Tuesday, February 21, 2017

Chicago country singer Gerrie Lynn, 1964-1967




For reasons unknown, Columbia/Legacy reissued Gerrie Lynn's sole album—an obscure country LP originally released in 1966—as a digital download in September 2016. 

Lynn never had a national hit and didn't have a very long recording career, which makes the reissue all the more baffling. As of this writing (February 2017), the album has had zero sales on Amazon.com, and I was the first to view some of the tracks on YouTube, so the reissue doesn't appear to have been due to popular demand.

Lynn was a country singer from Chicago who first recorded for Nashville Records, an imprint of Starday Records, where she cut two singles in 1964-65. 

The first single was "Every Time I Do Right" and "Lonely," the latter of which featured Pete Drake and his talking steel guitar. Tommy Hill produced, and Lynn wrote one song by herself and co-wrote the other with Nashville Records label-mate Billy Hill. 

The second single, "I Love You More and More Every Day," became a Top 10 hit at WJEF in nearby Grand Rapids, Michigan, in 1965. Lynn also enjoyed some airplay on Chicago's WJJD, which changed formats in 1965 from Top 40 pop to country. 


Billboard, Mar. 12, 1966
Encouraged by this success, Lynn sent a demo to producer/A&R chief Don Law at Columbia Records, and he signed her. 

Lynn's Columbia debut was "My Lips Will Never Tell (What My Eyes May Show)" b/w "Forget Me (The Next Time Around)" in March 1966. Law never called upon her songwriting abilities—everything she recorded at Columbia was composed by professional songwriters.   

Lynn's sole album, Presenting Gerrie Lynn, followed later that year. It's a typical mid-'60s Don Law and Frank Jones co-production, with the kind of precise and uncluttered arrangements that I associate with Law's other Columbia productions around that time for artists such as Jimmy Dean and Carl Smith, although Presenting Gerrie Lynn is more pop oriented than Law's productions for Smith. 

The album contains no originals—it's a routine assortment of popular country songs with few surprises. Lynn sings Patsy Cline ("Crazy," "I Fall to Pieces"), Connie Smith ("Ain't Had No Lovin'," "Once a Day"), Jody Miller ("Queen of the House"), and Jeannie Seely ("Don't Touch Me") as well as recent hits by Jack Greene, Ray Price, and Sonny James. The only non-hit song is "Stranger," a tune that Lefty Frizzell recorded (and Law and Jones produced) for Columbia in 1962. 

The best cut, in my opinion, is "Unloved, Unwanted," a Kitty Wells song from 1962. Lynn's rendition has a wordless soprano vocal part on the chorus that sounds like a musical saw. The only other really notable arrangement is "Ain't Had No Lovin'," which features the distorted guitar sound introduced on Marty Robbins' "Don't Worry" (another Law production) in 1961.   

Billboard, Dec. 3, 1966
Billboard listed the album as a "special merit pick" in its Dec. 3, 1966 issue, but HiFi/Stereo Review gave the album an unfavorable review: 
Gerrie Lynn is the latest blossom to emerge from the hillbilly orchard. She sounds like a matronly Molly Bee, and on most of the bands on this debut disc, she seems curiously out of place in the idiom. She is really more of a pop stylist, and her slow, bluesy, almost lethargic approach to reading lyrics makes her a very boring interpreter....

Billboard had a higher opinion of Lynn, and in its April 29, 1967 issue predicted that "I'll Pick Up the Pieces" (an answer to Patsy Cline's "I Fall to Pieces") would reach the Hot Country Singles Chart. The song didn't chart nationally but might be Lynn's best-known song. It nearly reached the Top 40 on WYDE in Birmingham, Alabama, and was included on the 2007 Bear Family Records anthology ...And the Answer Is: Great Country Answer Discs from the '50s and Their Original Versions.

Curiously, the flip side, "Down Home Country Girl," reached the Top 5 on WMAS in Springfield, Massachusetts. 

The liner notes from the back of the original Presenting Gerrie Lynn album tell her story:
Spell it out—S-U-C-C-E-S-S! For that's what Gerrie Lynn's warmly appealing voice most definitely spells, and that's what this new Columbia album, PRESENTING GERRIE LYNN, most assuredly is!
Although Chicago-born Gerrie is a brand-new addition to Nashville's roster of recording stars, she's by no means new to Country music. This young lady has been a successful performer in the field ever since.... But let Gerrie tell you the story herself. 
"One evening not long ago, my husband Bill and I went to a little club in Chicago that features live Country entertainment. Bill, who's always loved Country music, is a big fan of Grand Ole Opry's weekly broadcasts, as I am now, too. I enjoyed what I heard at the club so much, we found ourselves going back often. 
"One night, without my knowing it, he and the bandleader decided to call me up to the stage to sing! Bill knew that as a youngster I'd sung in my church choir and that I liked singing around the house some of the songs I'd heard on our evenings out. Not only was I a big success with the customers, but I was hired as a regular performer at that club and others like it. These appearances led to my being featured at an auditorium show in Hammond, Indiana, in a program starring Carl Smith, Ernest Tubb, Jim Reeves, Sonny James and many more big names. 
"This was an important turning point for me, for now I realized that I really loved performing Country music and wanted to be a part of it. I made a demonstration record and submitted it to WJJD, a Chicago all-Country music station. They aired it, and before long it rated high on their popularity charts and, of course, made my name known to a great many people. This really gave me confidence, so I sent a copy of the 'demo' to Don Law, Columbia's great Country and Western producer. He must have been mighty pleased, because he asked me to come to Nashville to make the album."
You'll be mighty pleased, too, when you hear Gerrie interpret great Country hits like Ain't Had No Lovin', I Fall to Pieces, Queen of the House, Unloved, Unwanted, and Don't Touch Me
And now, ladies and gentlemen . . . PRESENTING GERRIE LYNN! 

 Gerrie Lynn discography


1964 – Nashville 5184 – Every Time I Do Right / Lonely 

1965 – Nashville 5213 – Heed My Warning / I Love You More and More Every Day

1966 – Columbia 43574 – My Lips Will Never Tell (What My Eyes May Show) / Forget Me (The Next Time Around)

1966 – Columbia CL 2585 – Presenting Gerrie Lynn (mono)

1966 – Columbia CS 9385 – Presenting Gerrie Lynn (stereo)

1967 – Columbia 44099 – I'll Pick Up the Pieces / Down Home Country Girl

Sunday, February 19, 2017

The first million-selling gospel single?



What was the first million-selling gospel single? The answer is not straightforward.

Many sources say that it was "Sorry I Never Knew You" by the Sego Brothers and Naomi, which reached #50 on the Billboard country chart in 1964. 

Billboard, August 4, 1979
That is a remarkably low chart peak for a record that supposedly sold a million copies, but its weak chart performance doesn't necessarily rule out the possibility that it was a big seller. Some bestselling records didn't chart at all or were under-ranked on the charts, such as albums that were sold through nontraditional channels (like television commercials) and albums that sold steadily over a long period of time without having the kind of sales spurt that would put them on a bestsellers chart (like Jim Nabors' albums).

In the clipping pictured above, Billboard itself repeated the claim that "Sorry I Never Knew You" was "the first million-selling gospel disk" but softened the claim by adding that it "is said to be the first."

Billboard might equivocate in this matter, but many books don't—some say straight-up that the Sego Brothers and Naomi's record is the first gospel million seller. One example is the 1979 Gospel Music Encyclopedia by Anderson and North.

I became suspicious of this claim after mentioning it to Bill Buster, who has operated both American Record Sales, Inc., and Eric Records since the 1960s and knows a lot about hit singles. He said that he has never sold a single copy of "Sorry I Never Knew You." That seemed odd.

After looking into it more, it turns out that Billboard and I were right to doubt this bit of gospel music trivia. The first gospel single to reportedly sell a million copies was released more than a half century earlier. It was the Fisk Jubilee Singers' "Swing Low, Sweet Chariot" in 1909, according to Bil Carpenter's 2005 book Uncloudy Days: The Gospel Music Encyclopedia.

If you insist that we consider only certified million sellers, then "Sorry I Never Knew You" is still not the first gospel record on the list. 
The first certified million seller is the Carter Family's "Can the Circle Be Unbroken (Bye and Bye)," originally released in 1935. 
The Carter Family

It's worth mentioning here that many million-selling records were never officially certified as million sellers by the Recording Industry Association of America (RIAA), either because the records were released by independent labels that didn't (or couldn't) keep track of their sales, or because the records' peak sales occurred before the RIAA existed. Nevertheless, many records' status as million sellers is widely accepted despite the lack of certification.

Here is a chronological list, up to 1965, of the earliest million-selling gospel singles, which I extracted from Carpenter's book. The ones that are followed by an asterisk are not certified by the RIAA.

You'll notice that the Sego Brothers and Naomi are not on the list at all. What's up with that?


Million-selling gospel singles through 1965


1909 – Fisk University Jubilee Quartet, AKA Fisk Jubilee Singers – "Swing Low, Sweet Chariot"*

1935 – The Carter Family – "Can the Circle Be Unbroken (Bye and Bye)"

1937 – Marian Anderson – "Ave Maria"*

1938 – Louis Armstrong – "When the Saints Go Marching In"

1945 – Sister Rosetta Tharpe – "Strange Things Happening Every Day"

1947 – Fairfield Four – "Don't Let Nobody Turn You Around"*

1948 – The Chuckwagon Gang – "I'll Fly Away"

1948 – Mahalia Jackson – "Move on Up a Little Higher"*

1955 – Clara Ward Singers – "Surely, God Is Able"*

1957 – Clara Ward Singers – "Packing Up"*

1957 – Staple Singers – "Uncloudy Day"

1965 – The Impressions – "People Get Ready"

*Not certified by the RIAA.





Thursday, January 12, 2017

The Midnight Eyes' "Sexcalibur" and Pleasure Dome (1982)


The Midnight Eyes


Here's a surprising musical link between the television game show Family Feud and an obscure X-rated film.

Pleasure Dome VHS

Mark Richard Dawson, the son of Family Feud host Richard Dawson and actress Diana Dors, used to have a band called the Midnight Eyes that his father plugged on Family Feud and that also provided the soundtrack for a little-known X-rated film in 1982.

This film, Pleasure Dome (not to be confused with the 2008 Penthouse film of the same name), is about a woman who buys a magical devil mask that makes everyone have sex. It also summons a "demon knight" (according to the VHS packaging, that is—he looks like a regular knight) who appears in the woman's bedroom at the beginning and end of the film. The film's title has nothing to do with the story. 


The devil mask
The movie is nearly wall-to-wall sex but contains a ridiculous flashback scene in which a knight fights a dragon that is never shown. The flashback is supposed to explain the origin of the mask but doesn't make much sense.

Throughout the movie, the rock 'n' roll soundtrack by the Midnight Eyes plays, including a theme song called "Sexcalibur." Sexcalibur would have been a better title for the film than Pleasure Dome, but it might have already been taken—another film by that title was released in 1983. 

The Midnight Eyes' soundtrack is so prominent that when the credits roll, who do you think gets the first and most prominent credit? Hint: It's not director Dino D. Cimino or star Maria Tortuga.

The knight fighting the unseen dragon
The Midnight Eyes released only one record that I know of, the 1980 single "At the Roxy" (pictured above) on the Fire label. It contains the songs "At the Roxy," which names a lot of popular clubs around New York and Los Angeles, and "Sweet Susie." This is definitely the same Midnight Eyes that contributed to Pleasure Dome, because their music publishing company, Man-in-the-Moon Music, is listed in both the film and on the single. Also, the copyright information for "Sexcalibur" shows Dawson as co-writer: 


The copyright information for "Sexcalibur"

The lyrics of "Sexcalibur" don't have anything to do with sex apart from the refrain, "You can feel Sexcalibur!" The rest is about dragons and Merlin and knights and stuff like that.

Mark Dawson's Wikipedia page mentions the Midnight Eyes:  
A young Dawson appeared alongside his father on a few early episodes of Family Feud. He worked as an assistant to the producer Mark Goodson and as a showcase and question writer for The Price Is Right, Concentration, The Better Sex, Match Game and Family Feud. He was once introduced by his father on an episode of Family Feud to promote his band, The Midnight Eyes.
And according to this page of Family Feud quotations, Richard Dawson said in the aforementioned episode:
My son has a band called the Midnight Eyes. He has a marvelously pretty song called "Sweet Susie" and we should give it to you. You'd like it. Even if you don't, you should take it. We're stuck with about nineteen copies.
The Midnight Eyes' discography on Mark Dawson's Wikipedia page lists the "At the Roxy" single but not the Pleasure Dome soundtrack. Nowadays, Dawson is CEO of DRZ Entertainment Group, which, among other things, manages the all-female Iron Maiden tribute band the Iron Maidens.


Credit screen from Pleasure Dome

Sunday, January 8, 2017

Music Weird's best albums of 2016




Some people are saying that 2016 was an unusually great year for music. I, on the other hand, felt like I had to work twice as hard to find half as many albums as I liked in 2015. Nevertheless, here are the ones I liked the most. Click on the album titles for more info.


1. Magic Potion – Pink Gum



2. Little Barefoot – Never Always




3. The Hairs – While I Hated Life, Barbarian



4. Tele Novella – House of Souls



5. Doombird – Past Lives



6. Frankie Cosmos – Next Thing



7. Eerie Wanda – Hum



8. Black Marble – It's Immaterial



9. Kakkmaddafakka – KMF



10. Vague – In the Meantime



11. Red Sleeping Beauty – Kristina



12. Peter Astor – Spilt Milk



13. Keeps – Brief Spirit



14. Day Wave – Headcase/Hard to Read



15. Seth Bogart – Seth Bogart



16. Lost Tapes – Let's Get Lost



17. Balue – Wavy Daze



18. Enemies – Valuables



19. Acid Ghost – WARHOL



20. Liquids – Hot Liqs


Some runner-ups are Goon Sax, Japanese Breakfast, Woods, Yumi Zouma, Work Drugs, Miniature Tigers, Chook Race, The Album Leaf, Motorama, and Worriedaboutsatan and the EPs by Lumnos. The final Allo Darlin' single was good too. 




Friday, January 6, 2017

Billy Joe Shaver's "I'm Just an Old [???] of Coal"




I noticed a few erroneous variations in the title of Billy Joe Shaver's song "I'm Just an Old Chunk of Coal (But I'm Gonna Be a Diamond Someday)" in some country music books the other day. If this blog had a "mildly interesting" tag, then this post would get it.

Shaver wrote the song for his 1981 album of the same name, and Jon Anderson had a Top 5 country hit with it the same year. 

These variations are just mistakes that were missed in editing—at least two of these books get the title right elsewhere. 

Country Music: The Rough Guide writes it as "lump" of coal on page 374:


Country Music: A Biographical Dictionary writes it as "hunk" of coal on page 8:


"Hunk" also appears on page 9 of The Big Book of Country Music: A Biographical Encyclopedia


I wondered if anyone accidentally wrote it as "piece" of coal and found one record retailer that did in a listing for a single by the Near Beer Band. (The label of the record itself shows the correct title.)



Saturday, December 31, 2016

Jerry Springer sings: "Save the Terminal" (1973)



In 1973, long before he became a schlocky television talk-show host and shortly before he was arrested for soliciting a prostitute, Jerry Springer recorded a charming little protest record called "Save the Terminal." (The title is often mistakenly listed as "Save the Union Terminal.") 

The song was written and recorded as part of an effort to raise money to save the Cincinnati Union Terminal, an Art Deco railroad terminal that opened in 1933 and was the model for the great hall of the Justice League in the animated series Super Friends. (The effort to save the terminal continues to this day.)

Train service at the terminal ended in 1973, and the train concourse was demolished in 1974, but the fundraising efforts enabled most of the artistic mosaic panels from the structure to be moved to various locations around Cincinnati.

This single wasn't the end of Springer's recording career. In 1995 he recorded an album, Dr. Talk, which contains his renditions of country, pop, and folk songs in addition to the title track, a Springer original.

Here's "Save the Terminal" and its flip side, "Faded Photos Just Won't Do":



Friday, September 30, 2016

Elizabeth Montgomery (Bewitched) sings



The actress Elizabeth Montgomery, who is most famous for playing Samantha Stephens on the television series Bewitched, didn't believe that she could sing very well. Nevertheless, she sang occasionally, and even sang on a couple episodes of Bewitched. 

She danced to a vocal version (!) of the theme of Bewitched on the ABC television show The Hollywood Palace (below), and appeared on the cover of the Now Hear This! compilation (above).



Scroll down for more examples of Montgomery singing with Vic Damone and on Bewitched.