He didn’t have a hit in his own right in the UK but was the composer of several for others.
Tobacco Road was covered by the Nashville Teens,
The Nashville Teens: Tobacco Road
This Little Bird by Marianne Faithfull,
Marianne Faithfull: This Little Bird
and Lament of the Cherokee Reservation Indian – which I remember as titled (The Lament of the Cherokee) Indian Reservation; a change which makes the lament a more general rather than individual one – by Don Fardon.
Don Fardon: Indian Reservation
John D. Loudermilk: 31/3/1934 – September 21/9/2016. So it goes.
This breezy single from 1966 became a minor hit. I have a soft spot for it mainly because of the large number of rhymes it employs for operator – only the first of which, paper, doesn’t really work.
A newsboy on a paper, I worked an elevator, I knew that later, a higher rater, big time operator.
I drove an excavator, wine and (brandy?) waiter, decorator, estimator, big time operator.
As an air-line navigator, crime investigator, commentator, illustrator, big time operator.
I suppose they had rhyming dictionaries back then but it’s still quite a feat to work all of these into the song’s rhythm.
In the early 1960s it seemed that all you needed to be a successful North American male singer was to be called Bobby. Bobby Darin, Bobby Vee, Bobby Rydell all had hits then. The middle one of those, Bobby Vee, died this week.
Singer of the outrageously catchy Rubber Ball, and teen ballads like More Than I Can Say and Run to Him, the admonitory The Night has a Thousand Eyes and the yearning Take Good Care of My Baby, Vee’s star fell along with that style of recording once the Beatles came along.
Take Good Care of my Baby was a typically breezy sounding song written by Gerry Goffin and Carole King with an attendant less than breezy lyric. Note those plucked strings fixing its vintage.
Bobby Vee: Take Good Care of My Baby
Robert Thomas Velline (Bobby Vee): 30/4/1943–24/10/2016. So it goes.
The Lovin’ Spoonful’s Summer in the City was the second song I featured in my Friday on my Mind spot. This song could hardly be more different, wistful rather than joyful, restrained as opposed to exuberant.
Whether the story is apocryphal or not I recall reading that guitarist Zal Yanovsky didn’t like the direction the group was taking hence his hamming up on TV appearances such as this one.
From last week’s slightly ridiculous to the more sublime, a 1969 effort from the idiosyncratically named band It’s a Beautiful Day one of whose members, David LaFlamme, favoured a five stringed violin.
The Herd’s follow-up to From the Underworld kind of carried on from where that one left off but Paradise Lost was still a very odd concoction, with its intro and coda reminiscent of The Stripper but Prog leanings elsewhere.
(By contrast the band’s third single – which I featured in a different context here – was straightforward bouncy pop song.)
When a very young Peter Frampton joined The Herd, the group with whom he made his name, they had just been dropped by Parlophone, but simultaneously brought in composers Ken Howard and Alan Blaikley, who had written a barrowload of hits for Dave Dee, Dozy, Beaky, Mick and Tich and signed up to Fontana. The songs concocted for the Herd were of a different order to those hits though. Elements of psychedelia and glimmerings of prog rock are here.