Sunday, February 28, 2010


I Think We're Alone Now
It's Only Love
Gettin' Together

Mony Mony
Cellophane Symphony
Midnight Rider

Mouse here to zoom in

Tommy James & The Shondells 40 Years The Complete Singles Collection 1966-2006 2 CD set is brand new; it is unopened, unplayed and still in its original factory shrink wrap. He was one of the icons who made the Sixties groovy - and he’s still got the groove.

  1. Hanky Panky #1 hit for two weeks released 6/4/66.
  2. Say I Am (What I Am) #21 hit released 8/6/66.
  3. It’s Only Love #31 hit released 11/5/66.
  4. I Think We’re Alone Now #4 hit released 2/11/67.
  5. Mirage #10 hit released 4/29/67.
  6. I Like The Way #25 hit released 7/1/67.
  7. Gettin’ Together #18 hit released 8/26/67.
  8. Out Of The Blue #43 hit released 10/28/67.
  9. Get Out Now #48 hit released 1/27/68.
  10. Mony Mony #3 hit released 4/6/68.
  11. Somebody Cares #53 hit released 7/27/68.
  12. Do Something To Me #38 hit released 10/12/68.
  13. Crimson And Clover #1 hit for two weeks released 12/14/68.
  14. Sweet Cherry Wine #7 hit released 3/22/69.
  15. Crystal Blue Persuasion #2 hit for three weeks released 6/7/69.
  16. Ball of Fire #19 hit released 10/4/69..
  17. She #23 hit released 12/13/69.
  18. Gotta Get Back To You #45 hit released 2/21/70.
  19. Come To Me #47 hit released 5/16/70.
  20. Ball And Chain #57 hit released 8/1/70.
  21. Church Street Soul Revival #62 hit released 12/19/70.
  22. Adrienne #93 hit released 3/20/71.
  23. Draggin’ The Line #4 hit released 9/25/71.
  24. I’m Comin’ Home #40 hit released 9/25/71.
  25. Nothin’ To Hide #41 hit released 11/27/71.
  26. Tell ‘Em Willie Boy’s A Comin’ #89 hit released 2/19/72.
  27. Cats Eye In The Window #90 hit released 6/17/72.
  28. Love Song #67 hit released 8/19/72.
  29. Celebration #95 hit released 11/4/72.
  30. Boo Boo Don’t Cha Be Blue #70 hit released 2/17/73.
  31. Calico
  32. Glory Glory
  33. I Love You Love Me Love
  34. Tighter Tighter
  35. Love Is Gonna Find A Way
  36. Three Times In Love #19 hit released 1/26/80.
  37. You Got Me
  38. You’re So Easy To Love #58 hit released 5/9/81.
  39. Say Please
  40. Go
  41. You Take My Breath Away
  42. Who Do You Love?
  43. I Love Christmas
  44. Sweet Cherry Wine (Gospel Version)
  45. Isn’t That The Guy
  46. Love Words
  47. Hold The Fire
  48. Long Ponytail (bonus track from 1962 with Tom & The Tornadoes

A Collection of Joe Viglione's reviews and interviews with Tommy James

And what is amazing is that the picture sleeves are going for more than what the vinyl is fetching these days

Joe Viglione's first interview with Tommy James, conducted in 1984

Reprinted from Ffanzeen courtesy of Robert Barry Francos

Tuesday, February 23, 2010

TOMMY JAMES – He’s Not Alone Now

Text by Joe Viglione, intro by Robert Barry Francos
Interview © 1984; RBF intro © 2010 by FFanzeen
Images from the Internet

The following interview with Tommy James was originally published in FFanzeen magazine, issue #12, in 1984. It was implemented and written by Joe Viglione.

As I was led into an office to interview novelty country musician and advertising maven Chinga Chavin in the early ‘80s, Tommy James was walking out. Being introduced by Chinga, I shook Tommy’s hand, and mine was lost in his huge mitt. That was what I took away from the three seconds I met him, physically. Musically, he was part of my life for years, through all the songs that Joe mentions in his piece. Even to this day, Joe Viglione remains a huge Tommy James supporter, which I respect. In that honor, I reprint this Q & A interview. – RBF, 2010

Tommy James, one of the master craftsmen of pop, returned to the Boston area after an absence of more than seven years. The man made an indelible impression on many a memory with such hits as “Hanky Panky,” “Three Times in Love,” “I Think We’re Alone Now,” “Mirage,” “Crimson & Clover,” “Mony Mony”; and there are so many more.

To any serious rock’n’roll fan, this is great news. To a Tommy James devotee, it is intense news! I first saw Mr. James at The Red Barn in Westboro (MA), on October 3, 1975. It was a magical night full of energy and hit recordings. A night we got to relive in 1977, when Tommy returned to the area to play The Weymana, in Weymouth.

In honor to Tommy’s return, I decided to track him down. It took a few days of negotiating, but before long, I found myself on the phone setting up an interview with one of my rock’n’roll idols – at his home! To say I was nervous is an understatement. What do you say to someone who has had a hand in making some of your best memories? I flipped through my Tommy James albums. Aha, maybe I’ll ask Tommy some real off the wall questions about songs, like Gary Glitter’s “Do You Wanna Touch Me,” which Joan Jett’s producers, Ritchie Cordell and Kenny Laguna first recorded with Tommy; maybe I’ll ask him what it felt like, in 1977, to be produced by Jeff Barry, the man who co-wrote “Hanky Panky” more than a decade after the song made his career. There were many questions on my mind. Monday, February 6, 1984, I decided to begin with Joan Jett:

FFanzeen: Joan Jett had two big hits with “Do You Wanna Touch” and “Crimson & Clover,” proving once again that you were ahead of your time. How do you feel about that?
Tommy James: Well, it’s always flattering when people do your songs. It’s also very interesting because many of the records I did have turned into classic. I don’t know that I would go back into the studio myself and re-cut them. It would be very tough to recapture the magic. And every now and then somebody does. I think Joan Jett did a nice job with “Crimson & Clover.” They did it a little bit – they beefed it up. I don’t think as much thought went into the production; I think that it was very effective. It was done just the way it should’ve been done for today.

FF: I thought your production of “Crimson & Clover” was unbelievable.
Tommy: Well, thank you. The funny part about “Crimson & Clover,” y’know, we had two ways of doing it. As a matter of fact, we were thinking very seriously about doing it the way Joan Jett ended up doing it… which was doing it very hard and doing it with a little more of a heavy metal sound. We chose back at that time to go with a little bit softer sound, to go with an acoustic guitar. Then, I think we had a harpsichord on there, and we had a whole lot of other things that allowed us to build the record… to do both a short and a long version. The longer version has ended up to be the classic, with the big guitar solo in the middle of the record. But I must say though, for the single, Joan Jett did a real fine job. The Rubinoos did a nice job also with “I Think We’re Alone Now,” and Billy Idol had “Mony Mony.” It’s very flattering when new artists do your material. I think it shows that your songs stand up to time, and that’s always a good feeling.

FF: I’d like to see these artists contacting you to have you produce some of these tunes, because you’ve really shown yourself to be a master of the studio. I don’t think a lot of people have picked up on that.
Tommy: I think that you have to – well, at Roulette Records, I had to. I was kind of a jack-of-all-trades back in the old days, because I was writing the songs, I was producing the songs, I was performing the songs, and in many instances, I was promoting the songs. It was like a one-man operation up there. But I don’t think I could’ve gotten the training any other way… the knowledge of the record industry all the way from the nuts and bolts of the production to the marketing procedures and things like that. I don’t think I would’ve known the industry like I do today if it hadn’t been for that time.

FF: I found an album called Tommy James’ 20 Greatest Hits, released in Canada.
Tommy: Well, that was all part of a package. We went platinum in 1976-77, on Adam VIII, which was released in this country, and then in Canada with another package. It has 20 songs on the one album; the fidelity is terrible.

FF: But there are two songs on it that I had never seen in America: “Celebration” and “Love Song.”
Tommy: They were both out, right at the period of time when I was leaving Roulette. They were songs that were a little bit later on, before I made the jump to Fantasy Records.

FF: The Fantasy albums were pretty great, both of them.
Tommy: Thank you.

FF: And Jeff Barry producing you.
Tommy: Jeff did the last one. It was me, Ritchie Cordell and Kenny Laguna who did the In Touch album, the first Fantasy project. And The Midnight Rider album was Jeff Barry, who wrote my first hit song, “Hanky Panky.”

FF: So that must have been a magic moment.
Tommy: It was a good combination. I gotta say I was a little disappointed with the production on that. I think the songs were fun and we had fun writing it, but I was a little bit disappointed. I think there could’ve been a little bit more depth to the production; it was real straight ahead. But you know, every producer has his own tastes and it’s so hard to tell. You’ve gotta just let somebody else pain the picture before you really see what it looks like. It’s a different way of looking at yourself when somebody else produces you.

FF: You released something called “No Hay Dos Sin Tres,” on Millennium.
Tommy: Oh, that was the Spanish version of “Three Times in Love.”

FF: Really, I didn’t know that.
Tommy: Yeah [laughs]. We had the gold record in 1980 with “Three Times in Love.” It went #1 Adult Contemporary, and Top-10 in the pop charts. That was the last gold record I had. I did a Spanish version of that.

FF: I thought it was some obscure Millennium release I missed out on. You’re recording a new album now?
Tommy: That’s right. We’re being very careful this time.

FF: You have the same band as on “Three Times in Love”?
Tommy: No, it’s a different group of musicians; a little bit different direction in the studio this time. We’re using an instrument used on the Thriller album that’s very exciting. It’s called a Synclavier – a $65,000 computerized synthesizer. It’s a fantastic instrument that can not only give you every sound that you can conceive of inside the machine, but if you want the actual sound of a human voice, or a guitar solo, or a real saxophone or something, all you have to do is blow a couple of notes into the computer and it memorizes the sound of, like, a saxophone, or the wind going through the horn, and memorizes it digitally. You can play it on the keyboard. It consists of a keyboard, a typewriter, and a TV monitor, so you can see the actual signal playing onto a floppy disk. And then, from a floppy disk, you dump everything onto tape. So you can literally make the album in your living room, or a good portion of the album in your living room, and take it to the studio. ‘Cause everything put in there would be memorized by the computer and put to memory. So about the only thing you need the studio for is your vocal and to mix. It’s fun to play with. It’s not really an ends-to-the-means, but it’s a nice instrument to build the shell of a record; to build the skeleton. In the studio, I’d probably want to use other instruments. If you wanted to use a conga or something there’s nothing like the sound of a natural conga. We’re going a little bit more electronic this time.

FF: And you’re writing all the material this time.
Tommy: Me and my writing partner, Don Ciccone.

FF: Oh, Don’s still with you, then. He did keyboards on “Three Times in Love.”
Tommy: That’s correct. Don was one of the members of the original Critters; “Mr. Dyingly Sad” [and “Younger Girl” – Ed.], and then he was with the Four Season for about 10 years. We’ve been friends for a long, long time. We started working together about four years ago, and writing together two years ago.

FF: All you released on 21/Polygram last year was the 45, “Say Please”?
Tommy: That’s right. That was a project that got hung up in production. The record company fell apart before the project got done. It’s too bad, but that happens sometimes with a new label.

FF: Are you going on a nationwide tour?
Tommy: We probably will. The thing with going on the road, I don’t do it very often. I’m very selective about the dates that I play and the towns that I play in. I’m really looking forward to coming to Boston. Always like to play up there. We’ve always had great crowds up there, and the crowds are good and rowdy. Boston’s known for that. Always loved playing in Boston, even back in the ‘60s. There’s a new product coming this spring. As a matter of fact, I’ll be in the studio right after we get done wit the Channel in Boston, so I’m looking at a spring release for a single, and a summer release for an album. That means I’ll be in the studio pretty much right up until summer. If all things go as planned, I’ll probably be touring this summer. I don’t like to do the 30-40-50-date tours. I like to go out for a week at a time and then take a couple of weeks off, and go out for another week-10 days. I don’t know how these guys do it. We put out so much energy during a show that, if I were to literally play for 40 nights in a row, I don’t think there’d be much of me when I got home.

Joe Viglione Song Reviews

Friday, February 18, 2005


Christian Of The World
Do Something To Me
Draggin' The Line
Quick Silver

Get Out Now
Three Times In Love
Light Of Day
I Think We're Alone Now
You're So Easy To Love (rare Tommy James single)
Sweet Cherry Wine
Crimson & Clover
Crystal Blue Persuasion
I Think We're Alone Now
I'm Alive
Mony Mony
Sugar On Sunday
Baby Baby I Can't Take It No More


I Think We're Alone Now
It's Only Love
Gettin' Together

Mony Mony
Cellophane Symphony
Midnight Rider


Tommy James

Christian Of The World

My Head My Bed My Red Guitar

In Touch

3 Times In Love

A Night In Big City

2 Tommy James related discs
Hog Heaven (1971)

Hog heaven Review (ex Shondells)

Alive N Kicking 1970 Produced by Tommy James & Bob King, featuring Bruce Sudano who co-wrote "Ball Of Fire"


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ALIVE N KICKIN' TIGHTER TIGHTER Original Review by Joe Viglione

It is amazing that an album with such an extraordinary Top Ten single as the Tommy James/Bob King composition "Tighter, Tighter," by a group with superb vocals, is filled with such half-baked and poorly performed tunes. Although the cover says in big bold letters "Produced by Tommy James and Bob King for Tommy James Ventures," the difference in performance from track to track when played next to the hit, "Tighter, Tighter," is too distinct, so much so it is startling. The album says in very fine print "arrangements by Alive & Kicking"; what it sounds like is that the band produced themselves, and slapped a Tommy James production on the first track. The vocals on each of the songs are all precise and quite soulful, it's just that the future Mr. Donna Summer Bruce Sudano has material that isn't up to Tommy James' standards. The drums on each track don't compare to the hit, with guitar playing that is even worse. "Mother Carey's Chicken" is an indication of talent wasted on weak material. There is one brief moment that almost equals the hit single, a 30-second track by Sudano and Wilson entitled "Sunday Morning." It's terrific, sounding like a hook with no song, what a shame. This isn't the tune by Spanky & Our Gang, and perhaps it's no coincidence they chose that title; this band, vocally, has a lot in common with Elaine Spanky McFarlane. Sudano had another brief flirt with chart success when his Brooklyn Dreams performed on wife Donna Summer's Top Five hit "Heaven Knows" in 1979. Tommy James re-recorded "Tighter Tighter" on his 1976 Fantasy Records album In Touch. A good song is a good song, but even Tommy James throwaway tunes never sounded as bad as "Mississippi Mud," "Jordan," "Junction Creek," and three other uninspired Sudano co-writes along with A. Martin's forgettable "Just Let It Come." Certainly an oddity to have an album this bad with a hit single that is so classic -- only proving that the magic of Tommy James is the element that brought Alive & Kicking all of their success. Wonderful summery album cover photo of Sandy Toder, Cardona, Sudano, and the three other members of this band splashing in the waves on a beach. The hit record gave them an opportunity to be a stellar pop band, and they had the voices for it. Disappointing that it never happened. If only they recorded outside material and gave the rest of the disc the production values of "Tighter, Tighter." ~ Joe Viglione, All Music Guide

Someone republished my "People" Review on a Blog

Though it has less to do with Tommy James and more to do with The Zombies here it is again:

PEOPLE "I Love You"

Digitized from the original vinyl, released in 1968 on Capitol Records.

Recorded at the Sierra Sound Lab, Berkeley, California
Recording engineers: Roy Ward & Bob De Sousa

Bit Rate: 320 Kbps
Format: Mp3

1000 Years B.C.
Nothing Can Stop The Elephants
Ashes Of Me
Crying Shoes
I Love You
What We Need Is A Lot More Jesus and A Lot Less Rock & Roll
The Epic

Larry Norman - Lead Singer
Gene Mason - Lead Singer
Geoff Levin - Band Leader,Vocals, Guitar
Robb Levin - Bass Guitar
Albert Ribisi - Keyboards
Denny Fridkin - Drums



Review by Joe Viglione (All Music Guide)
The title track's cover of Zombies member Chris White's fabulous song "I Love You" went Top 15 in the spring and summer of 1968. The anomaly that drifts in from seemingly out of nowhere, this causes one to wonder why bands who have success with someone else's music do not try reinventing other tunes. As Tommy James' composition "Tighter Tighter" for Alive 'N Kickin', Stan Vincent's "O-o-h Child" for the Stairsteps, and producer Paul Leka's visionary "Na Na Hey Hey Kiss Him Goodbye for Steam identified those bands, all three acts failed to follow up their radio play majesty with another magical arrangement of a great tune. In the case of Alive 'N Kickin', it's a poor album of filler to round out a sublime 45 RPM.

People needed to craft an album of songs as beautifully arranged and performed as the title track here, and they failed to do so. Thirteen minutes and 25 seconds of "The Epic" is all that is on side two, and it is a major-league rip-off. At least Iron Butterfly made their signature song, "In a Gadda Da Vida," interesting by dragging it across most of an LP side, and an extended "I Love You" would have made this album a classic. Instead, there are competent but boring exercises like "1,000 Years B.C.," "Crying Shoes," the born-again-tinged "What We Need Is a Lot More Jesus and a Lot Less Rock & Roll," and "Nothing Can Stop the Elephants." Nothing can help this album, actually, except for the marvelous hit single. It's not as bad as the Alive 'N Kickin' disc, but it isn't as good as an album by Gary Lewis with no hit singles, like his New Directions disc, for example. And what does that say? The hit single is so perfect, so stunning, they really should have spread it across both sides of this Capitol record.

The blogger, T.C., questions the professional reviewers, to which I replied:

Hi -

Yes, we professional reviewers also read music, write music and have had albums released in Europe and even managed famous record producers! Some of us have forgotten more about music than most people will ever know!


Joe Viglione