Tony Harris With The Woodies でリードヴォーカルを
担当した Tony Harris とは1958 年に公開された
SF ホラー映画「The Blob」のプロデューサーで有名な
Jack H. Harris の息子で、1965年に Hollywood の
Dee Gee Records と契約した。そして1969年に Chartmaker
レーベルで有名なサイケデリックアルバムをリリースする
Darius の1965年の Dee Gee Records でのデビューシングル
(Dee Gee 3001) で作曲、プロデュース、アレンジを担当した。
そして自らも (Dee Gee 3002) でソロデビューをし、
同レーベルでもう1枚シングルをリリースした後に、
Triumph Records で本件シングルをリリースした。
その後1968年から Tony Harris は VMC (Vance Music
Corporation) レーベルの専属プロデューサーとなった。
彼は同レーベルの Eastfield Meadows のメンバーとしても
活動し、彼の名を一躍有名にした Duke Baxter の
"Everybody Knows Matilda" ではプロデュースを手掛け
この曲は1969年7月26日をピークに全米52位のスマッシュヒット
となった。彼は1970年初頭には Larry Norman (The Zombies の
"I Love You" のカヴァーヒットが有名な People の元メンバー)
や Randy Stonehil (Contemporary Christian Music の
パイオニアー) と共作を続けた。
オリジナル7inch シングル。
コンディション（盤）: VG+
West Coast surf songwriter, performer. Son of Jack H. Harris,
the director of the 1958 SF horror film 'The Blob'.
He recorded a pair of 45s for LA-based Dee Gee Records
in the mid-'60s. Following these, and two further releases
on Triumph, he became a writer-producer for Dee Gee.
In 1966 Harris moved into the soundtrack biz and in 1968
he joined the VMC label (A&R director. He was a member of
Eastfield Meadows on VMC), where Duke Baxter's 'Everybody
Knows Matilda' became his biggest success. In early 1970's,
often worked with Larry Norman and Randy Stonehill
as producer, conductor and arranger. Tony Harris seems to be
as a co-writer on a song called “Carmen P.” which showed up
on the flip of “Do the Philly” by an L.A. group called the Citations
(Princess 54). It’s an instrumental number and Harris shares
writing credit with John Marascalco and Richard Delvy.
Marascalco was a producer and co-wrote some of
Little Richard’s hits including “Good Golly Miss Molly” and
“Rip it Up.” Delvy was the drummer for surf groups the Bel-Airs
(“Mr. Moto”) and the Challengers, as well as an up-and-coming
producer for the Vault and (his own) Triumph imprints.
Sometime in ’63 Marascalco and Delvy partnered on label called
Princess. The only other releases we can find on Princess are
the Surfaris’ “Surfer Joe/Wipe Out” (P 50) and
the Travelers’ “Spanish Moon/Everywhere I Go” (P 52)
though the catalog numbers suggest there were at least
a couple more. A German researcher named Andreas Grabsch
posted something interesting on a Harry Nilsson site that
Marascalco kept a stable of young writers at hand including
Harry Nilsson and Tommy Boyce to write numbers for him.
Nilsson in fact is one of the writers credited on “Do the Philly,”
so Harris’s first release may also actually be one of Nilsson’s
earliest as well! there also was a pool of musicians from
the surf genre around Princess Records (the Challengers,
the Surfaris, Tony Harris, and Richard Delvy himself), who were
often used for studio work and also for some thrown together
instrumentals, which filled the flip sides like ‘Carmen P.’
behind ‘Everybody Philly’.” There are a couple things fishy
about this statement. First off, there really was no Princess
records scene. The Surfaris were from way inland in Glendora
and probably never even met Marascalco and Delvy,
who licensed the record from another label.
Likewise the Travelers were an Arizona-based band and
their record was licensed from a Tucson label.
Westside musician/Western actor Ron Heiss, who wrote
a couple sides for the Challengers, does recall bringing
Travelers guitarist Ron Story up to California a few times.
He told artyfactsinwax.blogspot.com last year, “Ron and I spent
quite a bit of time in Hollywood as we cut deals with the Vault
and Princess Record labels,” and he possibly could’ve been
around long enough to lay down some tracks. Mostly though
it would have been the Challengers who would have been
around and available for studio work. As for Harris, nobody
seems to remember him as being part of that South Bay surf
group scene at all. It is quite possible however that he was
one of the aspiring “writer” types hanging around Marascalco’s
studio, especially considering his later achievements and
the fact that he appears to have been studying music at USC
at the time. relative success of “Do the Philly/Carmen P.”which
would eventually be picked up nationally in June of ‘65
by Roulette Records (R 4623) apparently gained Harris enough
clout with Delvy to release his own record on Triumph.
“Go Go Little Scrambler/ Poor Boy” (T 60) saw the light in
May of ’65, credited to Tony Harris with the Woodies.
It’s a great proto-garage/hot rod 45 with the top being a
vocal cash-in on the Southern California motorbike craze
(i.e. the Sandells “Scrambler!”, the Beach Boys “Little Honda,”
and Ronny and the Daytonas “Little Scrambler”), while the flip
is an attacking proto-garage teener. Both songs were penned
by Harris and engineered by Mike Lietz who’d go on to
produce Spirit, Fever Tree, the International Submarine Band.
The Woods were a Hermosa Beach vocal group consisting of
Richard George,Ray Duron, and John Mead. There were close
connections between the Challengers and the Woods,
specifically “Can’t Seem to Get Over You” was written by
Challengers guitarist Ed Fournier and the Woods provided
vocals on some Challengers recordings.
In fact, the same recording of “Can’t Seem to Get Over You”
was released as the flip of a Challengers 45 “Channel Nine”
(Vault 918) in the spring of ’65 and San Bernardino/Riverside
Top-40 station KXFM even spotlighted the release in its
“Tiger Touts” the week of 6/5/65. The song also appears on
a Richard Delvy-issued Challengers e.p. that was passed out
by the band in soliciting gigs. We recently tracked down
Woods member Richard George but he too remembers little
of the mysterious Harris, saying, “We met him at Sunset
Sound when we recorded the vocals for “Go Go, Little
Scrambler” and “Poor Boy.” That was it. I never saw him again.”
本人確認前
当店はメールオーダーサービス（通販）を25年以上続けてまして日頃から
安心と安全を可能な限りのサービスで提供しようと心がけています。
当店は山下達郎氏や氏のラジオ番組「サンデーソングブック」に
貴重盤レコードを供給している他、世界中の多くの著名人、文化人、
専門誌編集者の方々にレコードを供給して役立てて頂いています。
また自らも専門誌やガイドブック製作、CDのライナーノート等でも
執筆しており貴重盤の文化的寄与に努めています。
弊社の商品を使っている詐欺サイトが発見されました。
この商品画像とヘッダー、商品説明を利用してヤフオク以外の
他のショッピングサイトで販売していたらそれは詐欺サイト
の可能性がありますので御注意ください。
●
Back To The Vanda Days / BTVD ボサ ソフトロック
サーフィン サマー ティーン ガールポップ Mod ノーザン
ソウル Doo-wop
ソフトロック専門誌 Vanda とその編集長 故佐野邦彦氏を支えて
ソフトロックムーヴメントを活性化させていた当店 Cool Handが
ソフロファンから「聖地」と呼ばれていた当時の通販リストの
人気だった商品に新たな息吹を吹き込む企画です。
当店 Cool Hand は山下達郎氏のラジオ番組サンデーソングブック
に様々なレコードを提供している他にも達郎さんのライヴ会場の
BGMでもお馴染みのDoo-wopを供給させて頂いていますが、
私が Vanda 誌上で語りつくせる事が出来なかったレコード等を
佐野さんの思い出とともに達郎さんと私は語り合いました。
Vandaで紹介する筈だったレコードの未発表原稿が残ってたので
当時の読者の皆様へ挨拶、そして盟友佐野さんへの供養として、
折角ですので、何らかの理由によってボツになってた原稿を
使って、そのレコードをこの場でリリースさせて頂きます。
アーカイヴ番号 702
Tony Harris With The Woodies でリードヴォーカルを
担当した Tony Harris とは1958 年に公開された
SF ホラー映画「The Blob」のプロデューサーで有名な
Jack H. Harris の息子で、1965年に Hollywood の
Dee Gee Records と契約した。そして1969年に Chartmaker
レーベルで有名なサイケデリックアルバムをリリースする
Darius の1965年の Dee Gee Records でのデビューシングル
(Dee Gee 3001) で作曲、プロデュース、アレンジを担当した。
そして自らも (Dee Gee 3002) でソロデビューをし、
同レーベルでもう1枚シングルをリリースした後に、
Triumph Records で本件シングルをリリースした。
その後1968年から Tony Harris は VMC (Vance Music
Corporation) レーベルの専属プロデューサーとなった。
彼は同レーベルの Eastfield Meadows のメンバーとしても
活動し、彼の名を一躍有名にした Duke Baxter の
"Everybody Knows Matilda" ではプロデュースを手掛け
この曲は1969年7月26日をピークに全米52位のスマッシュヒット
となった。彼は1970年初頭には Larry Norman (The Zombies の
"I Love You" のカヴァーヒットが有名な People の元メンバー)
や Randy Stonehil (Contemporary Christian Music の
パイオニアー) と共作を続けた。
オリジナル7inch シングル。
コンディション（盤）: VG+
YouTubeでサンプル試聴可能。リンクをペイストしてください。
https://youtu.be/pmVq2_NdLdU
https://youtu.be/OBQ5e7lLj1c
West Coast surf songwriter, performer. Son of Jack H. Harris,
the director of the 1958 SF horror film 'The Blob'.
He recorded a pair of 45s for LA-based Dee Gee Records
in the mid-'60s. Following these, and two further releases
on Triumph, he became a writer-producer for Dee Gee.
In 1966 Harris moved into the soundtrack biz and in 1968
he joined the VMC label (A&R director. He was a member of
Eastfield Meadows on VMC), where Duke Baxter's 'Everybody
Knows Matilda' became his biggest success. In early 1970's,
often worked with Larry Norman and Randy Stonehill
as producer, conductor and arranger. Tony Harris seems to be
as a co-writer on a song called “Carmen P.” which showed up
on the flip of “Do the Philly” by an L.A. group called the Citations
(Princess 54). It’s an instrumental number and Harris shares
writing credit with John Marascalco and Richard Delvy.
Marascalco was a producer and co-wrote some of
Little Richard’s hits including “Good Golly Miss Molly” and
“Rip it Up.” Delvy was the drummer for surf groups the Bel-Airs
(“Mr. Moto”) and the Challengers, as well as an up-and-coming
producer for the Vault and (his own) Triumph imprints.
Sometime in ’63 Marascalco and Delvy partnered on label called
Princess. The only other releases we can find on Princess are
the Surfaris’ “Surfer Joe/Wipe Out” (P 50) and
the Travelers’ “Spanish Moon/Everywhere I Go” (P 52)
though the catalog numbers suggest there were at least
a couple more. A German researcher named Andreas Grabsch
posted something interesting on a Harry Nilsson site that
Marascalco kept a stable of young writers at hand including
Harry Nilsson and Tommy Boyce to write numbers for him.
Nilsson in fact is one of the writers credited on “Do the Philly,”
so Harris’s first release may also actually be one of Nilsson’s
earliest as well! there also was a pool of musicians from
the surf genre around Princess Records (the Challengers,
the Surfaris, Tony Harris, and Richard Delvy himself), who were
often used for studio work and also for some thrown together
instrumentals, which filled the flip sides like ‘Carmen P.’
behind ‘Everybody Philly’.” There are a couple things fishy
about this statement. First off, there really was no Princess
records scene. The Surfaris were from way inland in Glendora
and probably never even met Marascalco and Delvy,
who licensed the record from another label.
Likewise the Travelers were an Arizona-based band and
their record was licensed from a Tucson label.
Westside musician/Western actor Ron Heiss, who wrote
a couple sides for the Challengers, does recall bringing
Travelers guitarist Ron Story up to California a few times.
He told artyfactsinwax.blogspot.com last year, “Ron and I spent
quite a bit of time in Hollywood as we cut deals with the Vault
and Princess Record labels,” and he possibly could’ve been
around long enough to lay down some tracks. Mostly though
it would have been the Challengers who would have been
around and available for studio work. As for Harris, nobody
seems to remember him as being part of that South Bay surf
group scene at all. It is quite possible however that he was
one of the aspiring “writer” types hanging around Marascalco’s
studio, especially considering his later achievements and
the fact that he appears to have been studying music at USC
at the time. relative success of “Do the Philly/Carmen P.”which
would eventually be picked up nationally in June of ‘65
by Roulette Records (R 4623) apparently gained Harris enough
clout with Delvy to release his own record on Triumph.
“Go Go Little Scrambler/ Poor Boy” (T 60) saw the light in
May of ’65, credited to Tony Harris with the Woodies.
It’s a great proto-garage/hot rod 45 with the top being a
vocal cash-in on the Southern California motorbike craze
(i.e. the Sandells “Scrambler!”, the Beach Boys “Little Honda,”
and Ronny and the Daytonas “Little Scrambler”), while the flip
is an attacking proto-garage teener. Both songs were penned
by Harris and engineered by Mike Lietz who’d go on to
produce Spirit, Fever Tree, the International Submarine Band.
The Woods were a Hermosa Beach vocal group consisting of
Richard George,Ray Duron, and John Mead. There were close
connections between the Challengers and the Woods,
specifically “Can’t Seem to Get Over You” was written by
Challengers guitarist Ed Fournier and the Woods provided
vocals on some Challengers recordings.
In fact, the same recording of “Can’t Seem to Get Over You”
was released as the flip of a Challengers 45 “Channel Nine”
(Vault 918) in the spring of ’65 and San Bernardino/Riverside
Top-40 station KXFM even spotlighted the release in its
“Tiger Touts” the week of 6/5/65. The song also appears on
a Richard Delvy-issued Challengers e.p. that was passed out
by the band in soliciting gigs. We recently tracked down
Woods member Richard George but he too remembers little
of the mysterious Harris, saying, “We met him at Sunset
Sound when we recorded the vocals for “Go Go, Little
Scrambler” and “Poor Boy.” That was it. I never saw him again.”
本件商品は中古レコードです (多くは試聴確認出来てません)
査定は見た目によるものです：コンディション (カヴァー/盤)
商品はすべて目視による査定です。
SEALED シールド 未開封状態
(開封されていないので盤質は確認出来ません)
M (Mint) ジャケット、盤ともに光沢を保ち、
特筆すべきマイナス材料がなく良好な状態です。
M- (Mint Minus) ジャケット、盤ともに若干の些細なスレ等が
確認出来ますが特筆すべきダメージは見受けられない
光沢を保っています。
VG++ と表記されているものもありますが、それは強調表現
でして経年劣化が M- より見受けられる程度のものです。
若干の経年劣化はありますが光沢もあり
中古品としては良好です。
VG+ 並の中古品とお考え下さい。ジャケット＆盤ともに
使用感があります。ジャケットに経年劣化があり光沢が無く
スレがあり、色が薄くなった所や汚れがあります。
古いシングルのジャケットには経年によるヨレがあります。
盤には光沢が無く、チリノイズの原因となるスレや
細かな擦り傷があります。
VG マイナス材料となる傷みとか汚れが目立ちます。
ジャケットのヨレやシワ等があります。
盤には目立つ擦り傷が多くあります。
Poor 存在自体が稀有なアイテムはコンディションが悪くても
ヘビーコレクターの為に出品する場合があります。
所謂ボロですが、ボロでも需要の高いアイテムは
コレクションのアーカイブデータ用にご利用ください。
発送日は基本的に祭日を除く月水金曜日です。
買取出張他の諸事情で発送日が変更する場合もあります。
午前中に入金確認できました分は当日発送致しますが
それ以降の入金確認につきましては翌発送日になる場合が
あります。
万が一商品のコンディション等が記載査定と
異なったり、破損等が見受けられ御不満がありましたら
遠慮なく御連絡下さい。
かんたん決済入金後、返品返金に応じます。
商品フォーマットの勘違いによる落札商品の
キャンセルは出来ませんので
アーティスト検索やキーワード検索をされる方は
商品説明を良く見て、出品カテゴリーを確認の上
責任を持って入札してください。
その他、お取引詳細は下記リンクをペイストしてご確認下さい。
www.coolhand-records.com/yahooauction.html