Tommy James was born Thomas Jackson on April 20, 1947, in Dayton, OH. He was introduced to music at age three, when he was given a ukulele by his grandfather. He was an attractive child and was working as a model at age four, which gave him something of a taste for performing. By age nine he'd moved to the next step in music, taking up the guitar, and by 1958, when he was 11, James began playing the electric guitar. In 1960, with his family now living in Niles, MI, 13-year-old James and a group of four friends from junior high school -- Larry Coverdale on guitar, Larry Wright on bass, Craig Villeneuve on piano, and Jim Payne on drums -- got together to play dances and parties. This was the original lineup of the Shondells, and they became good enough to earn decent money locally, and even got noticed by an outfit called Northway Sound Records, who recorded the quintet in a Tommy James original entitled "Judy" in 1962. That single didn't make much noise beyond their immediate locale, but in late 1963, the group came to the notice of a local disc jockey starting up a new label called Snap Records. They cut four sides, two of which were issued and disappeared without a trace on their first Snap single.
Considering that the group had never even played there, he was puzzled. He soon found that the Snap Records single "Hanky Panky," recorded back in 1963 and overlooked in Chicago and Detroit at the time, had suddenly broken out in Pittsburgh. A promoter, having found a copy of the Snap single in a used-record bin, had liked what he heard and gotten the record played locally at dances. In one of those fluky instances that made the record business in those days a complete marvel, people suddenly started requesting "Hanky Panky," and in response to the demand, bootleggers began producing it, attributed to various labels -- some sources estimate that as many as 80,000 copies were sold in Pittsburgh before the smoke cleared.
From near-total obscurity, this version of Tommy James & the Shondells went to playing to audiences numbering in the thousands, and were being courted by Columbia Records and RCA-Victor. It was Morris Levy and Roulette Records, however, who outbid everybody and won the group's contract, and got a number one national hit with "Hanky Panky," in the version cut by the original group nearly three years earlier.
Tommy James & the Shondells were lucky enough to be making pop-oriented rock & roll in an era when most of the rest of the rock music world was trying to make more serious records and even create art (often even when the act in question had no capacity for that kind of activity). They were at a label who recognized the need to spend money in order to make money, and didn't mind the expense of issuing a new LP with each major single, despite the fact that Roulette was mostly a singles label where everything but jazz was concerned. The group members themselves were having the time of their lives playing concerts, making personal appearances, and experimenting with advancing their sound in the studio. Audiences loved their work and their records, and it only seemed to get better.
James and company were among the top pop/rock performers in the world during 1969, with two more major hits, "Sweet Cherry Wine" and "Crystal Blue Persuasion," to their credit. Indeed, their presence on the Crimson and Clover album, in addition to the title cut, helped loft that record to a 35-week run on the charts, an extraordinary achievement not only in the history of the band but also -- for a non-greatest hits album -- for Roulette Records, who weren't known as a strong album label. They also began experimenting more with new sounds during this period, most notably on their next album, Cellophane Symphony. The latter record, whose release was delayed for four months because of the extraordinary sales of Crimson and Clover, had its share of basic rock & roll sounds but also plunged into progressive/psychedelic music with a vengeance, most notably on "Cellophane Symphony," a Moog-dominated track that sounds closer to Pink Floyd than anyone ever imagined possible. Cellophane Symphony sold well without breaking any records by its predecessor, and proved in the process that Tommy James & the Shondells could compete in virtually any rock genre.
The end of the Shondells' history came not from any real decision, but simply their desire to take a break in 1970, after four years of hard work and a lot of great times. The moment also seemed right -- James was getting involved in other projects and moving in other directions, including writing and producing records for acts like the Brooklyn-based band Alive and Kicking, whose "Tighter and Tighter" got to number seven, and his own solo recordings. The Shondells continued working together for a time as well, under the name Hog Heaven, cutting one album for Roulette before withdrawing back to the Pittsburgh area where they'd started.
James went through a lot of different sounds on his own records, including country (My Head, My Bed, & My Red Guitar) and Christian music (Christian of the World), and charted in the Top Ten one last time in 1971 with "Draggin' the Line," although he also saw more limited success for another two years with records such as "I'm Comin' Home" and "Celebration."
In the mid-'70s, he made a jump from Roulette Records, where he'd based his career for nearly a decade, to Fantasy Records, and he later recorded for Millennium Records. Following his 1980 Top 20 hit, "Three Times in Love," he resurfaced as a concert artist playing his old hits as well as new songs, although some of these shows were marred by reports of late arrivals and less-than-ideal performances; he has since reestablished a record as a serious crowd-pleasing act, cutting records anew with Cordell and even releasing a live hits collection in 1998.
I don't think i must say anything about TJ & TS. Okay the biography is a little short...lol. No, the only thing i want say is i thought ''2 albums on one disc, so i will do two links for one disc. Flac and mp3.
SB1 Flac expire 2017-04-07