The Daisy/Tiger Records Story: Everybody Come Clap Your Hands!

The Daisy/Tiger Records Story: Everybody Come Clap Your Hands!

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The Daisy/Tiger Records Story: Everybody Come Clap Your Hands!

From late 1962 to mid-1964, the great rock & roll songwriting and production team of Jerry Leiber and Mike Stoller released almost a dozen singles on their Daisy and Tiger labels. Only one of those singles, Alvin Robinson's "Something You Got," was a hit (and only a moderate one at that), though the experience of running Daisy and Tiger helped lay the foundation for the far better-known label Leiber & Stoller subsequently founded, Red Bird. This 25-track CD collects both sides of all 11 Daisy and Tiger 45s, adding three previously unreleased alternate takes (one of them being a different version of "Something You Got"). The mixture of soul, R&B, pop, and girl group sounds that would characterize the Red Bird label are well in evidence on much of this material. The difference is that the songs and performers generally aren't as outstanding, with some notable exceptions. Bessie Banks' "Go Now," covered for a big hit in 1965 by the Moody Blues, is a superb classic soul-pop ballad, Cathy Saint's "Big Bad World"/"Mr. Heartbreak" is good uptown girl group-style music, and Dee Dee Warwick's interpretation of the Van McCoy composition "Standing By" is a great wrenching and dramatic slowie. Otherwise the songs are only passable, though they do include some obscure Jeff Barry-Ellie Greenwich compositions, as well as Leiber & Stoller's peculiar "Bossa Nova, Baby," done by Tippie & the Clovers. The instrumentals by Bob Moore & the Temps are generic raw blues-rockers, but collectors might want to note the presence of guitarist Roy Buchanan (who co-wrote both sides of their Daisy single) on those two tracks.

Product Details

Release Date: 02/25/2003
Label: Sundazed Music Inc.
UPC: 0090771108029
catalogNumber: 11080

Album Credits

Performance Credits

Alan Lorber   Conductor

Technical Credits

Roy Buchanan   Composer
Chris Kenner   Composer
Ellie Greenwich   Composer,Producer
Jerry Leiber   Composer,Producer
Alan Lorber   Arranger
Van McCoy   Composer,Producer
Jeff Barry   Composer,Producer
Artie Butler   Arranger
Bert Keyes   Arranger
Jay Lewis   Composer
Garry Sherman   Arranger
Mike Stoller   Arranger,Composer,Producer
Teacho Wiltshire   Arranger
J.J. Barry   Composer
Randy Poe   Liner Notes
Buddy Smith   Producer
Clint Ballard   Producer
Larry Banks   Composer
L.V. Banks   Composer
Ross A. May   Composer
Milton Bennett   Composer
B.B. Moore   Composer
Tony Powers   Composer
Joe Craig Jones   Arranger,Producer

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The Daisy/Tiger Records Story: Everybody Come Clap Your Hands! 5 out of 5 based on 0 ratings. 1 reviews.
Guest More than 1 year ago
Legendary songwriter-producers Jerry Leiber and Mike Stoller took several cracks at record label ownership before finding financial and chart success at Red Bird Records in the 1960s with the Dixie Cups and Shangri-Lass. Their first attempt, Spark Records, found some success with the Robins, but it wasn't until the label folded in the mid-50s, and the Robins' "Smokey Joe's Café" was re-released on Atlantic's Atco subsidiary that the single really took off. ¶ The duo's subsequent writing and production success at Atlantic throughout the late '50s and early '60s is impressive enough, but when one considers the sides they wrote and produced on Capitol, RCA (including hit singles for Elvis Presley), Scepter, Wand and numerous other labels, their output is truly staggering. It should be no surprise then that their second foray into label ownership, Tiger Records (and subsequently its sister label, Daisy), yielded a superb collection of singles and B-sides. What's truly astounding is that the labels' combined output, collected here in its entirety, had virtually no success on the charts. ¶ Starting with Tippie and the Clovers (comprised of Roosevelt "Tippie" Hubbard and three members of the original Clovers), Tiger and Daisy turned out a tremendous string of soul, pop, and R&B singles from the pens of Leiber & Stoller, Barry & Greenwich, Van McCoy and others. The debut single, "Bossa Nova, Baby," would become a hit for Elvis Presley the following year, but the original version, with a superb bass and drums bottom, jazzy vocal arrangement, and swinging sax solo failed to even touch the charts. The flip, "The Bossa Nova (My Heart Said)," features a similar arrangement, but with more of a Drifters’ feel. The label had similar bad luck with Bessie Banks’ original recording of "Go Now." Though this superbly soulful original has become better known via retrospective anthologies, it was eclipsed on the charts by the Moody Blues remake. ¶ Beyond these two track Daisy and Tiger’s compositions were relegated to nearly complete obscurity. Cathy Saint's "Big Bad World" had all the elements of a Brill Building success -- strong lead vocal, swinging drums, horn chart, and girlgroup harmonies -- but failed in the aftermath of JFK's assassination. The B-side, "Mr. Heartbreak," is a lovely ballad in the Dusty Springfield vein. Alvin Robinson’s superb New Orleans influenced "Something You Got" (Tiger’s only chart entry at #54) combines vocal elements of Otis Redding and Ray Charles, with a sublimely restrained horn chart. The flip, a remake of The Coasters "Searchin’," adds a wonderful bit of Memphis soul. ¶ The labels also produced a pair of fine rock ’n’ roll instrumentals from Bob Moore and the Temps. Their "Trophy Run" combines the guitar swagger (courtesy of none other than Roy Buchanan) and romping rhythms of Lonnie Mack, Duane Eddy and Link Wray, and "Braggin’" adds a bit Sunset Strip styled harmonica and organ. Vic Donna’s sides are straight boy pop, with a vocal that sounds quite a bit like then session vocalist Tony Orlando. ¶ Leola & The Lovejoys hold the distinction of being the only artists to release two singles on the Tiger label, and all four of their sides are fine slices of soul. The gospel-tinged "It’s Mighty Nice" and "Wait ’Round the Corner" show off their strong vocals, and Barry & Greenwich’s "He Ain’t No Angel" is a girlgroup dance tune that foreshadows the songwriters’ work at Red Bird. Dionne Warwick’s younger sister, Dee Dee, though primarily employed as a backing