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Click below for the transcript.
Today, we're going to look at a record that, like the record we looked at in the main podcast this week, has connections to Kim Fowley and to the Beach Boys, who covered it just as they did "Moon Dawg". But we're going to look at it as a way to say goodbye to Gaynel Hodge, who has appeared in so many of our previous episodes.
Hodge played piano on "Alley Oop", which we've done a bonus podcast on before, and which is also very briefly discussed in this week's main episode, and while I was writing that, I heard from a Twitter follower that he had died. We've already covered all the records we're going to look at in which he had a major involvement, so today we're going to look at another one on which he was just a session musician. This one is actually from 1962, when we're still in 1960 in the main podcast, but it's not jumping so far ahead that it's unreasonable, and I wanted to tip my hat to him with the last record he played on which I was planning on discussing -- if you remember the Patreon episode on "Little Bitty Pretty One", I said we'd be looking at Thurston Harris' backing group when we got to 1962. So today, let's look at "Papa Oom Mow Mow" by the Rivingtons:
[Excerpt: The Rivingtons, "Papa Oom Mow Mow"]
The history of the Rivingtons is a convoluted one, as the story of so many vocal groups is. They started out as a group called the Lamplighters, who were formed by Willie Ray Rockwell, who had been an original member of the Hollywood Flames. The first lineup of the Lamplighters also included Leon Hughes, who left before they started recording, to *join* the Hollywood Flames (Hughes of course later went on to join the Coasters). Hughes was replaced by Thurston Harris, and they made their first recordings for Federal records, with Ralph Bass and Johnny Otis. "Be-Bop Wino", their second single and the most impressive of these early recordings, was by a lineup of Rockwell, Harris, Al Frazier, and Matt Nelson:
[Excerpt: The Lamplighters, "Be Bop Wino"]
They also recorded backing Jimmie Witherspoon:
[Excerpt: Jimmie Witherspoon and the Lamplighters, "Sad Life"]
Various changes happened in the lineup, as people fell out with each other, got jailed for non-payment of child support, or just generally became too difficult to work with. For a while, the group became made up of Al Frazier, Carl White, Sonny Harris, and Matthew Nelson, and were recording, still for Federal, as the Tenderfoots:
[Excerpt: The Tenderfoots, "Kissing Bug"]
After four unsuccessful singles, Thurston Harris rejoined the group, and they became the Lamplighters again, recording a few more singles, starting with "Don't Make it So Good":
[Excerpt: The Lamplighters, "Don't Make It So Good"]
Then they decided to fire Harris again, as he was extremely unreliable. They took on a new singer, Rocky Wilson -- the lineup now was Al Frazier, Carl White, Sonny Harris, and Rocky Wilson. This lineup's first recording was backing, of all people, Paul Anka, on his first ever recording, a session paid for by Anka's father:
[Excerpt: Paul Anka, "I Confess"]
Lester Sill renamed the group The Sharps, and they started making records under that name, like "Six Months, Three Weeks, Two Days, One Hour":
[Excerpt: The Sharps, "Six Months, Three Weeks, Two Days, One Hour"]
They also backed their old bandmate Thurston Harris on his big hit "Little Bitty Pretty One":
[Excerpt: Thurston Harris, "Little Bitty Pretty One"]
Lester Sill started getting them backing vocal jobs -- it's them on "Rebel Rouser" by Duane Eddy:
[Excerpt: Duane Eddy, "Rebel Rouser"]
They briefly renamed themselves the Crenshaws, and released a record of the old standard "Moonlight in Vermon
