Linda Brannon, "Deep Inside Me" c/w "What Else Could I Do But Cry," Philips 40014 (rel. 6/1962)
This was Linda Brannon's sixth single in a recording career already five years running. It was an early release for Philips, the European electronics firm whose imprint got a US home via Mercury Records. Crappy styrene discs (Mercury's stock-in-trade in the 1960s) house an enormous variety of musical styles. This is Nashville pop-country with a guest-star songwriter--my impetus for picking this one up.
Ms. Brannon was born in 1940 and went pro at age 17, when she joined KWKH's Louisiana Hayride program and made her debut disc for Ram Records, which was distributed by Ace Records out of Jackson, MS. One of her Ram singles was picked up by Chess Records in 1959, which helped her reach a wider audience.
She married Nashville producer Jerry Kennedy, which helped her get record deals with an ease most unknowns might have resented, had they known. Despite this leg up, her career never took off, and she retired from music in 1964 to raise a family.
Brannon is one of many mid-level talents who filled record company rosters in the early 1960s. Hope remained eternal that one of these decent but not extraordinary artists would click with the public. A few did every year--a good enough return for labels to sign these hopefuls.
Linda got a song by Joe South for today's platter, issued in June 1962. "Deep Inside Me" gets the full popcorn treatment. No one knew from popcorn when this was recorded in Nashville, but the vibe is there: mid-tempo shuffle, big studio sound with vocal chorus and a moody approach.
South's conversational lyrics and compelling melodic sense are in good from on this brooding item, which was too introspective and relaxed to be a pop hit.
"What Else Could I Do But Cry," co-penned by Jerry Kennedy and Margie Singleton, sounds more like a hit to these ears. It's country, but 1962 saw several country singles chart on the Billboard Hot 100. Brannon comes off like a tougher Brenda Lee on this hard-luck story-song gifted with a lilting melody and woozy trombone (which, I realize, is a pleonasm; trombones always sound inebriated).
I like the Joe South song, but it's not hit material. It's what the kids call a deep cut. This had potential to charm the average listener and would sound good blasting from the radio of a car full of teenagers. Some might even sing along!
Tomorrow: we begin our trawl through the big box of new additions to the old collection. Jim and Bob Harrison deliver some backwoods, gospel-flavored early soul via a 1961 Clock Records 45. Lots of hand claps!
Always a good sign when a podcast requires a dictionary look-up. “Pleonasm”’s a fine alternative for “redundancy.” Thanks for the vocab lesson along with the musical history tidbits. Fascinated about CashBox’s description of the “strong Latinish ork-chorus arrangement.” Guess I better listen to the track now that I’ve read so much ’bout it. 😜
ReplyDeleteI quite like the first track. Yeah, I am a popcorn fan. While listening, I began grinning at a triggered memory. As I lay in bed, holding my phone in my hand to listen, all of a sudden I flashed back to doing the exact same thing with a small silver transistor radio, tuning into KFRC, a local Top 40 station, and catching the hits.
ReplyDeleteHee! The second track’s horns do indeed sound dronk. Love it!
ReplyDeleteI like the sound and feel of the South cut (instantly recognizable) but I just can't get past the lead vocal. The arrangement is reminiscent of Roy Orbison hits of the day, which I love. Had to chuckle a little at the title, though. Great to hear for the first time, thanks Frank!
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