Various Artists - Covered: Mitch Murray & Peter Callander: 1962-2004

A few days ago, I posted a "Covered" album featuring Barry Mason and Les Reed. They were part of a small circle of professional songwriters in Britain in the 1960s and 1970s. Here's another songwriting duo from that same circle: Mitch Murray and Peter Callander.

Murray was the first of the two to have songwriting success. He wrote the song "How Do You Do It" in 1962, when he was 22 years old. Producer liked it so much that he gave it to the Beatles for their very first single. The Beatles recorded it, but they wanted to release one of their own songs instead, which they did with "Love Me Do." So the song went to Gerry and the Pacemakers, who took it all the way to Number One in the British singles chart in early 1963. I went with the Beatles version, even though it wasn't released until 1995.

Murray had more hits over the next couple of years, with many of them being recorded by "British Invasion" bands. In 1964, he wrote the popular book "How to Write a Hit Song." Sting of the Police, who was 12 years old at the time, loved the book and later said it inspired him to start writing his own songs. Murray also had a minor hit of his own, "Down Came the Rain," in 1965, under the name "Mister Murray." I didn't include it though because it's a novelty song that doesn't bear repeat listening. (The twist is that the verses are sung normally, but the choruses are sung in an unexpectedly strange voice.)

Meanwhile, Peter Callander trained to be a professional chef, but soon switched to songwriting instead. He began having musical acts record his songs starting in 1963, though he was less successful at first. He wrote some songs with Les Reed, another songwriter I mentioned above, until he met Murray in 1965. They mostly wrote together from that point on, with Murray generally writing the melodies and Callander the lyrics.

Their first big success together was "Even the Bad Times Are Good" by the Tremeloes in 1967. From that point on, they generally had at least one sizable hit each year, including some I didn't put here because I didn't like them so much. They finished strong, with two Number One hits in both the U.S. and Britain in 1974, "The Night Chicago Died" and "Billy, Don't Be a Hero." 

But their songwriting partnership seems to have ended shortly thereafter, and so did their success. I didn't find any songs they wrote after that point worthy of inclusion. The last song here, "A Fool Am I," is from 2004, and recorded by Agnetha Faltskog, one of the singers in ABBA. But it was originally a minor hit for Cilla Black in 1966. The other songs are all the original hit versions from 1974 or earlier, with the exception of the Beatles one I mentioned above.

Murray soon switched careers from music to comedy. He did comedy T.V. shows, funny voices for recordings, and gave humorous speeches. That last skill led to him writing several best-selling books about how to give funny speeches. He is still alive and 86 years old as I write this in 2026. I don't what happened to Callander after the 1970s. He died in 2014 at the age of 74.

Here are their Wikipedia pages:

Mitch Murray - Wikipedia

and

Peter Callander - Wikipedia   

This album is 51 minutes long. 

01 How Do You Do It (Beatles)
02 I'm Telling You Now (Freddie & the Dreamers)
03 I Like It (Gerry & the Pacemakers)
04 Leave a Little Love (Lulu)
05 I Love Her (Paul & Barry Ryan)
06 Even the Bad Times Are Good (Tremeloes)
07 The Ballad of Bonnie and Clyde (Georgie Fame)
08 Suddenly You Love Me (Tremeloes)
09 Hitchin' a Ride (Vanity Fare)
10 Ragamuffin Man (Manfred Mann)
11 Turn On the Sun (Nana Mouskouri)
12 Daddy Don't You Walk So Fast (Daniel Boone)
13 I Did What I Did for Maria (Tony Christie)
14 The Night Chicago Died (Paper Lace)
15 Billy, Don't Be a Hero (Bo Donaldson & the Heywoods)
16 Black Eyed Boys (Paper Lace)
17 A Fool Am I (Agnetha Faltskog)

https://pixeldrain.com/u/Y8svffgf

alternate:

https://bestfile.io/en/zIVKiROf2T3QUX9/file

For the cover image, I found two photos of Murray and Callander together, in a recording studio in February 1968. I liked Murray from one and Callander from the other, so that's what I used. Callender is the one with the light colored shirt and blue tie.

Various Artists - Covered: Van McCoy, Best Of: 1962-1985

Here's another artist for my "Covered" series. To remind you, this highlights the talents of songwriters by collecting cover versions of their songs. This time, the focus is on Van McCoy.

These days, McCoy is probably seen by many as a one-hit wonder, because he had one huge hit under his own name: "The Hustle." This instrumental was a huge hit in 1975. It went to Number One on the main U.S. singles chart, as well as on the soul chart. It reached at least the Top Ten in most other countries as well, including hitting Number Three in Britain. 

That was his only Top 40 hit in the U.S., so technically that makes him a "one-hit wonder" in that country. But he did have other hits in other countries. For instance, he had three more Top 40 hits in Britain. But more important, he had a very long and successful career as a songwriter and producer. The focus here will be just on the songwriting part though.

 

McCoy was born in Washington, D.C., in 1940. He started playing piano and singing in a church choir at a young age. He began writing songs at the age of 12. Eventually, he would have 700 of his songs recorded and released by himself or other musical artists. He started to study psychology at Howard University, but dropped out in 1960 to pursue a music career. 

 

He formed his own record company from the very start. He had a little success with his own recordings. His first single, "Mr. D.J.," was a minor hit in 1960. But he soon found more success writing and producing songs for others. He mostly concentrated on that, though he continued to release singles under his own name. His first really big hit as a songwriter was "Baby, I'm Yours." Singer Barbara Lewis took it to the Top Ten in 1965. He continued to write many more hits in the 1960s and 1970s. I've included the ones I liked the best here. Note these aren't necessarily all the biggest hits on the charts.

 

In the 1970s, he began focusing more on his own career. In the 1960s, he only released one album under his own name. But in the 1970s, he released ten. His solo career really took over after his 1975 hit "The Hustle." But he continued writing and producing songs for others as well. Unfortunately, his career was cut short, because he died of a heart attack on June 29, 1979, at the age of 39.

 

Here's his Wikipedia entry if you want to know more. It's surprisingly detailed compared to other similar entries:

 

Van McCoy - Wikipedia 

This album is an hour and nine minutes long. 

01 Stop the Music (Shirelles)
02 Getting Mighty Crowded (Betty Everett)
03 Giving Up (Gladys Knight & the Pips)
04 Baby, I'm Yours (Barbara Lewis)
05 It’s Starting to Get to Me Now (Irma Thomas)
06 Where Does That Leave Me Now (Nancy Wilson)
07 Before and After (Chad & Jeremy)
08 Let It All Out (O'Jays)
09 Stop and Get a Hold on Myself (Gladys Knight & the Pips)
10 When You're Young and in Love (Marvelettes)
11 You're Gonna Make Me Love You (Sandi Sheldon)
12 The Way to a Woman’s Heart (Billy T. Soul)
13 I Get the Sweetest Feeling (Jackie Wilson)
14 So Soon (Aretha Franklin)
15 Lost and Found (Kenny Carlton)
16 Nothing Worse than Being Alone (Ad Libs)
17 Right on the Tip of My Tongue (Brenda & the Tabulations)
18 Let Me Down Easy (Derrick Harriott)
19 The Hustle (Van McCoy)
20 This Is It (Melba Moore)
21 Heavy Love (David Ruffin)
22 Baby Don't Change Your Mind (Gladys Knight & the Pips)
23 Sweet Bitter Love (Aretha Franklin)

https://pixeldrain.com/u/HhVWn2Gr

alternate:

https://bestfile.io/en/kTvbsbNvI6VKdyA/file

The cover photo dates to 1975. I assume it's from an awards ceremony, but I don't know the details. The original was in black and white, but I colorized it with the help of the Kolorize program.

Dionne Warwick - Dionne, Burt and Hal: The Definitive Songbook, Volume 1: 1962-1964 (A Mike Solof Guest Post)

In the last album I posted, I mentioned that I'm leaving for a two week vacation to Peru, starting tomorrow morning. But while I'm gone, I'm hoping to keep post albums from time to time. Most or all of the albums will be from two big musical projects, one by Fabio from Rio, and the other by Mike Solof. I've gotten them ready in a kind of assembly line fashion, and they take little extra work for me. That's the plan anyway.

So you already know the Fabio project: Covered albums for Neil Young. This Mike Solof project attempts to collect all the songs Dionne Warwick sang that were written by Hal David and/or Burt Bacharach. The vast majority were written by both, until the last couple of albums.

A couple of weeks ago, Mike came to me with the idea for this collection. I was delighted, because I already made a bunch of "Covered" albums for the Burt Bacharach and Hal David songwriting team. But when I did that, I deliberately avoided including any Warwick versions, because otherwise those albums would have probably been more than half her versions. So this collection perfectly complements that one. So a big thanks from me to Mike for making these albums. I did the cover art and some other minor things, but he was the one who collected all the songs.

Mike managed to find enough music for seven albums, plus a bonus album we'll explain later. If you want to know more, check out Mike's PDF included in the download zip. In fact, it's the same PDF for all the albums in this series.  

By the way, note that the song numbering begins with 001, 002, 003, etc... That's because Mike wanted the numbering from the end of one album to continue with the beginning of the next one. That way, you can put all the songs in one mega-album if you want. Since there's over a 100 songs, we have the extra zero at the same of each number. 

This album is 54 minutes long. 

001 Don't Make Me Over (Dionne Warwick)
002 I Smiled Yesterday (Dionne Warwick)
003 Wishin' and Hopin' (Dionne Warwick)
004 I Cry Alone (Dionne Warwick)
005 Make the Music Play (Dionne Warwick)
006 It's Love that Really Counts (Dionne Warwick)
007 The Love of a Boy (Dionne Warwick)
008 This Empty Place (Dionne Warwick)
009 A House Is Not a Home (Dionne Warwick)
010 Land of Make Believe (Dionne Warwick)
011 The Last One to Be Loved (Dionne Warwick)
012 Reach Out for Me (Dionne Warwick)
013 Anyone Who Had a Heart (Dionne Warwick)
014 Any Old Time of Day [Alternate Version] (Dionne Warwick)
015 I Could Make You Mine (Dionne Warwick)
016 Please Make Him Love Me (Dionne Warwick)
017 Walk On By (Dionne Warwick)
018 You'll Never Get to Heaven [If You Break My Heart] (Dionne Warwick)

https://pixeldrain.com/u/75y7xMfQ

alternate: 

https://bestfile.io/en/5blQU4ahwkF5DEG/file

The cover image shows, from right to left: Hal David, Dionne Warwick, and Burt Bacharach. I don't know the details, but it's from some time in the 1960s. The original was in black and white, and very poor quality. I got it in somewhat decent shape colorizing it with the Kolorize program, then cleaning it up and adding detail with the Krea AI program.

Since some people didn't like the transformation I made of this image, here's the totally unchanged black and white version, in case you want to use that instead. As you can see, the AI program made some changes as I tried to improve the quality. I wasn't happy with those, but I preferred the end result over the rough original. If anyone can do better, please do, and post it here.

Various Artists - Covered: Antonio Carlos Jobim, Volume 1: 1962-1998 (A Fabio from Rio Guest Post)

The next songwriter in my Covered series is a really big one: Antonio Carlos Jobim. He's written more standards than practically anyone, especially for jazz. And he's a rarity in the series in that he wasn't from one of the usual native English speaking countries like the U.S., Britain, or Canada, but from Brazil. And while he mostly wrote in Portuguese, I've selected only English language versions, to give this a wider appeal.

Actually, I should say "we selected." For Jobim, I relied heavily on the work on a new volunteer, who goes by the name "Fabio from Rio." As you can guess from the name, Fabio is a Brazilian, from Rio de Janeiro, so he was the ideal person to help with a Jobim collection. Furthermore, Fabio enjoyed helping to make three volumes of Jobim covers, and has been helping me with other collections, for instance Tom Waits, Bob Dylan, Brian Wilson, Lennon-McCartney, Neil Young, and more. So look for some of those in the near future.

Rather than say more, I've asked Fabio to give the introduction to Jobim for this first volume. Take it away, Fabio:

Since I'm Brazilian, Paul kindly invited me to help him curate this tribute collection of Antonio Carlos ("Tom") Jobim covers. Jobim was, quite literally, my neighbor - my family lived near his home in the Jardim Botanico district of Rio during my teenage years. I even bumped into him once at a local restaurant where he used to go for a drink or two. (There's a photo of the two of us somewhere, probably lost in a box in my mother's basement.) I was also lucky enough to attend a couple of his concerts at the legendary Canecao in the late 1980s and early 1990s. So, working on this project and revisiting his vast body of work has been a real treat.

Jobim's career began in the mid-1940s and lasted until his passing in 1994. He gained international fame in 1962 after a historic concert at Carnegie Hall. From then on, many English-speaking artists - as well as Brazilian musicians with international careers, like Astrud Gilberto and Sergio Mendes - began recording his music. While he's best known for his contributions to bossa nova, Jobim's work spans other genres too, including jazz, soul, and classical music. He even composed a full symphony!

According to his biographers, Jobim wrote between 350 and 400 songs - and at least half of them are considered standards, especially for jazz musicians. For that reason, my initial selection for this project included 97 songs, totaling nearly eight hours of music. Paul wisely suggested we trim it down, and we ultimately arrived at a more manageable set: three albums featuring 37 songs. As per Paul's request, we focused on songs with available English lyrics. Sadly, that meant leaving out some incredible tunes that only exist in Portuguese - but they can be discovered elsewhere. Due to this limitation, the collection is not fully comprehensive, but it serves as a strong introduction and a welcoming entry point for anyone curious to explore Jobim's remarkable legacy. I hope you enjoy the journey!

If you enjoy this collection, there's more! I've posted my Youtube channel a different compilation of Jobim covers, called "The Tom Jobim Songbook." It consists of 74 tracks at five volumes, but arranged by year of composition instead of year of recording. Here are the links:

Volume 1 (1954-1959 songs) -
https://youtube.com/playlist?list=PLZdAlno7O9qY0EjtcIu1yWzVedm2CDUVH&si=wXEDLOVHVxzCuxA9

Volume 2 (1960-1965 songs) -
https://youtube.com/playlist?list=PLZdAlno7O9qbR05RYgOLSjre8ZjATfuSE&si=6rGE19iG467gQy27

Volume 3 (1966-1971 songs) -
https://youtube.com/playlist?list=PLZdAlno7O9qb_K6GUUlXwGFHD5Lq0Qx9e&si=lAjrtD7Zk4wNb4kJ

Volume 4 (1972-1994 songs) -
https://youtube.com/playlist?list=PLZdAlno7O9qYLnNNv1AsqV6tmJsZl7Iim&si=hjqsRtZ1gpkodLYf

Volume 5 (instrumentals) -
https://youtube.com/playlist?list=PLZdAlno7O9qYIFTYOFcS09DDPBSwJFBbO&si=o97Ryn158raeVUC3

Additionally, here's a zip file with all five volumes, plus a bonus:

https://pixeldrain.com/u/QLY5Fh3w

alternate:

https://bestfile.io/izPoztcsjW9CsxZ/file

Due to personal preference, I selected different interpreters than Paul for some of the songs, and also included an 'instrumentals only' volume (although no Portuguese versions). For these reasons, there is little overlap with the Albums That Should Exist version, which I feel is a good thing since these playlists may function as a complementary treat to the official "Covered: Jobim" collection, for those willing to delve further into the Brazilian maestro's music. 

---

Thank you, Fabio from Rio. This is Paul again.  I'll write more about Jobim in the other two volumes. But, for now, here's the Wikipedia link about him:

Antônio Carlos Jobim - Wikipedia 

I will add that although Jobim wrote many classics, his signature song has to be "The Girl from Ipanema." I've included two versions of that for this series, both of which happen to fall into this volume. There's the female perspective version by Astrud Gilberto that was a huge worldwide hit in 1963. But also, near the end of this album, I've chosen a male perspective version by Frank Sinatra in 1981. Sinatra famously did an album with Jobim in 1967 called "Francis Albert Sinatra & Antonio Carlos Jobim." But I accidentally stumbled across a version he did for a TV show in 1981 that I liked better, due to the guitar work of Tony Mottola, so I picked that one. I believe it's unreleased.  

This album is 48 minutes long. 

01 Slightly Out of Tune [Desafinado] (Julie London)
02 The Girl from Ipanema [Garota de Ipanema] (Astrud Gilberto & Stan Getz)
03 Jazz 'n' Samba [So Danco Samba] (Milt Jackson)
04 Dindi (Astrud Gilberto)
05 Quiet Nights of Quiet Stars [Corcovado] (Marvin Gaye)
06 Dreamer [Vivo Sonhando] (Astrud Gilberto)
07 Pardon My English [Samba Torto] (Sylvia Telles)
08 Water to Drink [Agua de Beber] (Sergio Mendes & Brasil '66)
09 Stone Flower (Santana)
10 Triste (Sarah Vaughan)
11 Don't Ever Go Away [Por Causa de Voce] (Ella Fitzgerald)
12 The Girl from Ipanema [Garota de Ipanema] (Frank Sinatra with Tony Mottola)
13 A Felicidade [Happiness] (Susannah McCorkle)
14 Waters of March [Aguas de Marco] (Marisa Monte & David Byrne)
15 How Insensitive [Insensatez] (Sting & Antonio Carlos Jobim)

https://pixeldrain.com/u/yPdJNa5X

alternate: 

https://bestfile.io/en/gbVNLCnCMS2lpgB/file

For the album cover, I used a photo that appeared on the cover of a Jobim album called "World's Greatest Composer." I don't know the exact year, but I picked it because he's obviously quite young in the image.

Various Artists - Covered: Joe South: 1962-2005

Lately, I've had so much music I'm discovering, especially from "Midnight Special," "Ultrasonic," Live at the Record Plant," and "PBS Soundstage," that my Covered series highlighting worthy songwriters has fallen by the wayside. Again. But I'm going to make more of a concerted effort to post more of these, since a have a big number ready to go. Here's an album celebrating the songs of Joe South.

Joe South's songs were very popular for a few years in the late 1960s and early 1970s. He was born in 1940 in Atlanta, Georgia, and his music has an obvious southern influence. He began a career as both a performer and a songwriter in the late 1950s, when he was in his late teens. For many years, he only had minor success with both of those pursuits. The first song here is from 1962, and the second is from 1965. But then he hit his stride in 1968, when more people started covering his songs, and sometimes having big hits with them. For instance, Deep Purple had a big hit with "Hush" in 1968 (which was pretty atypical for them compared to their usual hard rock sound).

Then, in 1969, he had a big hit of his own, "Games People Play." It just missed the Top Ten in the U.S. singles chart, and since then is probably considered his signature song. Then he had another in 1970, with "Walk a Mile in My Shoes," which also just missed the Top Ten. I've chosen to include the Joe South version of "Games People Play." But the main point of this series is to focus on cover versions, so that's the only song I've included that's performed by him. 

In 1970, he also had his biggest success as a songwriter with "(I Never Promised You A) Rose Garden." It was first released by Billy Joe Royal in 1967, and there were a couple more covers after that. But when Lynn Anderson released her version in 1970, it went all the way to Number One in the country chart, and Number Three in the main U.S. singles chart, and became one of the best selling songs of the year. 

After all this success in just a couple of years, his future looked very promising. But then tragedy struck. Tommy South, his brother, committed suicide. Tommy had been in Joe's backing band, and they two of them were very close. Joe irrationally blamed himself for the suicide. He sank into a deep depression that lasted for years, and started taking heavy drugs to cope. His time as a promising songwriter basically ended at that point, as he lost his inspiration for many years. He later said, "I really kicked myself around for years... one of the main hang-ups was I just refused to forgive myself. You know, you can go through drug treatment centers, and it's not a permanent healing until it's a spiritual healing." He finally turned his life around in the late 1980s, but musical trends had largely passed him by, and he never released any new albums after 1975. All the songs here were written before that 1971 tragedy, though some of them were covered many years later. 

He died of a heart attack in 2012, at the age of 72. Here's his Wikipedia entry if you want to know more: 

Joe South - Wikipedia 

This album is 50 minutes long.

01 You're the Reason (Arthur Alexander)
02 I've Got to Be Somebody (Billy Joe Royal)
03 Hush (Deep Purple)
04 Games People Play (Joe South)
05 Down in the Boondocks (Billy Joe Royal)
06 These Are Not My People (Johnny Rivers)
07 Don't It Make You Want to Go Home (Brook Benton)
08 Walk a Mile in My Shoes (Elvis Presley)
09 [I Never Promised You A] Rose Garden (Lynn Anderson)
10 Redneck (Swamp Dogg)
11 Yo-Yo (Osmonds)
12 Don't Throw Your Love to the Wind (Jody Miller)
13 Birds of a Feather (Johnny Nash)
14 I Knew You When (Linda Ronstadt)
15 Children (Stephanie Finch)
16 The Greatest Love (Kelly Hogan)

https://pixeldrain.com/u/qF8PfC5P

alternate: 

https://bestfile.io/en/krCt2GD4MUqIPPq/file

I took the cover photo from the cover of an album called "The Joe South Story." I don't know the details. But it was one of very few I could find that was in color and showed him when he was young. 

Various Artists - Covered: Bob Feldman, Jerry Goldstein & Richard Gottehrer: 1962-1982

Here's a rather unusual entry in my "Covered" series highlighting talented songwriters who were widely covered by others. This one focuses on the songwriting and production team of Bob Feldman, Jerry Goldstein, and Richard Gottehrer. You probably don't know their names, but I'll bet you know a bunch of their songs.

Bob Feldman and Jerry Goldstein were friends and neighbors growing up in Brooklyn, New York, in the 1950s. They began writing songs together, and released a single as "Bob and Jerry." In 1962, they met Richard Gottehrer, and he joined their songwriting team. Then the hits started coming. Their first really big smash was "My Boyfriend's Back" by the Angels, which made it all the way to Number One in the U.S. in 1963. The song was started by Feldman, after he overheard a girl talking to a boy she was rebuffing.

The three of them had their greatest success in the mid-1960s. As they were all young and musically talented, they decided to form their own rock band, which they called the Strangeloves. Although, weirdly, they claimed that they were three brothers from a sheep farm from Australia. Perhaps they thought being seen as Jewish kids from Brooklyn wasn't cool. In 1965, they had a Top Ten hit in the U.S. under the Strangeloves name with "I Want Candy," a song the three of them wrote with Bert Berns. (I've posted two Covered albums featuring him.) However, instead of including that version here, I've included the 1982 version by Bow Wow Wow, which was a Top Ten hit in Britain. They had two other Top 40 U.S. hits in 1965 as the Strangeloves: "Cara-Lin" and "Night Time." I've included the Strangeloves version of "Night Time," but I chose a version the Sorrows did of "Cara-Lin."

In addition to songwriting, the three of them also found success as producers. One of their biggest successes came early, with "Hang On Sloopy." They didn't have a hand in writing it (though Bert Berns did). But they were getting a big reaction performing it live in concerts. They wanted to release it as their next single, but their song "I Want Candy" was still rising in the charts. So they took the version they'd already recorded in the studio and had a then-unknown singer from another band, Rick Derringer, sing lead on it. That version, credited to the McCoys, hit Number One in the U.S.

This songwriting team was really good at the garage rock song that was all the rage in 1965 and 1966. When popular trends moved to psychedelic music in 1967, their success went way down. The Strangeloves faded away in 1968. The three of them gradually drifted apart. Each of them found success as producers. In 1966, Gottehrer co-founded Sire Records. It was a very successful independent record company for many years. In 1978, it essentially got swallowed up by Warner Brothers Records, though it still exists as a branch of that mega-company. Gottehrer went on to produce albums by the Go-Go's', Dr. Feelgood, Richard Hell, the Bongos, Marshall Crenshaw, Joan Armatrading, Link Wray, and many more.

As a songwriter, Goldstein was the only one of the three who continued to have big success into the 1970s. He became the producer for the band War from their very first album in 1970. He co-wrote most of their biggest hits while continuing to produce them, including "All Day Music," "Low Rider," and "Why Can't We Be Friends." In fact, he was so closely tied to the band War that in a 1990s lawsuit he won the right to the band name, forcing virtually all of the original members to record as the Lowrider Band instead. 

Feldman died in 2023 at the age of 83. Goldstein and Gottehrer are still alive as I write this in 2025.

Here are their Wikipedia pages, if you want to know more:

Bob Feldman - Wikipedia 

Jerry Goldstein (producer) - Wikipedia 

Richard Gottehrer - Wikipedia

This album is 56 minutes long.

01 What Time Is It (Jive Five)
02 My Boyfriend's Back (Angels)
03 I'm on Fire (Jerry Lee Lewis)
04 The Drifter (Ray Pollard)
05 Cara-Lin (Sorrows)
06 Sorrow (Merseys [Merseybeats])
07 Night Time (Strangeloves)
08 Say Those Magic Words (Birds)
09 Beat the Clock (McCoys)
10 Come On Down to My Boat (Every Mother's Son)
11 It's Nice to Be with You (Monkees)
12 All Day Music (War)
13 Low Rider (War)
14 Why Can't We Be Friends (War)
15 Summer (War)
16 I Want Candy (Bow Wow Wow)
17 You Got the Power (War)

https://pixeldrain.com/u/V55f5uau

alternate:

https://bestfile.io/en/NqTTavC8wYmm2eJ/file

Feldman, Goldstein, and Gottehrer were the members of the band the Strangeloves in the mid-1960s. The cover photo is taken from a promotional photo of the band. They put out a lot of photos wearing these zebra-striped vests. From left to right: Richard Gottehrer, Bob Feldman, and Jerry Goldstein.

Various Artists - Covered: Hank Williams, Volume 1: 1954-1995

It's time for more from my "Covered" series, highlighting widely covered songwriters. This one celebrates the music of Hank Williams, who has been called "the father of country music." I've found enough for two albums. Here's the first one.

There's no doubt that Williams was a pivotal musical figure. Rolling Stone Magazine ranked him number 74 on its list of the 100 Greatest Artists of All Time, which is saying a lot, considering that magazine doesn't pay much attention to country music. Encyclopedia Britannica called him "country music's first superstar" and an "immensely talented songwriter and an impassioned vocalist." AllMusic.com said that he "established the rules for all the country performers who followed him and, in the process, much of popular music."

So far with this "Covered" series, I've generally selected songwriters from the rock and roll era, meaning 1955 and after. But Williams was from earlier. His recording lasted from 1947 to 1953. He died in 1953 at only the age of 29. His cause of death is controversial, but it seems he died of a heart attack caused by misuse of drugs and alcohol. 

I eventually want to go back and make "Covered" albums of songwriter greats like him from earlier eras. However, in Williams' case, his music often doesn't appeal to those who don't like country music. So instead of just going with the big hit versions of his songs, I made a concerted effort to pick covers that I liked but also often weren't country versions, or at least weren't hard-core country versions. So if you're not a big country music fan, you might still want to give this a try. There are some country versions early on, but less so as this album goes on, and even less so on the second volume. 

This album starts in 1954 and proceeds chronologically after that, so everything from here is after his death. In fact, Williams had a lot of success with people covering his songs during his life, but those generally are the hard core country type songs I've tried to avoid here. A pivotal cover was "Cold, Cold Heart" by Tony Bennett in 1951. Bennett was reluctantly convinced to cover it, doing it in a pop style. It was a Number One hit on the U.S. singles chart. This caused people in the music business to start to realize that Williams' songs could be popular outside of just the country music charts, and many covers followed. However, I didn't include Bennett's version or many other hit cover versions from that time period because I don't think they've dated well. But some songs from the time, including "Cold, Cold Heart," will appear on the second volume, done in more modern styles.

By the way, I have to say that I was surprised to find out that Williams co-wrote "Jambalaya (On the Bayou)." I had assumed that was a traditional New Orleans / Cajun song going way back. But Williams wrote it with Moon Mulligan, another country star, in 1952, basing the melody on a little-known traditional love song called "Grand Texas." His version was a massive hit, spending 14 weeks at Number One on the U.S. country singles chart. It also is his most covered song, with at least 500 recorded versions. Good luck going to New Orleans and not hearing it played a bunch of times!

Here's the Wikipedia entry about Williams, if you want to know more:

Hank Williams - Wikipedia 

This album is 49 minutes long. 

01 There'll Be No Teardrops Tonight (Tony Bennett)
02 Long Gone Lonesome Blues (Marty Robbins)
03 Jambalaya [On the Bayou] (Brenda Lee)
04 Moanin' the Blues (Marty Robbins)
05 Hey, Good Lookin' (Ray Charles)
06 Weary Blues from Waitin' (Vince Martin & Fred Neil)
07 Your Cheatin' Heart (Ray Charles)
08 Kaw-Liga (Charley Pride)
09 Settin' the Woods on Fire (Little Richard)
10 I'm So Lonesome I Could Cry (Al Green)
11 Move It on Over (George Thorogood)
12 You Win Again (Rolling Stones)
13 Why Don't You Love Me like You Used to Do (Elvis Costello & the Attractions)
14 I Saw the Light (Etta James)
15 Honky Tonk Blues (Huey Lewis & the News)
16 Mind Your Own Business (Saffire, the Uppity Blues Women)
17 Honky Tonkin' (The The)

https://pixeldrain.com/u/RT8yKdAE

alternate:

https://bestfile.io/en/g8fif4AWmUqA88p/file

I don't know what year the photo is from. The original was in black and white, but I colorized it with the help of the Kolorize program.

Various Artists - Covered: Jackie DeShannon: 1961-2017

Here's another entry in my "Covered" series highlighting the careers of great songwriters. This time, it's Jackie DeShannon.

DeShannon is more famous as a performer than a songwriter. But she's in a rather strange position, because she had some big hits as a performer that she didn't write, especially "What the World Needs Now Is Love," and some big hits as a songwriter for other musical acts, especially "When You Walk in the Room" and "Betty Davis Eyes." The one big hit she both wrote and had the hit performance was "Put a Little Love in Your Heart."

DeShannon was born in rural Kentucky to parents who were farmers but also very musically inclined. So her music career began remarkably early. She was singing songs on local radio stations by the time she was six years old, and hosting her own radio show and making occasional local TV appearances by the time she was eleven! She signed her first record contract at the age of 16, and began putting out singles, but without much success at first. 

At the time, successful female songwriters were very few and far between. But in 1960 she had enough success to get connected to another female songwriter, Sharon Sheeley. Together, they co-wrote DeShannon's first hit song, "Dum Dum" by Brenda Lee. They also wrote some other hit songs over the next couple of years, like "Heart in Hand" and "Breakaway."

In 1963, she co-wrote the song "Needles and Pins" with Jack Nitzsche and Sonny Bono. She didn't get songwriting credit on it, but she claims she was a full participant in its creation. I believe her. It was common for aspiring musicians to get screwed out of songwriting credits in those days (and probably still today), and I'll bet that went double for women. At any rate, her version of the song was the first one released. It barely made the U.S. singles charts, but went all the way to Number One in Canada. Instead, the Searchers had a Number One hit with it some months later. That suggested there was a problem with her record company, not with her version. Later in 1963, she wrote "When You Walk in the Room" by herself. Again, her version went nowhere and the Searchers had a bit hit with it.

In 1965, she finally had a big hit as a performer, with "What the World Needs Now Is Love," written by Burt Bacharach and Hal David. From that point on, she almost had two music careers at once. She put out many albums and singles, often with her singing cover songs. At the same time though, she wrote successful songs for other musical acts that she usually never released herself. Examples would be "Come and Stay with Me," a hit she wrote for Marianne Faithfull, and "Don't Doubt Yourself, Babe," which she wrote for the Byrds. 

She wrote hundreds of songs in many musical genres, and made professional sounding demos of them to give to other musicians. Decades later, several albums of these demos have been released. I think if she would have focused on putting on these songs she wrote herself, she would have had a much more successful performing career. It seems to me though that her record company was more interested in her songwriting, so they didn't encourage that.

In 1969, she had another huge hit with "Put a Little Love in Your Heart," which she co-wrote. It reached the Top Five in the U.S. singles chart. After that, musical trends were changing. There was much more of a focus on singers writing their own songs. For instance, Carole King made the transition from writing hits for others to performing her own hit songs. DeShannon made a similar transition, putting out many albums in the 1970s which mostly consisted of her own songs. Again though, in my opinion, her record companies badly bungled her career. Archival releases decades later show dozens of really good songs she wrote and recorded that weren't released at the time. 

Her performing career slowly wound down. In 1978, she stopped putting out albums. She would only release two more much later, in 2000 and 2011. She also never really toured much. She probably didn't need to, with all the money she made from songwriting. In 1974, one of her albums contained a song she co-wrote, "Betty Davis Eyes." It didn't get any attention at the time, and wasn't released as a single. But in 1981, Kim Carnes had a massive hit with it. It went to Number One in the U.S., and was the best selling song of the year.

For this album, I've concentrated entirely on cover versions, with not even a single song performed by DeShannon. I've already posted a couple of albums by her at this blog, and I'll probably post more in the future, so this isn't the place for more of that. Most of these are the original versions, often the hit versions. But I made some exceptions, especially when I had to choose versions other than the DeShannon ones, for instance with "Put a Little Love in Your Heart." 

Here's her Wikipedia page if you want to know more:

Jackie DeShannon - Wikipedia 

An interesting fact I just saw on that page is that the Led Zeppelin song "Tangerine" was actually written by Jimmy Page about DeShannon. The two of them dated around 1965 when Page was a session guitarist. 

This album is 49 minutes long.  

01 Dum Dum (Brenda Lee)
02 Woe Is Me (Helen Shapiro)
03 Heart in Hand (Brenda Lee)
04 I Shook the World (Bob B. Soxx & the Blue Jeans)
05 Needles and Pins (Searchers)
06 Breakaway (Irma Thomas)
07 When You Walk in the Room (Searchers)
08 Come and Stay with Me (Marianne Faithfull)
09 Don't Doubt Yourself, Babe (Byrds)
10 With You in Mind (Marianne Faithfull)
11 Put a Little Love in Your Heart (Dorothy Morrison)
12 Bad Water (Doris Duke)
13 Boat to Sail (Carpenters)
14 Santa Fe (Van Morrison)
15 Bette Davis Eyes (Kim Carnes)
16 Splendor in the Grass (Ladybug Transistor)
17 He Did It (Samantha Fish)

https://pixeldrain.com/u/CbpTTMaA

alternate: 

https://bestfile.io/en/OT5RQ01dujlQPgt/file

The cover photo is from 1967. 

Various Artists - Covered: Henry Mancini: 1959-1998

I have so much material for "Covered" series albums that I'm going to try to make another concerted effort to post a lot more of them. So here's another, focusing on the songwriting of Henry Mancini.

Mancini is a bit of a left field choice for the Covered series, since he mostly composed instrumental music for movies, and is far removed from rock and roll. But he was responsible for so many classic songs that I feel I can't leave him out. The intro to his Wikipedia article sums him up well, stating that Mancini "was an American composer, conductor, arranger, pianist and flutist. Often cited as one of the greatest composers in the history of film, he won four Academy Awards, a Golden Globe, and twenty Grammy Awards, plus a posthumous Grammy Lifetime Achievement Award in 1995."

Mancini was born in 1924 and grew up in rural Pennsylvania. After graduating from high school, he studied at the prestigious Julliard School of Music in New York City for two years. But then he was drafted in the U.S. Army and fought in World War II from 1943 to 1945. After the war, he became a pianist and arranger for the Glenn Miller Orchestra (which continued despite the fact Miller died in World War II). In 1952, he got a job writing music for movies for Universal Pictures, a major movie studio in Hollywood. 

However, he didn't really become famous until after he left that company in 1958 to become an independent composer and arranger. One of his first jobs was writing the theme for a new TV show called "Peter Gunn." His song, the "Peter Gunn Theme," was a big hit for Duane Eddy, and has since become an often covered classic. It won an Emmy award and two Grammys, and put Mancini in high demand writing for more TV and movie projects.

Mancini typically only wrote music, usually instrumentals. But sometimes he would work with another songwriter who would write the lyrics. His next major hit, "Moon River," was such a case, with the lyrics written by famed songwriter Johnny Mercer. The version sung by actress Audrey Hepburn in the movie of the same name in 1961 went on to win the Academy Award for Best Original Song, as well as Grammys for Song of the Year and Record of the Year.

After that, Mancini kept steadily releasing music for decades, including scores for dozens of movies. He recorded over 90 albums on his own, from big band to jazz to light classical. He became, and remains, one of the biggest names in the "easy listening" genre. 

For this album, I tried to boil the selections down to just his very best known songs, so that even people who aren't typically into can easy listening style can enjoy this. For instance, I find it hard to believe there's anyone out there who doesn't enjoy hearing the highly creative "Pink Panther Theme." Like that song, the vast majority of songs here are instrumentals. "Love Theme from Romeo and Juliet" wasn't actually written by him, but his arrangement changed the song so drastically that I've included it here anyway.

Most of Mancini's best known songs date from the 1960s. After that decade, he switched more to arranging songs written by other people, though he did sometimes write his own material. Some of the songs near the end of this album are covers of songs from much earlier in his career. I generally tried to avoid Mancini's own versions, as I usually do with these Covered albums. But I have two songs by him here since I couldn't find good versions of those ones otherwise.

He was still composing and arranging, though less prolifically, when he died of pancreatic cancer in 1994 at the age of 70 years old. His music made such a cultural impact that in 2004 he was the subject of a U.S. postage stamp. 

This album is 42 minutes long.

01 Peter Gunn Theme (Ray Anthony & His Orchestra)
02 Moon River (Audrey Hepburn)
03 Baby Elephant Walk (Lawrence Welk & His Orchestra)
04 Theme from Hatari (Henry Mancini & His Orchestra)
05 A Shot in the Dark (Shirley Scott)
06 The Shadows of Paris (Elsie Bianchi)
07 Pink Panther Theme (Those Fantabulous Strings)
08 Slow Hot Wind (Sergio Mendes & Brasil 66)
09 Two for the Road (Peggy Lee)
10 Love Theme from Romeo and Juliet [A Time for Us] (Johnny Mathis)
11 Send a Little Love My Way (Anne Murray)
12 Newhart (Henry Mancini)
13 Days of Wine and Roses (Ella Fitzgerald & Joe Pass)
14 Dreamsville (Dave Grusin with Diana Krall)
15 Charade (Monica Mancini)

https://pixeldrain.com/u/NNf2DX2w

alternate: 

https://bestfile.io/en/SpfGKosgrSb8HlG/file

The cover photo dates from 1985. I don't know any other details.

Various Artists - Covered: Lee Hazlewood, Volume 1: 1956-1967

It's time to highlight another talented songwriter in my Covered series. This time, it's Lee Hazlewood. He's best known for writing hit songs for Nancy Sinatra, especially the huge hit "These Boots Are Made for Walkin'." But he did a lot more than that. He had a quirky style with songwriting, production, and his own singing so unique that he practically created his own musical genre. The intro paragraph to his Wikipedia entry states: "His collaborations with Sinatra as well as his solo output in the late 1960s and early 1970s have been praised as an essential contribution to a sound often described as 'cowboy psychedelia' or 'saccharine underground.'" I found enough interesting cover versions of his songs for two volumes.

Hazlewood had an unusual career, just like how he had an unusual sound. It seems he marched to the beat of his own drummer. Sometimes that meant big hits, sometimes obscure records. 

He was born in 1929, and mostly grew up in Texas. After serving in the military during the Korean War in the early 1950s, he began working as a DJ. This gave him a foot in the door into the music business. He soon started producing and well as selling songs he'd written. His first big hit was "The Fool" by Sanford Clark in 1956. After that, he had the most success in the late 1950s and early 1960s writing songs for guitarist Duane Eddy. His biggest success was with "Rebel-'Rouser," a Top Ten hit in the U.S. in 1958 and a true classic. He wrote a whole series of hits for Eddy, most (but not all) of them guitar-based instrumentals. I only included a few of those here because, in my opinion, most of them are similar to each other and don't really stand out.

Hazlewood's hits for Duane Eddy petered out by the end of 1963, probably due to a change in the public's musical tastes. That was right when the Beatles and the British Invasion hit it big. Hazlewood was so disappointed in the change that he took a break from the music business for most of 1964. 

But in 1965, his career resumed when he got a chance to work with Nancy Sinatra. She was both very beautiful and a talented singer. Plus she was the daughter of music legend Frank Sinatra. However, she'd had a series of nothing but failed singles from 1961 to 1965, and was in danger of being dropped from her record label. Then she began working with Hazlewood. He drastically changed her sound, including having her sing in a lower register, and with a more sultry style. Their first single in 1965 didn't do that well. But their second one was "These Boots Are Made for Walkin'," which went to Number One in the U.S. singles charts and instantly turned Sinatra into a big star. That led to a whole series of hit songs he for Sinatra through the end of the 1960s.

The Sinatra collaboration turned Hazlewood into a minor star as well. That's because not only did he write and produce all her hits, he sang on some hit duets with her as well. It was a very odd combination, since Hazlewood had a low, gruff voice that typically wasn't found on hit records. But the clash with Sinatra's conventionally pretty voice somehow worked, in large part due to Hazlewood's songwriting and production.

The account of his career will continue with the second volume. Note that, on this volume, I generally stuck with the hit versions, even though that means a big cluster of Nancy Sinatra songs in the second half. Those versions are so distinctive and definitive that it seemed wrong to use different ones.

This album is 48 minutes long. 

01 The Fool (Sanford Clark)
02 Snake Eyed Mama (Don Cole with Al Casey)
03 Don't Look Now, but I've Got the Blues (B.B. King)
04 Rebel-'Rouser (Duane Eddy)
05 The Girl on Death Row (Lee Hazlewood with Duane Eddy & His Orchestra)
06 Shazam (Duane Eddy)
07 Guitars, Guitars, Guitars (Al Casey with the K-C-Ettes)
08 [Dance With] The Guitar Man (Duane Eddy)
09 Baja (Astronauts)
10 These Boots Are Made for Walkin' (Nancy Sinatra)
11 Friday's Child (Nancy Sinatra)
12 Need All the Help I Can Get (Suzi Jane Hokom)
13 How Does That Grab You, Darlin' (Nancy Sinatra)
14 Sugar Town (Nancy Sinatra)
15 Guitar on My Mind (Duane & Miriam Eddy)
16 Sand (Nancy Sinatra & Lee Hazlewood)
17 Summer Wine (Nancy Sinatra & Lee Hazlewood)
18 The Last of the Secret Agents (Nancy Sinatra)

https://pixeldrain.com/u/WWRmU6q7

alternate: 

https://bestfile.io/en/suoWRc31ARIiIoR/file

I had a hard time finding good color images of Hazlewood when he was young, so I had to resort using an album cover photo. The cover image was taken from a 1960 album called "Something Special."

Various Artists - Covered: John D. Loudermilk: 1956-2002

Here's another album for my "Covered" series, highlighting the talents of songwriters who got covered a lot. This one is for John D. Loudermilk.

Loudermilk is probably best known for three big hits: "Indian Reservation," a Number One hit in the U.S. for Paul Revere and the Raiders in 1971, "Ebony Eyes," a Number One hit in Britain for the Everly Brothers in 1961, and "Tobacco Road." That last one wasn't as big of a hit, although the Nashville Teens did have a hit with it in 1964. But its one of those songs lots of musical acts love to cover. Wikipedia says it "has since become a standard across several musical genres." 

However, he wrote many more hits than just those three, and his songs have been widely covered. He had a reputation for writing songs that were a little bit quirky and different from the usual.

Loudermilk was born in 1934, and grew up in a musical environment in North Carolina. In fact, two of his cousins made up the Louvin Brothers, a very famous country music duo. The first big hit of one of his songs, "A Rose and a Baby Ruth," happened in 1956, while he was 21 years old and still going to college. After that, he tried having his own career as a performing musician, and he ended up releasing many singles and albums. However, he only saw modest success that way. He had two songs that barely made it into the Top Forty in the U.S., "Sittin' in the Balcony" in 1957, and "Language of Love" in 1961, and some smaller hits. He found much more success having other musical acts record his songs. 

Most of his successes came in the late 1950s and all through the 1960s. He wrote many hits for many different musical acts. This album includes most of his best known songs, but there are plenty more that I didn't include. For instance, he wrote lots of country hits, and I was more selective with those since I'm not such a big country fan. 

Most of the songs here are the original hit versions, if they were hits. I've included a couple of lesser known songs performed by Loudermilk himself, "Road Hog" and "The Jones'," to show some of the diversity of his songwriting talent. The last really big hit he had was "Indian Reservation" in 1971. The four songs that come after than on this album are covers of songs that generally were first released a lot earlier.

It seems he retired from songwriting in the 1970s, and apparently was able to live on royalty checks. That freed him up to pursue passion projects, and he had many. For instance, in the 1990s, he devoted himself to traveling, studying ethnomusicology, chasing hurricanes, and doing research on Native American burial mounds! 

Here's the Wikipedia entry about him, if you want to know more:

John D. Loudermilk - Wikipedia 

But here's a better article that sums up his career:

LifeNotes: Songwriting Great John D. Loudermilk Passes - MusicRow.com 

This album is 50 minutes long.

01 A Rose and a Baby Ruth (George Hamilton IV)
02 Angela Jones (Johnny Ferguson)
03 Ebony Eyes (Everly Brothers)
04 Road Hog (John D. Loudermilk)
05 [He's My] Dreamboat (Connie Francis)
06 Norman (Sue Thompson)
07 Watch Your Step (Brooks O'Dell)
08 Windy and Warm (Ventures)
09 Abilene (George Hamilton IV)
10 Tobacco Road (Nashville Teens)
11 Bad News (Johnny Cash)
12 This Little Bird (Marianne Faithfull)
13 I Wanna Live (Glen Campbell)
14 The Jones' (John D. Loudermilk)
15 Indian Reservation [The Lament of the Cherokee Reservation Indian] (Paul Revere & the Raiders)
16 Break My Mind (Wreckless Eric)
17 You Call It Joggin' [I Call It Runnin' Around] (Mose Allison)
18 Then You Can Tell Me Goodbye (Maria McKee)
19 Turn Me On (Norah Jones)

https://pixeldrain.com/u/hDKWjxwf

alternate:

https://bestfile.io/en/IHHRWujfbvZhNSJ/file

There are very few color photos of Loudermilk from when he was young. So I had to resort to using the cover photo from the album "Blue Train." I don't know when the photo was taken because it's an archival album.

Various Artists - Covered: Aaron Schroeder: 1956-1978

Until recently, I had never heard of Aaron Schroeder. I'll bet that's the same for you. But he was the songwriter behind a lot of classic hits, especially for Elvis Presley, so here's a "Covered" album about him.

Aaron Schroeder was born in New York City in 1926. Once he became an adult, he went straight into songwriting. It's said that he wrote more than 1,500 songs, with about 500 of them recorded by professional musicians. 

He got an early connection with Elvis Presley, writing songs for him in 1956, a year after Presley became a star. He went on to write 16 songs done by him. That's the second most of anybody, behind only the great songwriting team of Jerry Leiber and Mike Stoller. (Check out the Covered albums I made for them.) He wrote or co-wrote no less than five Number One songs for Presley, more than anybody: "I Got Stung," "A Big Hunk o' Love," "Stuck on You," "It's Now or Never," and "Good Luck Charm." (Although note that "I Got Stung" was only Number One in Britain, not the U.S.) Unfortunately, he broke with Presley in 1962 due to a dispute about royalty rates. Presley's manager, Tom Parker, was notoriously stingy about paying for good songs.

Undoubtedly, Schroeder's biggest success was "It's Now or Never." That single sold about 20 million copies, making it the seventh best selling single of all time by anybody, as of 2025. The music was based on an Italian song written in the 1800s, "O Sole Mio." Presley heard the Italian version while stationed in Europe as a U.S. soldier. He liked it and wanted to sing an English version. Schroeder co-wrote the English lyrics (which were not a translation of the Italian) with another professional songwriter, Wally Gold, in less than half an hour. 

Schroeder generally co-wrote songs, and Gold was his most frequent collaborator. The two of them also co-wrote "It's My Party," "Good Luck Charm," "It's Now or Never," "Because They're Young," and others. And speaking of "It's My Party" (another Number One hit), Schroeder is not officially credited as a songwriter for that song, but it's well known that he was involved. The story is that both Schroeder and Gold took part, finishing a song started by a freelance songwriter named Seymour Gottlieb. But they were only given one songwriting portion between the two of them, so they flipped a coin for it, and Schroeder lost!

Schroeder's songwriting career declined after the early 1960s. But that's probably because he devoted most of his time to other music business. He started his own record label, Musicor Records. It was only moderately successful, but it did release a series of hits by Gene Pitney. He got even more involved with music publishing. Together with his wife Abby, he helped the music careers of many other performers and composers through their publishing agency, including Barry White, Randy Newman, Al Kooper, Blood, Sweat & Tears, and Jimi Hendrix. 

He did occasionally keep a hand in songwriting well into the 1970s. The three last songs on this album are examples of that. Note by the way that "Love's Theme" was a Number One hit as an instrumental for Love Unlimited in 1974. Schroeder wasn't involved with that, but he wrote the lyrics for a version that group put out on their next album, so that's the version I included here.

It seems Schroeder could be pretty ruthless as a music publisher. Another songwriter I've profiled in this "Covered" series, Tony Macaulay, had a protracted legal battle with Schroeder's publishing company in the early 1970s, claiming the terms of his contract weren't being fully honored. Macaulay won the battle in 1974, in a landmark decision which encouraged other artists to challenge the terms of their contracts. 

Schroeder died in 2009 at the age of 89. 

Here's the Wikipedia entry about Schroeder, which mentions the coin flip story:

Aaron Schroeder - Wikipedia    

This album is 45 minutes long.

01 Cincinnati Fireball (Johnny Burnette)
02 Got a Lot o' Livin' to Do (Elvis Presley)
03 My Boy Elvis (Janis Martin)
04 I Got Stung (Elvis Presley)
05 Glad All Over (Carl Perkins)
06 A Big Hunk o' Love (Elvis Presley)
07 Rubber Ball (Bobby Vee)
08 Because They're Young (Duane Eddy)
09 Time and the River (Nat King Cole)
10 Stuck on You (Elvis Presley)
11 It's Now or Never (Elvis Presley)
12 Half Heaven, Half Heartache (Gene Pitney)
13 Good Luck Charm (Elvis Presley)
14 It's My Party (Lesley Gore)
15 Love's Theme (Love Unlimited)
16 Move Me No Mountain (Dionne Warwick)
17 She Can Put Her Shoes Under My Bed [Anytime] (Johnny Duncan)

https://pixeldrain.com/u/46ZLUsm6

alternate:

https://bestfile.io/en/pJTVzztHa4VwQZ3/file

Aaron Schroeder is such an obscure and forgotten figure that it's lucky I was able to find any photo of him at all. The one I could find (which you can see in his Wikipedia article) was black and white and generally low-res. I colorized it via the Kolorize program. Then I had to do a lot of work with Photoshop and Krea AI to get the half decent result you see here.  

Various Artists - Covered: Bob Crewe & Bob Gaudio, Volume 1: 1957-1974

The songwriting team of Bob Crewe and Bob Gaudio is another one that doesn't get as much respect as it deserves. So they're a good subject for this next installment in my "Covered" series. They were responsible for writing most of the big hits by Franki Valli and the Four Seasons. But they had many songwriting successes for other musical acts as well.

Note that since many of the songs here were first hits by Franki Valli and the Four Seasons, I wanted to avoid turning this into mostly a "best of" by the band. So I tried hard to select versions of those songs by other musical acts. I've made two volumes, and many of the hit songs in this time period (1957 to 1974) aren't included until cover versions that happened in the time of the second volume. Examples that were 1960s hits but don't show up until later covers include "Sherry," "Rag Doll," "Walk like a Man," "Bye Bye Baby," and "Barbarella." Also keep in mind that these two wrote most Franki Valli and the Four Seasons hits, but not all of them.

Bob Crewe was thirteen years older than Bob Gaudio, so his music career started first. In 1953, he partnered with another songwriter, Frank Slay, Jr. Four years later, in 1957, they had their first hit with "Silhouettes" by the Rays. I haven't included that, because I chose another version of the song by Herman's Hermits, which was a big hit in 1965. The B-side was another song they wrote together, "Daddy Cool." The Diamonds had a hit with it in 1957, so I included that version here. They also had a big hit in 1957 with "Tallahassee Lassie" for Freddy Cannon in 1959.

Meanwhile, Bob Gaudio was starting his music career. In 1958, at only the age of 15 years old, he wrote the hit "Short Shorts" for the band he was in at the time, the Royal Teens. Not long after that, he came across a band led by Franki Valli, and joined them as a piano player and songwriter. They soon were renamed "Franki Valli and the Four Seasons." From the very start, they were produced by Bob Crewe, which is how Crewe and Gaudio met each other. It probably helped that both of them were from New Jersey.

The very first hit by the Four Seasons in 1962, "Sherry," was written by Gaudio alone. But soon, Crewe and Gaudio were generally writing the hits together. From 1962 to about 1968, they wrote dozens of hits together, just for the Four Seasons. 

Meanwhile, with Gaudio busy a lot of the time as a member of the Four Seasons, Crewe had a whole other career going on as a producer, which often also included more songwriting with others. He even formed his own record label, Dyno Voice Records, and had over 20 hits with artists on that label other than the Four Seasons. One hit was actually in his own name - the "Bob Crewe Generation" - an instrumental called "Music to Watch Girls By," in 1967. However, that's not here because although he produced it and performed it, he didn't write it. In 1968, his group the Bob Crewe Generation wrote and performed all the songs for the soundtrack to the hit movie "Barbarella." I put a cover of the theme song on Volume 2.

So the 1960s were an extremely successful time for both Bobs. Generally speaking, songs Gaudio helped write ended up first being performed by the Four Seasons, though sometimes other groups ultimately had the big hit. For instance, the Four Seasons version of "The Sun Ain't Gonna Shine (Anymore)" didn't even make the Top 100 singles chart in 1965. But the Walker Brothers did a version in 1966 using the same arrangement and hit Number One in the singles chart in Britain with it. Meanwhile, Crewe had his fingers in other pies, and sometimes wrote songs with other songwriters.

However, in the late 1960s, the style of music favored by the Four Seasons fell out of favor, with musical trends changing rapidly and drastically. Gaudio teamed up with another songwriter, Jake Holmes (best known for writing "Dazed and Confused"), and made the 1969 Four Seasons album "The Genuine Imitation Life Gazette." It was their attempt to stay relevant with a quasi-psychedelic album. (Crewe wasn't involved with the songwriting, but he produced the album.) It was too strange to sell well, but it's reputation has grown over time, and it's actually a pretty good, interesting album, in my opinion. John Lennon reportedly considered it one of his favorite albums.

Overall though, the time from 1968 to 1973 was rough for both Crewe and Gaudio. It looked like both of their music careers were petering out. However, both would have great successes starting in 1974. But that will be saved for Volume 2. (The one song here from 1974, "You're Ready Now," is actually a cover of a song they first wrote and released in 1966.)

Here's links to their Wikipedia pages:

Bob Crewe - Wikipedia

Bob Gaudio - Wikipedia

This album is 49 minutes long.

01 Daddy Cool (Diamonds)
02 Short Shorts (Royal Teens)
03 Tallahassee Lassie (Freddy Cannon)
04 Big Girls Don't Cry (Orlons)
05 Navy Blue (Diane Renay)
06 Big Man in Town (Frankie Valli & the Four Seasons)
07 Silhouettes (Herman's Hermits)
08 The Sun Ain't Gonna Shine [Anymore] (Walker Brothers)
09 Dawn [Go Away] (Rockin' Berries)
10 I'm Going Out [The Same Way I Came In] (Kiki Dee)
11 Sock It to Me Baby (Mitch Ryder & the Detroit Wheels)
12 Silence Is Golden (Tremeloes)
13 [You're Gonna] Hurt Yourself (Bystanders)
14 Beggin' (Timebox)
15 Can't Take My Eyes Off You (Nancy Wilson)
16 Mrs. Stately's Garden (Four Seasons)
17 Stone Liberty (Diana Ross)
18 You're Ready Now (Guy Darrell)

https://pixeldrain.com/u/4zD17nSa

alternate:

https://bestfile.io/en/ZL3DObxIB79HHvJ/file

There are very, very few photos of Crewe and Gaudio together, and those didn't show their faces well. So I found individual photos and put them together for the cover. The one of Gaudio (with black hair) is from 1966 while the one of Crewe (with reddish hair) is from 1959.

Various Artists - Covered: Neil Sedaka & Howard Greenfield, Volume 1: 1958-1970

I have to admit that, until very recently, I hadn't given much thought to the musical career of Neil Sedaka. I just assumed he was one of many pop stars that had hits mostly or entirely written by others from the 1960s, like Bobby Darin or Bobby Dee. But it turns out that he not only wrote most of his hits, but he wrote plenty of hits for others. Most of his songwriting was done with Howard Greenfield, who avoided the spotlight and didn't have a recording career of his own. I found enough for two volumes. Here's the first one.

Neil Sedaka grew up in a middle class Jewish family in Brooklyn, New York. From a young age, he developed a talent for playing classical music on the piano. He even won a piano scholarship for the prestigious Julliard's School of Music as a teenager, and he's retrained an interest in playing classical music his entire life. While only 13 years old, he met another teenager living in the same apartment building, Howard Greenfield, who already was an aspiring lyricist and poet. 

The two started writing show tunes, but they soon got turned on to pop music. In 1958, they got hired to be professional songwriters for a company that eventually moved their offices to the Brill Building, a building in New York City where as tremendous number of hit songs were written. But Sedaka also got signed by a record company as a recording artist. He began having hits almost immediately. Eventually, he would sell over 25 million records on his own. Soon, much of Sedaka's time was taken up with promoting and touring to support his recordings. His songwriting with Greenfield continued. But Greenfield had more free time, so Sedaka was okay with Greenfield cowriting with others when Sedaka was too busy. In particular, Greenfield often wrote songs with another professional songwriter named Jack Keller.

The point of my "Covered" series is to focus on songwriting careers. So I've tried hard to avoid having lots of songs here performed by Sedaka. I managed to include only one in this volume, "Breaking Up Is Hard to Do." But I didn't have that self-imposed rule, probably more than half of the songs here would have been performed by him. Sometimes I had to look hard to find good versions of songs that he had a hit with. But there are plenty of songs here that were first hits for others, such as the four performed by Connie Francis.   

From 1958 to 1963, Sedaka and Greenfield had hit after hit after hit, both recorded by Sedaka and by others. I've only included some of the best and most popular ones here. But then in 1964, their songwriting style fell out of fashion, when the Beatles and Bob Dylan drastically changed things. For much of the rest of the 1960s, they struggled. 

However, they still did find some successes. For instance, Greenfield wrote some popular TV show themes with Jack Keller (who I already mentioned above). That's represented by the inclusion of "Theme from Bewitched" here. They also had some successes with songs recorded by the Fifth Dimension. That includes "Puppet Man," which appears on Volume 2. They also had a quirky minor hit in 1970 with "Rainy Day Bells," which has a throwback sound to an earlier era. It was supposedly recorded by the comedic basketball team the Harlem Globetrotters. But in fact it was recorded by some professional soul singers.

But still, by 1970, it looked like most of the successful years of both Sedaka and Greenfield were behind them, due to changing musical trends. However, they would come back with many successes in the 1970s, which will be dealt with in Volume 2. 

Here are the Wikipedia pages of both:

Neil Sedaka - Wikipedia 

Howard Greenfield - Wikipedia

This album is 42 minutes long.

01 Stupid Cupid (Connie Francis)
02 Since You've Been Gone (Clyde McPhatter)
03 My Heart Has a Mind of Its Own (Connie Francis)
04 Stairway to Heaven (Gary Sherbert)
05 Everybody's Somebody's Fool (Connie Francis)
06 Fallin' (Wanda Jackson)
07 Where the Boys Are (Connie Francis)
08 Oh Carol (Frankie Valli & the Four Seasons)
09 Venus in Blue Jeans (Jimmy Clanton)
10 Breaking Up Is Hard to Do (Neil Sedaka)
11 Foolish Little Girl (Cookies)
12 Calendar Boy (Dee Dee Sharp)
13 Get Rid of Him (Dionne Warwick)
14 It Hurts to Be in Love (Gene Pitney)
15 Theme from Bewitched (Warren Barker)
16 Workin' on a Groovy Thing (5th Dimension)
17 Rainy Day Bells (Globetrotters)

https://pixeldrain.com/u/qA2y8xMu

alternate: 

https://bestfile.io/en/X3TCL8MKpdiL5Hi/file

The cover image is a composite that I made. The picture of Sedaka is from 1962. I don't know when the picture of Greenfield was taken, but clearly it's from when he was young. (He's the one with the visible tie.) Both pictures I started with were in black and white. But I converted them to color with the use of the Kolorize program. 

Various Artists - Covered: Luther Dixon: 1957-1972

I'm trying to use my Covered series to shine a spotlight on some talented songwriters who aren't widely known. Luther Dixon definitely qualifies as little known. I didn't select a lot of songs written or co-written by him. All I came up with was one relatively short album. But he wrote a fair number of classics. For instance, two of his songs, "Tonight's the Night" by the Shirelles and "Big Boss Man" by Jimmy Reed, have been included on a Rolling Stone Magazine list of the 500 greatest songs of all time.

Dixon was born in Florida in 1931, but grew up in New York City. He was probably lucky his family made the move, since there was more economic opportunity for a Black man in a northern city back in that era of segregation. There were very few successful Black professional songwriters in the 1950s. But while Dixon started out as a member of a doo-wop group, he quickly discovered he preferred songwriting and producing to performing. His first big success was "Why Baby Why," a hit for Pat Boone in 1957. 

 

In 1959, he found a ideal job working as a producer for an up-and-coming record label, Scepter Records. What made the job ideal was that he was given great independence to produce and record as he liked. He soon began working with the Shirelles, and largely pioneered the classic "girl group" sound with his song "Tonight's the Night." (That, presumably, is why Rolling Stone put that song in its top 500 list.) He had a lot of success in the late 1950s and early 1960s. Two of his songs, "Boys" and "Baby, It's You," were recorded by the Beatles. That second one was co-written by  Burt Bacharach.

 
However, the Beatles were also largely to blame for a drastic change in musical tastes away from his 1950s style, along with Bob Dylan and others. He did have some hits in the late 1960s and early 1970s, but few compared to what he'd accomplished before. He died in 2009 at the age of 78. Here's his Wikipedia entry if you want to know more about him:

Luther Dixon - Wikipedia

Generally speaking, I included the original hit versions of each song, in rough chronological order. However, "Baby, It's You" was first a big hit for the Shirelles in 1961, but I already included that version on a Burt Bacharach and Hal David "Covered" album. So instead I used the version by Smith, which also was a big hit in 1969.

This album is 43 minutes long. 

01 Why Baby Why (Pat Boone)
02 Sixteen Candles (Crests)
03 So Close (Brook Benton)
04 Lovin' Up a Storm (Jerry Lee Lewis)
05 Tonight's the Night (Shirelles)
06 Big Boss Man (Jimmy Reed)
07 A Hundred Pounds of Clay (Gene McDaniels)
08 Mama Said (Shirelles)
09 Irresistible You (Bobby Darin)
10 Soldier Boy (Shirelles)
11 Boys (Beatles)
12 Sha La La (Manfred Mann)
13 With This Ring (Platters)
14 Soul Serenade (Aretha Franklin)
15 Baby It's You (Smith)
16 I Don't Wanna Cry (Ronnie Dyson)
17 Funk Factory (Wilson Pickett)

https://pixeldrain.com/u/8DykqLaZ

alternate:

https://bestfile.io/en/5pykEJmtUAXngfP/file

I don't know when or where the cover photo is from. I was lucky to find a good photo of Dixon at all. But I'd guess it's from the 1950s or early 1960s. The original was in black and white, but I converted it to color with the use of the Palette program.

The Beatles - Star-Club, Hamburg, Germany, 12-1962

I've been on the verge of posting this very early live Beatles album for a few months now. One reason is the sound quality. Bluntly speaking, the sound quality is pretty bad compared to just about everything else I've posted at this blog. But the good news is, thanks to recent advancements in audio editing technology, it sounds better than it ever has before. Still, this is not for the casual fan. 

The second reason is the story behind this recording is very complicated, and I lacked the enthusiasm for a long write-up. So I ultimately decided to skip most of what I was thinking of writing. Instead, I can point you to a Wikipedia article for the short version:

Live! at the Star-Club in Hamburg, Germany; 1962 - Wikipedia 

But if you want to dig deeper, I've included a PDF of a lengthy but I think interesting article from Record Collector Magazine about the long and tangled story about this recording.

Before I go any further, I want to say: all hail Lord Reith! The only reason I'm posting this is because a super Beatles fan by that name has made repeated efforts to improve this recording, each one sounding better than the last. The most recent one is from late 2024 (as I write this in February 2025). All I'm basically doing is posting what he did, with minor changes. He even is the one who came up with the PDF of the article mentioned above. I've also included a text file from him that explains some more about what he did. If you want to find more of his Beatles-centric audio editing, search for his name at the Beatlegs forum. He's one of the best at this audio editing stuff, for sure.

Here's a link to that forum:

https://forum.beatlegdb.com/

Anyway, while I'm not going to write a tome about this recording, I will give the basics. As most Beatles fans know, the Beatles honed their musical skills playing in small clubs in Hamburg, Germany, from 1960 to 1962, before they became famous. This recording comes from December 1962, when they were on the brink of fame. Their drummer Pete Best had recently been replaced by Ringo Starr, who plays drums on everything here. Their debut single "Love Me Do" was released in October 1962, and reached Number 17 in the British charts around the time these recordings were made. In fact, the Beatles didn't want to play in Hamburg anymore, but they felt obliged to finish off a contract they'd signed many months earlier.

Their stay this time was relatively short. They played from December 18th until December 31st. Nobody knows the exact dates these recordings were made, except that they come from that time period. What happened was, recording equipment was set up, and every now and then someone hit the record button, and nobody kept track of details. There are three big continuous chunks, probably recorded on different nights. Plus, there are some extra individual songs recorded here and there. 

So what we ended up with was a luck of the draw thing. For instance, no recording of "Love Me Do" made it, despite that being their sole hit single at the time that they certainly must have played. And we only got a couple of originals, "I Saw Her Standing There" and "Ask Me Why." But what really makes this fascinating is the Beatles played a bunch of cover songs. Some covers made their early studio albums or singles, and some were done later at the BBC and thus recordings survived, but for many, maybe half of the songs here, these are the only Beatles versions we have. 

Note that this version isn't complete. If you want that, check out Lord Reith's version at the Beatlegs forum. I didn't cut out much, but I cut out a few songs that had sound problems, or were otherwise problematic, such as a version of "Road Runner" that barely got started and then petered out after less than a minute. I also cut out some dead time between songs when nobody was talking. But I tried to keep as much as possible. For instance, there are three versions of "A Taste of Honey" here because each one is somewhat different. One is the standard Beatles version. Another has a little-known extra verse. And another has singer Tony Sheridan guesting on it. (The Beatles backed him in the studio for a couple of songs in 1962.)

I also tried to make some improvements to Lord Reith's edits. I couldn't do much with the actual songs. But for the times between songs, I separated out just the talking (using the UVR5 program) from everything else, then lowered the volume of everything else. That helped somewhat, but be warned that the banter between songs is often unintelligible due to the poor sound quality.

Finally, I have a bit to say about the history of this recording. The actual recording was done by Adrian Barber, the stage manager of the club. Apparently, the Beatles gave approval in return for free beer! Barber then gave the tapes to Ted Taylor, the leader of the Dominoes, another band playing in the club at the time. Some other bands were recorded as well, but few people care about that since those other bands never made it out of obscurity. 

Taylor tried selling the tapes to record companies starting in 1973. However, there wasn't much interest due to the poor sound quality. Eventually, a rather obscure company bought the rights to the tapes, and spent about $100,000 trying to improve the sound. They had partial success at best. The album was released in 1977 with the name "The Beatles Live! at the Star-Club in Hamburg, Germany; 1962." Only 26 of the 30 different songs were included, with no duplicates. 

The Beatles then tried to sue, and years of legal battles ensued. Generally speaking, it was much like a game of whack-a-mole. Different versions of the album came out with different names and track lists in different countries, making it impossible to stop them all. In 1991 though, the massive company Sony tried to release a version. This led to more legal battles. Finally, in 1998, the Beatles won ownership of the tapes and the exclusive rights to release the material. They've just sat on them since. But after director Peter Jackson redid lots of material from the Beatles' "Get Back" sessions in 2022, he said he has the best version of this bootleg available, and he wants to use the latest cutting edge technology to make it sound truly good. Nothing has come of that since then, but who knows what the future may bring.

Anyway, if you want to know more about all that, check out the Wikipedia article above, or the PDF file included in the download. Hopefully, someday Jackson will perform a miracle on this material. In the meantime, this is the best version that's publicly available, in my opinion. 

Oh, another thing. When you listen to the vocals of the first song, you may think, "Who the heck is singing?" That's because that song, "Be-Bop-A-Lula," plus the third song, "Hallelujah, I Love Her So," were actually sung by other people and only backed by the Beatles. Horst Fascher, who sang one of those, was one of the club managers. He also was the club's bouncer and a former boxer. Fred Fascher, who sang the other one, was his brother. The Beatles relied on them for protection from unruly crowds, so letting them sing a little bit was a good way to keep them on their side.

My final comment: don't expect sonic miracles here. This is not for the casual fan, due to the sound quality. But it's fascinating if you're a die-hard Beatle fan and can handle the recording's flaws.

This album is an hour and 28 minutes long.

01 Be-Bop-A-Lula (Beatles & Fred Fascher)
02 I Saw Her Standing There (Beatles)
03 talk (Beatles) (Beatles)
04 Hallelujah, I Love Her So (Beatles & Horst Fascher)
05 talk (Beatles) (Beatles)
06 Red Hot (Beatles)
07 Sheila (Beatles)
08 talk (Beatles) (Beatles)
09 Kansas City - Hey, Hey, Hey, Hey (Beatles)
10 talk (Beatles) (Beatles)
11 Shimmy like Kate (Beatles)
12 talk (Beatles) (Beatles)
13 Reminiscing (Beatles)
14 talk (Beatles) (Beatles)
15 Red Sails in the Sunset (Beatles)
16 talk (Beatles) (Beatles)
17 Sweet Little Sixteen (Beatles)
18 talk (Beatles) (Beatles)
19 Roll Over Beethoven (Beatles)
20 talk (Beatles) (Beatles)
21 A Taste of Honey [Extra Verse Version] (Beatles)
22 Nothin' Shakin' [But the Leaves on the Trees] (Beatles)
23 I Saw Her Standing There (Beatles)
24 talk (Beatles) (Beatles)
25 To Know Her Is to Love Her [To Know Him Is to Love Him] (Beatles)
26 talk (Beatles) (Beatles)
27 Everybody's Trying to Be My Baby (Beatles)
28 talk (Beatles) (Beatles)
29 Till There Was You (Beatles)
30 talk (Beatles) (Beatles)
31 Where Have You Been All My Life (Beatles)
32 talk (Beatles) (Beatles)
33 Lend Me Your Comb (Beatles)
34 talk (Beatles) (Beatles)
35 Your Feet's Too Big (Beatles)
36 I'm Talking about You (Beatles)
37 talk (Beatles) (Beatles)
38 A Taste of Honey (Beatles)
39 talk (Beatles) (Beatles)
40 Matchbox (Beatles)
41 Little Queenie (Beatles)
42 talk (Beatles) (Beatles)
43 The Hippy Hippy Shake (Beatles)
44 talk (Beatles)
45 talk (Beatles) (Beatles)
46 A Taste of Honey (Beatles with Tony Sheridan)
47 I Remember You (Beatles)
48 talk (Beatles) (Beatles)
49 Ask Me Why (Beatles)
50 Besame Mucho (Beatles)
51 Mr. Moonlight (Beatles)
52 talk (Beatles) (Beatles)
53 Falling in Love Again (Beatles)
54 I'm Gonna Sit Right Down and Cry [Over You] (Beatles)
55 Long Tall Sally (Beatles)
56 I'm Talking about You (Beatles)
57 Twist and Shout (Beatles)

https://pixeldrain.com/u/CVJuAYuU

alternate:

https://bestfile.io/u7UoC9JNRT4FHtS/file

The cover photo shows the Beatles performing at the Star-Club at some point, though unfortunately Ringo Starr isn't included in the image. Note I used the venue's logo in the album title at the top.