'THE PALISADES' (PSEUD. OF THE COOKIES), "MAKE THE NIGHT A LITTLE LONGER" C/W "HEAVEN IS BEING WITH YOU" (CHAIRMAN 4401, REL. 3/1963)

We did a recent post on The Ran-Dells, which explained the purpose of Don Kirshner’s Chairman Records label. He broke his own rule—that the imprint be devoted to unknown acts—with today’s scarce single. ‘The Palisades’ were one of many pseudonyms given Black girl group The Cookies over their long career. Why all parties involved—including songwriters/arrangers/producers Carole King and Gerry Goffin—opted to do this more than once is a mystery. As The Cookies, the group had enjoyed a few pop hits, and as background singers they were well-known in the New York scene.

I’m sure money was the main motivator, but an artistic reason might have been that, as The Cookies, the group was known for more hard-edged material like “Chains” and “Don’t Say Nothin’ Bad About My Baby.” On today’s record, the group presents as a more serious entity, closer to the ballad sound of The Shirelles (who kick-started the King-Goffin career when they took their song “Will You Still Love Me Tomorrow” to the top of the pop charts in 1960).

‘The Palisades’ left behind an excellent one-off single with one of K&G’s most-recorded songs and a welcome reading of a less-known song the duo co-cleffed with Cynthia Weill, another top NY songwriter.

“Heaven is Being with You” has a superb lyric, co-written by Goffin and Weill that reminds of other songs, such as The Drifters’ “Up on the Roof” and Tony Orlando’s “Halfway to Paradise” (both Goffin lyrics). I admire Goffin’s concision and his careful choice of words; his best lyrics are intelligent and emotionally rich.

Add a moving melody by Carole King, set to a tense and simple arrangement, and a little gem in the songwriters’ catalog emerges. As sung by Dorothy Jones, lead vocalist for the group, it evokes the frankness and urgency of Shirley Alston, lead of The Shirelles. The unwitting listener might have mistaken this for that more famous group’s new release as it came on their car radio or pocket transistor.

Hear it >>>>> HERE. <<<<<

“Make the Night a Little Longer” is a sequel to “Will You Love Me Tomorrow?” A patter of bongos kicks off this moving ballad that amassed many recorded versions in the 1960s. Florence Greenberg, head of Scepter Records, was inordinately fond of this song. She had The Shirelles, Chuck Jackson, Tommy Hunt and Dionne Warwick record it for her labels—all over the same backing track. It’s a treat to hear it in a version as envisioned by its composer.

Carole King’s soulful string arrangement—and those bongo accents—complement the heartfelt vocal efforts of the Cookies/Palisades, with a tender, pleading lead voice supported by powerful harmonies. The narrative, by Goffin, progresses beyond the uncertainty of “Will You Still Love Me…” as a chapter in a continuing story of sexual maturity. The protagonist is no longer worried about this being a one-night stand. This relationship has legs and is going so well she regrets the dull times in-between trysts. Dorothy Jones conveys this intimacy with real tenderness; this time, she’s more confident and assured and is in deeper than she ever imagined. But it’s a good kind of deep—one the listener hopes will continue.

Had Florence Greenberg not so saturated the market with cookie-cutter versions, “Make the Night a Little Longer” might have been a hit in this definitive version. But then ‘The Palisades’ would’ve had some explaining to do…it’s easy to imagine an I Love Lucy-style farce of complications. They needn’t have worried…

Hear it >>>>> HERE. <<<<<

After the non-event of this single, The Cookies went back to being themselves. They were riding high with their pop hit of “Don’t Say Nothin’ Bad…” and had no cause for concern. It’s a pity this serious approach wasn’t a regular thing with them.

Tomorrow: one-record wonder Elaine Hill sings two fine Detroit pop-soul numbers for RSVP Records, 1964. Motown-adjacent music for your Tuesday pleasure.