Posts Tagged ‘Girlgroup’

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The Shangri-Las: The Complete Collection

Wednesday, December 30th, 2009

Nearly complete collection with some stereo bonuses

With so many cheap Shangri-Las compilations arriving on digital download lately, you have to wonder if someone forgot to renew the copyrights. This set is a nearly complete accounting of the Shangri-Las official releases, including the tracks from their two albums (Leader of the Pack and Shangri-Las ’65), their pre- and post-Red Bird singles for Spokane, Scepter, Smash and Mercury, the well circulated alternate take of “Give Him a Great Big Kiss,” two ads for Revlon, and Mary Weiss’ period “good taste tip” radio spots. All that’s missing is their cover of “Twist and Shout,” as it appeared on their first album and single B-side. Perhaps the second, lo-fi version of “It’s Easier to Cry” that’s included here was supposed to be the missing track.

These appear to be all original recordings, mono except for 1, 3, 5, 9, 11, 17 and 26. The stereo mixes exhibit some differences from the mono versions anthologized on RPM’s Myrmidons of Melodrama [1 2], particularly in the instrumental balance. “Remember (Walkin’ in the Sand)” is 2:41 rather than the mono version’s 2:15, with the backing vocals panned left the handclaps and finger snaps panned right, and an ending that stretches the bass riff and backing vocals past Mary Weiss lead vocal. After the motorcycle crash sound effect, “Leader of the Pack” includes two extra vamps that aren’t present on RPM’s mono master. Assuming these are original stereo performances, they’re great bonuses for Shangri-Las collectors, but it’s a shame Goldenlane doesn’t provide any explanation of where these came from.

Track ordering mostly front-loads the group’s Red Bird era singles, though not uniformly. This leaves their pre-Red Bird singles as bonus tracks at collection’s end. Track-to-track volume levels aren’t perfectly balanced, though most MP3 players will fix this for you in playback. The packaging, or complete lack thereof, keeps this from reaching the pinnacle of reissue heights, but it’s hard to argue with thirty-nine girl group classics for less than the cost of a typical 12-track CD. [©2009 hyperbolium dot com]

Mary Weiss’ Home Page
Mary Weiss’ MySpace Page
Unofficial Shangri-Las Web Site

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Darlene Love: Songs of Love

Wednesday, December 23rd, 2009

Too short anthology of Darlene Love’s greatness

There’s no arguing that all five of these Darlene Love-sung tunes are classics, but the brief 13-minute running time barely scratches the surface of the singer’s greatness. Collected here are her two hits as lead vocalist of the Los Angeles edition of the Crystals, including their iconic, chart-topping rendition of Gene Pitney’s “He’s a Rebel” and the follow-up “He’s Sure the Boy I Love.” Both were issued under the Crystals’ name, though they were in fact Love and her group the Blossoms doing the singing. “He’s a Rebel” broached new lyrical territory with its depiction of wayward youth, and though the follow-up wasn’t as daring, the warmth of Love’s vocal is a perfect match for Mann & Weil’s lyrics.

Love continued to score with hits under her own name, starting with “(Today I Met) The Boy I’m Gonna Marry.” Framed by church bells and backing vocals, Love’s vocal is love-struck and nearly tearful in its undying devotion. It’s hard to believe this barely cracked the Top 40 at #39. Her next single “Wait ‘til My Bobby Gets Home” is a jaunty brush off, and the closing “A Fine, Fine Boy,” though the weakest of the five songs here, shows how Love could blend the exaltations of her church choir background into a pop song. What’s missing from this collection is substantial; for example, no collection of Love’s music is complete without Bob B. Soxx & The Blue Jeans’ “Not Too Young to Get Married” and her seasonal, “Christmas (Baby Please Come Home).”

Bottom line: five classic, original Love/Spector recordings, but this set is too short. Better is the out-of-print 1992 ABKCO CD The Best of Darlene Love (available for download at a bargain price on the Jukebox Joy label), or Phil Spector collections such as Back to Mono, The Phil Spector Collection, and the recent reissue of A Christmas Gift for You from Phil Spector. With any luck, this is just a teaser for a full line of artist-centric reissues of Phil Spector’s classic productions. Hopefully Darlene Love’s volume will be in the first batch! [©2009 hyperbolium dot com]

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Various Artists: The Shangri-Las & The Girl Group Sound

Sunday, December 20th, 2009

Various_ShangriLasAndTheGirlGroupSoundExtensive girl group collection with little provenance

70 tracks, all of which seem to be original, many or all remastered from vinyl. There’s some surface noise, pops and clicks, and passing moments of groove distortion, but they don’t detract from the enjoyment of spinning this collection of girl group classics and rarities. Among the best-known are original sides from the Shangri-Las that Goldenlane seems to have leased at a very agreeable price (see their accompanying Shangri-Las set, The Complete Collection), the Murmaids’ “Popsicles and Icicles,” and the Chiffons’ brilliantly ecstatic “I Have a Boyfriend.” Many of the other sides here will be familiar to girl group collectors, but for those who only know the Shirelles, Ronettes, Crystals and Shangri-Las, there are some great rarities awaiting you.

Among the more traditional girl group tracks are the Coupons’ infectious “Turn Her Down” and the Cinderellas’ “Baby Baby (I Still Love You),” a pair that will be familiar to fans of April March’s late-80s group, The Pussywillows. Other highlights include The Aprils’ soaring and soulful “Precious Love,” the Marvelettes-styled “Mary Ann” by Honey Love & the Love Notes, the Blue Cat/Red Bird single “Dum Dum Ditty” by the Goodies, the Phil Spectorish “Oo Chang-A-Lang” by the Orchids and “I Love Him” by the Castanets, Betty Hope’s call-and-response “Just a Little Bit More,” the Shangri-Las styled drama “Nightmare” by the Whyte Boots, the Puppets’ bad attitude on “Ain’t Gonna Eat Out My Heart” and the British Invasion pop of Donovan’s “You Just Gotta Know My Mind” as sung by Karen Verros.

But this set isn’t all pop, as there are brassy sides like Shirley’s “Big Boss Man,” and a twangy cover of Willie Cobbs’ classic blues “You Don’t Love Me” sung coolly by the Starlets. There’s mid-60s psych by Manuela and Drafi on the German/English “Take it Easy” and an acid-drenched cover of the American Breed’s “Bend Me, Shape Me” by the Models. Folk-rock is heard in the Termites cover of the Stones’ “Tell Me” and the Chymes’ “Quite a Reputation,” and Merrilee Rush, a few years ahead of her chart hit “Angel of the Morning,” sings the tough “It’s All Right.” There’s Collins’ Kids-styled rockabilly, garage punk, and even a side by Trik and the Paramounts that sounds like Nico with the Velvet Underground!

A few novelty tunes also make the cut, such as the Belles’ rewrite of “Gloria” as “Melvin,” the Beatles reply “I’ll Let You Hold My Hand” by the Bootles, and Judy Carne’s Laugh-In inspired “Sock it to Me.” It’s not 100% hits or would-be hits, but the number of excellent tunes here is almost numbing in its intensity. For a record label that’s been known to substitute re-makes for originals, this is a big step forward in presenting original recordings. What would send this set over the top would be well researched liner notes and photos that provide provenance for the wealth of obscure cuts included here. But given the price for seventy tracks, it’s hard to complain. [©2009 hyperbolium dot com]

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Various Artists: Phil’s Spectre III

Sunday, November 8th, 2009

Various_PhilsSpectorIIIMore gold bricks in the wall of soundalikes

Phil Spector’s revolutionary production techniques and monumental chart success in the early ‘60s spawned a lot of imitations, some of which hit, but many more of which passed by virtually unnoticed. Ace Records continues their collection of Wall of Sound tributes and knock-offs with a third volume that’s more varied in quality than the first two. To be sure, there are some tremendous gems here, well worth the price of this disc, but there are also wanna-be productions that have all the earmarks, but not the magic dust that could have made them hits. It’s one thing to have a baion beat, soaring string arrangement, massed instruments, deep echo, and castanets, but it’s quite another to have the Brill Building’s songs, Gold Star’s rooms, and Ronnie Spector’s pipes. Not to mention Jack Nitzche’s arrangements, Larry Levine’s engineering and Phil Spector’s ears; winningly, several of these tracks have the first two of those three.

That said, there are many high points to this collection. “Who Am I” opens with a lonely bass riff and Jerry Ganey’s soulful vocal, rises momentarily to an echoed backing chorus and threatens a full wall of sound, only to fall back to Ganey and the bass. It’s not until 1’22 of teasing has passed that writer-producer (and Righeous Brother) Bill Medley unleashes the full force of the song’s arrangement. Sonny Bono’s rendition of Spector’s sound traces back to his years working directly for the master. 1967’s “It’s the Little Things,” recorded for the soundtrack of Good Times, has the requisite musical elements but truly excels in Bono’s charmingly self-deprecating lyrics. Cher gives it everything as she sings of loving a man who’s not smart or handsome but is her everything. Remembering her speech at Bono’s memorial it’s hard not to get a bit teary when this one plays.

The disc’s biggest surprise is the 1910 Fruitgum Company’s last chart single, “When We Get Married.” Written by Ritchie Cordell (of “Indian Giver,” “Mony Mony” and “I Think We’re Alone Now” fame) under his real name (Richard Rosenblatt), the production of bubblegum legends Jerry Kaszenetz and Jeffry Katz pulls out all the stops, and lead singer Mark Gutkowski leans into every line, so exhausting himself with his outpouring of emotion that he has to stop and take a very audible and dramatic breath at 3’25. Imagine a teenage Ronnie Spector given the chance to sing about her upcoming nuptuals, supported by the harmonies of the Cowsills and backed by a wide stereo version of Phil Spector’s wall of sound. Truly extraordinary.

There are many other treats here, even if they don’t reach the stratospheric heights of the collection’s key cuts. Lesley Gore’s “Look of Love” (written by Brill Building legends Greenwich & Barry) began life as an album track, but in 1964 producer Quincy Jones thickened the production with handclaps, sleigh bells and echo. The folk-rock of the Kit Kats “That’s the Way” is given a deep stereo backing and features a falsetto chorus vocal reminiscent of the Newbeats. There’s more folk-rock in the Ashes’ “Is There Anything I Can Do,” which benefits from the Gold Star sound, courtesy in large part to the engineering of Larry Levine. Yet another Spector alum, arranger Jack Nitzsche, gives Judy Henske the wall of sound treatment for a cover of Shirley and Lee’s “Let the Good Times Roll” that rings down the curtain with its forceful climax.

Several producers took Spector’s work too literally for their own good. The Castanets’ “I Love Him” is a by-the-numbers imitation of the Crystals that’s adequate but isn’t the Crystals. Girl group collectors will enjoy this previously unreleased single-tracked vocal version. The Satisfactions’ “Yes Sir, That’s My Baby” slows the 1925 tune to a soulful crawl but doesn’t find the groove Spector perfected on “Zip-A-Dee-Doo-Dah.” Better is Alder Ray’s “’Cause I Love Him,” which could pass for a Darlene Love track. Ace has done another fine job of lining up the disciples of Phil Spector and augmenting the music with a 16-page booklet stuffed with photos, sleeve and label reproductions, and detailed liner notes. Everything here is in AM-ready mono except tracks 2, 4, 10, and 23 which are true stereo. [©2009 hyperbolium dot com]

Ace Records’ Home Page

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RIP Ellie Greenwich

Wednesday, September 2nd, 2009

Various_DoWahDiddyDiddyI don’t actively read obituaries, as I expect the passing of anyone of import will filter to me through regular news channels. Apparently not. Ellie Greenwich passed away a week ago, and I just happened upon the news today. Brian Wilson said, “She was the greatest melody writer of all time.” Quite a compliment from anyone, but even more so from such a terrific melodicist in his own right. My affection for Greenwich isn’t tied only to specific songs, but also to the craft that she helped define as part of the Brill Building stable.

Several years ago I was listening to the Shangri-Las “The Train From Kansas City” and marveling at the lyric “I’ll be back in the time it takes to break a heart.” I started searching the web to see if I could find Greenwich’s address so I could see if there was a back story to this song, and on her home page found a link to a contact page. I expected a canned reply or a note from a publicist thanking me for writing, but a couple of days later I got a response directly from Ellie Greenwich. She couldn’t remember what inspired her and Jeff Barry to write the song, but was touched that someone would seek her out to ask about a 40-year-old lyric to a song that was never a hit.

I still find it difficult to wrap my head around one person writing or co-writing:

And Then He Kissed Me
Baby, I Love You
Be My Baby
Chapel of Love
Christmas (Baby Please Come Home)
Da Doo Ron Ron
Do Wah Diddy Diddy
Good Night Baby
Hanky Panky
He’s Got the Power
He Ain’t No Angel
I Can Hear Music
Leader of the Pack
Not Too Young To Get Married
Out in the Streets
River Deep, Mountain High
Then He Kissed Me
(Today I Met) The Boy I’m Gonna Marry
Why Do Lovers Break Each Other’s Hearts?

Not to mention lesser-known gems like Connie Francis’ “Don’t Ever Leave Me,” The Shangri-Las “Give Us Your Blessings,” The Chiffons’ “I Have a Boyfriend” (remade to perfection by Reparata & The Delrons) and dozens of sides for the Blue Cat and Red Bird labels that never made the charts. She recorded fine singles and albums under her own name and as part of the Raindrops and discovered Neil Diamond.

Diane Warren said, “Those songs are part of the fabric of forever.” They’re certainly part of my forever.

Ellie Greenwich was 68 when she passed away on August 26, 2009. RIP.

Listen to Ellie Greenwich sing “Hanky Panky”

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Deena Shoshkes: Somewhere in Blue

Thursday, June 18th, 2009

DeenaShoshkes_SomewhereInBluePlayful DIY pop, bubblegum, girl-group and country sounds

Deena Shoshkes steps out from her work with The Cucumbers to record a solo album that’s more singularly focused on her own singing. Shoshkes has a girlish voice that brings to mind Julie Miller or Rosie Flores, but with a delivery that’s folk-pop rather than country, and music that’s indie bubblegum and girl-group, even as it stretches to twangier melodies and adds harmonica and pedal steel. The album’s catchiest tunes, “Mr. Midnight” and “Gemini Guy,” are bouncy power-pop that bring to mind the DIY sounds of Oh-Ok and Wednesday Week. There are smoky ballads (“Mr. Midnight”), bass-lined funk (“What the Love”), country folk (“That Moon’s Got it Made” “Goodbye Dreamer”), rockabilly (“Best Kind of Something”), and Brazilian rhythm (“You Are the Sweetest Dream”), all given a playful edge from Shoshkes’ voice. [©2009 hyperbolium dot com]

MP3 | Gemini Guy
Deena Shoshkes Home Page
Deena Shoshkes MySpace Page

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Sarah Borges and the Broken Singles: The Stars Are Out

Thursday, June 18th, 2009

SarahBorges_TheStarsAreOutBewitching rock, girl-group and indie pop

Sarah Borges has always been one of Sugar Hill’s most surprising roster artists. Her 2007 label debut, Diamonds in the Dark, harbored some atmospheric steel moans, but the chewy pop center of Borges girl-group, and rockabilly was so citified as to be virtually unrelated to the typical Sugar Hill string band. Her covers of X (“Come Back to Me”) and Tom Waits (“Blind Love”) mated effortlessly with the exuberant Lesley Gore-styled vocals of Greg Cartwright’s “Stop and Think it Over,” a convincing take on Hank Ballard & The Midnighter’s bawdy “Open Up Your Back Door” and the country “False Eyelashes.” Perhaps it’s the latter, originally recorded by Dolly Parton in 1968, that gives Borges the imprimatur of a Sugar Hill artist, but it was also the album track that least fit her vocal gifts.

This follow-up album roars from the gate with even less intention to sound country; the opening “Do It For Free” pounds out Joan Jett-styled guitar, bass and drums as Borges lasciviously anticipates a post-show hook-up, and make-up sex fuels the wailing harmonica garage stomper “I’ll Show You How.” There’s Rockpile- and Stones-styled roots rock and even a couple of modern pop arrangements, but the album truly soars when Borges holds forth with updated twists on a girl-group that brings to mind Josie Cotton’s Convertible Music. The bouncy, Beatle-blue harmony of Any Trouble’s “Yesterday’s Love” brightens the original’s Elvis Costello-styled lament into chiming desire, and the double-tracked vocal and baritone guitar of the original “Me and Your Ghost” will have you turning up the volume on your iPod like it’s a push-button radio in a ’65 Falcon.

As on Diamonds in the Dark, the song list is split evenly between originals and covers. An earthy take on the Magnetic Fields’ “No One Will Ever Love You” translates the original’s anger and disappointment from pulsating keyboards to deeply twanging guitar. The Lemonheads’ “Ride With Me” and NRBQ’s “It Comes to Me Naturally” are good fits, though not revelations, and Smokey Robinson’s “Being With You” is uninspiring. Additional originals include the lightly psychedelicized Americana “Better at the End of the Day” and the moody closer, “Symphony,” mates a drum machine with warm strings. Borges voice holds the album’s variety together, but she and the band sound most vital when they take it up tempo and girlishly sweet. Don’t let the Sugar Hill tag mislead you; this is an excellent album of pop and rock with only a few undertones of country and Americana. [©2009 hyperbolium dot com]

MP3 | Better at the End of the Day
Listen to “Do It For Free”
Sarah Borges’ Home Page
Sarah Borges’ MySpace Page

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Various Artists: One Kiss Can Lead to Another: Girl Group Sounds, Lost & Found

Thursday, April 30th, 2009

various_onekisscanleadtoanotherBroad anthology of girl group rarities

There’s little to fault in the research and production put into this set, but the breadth of collected works and the focus on rarities makes this the province of collectors rather than casual fans. Every track included here is likely the favorite of someone, but few have the global appeal of the era’s hits. The difference between a hit and miss may be razor thin (and at times circumstantial rather than artistic), but at 120 tracks, the back-to-back obscurities will really only hold the attention of aficionados who’ve internalized the genre’s flagships. Plaudits are due the set’s producer, Sheryl Farber, for pulling this set together, getting the clearances and documenting each of the tracks with notes (by Cha Cha Charming’s Sheila Burgel), release data, label reproductions and photos. But it’s hard to imagine regularly listening to these discs beginning-to-end, or in place of hit-, label- and scene-based anthologies, group best-ofs or original albums. The mixture of Brill Building pop, Motown soul and British productions may be a fair representation (though where’s the non-English cohort?), but the combination is likely to leave less fanatical listeners pining for more of one and less of the others. The rarity factor is a great lure to collectors, and while casual listeners will discover a few new favorites, they’re likely to find the overall mass to be ponderous. [©2009 hyperbolium dot com]

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Jackie DeShannon: Don’t Turn Your Back on Me / This is Jackie DeShannon

Saturday, March 14th, 2009

jackiedeshannon_dontturnthisisHit songwriter’s first two UK albums as a performer

Though Kentucky-born Jackie DeShannon had two major chart hits, a chart-topping 1965 version of Bacharach and David’s “What the World Needs Now is Love” and the 1969 original “Put a Little Love in Your Heart,” her work as a songwriter has commercially overshadowed her performing. The author of “Dum Dum,” “When You Walk in the Room,” “Come and Stay,” “Breakaway,” and “Bette Davis Eyes” has been represented on the charts for four decades, turning up on countless artist’s albums and greatest hits collections, but her own catalog of performances has had a difficult time gaining CD reissue.

A number of single-disc anthologies, including the Definitive Collection, Ultimate Jackie DeShannon, Come and Get Me and High Coinage have offered good overviews, but only in the past few years have her original albums found their way into the digital domain. This two-fer from BGO combines DeShannon’s first pair of British LPs, opening with the sensational rock sounds of 1964’s Don’t Turn Your Back On Me, and continuing with the more centrist orchestrations of 1965’s This is Jackie DeShannon. The jump from the debut’s pop, rock and folk-rock works to the industry productions of the sophomore release is stark, to say the least, and though the former is the more satisfying spin, the latter holds several charming works.

Don’t Turn Your Back On Me relies on Brill Building styled arrangements (courtesy of Phil Spector’s main man, Jack Nitzsche), with light violins adorning tracks powered by full-kit drumming, deep tympani, driving 12-string guitars and vocals that are both R&B rough and girl-group sweet. DeShannon’s original take of Nitzsche and Sonny Bono’s “Needles and Pins” is sung downbeat, making the vocal more tearfully bitter than the Searchers’ spitefully anxious hit cover. The mood recovers by song’s end, however, with DeShannon singing sassily across the beat and flinging away her pain.

Additional tunes from Jack Nitzsche (the girl-group “Should I Cry”) and Randy Newman (the stagey ballad “She Don’t Understand Him Like I Do,” the Lesley Gore styled “Hold Your Head High,” and the girl-group “Did He Call Today, Mama”), are complemented by DeShannon’s original version of her own “When You Walk in the Room.” The latter, taken again at a slower tempo than the Searchers’ hit cover, has an edgier vocal and wields the lyrical beat like a hammer. DeShannon’s voice turns to a Brenda Lee styled growl on “The Prince,” the 1950s R&B tune “It’s Love Baby (24 Hours a Day)” provides a fine 1960s rave-up, and her cover of “Oh Boy” charts the transition from Buddy Holly’s reign to the Beatles then-current dominance.

The two-fer arrangement of this CD finds the last track of Don’t Turn Your Back On Me, a rousing cover of Allen Toussaint’s “Over You” segueing into the muted brass introduction of “What the World Needs Now is Love,” which opens This is Jackie DeShannon. It’s a segue that was really meant to be heard with a year’s gap in between. With the rock drums and guitars stripped away and the arrangements turned to sweeping orchestrations, DeShannon still shines on covers of Gershwin’s “Summertime” and Bacharach and David’s “A Lifetime of Loneliness,” but mostly without the electricity of her earlier sides. The originals “Am I Making It Hard on You,” “Hellos and Goodbyes” and “I Remember the Boy” sound as if they were recorded during the sessions of the previous album.

“What the World Needs Now is Love” fit DeShannon like a glove, but the attempts to replicate its orchestrated formula weren’t as successful. In contrast, the album cuts on Don’t Turn Your Back On Me are enjoyable, if not hit single quality, as are the rock performances grafted on to This is Jackie DeShannon. This is a fine two-fer, though more for the debut than the follow-up, though even the latter has a number of cuts that will find space in your regular rotation. [©2009 hyperbolium dot com]

Jackie DeShannon’s Home Page
Jackie DeShannon Appreciation Society

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Jackie DeShannon: What the World Needs Now Is… Jackie DeShannon- The Definitive Collection

Friday, March 13th, 2009

jackiedeshannon_definitiveFamous songwriter, underappreciated performer

American songwriter Jackie DeShannon had two monumental top-10 hits as a performer, her own “Put a Little Love in Your Heart” and an indelible cover of Burt Bacharach and Hal David’s “What the World Needs Now.” But even with major chart success, she’s been more commercially successful writing songs others brought to fame, including The Searchers’ “When You Walk in the Room,” Marianne Faithfull’s “Come and Stay With Me,” and Tracey Ullman’s “Breakaway.” Many of he compositions are perennial cover bait, returning to the charts in new versions by artists ranging from Dolly Parton to Al Green to Tom Petty to Pam Tillis.

As her own albums and hits collections show, however, her immense talent as a songwriter was matched by her work as a singer. Her original versions of “When You Walk in the Room” and “Breakaway” aren’t merely songwriter demos – they’re templates of the angst and joy that would mark every subsequent version. Her early version of “Needles and Pins,” written by Sonny Bono and Jack Nitzsche, has all the hooks that made the Searchers’ subsequent cover a hit, and her original take of “Till You Say You’ll Be Mine” showed a young Olivia Newton John just how the song should sound (the Searchers’ string-lined cover pales in comparison to both the ladies’ versions).

This 28-track collection spans 1958 to 1980, but focuses most heavily on DeShannon’s output for Liberty between 1959 and 1970. Both of her hit singles are here, along with singles the flopped and originals of songs that became hits for others. DeShannon proves herself to be much more than a songwriter trying to cut their own tunes, she’s a talented vocalist equally comfortable with chirpy rockabilly, pop, soul, girl group harmony, and especially chiming folk-rock. DeShannon’s later ballads (those recorded after the success of “What the World Needs Now is Love”) often suffered from mundane orchestrations, but this collection keeps such tracks to a minimum.

This 1994 set was nominally replaced in the EMI catalog by the cover-laden and less satisfying Ultimate Jackie DeShannon. Better is Raven’s Come and Get Me and its recent companion, High Coinage. Of the four, What the World Needs Now still provides the most balanced portrait of DeShannon’s key years and the best starting point into DeShannon’s catalog. All four collections feature tracks not on the other three, so you might pick up more than one, or use any of the four as a map to the recent original album reissues. Finally, the Ace volume Break-A-Way: The Songs of Jackie DeShannon provides a good helping of others’ covers of her writing. [©2009 hyperbolium dot com]

Jackie DeShannon’s Home Page
Jackie DeShannon Appreciation Society

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