She came in on time and stayed as late as needed for the sessions. She has been doing this most of her life, since being a teenager. My mother is beautiful.” She is a true professional. She said about herself, “I am not beautiful. The pleasant surprise for me was the second side with almost a country feel, like we would eventually hear from her mother Georgia Holt. GM: Speaking of disco, one aisle over in the record store the following year, Cher was back with “Take Me Home,” her first Top 10 gold single since “Dark Lady” five years prior. The Cuban discos in Florida quickly embraced it on its release and that is what helped to make it a big disco hit. One couple went to the dance floor first, doing a Latin dance and then others followed until the floor was filled. At first, the dancing stopped for this unknown song. I took a recording of it over to the Copacabana club that night, and at midnight, the DJ played it. After “Can’t Smile Without You,” we knew “Even Now” was going to be the next hit and was doing well until being overtaken by “Copacabana.” We recorded that one without any dance sounds initially then I added the dance tracks for the rest of the day. I brought in Will Lee on bass and Ronnie Zito on drums from New York. We were at A&M Studios and it had a great sound. RD: That would have been a good single, too. It was our biggest seller and in addition to the hits, “I Just Want to be the One in Your Life” sounded great over our speakers. Thank you so much for producing Barry Manilow’s “Even Now” album. GM: In 1978, when I worked in a large record store, they put me in charge of the easy listening aisle. Years before “Pina Colada,” while he was with The Cherry People, Rupert Holmes arranged the strings. Then “Run Sally Run” was the final charting single. “When Julie Comes Around,” with “Sally Ann” as its flip side, followed. It had a magical sound and Decca released it as The Cuff Links. I did all the voices in about two hours, with different parts, drawing on the doo-wop music I grew up with. It had the same writers as “Leader of the Laundromat.” With overdubs, I recorded a dozen voices on it to make it sound like The Association and The Turtles. RD: “Tracy” received airplay while “Sugar, Sugar” was still on the radio. GM: In 1969, in addition to “Sugar, Sugar” and “Jingle Jangle” you had another song in the Top 100 for the year, “Tracy” by The Cuff Links. Keyboardist Ron Frangipane was great too, and he went on to work with John Lennon, Janis Ian, Melanie and others and became a music professor at Monmouth University in New Jersey. On the record we were lucky to have Gary Chester on drums, who was on many ‘60s hit records. The kids would sing along with the chorus every time. I was a volunteer, visiting a recovery center for addiction in Manhattan, talking to the kids, and I sang “Everything’s Alright” to them. GM: On the “Jingle Jangle” album, after that gold single, the next song “Everything’s Alright” stands out. RD: The talented Ritchie Adams and Mark Barkan wrote that one and, as songwriters, earned as much as Jeff and Andy did for the A side of that multi-million selling single. GM: When The Archies’ “Complete Albums Collection” 2-CD set was released last year, we promoted it and played the “Melody Hill,” the flip side of “Sugar, Sugar” on our Goldmine Radio Hour. I wanted my vocal to be soft like Donovan’s delivery on songs like “Mellow Yellow.” Andy played it on guitar to them and then the guys got it. The process with the musicians was going slowly. I asked Jeff about that too and confirmed it. RD: There is a rumor that this was offered to The Monkees and they turned it down. GM: Next came what many radio stations, including our hometown WIXY 1260 in Cleveland chose as the No. RD: Yes, Andy co-wrote that one with Jeff Barry, along with our next few singles. I love the line, “Diggin’ Mama Cass with Skooby Doo.” GM: I heard the next single, Feelin’ So Good (S.k.o.o.b.y.-D.o.o.) on Canadian radio due to Andy Kim’s connection. Jeff Barry wrote “Bang-Shang-A-Lang,” and I was back in the Top 40. I auditioned for the Monkees but Davy got that part. I was a staff demo singer and I got to sing some of my stuff, too. He had the hottest publishing firm with Barry Mann and Cynthia Weil, Carole King and Gerry Goffin, Neil Sedaka and Howard Greenfield and Tony Orlando. RD: I had been with Don since I was 17 years old. He repeated that “Last Train from Clarksville” pattern in September of 1968 with The Archies’ “Bang-Shang-A-Lang.”
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GM: Producer Don Kirshner achieved Top 40 chart success in September of 1966 when The Monkees debuted their two year TV series.