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First up we have four tracks from Mae West, Hollywood royalty and naughty ne’er-do-wellof yore, and her only Christmas album, WildChristmas. Issued in 1966 on the tiny Dragonet label, just a few shortmonths after Mae had released her major-label rock ‘n’ roll album Way OutWest. Way Out West had been a minor hit, peaking at 116 on the Billboardalbum chart, so you might assume that Tower (an imprint of Capitol) only hadher under contract for the one record: it makes no sense to let her go,especially in light of the success their parent company was having with MrsMiller. Until you do a little digging that is. Dragonet was a TV production company: their spin-off recordlabel issued very few discs, but an act signed to the company, variously knownas The Chyldren and Somebody’s Chyldren, provide the uncredited backing for MsWest on Wild Christmas. Most Dragonet releases were produced by David Mallet.Mallet also produced Way Out West, and Mae’s backing band on that albumwas Somebody’s Chyldren.

You see, it all adds up now. My assumption is that thetracks for both albums were recorded during the same sessions, but Tower declinedto issue a Christmas album because it was too soon after Way Out West (whichhad been issued in July) or, more likely, that there was not enough material toproduce a viable album. Up until this point Eric had, as far as I am aware, noprevious experience in the recording industry, but that didn’t stop him.

Notonly did he write the song, a miserable little ditty entitled My Lady Diana,he also funded the entire operation, setting up his own EPS label to market anddistribute the disc.Eric even went as far as to send a copy to the Prince andsoon-to-be Princess at Buckingham Palace, receiving a nice letter back fromCharles’s office telling him that ‘his Royal Highness much appreciates your kindthought in composing and sending this gift’ and thanking him ‘most warmly’. Today’s disc is something a bit special, all four tracksfrom a mid-to-late-period EP from the Halmark song-poem studio. Well, I hadassumed that, it’s impossible to tell for sure, but a little research showsthat the disc was minted around 1973, so that would be right.

Plus a couple ofthe music beds utilised on this particular release from Ted Rosen’s song-poemcompany are among the more rare of their regular accompaniments. I certainly cannotimmediately recall having heard the tune used behind the astounding TheSuffering of a Serviceman’s Wife or opening track Honeymoon On The Moon before. Those two cuts are the standout tracks on this EP, both sungby Halmark staffer Mary Kimmell. My friend Bob Purse had previously bloggedthis, and as he rightly noted all four tracks are credited to Bob Storm on thedisc’s label, despite two of them clearly being sung by a woman.

The other two,much more pedestrian cuts – the wonderfully-titled Trench Coat, Umbrella andBoots and the eminently forgettable Unapproachable – do indeed come fromHalmark’s regular male solo vocalist Bob Storm. Those last two songs were both copywritedby “arranger” Jerry Dee in 1973. The cheeky beggar: the arrangements forthese and pretty much every disc ever issued by Halmark (and subsidiary labelsChapel and Grand) cam straight of an open reel of ½ inch tape.

Anyway, at leastit helps us date the disc. The tune used on the final cut on the EP, The Sufferingof a Serviceman’s Wife sounds like it could have been written for athird-rate James Bond rip-off, but the 60s spy flick ambience is a little atodds with the lyrics, which tell the harrowing tale of a (rather selfish, ifyou ask me) young woman bemoaning her lot now that hubby is back from Vietnam, somewhatthe worse for wear. My mind boggles at why she would chose to call him ‘half aman’, the thoughtless trollop, but maybe he lost something fundamental to herhappiness overseas. Viscione was an odd duck. Working since the early 1960s, hehad made a series of recordings for the Cleopatra label, including theridiculously overwrought Parting Kiss, before setting up his own WGWRecords (which issued Mad Charles) and, in the 1980s, Viscione Records, releasinga series of singles as Eugene (often with added parentheses for dramatic effect),but also producing and/or providing songs for a roster that included The Werps,D.

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Spade and Co., and Keep Off the Grass as Geno Viscione. My personalfavourite is a single Eugene issued in 1989 called Hubert, the Fat Elf.

Eugeneshot his own ‘holiday special’ to accompany that particular release, using hiskids as actors and including 10 self-composed songs. The show aired on localcable channel C-Tec in 1990. Eugene Viscione, who at one point had his own recordingstudio situated in the Rustic Mall in Manville, New Jersey, which shared spacewith his barber shop, died in September 2009, aged 75 having enjoyed a 56-yearlong marriage to his devoted wife, Mary. Luckily for us he left behind anamazing body of work, much of which has been collected by the Numero Group, andissued as Fresh Cuts With Eugene Viscione. Sadly, the collection doesnot include Viscione’s tribute to his favourite president, his 1982 compositionThe Reagan March.

This delightfully amateur outer space epic first appeared in1971. Dean Shoup (referred to on the album’s liner notes and throughout their10-year career as Captain Shoup), like Marcy Tigner, was a self-taughtventriloquist who realised that America's fascination with space travel couldprovide him with a platform for spreading the gospel.Advertising himself as “oneof the world’s leading ventriloquists” and as a “gospel magician” (whateverthat may be), Dean and his family toured America and filmed more than 300episodes of a cable-TV children's ministry programme, also called Beyond theBlue, which was broadcast in the Washington state area. The cast includedhis wife Connie (a.k.a. Sister Shoup), kids Rick and Michelle (also known as Shelly), Jerry(a shrill-voiced ventriloquist’s dummy) and his grandmother, and starred aseven-foot tall robot, Loosenut, apparently fashioned from cardboard boxes andtin foil but which came equipped with flashing eyes and moving arms and whosounded, unsurprisingly, exactly like the good captain. In 1972, after thealbum was released, the family would be joined by their third and last child,son Brent. Sadly I have been unable to find any footage of the TV show. But I'm sure it's out there somewhere.

Despite the Christian Astronauts delivering their lastearthly sermon in 1981, it’s my hope that the Shoups, Jimmy, Granny and Loosenutare still out there preaching the good word in a galaxy far, far away. Originallyissued by Gospel Empire Records, the album received a limited reissue, on CDR, fromoutsider music specialists Companion Records a few years ago, fully endorsed byCaptain Shoup himself.

Sadly, this has now sold out, but you can hear a coupleof tracks here, My Heart Is Reserved (sung by Rick) and I’ll Never BeThe Same (sung by Michelle). Banana Rock, although mentioned in the sleevenotes and sandwiched on side two of the album between Ode To Joy and MelodyWaltz (a tune composed by Kay herself), isn’t credited nor included in the track listing. A shame, as it’sthe duos only vocal. It’s the second tip of the hat on the LP to the then-hugelypopular kids’ TV show (and earlier book series) The Wombles, and to Mike Batt’smusical group of the same name.

Coincidentally, the two tracks recorded by theTwintones bookended the album Remember You're A Womble, issued in thesame year as Eleven Plus Two. Banana Rock provided the Wombleswith their third consecutive Top ten single in June 1974. Sadly, everything about the packaging and marketing of thisis half-arsed. The cover photo appears to be a blow up of a dimly-lit Polaroid,and Gary was none too impressed with the result: “The sleeve looked very dullto me, for two youngsters. They just used a flash camera, and it was all brownaround the outside. They didn't do any location shooting – it was in thestudio, they took the camera. We could have gone out on the cliffs and done alot more to make it a bit brighter – not two children stuck in this dark hole,”.he said, many years later.

The endorsement on the reverse of the sleeve from “internationalstar” Dick Emery amounts to little more than an admission that he once met thesiblings, although apparently he was impressed enough to invite them on stage with him for the last night of his residency at the “Talk Of the West”, therather grand-sounding club within the Perran View Holiday Park. And why the nonsensical title for the album? Surely ElevenTimes Two would have made more sense: the twins were both eleven at the time ofrecording, after all.

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Unless, of course, it’s a pun on the Eleven Plus examthat kids moving from juniors into secondary school sat in those days.Apparently, the title came about because, according to Kay, “We startedrecording the album when we were 11, but thanks to a strike somewhere in thechain it took two years for the record to come out. When we asked what weshould call the record, Job Morris co-owner of Sentinel Records said: ‘Well,11 plus 2’. It was a reference to the exam, and the fact we were now 13.”. It'sa shame because these kids were clearly talented.

Aftera stint working for Decca, where he oversaw the licensing and release of manyof the post-mortem Jim Reeves albums and singles (Reeves label, RCA, was asubsidiary of Decca before setting up their stand-alone UK operation), by 1968 Pat was working for Phil Solomon’s Major-MinorRecords, an Irish record label based in north London that licensed a lot of itsmaterial from abroad: we’ve already featured such horrors as the Equipe 84single Auschwitz and Freddie “Parrotface” Davies’ Cynthia Crisp. Whileat Major-Minor, Pat had recorded a couple of vocals for label mate MikeMercardo, a keyboard player known as 'The Swinging Monk', for his album ThePower and The Glory. Referencing his regular C&W slot on Radio Luxembourg, thealbum’s sleeve notes wax lyrically about his credentials: “Pat Campbell wasborn in Ireland, but it might just as well have been Nashville. He's been theremany times and he's welcomed as a friend by the biggest names in the world ofcountry music. On each visit he brings a little piece of Nashville home withhim, but also leaves a little of Pat Campbell there in return.” However, Pat’srecitations are more Terry Wogan than truck driving man.

Still, The Deal,the first of two singles issued from Just A Quiet Conversation managed tospend five weeks on the UK singles chart, peaking at a respectable number 31shortly before Christmas 1969.