Doris Day: “Oo-Wee Baby”
Columbia Records UK single, 1964 | BUY

Gerry Goffin/Carole King may have been the most innovative and Jeff Barry/Ellie Greenwich were most attuned to teenaged trendiness, but it’s Barry Mann and Cynthia Weil who have proven to be the most durable of the Brill Building’s power songwriting couples. The duo have 40-plus years of huge hits to prove it, but here I’m sharing a couple of their more overlooked songs. Cher sung the winsome ballad “Make the Man Love Me” on her Dark Lady LP, but listeners would have to wait nearly 30 years for Dusty Springfield’s subtler version to surface (recorded for her stillborn ABC-Dunhill LP Longing). “Oo-Wee Baby” was more typical Mann-Weil, only instead of a faceless girl group we have a frisky-sounding Doris Day singing the praises of her imperfect guy (gee, I wish Doris recorded more of this kind of stuff). Barry and Cynthia’s official site has a lot more info on this incredible duo.

By the way, I will be retiring Gruesome Twosome after a year with this post. I might double-post album reviews here with my Rate Your Music account.

The Breakaways: “That’s How It Goes”
Pye Records U.K. single, 1964 | BUY

Let’s break out the fun with a couple of Girl Group gems. No shrinking violets, the Pixies Three bring loads of spontinaety and charm to this opener for their lone LP, a concept album on the subject of parties. I love how the track goes through various popular dances of the day; makes me want to Monkey with the best of ‘em. The Breakaways were best known for backing some of ’60s England’s biggest recording acts, but the thundering “That’s How It Goes” gave them an excellent chance to shine on their own. Producer Tony Hatch furnishes the gals with a raucous (and eerily correct) recreation of the Phil Spector sound. More about the Breakaways’ incredible career here. Thanks to Patrick for the Pixies Three.

Nanette Natal: “Knowing You”
LP: Yesterday, Today, Tomorrow, 1969

Today I’m digging the kind of music that comes across like a cup of warm coffee on a Sunday morning — mellow, yet invigorating. Lani Hall’s “Love Song” was recorded shortly after the singer left Sergio Mendes & Brasil ’66, and based on this tune it was apparent that she desired to sound as little like her former band as possible. Producer Herb Albert (soon to marry Ms. Hall) was going after an easygoing L.A. vibe here, with a little bit of funkiness and a haunting quality in the lady’s voice. I don’t know much about Nanette Natal, but apparently early in her career she made a splash as a teen folk prodigy in the Janis Ian vein. “Knowing You” is quite an extraordinary song, starting out introspective and quiet before it launches into a simmering groovy ’60s vibe. Both of these are short-but-sweet overlooked gems, and I hope you enjoy them as much as I do.

Skeeter Davis: “There’s a Fool Born Every Minute”
RCA Victor records single, 1968 | BUY

Hey there y’all : today’s selections come through the courtesy of two of my favorite country singers. For a time it appeared that Lynn Anderson had it all — beauty pageant looks, talented songwriter ma (Liz), and she was a champion equestrian to boot! The tongue-twisting “I’ve Been Everywhere” dates from Lynn’s late ’60s tenure with Chart Records. Later on she’d move on to huge crossover success with “Rose Garden,” but I kind of like the rowdy, sexy image she projected on her earlier stuff. Pert Skeeter Davis might accurately be interpreted as a countrified Lesley Gore; most of her music consists of winsome vocals double-tracked over cushiony, Girl Group-ish productions (thanks to Nashville legend Chet Atkins). Her 1968 hit “There’s a Fool Born Every Minute” is no exception, an interesting contrast of downbeat lyrics and perky instrumentation. A new Skeeter CD comp, The Pop Hits Collection Vol. 2, has just been released on Taragon Records.

Ralph Carter: “When You’re Young and In Love”
LP: Young and In Love, 1975

Last month we caught Broadway Damage, a strained gay romantic comedy which only succeeded on the “gay” part. In its defense, the film did have a nice soundtrack — of which I’m sharing two cuts here. Both happen to be danceable remakes of earlier songs. Jazz singer Marlena Shaw took lots of flak for succumbing to the disco bug, but her commanding prescence on “Touch Me In The Morning” revealed that she carried much more authority than the typical dance dolly. Producer-songwriter Van McCoy teamed up with Good Times star Ralph Carter by dusting off and discofying an earlier hit of his, Ruby & The Romantics’ “When You’re Young and In Love” (the tune had also scored with the Marvelettes’ 1967 cover). Though Carter was only a preteen at the time, he’d had a couple of Broadway musicals on his resume and belts out the number as if trying to reach the folks in the cheap seats. Definitely a good match of song and singer.

Dóris Monteiro: “É Isso Aí”
LP: Dóris, 1971 | BUY

Late summer puts me in a mood for funky old Brazilian music, like the two songs here. Quarteto Forma was a breezy boy-girl vocal group which at their best recalled a Brazilian Fifth Dimension. Drink in their lovely harmonies on the Marcos Valle composition “Rua Cheia”. Dóris Monteiro’s sexy, full-bodied voice has graced many records over a long career. I’m particularly fond of “É Isso Aí” since it uses that instrument that sounds like a straw moving through a cup cover (what the heck is that called?). Thanks to Ion for the Quarteto Forma.

The Left Banke: “Barterers and Their Wives”
LP: Walk Away Renee/Pretty Ballerina, 1967

For reasons unknown, the mid ’60s rock music scene underwent a collective fascination with the old (or should I say “olde”). The precious sounds of harpsichords, violins and mandolins made certain artists sound like wandering troupes of Renaissance Faire musicians, as these two selections demonstrate. The Cake was an overlooked girl trio who filled their debut album with pseudo-Ronettes ditties, R&B covers, and oddly progressive psychedelic odes such as the soothing “Medieval Love”. “Barterers and Their Wives” is another lovely nugget from criminally short-lived New Yorkers The Left Banke. Thanks to Patrick for The Cake.

Audrey Landers: “Playa Blanca”
LP: Wo Der Südwind Weht, 1984 | BUY

Tell Lindsay and Paris the news: back in the ’80s and early ’90s, sexy celebs ventured overseas to sing so Americans wouldn’t have the, uh, pleasure of hearing them. Dallas siren Audrey Landers enjoyed a successful recording career in Germany, predating fellow thespian David Hasselhoff by a few years. “Playa Blanca” satisfied the uniquely German appetite for queasy, synthetic dance music with tropical beats. If the personnel involved sounded as if they had too many banana daiquiries, that’s okay. Later on, Alyssa Milano spent a time supplementing her Who’s the Boss? checks by being the Japanese Debbie Gibson. “One Last Dance” is a wimpy ballad that owes its melody to Natalie Cole’s “Miss You Like Crazy”, but Alyssa’s voice has a certain clunky appeal. Do You See Me?, unfortunately, marks her last singing effort to date. C’mon, Alyssa, we need you back in the recording studio!

Ronnie Dyson: “(If You Let Me Make Love To You Then) Why Can’t I Touch You?”
LP: If You Let Me Make Love To You, Then Why Can’t I Touch You?, 1970 | BUY

Happy Fourth of July. I have a couple of versions of the song “If You Let Me Make Love To You, Then Why Can’t I Touch You” to share here. Although the title indicates otherwise, this is not a country tune but a silky, soulful ode to the frustrations of not connecting on a personal level — the old “the sex is great, but he’s dumb as a rock” saw. Ronnie Dyson’s original lit up the charts in 1970 due to its warm, Latin-esque arrangement, which complemented Dyson’s beautiful and oddly feminine voice well. Unique outfit The Esso Trinidad Steel Band included “Let Me Make Love” among the repertoire on its self-titled 1971 LP (produced by Van Dyke Parks!). The band removes the tension in Dyson’s version and comes up with a summery instrumental perfectly suited to Mai Tais on the Carribbean sands. A cool NPR story on Esso’s unlikely tour with Liberace can be heard here.

Andy Williams: “Wrong For Each Other”
Columbia Records single, 1964 | BUY

Wanna know about the brilliance of the Brill Building Era? Even the relatively obscure songs from that special time and place serve as gems of melody and rhythm. These two singles were written for performers normally associated with more adult-oriented material, namely Eydie Gorme and Andy Williams. Carole King and Jack Keller’s sprightly “Don’t Try to Fight It, Baby” gave Gorme another appealing samba-ish hit in the “Blame It On The Bossa Nova” mold. Doc Pomus and Mort Schuman composed “Wrong for Each Other” for Williams in an attempt to recapture the success of their “Can’t Get Used to Losing You”, but the song’s dark lyrics and oddly shifting time signatures ensured only a modest chart showing in 1964. Personally, I think it’s pretty cool — who knew that Andy Williams of all people could sound so suicidal?

Alan Hawkshaw: “Mile High Swinger”
LP: Themes: Synthesizer and Percussion, 1974

I’m getting my groove together and takin’ it on the road with these two mildly funky instrumentals from the U.K. “Return to the Stars” finds Tony Hatch mixing synths and strings with a breezy soulfulness would soon manifest itself as Disco — kinda cheesy but really great. Alan Hawkshaw’s effort comes from the library music compilation Cinemaphonic: Soul Punch, another sophisticated groove totally evocative of the ’70s … stick your blowout comb in your back pocket and go.

Miss DD Phillips: “The World of Thursday Morning”
LP: Miss DD Phillips, c.1969

Warming temperatures have prompted me to share a couple of nice ‘n perky ’60s female vocals — songs that will have you gaily skipping through the park, multicolored balloons in hand. Greek singer Vicky Leandros might be better known to European audiences, but her gender-switched version of The Parade’s “Sunshine Girl” proved that she was just as comfortable with a more American, AM radio friendly sound. This odd choice of cover material unexpectedly became an excellent showcase for her versatile singing voice. “The World of Thursday Morning” by the mysterious Miss DD Phillips bursts through with sassy verve; I could almost picture Miss DD belting this from a Broadway stage. Thanks to my buddy Ion for both of these sunny cuts.

Joëlle Ursull: “White and Black Blues”
French Eurovision Song Contest entry, 1990

Today I look at an entity at once comforting and strangely alien: the Eurovision Song Contest. I’m an American who finds this annual competition fascinating: the pageantry, the kitsch, the inter-country squabbling. Amidst all the hubbub, it’s easy to forget that Eurovision has produced some catchy, kick-ass songs over its fifty year history — all under three and a half minutes in length. 1968′s winner, Massiel’s rousing “La, La, La”, is typical in being grandly melodic without losing its essential Euro-ness (which is why Lesley Gore’s English language cover of the tune sank like a stone). Joëlle Ursull’s 1990 entry “White and Black Blues” finished third for its year, but comes through winningly with its unusual percussion and Ursull’s winsome vocal — and check out the fly backup dancers on the video. That’s Eurovision gold. Wikipedia offers an amazingly thorough history of the event with year-by-year breakdowns of all entries’ vote totals.

Paul Anka: “Hold Me ‘Til The Morning Comes”
LP: Walk A Fine Line, 1983 | BUY

Mega-successful ’80s producer David Foster might be the least likely person on earth to undergo an ironic hipster resurgence — admiring his work is something akin to finding Laura Ashley dresses hot and sexy. Just keep it to yourself, weirdo. But I have to admit that his production on Chicago’s “Hard to Say I’m Sorry’ still raises goosebumps, and it’s safe to say that this style of music never really went away. Tune into American Idol and you’ll find the Power Ballad (which Foster was the architect of) very much alive and well. So I’m gonna go ahead and share a couple of numbers which may have had your Mom rocking on the drive to the mall. Foster’s production on the impossibly lush St. Elmo’s Fire love theme fairly screams “Class of ’86 Senior Prom last dance”. He also twiddled the dials on Paul Anka’s comeback single “Hold Me Till The Morning Comes,” notable for having duet partner Peter Cetera’s voice mixed in more prominently than Anka’s. Both pieces showcase Foster’s unnerving way of making synthesizers and drum machines sound warm and organic.

The Newcomers: “Pin the Tail on the Donkey”
Stax Records single, 1971 | BUY

The Jackson 5 were probably the hottest act in showbiz in 1971, so it makes sense that their success would inspire many imitators. I’m presenting two of the more entertaining knockoffs today. The Honey Cone paid their dues as a talented but somewhat nondescript girl group on the Hot Wax label — until their #1 “Want Ads” transformed them into the queens of bubblegum soul. Follow-up single “Stick-Up” adheres to the same tight, funky pattern, only with lyrics (about a girl who blackmails her cheatin’ beau into marriage) told from a shockingly adult perspective. I dig Edna Wright’s sassy lead vocal and the fey cries of “Help, I’ve been robbed!” from the backup singers. Unlike Honey Cone, The Newcomers’ “Pin the Tail on the Donkey” slavishly imitates the J5 formula right down to the song’s Jermaine Jacksonlike shout-outs. Still, those nursery rhyme horn arrangements are fun. I wonder why they never made a Newcomers Saturday morning cartoon?

Neal Hefti: “Waltz for Jeannie”
LP: Harlow Soundtrack, 1965

Today’s selections spotlight that ’60s soundtrack staple, the Generic Perky Chorus. Many soundtrack albums of that era substitute a film’s actual soundtrack music with more palatable fare — and that includes vocal numbers sporting the inevitable Generic Perky Chorus. Not that there’s anything wrong with that! As a matter of fact, Lai’s swingy Bossa and Hefti’s lilting waltz add up to a delectably chichi duo. Thanks to Jonny for the Lai.

The Rubettes: “Tonight”
LP: Wear It’s At, 1974 | BUY

Old was new in the mid-’70s, and this pair of enjoyably retro efforts put me in a Happy Days frame of mind. Oreo-like trio Lady Flash were formed as backup singers for Barry Manilow’s touring show. Barry himself wrote and produced “Street Singin’”, an unexpectedly funky modest hit (#27 in the summer of ’76) with lyrics and melodies that cleverly echoed various ’60s pop tunes. Interestingly, Lady Flash member Lorraine Mazzola had previously been in Girl Group faves Reparata & The Del-Rons. England’s The Rubettes were another odd duck hybrid (hey, your Glitter Rock got into my Doo-Wop!) which could’ve only emerged from the ’70s. “Sugar Baby Love” was their signature hit, but the follow-up single “Tonight” amps up the retro to charming effect. Both of these songs make me want to don a powder blue polyester prom suit, frilly shirt and platform heels to do the Stroll. Enjoy!

John Barry: “The Persuaders”
TV theme, 1971 | BUY

In the spirit of insternational comraderie, I am reaching across the pond today for a duo of marvy vintage British TV themes. The funky charm of Gerry Anderson’s Supermarionation productions couldn’t have had a better complement in Barry Gray’s music. Captain Scarlet and The Mysterions is one of my faves. Although the version here to my knowledge was never actually used in the show itself, it’s a fine piece that calls to mind go-go girls dancing in cages, hips aflutter. Check out more of Gray’s work for Anderson on this page. And what about John Barry’s seductive theme for the Roger Moore/Tony Curtis sleuthing series The Persuaders? Quite sexy and Bond-like. Which begs another question: why can’t today’s TV themes sound this friggin’ fantastic?

Marcos Valle: “Casamento, Filhos E Convenções”
LP: Marcos Valle, 1974 | BUY

We’re going Brazilian today — specifically, Musica Popular Brasileira (or MPB). MPB is a catch-all term for the wide variety of ’70s Brazilian music styles that evolved from the Bossa Nova and Tropicalia movements. As these two songs prove, even veteran performers like Johnny Alf and Marcos Valle weren’t immune from the need to change with the times and incorporate elements of pop music in their work. Alf’s cut is a breezy bit of Bacharachy sunniness, while the legendary singer-songwriter Valle channels an engaging soul/funk vibe on this mid-’70s cut. I just love this stuff. More on Alf and Valle can be found at the invaluable slipcue.com site.

Rodney Allen Rippy: “Eenie-Meenie-Minee-Moe”
LP: Take Life a Little Easier, 1974

On today’s menu: kiddie music, funky style. The Brady’s recordings consisted of frenzied shoutalongs and/or inappropriate covers of the day’s hits (such as “Baby I’m a Want You”), but “Everything I Do” from their final album proves there’s an exception to everything. Barry Williams and Maureen McCormick sing their parts beautifully, and the bridge’s gorgous harmonies (by some unknown, yet talented, backup singers) are breathtaking. Pint-sized Rodney Allen Rippy became a playground sensation when he sung “Take Life a Little Easier” in a Jack in the Box commercial. Sensing an opportunity to reach fans of childrens’ music and processed meat, Bell Records subsequently cut an entire LP of Rippy’s off-key warbling. The Jackson 5-lite “Eenie-Meenie-Minee-Moe” is noteworthy for the contrast between Rippy’s wobbly singing and the slickness of his backing musicians. Special thanks to Ion for both of these tunes.