Muziek - London American Label Year By Year - 1963

London American Label Year By Year - 1963

€ 16,99

The 1963 volume of Ace's extensive series of U.S. singles that were licensed for release on the U.K. London American label is a real mixed sampler of smash hits, small hits, and misses from that year. It's more good than mediocre, however, and in its way is a snapshot of most of the major styles of American pop/rock-R&B in 1963, if an inconsistent listening experience. Certainly the best of the 28 tracks are the most familiar ones, which were among the biggest hits: the Ronettes' ''Be My Baby,'' the Crystals' ''Then He Kissed Me,'' James Brown's ''Prisoner of Love,'' Shirley Ellis' ''The Nitty Gritty,'' and Roy Orbison's ''In Dreams'' are all classics. Not far behind are the not-quite-classics, with LaVern Baker's ''See See Rider''; Robin Ward's girl group-style one-shot ''Wonderful Summer''; Booker T. & the MG's' instrumental ''Chinese Checkers''; and more Phil Spector productions in Darlene Love's ''A Fine Fine Boy'' and Bob B. Soxx & the Blue Jeans' ''Zip-A-Dee-Doo-Dah.'' These are all well and good, but what might attract the interest of hardboiled collectors are the anthology's relative oddities and obscurities. Foremost among those are Ray Peterson's ''Give Us Your Blessing,'' the original, and maudlin, version of a song more identified with the Shangri-Las' later superior cover: talk show host Steve Allen's jazz instrumental ''Gravy Waltz.'' There's Miriam Makeba's ''The Click Song,'' an early example of world music making an impact on the English-speaking market, though it actually didn't chart in either the U.S. or the U.K.; the Moments' ''Walk Right In,'' which got very little chart action in the wake of the Rooftop Singers' number one hit with the same song; Jerry Lee Lewis' ''Teen Age Letter,'' another non-charter that probably served as the model for the fine cover by the British Invasion band the Sorrows, and Hawkshaw Hawkins' ''Lonesome 7-7203,'' a number one country hit shortly after he died in the same plane crash that claimed the life of Patsy Cline. While it's not exactly good, nothing here is weirder than the Galens' ''Baby I Do Love You,'' a soft, girl group-ish pop/rocker that inexplicably mixes a female lead vocal with male, German-language backup singing and the constant wobble of what sounds like an anemic police siren. A few of the non-hits are dull, and some of the entries by significant artists like Little Eva, the Drifters, Ruby & the Romantics, Del Shannon, and the Righteous Brothers don't stand up to their big hits, as likable as they might be. But in all, you get a reasonable survey of the spectrum of American rock (and some other styles impacting the pop market) just prior to the Beatles and the British Invasion's drastic rearrangement of the playing field. ~ Richie Unterberger

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