The one millionth sale of this record was reported by the Recording Industry Association of America (R.I.A.A.) ... Religiously, they would come and dance to the ten-ton rock beat of a band fronted by a little girl named Merrilee" (Walters). in 1970. A member of the group's road crew also worked for Paul Revere & the Raiders, and through this connection, Rush was invited to be the opening act on the Raiders' tour of the southern United States in 1967. Wrapping the tour late in the year, the Raiders commenced to lay down tracks for their Goin' to Memphis album at the city's American Sound Studio. That band was the Amazing Aztecs, led by 18-year-old saxophonist and budding music-biz entrepreneur Neil Rush. In January 1968 Rush was back in Seattle, and soon thereafter the song was released by the New York-based Bell label. Soulful, the twelfth album by Dionne Warwick, was released in 1969 on Scepter Records. [6] Her self-titled album for United Artists was released in 1977.[7]. Jini Dellaccio was an American photographer best known for her images of rock and pop acts of the 1960s, particularly in the Pacific Northwest. Producers Tommy Cogbill and "Chips" Moman gave it a whirl with Merrilee; it was released on Bell Records as Merrilee Rush and the Turnabouts (adding her last name gives it more of a "rock" vibe, doncha think?

It amounted to a Northwest all-star recording project -- cutting "Give Just a Little," featuring many musicians including Danny O'Keefe, Duffy Bishop, members of Jr. Cadillac, Rail, the Dynette Set, the Cowboys, and more. Merrilee Rush is a member of the following lists: Bell Records artists, People from Seattle, Washington and 1944 births. That same year she signed a deal with New York's Scepter label, which released her single cover of Carole King's"Child of Mine" (Scepter 12329). She was nominated along with Barbra Streisand ("Funny Girl"), Dionne Warwick ("Do You Know the Way to San Jose"), Aretha Franklin ("I Say a Little Prayer"), and Mary Hopkin ("Those Were the Days"). But that gig didn't last long, as the Aztecs split up in a disagreement over giving too much of the spotlight to Merrilee. Merrilee Rush and the Turnabouts released one more single on Bell, "That Kind of Woman", in 1968.

1968, copy in possession of Peter Blecha; Jim Kelton, "Seattle's Perennial Favorite: Merrilee Rush Still Our First Lady of Rock 'n' Roll," The Seattle Times, undated clipping, ca. Merrilee began driving a powder-blue Lincoln Continental and in early 1966 Neil built his own studio in the basement of the couple's Lake Forest Park neighborhood home at 20413 55th Place NE. And as a teenager she'd been inspired by the rockin' R&B music she was witnessing at dances featuring the region's earliest white rock 'n' roll groups, the Frantics, Little Bill and the Bluenotes, and the Wailers. [6] Her self-titled album for United Artists was released in 1977. [5].
By this point, the original fans of Northwest rock were aging and nostalgia was beginning to settle in and she was invited to participate in the big Northwest Rock 'n' Roll Revival concert at Seattle's Paramount Theatre -- a gig which also featured her fellow first-generation rock stars the Kingsmen, the Frantics, the Viceroys, Dave Lewis, Don and the Goodtimes, and the Wailers.

The band did one in Tacoma on August 26 at the Charles Wright Academy and in October appeared in Seattle with the Wallflowers and the Gas Company at The Happening at 1426 First Avenue. An offer to tour the deep South with the Raiders resulted -- only Merrilee would be supported by a backing band known as the Board of Directors. While that was Rush's lone release on Scepter, she cut several tracks for the label including a femme version of the Billy Joel song "She's Got a Way" ("He's Got A Way"). And that coupled with our sound made our show fantastic" (Blecha interview, 1984). Gretchen Christopher and Barbara Ellis hit the million-seller tier as two-thirds of The Fleetwoods, whose early records just happened to be produced by Bonnie. It was originally released by Capitol Records in 1984 with ten tracks taken from her albums Juice, Quiet Lies, and Dirty Looks. Having a preference for rhythm and blues, by 1962 she was playing a Hammond organ with Tiny Tony and the Statics, led by black singer Anthony Smith. See My background in music comes from 10 years of classical piano when I was a kid. The one millionth sale of this record was reported by the Recording Industry Association of America (R.I.A.A.) music, The band, now managed by Neil, was making a haul. But word about the band was spreading, all the way to California evidently. Meanwhile Merrilee's parents were becoming concerned about the attention that Neil Rush was paying their daughter, who had been blessed with beautiful blue eyes, long brunette tresses, and a winning and effervescent personality. In 1976 Rush signed with United Artists Records, which released three singles: "Could It Be Love I Found Tonight", "Save Me" and "Rainstorm". As that venue had been purposely situated across the street from the ongoing Century 21 World's Fair, the management of the fair took notice of the crowds the band was drawing and hired the Statics to perform at a free outdoor teen dance. The song has been featured in the major motion pictures Jerry Maguire and Fingers . Stax Records is an American record label, originally based in Memphis, Tennessee. Surrounded on the charts, as it was, by such heavy tunes as Steppenwolf's "Born to Be Wild" and the Rolling Stones' "Street Fighting Man," it felt like an aural oasis of needed calm. Merrilee Rush was among the most popular homegrown singing stars that the Northwest rock 'n' roll teen scene produced during the mid 1960s. They also hooked her up with producers Tommy Cogbill and Chips Moman, who produced this song, using lush orchestration and even a pedal steel guitar. 1968, p. 44, copy in possession of Peter Blecha, Seattle, Washington; Merrilee Rush, "My Unforgettable Tour with the Raiders," unknown teen magazine, ca. It was originally released by Renaissance Records on October 13, 1998. From the mid-1970s through the 1980s, he worked with Kenny Rogers. Many of his albums with Rogers went either gold or platinum and accumulated many millions of sales around the world. Thus began their musical partnership, performing together while touring the nation for the following decade, and along the way the duo married. Now billed as "Tiny Tony, Merrilee, and the Statics" -- and with Merrilee playing a giant Hammond organ instead of her piano -- this band was all set for success. Performing live became a steady habit and she enjoyed a brief comeback in 1977 after signing a solo contract with United Artists. Another single, credited to The Statics and Tiny Tony, appeared late in 1963; one listen to "Harlem Shuffle," a cover of the hit by Bob and Earl, proves she was wrong about one thing: Merrilee has insisted she "wasn't that good" in those days, yet in reality her smoky vocal sound (a contrast to her sweet-and-innocent looks) set her apart from most female vocalists, particulary the white suburban ones. Login But all was not what it appeared to be. In addition Rush also began making appearances with a crew called the Seattle Women in Rhythm and Blues, which also showcased other veteran singers, including Nancy Claire, Patti Allen (the Toggeries), Kathi Hart (the Bluestars), and Kathi McDonald (the Unusuals). However, it includes the 1975 take of "The Sweetest Thing " from the first RCA album, not the 1981 hit version from Juice. Moman was pleased and invited her to return in a few weeks, when she would ultimately be paired with producer/musician Tommy Cogbill (1932-1982) and various other members of the ace house band, The Memphis Boys. Best of all, Merrilee was now roaming the stage in her famous candy-striped silk suit, working the crowds and enjoying being no longer stuck back behind her keyboards. "Angel of the Morning" was written and composed by the songwriter Chip Taylor. The two went on to form Merrilee and Her Men, doing mostly cover versions of pop hits, and then joined rhythm and blues group Tiny Tony and the Statics, whose regional hit "Hey Mrs. Jones", on the Bolo label, featured Rush's keyboard playing and vocals.[2]. Contents. The upside was that she was making serious headway in the biz, raising her national profile with appearances on many popular TV shows including Dick Clark's American Bandstand, the Steve Allen Show, The Joey Bishop Show, the Glen Campbell Goodtime Hour, The Johnny Cash Show, the Everly Brothers Show, Happening '68, the Della Reese Show, and Something Else.

The Free Encyclopedia of Washington State History. Her photographs of the Sonics, the Wailers, Merrilee Rush, the Daily Flash and many others were frequently used for album covers, posters, and publicity stills, and - along with her shots of major acts such as Neil Young, the Rolling Stones, the Beach Boys, and The Who - have been widely reproduced in books, CDs, articles, and gallery exhibitions.

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