SHG: Gary Lewis & the Playboys: "Save Your Heart for Me"

Gary Lewis & the Playboys: “Save Your Heart for Me”
Entered the chart on: 7/17/65
Peaked on: 8/21/65
Weeks at #2: 1
Song at #1: “I Got You Babe” by Sonny & Cher

One of those wags over at RateYourMusic said of this song:

Gary Lewis & the Playboys' string of hits were some of the dullest and weakest the 60's produced. There's a reason you don't hear them on Oldies radio. Take this one for example. Somehow this lame little ditty got all the way up to #2. Anyone remember it?

(sound of crickets chirping)

I didn't think so.

Harsh? Perhaps. But he has a point. I certainly am conjuring up no memories of this tune. I’m sure it must have been the likes of Dick Bartley or Casey Kasem that are responsible yet again for me hearing it at all. Because it does have a check-mark next to it in the Whitburn book. But I’m not linking the title with any melody.

That’s the thing about Gary Lewis & the Playboys. They charted twelve hits in the top 40, but how many of them do you actually remember? Personally, I remember “This Diamond Ring,” “Count Me In” and “Everybody Loves a Clown.” Beyond that, I’m drawing a blank. You can blame payola, or Lewis’ famous father giving his career a boost if you wish, but the truth of the matter is, no matter the reason for their popularity back in the day, their output just hasn’t really stood the test of time.

Lewis himself credits this song’s brevity (one minute and fifty six seconds) to its great success (“DJs loved it,” he claimed). Oh and...sigh, it’s a cover. Brian Hyland—yes, the “Itsy Bitsy Teeny Weeny Yellow Polka-Dot Bikini” guy—got to this first. So I need to listen to both versions for context.



All right, listening to two versions of this song is one too many. Possibly two too many. Especially considering the Lewis version pretty much clones the arrangement of Hyland’s, even throwing in the whistling intro. Anyway, we’ve heard what Lewis sounds like paired up with a good song with his first two hits, and the two don’t completely cancel each other out. Here we get to hear him paired up with a substandard song, and the results are absolutely dreary.

Seriously, I’m trying to think of a reason this charted so high and I’m drawing a blank. I could actually hear why this groups first two hits were such smashes; they were good songs and the production made them really sparkle. This one just lies there like a dead fish. The best I can say about this is a) it’s well-produced and b) it’s mercifully short.

Especially letter “b” above. Thank the Stars for small mercies.

Rating: 1

SHG: Lesley Gore: "You Don't Own Me"

Lesley Gore: “You Don’t Own Me”
Entered the chart on: 1/11/1964
Peaked on: 2/1/1964
Weeks at #2: 3
Song at #1: “I Want to Hold Your Hand” by the Beatles

I really don’t think you could ask for a more symbolic representation of Pop Music’s Changing of the Guard than just a glance of that top 2. Lesley Gore basically handed the baton to the Beatles, allowing them to lead the charge for the rest of the decade.

Not that Lesley Gore had trouble racking up hits after this. The likes of Connie Francis and Frankie Avalon would never visit the charts again, but Lesley was still a star on the rise.

The “girl group” sound was still big business in early ’64. Lesley was sort of a one-girl reduction of the style, only instead of the Angels’ tales of being in love with the “bad boy,” her early singles were all mini-dramas on teenage romance.

And then there’s this, her fourth single and second biggest hit, the one where she asked producer Quincy Jones (yes, that Quincy Jones!) to provide her with something she could sink her teeth into. And damn if he didn’t come up with the goods!



Much has been made of the lyrics of this song, a powerful statement of female independence. I could point out that two men wrote it but I really don’t want to burst your bubble. Besides, this is really good! It drags you in immediately with the dramatic three-note guitar hook laid over the staccato piano chord pattern.

Really, this is all about Lesley. She really proves she’s no lightweight here, singing-wise. There’s no less than two key changes, and she really goes for the jugular with her vocal in the refrain. And did I mention she was only seventeen when she sang this? Wow!

It’s easy with the benefit of hindsight to say something like this was inevitable from the future hostess of PBS’ LGBT affairs program In the Life but at the time, this must have had jaws on the floor. Who would have guessed that the cute girl next door who sang about who had who’s class ring had hidden depths? Speaking of hidden depths, there’s some Lesley Gore albums that collectors know about that the general public don’t: 1972’s Someplace Else Now (her stab at the nascent “singer-songwriter” genre) and 1976’s Love Me by Name (her reunion with Quincy Jones, a very sophisticated adult pop-soul album).

In the meantime, there’s this, perhaps the shiniest gold nugget in her 60s discography.

Rating: 5

SHG: Skeeter Davis: "The End of the World"

Skeeter Davis: “The End of the World”
Entered the chart on: 2/16/63
Peaked on: 3/23/63
Weeks at #2: 1
Song at #1: “Our Day Will Come” by Ruby & the Romantics

Mary Francis Pennick, known professionally as Skeeter Davis, has already had a bit of a hand in Second Hand Goods, having written lyrics for Floyd Cramer’s “Last Date,” which she sang the first vocal version of. Another SHG alumna, Joni James, also covered the Davis version and had her last Top 40 chart entry with it.

This is a very incestuous entry, speaking in #2 hits terms.

Anyway, I remember this song as being very overwrought. Let’s see if it lives up to my memory of it.



Well, her voice is less whiny than I recall. This song lays it on pretty thick, though. Lyricist Sylvia Dee reportedly drew on sorrow from the death of her father for inspiration. Which comes across as a bit heavy for a song about heartbreak. I mean, as a poor, lonely soul who’s never known love (see the “You Don’t Know Me” review), I imagine being dumped can feel pretty apocalyptic, but still, the glurge-y string orchestration (Chet Atkins again) and see-saw piano arpeggios (almost certainly Floyd Cramer yet again) make this feel awfully manipulative.

And let’s not even get into the spoken word couplet someone insisted on talking Skeeter into putting in there. The whole thing comes across as a cake made entirely of icing, and that’s just not a dish I want to devour.

I feel like someone’s trying too hard to make me feel a certain way, and I hate that!

Rating: 2

SHG: Gene Pitney: "Only Love Can Break a Heart"

Gene Pitney: “Only Love Can Break a Heart”
Entered the chart on: 9/29/62
Peaked on: 11/3/62
Weeks at #2: 1
Song at #1: “He’s a Rebel” by the Crystals

This is why I was excited for 1962: a hat-trick of absolutely spectacular male soloists all with consecutive songs peaking at #2 in the autumn. Here we have Gene Pitney, and if Roy Orbison had any kind of competition for most potent male balladeer of the early 60s, it had to have been from Gene. Clearly it was a mutual admiration society, since Roy sang at least one song Gene wrote: “Today’s Teardrops.” In fact, before he made it as a soloist, Gene made his bread and butter as a songwriter, having written hits for a couple of other Second Hand Goods’ alumni: “Hello Mary Lou” for Ricky Nelson and “Rubber Ball” for Bobby Vee. Oh, and “He’s a Rebel” for the Crystals! Is this the first instance on SHG where the top 2 are by different artists, yet written by the same person?

Not only was he a versatile vocalist and superior songwriter, but he was multi-talented as an instrumentalist as well, playing and singing everything on his debut hit “(I Wanna) Love My Life Away.” But it’s his expressive tenor voice that he’s best remembered for. He could sometimes border on campy melodrama (see his rendition of the title song from Town Without Pity, one of his most enduring hits) but he was always a captivating listen. He was Burt Bacharach and Hal David’s preferred male interpreter of their material. This song is one of theirs. This has a lot of potential to live up to.



Man, this song doesn’t mess around! A swath of strings and we’re right into the refrain. I imagine Bacharach wanted to hammer in the most memorable and catchy bit of this because, like a lot of his tunes, it’s really oddly constructed. The verses are of differing lengths with melodies and rhythms that jump all over the place. It’s precisely that weirdness that makes Bacharach’s songs memorable. Part of Pitney’s appeal to him is that he—like their preferred female soloist, Dionne Warwick—is able to navigate the unexpected twists and turns of his songs and make it sound natural.

Whoever’s playing the guitar on this deserves an award for making it sound very smooth. None of the changes seem jarring or out-of-place. There’s also a nice whistling hook near the start that’s repeated at the end. Pitney doesn’t go for melodrama here, if anything, he’s under-selling the lyric. But God, that voice is to die for.

Not your usual romantic ballad, by any stretch of the imagination. You could write a term paper on this.

Rating: 5

SHG: Ray Charles: "You Don't Know Me"

Ray Charles: “You Don’t Know Me”
Entered the chart on: 8/4/62
Peaked on: 9/8/62
Weeks at #2: 1
Song at #1: “Sheila” by Tommy Roe

Ah, Ray Charles. People who say that the early 60s was a wasteland for popular music probably need to be reminded that Ray Charles was in his prime during this period. And if anyone has a bad word to say about Ray Charles, kindly smack them in the back of the head for me.

If this is the song I think it is, it’s a good one. But I associate Ray Charles with original material, and this one’s a cover. Originally sung by country singer Eddy Arnold in 1959, it was subsequently done by Jerry Vale before Ray Charles got his pipes and ivories all over it. So, in the grand tradition of Second Hand Goods, I shall duly consult those versions before sampling Ray Charles’ interpretation.

A short little prelude before the main feature: this is the song I think it is. Eddy Arnold’s version is very good in the Jim Reeves mould. Maybe a bit better, actually. Not feeling Jerry Vale’s version, his voice is fine, but a bit overly polite, to say nothing of Percy Faith’s saccharine orchestration. But I really love this song. It’s really a heart-breaking number, all about a man who’s too shy to let his beloved know how he really feels.

Honestly, why would I relate to such a song?



Right, I think we have a record-breaker. I’ve previously said that it takes 57 seconds for Nat “King” Cole’s voice to have its effect on the listener. With Ray Charles I think that’s zero seconds. He opens his mouth to sing, and I’m immediately an emotional wreck. It’s such exquisite torture! He really knows how to squeeze every drop of pathos from this lyric. It’s funny, he has this sunny, jolly personality, then he proceeds to sing one of the saddest songs you’ve ever heard.

I have to say, I’m not especially fond of Marty Paich’s arrangement. The pillowy strings and old-fashioned choir probably even beat Percy Faith’s orchestration on Jerry Vale’s version in the sticky-as-molasses department. But I suppose it’s not too different from “I Can’t Stop Loving You” and other such Ray Charles hit ballads of this era.

That said, I’m glad someone put this lead sheet in front of Ray and told him to sing it. This is the definitive version of this tune. I’ve always associated this song with him, and believe me, there’s a reason. I don’t know that I’ve ever heard this version before, I’ve just seen TV performances and the like of him singing it at his piano.

Sorrow has never been quite so enjoyable.

Rating: 5

SHG: Elvis Presley: "Can't Help Falling in Love"

Elvis Presley: “Can’t Help Falling in Love”
Entered the chart on: 12/18/61
Peaked on: 2/3/62
Weeks at #2: 1
Song at #1: “Peppermint Twist” by Joey Dee and the Starliters

We’ve entered 1962, and I can’t help but notice that Elvis has completed his final metamorphosis into Tame Elvis. You’ll notice this was from Blue Hawaii, one in a long line of cheesy Elvis flicks, and the same one that featured the much-mocked “Ito Eats.”

You know, when I was a kid, I really disliked Elvis. Probably a bit of mild rebellion, as Elvis was Mom’s favorite. Then again, it might be me associating him with tunes like this, which I’ve never really liked. I distinctly remember the Blue Hawaii soundtrack in a stack of Mom’s records.



I was going to say “Elvis is the best part of this,” but while Elvis usually is the best part of any Elvis record, there’s other stuff of worth here. The up-down piano arpeggio that weaves through the entire track does a good job of tying it all together (is that Floyd Cramer? Possibly Elvis himself?). The Jordanaires are back and wonderful as usual on backing vocals. There’s also a sweet, slinky guitar hook during the B verse that grabs the listener. And do I detect a ukulele in the background? It’s from Blue Hawaii after all.

A lesser producer would have just swamped the whole thing in a treacly string orchestration, but fortunately that doesn’t happen. The production on this record is flawless, as is, typically, Elvis’ singing performance. The problem with this is the song itself. I’ve always found it to be bland, sentimental mush designed to appeal to weepy teenaged girls. Yuck.

At least it’s well-done, and Elvis gives it his all as usual, but that can’t save the song from the junk pile.

Rating: 2

SHG: Bobby Vee: "Run to Him"

Bobby Vee: “Run to Him”
Entered the chart on: 9/18/1961
Peaked on: 12/25/1961
Weeks at #2: 1
Song at #1: “The Lion Sleeps Tonight” by the Tokens

Bobby Vee, if I ever think of him at all...actually, let me stop right here. I tend not to think of him at all. He’s never struck me as anyone’s favorite. I can’t imagine legions of raving, screaming, stomping Bobby Vee fans showering him with adulation. He seems like someone who had chart hits mainly to fulfill some kind of quota. The sort of artist where you ask someone about him, they respond with, “Eh, he’s all right I guess.”

Which isn’t to say that his output was completely without worth (he had a decent singing voice and “The Night Has a Thousand Eyes” was well-crafted, if not quite a masterpiece) but the mere mention of his name doesn’t exactly quicken the pulse.

Now, in my copy of the Whitburn Book, I’ve placed check-marks next to all the songs I’ve heard. This isn’t completely helpful, as there’s no context for it. It doesn’t explain where and under what circumstances I heard it. My guess would be that I was listening to some charts-obsessed oldies radio personality, a Dick Bartley or Casey Kasem presentation, probably. More pertinent for our purposes, just because I’ve heard a song doesn’t mean I’ll remember it years later, and that’s definitely the case with “Run to Him.” Not conjuring up memories of any kind of melody based on the title. So let’s “refresh” my “memory” of this one...



The loping rhythm of this almost makes me feel of an old cowboy song, but the swaths of strings and the drippy Johnny Mann Singers tell us we’re solidly in Bobby Rydell territory. That said, this might be the first teen-idol song I’ve heard done with any sort of competence. Yes, it’s sugary-sweet as hell, but it’s at least well-produced and well-written (Gerry Goffin co-wrote it). Yes, I’ll probably forget it as soon as it’s done playing (again) but Bobby’s singing voice is quite spiffy. No punched notes, no overwrought teenage melodrama, just a sweet melody performed well. The chord and key changes on this are actually surprisingly sophisticated for a tune made to appeal to teenaged girls.

Not in love with this, but I appreciate that it’s not just a quickie done with zero effort and hustled out the door to earn a quick buck. Like most of what I’ve heard from him, perfectly adequate.

Rating: 3

SHG: Roy Orbison: "Crying"

Roy Orbison: “Crying”
Entered the chart on: 8/28/1961
Peaked on: 10/9/1961
Weeks at #2: 1
Song at #1: “Hit the Road Jack” by Ray Charles

And here we have the light at the end of the tunnel I spoke of earlier. After “Only the Lonely,” I was certainly eager to review more Roy Orbison songs. Sadly, this is the last one. Happily, it’s another tune I love.

Full disclosure time, and I’m showing my age here, but I heard Don McLean’s cover before I even knew it was a Roy Orbison song. Similarly, I had heard (and loved) Linda Ronstadt’s version of “Blue Bayou” long, long before Roy’s. I think that’s testament to Roy’s talent that so many other talented people were inspired by him.



Dare I compare this with the Dick & Deedee song from the last edition? That one had a fantastic snare drum hook, this one opens with an equally splendid tom-tom hook. And is that a celeste I hear? Bob Moore’s orchestration is, typically, just lovely. As with his chart-topping “Running Scared,” this one builds solidly from start to finish.

Damn, Roy, is it impossible for you not to knock one out of the park? And has there ever been anyone who ever made heartbreak so compelling? The man’s voice was a force of nature, nobody else could hit those high notes in the last refrain and still sound smooth as a pane of glass. Nobody else could tug at your heart-strings with the touch of sorrow in his voice.

I’m just going to bask in this moment of bliss. Don’t mind me!

Rating: 5

SHG: Dee Clark: "Raindrops"

Dee Clark: “Raindrops”
Entered the chart on: 5/22/1961
Peaked on: 6/26/1961
Weeks at #2: 1
Song at #1: “Quarter to Three” by U. S. Bonds

I’m at a loss on how to start this review. Clark is another one of those artists like Lloyd Price who’d been kicking around in some form or other since the early 50s who just had to bide his time until popular tastes caught up with him. This was his biggest hit...and his last top 40 entry. It’s also the first song here at Second Hand Goods on the legendary Vee Jay label. I know I’ve heard this before, but I’m not remembering it clearly except as an excerpt of the hook in one of those K-Tel or Sessions ads.

Might as well get on with the review, since I’m running out of stuff to talk about.



CRASH! Rain and thunder sound effects...are these the first sound effects since...when was that that we last had sound effects on SHG? Could someone click on the “sound effects” tag and tell me?

“It must be raindrops, because men ain’t supposed to cry.” Oh, Dee, did you learn nothing from Rosey Greer? Right, it’s 1961, a decade too soon for Free to Be, You and Me. This is another song of heartbreak, along the lines of “Greenfields” or “Only the Lonely.” But for whatever reason, this isn’t doing it for me. The production is fine, there’s certainly a lot of money lavished into the lush string arrangement here. And I like how Dee lets the soul overtake him during the emotional chorus (even if I take exception to its dated sentiment). But in general, his voice is a little too clinical for my tastes. We’re not quite in Johnny Tillotson territory, but we’re edging awfully close.

For period R&B, you can do a lot better. Meh.

Rating: 2

SHG: Shep & the Limelites: "Daddy's Home"

Shep & the Limelites: “Daddy’s Home”
Entered the chart on: 4/10/1961
Peaked on: 5/29/1961
Weeks at #2: 1
Song at #1: “Travellin’ Man” by Ricky Nelson

And so, here we have our first “Answer Song.” My bible, the Whitburn book, informs me that this song was written in response to the Heartbeats’ “A Thousand Miles Away,” a song I’ve never heard, and a song I think few modern listeners have, considering it didn’t crack the top 40 and never shows up on oldies playlists.

On to the subject of the “Answer Song,” it’s a bit of a dead horse trope. It was a big deal in the 50s and 60s, Roger Miller’s “King of the Road” begat Jody Miller’s “Queen of the House,” the Shirelles “Mama Said” begat Jan Bradley’s “Mama Didn’t Lie,” Claude King’s “Wolverton Mountain” begat Jo Ann Campbell’s “(I’m the Girl On) Wolverton Mountain.” And so on and so forth. In retrospect, it seems a rather silly conceit, not to mention a lazy songwriting device. “What’s popular right now? ‘Please Help Me I’m Falling’? OK, I can bang something out. ‘(I Can’t Help You) I’m Falling Too.’ Bang! It’s a hit!”

I guess the last we got of the “Answer Songs” was that whole “Roxanne, Roxanne” business in the late 80s, which has to be the only song that begat not only an Answer Artist in Roxanne Shanté, but an Answer Artist to the Answer Artist in The Real Roxanne. I never knew what the big deal was, and to be honest, I couldn’t hum you any of the Roxanne songs even if you paid me.

Back on the subject of Shep & the Limelites, technically “Daddy’s Home” is the sequel to “A Thousand Miles Away” and not an “answer song” since James “Shep” Sheppard was the lead singer of both groups, and co-wrote both songs. I had their name wrong all these years. I had thought it was the Limeliters, but no, the record label ensures me it’s Limelites, with no “R.” So shall we get on with the review?



Ooo...more vibes! They were one of my favorite featured instruments on “He’ll Have to Go,” and they add a lovely, glassy sound to this. The “rat-a-tat” backing vocals are a nice touch, too. Before they get to the bridge, it sounds like the sax player runs out of breath. Made me giggle!

Now for the negative side, this kind of doo-wop was rather old hat by ’61 and while the singing is excellent (Shep nails the “I’m not a thousand miles away” at the end in particular), the song doesn’t completely involve me. The “Daddy’s home to stay” refrain is the only really memorable thing about it.

So...a bit of a throwaway, in a gloriously pretty package.

Rating: 3

SHG: Roy Orbison: "Only the Lonely"

Roy Orbison: “Only the Lonely (Know the Way I Feel)” Entered the chart on: 7/25/1960 Peaked on: 7/25/1960 Weeks at #2: 1 Song at #1: “I’m Sorry” by Brenda Lee

Up until 1964, the 60s has this reputation for being a vast wasteland, a barren boneyard populated by anti-rock teen idols, dumb dance fads and toxic novelty songs. That reputation isn’t entirely without some basis in fact, the one-two punch of Bobby Rydell and [shudder] Paul Anka should be proof enough of that, but it doesn’t tell the entire story. There was some real, enduring talent born in this period. Enter Roy Orbison.

Orbison, like Elvis Presley and Carl Perkins before him, gestated at Sun Records as a would-be rockabilly star. Those early sides have their critical admirers but they didn’t earn him much in the way of commercial success. My guess is someone at Monument Records said, “a kid with this vocal range is wasted on this uptempo stuff. Give him some ballads to sing, something that shows off that golden voice of his!” Which begat his first foray into the Billboard Top 40: “Only the Lonely.”

Slight aside, this is another one from my parents’ record collection. So let’s re-visit this golden oldie:



Starts off fairly typical intro, plinky piano with some of those syllabic male backing vocals that were so popular at the time. And then Roy starts singing. I ask you, is there a singer out there who is as immediately compelling as Roy Orbison? Once he opens his voice to sing, “Only the lonely know the way I feel tonight,” I sit up at rapt attention. I mean, we’ve had good, even great, singers on Second Hand Goods, but Roy just has this magical combination of tone, phrasing, range, precision and emotional connection that has me saying, “I want to hear where he’s going with this.”

Heartbreak must have been the flavor of the month. Right after “Greenfields” we immediately get another, “I’m blue because my woman left me” song. But the way this was constructed, all around Roy’s silver-plated vocal cords, makes it a monument of pop mastery. Bob Moore’s orchestration deserves a bit of credit here, the way the strings add pounding accents in the “There goes my baby...” verse is nice touch. And when he returns to that verse a second time, and hits those high notes in the line “That’s the chance you’ve got to take,” it’s one of those “icy chills up and down my spine” moments that’s all too rare in popular music.

Well, only two reviews after “Puppy Love,” and I think I’ve broken the scale in the other direction. I don’t know if there’s a rating high enough for this. Stunning beauty; it demands to be heard.

Rating: 5

SHG: The Brothers Four: "Greenfields"

The Brothers Four: “Greenfields”
Entered the chart on: 3/21/1960
Peaked on: 4/18/1960
Weeks at #2: 4
Songs at #1: “Theme From A Summer Place” by Percy Faith and “Stuck on You” by Elvis Presley

I usually only do two of these, three tops, at a time, but I kind of want to keep doing these until the songs start getting good again. I couldn’t let Paul Anka’s “Puppy Love,” which is unquestionably the worst song I have covered so far on this feature, be the last of these I listened to today. I know the light is at the end of the tunnel (wait till you see which song I’ll be covering after this one), in the meantime, here’s another song I’ve never heard before, the first since Della Reese’s “Don’t You Know”

The Brothers Four aren’t brothers by blood, they’re fraternity brothers, formed at the University of Washington. The idea of a frat-boy group isn’t exactly lighting my fire, I must say. Actually, this seems to be part of the nascent folk boom, proof that this was in fact the 60s and not the 70s. I’m not exactly expecting Bob Dylan here, though. So, let the references to A Mighty Wind commence!



Well, I can appreciate the fingerstyle guitar arpeggios that open this, being a former classical guitar student myself. And you have to say, their vocal harmonies are pretty damn sweet.

For a second, I thought the green fields of the title were literal. The fields were green, now they’re brown. I wondered, could this be a very prescient protest of the mounting fears of pollution and its effects on nature? Well, no. The green fields of the title are a metaphor. The song’s protagonist is heart-broken that his love has left him, and now he’s left feeling barren and dried out like dead grass.

This was...unexpected. I mean, “He’ll Have to Go” wasn’t exactly sunny and cheery, but this one is absolutely melancholic. But it captures a mood and does so well. After the last four or five songs, I’m trying to figure out how this one fits in, and I’m drawing a blank. But it actually come as a breath of fresh air.

But then, after “Puppy Love,” what wouldn’t?

Rating: 4

SHG: Paul Anka: "Puppy Love"

Paul Anka: “Puppy Love”
Entered the chart on: 3/7/1960
Peaked on: 4/4/1960
Weeks at #2: 2
Song at #1: “Theme From A Summer Place” by Percy Faith

I have been dreading this one.

Actually, I do have a funny story about this one. But not about the original, about the cover by Donny Osmond (Demons in Hell, why would anyone want to cover this monstrosity? Oh, right, it’s the Osmonds. Mike Curb was in charge of them in the 70s, and the man had execrable taste!). I don’t know which of us did it, and I don’t remember how we came across it, but either friend-of-the-show David Perkins or I came across a Real Media/Quicktime snippet of bootleg audio of an audience recording from an Osmond brothers show from circa 1973. Donny’s rendition of “Puppy Love” went a little something like this:

“And they called it...”

[the rest of the song is drowned out by the fortissimo, rodent-like screeching of hundreds of adolescent girls]

I have to wonder if girls reacted to Paul Anka’s original in that manner. And how hormones could possibly suppress the “good taste” indicator so strongly.



[bangs head against desk repeatedly]

We’re back to this then? “They tell us we’re too young to know what real love is...blah blah blah.” At least Bobby Rydell’s song, lame as it was, tried. This is just saccharine, swathed in treacly strings and those hideous “angels in Heaven” choral vocals.

Let’s not even get started on Anka’s vocal performance here, which borders on the comical before spilling over straight into tragedy. He’s so histrionic in his delivery—sobbing, stuttering, whimpering pitifully in a ludicrously exaggerated fashion—I have a hard time believing this isn’t some kind of put-on. Who thought any of this was a good idea?

So quintessentially appalling, I think I might have broken my own rating scale.

Rating: 0 [obviously]

SHG: Jim Reeves: "He'll Have to Go"

Jim Reeves: “He’ll Have to Go”
Entered the chart on: 1/11/1960
Peaked on: 3/7/1960
Weeks at #2: 3
Song at #1: “Theme From A Summer Place” by Percy Faith

“Put your sweet lips a little closer to the foam...”

Is this the first honest, real, unadulterated country song we’ve reviewed here at Second Hand Goods? I wouldn’t count “A White Sport Coat and a Pink Carnation,” as that was transparently Marty Robbins trying very hard to appeal to a mainstream pop audience, i.e.: “See? Not everyone from Arizona is a gun-toting reprobate!” “The All-American Boy” I also wouldn’t call a country song, despite being performed by a country singer. And “Just Walking in the Rain” may have started life as a country song, but it was anything but by the time Johnnie Ray got to it. Dammit, Ray Conniff!

So, yes, Jim Reeves gives us our first full, uncut taste of Country & Western here at Second Hand Goods. This was a record I know from my grandparents’ collection, they were way into classic country (being Oklahoma natives), though I recall it being rather crooner-ish for country. I also know the cover by English sophisti-poppers Prefab Sprout, it appears as a bonus track on the CD release of their 1985 opus Two Wheels Good*.

But I digress. It’s the original which concerns us here.



I think you could call this “countrypolitan.” How can I guess? Chet Atkins arranging and producing it probably has something to do with that. How many country records do you know that feature a vibraphone? Wait, is this the first instance of vibes on Second Hand Goods? I think it just might be!

The arrangement here is actually really very soft and delicate. Brushed drums, backing chorus is almost at a whisper, gently strummed guitar, it’s all there and it’s all pushed in the background, rather fitting for a song meant to evoke an intimate telephone conversation about a man asking his beloved to choose between him and the other man she’s currently spending the evening with.

As previously implied, the arrangement is kept secondary to Reeves’ honeyed baritone voice, which fairly oozes out of the speakers like molasses. He’s a very precise singer, rolling over each syllable with an intense deliberation. I prefer a little more expression from my singers, but I have to admit the man had some serious vocal chops.

While this is not my preferred style, I have to admire the craftsmanship that went into this. It’s very well-done. Kind of like a museum piece; look at it, appreciate it and move on.

Rating: 3

*the US title of Steve McQueen. Apparently, the actor’s estate threatened a lawsuit unless Kitchenware/Epic changed the title of the album. They also abbreviated the bouncy album-opener “Faron Young” to just “Faron” to be on the safe side (and speaking of classic country, the tune’s lyrics reference Young’s “It’s Four in the Morning”).

SHG: Elvis Presley: "A Fool Such as I"

Elvis Presley: “A Fool Such as I”
Entered the chart on: 3/30/1959
Peaked on: 4/27/1959
Weeks at #2: 1
Song at #1: “Come Softly to Me” by the Fleetwoods

Step 2 in the taming of your Elvis: have him sing some unapologetically sentimental ballads. Before you know it, he’ll be singing English-language adaptations of “O sole mio” and making cheesy movie musicals in Hawaii.



Technically, the full title of this is “(Now and Then There’s) A Fool Such as I,” but I didn’t feel like typing out the whole thing with the parenthetical subtitle over and over. You get that, right? Actually, it’s clearly been a long time since I’ve heard this, as the arrangement is way more rock & roll than I’d remembered. This song is actually a cover version, the original version by Hank Snow hit the country charts way back in 1953.

The loping guitar part gives this one a nice swing and the Jordanaires provide ample support on backing vocals (as with “Charlie Brown,” the bass singer gets a solo singing the title hook). Elvis is, as usual, good, but he seems to have tamed the wildness a bit here. This was the result of a quickie recording session made in the middle of his army service, and it seems a bit rushed and substandard as a result.

So, not bad, but not spectacular. Decent Elvis is better than no Elvis, I suppose, but he’s shown better elsewhere. It’s no “Love Me,” that’s for sure.

Rating: 3

SHG: Richie Valens: "Donna"

Ritchie Valens: “Donna”
Entered the chart on: 12/15/1958
Peaked on: 2/23/1959
Weeks at #2: 2 weeks
Song at #1: “Stagger Lee” by Lloyd Price

Suddenly, this feature becomes a lot less fun, and a lot more tragic.

And I don’t mean tragic in the “so bad it’s horrible” way (Believe me, we’ll get to Paul Anka in time, and I am not looking forward to it!). I mean actual tragedy, of the “talent taken from us too soon” variety. I think the only thing that could make this hurt more would be to have Buddy Holly in the top spot.

For those of you, presumably quite young, twisting your faces in confusion, do please research Richard Valenzuela, rock music pioneer and Hispanic icon, and learn of his tragic end and what it meant to popular music. Because it was a distinct dividing line. Popular music was not the same after the plane crash that took the lives of Buddy, Richie and the Bopper.

And for the record, the B-side of this single, a piece of infectious Spanish-language rock & roll called “La Bamba,” also charted, saving poor Richie the indignity of one-hit wonder status.



How did I forget that this song is in 6/8 time? And how nice the guitar accompaniment is (is that Richie himself*?)? Listening to Richie’s plaintive voice on this song (an ode to his real-life girlfriend, Donna Ludwig, fact fans) really hammers home the tragedy of his short life. In a just world, he would have lived long enough to produce a whole slew of sweet rock ballads of this quality. But as we are well aware, this world is anything but just.

Even divorced of its backstory, there’s something extremely touching about this ballad. Richie’s voice, while on the thin side, oozes sincerity and emotion, and sells the sorrow of lost love very well. And I just can’t get over the guitar playing on this one, it’s just so sweet and arranged to perfection.

Absolutely a delight. Such a shame we were robbed of more like this.

Rating: 5

*Yes, it is, along with Rene Hall, Irving Ashby and the legendary Carol Kaye. Is there any record she didn’t play on?

SHG: The Crests: "Sixteen Candles"

The Crests: “Sixteen Candles”
Entered the chart on: 12/22/1958
Peaked on: 2/9/1959
Weeks at #2: 2
Song at #1: “Stagger Lee” by Lloyd Price

More diner music. I can’t help but have images of waitresses in old-fashioned car-hop outfits bearing platters of patty melts and chocolate malts while this plays on an old Wurlitzer jukebox. Well, let’s refresh our collective memories of this evergreen:



I forgot about the “Happy birthday, baby” intro. And how did I never know that this was an interracial group? And that their one female member was the sister of Luther Vandross? All I knew was that their powerhouse lead tenor was one Johnny Maestro (né Mastrangelo).

Yes, it’s pretty obvious these folks had been listening to lots of the Platters. Maestro is no Tony Williams clone, he puts his own stamp on this recording with his impassioned delivery. Not sure who was the arranger for this session, but he sure knew his onions. Like the Connie Francis tune I covered a couple of reviews ago, it has a very understated arrangement, with everything as support to Maestro’s spectacular lead. The highlight of the backing vocals is bass singer J. T. Carter, who was the one who initially formed the group.

In spite of this staggering success, they weren’t able to follow it up effectively. They managed a couple of top 20 follow-up entries (if you know any other Crests song, “Step by Step” is probably it) but that was about it. Maestro later resurfaced as the lead singer of the Brooklyn Bridge, who had a top 10 hit in 1969 with “Worst That Could Happen.” Based on this, they deserved a rather better legacy.

Much, much better than I had remembered. Superbly done!

Rating: 5

SHG: Connie Francis: "My Happiness"

Connie Francis “My Happiness” Entered the chart on: 12/15/1958 Peaked on: 1/19/1959 Weeks at #2: 2 weeks Song at #1: “Smoke Gets in Your Eyes” by the Platters

Ah yes, Connie Francis. Until the 1990s, she was the most successful female soloist of the rock era. Bigger than Diana Ross. Bigger than Barbara Streisand. Bigger than Donna Summer. Bigger than Madonna.

By 1979, she was represented in the Rolling Stone Record Guide by a dismissive two-sentence review for a single greatest-hits package which received a rating of a bullet (zero stars). What happened for her to suddenly deserve such scorn?

Well, I suppose one thing might be Rolling Stones’ rock & roll attitude. Anything that smacked of artificiality, commerciality or bandwagon-jumping had them turning up their noses. The key to Connie Francis’ smash success was only partly due to her phenomenal, sorrow-laden singing voice.

Here lies the difference between her and the likes of Cathy Carr. While Cathy was struggling at Fraternity and a succession of other small, regional labels without the budget for A&R, Connie was being aggressively marketed to any potential artist willing to listen at MGM, who threw a ton of money at their investment.

Part of the result of this was that Connie was incredibly overworked. All her 50s and 60s hits were produced at mammoth days-long recording sessions. So the sorrow in her voice was probably not an act. I think it may have partly been fatigue*, which is why she sounded sad even on songs that didn’t call for it (Andrea Martin spoofed this on the fake record ad for 20 Depressing Hits by Connie Franklin [sic]). And MGM’s marketing towards all ages and ethnicities bordered on the crass (a sampling of Connie’s discography: Christmas With Connie, Rock ‘n’ Roll Million Sellers, Connie Francis Sings Jewish Favorites, Country Music Connie Style, Sings “Never On Sunday” and Other Title Songs From Motion Pictures, etc.).

While it’s true that commercial success is not a guarantee of artistic quality, especially considering the incredible volume of material that was churned out in such a short space of time, it’s obvious Connie could sing. She didn’t always get the grade A material her voice deserved, but then, that’s true of the 90s female soloists that supplanted her (believe me, we’ll get to them in time).

Enough stalling, let’s review this thing:



Good call on orchestrator David Rose (later of “The Stripper” fame) for knowing his bread-and-butter, giving Connie an a’cappella intro for her to sing. They’re also taking a a tip from Les Paul & Mary Ford, stunningly double-tracking her voice.

I’m really struck how wonderfully this is arranged. It builds to a crescendo, plinking piano and subtle saxophone rising out of the a’cappella intro, with the strings coming in very gradually and the choir only entering during the final verse. And none of it competes with Connie’s voice. Rose really knew his stuff!

What I was talking about earlier about Connie taking a happy song and making it sad kind of applies here, but there’s more to it than that. Unlike a lot of her later material, I think this song was selected specifically because it spotlighted her voice, and her personality, very well. The title is ironic, the narrator is actually sad because her lover is gone, and wants “[her] happiness” to return. Connie is a natural for this kind of tune.

Really, much, much better than I was expecting.

Rating: 4

*it’s since come out of the woodwork that Connie was suffering from bipolar disorder, which further explains this tendency, and suddenly turns that SCTV skit into a bit of a Funny Aneurysm Moment.

SHG: Frank Sinatra: "All the Way"

Frank Sinatra: “All the Way”
Entered the chart on: 10/28/1957
Peaked on: 1/6/1958
Weeks at #2: 1 week
Song at #1: “At the Hop” by Danny & the Juniors

Frank Sinatra is an artist that is hard to be impartial about.

I know some who absolutely hate him (Hello, Al!). I know others who think he is an utterly brilliant song stylist. Me? I think a lot of the former camp are letting perceptions of Frank Sinatra the person get in the way of Frank Sinatra the artist. Sort of how people hate Richard Wagner because he’s such a horrible person, rather than because he makes bad music (which he didn’t).

To be fair, by the time the 60s rolled round, Sinatra had rather become a grotesque caricature of himself, a cantankerous, foul-mouthed, hard-drinking lout who’d rather spend time carousing with his drinking buddies, romancing hot young starlets and pushing his considerably less-talented offspring into the spotlight than polishing his vocal instrument. His lackadasical performance on the fluke 1966 #1 smash “Strangers in the Night” was sadly indicative of his approach to singing at the time (the half-assed scat singing quickly becoming a point of parody for Sinatra impressionists).

That said, this is from the reliable Cahn/Van Heusen songwriting team, so one gets the feeling that, even though I can’t conjure up the melody from memory, Frank probably cared about this a little more than “Strangers” (which he considered “a piece of shit,” and it shows in his “I don’t give a crap about this” performance).



OK, this one’s coming back to me now. From the movie The Joker Is Wild, which I’m sure I’ve never seen, but I have heard this before.

Frank isn’t unseating Nat “King” Cole as my favorite pre-rock balladeer, but damn, his performance on this could come close to convincing me. This is another brilliant Nelson Riddle orchestration, swathed in pillowy strings. His voice is smooth and supple as Nat’s, and glides gorgeously over the notes.

This is really a beautiful song. I get the feeling that Frank was to singing what Bette Davis was to acting, i.e.: he gave the song the performance he thought it deserved.

It’s pretty obvious he thought very highly of this one.

Rating: 4

SHG: Fats Domino: "Blueberry Hill"

Fats Domino: “Blueberry Hill”
Entered the chart on: 10/13/1956
Peaked on: 1/19/1957
Weeks at #2: 3 weeks
Song at #1: “Singing the Blues” by Guy Mitchell

And finally, we make it to 1957. Sorry for the delay in getting back to reviewing the #2s but I’ve been busy cooking recipes from dusty old ads and posting cartoons inspired by the Dingley Tariff. Such is life.

Fats already had a string of classic singles under his belt when he was cruelly cheated out of a #1 hit by Pat Boone and those clowns at Dot Records back in ’55. This enduring classic is as close as he’d ever have to a number one hit. And here it sits in pole position behind Guy Mitchell’s watering down of a classic Marty Robbins song. Such is life.



Allow me to say right out of the gate that I’m extremely envious of Fats Domino and performers like him. The ease with which he applies his distinctive piano style to a song WHILE singing is a real skill. Love that intro he bangs out at the start that says, “Fats is here!” I mean, it’s a pretty basic 12-bar blues, but his piano playing and thick, meaty voice make the tune.

Appropriate that this should come right after Elvis bumping and grinding his way through “Love Me.” The sexual connotation of this song, too, cannot be denied. It’s pretty obvious when he sings that he “found his thrill,” he’s talking about sex. Why else would the opening line be used as a G-rated euphemism for Richie Cunningham getting a teenage boner on 1970s family-hour TV? The 50s old guard must have been up in arms.

Fats keeps it tasteful though, even poetic. “The wind in the willow played love’s sweet melody”? You could imagine Prince scribbling down notes as he listened to this.

I really can’t deny this one’s classic status. I could listen to stuff like this all day.

Rating: 5