Marilyn Maye Step to the Rear RCA 1967

Marilyn Maye Step to the Rear RCA 1967 CAT# LSP 3897

Accidentally bought two copies of this LP, but to my surprise, I ended up with two different variants. One of which would appear to be an original 1967 black label RCA, the other, a later pressing on an orange RCA label. The later pressing would speak volumes to the Kansas City singers popularity, I mean, if they had to repress LPS, apparently there was once a substantial market for the singer.

The differences between these two are minimal, but as you can see in the photo, the original has a green backdrop while the other has a blueish color used in the backdrop. What's also odd is the label on the repress reads, "Make Mine Marilyn Maye" rather than the title, 'Step to the Rear.' The track listing and everything else is the same. Even the stampers in the dead wax read the same. Makes you wonder if perhaps RCA was initially going to repackage the LP as a budget title in a separate cover to capitalize on some television appearance or jump in popularity for the singer, but at the last second, just decided to use the same cover with a slight alteration.

It's not a bad album, in her show tunes style, she covers some hits of the day. "Ode to Billy Joe" is well, groovy. There's also this over-the-top, sultry, version of Bobby Hebb's "Sunny", which is kind of fun.

Step to the Rear

Marilyn Maye with The Tony DiPardo Orchesta The Chiefs are on a Warpath B/W We're Number One Chief 1970

Marilyn Maye with The Tony DiPardo Orchesta The Chiefs are on a Warpath B/W We're Number One Chief 1970 CAT# ZTSC 142955

CHIEFS! How about KC right now in terms of sports? Baseball locked up, soccer always good, and the Chiefs win their first playoff game since the days of Martyball with Joe Montana as the QB. Nice.

This is a Marilyn Maye novelty 7" recorded with the official Chiefs band, the Tony DiPrado Orchestra, to help celebrate their 1969 Super Bowl win over the Minnesota Viking. A completely Kansas City record through and through.

If Marilyn Maye didn't sign your records, you weren't worth a shit

The well known song, "The Chiefs are on a Warpath," isn't something that would be recorded today and probably shouldn't have been done in 1970, but people weren't as aware back then. I wouldn't call the record racist, but the use of Native American cliches is certainly insensitive by today's standards. Nevertheless, it's a pleasant novelty track about the Kansas City team that won it all. And, it's still pretty fun to listen to, especially after an 11 game winning streak.

The flip side is enjoyable, but generic, "We're Number One!". Obviously, it talks about the Chiefs being number one, it's also got the clever line, "We come from Kansas City and we haven't any pity, when we wreck they are permanently wrecked." If we win the Super Bowl, it's this song, all day.

Chiefs are on a Warpath

Marilyn Maye The Lamp Is Low RCA Victor 1966

Marilyn Maye The Lamp Is Low RCA Victor 1966 CAT# LSP-3626

This was the second LP released by Kansas City vocalist Marilyn Maye in 1966. It attempted to drench her in ballads and to that extent, it doesn't work too well. Her voice is a too big for torch songs and ballads. Maye was better suited for uptempo tunes and theater.

What I love about the copy I found is the fact that it shows how proud people were of the Kansas Citian. I picked it up at a thrift store and whoever had it before kept it like a trophy; it's minty. And not because the prior owner couldn't get down with the tunes, but because Marilyn Maye signed the LP. Maye's autograph is personalized on the backside and reads the following:

"Love to you, Marion. Enjoyed spending the afternoon with you. Thank you for all your help and bless you for enjoying my kinda music. Happiness and all that's marvelous - Marilyn Maye."

I don't know who Marion was, but he or she certainly cherished this LP and whatever relationship they had with Maye. Marion even cut out a magazine review for the LP and taped it to the inner sleeve. What's sad is as much as Marion cherised the LP, years later, it was sadly discarded at a thrift store...I'm just happy I found it.

The Lamp is Low

Marilyn Maye Marilyn...the Most Holly Record Co. 1961

Marilyn Maye Marilyn...the Most Holly Record Co. 1961 CAT# H04

This LP appears to be a demo album for both Marilyn Maye and songwirter, Carl Bolte Jr. It would appear Maye was using Bolte's talent to showcase her own and move onto a major label, while Bolte was using Maye's skills as a performer to help him get into the bigs as a songwriter and a producer.

Of course, that's an assumption. For Maye, if that was the goal, it worked. She went onto a very successful career as a singer, recording a number of albums, appearing in movies and in theater, and making a record number of appearances on Johnny Carson.

Mr. Bolte, not as much, but he remained a succesful musician local to Kansas City. Holly Record Co. featured a number of other releases featuring his originals, running form rock n' roll, to children's music, to jazz. He wrote a Kansas City Royals fight song in 1968, one year prior to the Royals inaugural season. He also, as an alumnus, wrote a Mizzou fight song. So, to that extent, Carl Bolte Jr. was able to carve out an impressive musical career within Kansas City and the surrounding areas.

And, maybe he was just looking to make a buck on his own Holly Record Co. Or perhaps, he saw a super-talented young Kansas City singer in Marilyn Maye and just wanted to move her along to the next stage of her career. However, if that were the case, you'd think there'd be some jazz standards thrown into the mix, not a complete album of originals because NO ONE was doing that in 1961. Whether it was his goal to move to Hollywood on the success of this album or not, it's extremely impressive he was able to craft 10 original pieces for Maye and find backing to release it on his own label.

It's a cool album, Bolte's songs are sharp and center around his keyboards and lyrics he penned. They can seem a bit hokey with a lot of call and response between the vocals and the music, but overall, they swing and the campy attitude of the tunes fit Marilyn Maye perfectly. At this point, it's a bit a collector's item. There's a surprisingly large female jazz-vocal collectors scene, primarily in Japan, that will pay a premium for hyper-obscure albums that are quality. A regional debut album from a fairly well-known singer like Marilyn Maye is a no-brainer for those types.

Marilyn...the Most More of the LP

Marilyn Maye The Second of Maye Live From the Living Room RCA/Victor 1966

Marilyn Maye The Second of Maye Live From the Living Room RCA/Victor 1966 CAT# LSP 3546

The back cover to this LP reads; "You don't need a big orchestra behind you-When you're Marilyn Maye." To extent, it's right, she does have a booming voice. This a live LP (I'm sure with tons of overdub) recorded with a quintet fronted by Sammy Tucker.

It's a cool record, her voice is way out front and seems "live" enough.  It's also very 1966.  Not space-age, bachelor-pad 1966.  It's what you'd expect from female jazz vocal of the era.  Very cocktail hour, almost lounge, but still holding onto jazz just enough to not go pop.

Also, if you're wondering, it's her second album for RCA/Victor.  But, you probably figured that out from the clever title.

Marilyn Maye The Happiest Sound in Town RCA/Victor 1968

Marilyn Maye The Happiest Sound in Town RCA/Victor 1968 CAT# LSP-4054

Found this at a garage sale down the street.  Boxes of easy listening and Christmas records.  There may have been a few Beatles LPs before I got there, there probably was a few things like Gerry and the Pacemakers, but overall, there was nothing cool.  There was this, though.  Not considered a cool record to anyone, but seeing how she's local, it was my lone purchase.

Should be easy to buy a record for a dollar at a garage sale, but, no.  You have to talk about why you are purchasing the record, and field the question, "Do you still have a record player?"  Or, "What do you do with all these old records?"  Since Marilyn Maye is from KC and proud about it, this purchase took a considerable amount of time.

First the homeowner selling the record got excited and stated, "Oh, Marilyn Maye, I know her!"  That was genuinely interesting so I replied thinking there was maybe a family relation.  No, instead I got, "Well, she's local, I don't know her, but..."  Oh good, you don't know her, can I have my change, now?  "But, my brother's girlfriend used to have a brother that dated her years ago.  She's still around though, we always go see her perform at the community college."  Wow, terribly interesting, but, to her benefit, she was right, Marilyn Maye does perform at the Johnson County Community College from time to time...she should kept the record and asked her to sign at the next one she went to.

The album is enjoyable.  It does get over-the-top Hollywood at times, but the bulk of the first side and some of the second are based in a much more traditional vocal jazz approach.  Plus, she puts a ton of pzazz in her rendition of the classic tune, "Kansas City."

Marilyn Maye Meet marvelous Marilyn Maye RCA/Victor 1965

Marilyn Maye Meet marvelous Marilyn Maye RCA/Victor 1965 CAT# LPM-3997

This is Marilyn Maye's debut for RCA.  TV personality and the guy who discovered Maye pens the back cover and gushes on and on about her greatness.  The LP actually boosts some talented arrangers drawing both from Don Costa and Manny Albam, but all in all, just really pop vocal tracks with a singer that has a background more in theater than jazz.

The theatrical value of her voice and the arrangements on this LP give it a very big showbiz sound.  Highlights include the uptempo "Get Me To the Church on Time," the simple bass line vocal pairing of "Washington Square" until it gets full-blown, her rendition of "Take Five" is fun, outside of that, many ballads, nothing that stands out too much or has become the definitive version of a song.

I Love You Today

Marilyn Maye A Taste of "Sherry!" RCA 1967

Marilyn Maye A Taste of "Sherry!" RCA 1967 CAT# LPM-3778

Marilyn Maye McLaughlin was born in Wichita, KS, but would begin her singing career in Topeka as child performer in local talent shows.  After her parent's divorced, she spent some time in Des Moines, Iowa, gaining some attention as  teen on radio.  She would later move to Chicago, but quickly come back home to Kansas City.

Performing throughout the Midwest she was discovered by the first show of the Tonight Show, Steve Allen. The relationship landed her a recording contract with RCA and in her prime, she was somewhat of a regular on the Tonight Show appearing 76 times.

This album is typical of her jazz vocal style that is heavily laced with pop.  She's no June Christy or even Julie London.  Rather, she's far more routed in the theater and cabaret traditions than jazz.  She's got a clear, brassy voice, that's suited for the grandiose arrangements that usually surround her.  There's some fun moments on this LP, which represents her early work, "Java" is pretty goofy, "Sherry!" is surprisingly quirky, and her cover of "You've Lost that Lovin' Feelin" works well.

Marilyn Maye - Java