Tommy Boyce established himself as a hero to three-year-old caithiseach as soon as his single entered my collection. Apart from “Sweet Little Baby I Care,” I owned only the flip, a self-penned tune called “Have You Had a Change of Heart” (RCA 8126), but Tommy’s songs earned my complete attention. I didn’t play today’s side quite as much, but I consider this single to be one of the strongest two-sided 45s I owned. Since the material hasn’t been released on CD yet (to my knowledge), I am very glad this 45 is a Survivor of the Great Vinyl Meltdown.
I was fortunate enough to have the Quintessential Valuable Commenter, Yah Shure, offer me some data from his Goldmine 45 price guide, which I need to acquire so he doesn’t have to rescue me. According to this impeccable source, Tommy released these singles through 1963:
1960
R-Dell 111.............Betty Jean / I'm Not Sure
Dot 16117.............The Gypsy Song / Give Me The Clue
1961
Wow 345..............Is It True / Little One
RCA Victor 7975....Along Came Linda / You Look So Lonely
1962
RCA Victor 8025....Come Here Joanne / The Way I Used To Do
RCA Victor 8074....I'll Remember Carol / Too Late For Tears
1963
RCA Victor 8126....Have You Had A Change Of Heart / Sweet Little Baby, I Care
RCA Victor 8208....Don't Be Afraid / A Million Things To Say
Only “I’ll Remember Carol” charted, but I would jump at the chance to buy a compilation of these sides. Tommy seems to have released a couple of albums on RCA as well, and I’ll be looking for them.
As was the case with most of Tommy’s other compositions, he had a co-writer on “Have You Had a Change of Heart.” B. Kelly had some hand in its creation, according to the 45 label. And guess who B. is? Betty Jean Kelly, the probable inspiration for Tommy’s first single, and who happened to be Tommy’s sister.
The production and arrangements appealed to three-year-old caithiseach, so I’ll take a moment to mention their source. The sessions were produced by Ray Ellis. He has a solid pedigree, having orchestrated the 1958 Billie Holiday album Lady in Satin, arranged “A Certain Smile” for Johnny Mathis, and written the theme song for the Spider-Man cartoons. He wrote background music for the Archie TV show, which solidifies the link between the Jeff and Tommy RCA singles. All that, and Tommy Boyce, too.
The arrangements on these sides were the work of Jimmie Haskell. Yes, the Jimmie Haskell who arranged Billy Joel’s Cold Spring Harbor LP, played on Tina Turner’s Acid Queen LP, and came up with his own space-age pop LP, Count Down! He arranged Simon & Garfunkel’s “Bridge Over Troubled Water,” Bobbie Gentry’s “Ode to Billie Joe,” and Chicago’s “If You Leave Me Now,” all of which earned him “Best Arranger” Grammys. His spectacular credentials are available at his website.
The top-notch help makes me think RCA was big on Tommy Boyce. While the RCA material didn’t pan out, the A&R people at RCA eventually got to pat themselves on the back for having good judgment, if not the best timing.
Not long after this single didn’t hit the charts, Tommy experienced a watershed moment in his career when he met up with Robert Harshman, a Phoenix native who was already a talented songwriter. One of their first assignments was to pen the theme song for Days of Our Lives, a U.S. daytime drama that has been on the air since 1965. Here is that theme.
The boys, with Robert taking the name Bobby Hart, began to write a string of hits for top artists, including “Come a Little Bit Closer” for Jay and the Americans and “(I’m Not Your) Steppin’ Stone” for Paul Revere and the Raiders.
It may have been a right place, right time thing, but Boyce and Hart, the songwriters, were tapped to create music for a TV pilot that was intended as an American answer to the Beatles: The Monkees. From the theme song to “Last Train to Clarksville,” Boyce and Hart were the creative forces behind the act at its inception. They recorded the tracks, vocals included, then either wiped their vocals or mixed them out when Mickey Dolenz and pals came to sing.
And then, the flap occurred over the fact that the Monkees didn’t play their instruments, and the Monkees wanted to write their own songs, and Boyce and Hart exited in favor of Don Kirshner’s guru, Jeff Barry. Jeff was no slouch, as he brought in a little Neil Diamond composition, “I’m a Believer,” which topped the Hot 100 for seven weeks in 1967, despite Mike Nesmith’s assurances that the song was no hit.
When the Monkees (read: Nesmith) griped about Jeff as they had about Boyce and Hart, the source of the problem became evident. But the legacy of what Boyce and Hart accomplished musically with that foursome will not go away, and time has had a way of creating more respect for the Boyce/Hart productions.
Sometimes it works out that a pair of writers can create their own musical act. For Boyce and Hart, the results were pretty spectacular. They scored three Top 40 hits, including one of the best songs of the decade, “I Wonder What She’s Doing Tonite.” (The title spelling stems from an identically titled 1963 single by Barry & the Tamerlanes.) This song centers itself in its time frame, calling on all of the musical conventions of the moment: loud brass, chord progressions you could hear anywhere. And yet, the lyrics, especially the B part of the verses, about what friends never do, are some of the wisest and tightest to come to light in 1968, when the song peaked at #8. It’s a spectacular song; the duo sang as if they were brothers, and they obviously had a lot of fun making the record.
From there, they wound up paired with Dolenz and Jones in a Monkees reunion in the mid-1970s, and then things started to calm down. Tommy spent some time in the United Kingdom, then he took up residence in Nashville.
At some point, Tommy suffered a brain aneurysm, which exacerbated some depression issues he faced. Some of his best friends had died, including Elvis Presley and Del Shannon, who took his own life on February 8, 1990. Tommy had the courage to appear on talk shows to discuss his depression, a touchy subject even in the early 1990s. Finally unable to deal with the pain, Tommy shot himself in the head at his home on November 23, 1994.
Tommy’s sister, Betty Jean, dedicated a memorial bench to Tommy at Studio B in Nashville. Sidney Thomas Boyce was born on September 29, 1939. Monday will be the 69th anniversary of his birth.
For Wednesday, I will bring you what may be the first 45 I specifically requested as a gift. It was a big hit, too, for once. Until then, listen to Tommy’s other song, and watch him and Bobby get after “I Wonder What She’s Doing Tonite.”
Tommy Boyce, Have You Had a Change of Heart
Showing posts with label Tommy Boyce. Show all posts
Showing posts with label Tommy Boyce. Show all posts
Friday, September 26, 2008
Tuesday, September 23, 2008
Another Precursor to Greatness
Over the course of the blog year, I have talked about some singles in my 1960s cache that were poorly received followup singles (“Snow Train” by the Jamies, for example), or enticing tastes of what was to come (“Face from Outer Space” by Jeff Barry, who had just one Top 40 single as a singer but wrote your childhood soundtrack). Here is another look at someone who was going to be someone, and the tale is almost as compelling to me as Jeff’s is.
Apart from a few legacy singles by Elvis (Presley), the early caithiseach collection of 45s didn’t include a lot of RCA singles, because the label’s stable of artists generated a lot of hits and thus few cutouts. That’s my theory, anyway. In a manner similar to my experience with Mercury singles, the RCA 45s that did make their way to me had a special cachet, because they were a lot closer to being hits than many of the other flops I owned.
I’ve said before that three-year-old caithiseach tended to favor uptempo numbers over syrupy slow songs. I really avoided playing songs that included heavy strings and large choruses singing quavery “oohs.” Today’s song is gentle, has a string part, and has a couple of girls singing background vocals, but it is tender rather than sappy, clean rather than overdone with the production. That distinction, as well as the artist’s voice, made a strong caithiseach hit of “Sweet Little Baby I Care” by Tommy Boyce (RCA Victor 8116).
A large percentage of my readership knows who Tommy Boyce is. Don’t feel bad if you’re young enough that his name has escaped your notice; I’ll fill you in shortly. But even if you know his work well, there’s a decent chance you have not heard “Sweet Little Baby I Care.” That’s not because the track lacks merit; it’s because no one has seen fit to issue a Tommy Boyce solo anthology.
That is a shame, because Tommy’s RCA output is, as far as my knowledge of it goes, pretty solid. He recorded at least two albums for RCA, and I don’t know how many singles he released for them; there is so much search-engine chatter for other configurations of his career that I can’t whittle things down to his solo RCA output. But he scored a three-week Hot 100 hit with “I’ll Remember Carol,” which peaked at #80. A few months later, RCA released today’s song, but it didn’t chart nationally. A copy came into my hands shortly after its release. I loved it.
I was mulling over the song’s charm, and I have figured out a couple of things. First, this recording does not sound like any other quiet song of its era. It should have piano triplets or electric guitar licks, and it sounds more like a folk romance song. The strings serve a purpose, rather than being filler, but they don’t overpower the vocals or the rest of the arrangement.
Unlike, for example, Johnny Tillotson’s “Poetry in Motion,” you could drop “Sweet Little Baby I Care” into a 1970 playlist, and no one would bat an eye. Or an ear.
Conclusion: The song was ahead of its time, not behind it. “Sweet Little Baby I Care” was written by Edwin and Alvin Johnson, co-members of a late-1950s vocal group, the Souvenirs. One of their songs, “Castin’ My Spell,” reached #52 in 1959 for the Johnny Otis Show.
By 1963, Tommy Boyce had paid his dues and earned an RCA recording contract, so I wonder if it was a lack of promotion or radio resistance to his work that kept him down. His unpublished book of industry anecdotes might tell the story, so I’m going to look into that. Here is the chain of career events that led to his RCA days:
Born in Charlottesville, Virginia in 1939, Tommy’s break came when a song he said he wrote by himself, “Be My Guest,” made its way to Fats Domino. The de rigeur deal for a new songwriter was to share with a big-name artist, so Fats has partial credit, as does the middleman, John Marascalco. But that 1959 #8 smash was just the beginning, as Tommy went on to co-write “Pretty Little Angel Eyes” with Curtis Lee, who recorded it for the Dunes label, owned by Ray Peterson, with production by Phil Spector.
With Steven Venet, Tommy wrote “Peaches N Cream,” a #36 hit for the Ikettes in 1965, and “Action,” Freddy Cannon’s #13 hit from the same year. The later tune served as the theme to Dick Clark’s Where the Action Is show.
Rather than talk about Phase Two of Tommy’s career with Robert Harshman today, I’ll save myself something pretty spectacular to write about for Saturday. I’ll discuss the producer and arranger of both sides then, as well.
The single is scratchy, because caithiseach played this one all the time. In addition to that bit of solo work, here’s a clip of Tommy singing some of his compositions that were covered by others. More to come on Saturday. See you on the flip side!
Tommy Boyce, Sweet Little Baby I Care
Apart from a few legacy singles by Elvis (Presley), the early caithiseach collection of 45s didn’t include a lot of RCA singles, because the label’s stable of artists generated a lot of hits and thus few cutouts. That’s my theory, anyway. In a manner similar to my experience with Mercury singles, the RCA 45s that did make their way to me had a special cachet, because they were a lot closer to being hits than many of the other flops I owned.
I’ve said before that three-year-old caithiseach tended to favor uptempo numbers over syrupy slow songs. I really avoided playing songs that included heavy strings and large choruses singing quavery “oohs.” Today’s song is gentle, has a string part, and has a couple of girls singing background vocals, but it is tender rather than sappy, clean rather than overdone with the production. That distinction, as well as the artist’s voice, made a strong caithiseach hit of “Sweet Little Baby I Care” by Tommy Boyce (RCA Victor 8116).
A large percentage of my readership knows who Tommy Boyce is. Don’t feel bad if you’re young enough that his name has escaped your notice; I’ll fill you in shortly. But even if you know his work well, there’s a decent chance you have not heard “Sweet Little Baby I Care.” That’s not because the track lacks merit; it’s because no one has seen fit to issue a Tommy Boyce solo anthology.
That is a shame, because Tommy’s RCA output is, as far as my knowledge of it goes, pretty solid. He recorded at least two albums for RCA, and I don’t know how many singles he released for them; there is so much search-engine chatter for other configurations of his career that I can’t whittle things down to his solo RCA output. But he scored a three-week Hot 100 hit with “I’ll Remember Carol,” which peaked at #80. A few months later, RCA released today’s song, but it didn’t chart nationally. A copy came into my hands shortly after its release. I loved it.
I was mulling over the song’s charm, and I have figured out a couple of things. First, this recording does not sound like any other quiet song of its era. It should have piano triplets or electric guitar licks, and it sounds more like a folk romance song. The strings serve a purpose, rather than being filler, but they don’t overpower the vocals or the rest of the arrangement.
Unlike, for example, Johnny Tillotson’s “Poetry in Motion,” you could drop “Sweet Little Baby I Care” into a 1970 playlist, and no one would bat an eye. Or an ear.
Conclusion: The song was ahead of its time, not behind it. “Sweet Little Baby I Care” was written by Edwin and Alvin Johnson, co-members of a late-1950s vocal group, the Souvenirs. One of their songs, “Castin’ My Spell,” reached #52 in 1959 for the Johnny Otis Show.
By 1963, Tommy Boyce had paid his dues and earned an RCA recording contract, so I wonder if it was a lack of promotion or radio resistance to his work that kept him down. His unpublished book of industry anecdotes might tell the story, so I’m going to look into that. Here is the chain of career events that led to his RCA days:
Born in Charlottesville, Virginia in 1939, Tommy’s break came when a song he said he wrote by himself, “Be My Guest,” made its way to Fats Domino. The de rigeur deal for a new songwriter was to share with a big-name artist, so Fats has partial credit, as does the middleman, John Marascalco. But that 1959 #8 smash was just the beginning, as Tommy went on to co-write “Pretty Little Angel Eyes” with Curtis Lee, who recorded it for the Dunes label, owned by Ray Peterson, with production by Phil Spector.
With Steven Venet, Tommy wrote “Peaches N Cream,” a #36 hit for the Ikettes in 1965, and “Action,” Freddy Cannon’s #13 hit from the same year. The later tune served as the theme to Dick Clark’s Where the Action Is show.
Rather than talk about Phase Two of Tommy’s career with Robert Harshman today, I’ll save myself something pretty spectacular to write about for Saturday. I’ll discuss the producer and arranger of both sides then, as well.
The single is scratchy, because caithiseach played this one all the time. In addition to that bit of solo work, here’s a clip of Tommy singing some of his compositions that were covered by others. More to come on Saturday. See you on the flip side!
Tommy Boyce, Sweet Little Baby I Care
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