewing several different podcasts, How Good It Is being among the shows they reviewed.

I have to say, I was blown away by the level of praise they gave to the show, and I just wanted to thank them yet again, and offer up this link (click on their logo at right). Go check them out; I think you’ll have some fun.

Back in the mid-1980s I went to a Fourth of July event on Long Island. Among the pre-fireworks entertainment was music provided by The Drifters. What I didn’t realize at the time was that there were LOTS of ex-Drifters simply, er, drifting about, and many of them had gotten together and were touring as The Drifters. What’s more, all of these groups could legally do so in many places around the country.

As it happened, I was young and naive, and kinda-sorta listening to their lead singer and the way he was singing staccato style, because he was older and couldn’t hold his notes for any appreciable length of time.

So did I see The Drifters or did I see “The Drifters”? There’s an element of “both” in my eyes, because there were so many people paid to be one of The Drifters that this group could easily be made up of former members. But that didn’t mean I was watching Ben E. King or Clyde McPhatter.

“Under the Boardwalk” was recorded the day after their lead singer Rudy Lewis died. They recruited a former member from several years ago, and before long a new version of the group had cranked out their second-biggest hit.

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Before they were famous, lots of artists sang backup for other artists. But once in awhile, they’ll lend their talent to someone else because it’s fun, or because they owe someone a favor or maybe just because they were asked to.

This week, we’re going to listen in on a bunch of songs that have famous people singing backups. Some of them are pretty well known; others may come as a surprise to you.

Per our Standard Operating Procedure, if you’ve got a favorite podcatcher, you should be able to hear this week’s show already, or you can just click the player below to listen/download it right here:

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And, as usual, if you were to go to iTunes or wherever you find your podcasts and leave a rating, and maybe even some feedback, I’d be quite the happy camper.