Hit Records filler/B-sides: A fun (and, hopefully, enlightening) survey

 

Wow--Blogger has made things even more of a hassle.  It has added an utterly pointless extra step to uploading images from a PC.  There's some reverse-logic idea that increasing the number of necessary steps is somehow helpful to the user.  After all, the greater the number of options, the better.  In reality, no one wishes to be deluged with choices.  An intelligent scheme would consist of basic options, with advanced choices accessible upon demand.  Options are not options when they are forced upon us.  (Argggh...)

But, to the matter at hand... A visitor suggested a post devoted to the filler/B-side numbers released on Hit Records (a group which included Spar, Country & Western Hits, and Modern Sound), and this struck me as a great idea.  And this project proved to be unusually challenging (I have a MAGIX project printout for transferring the composer creds to mp3tag, along with ten pages of notes), and mostly because Hit Records typically failed to include writer credits on its LP releases (in addition to regularly omitting artist credits--even aliases).  And there was the occasional problem of title disagreement--e.g., "Up Town Down Town" vs. "Uptown, Downtown."  Yet, for all that, Spar/Hit Records operated in an infinitely less slapdash manner than most of the other rack-jobber budgets.  And, as we shall hear, it produced some of its own material (no doubt, for the benefit of direct-to-the-label royalties), and produced it well.  Its filler numbers were clearly rush jobs, but they were never less than professional and beautifully arranged and engineered.  My opinion of Hit Records "filler" has grown much kinder over the years, and my affection for the label's budget hit knockoffs has increased at the same time/rate.  Way back when, I regarded HR product as an amusing record-collecting sideline, with the occasional superb performance entering the picture--such as the "Boll Weevil"'s amazing My Bonnie.  But I've come to host high regard for HR's entire bag of offerings.

But enough intro.  Today's playlist features songs by HR personnel, most of whom were industry insiders.  Some of whom had "real" chart hits.  I decided to leave the composer tags as they appeared on HR/Spar/Country & Western Hits singles, save for shortening "J. Norris and K. Richards" to "Norris-Richards." N-R were actually Hit Records co-founder William Beasley and his wife Dorothy J.  And there was Connie Landers, who wrote and recorded as "Connie Dee" (and who was songwriter-credited at least once as "Connie Sanders"--a typo?).  Her Brill Building-esque Once a Cheater and her amusing heartbreaker ballad, Ring Telephone are first-rate filler.

Back to the Beasleys, their forte was in the area of country and western, and they wrote at least one successful number for Brenda Lee.  Their The Spirit of This Land was the very first HR single which had me wondering, "Was this an actual hit?"  No, it's a very skillful imitation of a type of conservative patriotic paean--expertly stilted, with a narrator who sounds ready to break into laughter.  Like the instrumental Tower Suite (also by JN and KR), which appeared in single form as the flip of Theme From Peyton Place, it was penned to function as a B-side complement to the hit number, and in that context, it's a gem.  Of the country numbers written on the spot by the Beasleys, I have to choose Broken Hearted, Sad and Blue as the winner, if only because of its bounce-the-stylus energy.  Their best number in this list, though, may be I'm So Lonely, an effort which channels British Invasion rock, Gene Pitney, and Neil Diamond.  

There are only (let's see) three Bobby Russell numbers--all good, with Big Windy City impressing me the most, despite the naïve and generic quality of its lyrics.  It certainly conveys the appropriate mood, and the Bacharach-esque hook is delightful and superbly ear-catching.  It hardly rises to the level of Goffin/King, but then there wasn't the necessary window of opportunity.

I have a special affection for Bergen White's efforts--in part, because of some ingenious turns of phrase.  For example, the payoff close to Another Year, the ultimate life-gone-wrong country saga.  And his hilarious, Roger Miller-esque Pay It No Mind takes Miller's sardonic-commentary style to the level of harsh mockery, with the singer/narrator delighting in the misfortunes of the protagonist, who can't so much as get out of bed without dooming his day.  Bergen's You're the Only Girl for Me is an interesting take on the Four Seasons/Jan and Dean sound, and You Make The Decisions is minimalist gold.  Back to Bobby Russell, the masterful Come On On may be the all-time best could-have-been-a-hit filler HR track.  It's astonishing that so much care was devoted to a "Let's sneak in one of our own" project.

Brilliance in context is nevertheless brilliance.  (And you may quote me.)  Coughing up acceptable filler material on short notice is an epic challenge, and the HR folks routinely met it with impressive prowess.  Here are twenty-five goodies.

DOWNLOAD: Hit Records Filler

I'm So Lonely (Norris-Richards)--Dee and Robert

You're the Only Girl for Me (Bergen White)--The Roamers

Come Back to Me (N-R)--William Randolph and His Orchestra

I'm on My Way (N-R)--Jack White

Come On On (Bobby Russell)--Dee and Robert

Broken Hearted, Sad and Blue (J. Norris)--Ed Hardin

Pardon My Living (B. White)--Bob Adams

You're Not the Same Now (B. White)--Fred Hess

Never Forget Me (B. White)--The Roamers

Another Year (B. White)--Bergen White

Once a Cheater, Always a Cheater (Connie Sanders)--Connie Dee
Pay It No Mind (Bergen White)--Fred York

A Broken Hearted Fool Like Me (N-R)--Fred York

Where You Been (Bobby Russell)--Charles Baker

Don't Come Too Late (N-R)--Bobby Russell

You Can't Trust a Friend (B. White)--Lisa French

Big Windy City (Bergen White & Bobby Russell)--Fred Hess

Hearts Are Funny Things (N-R)--Bobby Brooks

Ring Telephone (Connie Landers)--Connie Dee

That's All That's Important Now (N-R)--Ed Hardin

The Spirit of This Land (N-R)--Charlie Rogers

Uptown, Downtown (B. Russell)--Fred York

You Make the Decisions (Bergen White)--The Chellows

You Were Gone (B. Russell)--John Preston

Tower Suite (N-R)--William Randolph and the Music City Orch.

Lee

Who among us doesn't dig "That West Coast Sound"? (Modern Sound 561; 1966)

 

You have a choice: I Love that West Coast Sound, by The Jalopy Five or That West Coast Sound, by The Jalopy Five.  That is, you can go by the front jacket or the back.  And, of course, some of these are not by the Jalopy Five (a Hit Records alias, anyway), which means I'll have to track down the original artists and dates by referring to the Hit Records singles.  Easily accomplished with 45cat and Discogs.

And, good grief, Blogger must be on its last legs.  It took me several minutes to get those two images in their proper place AND properly enlarged.  Blogger simply doesn't want to cooperate.  Oh, and I'd initially inserted the cover and label images, in that order.  And Blogger displayed them in reverse order.  Of course.  And, in other news, I've taken to snapping "live" label shots, since my new Epson printer has, at best, a one-centimeter depth of field.  If I want in-focus images, I have to go the Canon route.  But I shall spare no effort to get these fake sounds to you.  For real.  That is my (more or less) sacred pledge.

The liner notes discuss "The British Sound," "The Detroit Sound," and "The Nashville Sound," noting in delightfully redundant fashion that "each is distinctive within itself."  That's like calling something "unique in its singular way."  Anyway, in case you weren't paying attention, this LP features "that" West Coast sound, and my first response was, "Cute blonde."  My second response was, "Hit Records never did a good job with the California sound."  And, as a rule, it did not--Its Beach Boys knockoffs are typically lacking.  But here we have some actually decent imitations of Jan and Dean, the B. Boys, and the Mama's and the Papa's, as the latter (for some reason) called themselves.

Did producer (and California Street cowriter) William Beasley say, "Let's assemble our more passable efforts in this area"?  Was that premeditated, or is the track selection just a lucky accident?  Whichever the case, Sloop John B is a totally acceptable copy of the Beach Boys hit, Surfer Girl (even though it changes the melody in spots!) features unusually tight Hit Records harmonies, and Ride the Wild Surf beautifully captures the Jan and Dean sound.  I'm impressed.  California Girl(s), on the other hand, falls in the middle range of okay.  It's hardly the worst budget Beach Boys copy, but the famously awful Pickwick effort, The Surfsiders Sing the Beach Boys Songbook (1965), set the budget-knockoff bar at a record low!  (An LP best experienced with a licensed therapist on hand.)

The filler tracks are fun--California Street in particular (cowritten by producer William Beasley as "Richards").  And Bergen White's She's Come of Age has more than a slight touch of Brian Wilson, meaning that Bergen, as usual, took his pen-a-flip-side-as-quickly-as-possible job seriously.  I really should devote a post sometime to Hit Records filler numbers.

And I took the liberty of correcting California Girl (maybe the cover model is that very girl), though I otherwise retained the credits as displayed.  At least Hit Records' errors were consistent from front to back, and label to cover.  There's a certain integrity, there.

Really, much better than we might expect from a dollar-bin special.  And the engineering, as ever, is gorgeous.  Below I've given the 45 rpm credits and dates, though all the mp3 tags read "The Jalopy Five," and the composer fields are blank--both in concurrence with Modern Sound's layout (or lack thereof).

DOWNLOAD: I Love That West Coast Sound (Modern Sound 561; 1966)

Sloop John B--Jalopy Five, 1966

Monday Monday--Jalopy Five, 1966

California Dreaming--Jalopy Five, 1966

California Girls--The Chellows, 1965

California Street (Dorothy Jean and William Beasley)--Johnny and the Jalopy Five, 1965

Ride the Wild Surf--The Roamers, 1964

Little Old Lady From Pasadena--The Roamers, 1964

Hey Little Cobra--The Roamers, 1964

Surfer Girl--Jalopy Five, 1963

She's Come of Age (B. White)--Bobby Brooks, 1965

Lee

Various Artists, Part 2, for May 2024--Red Prysock, The Regents, June Valli, Tony Bennett, and Samba Voodoo!

Today is my annual "No way I can be that old!" day (67, this time around), so I'm celebrating with more various artists.  That is to say, with another various-artists post.  "More various artists" is kind of awkward--it could suggest artists who are more various, whatever that might mean.  And, of course (and for what it's worth), variety can only exist within a group of things.  We had a manager who bragged that the company has "many diverse individuals," and I wondered if he meant people who exist simultaneously in multiple dimensions.

So... after I assembled this list, I searched for a common theme or two.  Or three.  As in, are there any?  And one theme is early rock and roll--The Dreamers' 535 (with that wonderful electric guitar distortion that graced so many blues and doo wop sides, and which Stan Freberg irreverently described as the "Howdy Doody button"); the Regents' Barbara Ann B-side, I'm So Lonely; and the honking-sax magic (always wanted to type that) of Red Prysock on the Mercury label, from the 1957 LP The Beat.  This is where rock and roll and R&B become the same thing--In fact, the honking-tenor-sax r&r of Hal Singer, Big Jay McNeely, Wild Bill Moore, and other 1940s rockers was enjoying a second wave in the wake of Elvis, or whatever I just typed.  If I'd had it handy, I would have snuck in Harry James' 1939 Back Beat Boogie, which would have fit like a glove with latter-'50s instrumental rock.  But my 45 rpm copy is stuck away someplace in my maze of 45 boxes.  In the closet.  Behind the row of records blocking the door.  In there somewhere.  Laughing at me.

And, speaking of rock and roll finding its way into the pop charts (we were?), we have some excellent examples of "pop" vocalists helping toward that objective, with both June Valli and Guy Mitchell touching on the style.  First, June (whom I've referred to at this blog as RCA's "pre-Elvis Elvis") with a rocking Strictly Sentimental and a habanera/tresillo (3-3-2 beat) Leiber-Stoller number, Will You Love Me Still, which anticipates Brill Building pop to come.  Very Under the Boardwalk-esque, even if Jerry and Mike had nothing to do with Boardwalk.  Then, Guy Mitchell plunging into rockabilly on Crazy With Love, the B-side of the magnificent 1956 Singing the Blues.  Didn't anyone notice, at the time, that Guy had taken that plunge?  Guy almost, but not quite, wandered into the same zone the next year with Hoot Owl, the flip of Rock-a-Billy.  Fourthly, Eileen Barton with a rock and roll remake of 1950's If I Knew You Were Comin' I'd've Baked a Cake.  (And that 3-3-2 beat, again.)

And there's the theme of Boomer Top 40 rendered in an EZ vein (yes, you can quote me), an area often covered here.  Namely, Paul Mauriat with a delightful beautiful-music rendition of Penny Lane (maybe the best EZ Beatles cover of all time), plus two selections which reveal the soul of Mauriat: In the Midnight Hour and I Heard It Through the Grapevine.  These can be regarded as skillfully rendered massed-strings soul, and therefore ingenious.  Or they can be regarded as skillfully rendered massed-strings soul, and therefore hilarious.  Same premise, two parametrically opposite conclusions.

In a category by itself, there's Jackie Lee's wonderful 1961 remake of Isle of Capri Boogie, with a Mysterioso organ to out-Mysterioso 96 Tears. A wonderful almost-rock-and-roll performance which ranks with the almost-rhythm-and-blues of Jimmy Dorsey's 1957 So Rare.  And I'll stand by whatever I just typed.

More mellow sounds with Engelbert Humperdinck delivering an excellent rendition of the Carole King-Gerry Goffin Yours Until Tomorrow (1967); the great Ray Charles Singers with their smash hit Al-Di-La, plus an interesting take on Do You Want to Know a Secret--one of the first adult-pop covers of the Fab Four; Freddy Martin and the terrific Artie Wayne presenting an ultra-smooth rendering of the Chopin-derived A Song to Remember (1945); and Martin's semi-mellow 1950 Misirlou, one of the very best big band/pre-surf interpretations of this Middle Eastern classic.

And three selections in a showtune vein: Don Cherry's I Don't Care If the Sun Don't Shine, Jo Stafford's If I Were a Bell (from Guys and Dolls), and a spectacular semi-Kostelanetz helping of Vincent Youman's Great Day by Russ Case and His Orchestra. Had Andre mixed swing with strings, he'd have sounded like this 1954 recording.

Carmen Cavallaro's 1951 Deep Night returns, and it's pure exotica, even if it's not from the islands.  It has that sound, nonetheless--the flute, female chorus, and the Afro-Latin rhythms do the trick.  Cavallaro, as always, is fabulous.  "Samba Voodoo With Female Sextette," explains the jacket.

Oh, and a 1959 Jean Goldkette recreation of My Pretty Girl, from the original charts (says the liner notes).  For once, a "'20s in hi-fi" attempt that sounds like the '20s in hi-fi.  To be fair, though, the Peep Hole 8 (!) deliver a not too anachronistic Diga Diga Doo from the 1958 Pickwick LP The 20's Roar Back.  So, the themes are: Retro 1920s, Samba Voodoo, showtunes, early r&r, "pop" which touches on r&r, and Jackie Lee's class-by-itself Isle of Capri Boogie.  Plus, Tony Bennett, Don Cherry, and a great 1956 rendition of Alfred Newman's 1931 Street Scene.

DOWNLOAD: Various Artists, Part 2--Red Prysock, June Valli, Guy Mitchell

I'm So Lonely--The Regents, 1961

How-Ja Do, How-Ja Do, How-Ja Do (If I Knew You Were Comin' I'd've Baked a Cake)--Eileen Barton, 1955

Strictly Sentimental--June Valli With Joe Reisman's Orch., 1957

Will You Love Me Still--Same

A Song to Remember--Freddy Martin Orch., V: Artie Wayne, 1945

Misirlou--Same, V: Stuart Wade, piano: Barclay Allen

Foot Stompin'--Red Prysock and His Orch., 1957

535--Dreamers, 1955

Crazy With Love--Guy Mitchell With Ray Conniff and His Orch., 1956

In the Midnight Hour--Paul Mauriat and His Orchestra, 1969

I Don't Care If the Sun Don't Shine--Don Cherry With Ray Conniff and His Orch., 1956

If I Were a Bell--Jo Stafford With Paul Weston and His Orch., 1953

Yours Until Tomorrow--Engelbert Humperdinck, 1967

Al-Di-La--The Ray Charles Singers, 1964

Great Day--Russ Case and His Orch. and Chorus, 1954

Street Scene--Joe Lipman and His Orchestra, 1956

Deep Night (Samba Voodoo With Female Sextette)--Carmen Cavallaro

My Pretty Girl--Jean Goldkette and His Orchestra, 1959

Penny Lane--Paul Mauriat and His Orchestra, 1967

I Heard It Through the Grapevine--Same, 1969

Isle of Capri Boogie--Jackie Lee, 1961

Happiness Street (Corner Sunshine Square)--Tony Bennett, 1956

He's a Real Gone Guy--Red Prysock and His Orch., 1957

Hoot Owl--Guy Mitchell With Jimmy Carroll, 1957

Diga Diga Doo--The Peephole 8, 1958

Lee

Continental Juke Box No. 1--Wally Stott, The Melody Sisters, Michel Legrand, Giampiero Boneschi!

 

This made-in-Holland ten-incher showed up during my latest Goodwill trip, and how could I pass up that fabulous cover?  And, it turns out, the music is terrific, too, especially if you're in the mood for a Sh-Boom cover by a popular Dutch singing duo (the Melody Sisters).  I'm giving some thought to posting Sh-Boom at Lee's Fake Hits (YouTube), except that it doesn't really qualify as such, since it's not a budget knockoff.  Still, I could stretch the rules--it's my channel, after all.  

And I just now realized I had misread "Wally Stott" as "Wally Scott," which explains why I couldn't find anything out about her, despite conducting what I thought was a thorough Google search.  Seems Stott was Angela Morley, born Walter Stott in England and working as an arranger and recording director for the Dutch Philips label.  She became a transgender woman in 1972.  Here, Stott's orchestra performs the Dave Cavanaugh number The Cat From Coos Bay.  As a composer, Stott/Morley was best known for The Goon Show, The Little Prince, and Watership Down.

And... an excellent mood music rendering of Charlie Chaplin's Smile by Orchestra Michel Legrand, as the credit reads.  Then, the internationally successful Dutch Swing College Band with Muskrat Ramble in excellent hi-fi mono.  Thus ends Side 1.

Side 2 opens with Trinidadian pianist Winifred Atwell's Let's Have a Party, featuring the 1920s hits If You Knew Susie..., The More We Are Together, and That's My Weakness Now, plus Knees up Mother Brown, a British music hall classic credited here as a folk (traditional) number.  Mother Brown was memorably recorded by Merv Griffin with Freddy Martin in 1950, most probably as a follow-up to Merv's smash hit, I've Got a Lovely Bunch of Coconuts.

Then, Danish violinist Sven Asmussen's orchestra and chorus with Do, Do, Do, Do, Do, Do, Do It Again, covering (far as I can determine) The Four Tunes.  After which, harmonicist Jean Wetzel performs The Touch (from Touches pas au Grisbi) with Jean Wiener and His Trio.  Things conclude with Giampiero Boneschi directing the Melodicon Children Chorus in Aveva un bavero, with the Children sounding more like over-18s.  Come 1970, Boneschi became known for his electronic music.  At least one of his electronic pieces (The Latest Fashion) was utilized as soundtrack music for Space: 1999.

DOWNLOAD: Continental Juke Box No. 1, 1954 (?)

The Cat From Coos Bay--The Wally Stott Orchestra

Sh-Boom (Life Could Be a Dream)--The Melody Sisters and Black and White w. Orchestral Accompaniment

Smile (From the film "Modern Times")--Orchestra Michel Legrand

Muskrat Ramble--Dutch Swing College Band

Let's Have a Party: If You Knew Susie.../The More We Are Together/That's My Weakness Now/Knees up Mother Brown--Winifred Atwell and Her "Other Piano"

Do, Do, Do, Do, Do, Do, Do It Again--Svend Asmussen and His Orch. and Chorus

The Touch--Jean Wetzel, Harmonica With Jean Wiener and His Trio

Aveva un bavero--The Melodicon Children Chorus, Dir. Giampiero Boneschi

(Philips B 10156 R)

Lee

Various Artists for May, 2024: Piano Red, Donna Lynn, The Checkers, Pat Boone, Leadbelly, Tony Bennett, more!

 

No particular theme to this VA playlist: From John D. Loudermilk to Piano Red (aka, Willie Lee Perryman, aka Dr. Feelgood), from Villa-Lobos to Julius Fucik to Carole King, and from Si Zentner to Leadbelly to Pat Boone, it's pretty much any LP track or single I've looked at recently and said, "This would make a nice post."  Or a portion thereof.  Any VA playlist featuring the Checkers, Larry Williams, and Tony Bennett is (in my utterly unbiased viewpoint) a playlist to be cherished.

In addition to Bud Shank's jazz take on I Am the Walrus, there are at least three other Beatles links: 1) Donna Lynn's version of I'd Much Rather Be With the Girls (originally Boys), a Keith Richard-Andrew Loog Oldham number slightly controversial for its day in sexual-orientation terms, with the Stones (along with the Dave Clark Five) having been maybe the Beatles' chief rivals, and with Donna Lynn's chief claim to fame her Top 100 novelty, My Boyfriend Got a Beatle Haircut, and 2) Pat Boone's 1965 Say Goodbye, penned by Burt Bacharach and Hal David--the link being the Burt song included (along with Carole King's Chains) on the Beatle's first album and 3) Larry William's 1958 classic Dizzy, Miss Lizzy, which is usually associated with the Beatles' cover from Beatles VI (U.S.) and Help! (UK).  Then, 4) the Dr. Feelgood (Piano Red) recording of Right String but the Wrong Yo-Yo, which the artist had recorded earlier (in 1950), and which dates back at least as far as 1929.  The Beatles connection?  Right String was recorded in 1958 by Carl Perkins, who played a huge role in the early sound of the Beatles.  Our four Fab Four connections.  Well, five, actually (including Shanks).  And a sixth, if we want to get technical: 6) Leadbelly's 1944 In New Orleans, a bordello ballad better known as House of the Rising Sun (often, with the female narrator switching gender). Sun, of course, was a huge hit for another major British Invasion act, The Animals.  Is there a seventh link?

Yes, a desperate one: The fact that Tony Bennett and The Beatles both abbreviate to T.B.  No, I won't go there.

The other gems: Susie's House, an excellent rockabilly number by John (Tobacco Road) Loudermilk on Columbia during Mitch Miller's reign (!), and the early (1953) doo-wop classics Without a Song and The White Cliffs of Dover (the versions, not the numbers)--a King single thrifted by me maybe 25 years ago, while the Tommy/Jimmy Dorsey Bell label Marie and Green Eyes single was originally thrifted by me about 50-plus years (!) ago.  That copy has since been replaced.  

I was a huge Tommy Dorsey fan as a kid, and I remember, when I finally thrifted an RCA Victor TD 78 set, deciding that these 1954 Bell remakes were far superior to the originals (even prior to hearing the 1941 J.D. Green Eyes).  Had I heard the originals first, maybe I'd be declaring the newer versions inferior.  We'll never know.  And my ATFV (Alternate Time Flow Viewer) is on the fritz.

The 1962 Dr. Feelgood (Piano Red) Right String... sounds very much like the same artist's 1950 rendition, the main difference being the louder dynamics here.  As for the flip--What's Up, Doc--we have some of the most blatantly suggestive lyrics since Howlin' Wolf's Mr. Highway Man.  Red's two 1957 RCA Victor sides, taken from a promo EP (with June Valli on the flip!) have Perryman's style tweaked to sound like the then-current r&r.  It didn't take much tweaking.

Don't expect an avant-garde jazz rendering of I Am the Walrus--It's nice, but more like the lite or smooth variety.  And from the Pickwick Happy Time label, and thrifted in the wrong jacket, there's Julius Fucik's classic circus march, Entry of the Gladiators (as Gladiators March) played at an amazing tempo and recorded without much treble--and I see that I ripped it under the proper title.  I'd correct this, but that would mean having to redo the mp3 tagging and image-inserting.  Ain't modern tech amazing?

Also, two cool TV spy classics, with (who else?) the Harmonicats giving us the Avengers theme and Si Zentner with a terrific rendering of Pete Rugolo's Fugitive title music.  Then, Bacharach and David in pop-folk mode with 1958's Ooooh, My Love, beautifully crooned by Vic Damone--and, for contrast, a rocking 1955 version of Bernice Petkere's 1933 Close Your Eyes by Tony Bennett.  Next, in the further service of disunity, Andre Kostelanetz with an excellent reading of Heitor Villa-Lobos's 1930 The Little Train of the Caipira, and Jan Garber's Orchestra in an outstanding 1961 rendition of the Dixieland classic, That's a Plenty, in plenty stereo from a Motorola/Decca demo LP (which hawks "the phantom third channel").  Plenty started life as a 1914 ragtime piano solo by Lew (Charmaine) Pollack.

DOWNLOAD: Various Artists for May 2024

Susie's House--John Loudermilk, 1958

Wild Fire--Piano Red, 1957

Rock, Baby--Same

Devil or Angel--The Clovers, 1965 (Lana Records remake)

Marie--Tommy Dorsey and His Orch., Feat. Jimmy Dorsey, V: Gordon Polk, 1954

Green Eyes--Same, V: Johnny Amoroso, Lynn Roberts, 1954

Ooooh, My Love--Vic Damone With Jimmy Carroll and His Orch., 1958

The Little Train of the Caipira--Andre Kostelanetz and His Orch.

Gladiators March--Unknown (Pickwick)

Say Goodbye--Pat Boone, 1965

Until Yesterday--Tony Bennett With Percy Faith and His Orch., 1953

The Fugitive Theme--Si Zentner and His Orch., 1964

Theme from The Avengers--Jerry Murad's Harmonicats, 1967

In New Orleans--Leadbelly, 1944

That's A Plenty--Jan Garber and His Orch., 1961

I'd Much Rather Be With the Girls--Donna Lynn, 1965

Without a Song--The Checkers, 1953

Dizzy, Miss Lizzy--Larry Williams, 1958

I Am the Walrus--Bud Shank, 1968

Randy--Earl-Jean, 1964

Close Your Eyes--Tony Bennett, 1955

Right String but the Wrong Yo-Yo--Dr. Feelgood and the Interns, 1962

What's Up, Doc--Same

White Cliffs of Dover--The Checkers, 1953

Lee