America proves it still can do magic

By Phill Marder

AMERICA – It’s Columbus Day, a national holiday to celebrate the discovery of America. Now if the Rock & Roll Hall Of Fame nominating committee would discover America, maybe we could squeeze out Rock & Roll Day as a new national holiday.

We should have that regardless. And America should be in the Rock & Roll Hall of Fame, national holiday or not.

America is a recall from my first article 10 years ago, so I kinda feel like I’m beating a dead horse here, if you’ll excuse the pun. But one day, probably 30 or 40 years from now, people are going to take a look at America’s entire catalog and conclude, “This is one impressive body of work.” At the moment, though, America seems destined to be one of Rock & Roll’s overlooked treasures.

This in spite of constant quality releases and steady touring from their breakthrough “A Horse With No Name” in 1972 until their “Here & Now” in 2006. This in spite of a constant stream of rock royalty from Carl Wilson and Hal Blaine to Rusty Young and Russ Kunkel and a number of today’s young superstars contributing mightily to their efforts. This in spite of having George Martin as producer on five of their albums. The fact that Martin, who also produced another pretty talented group, considered the then-trio to be worth spending that much time with should be enough of a recommendation for enshrinement in Rock’s Hall. This in spite of contributing such unforgettable lyrical moments such as “alligator lizards in the air.” Hey, even Donovan didn’t come up with that one.

Through all the many works released by America, I would be hard-pressed to find one cut I could classify as a clunker. And while much of their work veers toward the softer side of Rock, one of their main attributes is their versatility, which gives us “Daisy Jane” in one groove, “Sister Golden Hair” in another.

If you read the first blog in this series, so clevery titled “Great Blogs Of Fire: An Introduction,” (it’s down at the bottom of this blog pile if you missed it) you may remember I promised to back up my opinions with some hard facts supporting each artist’s recommendation. Here are some hard facts:

Seven top 10 singles and five top 10 albums.

Again, sales and popularity should not be the sole criteria for inclusion in the Hall of Fame. But at present they count for nothing.

Dan Peek, who left in 1977 to become a successful Christian music solo artist, Dewey Bunnell and Gerry Beckley have given us a musical legacy that will pop up in movies, cover versions, elevators and supermarkets for years to come. And when it does, you’ll find yourself singing or humming along. Which is what great music is really all about.

For five years, Chubby Checker had the whole world dancing.

By Phill Marder

Chubby Checker belongs in the Rock & Roll Hall of Fame, no question about it. Just ask him. Checker is miffed about his lack of recognition and rightfully so. Most anyone on the street can answer the question “Who is Chubby Checker?” And most anyone can do the twist, or at least knows what it is. That’s fame, Hall or not.

The writer of that mammoth hit was Hank Ballard, who was inducted into the Hall of Fame 10 years ago. I have no problem with that. Ballard had several hits and Checker’s version of “The Twist” is almost a carbon copy of Ballard’s.

“If it wasn’t for Hank Ballard, I wouldn’t be here,” Checker said in a recent interview in Keep Rockin’ magazine. “But listen, you know, people always talk about Hank Ballard…It seems like people are angry at me because I recorded ‘The Twist’.”

Ballard did cut it first, but it certainly had a less than memorable birth. If not for Checker’s high-profiled appearance blitz it’s unlikely “The Twist” would have become the most popular dance of the Rock era. Checker’s version benefited from hotter production, which helped it jump out of AM car radios in 1960, but it was Checker’s live performances that made “The Twist” the only record to hit No. 1 on two separate occasions, first in 1960 then again in 1961. Checker showed the country how to twist, appearing on “American Bandstand” and other television shows. And he sure could dance. Following his lead, the world soon was twisting and a whole era of dance crazes followed.

Joel Whitburn’s impeccable book of “Top Singles,” which documents the history of every record to reach Billboard’s Hot 100 charts, notes of “The Twist” that its melody is identical to “What’cha Gonna Do,” a 1955 R&B hit by Clyde McPhatter & the Drifters. I couldn’t remember ever hearing the Drifters’ song, but, more importantly, I had never heard of “The Twist” being a rip-off of another melody. So I turned to the man I consider the ultimate authority on early vocal groups, Marv Goldberg.

Goldberg’s marvelous website, Uncamarvy.com, is a treasure trove for information on vocal groups, and I’ve never seen anyone research his topic as Marv does. So I went to his section on the Drifters, figuring if “What’cha Gonna Do” was the same melody as “The Twist,” Goldberg would be certain to note it. I found out the Drifters did three versions of the song, the first June 29, 1953, but nowhere did Goldberg mention even a similarity to “The Twist.”

So, I wrote him an email. And, in typical Goldberg fashion, he responded promptly and most interestingly, not only with a definitive answer to the question, but with some fascinating revelations as well. Marv’s email read:

“I never heard that the melody for “The Twist” and “What’cha Gonna Do” were the same (surprisingly, they’re not). “The Twist” was originally written by two members of the Sensational Nightingales, a gospel group. Since the song was what it was, the Nightingales couldn’t possibly record it. So they started shopping it around. They approached Pookie Hudson, lead of the Spaniels, but he didn’t think the song was the right style for the Spaniels. They also approached Little Joe Cook (as in Little Joe & the Thrillers), but he also turned it down. Then they tried Hank Ballard and the Midnighters, and the rest is, to coin a phrase, history. But it doesn’t stop there. This came just at the time when Hank thought that his contract with King/Federal had expired. He took the group to Vee-Jay, where the Midnighters recorded the song. It’s very different from the version you’re familiar with. Then King/Federal stepped in and proved to Vee-Jay that the Midnighters’ contract was still in effect, so the song was never released. Chastened, the group returned to King and re-recorded the tune in its familiar guise.

The song took off and became a national R&B chart hit (although the flip was bigger). I’ve seen multiple stories about why the Midnighters’ version was killed and replaced by a note-for-note copy by Chubby Checker, but I’m not ready to believe a single one of them.

The Midnighters also invented the dance that went with “The Twist” (or at least they claimed to have; the only problem is that I’ve got a video clip of the Red Caps doing it on the Ed Sullivan Show at least 5 years before that). It’s a complicated, but fun story. The only thing that I can say with dead certainty is that the melody for “The Twist” and “What’cha Gonna Do” are not at all the same. And you can quote me on that.”

Which I just did. Thanks again, Marv.

As Goldberg noted, the song first appeared in 1959 as the B-side of Ballard’s “Teardrops On Your Letter,” which, while an R&B hit, barely scraped the bottom of the Hot 100. But 16 months later, Ballard’s version of “The Twist” entered the charts for the first time at No. 87, ironically the same slot its flip side had peaked at previously. While the 45 earned a bullet with a jump to 61 the following week, its progress was slowed considerably the next week when Checker’s version made a debut at No. 49.

It was quite a start for a virtual unknown, whose only previous chart appearance had come with a novelty record called “The Class” 13 months earlier. It also should be remembered that 45s, then the main vessel for Rock music, were charted on airplay and actual sales. Kids had to hear the record, then go to the stores and purchase it, a much slower process than today’s instant download. So very rarely did a new record break into the upper reaches of the charts in its initial week, a feat common today.

Soon there was no doubt which version was favored as Checker’s blasted to No. 11 in its second week, while Ballard’s almost disappeared, dropping to No. 95. The following week, though, strange things started to happen. Checker’s version lost its bullet, edging up only to No. 8, while Ballard’s version rocketed 34 notches. It took five more weeks for Checker to push “The Twist” to No. 1, finally dislodging Elvis’ “It’s Now Or Never,” which held the top spot during that entire five-week span.

“The Twist” was upended after just one week at No. 1 by Connie Francis’ “My Heart Has A Mind Of Its Own.” Ballard’s version, while overshadowed, eventually finished its chart run with a more-than respectable No. 28 peak and a four-month stay.

But while “The Twist” was beginning its descent into Rock history, Checker took over. His constant appearances, his good looks, his winning smile and his personable nature – not to mention his dancing prowess – made even adults want to twist. Meanwhile, Checker began dominating the charts by introducing new dances. Most connect Checker with “The Twist,” forgetting his other successes. But he followed “The Twist” with “The Hucklebuck,” which just missed the top 10, then rode “Pony Time” to No. 1 as 1961 began. “Let’s Twist Again” came next, hitting the top 10, and a new dance, “The Fly,” buzzed to No. 7.

As Checker kindled interest in dancing, he kept alive his initial dance and 17 months after “The Twist” had first reached No. 1, it became the only record in history to return to the top. This time it stayed two weeks, and it took another twist record, Joey Dee’s “Peppermint Twist,” to knock it off. And Chubby was far from finished, “Slow Twistin,’” a duet with Dee Dee Sharp going to No. 3 before Checker had everyone doing the “Limbo Rock,” as that disc reached No. 2 with the flip, “Popeye The Hitchiker,” which promoted the dance known as the hitchike, also reaching the top 10.

For those who consider Checker just a singles artist, he charted 10 albums in the top 30 between 1960 and 1963.

In a time when Rock was suffering, payola and other scandals crippling the still young music force, Chubby Checker helped keep the music alive, creating worldwide interest equaled only by Elvis and the Beatles.

“…Billboard Magazine voted ‘The Twist’ the #1 hit of the last 50 years, the biggest song ever,” Checker said in the Keep Rockin’ interview. “‘The Twist’ is the only song to be No. 1 twice since God put man on the planet. The first Rock & Roll song that ever got a Grammy was ‘Let’s Twist Again.’”

Hank Ballard is remembered as the writer of “The Twist” and his Hall of Fame induction is well merited, but to induct Ballard and not Chubby Checker is akin to the Baseball Hall of Fame inducting the inventor of the bat while excluding Babe Ruth.

Hal David, Burt Bacharach (seated) & Dionne Warwick

By Phill Marder

Of all those ignored by the Rock and Roll Hall of Fame thus far, DIONNE WARWICK may be the most puzzling of all. If it’s because she is considered easy listening and not Rock, the induction of Abba should cure that problem. But it’s a misconception, anyway, for under the guidance of Burt Bacharach (more on him later), Warwick was responsible for some of the most memorable rhythm & blues recordings of the early ’60s. As a result, she became one of the most successful female recording artists of the Rock age, both in singles and albums.

From her start as a background singer for the Drifters and demo provider for the Shirelles, Warwick steadily provided a string of hits. Yes, some bordered on the easy listening side, but many were almost heavy, starting with her first hit “Don’t Make Me Over” followed by “This Empty Place,” also done by the Searchers, “Make The Music Play,” also done by the Drifters, “Anyone Who Had A Heart,” “Walk On By,” “Reach Out For Me,” a cover of Lou Johnson’s version, “You Can Have Him,” a cover of Roy Hamilton’s big smash, “Message to Michael,” also recorded by Johnson in addition to Jerry Butler as “Message To Martha,” “Are You There (with Another Girl),” covered by the Buckinghams, “I Just Don’t Know What To Do With Myself,” covering Tommy Hunt’s version, “(There’s) Always Something There To Remind Me,” done by too many artists to name, and a cover of Butler’s “Make It Easy On Yourself.”

In the ’70s, she combined with the Spinners to hit No. 1 with “Then Came You.” In the 80s she paired with the Bee Gees for the top 10 “Heartbreaker” and with Elton John, Gladys Knight and Stevie Wonder in the No. 1 “That’s What Friends Are For,” hosted the TV show “Solid Gold” and made a prominent appearance on the “We Are The World” single. Also, some of her album cuts such as “Wishin’ & Hopin’,” copied almost note for note by Dusty Springfield, and “Close To You,” done by the Carpenters, provided the groundwork for other artists to have hits.

She’s won Grammy Awards, appeared in film and participated in countless charity events. This could go on and on. The bottom line is that her accomplishments have eclipsed almost every female singer and most male singers of the Rock age, many of whom already have been inducted. In one year, Warwick, recording for the tiny Scepter label, had more records in the top 10 of the Hot 100, the chart that measures all music, than inductees Ruth Brown and LaVern Baker did combined in their entire careers. While Brown and Baker put many singles on the R&B charts, check Warwick’s record. She held her own with both on the R&B singles chart and crushed both on the R&B album charts. Springfield, also already inducted, was one of Rock’s great female voices, but, again, her accomplishments pale compared with those of Warwick. Of course, Springfield, Brown and Baker recorded for Atlantic Records and the co-founder of Atlantic Records, Ahmet Ertegun, was chairman of the Hall of Fame. That might explain Warwick’s exclusion.

Suffice it to say, if Warwick had recorded for Atlantic she would have in the Hall of Fame years ago.

Then again, last year Wanda Jackson, who recorded for Capitol, was inducted while Warwick still waits. I’d love to hear the explanation for that.

BURT BACHARACH & HAL DAVID – Almost every great songwriting pair of the Rock & Roll era has been inducted. But not the greatest of all?

This duo not only wrote more hit songs than any combo in history, Bacharach, with his incredible productions and arrangements, changed the face of Rock & Roll. Suddenly, Rock could be classy as well as crude, brilliant music as well as primal energy.

If this pair has been snubbed because they weren’t rock enough, consider this partial list of artists who have recorded their works. Those in bold already have been inducted into the Hall of Fame:

The Beatles; The Shirelles; The Beachboys; BJ Thomas; The Buckinghams; The Carpenters; The Drifters; Gene Pitney; Herb Alpert & The Tijuana Brass; Jerry Butler; Manfred Mann; Marty Robbins; Chuck Jackson; The Searchers; Ray Charles; Tom Jones; The Walker Brothers: Gene McDaniels; Charlie Gracie; Frankie Avalon; The Turbans; Tommy Hunt; The Isley Brothers; Cliff Richard; Bobby Vee; Timi Yuro; Steve Alaimo; Jay & the Americans; Ray Peterson; Linda Scott; Bobby Vinton; Adam Wade; Paul Anka; Brook Benton; Maxine Brown; Jackie DeShannon; Freddie & the Dreamers; Billy J. Kramer & the Dakotas; Irma Thomas; Cilla Black; Trini Lopez; Rick Nelson; Dusty Springfield; Lenny Welch; The Fifth Dimension; Mark Lindsay; Susanna Hoffs; and, of course, Dionne Warwick, who became one of the era’s biggest-selling artists primarily by recording Bacharach-David compositions.

In addition, Bacharach compositions written with other lyricists have been recorded by Elvis, Stephen Bishop, Gene Vincent, Etta James, Gloria Lynne, Del Shannon, Marv Johnson, Tammi Terrell, Gladys Knight & the Pips, The Pointer Sisters, Christopher Cross, Nicolette Larson, Aretha Franklin, Neil Diamond, Roberta Flack, Quarterflash, Rod Stewart, Peabo Bryson, Melissa Manchester, Patti LaBelle & Michael McDonald, Kenny Rogers, Natalie Cole, Ray Parker Jr., Chris DeBurgh, Desmond Child, James Ingram, The Stylistics, Earth, Wind & Fire, Chicago and Johnny Mathis to name just a very few. Then throw in recent collaborations between Bacharach and Ronnie Isley and Bacharach and Elvis Costello and you’ve got an impeccable resume.

Every pair of composers currently in the Hall of Fame deserves to be there. But the first songwriting duo inducted should have been Burt Bacharach & Hal David. No pair has written more timeless classics. As Debbie Harry once commented, “If you can really get it together in three minutes…that’s what pop songs are all about.” And that’s what Bacharach & David were all about.

• Check out a fun book on pop music: “The Everything Pop Culture Crosswords Book, Test your knowledge of trivia and trends with 150 pop culture puzzles!”

• Get a Goldmine collective on The Beatles, “Meet the Fab Four CD“

• Rely on the book on 45 RPM record pricing: “Goldmine® Price Guide to 45 RPM Records, 7th Edition”

By Susan Sliwicki

The Doors are one heck of an influential band. But don’t expect their collectibles to leapfrog past those of fellow ’60s artists The Beatles any time soon.

While select pieces of Doors-related memorabilia have done well — Jim Morrison’s signed copy of “The New Creates” together with “The Lords/Notes on Vision,” which recently sold for $5,795 comes to mind — there just isn’t the same depth and breadth to Doors-related collectibles as exists for other bands.

Depending on your point of view, this could be good news. If you’re a big-time fan, it means collectibles are likely in reach of your budget. If you’re strictly collecting Doors memorabilia with the hopes of getting rich, though, you should probably swap teams and get on The Beatles’ bandwagon (or maybe even pick up some KISS collectibles).

• A limited-run picture disc plus photo lot of The Doors’ Jim Morrison drew $250 in an online auction.

OK, OK, so technically, this column is called “Beyond Vinyl,” and this lot definitely lands in the record category. But the seller’s description — including a remark that he didn’t have a record player to test the disc, so he was unsure whether there were any scratches — suggests this was treated more as a piece of memorabilia.

This disc, titled “The Doors — The Lizard King,” was one of 500 made, and it was accompanied by an 8 ”x 10” photo. The front side of the disc is in color, and the back side is in black and white.

The disc is a combination of sessions — Smothers Brothers Show in December 1968; Matrix, San Francisco, Oct. 3, 1967; Matrix, San Francisco — July 3, 1967. Featured songs include “Touch Me,” “I Can’t See Your Face In My Mind,” “People Are Strange,” “Summers Almost Gone,” “The Crystal Ship,” “Unhappy Girl,” “Orange County Suite” and a 20-minute version of “The Lizard King” from Westbury, Conn., in 1969. According to the seller, the photo has slight condition issues, and the seller grades the total package a six out of possible 10.

• A statue of The Doors’ Jim Morrison by Marko recently sold for $105 in an online auction. The bronze-finished piece is 17 inches tall and weighs approximately 9 pounds.

• A good-condition Video CD copy of “The Doors: The Best of Doors Jim Morrison” sold for $68. The 71-minute production was first offered in 1997.

• A color concert photograph of The Doors shot in 1970 sold for $49.85. According to the seller, the 8-1/2” x 11-3/4” print was made by the photographer from the original negative. Other than some dimpling and an abrasion along the top edge, the photo was listed in excellent condition.

• Collectibles come in a lot of different formats, and a tapestry-style vintage throw blanket of The Doors’ Jim Morrison is one that caught a buyer’s eye recently. The 6-foot-by-4-foot blanket, which the seller said had been used as a wall decoration, then stored in a box, sold for $47.

• You know you’ve made it when you’ve got your own action figure, and Jim Morrison McFarlanes showed up a few times. The first one, listed in new condition in the box, sold for $40. The figure is described as 6 inches tall; no other information is offered. The second was listed as an “extremely rare” McFarlane Jim Morrison “Spawn” figure, and it brought $39 at auction — not bad considering the package was heavily worn with creases, dents and warps, according to the description.

• Vintage T-shirts are an area that experts say has been showing growing interest among collectors, and The Doors are no exception. A size XL vintage Jim Morrison T-shirt that had some small holes under the armpits and some pinholes in the front of the shirt brought $39.99 at auction.

A size XS/S vintage Doors T-shirt brought $27.34 at auction — not bad considering the limited size. A brand-new, size medium Converse T-shirt, still with its tags, sold for $19.99

And a lot featuring a collection of Morrison/Doors memorabilia, including a T-shirt, a 283-page book by Hyperion a 245-page Doors songbook and a copy of the Jim Morrison biography “No One Here Gets Out Alive” sold for $22.50.

Other featured items include:
• A copy of the Sept. 17, 1981, issue of Rolling Stone issue regarding the death of Jim Morrison, $24

• A pair of CDs featuring an interview with Jim Morrison and his girlfriend, Pamela Courson, as well as Jim Morrison’s complete first poetry session, $19.99.

• A lot of five vintage Doors posters, $19.99.

RELATED STORIES: Find out about the documentary “When You’re Strange” and read an interview with the director, Tom DiCillo.
Read about “Morrison Hotel,” 40 years later. Interview with Ray Manzarek.