Curtis Lee occupies the period of rock and roll & roll among the loss of life of Friend Holly as well as the arrival from the Beatles — an interval usually regarded as “shed years,” because, in addition to the Seaside Boys, several performers involved lingered long within the graphs or left a clear legacy in to the next period. Neither do Lee, but two of his tunes, “Pretty Small Angel Eye” and “Beneath the Moon of Like,” evoke vibrant associations with this innocent, romantic period. Lee hailed from Az, and slice three tunes for small brands while he was still in his teenagers. He was noticed by Ray Peterson (“Inform Laura I REALLY LIKE Her”), who’d simply began a label of his personal, Dunes, and asked to slice a demonstration if he found NY. By enough time he managed to get to NY in past due 1960, he’d began writing songs together with a pal, Tommy Boyce, who afterwards became one-half from the Boyce & Hart songwriting-producing-singing duo. Lee’s initial two singles, “Particular Like” and “Pledge of Like,” had been passionate but usually unexceptional shows that understandably didn’t chart, but also for his third record, Dunes decided to trim a Lee-Boyce primary called “Pretty Small Angel Eye.” Phil Spector, who acquired previously produced popular for Peterson (“Corinna, Corinna”), went the program, and laid the orchestra and, specifically, the chorus on extremely heavily, the last mentioned deliberately employed in a past due-’50s doo wop design. The causing record made the very best Ten, and became Lee’s biggest strike. Lee and Boyce following changed in the jaunty “Beneath the Moon of Like,” that used less of the doo wop design, and only a dense sax audio and a soaring female chorus, and produced the graphs in past due 1961. Unfortunately, this is to become Lee’s last documenting success. Lee hardly ever charted another record, and he still left the music business. “Very Little Angel Eye” is certainly a fixture on oldies channels, however, using its distinct audio, and both it and “Beneath the Moon of Like” are believed prime associates of Phil Spector’s early audio.