‘Summer Sunshine’

Well, I missed the solstice today. According to Wikipedia and Time.Untarium.com, the summer solstice took place at 5:07 this morning, with the sun’s northward trek for this year coming to its peak. So I missed the actual moment, and – with the skies here in St. Cloud expected to be cloudy all day – I won’t benefit greatly from sunshine during the so-called longest day of the year.

St. Cloud will have about fifteen hours and forty minutes of daylight today, according to Time.Unitarium, with the sun having risen at 5:29 this morning (right about the time Oscar the cat roused me from sleep, asking for his breakfast) and setting this evening at 9:09.

So we’ll have little summer sunshine outside today, but here inside, we’ve got that covered. A search through the digital files brought us “Summer Sunshine” from a group called Misty Morn. I know nothing about the group, and a cursory search this morning told me not much more than that the record was released on Epic as a promo in 1969. (I do not know if there was a regular release.)

I did find a link to what seems to be text from the August 16, 1969, edition of Cashbox, noting that the record was a “[s]low, softly building ballad with the stylish appeal to attract notice on MOR and teen circuits.” But the record never hit the charts in either Cashbox or Billboard.

I evidently found the record on a 2010 compilation on the Pet label titled Soft Sounds For Gentle People 5 (Far-Out Treasures From California And Beyond, 1966-1969). And it’s a pleasant diversion for a day that somewhere in the Northern Hemisphere will be filled with “Summer Sunshine.”

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2 Responses to “‘Summer Sunshine’”

  1. Yah Shure says:

    If I were auditioning “Summer Sunshine” in 1969, it would have been off the turntable in about 45 seconds. The instrumentation after the bass intro sounds off, and when the first verse starts, the singers sound unsure of their footing. The melody is okay, but the deal-breaker is those tempo changes, which are completely unnecessary. No wonder the “teen circuits” short-circuited the record’s success. How could the kids dance to *that*?

    The single would certainly have been available commercially; the 5-10495 catalog number signifies a commercial Epic 45 release. Had the prefix been an “AE7”, followed by a different numbering sequence, it would likely have been a promo-only issue.

    If you’d gone to the Musicland store at Crossroads Mall, looked it up in the Phonolog (or had a store employee do so), it could have been special ordered. You would have had to pay the full 98¢ list price in advance (as opposed to the regular 88¢ for current titles they already had in stock), but they would likely have been able to get a single copy direct from CBS Distribution, sent via Musicland/Heilicher Brothers channels.

    Ditto for any then-current single on Decca, Capitol and RCA, which all had their own distribution divisions. Beyond those labels, sometimes they’d deliver, other times, the order would be returned – stamped “not available” – and your money would be refunded.

    That didn’t mean the single wasn’t available somewhere else in the country, through a different distributor; it usually meant that the retail distributor had to buy a set minimum number of copies; probably a box of 25. Processing the paperwork and sending back the unsold returns for credit would end up costing them more than the 49¢ or so that they’d net on the sale of one copy.

    It was probably for contractual reasons that stock copies of every Columbia/Epic single assigned for commercial release was actually pressed and made available. The trick, of course, was in knowing they existed in the first place. Little wonder that promo copies of obscure singles like this one usually outnumber stock copies.

  2. whiteray says:

    Thank you! Being more a listener than a dancer (as I’ve noted, my dancing is not for others’ eyes), I was not bothered by the tempo shifts. But I can understand how they would put off a PD/MD. And thanks for the background on the biz side of singles, stuff that I’d never considered, always being on the speaker side of the business.

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