The Blossoms - Things Are Changing
b/w the Crystals - Please Be My Boyfriend

Japanese 7" on M&M Records [T4LM-8172]


THINGS ARE CHANGING This number, published in 1966, was a song for the campaign "to correct the inequality in employment opportunities between whites and minorities including blacks in the U.S.", one of the policies issued by the 36th American President Lyndon B. Johnson. Three different groups - the Blossoms, the Supremes and Jay & the Americans recorded the campaign song using the same back track although the Blossoms' version is best known. According to some unconfirmed information, a Spanish version of the song was also made by Julio Angel & Lucecita. The version by Jay & the Americans is included in their best hit CD album released by America EMI in 1990 as one of the Legendary Master Series. As it is widely known, the number was originally "DON'T HURT MY LITTLE SISTER" written by Brian Wilson for the Ronettes. Under the direction by Phil Spector, the chorus and the overall arrangement for this "DON'T HURT". were made by the help of Brian. Suddenly, however, the work on the song came to a deadlock. At the session, Brian is said to have been playing the piano.

Sometime later, Spector was asked by some government officials to write a song for the equal employment opportunities campaign .

He then thought it a good idea to use the shelved song for this purpose. Since he wanted to avoid the troublesomeness in corresponding with the government officials, he left the task to Jerry Riopell. Jerry was the first and the last producer under exclusive contract with Philles Records. He also participated in the recordings for the Righteous Brothers, the Ronettes and lke & Tina Turner as a keyboardist He acted for Spector taking over almost all of his duties from correspondence by phone, supplementation of the tune, booking of the musicians and production of the back track to recording of the Blossoms. For the Supremes and Jay & the Americans, Jerry made the back track but did not take part in the producing itself

Being a keyboardist, a guitarist, a composer, an arranger and a producer, he was born in Detroit He then lived in Florida before moving to L.A. His most important works as a producer include "HOME OF THE BRAVE- by Bonnie & the Treasures and "ALL STRUNG OUT", once reached top 20, by Nino Tempo & April Stevens (co-produced with Nino) Incidentally, both of the abovementioned two numbers were arranged by Nick deCaro. After becoming a recording director for A&M Records, Jerry organized a studio group named Parade releasing a nationwide hit number (top 20) "SUNSHINE GIRL". In 1971, he made his debut as a solo artist from Capitol Records. Following a carrier with ABC Records, he established his own label, Little Eskimo and keeps working at his own pa;e. He now lives in Phoenix, Arizona, and is still popular as a pop star there The Blossoms were formerly called the Dreamers consisting of four members; Fanita Barrett (James), Gloria Jones, Nanette Williams and Annette Williams The Dreamers then changed their name to the Blossoms with a new member Darlene Love replacing Annette Williams who early left the group

The renewed Blossoms with Darlene Love released three singles >from Capitol Records during 1957 through 1958. None of the records, however, sold well. Then they shifted to Challenge Records and, after that, to Okeh Records with some replacements of the members. Yet, they could not make a big hit during the period

In L.A. and the surrounding area, however, the Blossoms were quite popular and highly evaluated as background singers. Consequently, they played a vital role in Spector's sessions, too. At the recording of "THINGS ARE CHANGING", the group consisted of three members; Darlene Love, Fanita Barrett (James) and Jean King. Needless to say, the lead singer was Darlene Love.

Now, some additional explanations on "THE THINGS ARE CHANGING": The copies of this record were distributed to more than 4,000 DJS and radio stations as a campaign item in May of 1966. The record was not put on the market. For the convenience of the radio stations, the record could be played at 33 rpm, and both sides of the disc contained the same take of the number

The reissued one at this time, with the automatic-type record player widespread, is a 45 rpm record

PLEASE BE MY BOYFRIEND This number became widely known by a photograph of a studio track sheet in "The Girl Groups" written by Alan Betrock

But the details of the number are unknown almost at all, probably because it is an incomplete number rather than because it is unpublished one

Judging from the track sheet, the number was performed in the sessions on July 9th and July 2lst, 1964 at a studio in new York. Since 1964, however, Phil Spector was mainly working with the Ronettes and the Righteous Brothers. For Spector, the Crystals were already figures of the past

The Crystals' Iast single from Philles Records was "ALL GROWN UP" released in September of 1964. The recording of the number was conducted in May of 1963. For some reason, "LITTLE BOY", recorded in November of 1963, was released in March of 1964, ahead of "ALL GROWN UPh. In other words, for the Crystals, "LITTLE BOY" was the last published work produced by Spector. " Accordingly, it may be possible to say that, sensing a frustration of the Crystals who were not given an opportunity of recording although continuing the performances on the stage, Spector prepared a session unscheduled to be released for them

Incidentally, the composer's name of the number is not known either. 1964 was the year when the relationship between Spector and Jeff Barry - Ellie Greenwich, who used to write a lot of tunes for him, went sour. Since then, Anders & Poncia and Barry Mann - Cynthia Weil started to write hit tunes for Spector instead

The tone of the number seems close to the style of Jeff Barry Ellie Greenwich. But considering the period of the number's composition, the possibility of Spector's adopting their tune is low for the above-mentioned reason

These questions will be answered someday. Unfortunately, no relevant material is available yet

I just have to say that it is almost a miracle to be able to provide this historically important session by Spector/the Crystals with a sound of such a high quality for you

March 1992 Kyoichi Kabeno (Original liner notes from the M&M seven inch pressing)

Robert Tirado, December 9, 1998-Spectropop V#0192
Yes, there was a 45 produced in Puerto Rico with Lucecita and Julio Angel in the 60's. I recall the 45 in those days. On one of my many trips there, I had befriended Lucecita.

Phil Spector and Chappell Music along with Trio, Screen Gems, etc. were going to sue Lucecita's manager Alfred D. Herger because he had recorded in Spanish by Lucecita (Lucy) "Be My Baby", "Then He Kissed Me" and a few others in the respective catalog of each company - and because Herger had not paid licensing and royalty fees. Remember, Lucecita was an up and coming singer and really an ingenue in the field. Same with Julio Angel. They all went to the Tribuna (court in PR) and all parties settled out of court. Part of Phil Spector's settlement besides the $$$$, was that Herger record both Lucecita and Julio Angel in "Things Are Changing". This was done expediently in such a fashion that the nearly broke Herger asked Phil if he could use the backing tracks of the Supremes and Phil relented. (Rumor had it that Phil owed the IRS $$$ and he would take this Spanish version of "Things..." as a loss not knowing that Puerto Rico favored Lucecita's version so much that bootleg copies were done since only 80 45 copies were produced and only for the radio stations.

Robert's Lucecita Web page

I did produce the Blossoms vocal on Things are Changing and wrote the lyric basically. Phil had the text of what they wanted. It was actually written by Philip, Brian and myself but I never met Brian. He and Phil had written the orig melody with different words.

Jerry Riopelle in Spectropop V#0305



Back to Spector CD Page
Spectropop Index
The Crystals

Spectropop text contents & copy; copyright Spectropop unless stated otherwise. All rights in and to the contents of these documents, including each element embodied therein, is subject to copyright protection under international copyright law. Any use, reuse, reproduction and/or adaptation without written permission of the owners is a violation of copyright law and is strictly prohibited. All rights reserved.