10 best Del Shannon images on Pinterest | Del shannon, 60s music and Del shannon runaway
Cry myself to sleep · Handy man · Hats off to Larry · Hey, Little girl · Keep searching · Kelly · Little town flirt · Runaway · So long, baby · Stranger in town. Del Shannon was inducted into the Rock and Roll Hall of Fame in .. Little Town Flirt took a few weeks to break as Christmas singles were interfering with regular airplay. Shannon loved the use of the A-minor chord in the middle of the bridge, and .. He loved Tommy Boyce but he thought the lyrics were rather silly. Words in () are sung by backing vocals. [Introduction] C [Verse 1] C Am Here she comes,(here she comes) that little town flirt,(here she comes) F G You're falling.
The two measure introduction starts proceedings off in A major but the beginning of the first verse switches quickly to A minor.
Each verse ends up back on A major but the conclusion of the song reiterates this ambivalence by continually alternating between A major and A minor as it fades off into the sunset. Apparently the identity of the key is both A major and minor! The first thing we hear in the introduction is George Harrison's four-note guitar phrase which was apparently written and introduced during the recording session since it wasn't in existence during Takes 2 and 3. This phrase is actually heard before the one-beat of the first measure, the last note appearing on the 'four-and' beat in which the rest of the band join in.
The first verse, like all of the verses, is six measures long and features three-part harmony with John's melody line being double-tracked. A descending bass line from Paul helps contain the Del Shannon-like five chord pattern, one chord per measure with a repeat of the final A major chord as a backdrop to a repeat of George's four-note guitar phrase.
After an identical pattern for the second verse we enter into the first bridge, which is actually 6-and-a-half measures long since Lennon instinctively decides to chop off the final two beats of the last measure. John sings this solo but double-tracked while ending the bridge with a distinctive "oh-oh" transitional phrase repeated twice to segue nicely back into a third verse. This third verse, as well as the fourth verse that immediately follows, are identical in form to the previous verses.
John then premiers a completely different bridge which ends up being 9-and-a-half measures long, since he once again instinctively chops of the last two beats of the final measure. This is probably what John is referring to when he stated about the song in a interview, "a nice song, though the middle is a bit tatty.
This differently formatted bridge, which is only heard this one time in the song, is similar to the other bridge only in the repeat of the "oh-oh" transitional phrases heard at the end. The third and fourth verses are then repeated, which is then followed by the first bridge but with different lyrics. Afterwards, the song winds down with a repeat of the first verse, which was also a new idea introduced during the recording session evidenced by it not occurring in the complete Take 3.
Concluding with a repeat of the first verse proved to be a good idea since we end the song with its title, which is only the second time it was used in the song.
George's four-note guitar phrase is then repeated every two measures as the chord switches back and forth between A major and A minor and the song fades. Lennon's lower-end melody line in the verses and higher register vocals in the bridges easily identify the song as primarily a 'John song,' as most of the British " A Hard Day's Night " album is confirmed to be.
His convincing delivery helps us believe he is really unburdening himself to us, unlike songs with throwaway lyrics in the recent past such as " Little Child ". His foursquare acoustic rhythm guitar work is delivered appropriately as a suitable backdrop to the song.
Harrison ends up delivering a compelling ingredient to the song with his reoccurring four-note acoustic guitar phrase as well as his syncopated triplet strums in the middle of many verses, which always occur on the F major chord.
His high sustained harmony vocals in the verses are done very well, something that also appears to have been thought of sometime during the three-hour recording session since it didn't exist in Take 3.
McCartney does his usual impeccable job keeping pitch on his harmonies as well as his appropriate downbeat bass work, including the above mentioned descending bass lines. Ringo does little more than keep the beat except for his occasional accents, such as in the introduction.
John's romantic insecurities are beginning to become a recurring theme in his lyrics as of midas evidenced in " I'll Cry Instead " and " If I Fell. Nonetheless, this time around, the subject in "I'll Be Back" centers around his girl breaking his heart, resulting in his leaving for a short time only to return and find it happen again.
He even confesses his motives in leaving, explaining "I thought that you would realize that if I ran away from you, that you would want me too. Even so, the singer is determined to attempt this plan yet another time, saying "I wanna go" but "you know I hate to leave you" since he has apparently become dependent on her love. Lennon himself continues this theme with " Girl " in Knowing they had a spare track remaining, they figured they better include it on the next album before it sounded outdated in comparison to newer Beatles tracks.
With this in mind, "I'll Be Back" found its place on the December 15th, released album " Beatles ' This album then appeared as an individual compact disc on January 21st,both the mono and stereo versions of the album contained on a single CD. Sometime inCapitol released Beatles music on a brand new but short-lived format called "Playtapes.
These "Playtapes" are highly collectable today. The next release of the song was on October 21st, on the double-compilation album "Love Songs. While this release was in mono only, the stereo re-mastered version came out on September 9th, The highly anticipated "Anthology 1" album was released on November 20th, which featured both Takes 2 and 3 of "I'll Be Back.
Since this album soared to the top of the Billboard album charts and went quadruple-platinum, a lot of Beatles fans got to take this glimpse. To temporarily satisfy the demand to hear the early Beatles catalog in stereo, Capitol decided to make the stereo masters they had in their vaults available to the public in the form of the box set "The Capitol Albums, Vol. This set featured the entire mono Beatles catalog including a crisp and clear re-mastered version of the original mono mix of "I'll Be Back.
Therefore, they never included the song in any concert performances. He kept Loren Dugger on bass, and hired two more players: Dick Pace on guitar, and Dick Parker on drums. Parker, then just eighteen, was a referral.
Singer Del Shannon Shoots Himself, Leaving Others to Wonder Why He Ran Away
Pace didn't stick around long enough; with a large family to support, he left for California to work at Knott's Berry Farm. Westover was in need of another guitarist, and hired Bob Popenhagen, a local guitarist who could also play left handed and play organ well. Popenhagen was a great addition to the band. He was well liked and in early he left to front a band at another Battle Creek bar, the El Grotto. This put Westover in need of another player.
Drummer Dick Parker suggested that Westover call a man he knew who played accordion and piano. He wanted a guitar player. Parker pushed Westover to at least audition this organist, who had a little organ that made "other worldly sounds. Crook arrived one night at the Hi-Lo Club to audition for the part of organist.
He brought a little three-legged synthesizer he dubbed the 'Musitron. He couldn't believe the sounds he heard coming out of this little black box machine. Max Crook was a man who tinkered with everything electronic, and he became one of the first to record Westover's compositions on tape, beginning with original tunes like Little Oscar, I'm Blue Without You, and Living In Misery.
Westover and Crook laid down song after song. Westover later explained "This was my first encountering of 'the jive. But they never did. McLaughlin came in to the Hi-Lo Club one night after hours to hear some songs. He was black and in those days the Hi-Lo was an all white club. Westover and Crook gave McLaughlin a few songs on reel-to-reel to take back with him to Detroit: Lonely and Seventh Hour.
Westover and Crook met with Balk and Michanik at McLaughlin's urging, and they sat down in July of and signed a contract to become both recording artists and composers for Talent Artists, who subcontracted them to Johnny Beinstock's Bigtop Records in New York.
In the back room, McLaughlin and Balk negotiated a deal on the music's publishing, splitting it between McLaughlin Publishing and Balk's Vicki Music named after his daughter.
Anxious to get on record, both Westover and Crook agreed and signed five-year contracts. Balk suggested name changes for both of the newly signed artists. Since he never used it, Westover took the name. Max Crook took the name Maximilian, a clever king-like name that sounded authoritative.
Balk produced the session, bringing in Bill Ramal, a young arranger and saxophone player whom he'd used for most Johnny and the Hurricanes sessions. There was a great string arrangement by Bill Ramal, but Shannon was too nervous in the studio and couldn't get a good take.
Balk decided to scrap the session, and that there was no hope for a single. Max Crook wasn't used for this first session. Lonely and Seventh Hour were given to Johnny and the Hurricanes to record.
They released just one, Mr. Shannon, depressed about the failing session, was encouraged by McLaughlin and Balk to write something a little more uptempo. Demo tapes were sent off to McLaughlin, who heard a snippet of a song called Little Runaway, which had been recorded over.
McLaughlin asked Shannon and Crook to re-record the song. Little Runaway was re-recorded in Max Crook's living room, along with another song, Jody.
43 best Del Shannon images on Pinterest | Del shannon, Rock roll and Classic rock
McLaughlin liked what he heard and drove to Detroit again to sit with Balk and Micahnik to negotiate another recording session. McLaughlin pressed hard, believing highly in the potential of this Little Runaway song. Harry Balk commented, "You know the problem with this song Ollie, is that it sounds like three songs trying to come together. What's this little thing in the middle?
Harry Balk called Shannon and told him that he would set up another session. Not banking totally in Shannon's singing ability, he encouraged Max to write a couple of instrumentals to record at the session. Balk wanted to record something specifically with Crook's musitron, and this was it.
Shannon and Crook made the long mile trip to New York by car to record the session. It was the middle of winter, and the heater broke in the car. Del and Max brought their wives with them, Shirley and Joann. They wrapped blankets around them in the back seat to keep warm. Max was allergic to smoke, and Del smoked cigars.
Shannon would have to roll the window down and stick his head out of the car to smoke, just so Max wouldn't get sick and cough. On January 21st,they walked into Bell Sound recording studios with all of Max Crook's crazy gadgets and equipment.
Bell Sound was one the first professional 4-track recording studios in the world at the time, and Balk and Micahnik were willing to pay the top dollar to get a professional recording slicked. Shannon again was nervous in the recording studio, as he felt overshadowed by such talented musicians. Here were all of these now famous session men like Al Caiola, Milt Hinton, and Bill Ramal who could read music charts and play licks like you wouldn't believe. Bill Ramal was a master of arrangements, and here was Del, just a guy who wrote a hit song.
He set up his musitron in the recording studio as the session men and engineers gawked. Harry Balk produced the session, running around the place with an iron fist. Plug that cord in. I don't want to hear it, it's not open for discussion. He had a great ear for music and sound, and used threats and force as a means to accomplish what he needed done in a hurry! Balk was a good organizer, and he chose his session players carefully.
He told Del that he would not be playing his guitar on the session, that vocals would all that he'd be doing. Shannon was upset about that, desperately wanting to play guitar on his own session, but Balk felt that because Del couldn't read music charts, he'd have to allow Al Caiola to play in his place.
Although Shannon was an accomplished guitarist, he was never given much opportunity to play it in his years with Bigtop. The recording session lasted just three hours, and everyone seemed to know they had laid down a few good tracks. Runaway was played to distributors via a telephone hook-up in the control room, where distributors across the country could hear a rough mix and pre-order copies of the single before it went to press.
Runaway was released on Bigtop Records in February of and it began immediately to climb the charts. By March, Balk was on the phone calling Shannon at the club and telling him Runaway was indeed a runaway…selling 80, records a day.
Shannon asked if that meant he could quit the club. Harry replied in the affirmative and told Shannon to get to New York as quickly as possible.
A show had been scheduled at the Paramount Theatre in Brooklyn. In April, Shannon appeared on Dick Clark's "American Bandstand," helping to catapult Runaway to the 1 spot on the Billboard charts where it remained for four weeks.
Runaway made Shannon an instant star. His bio was written by his manager Irving Micahnik, who changed the married 26 year old singer with two kids into a 21 year old milk drinking superstar, unmarried and available to all young women, with no attachments.
When wife Shirley traveled with him on tour, she was billed as his sister. Shannon was not allowed to play guitar on stage. He was forced to wear iron-pressed suits and snap his fingers like Frank Sinatra. This was not an uncommon practice. Shannon sang his only hit Runaway four times a day at the Paramount. Shannon was fortunate to get a brief break near the end of April '61 to visit his hometown of Coopersville, where he was asked to speak to the high school teenagers about music, his success, and his stardom.
Shannon was joined by his mother and father, and felt he had finally proven himself in the eyes of many in his hometown, including his high school principal, Russell Conran, who mentored Shannon and managed to keep him in school. Shannon had very high regard for this man and in later years always made a point of visiting him as if he were family. But the small town thinking still lurked in the background. Shannon was not allowed to sing Runaway to the high school student body.
It was feared by the school faculty that if Shannon sang, the youngsters would get out of control. After his speech, Shannon was to receive the key to the city from the Coopersville mayor. The mayor never showed up. Rock and Roll was not yet accepted in this small town, much in the same respect as blacks or Hispanics.
The idea of "keeping the town clean" and "free of sinful things" was a very common practice in those days. That night, Shannon played Runaway and a few other numbers on Main Street in downtown Coopersville on the back on a flatbed truck. Max Crook joined him. Police protection was necessary in case a riot or frenzy broke loose. Bobby and Dion took the farm boy out of Shannon and slicked him up with a new hairstyle and some Italian suits.
Hats Off To Larry was Shannon's only original tune recorded at this second session, his other songs having no commercial appeal in the eyes of Balk. Shannon supplied only vocals, while session ace Al Caiola played guitar. Hats Off To Larry was released in the summer of and took the fifth spot on the charts as Runaway worked its way down.
With a second hit on their hands, Balk brought Shannon back into the studios to cut a few more tracks to make an album. In truth, the latter two probably should have never seen the light of day. Hats Off To Larry and Don't Gild The Lily, Lily would have been a better choices, but it those days the record charts were still being driven by sales of singles, and Balk and Micahnik didn't want an album to take away from the sales of the new single.
The LP didn't fare well on the album charts.
LITTLE TOWN Chords - Amy Grant | E-Chords
Shannon had been touring extensively and hadn't had much time to write more songs. So Long Baby went to 28 on the American charts. In October, Shannon and Crook returned to the studio, recording another split session with Shannon's Hey! Little Girl also broke the American Top 40 at 38, giving Shannon a string of four hits in just his first year as a recording artist. Crook also faired well, having regional hits with both "Maximilian" singles in Canada.
Shannon managed to work in an original, I Won't Be There, which featured a roller coaster ride of soaring vocals. Ginny In the Mirror bombed miserably, and soured Harry Balk who was against the session to begin with. Balk advised Micahnik he was going to fly out Shannon to Nashville to search for new material and a new sound. In Nashville, they found what they were looking for: Roger Miller's The Swiss Maid.
Harry Balk's wife, Patti Jerome, cut two sides for her next Bigtop release. Dion's Runaround Sue rounded out the session.
Boots Randolph and the Jordanaires were featured, among other Nashville regulars. The Swiss Maid soon followed, missing completely with the U.
Another British tour was lined up, and Shannon toured heavily to promote his latest effort. Del continued to write songs with regularity. He walked into Belinda in London to lay down a few songs to acetate. Neither would see the light of day, but are available here for the very first time. They were a team of three Italian sisters from the east side of Detroit, and they had a great "locomotion-like" sound. Shannon liked the idea and together he and Maron finished the song.
Shannon had been influenced by the Nashville guitar playing, double-strumming, which later became known as the Mersey beat sound. Shannon had The Wamboo already in the bag, and it was a perfect B-side for Flirt. I had this idea, 'the temptation of those ruby red lips. He had the idea of 'paper heart' and 'tear it apart. We followed that up. I had the idea for Two Kind of Teardops and he had the idea of Kelly. We wrote them together. Two Silhouettes was his, My Wild One was mine.
Co-writing with Del was a fun experience, one I'll never forget. In late December, when Christmas had passed, Flirt shot like a bullet from 88 to 12 in just a couple of weeks. Shannon had another hit and a different sound. Let's use the girls again for these songs. Two Kinds of Teardrops was released to follow up Flirt and it was another silver record.
Del Shannon was back on top, both in America and in Europe. He also visited Sweden, where he was popular. Kelly, although a B-side, received airplay in Liverpool where it became a hit. Shannon returned to Bell Sound in New York to fill out an album's worth of songs. Shannon shared the bill with the up and coming Beatles at the Royal Albert Hall on April 18,closing the show with Flirt and Teardrops.
Shannon loved the use of the A-minor chord in the middle of the bridge, and set up a recording session at West End Studios. Ivor Raymonde was the arranger at the session. Johnny Tillotson, who was touring with Shannon, attended the session, along with Irving Micahnik, who was also present. This was the only time this recording was heard publicly. Micahnik took possession of the master tapes and they were later lost.
Del, upset with late royalties and deals going sour, left Talent Artists, Inc. Micahnik made sure that was not going to happen. He mailed letters and called all of the major record labels, threatening lawsuits if anyone signed Del Shannon. Irving had gone to law school and was very good at threatening legal action.
Shannon was blackballed in the music business, and his only solution was to form his own record label, Ber-Lee Records, named after his parents. He hired Bill Ramal to arrange the session, and Del produced the set himself. Bucky Pizzarelli was brought in on guitar, Joe Benjamin on bass, Osie Johnson on drums, and an unidentified pianist.
Shannon played rhythm guitar. Sue made it to 71 in the U. Shannon later said that distribution of the single was to blame as it was hard to get records out to the distributors in a timely manner.
He contracted with Diamond Records to help out with distribution. Apex Records released it in Canada, and London distributed it in England. By this time, they had terminated their deal with Bigtop Records. Rumor was that Micahnik owed money to both Bell and Mira Sound studios, and both studios were hounding Johnny Beinstock, president of Bigtop Records, for money.
Beinstock paid the bill to deny Irving access to the master tapes, and severed all partnerships with Talent Artists, Inc. Thus most of Del Shannon's master tapes were lost. Most masters were normally kept at the recording studio vaults so that they would be close at-hand if anything needed to be done with or to them. About this same time, Shannon fooled around in United Sound studios to record a few numbers with Dick Bosie and the Teenbeats, who were also with BigTop at one point.
Most of the session yielded surf-type music, jam sessions recorded by the bunch of which Shannon produced and paid for. Among the tracks wereNothin', Pursuit, and Torture, an instrumental with overdubbed vocals by Del and the Teenbeats being "whipped" and begging for water.
The final track at the session was a novelty tune by Del and his son Craig called Froggy. Froggy was a silly song and never intended for commercial release. It was Shannon's first time bringing in one of his children to a recording session, and Craig was allowed to sing the frog's voice slowed down to give it depth while Shannon sang the high female part sped up to give it more female quality.
This session is being released in it's entirety here for the first time by Bear Family for reasons of historical completion We hope that Del would approve. Balk and Micahnik sent Shannon into the studios with the Royaltones as his backing group. The new deal allowed for Shannon to play rhythm guitar at his own sessions. The Popoff brothers, Greg and Mike, played alto and tenor saxophone. Bill Ramal was now out of the picture. The Royaltones also substituted as Shannon's vocal chorus.
Unfortunately, Shannon had two singles released the very same day: Split airplay caused the two singles to compete against one another, and both failed in virtually every country. Harry Balk felt Shannon's songwriting had gone into a temporary slump. Shannon was still upset over legal battles, but eventually signed over his Ber-Lee sides to Micahnik. Balk had a thought.
Handy Man took the majority of the session to record. Shannon and Balk feuded over the arrangement, and Balk eventually got his way. Balk ran the studio with an iron fist. We needed a whiter arrangement. Del had pissed me off because he didn't do what I asked him, and that was to find a new arrangement for the song. Wrap it up and let's move to the next one. The session was over.
Hits of Yesterday - 1963
Handy Man made 22 in the U. Shannon was a major hit maker stateside again, and everyone felt an album was due. In late June, Shannon quick covered five songs: He so wished that he was the one that wrote that song. He loved Roy's music so much, he would always cry.
It is believed that the album was released in stereo also, but no known copy has been reported to exist. The album cover does have "stereo" lettering on all mono sleeves, if the label is peeled back from the creased border. If a stereo copy is ever found, it would become the only known copy of these tracks in true stereo, as the master tapes are lost. George Katsakis played a clavioline, a synthesizer much the same as Max Crook's musitron. Recorded at Mira Sound, the track sound seemed distorted.
We decided to cover 'Handy Man,' and when we had success with that, we copy-catted ourselves and cut another cover. Del certainly had mastered this song live, and he got the audiences up off their seats. According to Harry Balk, Shannon had been drinking and wasn't able to hit the right notes.
Harry said he couldn't believe a guy could write such a great song but then not be able to sing and play it. The three hour session was over, and Pieces wasn't completed. The song was scrapped and the single was all that was utilized from this session.
A cheesy B-side, this freaky bottom coupler was also penned by Shannon, but never released. Both turned it down. He played the record for them, and they agreed it was a great tune. They asked to record it and Shannon obliged. Top 10 on the charts and a big smash internationally. With an arrangement change, the song had more feel, and Shannon was both excited and devastated, for his song was a hit, but he wasn't the one who recorded it.
Shannon always said in interviews years later that I Go To Pieces was his favorite song among all the songs in his repertoire.
Del continued to write successfully when, inspired by his friends Stephen Monahan and Dan Bourgoise one night in his home basement, he was encouraged to write another song in A-minor. Shannon took the advice of Bourgoise and started strumming his guitar one night, singing "…if we gotta keep on the run, we'll follow the sun" as Monahan sang "wee-ooo" in falsetto as a gag. Shannon passed out from drinking that night, but the next morning, he woke up with "We gotta keep searchin' searchin'" in his head.
He pressed 'Record' on his reel-to-reel and laid down a decent demo. Stranger In Town popped out of his head a day later, along with Over You, both featuring the influence of Roy Orbison. Broken Promises soon followed and Shannon had another recording session to set up.
Shannon was on a hot writing streak. The Royaltones were called up and everyone rallied at Bell Sound in October of and recorded the four songs. The production on this session was very intense and tight. Balk got out on the studio floor himself with a big fat cigar dangling from his mouth and clapped two wooden 'two-by-fours' blocks together for added effect.