THE GREATEST SONGS OF THE 1960s THAT NO ONE HAS EVER HEARD
1,453) Del Shannon — “Gemini”
Del Shannon runs away to psychedelia, gracing us with this “real treat . . . [a b]rilliant song” (Baggingarea, https://baggingarea.wordpress.com/2010/01/18/del-shannon-gemini/) that
“sounds like that imaginary chart hit in a parallel universe” (Brushbox, https://itstartswithabirthstone.blogspot.com/2016/02/album-reviews-55-del-shannon-further.html, “[a] fantastic 45 from a fantastically gifted singer-songwriter who found a way to reinvent himself on this, his first odyssey into psychedelia.” (The Rhythm Circuit, https://www.youtube.com/watch?v=u8mk0e2HVls) “It’s the best thing Del ever did. So many moods, textures, possible avenues of sound. Proud owner of an original mono and I’ll guard it with my life! Wonderful!” (losgrindos, https://www.youtube.com/watch?v=MuWIjwsnBhg) Oh, and “[s]omeone must have spiked his water supply.” (The Rhythm Circuit, https://www.youtube.com/watch?v=u8mk0e2HVls) Indeed!
Brian Young tells us of the LP — The Further Adventures of Charles Westover (Shannon’s birth name):
In light of what was happening in popular culture, Shannon was encouraged and pushed into doing a psychedelic album. He was encouraged to write the songs this time, and The Further Adventures of Charles Westover began taking shape. . . . December 5, 1967 Shannon returned to Liberty Studio to finish off 7 more tracks necessary for completing the . . . album. . . . Shannon brought “I Think I Love You” and “Gemini” to the table . . . . “Gemini”/ “Magical Musical Box” w[as one of] the only two singles from the album. Neither charted, but both became instant cult favorites.
Donald A. Guarisco adds:
This lesser-known cult favorite is not only one of the most musically ambitious outings of Del Shannon’s career, but also one of his most all-around consistent albums. [It] finds Shannon embracing psychedelia in a personalized way: Instead of imitating the whimsy of Sgt. Pepper’s Lonely Hearts Club Band, or the creepy freak-outs of Their Satanic Majesties Request, he uses the cinematic quality of psychedelic pop to provide a vivid backdrop for his songwriting. . . . Shannon’s work on this album also differs from usual psychedelic fare because it mixes some earthier textures into its sonic brew . . . . The overall effect is stunning, managing to fit the tag of psychedelic pop but still retaining the haunting, emotional kind of songwriting that distinguished Del Shannon’s music.
https://www.allmusic.com/album/the-further-adventures-of-charles-westover-mw0000468155
Into the Mild give some needed context:
[A case study in] Baby Boomer icons jettisoning their squeaky clean images in order to get more traction with the burgeoning counter culture . . . [is] Del Shannon and his mid-to-late sixties recording sessions. In 1966 Del had gotten out of a dicey record contract and was free to continue chasing the dragon of his 1961 smash single “Runaway.” He eventually signed with album oriented label Liberty Records. From 1966 to 1967 Liberty paired him up with various production teams to help him climb his way back the single charts. Leon Russell and Tommy Garrett had first crack at him, before he was paired with in-house producer Dallas Smith. These intermittent sessions were the usual mix of covers and originals, and ultimately made up the two 1966 albums This Is My Bag and Total Commitment. Neither album made a significant dent in the charts. By the Fall of 1966, a dejected Shannon was able to arrange a recording session with Tommy Boyce and Bobby Hart, the hit-making team behind The Monkees. They recorded three songs: “She,” “Stand Up,” and “The House Where Nobody Lives.” “She,” got moderate airplay before being squelched by The Monkees’ version that was released soon after. . . . 1967 saw Shannon recording an unreleased full length album with famed Rolling Stones producer Andrew Loog Oldham called Home and Away. When that album was shelved, Shannon turned his attention to the trends of the time and by the Fall was putting the finishing touches on his “Psychedelic” leaning album The Further Adventures of Charles Westover. . . . comprised entirely of original songs written or co-written by Shannon. Though relatively overlooked at the time, [it] became a minor cult classic . . . .
Richie Unterberger tells us of Del Shannon:
One of the best and most original rockers of the early ’60s . . . . Although classified at times as a teen idol, he favored brooding themes of abandonment, loss, and rejection. In some respects he looked forward to the British Invasion with his frequent use of minor chords and his ability to write most of his own material. In fact, after hitting number one with “Runaway” in 1961, Shannon continued to chart for a year or two into the British Invasion . . . . Born Charles Westover, Shannon happened upon a gripping series of minor chords while playing with his band in Battle Creek, Michigan. . . . form[ing] the basis for his . . . debut single, “Runaway,” one of the greatest hits of the early ’60s, with its unforgettable riffs, Shannon’s amazing vocal range (which often glided off into a powerful falsetto), and the creepy, futuristic organ solo in the middle. It made number one, and the similar follow-up, “Hats Off to Larry,” made the Top Five. Shannon had intermittent minor hits over the next couple of years (“Little Town Flirt” was the biggest), but was even more successful in England. . . . Del got into the Top Ten with a late 1964 single, “Keep Searchin’,” that was one of his best and hardest-rocking outings. But after the similar “Stranger in Town” (number 30, 1965), he wouldn’t enter the Top 40 again for nearly a couple of decades. A switch to a bigger label (Liberty) didn’t bring the expected commercial results, although he was continuing to release quality singles. A brief association with producer Andrew Loog Oldham . . . found him continuing to evolve, developing a more Baroque, orchestrated pop/rock sound . . . . Much to Shannon’s frustration, Liberty decided not to release the album that resulted from the collaboration . . . . By the late ’60s, Shannon was devoting much of his energy to producing other artists, most notably Smith and Brian Hyland.
https://www.allmusic.com/artist/del-shannon-mn0000194018#biography
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