HOLLYWOOD ARGYLES LUTE 1960 Doo WoP LP R&B

$

261

This is an original 1960 album by The Hollywood Argyles on the LUTE record label titled "The Hollywood Argyles featuring Gary Paxton". Also known as the "Alley Oop" album, the true story of this album is oh so interesting. But before we get to that, let me say that the record jacket is graded at a strong VG+ to VG++. It is fully in tact. No tape or punch holes. The record, which is thick and non-flexible, is machine stamped on both sides in the dead wax ( directly next to the labels) guaranteeing authenticity. It is graded at NEAR-MINT 8 with NO needle scratches and NO surface scratches on it. The are a few superficial streaks in the vinyl. However, the vinyl is very shiny and glossy and very close to being exquisite.

This is a promotion album with the words "Promotion Copy" located on both labels just below the record number (far right middle of the labels). On the back of the record jacket where a red ink stamp was used it states, in scripted words, "Thanks From George Jay." ( the word "Jay" is smeared a bit but we believe that is the name ). As was common in those days (especially on fledgling labels like Lute) several promo albums would be manufactured and then given to local businesses like "Wenzel's Music Town" or say an appliance store for promotional purposes. For example, a store may advertise that if you buy a waffle maker from them, you get the album by The Hollywood Argyles for free and then usually the store proprietor would stamp the back of the record jacket stating "Thank You From Andy's Appliances." You get the idea.

In conclusion, let me share again with you a fascinating and informative letter that was received about three years ago from Gary Paxton:

"Dallas Frazier originally wrote “Alley Oop” as a country tune, but I made it into a funky R&B song. "For the session, I hired Gaynel Hodge, (the Penguins' piano player), Ronnie Caleco, (Lloyd Price's drummer), and, on bass, Harper Cosby (of Gerald Wilson's Jazz Orchestra). "With these three, I went to American Recorders, where we added Sandy (“Teen Beat”) Nelson. We already had a drummer (Caleco), so Nelson played garbage cans and did background screams. "Dallas Fraizer, Buddy Mize, Scotty Turner, some girl named Diane, and some others whose names I don't remember all sang in the background. "As for the name, Kim Fowley and I were living in a $15-a-week room in Hollywood. Though I just had two million sellers as Skip & Flip — “It Was I” and “Cherry Pie” — I never got paid a dime on either. But since I was still under contract (to Brent Records) as "Flip," I couldn't put my name on “Alley Oop.” Since the studio was on the corner of Hollywood Blvd. And Argyle Street, I decided on Hollywood Argyles. "Other than myself, there were no actual Hollywood Argyles. Everyone else on the track was either a friend or a studio musician who I paid $25 apiece for the session. When “Alley Oop” suddenly took off and people wanted to book us for concerts, there was no such group. "So, for the shows, I hired Marshall Leib (piano), Deary Weaver (guitar), Gary Webb (drums) and Bobby Rey (sax). We also had an Irish kid — can't remember his name — on bass. I recall that he later killed himself. "It really got interesting when Skip & Flip AND the Hollywood Argyles were booked on the same show. When that happened, my traveling Argyles would back the entire show — which usually included stars like Freddy Cannon, Jimmy Clanton, etc. I would sing “Alley Oop” with them, then Clyde Battin ("Skip") came out and sang the Skip & Flip hits with me. "And no, I didn't get paid double for being two acts."

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