SUZANNA AND THE ROOMATES - NEW CD JAN 2012

Hi all,

Some news in the Rare Rockin' Records world, a new cd featuring your favorites The Roomates with female lead vocalist Suzanna singing 30 (yes, 30!) brand new doo wop tracks for your enjoyment. The cd will be out early next year.



And here is the track lineup:




Until next time...rock on!

PAUL PETERSEN - HITS & RARITIES - OUT NOW!

On the heels of RRR's Billy Meshel disc, we are proud to present a brand new release on Teensville: "Hits & Rarities" by the fabulous Paul Petersen.



This is a great release on so many levels! First of all, there's 31 tracks here, the most comprehensive collection of Paul yet.

Out of all the tracks, Teensville is presenting 10 in superb sounding stereo, while the rest are in punchy and vibrant mono.

There are also 4 unreleased tracks - the great teener "Quarantine" (presented here in two versions, including rad studio chatter), the group sounding "I Wanna Be Free" (featured in an episode of The Donna Reed Show, but never released on record), and the somber "Two Little Boys".

Of course the hits are here - "My Dad", "Lollipops and Roses", "She Can't Find Her Keys", "Keep Your Love Locked".....

If you are only familiar with the hits side of Paul Petersen, you will be delighted to find many hidden gems on this CD. For instance, there's "Amy", written by Mann-Weil, which was so good that Barry later recorded it for himself. Paul's version of "The Poorest Boy In Town" is incuded too. You might know it by Johnny Burnette.

Beach Boys fans rejoyce - "She Rides With Me" is Track #9 - it's written by Brian Wilson and Roger Christian.

You will also hear a couple cuts Paul cut for a Colpix album of "Bye Bye Birdie" songs, and even a brief look at his stint at Motown Records in the late sixties.'

The music isn't the only great thing about this collection - the booklet is outstanding! Many pictures of Paul and full information about the tracks. The liner notes are by Brian Gari (check out his own music at cdbaby.com), detailing Paul's career in the biz with some funny antedotes.

You can buy Paul Petersen's "Hits and Rarities" direct at the RARE ROCKIN RECORDS SHOP (just click it!)

(Non RRR Related) Power Pop Duo 'The Red Button'

Hi folks,

As a quick aside from the news about upcoming releases from Rare Rockin' Records and Teensville, I'd like to direct you to the latest album by the The Red Button.

The Red Button (Seth Swirksy and Mike Ruekberg), if you don't know, are one of the most promising and talented artists in a genre known as power pop. 60s styled pop with a bit of an updated edge, if you like.




Their new, second album, entitled "As Far As Yesterday Goes", was released recently. It's simply a delight to listen to. In these heavy times, a 12-track breezy pop album hits the spot.

My favorite track is actually the album opener, "Caught In The Middle". It's upbeat and catchy as hell - images of Black & White moptops and girls chasing them come to mind! There's also a wicked, Dylan-esque harmonica recurring throug the intro and solo. The title track employs a Ringo-like drum beat (see 'Anna' or 'In My Life') with sections of Brian Wilson falsetto. Can't go wrong there...

"Picture" is a soft and wistful track about a love gone wrong. It reminds one of something off of The Hollies' "Butterfly" album. "Girl Don't" is another one of my favorites, an updated Merseybeat track with jangly guitars and pitch-perfect harmonies. Kinda Searchers-y!

Other standouts here include "On A Summer's Day", sounding like a cross between Mark Bacino and Harry Nillson - or the reggae and pop concoction of "You Do Something To Me" -or the uptempo "I Can't Forget", with a great opening lyric of 'It was a day she won't remember, it was a night I can't forget'.....

Check out The Red Button at their official website (theredbutton.net), where you can order both their albums.

PARADISE FOUND - THE SONGS OF BILLY MESHEL CD

To all the RRR Blog readers -

The new Billy Meshel CD is hot of the press and it certainly doesn't dissapoint. First off, the packaging is amazing - vibrant colors, full of stories from and about Billy and his compositions.




The music is another thing - there's tons of variety here, from bonafide stars like Dion & The Belmonts (with a track dating from their 1967 reunion) and Del Shannon, to unknowns with great voices like Mark Richards and Dale Brooks. For northern soul collectors, there's Lenny Welch and Don & Juan. Also, the girls are here as usual, with killers by Ginny Arnell, Babs Tino, and plenty of other fine chicks.

A couple of more obscure favorites from this CD include....
-Donna Lewis' "Call Him Back" which recalls the Peggy March sound of the early sixties.
-Mickey Denton's "Now You Can't Give Them Away", which has 'hit' written all over it.

Pick it up - another winner from the Rare Rockin' Records catalog. Buy it HERE

CHATTING WITH DENNY DIANTE

Once again, it's time for another interview segment on the Rare Rockin' Records blog. Some may know him as a producer, arranger, and engineer for such artists as Neil Diamond, Johnny Mathis, and Elton John.

Here at RRR we love Denny for the teen records he made in the 60s. I hope you enjoy learning the backstories behind the great tunes Denny sang and recorded back in those glorious days.



Kyler:What were the circumstances behind your signing with Holiday Records?

DENNY:I was introduced to Cal Van Zile by a friend. Van and Harry Fields were just starting Holiday Records. He brought aboard Marty Cooper to run the label as well as produce. Marty was known for working with Jack Nietzsche and Lee Hazelwood. Jan Davis (the Fugitive), Marty (the Shacklefords) and yours truly were the first 3 artists signed to the label..actually I was the first.

Kyler:You had two singles with Holiday, I’m going to list each title and then maybe you could give me some thoughts/memories about them? The first one is “Little Lover”.

DENNY:“Little Lover” was actually produced by me. Tom Crumplar ( bass player) of the Cornells, put the session together with most of the players who did the Phil Spector recordings…actually had the Blossoms doing bg’s with 2 guys…it was Hal Blaine and most o the Wrecking Crew on the date. Had no clue what I was doing but somehow knew what I wanted it to sound like…hey, we’re talking about it all these years later! Cool…




Kyler:Your vocal on Little Lover seems reminiscent of Dion. How big of an influence was he on your style of singing?

DENNY:This vocal style was done at the request of Lou Chudd who owned Imperial Records. I met Lou through his wife and daughter at a local supermarket. He had huge success with Fats Domino and Ricky Nelson. An appointment was set up and I had a live audition in his office in Hollywood…down the block from KFWB and the record biz hang out Aldo’s coffee shop. Thought I hit the big time!!!! Me and my guitar. Played him a couple of ballads and then went into my Dion groove on Little Lover…I loved Dion and the Belmonts. He stood up and yelled “It’s a hit”!!! ‘He said go make a demo and bring it back to me…so…we went in and cut a record..who wants a demo?…brought it to him and he got on his feet and hugged me…..after a few weeks I got a call from Lou where he said “you sound a little too much like Dion”..what else do you have? First experience of “HUH???” He said I had the look of a Ricky type so do something like Ricky…a little rockabilly and pop thing. So Tom and I and the Cornells went into the studio and did 2 sides. One was dead on Rick Nelson….got a second call from Lou…you guessed it…said I was too close to Ricky style….I never went back to see him. That’s why I’m on that cd “Why do you sound like me, Dion”

Kyler:Next up is “Faraway Places”.

DENNY:Marty Cooper choice and production..great David Gates arrangement…terrific record…I thought it was too adult for me at the time…I wanted to sing to girls and fun in the sun stuff.

Kyler:The next one was “What Makes Little Girls Cry”.



DENNY:David Gates did the arranging with Hal Blaine drums, Glenn Campbell and Gates on gtrs., Don Robertson piano, Julius Wechter on everything, and Ray Pohlman on bass. This was my teeny bopper anthem! Get tons of emails from around the world on this one too…..written by Lou Josie who wrote “Midnight Confessions” for the Grass Roots…


Kyler:The B-Side of that was a great ballad entitled “Traveled”.

DENNY:I wrote “Traveled” when I was still a teenager…can you tell. My original demo was pretty close to the record but Gates (pre-Bread) put his great touch to it. I wanted strings and all the backing stuff but the record was finished before I could get my shots in…most likely a money thing for a small label. I get emails from all over the world asking about this song….only took a few decades and the internet for a little recognition.. I had a few fan clubs starting in Europe and Asia but Holiday was not to be around long enough to be successful. Did a bunch of teen mags with photos and stories, just didn’t have the financial backing to go all the way. Traveled was a favorite of Arthur Lee and Love who played it in the Jukebox at BiDoLiDo’s every night..a club in a Hollywood alley….who knew?

Kyler:Were there any unreleased/unissued sides done while you were at Holiday?

DENNY:We did a few more sides but Holiday closed up so I signed with 20h Century Fox Records. Bob Marcucci who managed Avalon and Fabian, thought I had the talent and look to become successful. He started me in acting classes and put out the first single “Just a Boy In Love” Marty Cooper and Ray Whitley wrote the song and Marty wanted me to do the “Billy Joe Royal” southern sound..so I did. AT the same time, the co-publisher of the song got 2 other cover records to come out at the same time so the competition killed all 3. I got the most action but by then I was more interested in making records than performing…I started hanging out at Gold Star studios in Hollywood where, Stan Ross, Dave Gold and Doc Siegel started teaching me how to engineer and mix. Singing took a back seat.
I then went to work with Marty and Vicki Cooper at their publishing company learning all about songs and song plugging (I hate that term) Did a bunch of demos and learned how to make records.

Kyler:Finally, Denny, please tell our readers what you are up to these days.

DENNY:Still producing records..mainly in Nashville…doing an occasional movie….producing special market productions….may teach a master class at NYU….do the Taxi.com conference every year as part of the final night A&R listening sessions… chops are still up….loving the rediscovery of the 60’s records….life is still rock and roll to me!!!






I would like to thank Denny for taking the time to answer the questions! I hope you've enjoyed this latest interview segment. Please check out the Rare Rockin' Records shop and learn about past, new, and upcoming releases (new ones by Billy Meshel and Paul Petersen coming soon!).

HE'S IN TOWN - AN INTERVIEW WITH PHIL MARGO

Hope you enjoy the latest installment in our interview series - Phil Margo of the legendary Tokens was nice enough to answer our questions.



Kyler:Phil, how did you (and your brother) become ½ of the classic lineup of the Tokens?

PHIL:Well, it’s mainly because I was in a boy’s chorus in high school and I learned how beautiful singing was, it was in my junior year and I was kind of unspectacular. We did our first concert and our teacher asked if some of us would want to entertain at the annual spring sock hop, so I volunteered Mitch and me and we sang “All I Have To Do Is Dream”, accapella. People applauded and girls introduced themselves and that was the beginning. I found that I had a talent for music and I pursued it. I learned how to play the piano, and had a band in the summer of 59. We worked in the Catskill Mountains. When I came back, our drummer (his father won the lottery won the lottery two months in a row) went to college, and I had to find a new drummer. The new drummer knew Henry Medress. And he introduced Henry to us and we started working and writing together. We did kind of a rock and roll version of Chopsticks and nothing happened. We continued to write because Hank saw something in us. And we wrote “Tonight I Fell In Love” and some other songs and we got Jay (who was in Darrell and the Oxfords with Hank) to sing lead and that’s how it all began. Mitch was actually 9-10 years old when we first sang and then when we got together (in the Tokens) I was 17 and Mitch was 12.



Kyler:What kind of music were The Tokens into offstage?

PHIL:Jay had a very eclectic view of music. he was into country and folk. Mitch and I liked 40s music. I liked some classical stuff and of course what was current. Our favorite was stuff like Ray Charles and good harmony groups.

Kyler:How did you come to be signed by Warwick Records?

PHIL:We went with Warwick because they frankly were the only label that would take the record! We made “Tonight I Fell In Love” and nobody jumped up and down and then finally Warwick agreed to put it out. Then they changed their mind. Morty (Craft, head of Warwick at the time) didn’t want to put it out because he didn’t like the name we picked for ourselves, which was “Those Guys”. He didn’t want ‘Those Guys’, and he wasn’t gonna put the record out. So we came to him, and he said “ok, we’ll use the name ‘The Tokens’, because one of his labels was the label that Neil Sedaka & The Tokens were on. So, we took the name ‘The Tokens’. It was an afterthought. We didn’t really like the name but we took it because we wanted to do anything to get a record out!

Kyler:After “Tonight I Fell In Love”, you moved from Warwick to RCA. What was the reason behind the move?

PHIL:We moved to RCA from Warwick because Morty said our record wasn’t earning any money, when it was in the Top 15. He said, “what can RCA do for you that I can’t”? And we all said in unison, without rehearsal, “Pay us!”

Kyler:Can you tell me about some great doo wop songs that graced the first RCA Tokens single – “Dry Your Eyes” and “When I Go To Sleep At Night”?


PHIL:Dry Your Eyes and When I Go were songs that we had written and nothing much to say except that I don’t think the records weren’t what we wanted. Once you turn things over to an arranger and orchestra you’re at their mercy. We weren’t in charge, so we weren’t the producers, so we had to do what was in front of us. Later on, “He’s So Fine”, when we recorded the Chiffons, we had run through the budget at Capitol Records so we had to play the instruments and do the arrangements ourselves. I think that’s what made the record successful because it had that spontaneous feel about it.

Kyler:Of course your biggest hit on RCA was “The Lion Sleeps Tonight”….how influential were The Tokens to the arrangement of the original folk standard?

PHIL:We kinda gave them the demo – we did a demo in 1960 of Wimoweh without the lyric. I just found it recently within the last couple of years (the original demo). We pretty much laid down the feel of it, the bongo drums etc. The lyric was a thing that was added later and we didn’t get that until the day of the session. We were supposed to sing the lyric to the melody line of the chant (“Wimoweh”), but it got boring, after a while repeating the same thing over and over again, so we went over to the piano and adjusted the melody. We actually wrote a new melody to go with the lyrics. We unfortunately never got credited or paid for that and it was even admitted to by the people that kind of stole it from us.



Kyler:Some of my favorite Tokens songs from the early Sixties are little known gems which have very little information to be found on the web – namely, “Right Or Wrong”, “Somewhere There’s A Girl”, and “Dear Judy” – can you provide any details?

PHIL:“Right or Wrong” was written by Neil Sedaka, that was on our original session. “Somewhere There’s A Girl”, Neil Sedaka also wrote. We wrote “Dear Judy”. We were trying to do a record like “Little Darlin’”, so we did “Dear Judy”.

Kyler:What was the major impetus behind the creation of BT Puppy Records?


PHIL:We started BT Puppy because we were leaving RCA and we wanted our own label, like a little RCA. BT stands for Bright Tunes (our publishing company), and Puppy, as a reference to RCA’s dog.

Kyler:Many, if not all, of the Tokens original songs were followed by the credits “Margo/Margo/Medress/Siegel”. Did each of you actually write parts of every song or was it more like a Lennon/McCartney situation?

PHIL:Margo/Margo/Medress/Siegel were the credits. Mitch and I wrote most of the songs, in fact Mitch even more than me. Jay and Hank didn’t really write that much. Jay’s edition was to make little changes in the melody once a song was written. Basically the songs were written by Mitchell and I. Although Hank, with us, did write Tonight I Fell In Love and I’ll Always Love You.

Kyler:How did The Tokens acquire “He’s In Town”? Were you good friends with Goffin, King and the other writers from the Brill Building?

PHIL:We were friends with Carole and Gerry because once we produced “He’s So Fine” for the Chiffons, they came to us with the demo for “One Fine Day” (sung by Little Eva on the demo), and I said we would want to do that (with the Chiffons). She sent it over and we used the backing track, with Carole on piano, and added to it to make the master. So we were friends with Carole and she called us up and said “I have a great song for you guys”.We were friendly with Mann and Weil, Barry and Greenwich, Artie Resnick, all of those people from the Brill Building.


(above: Carole King and Gerry Goffin, writers of "He's In Town")



Kyler:Who came up with the Puppy design for BT Puppy? Was it meant to be a knock on RCA Victor’s dog?

PHIL:It wasn’t a knock on RCA, it was an homage to them – that was where we had our biggest hit record so the last thing we wanted to do was knock them!

Kyler:“I Hear Trumpets Blow” has a set of wonderful lyrics. What was the inspiration behind that tune?


PHIL:I Hear Trumpets Blow is an interesting story. It continues now – we always loved it. Mitch wrote it as a homage to our family. It would have been a big record if New York would have played it. The only area we couldn’t get it played was New York City so the record wasn’t as big as it could have been. Noah (Phil’s son) and I wrote a play which is being considered for Broadway called “Oh My Goddess”, and one of the songs we put in it is “I Hear Trumpets Blow”. Hopefully it will have another life – we’ll see!

Kyler:Many of the Tokens songs have intricate background parts – for example, “Breezy” and “Greatest Moments In A Girl’s Life”. Did you guys arrange those parts yourselves?

PHIL:We did all the background parts ourselves. The only one we didn’t do was “He’s In Town”, which Carole King did.

Kyler:You produced many great records and artists – do you have a favorite?

PHIL:Out of all of them, there were only three that I knew would be hits – Knock Three Times (Tony Orlando and Dawn), I Got Rhythm (Happenings) and One Fine Day (Chiffons). I guess I don’t really have a favorite My favorite Tokens record is “Tonight I Fell In Love”. There was something wonderful about the innocence of the background parts. If you notice, the background parts are a descending triad instead of the obvious part. And the record turned out the way we all heard it, so that was kind of exciting.

Kyler:Finally, I bet out readers would like to know what Phil Margo and Tokens are up to these days.

PHIL:We tour all over the country and we travel. We do television and we are celebrating the 50th anniversary of “The Lion Sleeps Tonight”!








Thanks to Phil for the interview! You can check the Tokens official website out HERE


Also, be sure to check out the Rare Rockin Records shop (just click here). You can find many great compact discs to order, and information about two upcoming ones - Billy Meshel (Songwriter's Series) on RRR and Paul Petersen (Hits & Rarities) on Teensville.

NEW RELEASES!!!!!!!!!!!!

Hey folks!

I am glad to tell you about not one, but TWO new releases from the RRR family. Get ready!

The first is a deluxe disc featuring tracks written and co-written by the legendary Billy Meshel. Don't worry - there are some big, Big, BIG names on this CD such as Lenny Welch, Dion & The Belmonts, and Del Shannon. Check out the track lineup:





1. Del Shannon – Don’t Gild the Lily, Lily (Billy Meshel & Arthur Altman) Big Top 3075 (1961)
2. Babs Tino – Dr. Jekyll Or Mr. Hyde (Billy Meshel & Phil Barr) Kapp 561 ( 1963)
3. Billy Mitchell – (Let’s) Stop A Little While (Billy Meshel) Warwick 501 (1959)
4. Lenny Welch – My Fool Of A Heart (Billy Meshel & Teddy Randazzo) Kapp 648 (1965)
5. The Fortune Cookies – It Should Have Been Me (Billy Meshel & Phil Barr) Smash 1991 ( 1965)
6. Eddie Martin – Keep Away From Julie (Billy Meshel & Arthur Altman) Mercury 71909 (1961)
7. Don & Juan – What I Really Meant To Say ( Billy Meshel & Bill Ramal) Big Top 3121 (1962)
8. Donna Lewis – Call Him Back ( Billy Meshel & Phil Barr) Decca 31554 (1964)
9. Billy Meshel – Paradise Found ( Billy Meshel & Arthur Altman) Time 1036 (1961)
10. The Royalettes – Don’t You Cry (Billy Meshel, Teddy Randazzo & Bobby Weinstein) MGM 13283 (1964)
11. Chuck Foote – I Stopped Asking (Billy Meshel & Arthur Altman) 20th Fox 302 (1962)
12. Roberta Wynn – Dream Boy Jubilee 5405 (Billy Meshel & Arthur Altman) Jubilee 5405 (1962)
13. Gary Criss – Sweet, Warm and Soft ( Billy Meshel, Don Covay & John Berry) Diamond 145 (1962)
14. The Crampton Sisters – My Guy Is Boss (Billy Meshel & Phil Barr) DCP 1107 (1964)
15. Billy Stewart – This Is A Fine Time (Billy Meshel & Arthur Altman) United Artists 340 (1961)
16. Ginny Arnell – B-i-l-l-? Why (Billy Meshel) MGM 13362 (1965)
17. Roger Douglass – But Suddenly ( Billy Meshel & Arthur Altman) Mercury 71860 (1961)
18. Marcy Jo – Take A Word ( Billy Meshel) Robbee 117 (1961)
19. Mark Richards – She Can Make Me Cry ( Billy Meshel & Doug Morris) ABC Paramount 10654 (1965)
20. Jennie Smith – It’s Murder For Roberta (Billy Meshel & Arthur Altman) Canadian American 135 (1962)
21. Chuck Foote – I’d Do It All Over Again ( Billy Meshel & Arthur Altman) 20th Fox 302 (1962)
22. Marie Applebee – Dear Mrs Applebee (Billy Meshel & Phil Barr) Jubilee 5570 (1966)
23. The Carousels – Symptons of Love (Billy Meshel & Arthur Altman) ABC Paramount 10233 (1961)
24. Rita Pavone – Right Now (Billy Meshel, Teddy Randazzo & Phil Barr) RCA 47-8612 (1964)
25. Mickey Denton – Now You Can’t Give Them Away (Billy Meshel & Arthur Altman) Big Top 3078 (1962)
26. Dale Brooks – What is There To Tell (Billy Meshel & Arthur Altman) Twirl 2028 ( 1966)
27. Billy Mitchum – Living On A Cloud (Billy Meshel) Imperial 5616 (1961)
28. The Fortune Cookies – A Girl In Love (Billy Meshel & Phil Barr) Smash 1991 (1965)
29. Jerry Keller – Be Careful How You Drive Young Joey ( Billy Meshel & Arthur Altman) Capitol 4630 (1962)
30. Kansas City Twisters – What A Wacky Weekend ( Billy Meshel & Arthur Altman) APT 25062 (1962)
31. Dion & The Belmonts – Movin’ Man (Billy Meshel & Phil Barr) ABC Paramount 10896 (1967)
32. Del Shannon – I Can’t Believe My Ears (Billy Meshel & Phil Barr) Amy 947 ( 1966)



This disc is the closest of the two to release - so you can pre-order now HERE.



Just as exciting is a new Teensville release by teen idol Paul Petersen. It's entitled "HITS & RARITIES". Just like the title says, all the hits are here, plus many rare tracks and new stereo mixes added in to make a great compilation. There is no pre-order option yet, but we will let you know when there is! For now, take a look at the track listing:




1. SHE CAN'T FIND HER KEYS (A) stereo
(Wally Gold-Roy Alfred)
Colpix 620
2. KEEP YOUR LOVE LOCKED (DEEP IN YOUR HEART) (A) stereo
(Gerry Goffin-Carole King)
Colpix 622
3. LOLLIPOPS & ROSES (A) stereo
(Tony Velona)
Colpix 649
4. MY DAD (A) stereo
(Barry Mann-Cynthia Weil)
Colpix 663
5. AMY (A)
(Barry Mann-Cynthia Weil)
Colpix 676
6. GIRLS IN THE SUMMERTIME (A)
(Sid Wayne-Sherman Edwards)
Colpix 697
7. THE CHEERLEADER (A)
(Fred Tobias-Lee Pockriss)
Colpix 707
8. POOREST BOY IN TOWN (A)
(Fred Tobias-Lee Pockriss)
Colpix 720
9. SHE RIDES WITH ME (B)
(Brian Wilson-Roger Christian)
Colpix 720
10. WHERE IS SHE? (C)
(Barry Mann-Cynthia Weil)
Colpix 730
11. HEY THERE BEAUTIFUL (C)
(Barry Mann-Cynthia Weil)
Colpix 730
12. LITTLE DREAMER (A)
(Deane Hawley-Jerry Riopelle)
Colpix 763
13. HAPPY (A)
(Nick DeCaro)
Colpix 763
14. THE RING (D)
(Billy Page)
Colpix 785
15. YOU DON'T NEED MONEY (E)
(Tommy Roe)
Colpix 785
16. LITTLE BOY SAD (A)
(Wayne P. Walker)
Colpix 663
17. BE EVERYTHING TO ANYONE YOU LOVE (A)
(Doc Pomus-Alan Jeffreys)
Colpix 622
18. MAMA YOUR LITTLE BOY FELL (A)
(Barry Mann-Mike Anthony)
Colpix 697
19. I WANNA BE FREE (TV) (A) (unreleased)
(Stu Phillips-Tommy Boyce)
20. ROSIE (from Bye Bye Birdie) (A)
(Charles Strouse-Lee Adams)
Colpix LP 454
21. ONE GIRL (from Bye Bye Birdie) (A) stereo
(Charles Strouse-Lee Adams)
Colpix LP 454
22. KIDS (FOLKS) (from Bye Bye Birdie) (A)
(Charles Strouse-Lee Adams)
Colpix LP 454
23. VERY UNLIKELY (A) stereo
(Gary Geld-Peter Udell)
Colpix 620
24. WHAT DID THEY DO BEFORE ROCK 'N' ROLL? (A) stereo
(Sherman Edwards-Sid Wayne)
Colpix 631
25. DON'T LET IT HAPPEN TO US (F) stereo
(Frank Wilson)
Motown 1108
26. CHAINED (F)
(Frank Wilson)
Motown 1108
27. A LITTLE BIT FOR SANDY (G)
(R. Dean Taylor)
Motown 1129
28. YOUR LOVE'S GOT ME BURNING ALIVE (H)
Motown 1109
29. TWO LITTLE BOYS (H) (unreleased)
(Theodore Morse-Edward Madden)
30. QUARANTINE (A) (unreleased) stereo
(Fred Anisfield)
31. QUARANTINE (TV insert) (A) (unreleased) stereo

The official page for this CD can be found HERE



As always, we'd love to hear you comments. Just post them below - they WILL be read!

Until next time, rock on!