19 November 2016

Archie in Memphis


HEAVEN HELP LOGO

DC HAMPTON JACOBS presents
PART ONE of
HEAVEN HELP THE NON-BELIEVER:
THE ARCHIES Sing TONI WINE!
Art by STUFFED ANIMAL

HEAVEN HELP PLAYERS 1

SYNOPSIS
The superstar Rock band known as THE ARCHIES will disband in early 2033. Nearly 13 years later in the summer of 2045, legendary Latin music label DISCOS FUENTES acquires a rare prize!  Fuentes will have been in litigation for several years with the estate of a former A & R executive. Finally, the label wins a judgment, acquiring the rights to several recordings CHIQUITITO SAN ERASMUS had absconded with after getting fired. Among the cache of demos and session tapes that's turned over, executives find a long-lost vinyl acetate. It plays ten tracks from an Archies album that was never released!

Discos Fuentes will have had a longstanding distribution deal with ARCHIE RECORDS. For decades after the celebrated indie label folds, Fuentes will retain the right to market Archie masters in South America. In fact, the Colombian company will outright own several of The Archies' later recordings! Fuentes' A & R staff assembles a pair of compilations for the 2045 Christmas buying season. The balance of contents hails from the studio albums ÈXITOS EN ESPAÑOL and THE GRASS WILL SING FOR YOU, and ¡ADIOS AMIGOS!, a document of the band's farewell tour.  All three albums were (or will be) recorded with the South-American market in mind; but these compilations are designed to showcase the ten previously unreleased songs. They are spread across the two volumes of À LA LINEA: THE ARCHIES AT DISCOS FUENTES.

All ten songs are ballads, performed Country music-style. They'll be taken directly from the mono acetate. Fuentes will have hired RIKKI NINJA and TOBY MAXX of The New Archies to create mono-to-stereo remixes. After the downloadable vinyl LPs are released, reviewers will generally praise their work.  "Toto and Ninja's neo-Hip Hop overdubs make for a provocative fusion sound!" raves the SOUNDGARDEN website. However, longtime Archies fans are nowhere near as enthused. "Loathsome!" declares Andru Charles, 80-year-old President Emeritus of the VERONICA FAN CLUB. "Hip-Hop with Country music? It's the worst marriage since Brad Pitt and Angelina Jolie!" Andy's attitude neatly sums up the predominant fan reaction.

A LA LINEA VOLS 1 & 2

Controversy over these remixes will stall sales of À LA LINEA, VOLUMENES UNO Y DOS.  Ultimately, they'll fail to chart and be all but forgotten about. However, the truth about The Archies' lost ballad album is a story that begs to be told! It involves VENUS, The goddess of Love, also known by such names as Aphrodite, Kama, Freya, Ishtar and Oshún. This capricious deity has a special fondness for the members of The Archies!  Why that's so will become apparent as the story unfolds . . .

STILL NOT PREGNANT

Archie f*cked Veronica! He f*cked her against the bedroom wall. He f*cked her over the back of a living room chair. He f*cked her on a kitchen counter top. He f*cked her standing up and laying down. He f*cked her in the missionary position; doggy style; upside-down, backwards and sideways! Dude made love to her every which way, but no position he tried and no amount of hard hip thrusting managed to get Roni pregnant. Over and over, the couple had tried to conceive, even before their wedding night in June of 1992. It was now the winter of 2004; you can imagine their frustration!

After making love, Arch and Roni were in the habit of talking about love. On this latest occasion, Archie reiterated how he'd fallen in love at first sight with his future wife. "When I saw you step out of your dad's limousine that first day of high school", he confessed, "Cupid's aim was true!" Foolishly, dude inquired if she'd felt the same way. Veronica's reply was characteristically blunt. "Hell, no! I didn't like you at all back then. It was only later that I decided to love you."

TONI WINE TOLD VERONICA:
"SIT YOUR ASS DOWN, HONEY."

Blissfully unaware of her husband's hurt feelings, she continued: "Love at first sight? What  bullsh*t! How can anybody can fall in love with someone they don't want to love?  I'd be ashamed if I were so weak-minded. Unlike most people, I'm in total control of my emotions." Archie lay next to her in bed and listened in sullen silence.

From her high perch on Mt. Olympus, the goddess of Love also happened to be listening in. When Roni bragged of her mastery over affairs of the heart, Venus took personal offense!  "One day," she vowed, "I'll teach that bragging rich b*tch a lesson she won't soon forget!" And as it turned out, that day came sooner rather than later.

In late 2004, The Archies were on tour in support of JEFF + ELLIE SONGBOOK, their third consecutive Platinum album. After a sold-out concert in Baltimore, they hit the showers, changed into street clothes and ran across town to catch a fellow artist's show. The great Tony Orlando was playing @ The Soundstage! They all loved Tony, but it was the chance to see a member of his touring band that really prompted their attendance.

ORLANDO AND WINE

Toni Wine was a prominent background singer from their earliest days in the recording studio. Now she was part of Tony Orlando's stage act. Toni was (and is) a noted songwriter, and during the show she and Mr. O teamed up to perform a medley of her hits. The Archies stomped feet, clapped hands and cheered wildly as the duo sang "Candida"!  This fondly-remembered hit was originally recorded by Tony's vocal group Dawn.   In the year 2008, the band will record (but not release) a version of the song themselves:

Candida, we can make it together
The further from here, girl, the better
Where the air is fresh and clean

Candida, take my hand and I'll lead ya
I promise life will be sweeter
'Cause it says so in my dreams.

Excerpt from "CANDIDA"
Music + Lyrics by IRWIN LEVINE + TONI WINE
Published by EMI-Sosaha Music/Irwin Levine Music/
R2M Music/Songs of LaStrada

TONI'S A SONGWRITER

Backstage, there was a happy reunion. As Toni filled Archie, Betty, Juggy, Roni and Reggie in on her activities since they worked together, her voice was tinged with regret. Suddenly, she blurted out: "I hate that The Archies never recorded any of my songs!  I really wanted you to."  "Well, I always wondered why we didn't," Reggie Mantle admitted. "We certainly didn't have anything against your material."

"I know", Toni sighed, "but when we worked together, you were all teenagers.  Most of my songs are adult love ballads. Don Kirshner felt my material wasn't a good fit for the market he was aiming for." Betty Jones took strong exception to this revelation. "Well, honey, that was then," she sniffed. "This is now! The adult Archies are a whole different kind of group; and I, for one, would love to cut some of your ballads."

By the time they parted that evening, the seeds of a musical concept had been sown. Over the next few weeks, emails flew between Archie Americana Productions and Wine 'n' Roses Music, Toni Wine's production company. After talking it over with their bandmates and their manager, Big Nipsy Freund, Arch and Roni-Lodge Andrews had exciting news for Toni: Their next project would be a tribute to her! "After three double albums of mostly uptempo songs, we need a ballad collection." Veronica believed. "The Archies are sophisticated stylists, not just rowdy rockers.  It's high time our fans knew that! Your hits will show off our vocal talents to good advantage." Archie added: "And our recordings won't just be cover versions, either. They'll be definitive!"

WHAT MIGHT HAVE BEEN 1ST SINGLE

A SINGLE THAT WAS CANCELLED
Archie Records 45 114
"IF WE BOTH HOLD ON"
by JEFF BARRY + TONI WINE/
b/w "I'M INTO LOOKIN' FOR SOMEONE TO LOVE ME"
by CAROLE BAYER-SAGER + TONI WINE*
Trio vocals by ARCHIE, BETTY + JUGHEAD
*Lead vocals by REGGIE
A WINE AND ROSES PRODUCTION
Arranged by DILTON DOILEY BRISEÑO
Produced by THE ARCHIES

Once again, Toni Wine heard a member of The Archies make an improbable claim. Again? Yes! The first time was when she heard Veronica brag about having conquered love. Believe it or not, Toni Wine is the earthly form of Venus, the goddess of Love. "It's time to hold these braggarts to their word," the diety-in-disguise decided as she logged out of her email app. "Which one of their idle boasts will prove false? The first? The second? Or both?"

The recording site for the new album was a legendary music town: Memphis, Tennessee! The Archies booked Sun Studios for an extended stay. It was Toni's preference: She'd once lived in Memphis and had often recorded at Sun. However, the group were hardly strangers to the studio that introduced Elvis Presley to the world: In 2002, they'd cut vocals there for ARCHIE COUNTRY, their first Platinum album.

Toni was on hand to act as music supervisor, and Kevin Keller flew down to sing extra backing vocals.  However, The Archies' producer Ralfi Chingas was missing in action.  Why?  Ralfi was busy producing a Latin music festival in the Dominican Republic. By the time he'd be free, Toni would be on tour again with Tony Orlando. The group wanted her direct input at the tracking sessions; so for the first time ever, they decided to produce themselves.

TASKMASTER TONI WINE

At least, that was the plan going in; but before long, Veronica and Toni Wine were squaring off in opposing corners. The two strong-willed women launched a tug-of-war over control of the recording sessions! After hearing The Archies rehearse her songs, Toni decided that Betty and Jughead Jones should sing all the leads. This, of course, caused an uproar, with an indignant Reggie siding with Veronica against the idea. For their part, Betts and Juggy were speechless in shock!  Archie broke the logjam, insisting that leads be split between all group members. Betty ended up singing two solos; Archie, Jug, Roni and Gino got one solo each; there were three duets, all featuring Veronica; and a big ensemble number would serve as the album closer.

However, Toni Wine got her way in regard to song arrangements. Archie was slated to write them, but his music charts never met with her approval. "Dude, you keep giving me Country Rock," she complained, "and that's not going to cut it. You promised me definitive versions of my songs. Well, they won't be definitive unless they have an authentic Country sound. Think Carter Family, not Creedence Clearwater Revival!"

DILTON DOILEY BRISENO

Archie tried in vain to suppress his Rock sensibilities, finally admitting defeat.  In desperation, he called up his old pal Dilton Doiley Briseño. In addition to being a brilliant mathematician, Dilt was a classically-trained musician who effortlessly moved between genres.  His specialty was Tex-Mex, and his stellar work with Tejano artists had earned him the nickname El Vato Maestro.  When he got the call, dude didn't have to be asked twice: He'd longed to produce The Archies from the very beginning!

In fact, Dilton had taped the band's live appearances as much as a year before they were signed to a record label.  After Don Kirshner snapped them up, Jeff Barry was tagged as producer, much to his disappointment. Later, Ron Dante succeeded Barry in the control room. By 1992, The Archies' relationship with Don Kirshner had soured and they broke up; but when the band reunited eight years later, Dilt was elated. He thought he'd finally get his shot!

THE SAVAGE YOUNG ARCHIES

The Archies auditioned for a new producer, and dude was definitely in the running; but Veronica felt he didn't have the Pop sensibility the group needed. In her opinion, Dilton's music was too authentically Country, or Rhythm + Blues, or Latin, or whatever other genre he was working in. Reggie's pal Ralfi Chingas ended up getting the nod, but Dilt stayed in The Archies' loop. He was a sideman on their ARCHIE COUNTRY album and had just signed on as their touring music director. Now that he finally had his turn at bat in the studio, El Vato Maestro fully intended to knock Ralfi Chingas out of the ball park!

Although he'd only be credited as an arranger on this project, Dilton did supervise the album sessions.  He proved himself the perfect producer for The Archies, too.  The pint-sized Blaxican had a knack for making musicians relax and enjoy themselves. At the same time, he was adept at getting the best they had to offer. Dude delivered the old-fashioned Country sound that Toni Wine was after, and then some; she was delighted with his musical direction. Yet despite his confident and calming presence, tensions continued to flare!

SUN SESSION LOG

Take for example a tracking session that took place in early April 2005. While most of the material recorded was Country-flavored, Archie discovered a Soul number called "If We Both Hold On" in Toni Wine's song catalog. He felt it had strong single potential, and everyone was excited about the Stax-meets-Nashville-Sound arrangement that Dilton wrote.

Vocal tracking was where they hit a snag. Toni envisioned "Hold On" as a solo for Betty, but Reggie insisted on singing it with her as a duet. They tried it that way, but the songwriter turned an emphatic thumbs-down on the results. "Totally wrong," she complained. "Pairing Reggie's lead voice with Betty's . . . it's like serving tuna fish with champagne!" Jughead winced and thought: "Yipe!  Now the sh*t's gonna hit the fan."  And so it did: The stream of profanity Gino spewed in response was hot enough to fry a carton of eggs! Dude was so outraged at the unflattering comparison, he bailed out of the session early.

Veronica quickly took control of a deteriorating situation. Babe suggested a lead quartet of Archie, Betty, Jughead and herself: "The boys can sing the verses while we girls handle the choruses." Unfortunately, those choruses demanded a belting, Gospel-style delivery, and that kind of singing wasn't really Roni's forte. After 15 unsatisfactory takes, an exasperated Toni Wine declared: "Honey, sit your ass down! You're not bringing what we need here. Just let Betty do all the female parts."

Veronica complied, but the hot-tempered heiress could barely contain her rage! The feeling in the studio became so uncomfortable, Archie decided to adjourn the session right after Betts laid down her final take (which, by the way, was fabulous). Dude knew better than to take chances with that notoriously volatile Lodge temperament!

STAND BY

Roni and Reggie continued to clash with Toni.  Their personalities seemed designed to grate on each other!  She and Archie had their differences, too.  Dilton Doiley Briseño found himself constantly smoothing ruffled feathers! What's more, The Archies were working without Alan Mayberry, their resident audio wizard; Alan M was in Santo Domingo assisting Ralfi Chingas. In his place, they had an engineer that Reggie had recommended.

Isak Chaudhury had recently been cutting demos (as well as knocking boots) with Gino.  Having become one of Nashville's top demo singers, Reggie gave Isak his highest recommendation; but the rest of the band thought his soundmixes left much to be desired.  Arch and Roni coached the novice extensively on how they wanted The Archies' music to sound.  "He's never going to meet our standards," they agreed when he was out of earshot, "but hey, he's really trying hard. . . let's give him a break!  Isak will do until Alan M gets back." Little did they suspect why dude was trying so hard: He was bent on bootlegging the album sessions!

HIDDEN SEX YEARNINGS

Also unbeknownst to the group, the goddess of Love was stirring up mischief. Venus/Toni Wine toyed with the emotions of Veronica and Jughead!  Over the course of a week, she planted the idea of having an extramarital affair in their heads. Babe accomplished it by having them duet on a cheating ballad called "Your Husband, My Wife". The spicy song didn't cause the affair, but it intensified hidden feelings that already existed. When those feelings unexpectedly flamed into passion, the two longtime adversaries were completely blindsided.

Here are the juicy details of how it started: The Archies rented a house in Memphis to live and rehearse in while recording their new album. One night, Betty, Juggy and Veronica were there alone. Archie, Reggie and Kevin Keller were at the studio finishing up some overdubs. Betts was down in the kitchen cooking dinner; upstairs, her husband and her best friend were attempting to write a song together.

The adult Archies was almost strictly a covers band, but the members did write original songs. A good many were cut by Country artists, and by now a handful had scored smash hits. Naturally, the success of "Titty Twister" (cut by The Cadillac Three) and "On A Wrong-Way Street To Love" (crooned by Trisha Yearwood and Garth Brooks) encouraged The Archies to write more.

As usual when they interacted, Jug and Roni started arguing!  "The tempo is too fast," Juggy complained. "It's too slow," Roni countered. "People want to dance, not sit on their asses! This music of yours sounds just like Barry Manilow . . . it's Squaresville! When are you gonna get with it, dude?" This nasty jab at the great Manilow was too much for Riverdale's drum wizard to take. "Shut up, Veronica!" he snapped. "Sometimes I think you're the stupidest b*tch I ever met!" For a minute, they glared at one another in extreme exasperation; then both of them burst out laughing.  Seems like they were always going at each other about something!  As heated as the exchanges could get, though, there was always a deep, underlying affection.

AS JUGHEAD PRODDED HER
KIDNEYS, VERONICA THOUGHT:
"GOODNESS GRACIOUS ME!"

Just how deep became clear all of a sudden.  Roni's fingers entwined with Juggy's and then, shockingly, their lips met! The mismatched musical partners realized how much they wanted to shag each other: Like, really bad.  Afterward, Veronica couldn't remember how she ended up bent over her keyboard with her skirt pulled up to her hips, and her panties bunched around her knees. Likewise, Jughead couldn't recall how his pants and jock briefs fell down around his ankles. He didn't remember jamming his ten-inch prick up Roni's tight little twat; but the next thing both of them knew, they were screwing like hamsters in heat! "Oh, Veronica!" Juggy panted. "I don't . . ." Quickly, she laid a finger on his lips: "Hush your mouth, stud boy! Betty will hear us."

Babe really didn't want to be reminded who was turning her p*ssy inside-out. Jughead Jones? Gawd . . . how embarrassing. What would her gal pal Cheryl Blossom think? But when it came to sex, Roni Lodge-Andrews was insatiable! In addition to her husband, she'd partied with countless men: Reggie Mantle, Chuck Clayton, Big Moose Mason (who really wasn't that big) and Ron Dante, The Archies' former producer. Just to name a few!  Why, even the supposedly Gay Kevin Keller had sampled her charms; but Jughead had never shown interest her, nor she in him.

Yet, truth be told, Roni had always been tantalized by Juggy's ginormous endowment.  She first spied his monster johnson at a nude pool party. From that moment, babe had longed to feel every delicious inch inside of her. Now, it was finally happening! "Goodness gracious me," she thought as he prodded her kidneys. "Date night with Archiekins was never like this." Gleefully, Veronica bounced up and down on Jughead's swollen man meat like an energetic toddler straddling a pogo stick. "Stop fighting, you two!" Betty called out from the kitchen. "When are you ever gonna kiss and make up?"

DEEP INSIDE VERONICA

Before long, the Lodge Industries heiress and the Jughead's Diner restaurateur were living out the lyrics of "Your Husband, My Wife"!  Their affair was 75% booty call, but 25% was an intensity of emotion that frightened them both.  Venus/Toni Wine derived much private amusement from their predicament, but Arch and Betts had nary a clue.  Both were preoccupied:  Music Director Archie was working closely with Toni and Dilton, overseeing the new song arrangements. Dude was also frequently on the telephone to South America, conducting an important business deal.

As for Betty Jones, babe was shouldering a heavy burden: A frightening health diagnosis! Just before traveling to Memphis, Betts learned that she had fibroid tumors in her uterus. This news shook the blonde beauty down to her core: The same kinds of tumors had been malignant in both her mother and her sister. Both Alice and Paulette Cooper had died from uterine cancer!

Anxiously, she was now awaiting the results of a biopsy. Her sweet and vulnerable exterior hid an unexpectedly steely resolve; she chose to say nothing to the others.  Babe didn't even confide in her husband!  Betty chastised herself about this: "I can't have Juggy worried about me, but not telling him makes me feel so guilty. When we got married, we promised each other we wouldn't keep secrets." If she'd only known that Jughead was keeping a guilty secret of his own!

WHAT MIGHT HAVE BEEN 2ND SINGLE

A SINGLE NEVER SCHEDULED FOR RELEASE
Archie Records 45 115
"LOVE ME LIKE YOU´RE GONNA LOSE ME"
by IRWIN LEVINE + TONI WINE/
b/w "LOVE ME LAH-DEE-DAY"
by IRWIN LEVINE, PHIL SPECTOR + TONI WINE*
Duet vocals by ARCHIE + VERONICA
*Lead vocals by VERONICA
A WINE AND ROSES  PRODUCTION
Arranged by DILTON DOILEY BRISEÑO
Produced by THE ARCHIES

In explosive fits and starts, the album sessions lurched on.  They were the first at which The Archies switched off instruments; under Dilton Doiley Briseño's tutelage, they realized a musical freedom they'd never known before.  Everybody ended up playing a little bit of guitar, keyboards, drums and fiddle. Levels of expertise varied, so Archie called in members of his favorite Country band to augment their efforts: Katz + The Fiddles! Katz Rockland herself wasn't available, but Long Tall Wisdom and Frenchy Skaggs were, and they inspired everyone with their hot dobro and steel guitar-playing.

Dilton taught Betty how to play acoustic guitar, and like the quick study she is, babe picked up the basics in no time. One afternoon, she felt a need to spend some time away from the others.  Betts went off alone with her new instrument in tow; she found herself walking through Audubon Park.  Sitting down on a bench, she tuned the guitar and began to rehearse one of her solos: "A Groovy Kind Of Love".  Suddenly, she heard another voice singing along with her in perfect harmony. Jerking around to look behind her, Betty saw a pretty young Black woman standing nearby, wailing her heart out.

When I'm feelin' blue
All I have to do
Is take a look at you
Then I'm not so blue

When you're close to me
I can feel your heartbeat
I can hear you breathing in my ear

Wouldn't you agree
Baby, you and me
We got a groovy kind of love?

Excerpt from "GROOVY KIND OF LOVE"
Music + Lyrics by CAROLE BAYER-SAGER + TONI WINE
Published by Screen Gems-EMI Music

BETTY AND PRECIOUS LOVEJOY

She invited the stranger to sit beside her, and they began talking. Betts felt strangely drawn to the woman, whose name was Precious Lovejoy.  She began pouring out her heart; for the first time, she revealed her mortality fears to another human being. Precious was immediately empathetic: She told Betty that she, too, had suffered from fibroid tumors. She advised seeking a second opinion if worst came to worst and the biopsy returned positive for cancer.

Presently they began singing again, harmonizing on song after song. Betts closed her eyes and let the music transport her into another zone. Gradually, she realized that she was alone again . . . Precious Lovejoy was nowhere in sight when she opened her eyes.  Betty Jones left the park feeling as if a huge burden had been lifted from her shoulders.

Recording sessions that were originally scheduled to last two months stretched into four.  For the last couple of dates, The Archies relocated across town to Ardent Studios. During their extended stay in Memphis, the devoutly Jewish Joneses attended a local synagogue. Reggie and Kevin Keller (destined to be a couple, but that's decades away) spent Sunday mornings in yoga meditation. The Lodge-Andrews visited various Catholic parishes in the area; but one Sunday Archie decided to visit a Pentecostal congregation.  Slain In The Spirit Tabernacle was known nationwide for its great choir. Gino and Kelly agreed to accompany Arch and Roni to the church service.

The choir rocked hard, and the pounding Gospel music brought all of them to their feet. Even Reggie, whose religious beliefs lay just this side of atheism, found himself clapping hands and shouting amen!  Much to The Archies' surprise, one of the songs performed was "Take A Little Time Out For Love".  This inspirational number was written by Toni Wine, and the group was in the process of cutting it for their new album. Reverend Darling Lovejoy was truly righteous on lead vocals!

ARCHIE SLAIN IN THE SPIRIT

Archie was not only taken by Rev. Lovejoy's musical talent!  The sermon she delivered also stirred his emotions deeply. As she spoke passionately about the need to love one's fellow man, he had a "born again" experience: Dude started rocking back and forth and trembling all over.  Falling to the floor, the staunch Irish-Catholic began writhing and speaking in tongues! Nurses rushed to his side and laid him out on a church pew while a confused Kevin, an incredulous Reggie and a bewildered Veronica looked on.

Arch recovered consciousness just in time to contribute to the collection plate. After the money was counted, Rev. Lovejoy rushed back to the pulpit and threw her hands in the air. "Hallelujah!" she cried. "God has blessed us richly this morning.  It's the largest cash contribution we've ever received!" The congregation of Slain In The Spirit Tabernacle erupted in wild celebration! Archie, of course, was the benefactor.  His generous gift would fund a children's breakfast program though the end of 2005.

The Toni Wine tribute album was finally completed in early May; but predictably, a new battle broke out over the final mix. Toni Wine preferred to emphasize Dilton's musical arrangements, while Veronica wanted the group's vocals out front. Their standoff was unresolved when The Archies departed Memphis to fulfill commitments in South America. Further conflicts over music (as well as further sexual intrigues) awaited them in Medallín, Colombia!

Let's not take our love for granted
When in doubt, you're more romantic
Let's break up each night and say goodbye
Then baby, come on and love me
Lah-dee-day
Just like you're gonna lose me

Excerpt from "LOVE ME LIKE YOU'RE GONNA LOSE ME"
Music + Lyrics by IRWIN LEVINE + TONI WINE
Published by EMI-Sosaha Music/Irwin Levine Music/
R2M Music/Songs of LaStrada

IF WE BOTH HOLD ON SINGLE HERALD

THIS STORY WAS WRITTEN AND DRAWN
BY A HOMELESS ARTIST
HEAVEN HELP THE NON-BELIEVER 
concludes with PART TWO:
ARCHIE IN MEDALLÍN!
TONI WINE IS A REAL PERSON!!!
DISCOVER HER MUSIC AS RECORDED BY:
PHIL COLLINS (A Groovy Kind Of Love), TONY ORLANDO + DAWN (Candida), ROCK FLOWERS (Heaven Help The Non-Believer), MAGNIFICENT MEN (Holly, Go Softly), BOBBY VEE (I'm Into Lookin' For Someone To Love Me), CARLA THOMAS (I Loved Him Like I Love My Very Life), BRENDA LEE (I Think I Love You Again), PETULA CLARK (I Wanna See Morning With Him), KOFFEE (If We Both Hold On), THE CHIFFONS (Love Me Like You're Gonna Lose Me), TONI WINE (Take A Little Time Out For Love), RON DANTE (That's What Life Is All About) 
and BROOKLYN BRIDGE (Your Husband, My Wife).