Jack Nitzsche at Spectropop presents

      Prod. by Marty Cooper

      Arr. & Cond. Jack Nitzsche

                                                        Part 1 (Part 2) (Part 3) (Part 4)

In my early record-hunting days, the name Marty Cooper was synonymous with my love for the music of Jack Nitzsche and the girl-group sound, particularly the Victorians/Vik E. Lee/Gloria Melbourne. A cursory search of the web (and my growing record collection) reveals just how many other forms of music has Marty Cooper's involvement. As a writer, publisher, producer and/or vocalist he has worked with the vast majority of musical styles. Different sets of music fans know his name via his work in country and folk, doo-wop and r'n'b, psychedelia and instrumental, novelty and straight pop. Throughout this article many artists he has been associated with, in a variety of roles, are mentioned. However, here are just a few who aren't: Tommy Roe, Royal Guardsmen, The Kingston Trio, Bobby Bare, The Hondells, Donna Fargo, Don Ho, Andy Williams, Chubby Checker, Donny And Marie, Burl Ives, Ed Ames, Pat Boone, Ian Matthews and The Nashville Brass. His songs have been covered as far afield as Australia, Germany, Italy, Scandinavia and Japan. Hell, he even had one of his 45s distributed by Tamla Motown! Although far from complete, I hope this page, with its emphases on his sixties recordings, will stand as an introduction to his musical legacy. (Quotes on this feature, unless noted, are by Marty Cooper via email or phone.)

Born in Denver, Colorado, Marty Cooper made the move to LA in his teens. It wasn't long before he was dabbling in music. "I think I made a few demos for Crest, I literally picked them out of the phone book when I was in college, and they released one single." Released as Crest 1043 in early '58, with high hopes, the 45 met with almost total indifference. "Can't Walk 'em Off" / "You Bet Your Little Life" is now a highly-valued piece of vinyl. "I attended the University of Southern California and UCLA and left a few credits short of a degree in business administration (of all majors), I went immediately to Hollywood. Where I met people like, Joe Saraceno, Russ Regan, Sonny Bono, HB Barnum, Lee Hazlewood, Jack Nitzsche etc." Setting up a publishing company and an office on El Centro in Hollywood, he was ready for business. Vocal recordings continued. He was one half of Don & Marty on "Mandolin Rock" / "Fidel And Raul" (Candix 309) and he was also uncredited as vocalist on Ernie Freeman's "Rockin' Red Wing" (Imperial 5656), both from 1960. I'm sure there were others. The same year he approached HB Barnum; "I brought the idea for "Peanut Butter" to HB whom I had met because he had a little label at the time but we ended up with Arvee. My first hit. We were sometimes business partners." The Marathons' "Peanut Butter", still played today, was just the first of many novelty records to carry Marty's name. Later releases that shared the Marty and H.B. credit, with Marty taking the lead vocal credited as 'El Clod', included a humorous take on Claude King's hit "Wolverton Mountain", entitled "Tijuana Border (Wolverton Mountain)" on Chancellor Records and a parody of The Crystals "He's A Rebel" as "He's Not A Rebel" on Mercury.

Marty was involved with a few recordings and artists signed to Rendezvous Records, namely, Bobby Day (much more on him in part three), Jan Davis and another important contact, Lou Josie (aka Jim King) who was later to write the Grass Roots' hit, "Midnight Confessions". "I met Lou Josie when I saw him through the window of Rendezvous Records walking with his guitar on Selma Avenue. I went out and asked him to come in and we started working together. I published several Lou Josie songs. Biggest record with me, other than 'Little' Stevie Wonder's "Hey, Harmonica Man", was "Fugitive" by the Ventures." Lou Josie released one 45 on Rendezvous, "Talk To The Angels", a very cool doo-wop track, backed with "Jeannie". "Fugitive" was written by Lou and Jan Davis who cut the original release on A&M. Thanks to the Ventures cover version on Dolton, and many greatest hits compilations since, the recording has proved financially fortuitous and is deservedly well-known. Jan's follow-up to "Fugitive" was the Lou and Marty penned "Guitar Star". The same year, 1964, Duane Eddy also released the track as a 45 for RCA. Marty produced while David Gates arranged and conducted. Much of Marty's instrumental work was with Jack Nitzsche but his name is found in the small-print on many records. The Vanguard Voyagers for Warner Brothers, with arranging and writing assistance with either David Gates or Perry Botkin, were another of his groups, but the most bizarre was his 'Wild Voices of the Marty Cooper Clan' LP. Can you imagine, Marty gets the best musicians in the biz and then gets some of the best vocalists to 'sing' the lead guitar riff (etc.) over the top of 'em?! Opinions are divided, some love it others hate it. Me? I think it's great fun.

Marty cut many of his releases for RCA, but one label was not big enough to hold all his ideas and dreams. 1963 was a very busy year. As co-writer and publisher, Jack Nitzsche's "Lonely Surfer" was released on Reprise. As co-founder of The Shacklefords, with Lee Hazlewood, he was vocalist, co-producer and writer. The first 45, "A Stranger In Your Town", hit the racks on Mercury Records. The series of genre-defining girl-group records created by Marty, and featuring the gorgeous lead vocal of Gloria Jean Hargis, was ushered in by Vik E. Lee's "A You're Adorable" on the Liberty label.

I can still remember the first time I heard The Victorians "Oh What A Night For Love" (Liberty) sent to me on cassette tape by a pal, Ian Chapman. I was just blown away, a majestic, cavernous, Spectorian sound of emotion with a warm rich lead and caressing backing vocals. "Camptown Races" has never sounded so magnificent or beautiful. It took a while but I had to get all the 45s. None disappointed. A variety of styles, Bob B Soxx, girly soul, dance, whatever, and all were fantastic. On that same tape from Ian was another, superb two-sider, by Vik E. Lee, "A - You're Adorable" / "The Hollywood Stroll". Little did I know at the time that "The Victorians, Vik E. Lee, and Gloria Melbourne recordings are the same lady singing with The Blossoms. The lead singer on all these records is Gloria Hargis, who was singing in church when I met her through a mutual friend. Extraordinarily talented, but shy. Jack Nitzsche, Perry Botkin, The Blossoms, David Gates and Bobby Day were all involved in these sessions. Gloria is still a friend and still singing in church. During the seventies she performed on radio and TV commercials which I produced but did not pursue a show business career. Her range, feeling and talent universally impressed the singers and players who worked on these sessions. "You're Invited To A Party" and "What Makes Little Girls Cry" were written by Lou Josie. As for the other songs, David Gates wrote "Don't Let Him", and "Gee Whiz" is the original Bob And Earl song. I assume guilt for the other songs. Clearly, Rodgers and Hammerstein were very grateful to have been included." The four 45s by The Victorians and the two by Vik E. Lee were released on Liberty, with Gloria Melbourne's sole release being on A&M. A few sides have slipped out on CD but it's criminal, really, that you can't pop down to your local music emporium and buy them all on one CD.

The Shacklefords were the brainchild of Marty and Lee Hazlewood, named after Hazlewood's wife Naomi Shackleford. Billed as a 'sound' rather than a group, their second LP, which featured a drawing of three guys and a gal, (predating The Archies by six years) offered no clues as to the line-up. "The Shacklefords first album was on Mercury: "Until You've Heard The Shacklefords". Capitol was next with "Sing". There are some really nice things there (and a few clinkers too). A couple of really good songs which were singles:"The Biplane, Evermore" and, my personal favorite Hazlewood song, "First Street Blues". Gracia and Albert Stone (Jack's artist) were the singers with us on most of these early releases. Gracia had a lovely, simple voice and was an instinctive vocal arranger in her own right. She could read music really well. Jack always tried to get her to be 'soulful', but Lee and I just liked the sound of her voice and her willingness to work out things with us in the studio. Al Casey came in from Phoenix to work with Lee Hazlewood and I when we first started with the Shacklefords and moved to Hollywood soon after. The players on the first Shacklefords were Hal Blaine, Lyle Rits or Jimmy Bond, Billy Strange, James Burton on slide guitar (while he was still with Ricky Nelson), and Al. What a group! Later we recorded for Lee's label, LHI, with Glen Campbell and Susie Hokum as the other Shacks. "California Sunshine Girl" and "It's My Time" are really good." It was an inventive concept and a mouth-watering display of talent, but ultimately didn't achieve the sales figures that many of the records deserved. Nevertheless, over the five years they recorded together there are many, as I'm sure Lee Hazlewood addicts would attest, musical delights.

Marty's sense of humour, first heard on "Peanut Butter", was still evident. During the mid- to late-sixties Marty continued to indulge his love for novelty recordings. Once heard, who can possibly forget Dudley Dogg, Jr. "The Christmas Puppy" on Marty's Holiday label, written with Russ Regan? How about The United Fruit Co.'s "Yes We Have No Bananas" (York)? Or even a release Marty put his name to, "Mister Kazoo Man" (Capitol)? "(I'm A) Yo Yo Man", written with Rick Cunha made the biggest impact, first released by (Rick) Cunha And (Jim) Dawson in '69 on Pete records. Rick's solo release from '74 on GRC is still played today.

There's a lot of fun in Marty's work, even some of his instrumentals with Jack Nitzsche make me smile. There is also social commentary. How about these lyrics from "Little Play Soldiers"? "Tell them not to lie but never tell them the truth... We love them and kiss them and send them to die... Soon they will lay on some battlefield dead, instead of tucked away safe in their bed." It was released by The Marty Cooper Clan on Holiday 1212 (two releases before Dudley Dogg) in '64, (perhaps in hindsight) just as the US involvement in Vietnam was moving inextricably towards war. His lyrics hardly had the approval of the mass populace at the time. The sentiments expressed in this song are a recurring feature of much of his work.

Another good release on Marty's short-lived, but entertaining, Holiday Records label was Denny Diante's version of "What Makes Little Girls Cry" (Holiday 1211). This was again produced by Marty but, unlike the The Victorians original where Perry Botkin Jr handled the arrangement honours, Denny's version was arranged by David Gates. A pretty, girly-backed, soft doo-wop-styled ballad; file under 'aah, ain't that sweet'. Denny Diante went on to carve out a successful career as a music biz bigwig and producer with acts like Sheena Easton, Maxine Nightingale and Paul Anka.

One of Marty's earliest co-writing credits (with HB Barnum and Fred Smith among others) had been a tune, later given the title "I Like Marijuana". The thought of traveling up the coast to San Francisco, with its growing reputation for free love and drugs (as well as a burgeoning music scene), must have held no fears. It may have even been of interest. He had been invited by Tom Donahue and Bobby Mitchell, owners of a new record label, Autumn, hoping Marty's experience would help them to capitalise on some good early sales. Traveling up with a pal, a fairly well known guitar picker, four of Marty's productions were released. "The Vejitables were on Autumn Records and I was asked to record them. I took Al Casey to fill out their sound and contribute musicianship because I thought they may need a little help. I was wrong: They needed a lot of help, much more than we could provide, anyway. I tried my best but they were really difficult, hated us. Meanwhile, the song I picked for them was "The Last Thing On My Mind" which immediately became a big hit with someone else. My song, "Mansion Of Tears" was on the other side." "The Last Thing...", a Tom Paxton song, is a goodie. It's a shame that the Vejitables' 45 had to compete with other versions. Perhaps the record should have been flipped. Marty's "Mansion Of Tears" was later recorded by The Shacklefords and, in a review of "The Shacklefords Sing" LP, critic Quint Kik for All Music Guide has this to say: "the Marty Cooper-penned lyric to the desperate "Mansion of Tears" ("With a doorway made of heartache/And a pain in every room/With teardrops in the hallway as you wander in your room") is more than an equal to Hazlewood's own "Muddy Muddy River". Marty's production for Charity Shayne's "Ain't It Babe" / "Then You Try", apparently, was a smoother session. She was a pretty girl with a pleasant voice and a good song. Marty was to produce a few versions with a strong folk-rock production. Under her real name, Catherine Share, she was later to appear in a few films, but is better known as the infamous 'Gypsy', one of The Manson Family.

For a spell, Marty collaborated with Ray Whitley, best known for his compositions (and productions) for The Tams. They wrote some good songs together, with Marty often producing and Ray sometimes on vocals. Ray released "Just A Boy In Love" for Columbia. LA scenester Joey Paige (Philips) and the earlier mentioned Denny Diante (20th Century) also recorded versions of the song. Other co-compositions recorded include The Visitors' "Is It Them Or Me" (Tower), Randy Michaels' "I Love You (Just Because You're You)" (Columbia), Billy Joe Royal's "Heartaches And Teardrops" (Columbia) and a fair-sized hit for Brian Hyland, "Run, Run, Look And See" (Philips). "Ray Whitley is the greatest raw talent I ever knew. A great entertainer as well. Personal difficulties interrupted a promising career."

Marty was around at the formation of the group Hearts And Flowers. Their first meeting is recalled by Rick Cunha: "I first met Marty in 1965 at my singing partner Larry Murray's place. Larry, myself and Dave Dawson were working on forming a singing trio and had played around L.A. in the 'folk' clubs. Larry had known Marty for a while and thought he might make a good producer. We played a few songs and Marty put his ears right where a microphone would be, which was right in our faces. He smiled, and with eyes closed imagined (at least I imagine!) what it would sound like on tape. Although Marty never produced us, we did some of his songs on our first album, "Now is the Time for Hearts and Flowers" for Capitol Records. Marty was kind enough to let me play guitar on many of his recording sessions and introduce me to many great L.A. musicians. We have remained great friends over the years and have written many songs together." First released in '67 the critically acclaimed, "Now Is The Time For Hearts And Flowers" LP has since been issued four times. The album includes one of Jack Nitzsche's favourite Marty Cooper compositions, the partly autobiographical, "The View From Ward 3". Marty wasn't there for the recordings but he did know the producer who was. "I didn't work with Nick Venet on the sessions though. What a wild character he was!"

Of his later 60s releases, Marty was involved with the early stages of Jennifer (Warnes) career. He recorded her first two LPs, an eclectic selection of songs that tested her vocal, but did not find it lacking. The first album "I Can Remember Everything" was laid down at Gold Star, mixed by Stan Ross and boasted, Marty's pal and long time collaborator, Perry Botkin as arranger on a number of the tracks. Al Capps, under Marty's supervision, produced most of the songs on her second album, "See Me, Feel Me, Touch Me, Heal Me". Both have been reissued. For more info check out a review on the rather cool Chaz Music Room site. It was Ms. Warnes duet with Joe Cocker, "Up Where We Belong", from the movie "An Officer And A Gentlemen", that finally confirmed her chart potential. A #1 across the world, this Academy Award winning song spent three weeks atop the US charts in February '82, the music was written by Jack Nitzsche (with Buffy St. Marie).

As the sixties drew to a close, Marty moved to Malibu with his family. The move didn’t lighten his workload much, though. His songwriting included a #1 with "You Can’t Be A Beacon (If Your Light Don’t Shine)" for Donna Fargo in '74. As a solo artist, he had fair-sized hits with "The Indiana Girl" in '73 and "A Little Bit Country, A Little Bit Rock ‘n’ Roll" in '80. He produced, wrote and recorded for the lucrative TV and radio market. Teaming up again with his buddy Rick Cunha, they sang and wrote a few tracks on a LP of American Railroad recordings (sounds great!). Currently 'working' part-time in Santa Fe as a cowboy with his horse Twister, Marty's other energies are spent on managing his publishing company, Little Darlin Music, and when time permits getting his website up and running.

PS - There's me feeling fairly pleased with myself, thinking I'd given a fair resumé of Marty's career and included most of my favourites, when, what do you know, I've not even mentioned The Inconceivables "Hamburger Patti"! A (The?) classic Spector/Surfin'/Comedy record. It's an absolute hoot and bears constant listens. I know it from "California U.S.A." a summer/surfin' double LP from Columbia with sleeve notes by Alan Betrock. The 1966 45 (Columbia 4389) carries the info that Marty Cooper wrote and produced with Al Casey arranging. If I nearly missed mentioning this stormer I can bet there will be others. If, while spinning your discs, you come across another 'Cooper Treasure' not mentioned, please get in touch, I'd be delighted to hear and/or be reminded of it, as I'm sure would Marty.

Our Marty Cooper is NOT the same named East Coaster who sang with Paul Simon in Tico & The Triumphs etc.

Another Lou Josie side worth checking is on Uptown from '67. Released as L.T. Josie, "T.O.N.I" is a good pop-rock song but the flip, is a very cool 'Cowboy' song, "'Young' Billy Bonney". If you like that kinda thing, I do, it's a lot of fun.