Norro And The Nor-Folks, "Top Dog" c/w "Blink Away," Monument 45-813 (rel. 4/1963)
I was released alongside this single, which combines the efforts of two unique Nashville songwriters. Norris Wilson, who went by Norro, was a still-recent signing to Acuff-Rose Publications, a Nashville dynasty of composers and performers. John D. Loudermilk, four years his elder, had ascended to a prominent place in the country and pop music community since he entered the field in 1956.
Wilson's first three singles on Monument as Norris Wilson featured material by Loudermilk, Don Gibson and Nashville's top songwriting team of Felice and Boudleaux Bryant. Wilson got one original, "Pink Dally Rue," into these first six sides. (That song would be covered by pop-garage band The Newbeats in 1965.)
In 1963, Loudermilk was in his prime. Perhaps it was felt that Wilson still needed to develop as a writer. It's odd that an Acuff-Rose songwriter didn't perform their own material. These singles seem designed to put him over as a pop performer. Wilson's own songs would come to the fore and begin a long, prosperous musical career.
For his fourth single, billed as by Norro and The Nor-Folks, he was gifted a pair of fine items, which he sings in a style not far removed from Loudermilk's humble tenor.
"Top Dog," recorded in 1962, details a bruised male ego who isn't content with being second-best, love-wise in a frustrating (for him) open relationship. Loudermilk's lyrics are intelligent and acrid; "I just can't setlle for a second-place medal" sums up the plea of the melodic, hook-filled song that, it appears, never got another recorded version.
Wish I knew who Wilson's backup singers are; their hearty harmonies add to the effect of this fine song and recording. Billboard awarded this single four stars without a review. It went unacknowledged otherwise.
Wilson's first three singles on Monument as Norris Wilson featured material by Loudermilk, Don Gibson and Nashville's top songwriting team of Felice and Boudleaux Bryant. Wilson got one original, "Pink Dally Rue," into these first six sides. (That song would be covered by pop-garage band The Newbeats in 1965.)
In 1963, Loudermilk was in his prime. Perhaps it was felt that Wilson still needed to develop as a writer. It's odd that an Acuff-Rose songwriter didn't perform their own material. These singles seem designed to put him over as a pop performer. Wilson's own songs would come to the fore and begin a long, prosperous musical career.
For his fourth single, billed as by Norro and The Nor-Folks, he was gifted a pair of fine items, which he sings in a style not far removed from Loudermilk's humble tenor.
"Top Dog," recorded in 1962, details a bruised male ego who isn't content with being second-best, love-wise in a frustrating (for him) open relationship. Loudermilk's lyrics are intelligent and acrid; "I just can't setlle for a second-place medal" sums up the plea of the melodic, hook-filled song that, it appears, never got another recorded version.
Wish I knew who Wilson's backup singers are; their hearty harmonies add to the effect of this fine song and recording. Billboard awarded this single four stars without a review. It went unacknowledged otherwise.
Loudermilk's classical guitar is heard on the ballad "Blink Away," which was recorded in early '63. It sounds like a song that Burl Ives might have made into a pop hit; again, this seems to be the only known recording. This is Loudermilk territory; a tense, unusual approach to standard love-song fare that catches its subject in the midst of a small personal crisis. Its elegant lyric is up there with Loudermilk's best, and it's surprising no one else picked up on this composition. So many songwriters have these little-known gems in their catalogues: songs they might've written with the thought, "this could be the one." This adds an extra layer of poignancy to a fine but long-forgotten country-pop song.
Wilson's vocal performance is impressive. While he can't shake off the influence of the composer's voice, he makes its emotions come to the fore. Loudermilk's singing style tends towards the casual and understated; at times, he could deliver a ballad with expressive beauty (hear his version of the song "This Little Bird" for a fine example) but a relaxed tone was his place of comfort.
Wilson's vocal performance is impressive. While he can't shake off the influence of the composer's voice, he makes its emotions come to the fore. Loudermilk's singing style tends towards the casual and understated; at times, he could deliver a ballad with expressive beauty (hear his version of the song "This Little Bird" for a fine example) but a relaxed tone was his place of comfort.
Wilson's career went into overdrive in the late 1960s, as he penned country chart-toppers such as "Baby, Baby (I Know You're a Lady)" for David Houston and Charlie Rich's iconic "The Most Beautiful Girl" and produced Shania Twain, John Anderson, Charley Pride and many others. He passed on in 2017 with a long list of major accomplishments. This little-known single was an early moment in a vast career in American music.
Tomorrow: Black vocal duo Ronnie and Roy deliver an excellent single for Capitol Records, issued in 1959.
Dag! I really like the second track in particular...wonder if they pitched it to Roy Orbison? The arrangement, song structure, and lead vocal sound Orbison-esque to my ear. Very nice! Thanks, Frank!
ReplyDeleteIt does sound Orbison-worthy. Kind of surprised he never recorded it. He never did do any John D. Loudermilk songs...maybe he didn't like the guy.
DeleteTwo wonderful songs. "Top Dog" with its probably odd-for-the-time repetitive organ cha-cha beat is utterly charming.
ReplyDelete