British born Murphy moved to Wallaceburg, Ontario, Canada with his mother when he was six and over time taught himself how to play guitar. He relocated later to Salt Spring Island on the West Coast and at the age of 17 was playing gigs between Los Angeles -- living on Manhattan Beach and playing coffeehouses -- and New York.
He formed a duo with Jack Klaeysen back in Wallaceburg (while working a day job dredging the St. Lawrence Seaway). After hearing the Beatles, they knew they had to go to England. The bought one-way tickets on a ship from New York and arrived in Liverpool on February 14, 1965. They were bunked in steerage on board the ship and began playing for the other passengers. They met the brother of agent Joe Collins (father of actress Joan Collins) and he invited them to meet in London at his talent agency offices. Murphy didn't believe him, and the duo continued on to Liverpool
The British Invasion had already blown through the town and so gigs and audiences were sparse. They eventually met Gerry & The Pacemakers who told them to head to London where the music scene was thriving. They began playing at the New Oxford Theatre opening for The Ivy Leagues, The Pretty Things, The Byrds, Martha and the Vandellas, and within four months had a record deal brokered by the agent they'd met on the ship - Joe Collins - on Petula Clark producer Tony Hatch's Pye Records.
Eventually, they renamed themselves the Slade Brothers and released four singles on Pye including the Roger Greenway/Roger Cook song called "What a Crazy Life" which became a hit in early 1966 with airplay on European station Radio Luxembourg. The act would do opening gigs around the UK for The Walker Brothers, The Kinks, The Troggs, The Byrds and others.
In 1965 Murphy and Klaeyson signed his first publishing deal with Mills Music (later known as Belwin Mills) in England after which his first hit song was "Call My Name" by James Royal in 1966. The same year Murphy started producing records for Parlophone, Decca, CBS, Fontana, Phillips, and Carnaby where he would also write hit singles for Billy Fury ("Beyond a Shadow of a Doubt"), and The Casuals ("Touched").
Murphy formed Harper and Rowe in 1967 (he was Harper) who put out several singles and a full-length LP in 1968.
At the end of the Israeli War in 1968 a touring Hebrew act called The High Windows had Murphy translate their songs into English to try and find success in the UK and Europe. After the departure of one of the band members, he joined the act under the name Raffi Murphy.
Murphy's next move was to head to New York as Director of Production for Belwin/Mills Publishing, where he produced demos for Broadway musicals such as 'Pippin' and 'The Magic Show'. He also started two successful record labels - Double M Records (distributed by London Records), and a dance label - Hard Core Records (distributed by GRT Records).
Among the many dozens of acts he produced during that time were Magnificent Men, Chris Bartley, The Alibis, Sea Dog, Mashmakhan, Rock Garden, Studebaker Hawk, New City Jam Band, Shooter and April Wine who Murphy produced two gold albums for. Under his Double M Records he released a number of solo singles and had a successful run with a country song called "Genevieve" as well as a pop act under the pseudonym Roadhouse - which featured some of New York's finest session players including Tony Levin (bass), Jimmy Young (drums) and Elliott Randall fresh off recording his iconic solo on Steely Dan's "Reeling In The Years". Roadhouse would have a Canadian hit with the song "Good Times (and Loving You)".
Having a country hit in 1972 by Jeanie C. Riley "Good Enough To Be Your Wife" under his belt, Ralph went to Nashville to pick up his award and eventually moved there in 1976 after producing Walter Zwol's band Brutus for GRT Records. He often flew back to Canada to continue producing acts including both Shooter albums.
With partner Roger Cook - who he'd met the day the Guardsmen had auditioned for Pye Records back in England - he formed the Picalic Group & Pic-A-Lic Music Publishing and has had more than twenty number one records including hits by Mickey Gilley, Travis Tritt, Shania Twain, Ray Price and the 'Song of The Year' award winning song "Talking In Your Sleep" by Crystal Gayle. Pic-A-Lic became one of the most successful independent publishers in Nashville and was eventually sold to EMI.
Murphy started a new company Kersha Music with Richard Perna of Hamstein Music and then in 1994 joined ASCAP as part of Connie Bradley's Nashville staff.
He is a past president of NSAI and past president of The Nashville Chapter of NARAS and currently serves on the board for Canadian Country Music Association. He now resides as ASCAP Vice President International & Domestic, Membership Group and works on many committees and teaches seminars held throughout North America .
Hold Me
Harper and Rowe Lyrics
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She said, "Stop what you're doing, come on home"
I can't hold out, I can't hold out too long
I get a real good feelin' talking to you on the phone
You said, "Baby don't you worry, don't you cry
You know that I love you baby, you're my heart's desire"
I can't hold out, can't hold out too long
She said, "Baby you can run, you can walk or fly
You know I love you baby, you're my hearts desire"
I can't hold out, I can't hold out too long
I get a real good feeling talking to you on the phone
You said, "Baby don't you worry, you're my heart's desire
You know that I love you, I can't stand to see you cry"
I can't hold out, can't hold out too long
I get a real good feeling, talking to you on the phone
She said, "Baby you can run, you can walk or fly
You know I love you baby, you're my hearts desire"
Can't hold out, can't hold out too long
I get a real good feeling talking to you on the phone
Well, talk to me baby, talk to me baby
I said, talk to me baby, talk to me baby
Talk to me baby, talk to me baby
I said, talk to me baby, talk to me baby
I get a real good feelin' talking to you on the phone
The song "Hold Me" by Harper and Rowe is a tranquil love song about a man who just spoke to his significant other on the phone. She tells him to come home immediately and he feels overwhelmed with joy just by talking to her. In the chorus, the woman reassures him that she loves him and that no matter how he chooses to travel back to her, she will always be waiting for him.
The lyrics suggest that the couple is in a long-distance relationship, and they are only able to communicate through phone calls. The man is missing his lover terribly, and his sadness turns to happiness when she reassures him that she loves him and wants him back with her. The song evokes the feeling of longing and love, and the music itself is very calming and soothing.
Overall, the song is a heartwarming message about the power of love to overcome distance and time, and the way that small gestures, such as talking on the phone can bring joy and happiness to a relationship. It speaks to the universal need for human connection and the comforting presence of a loved one.
Line by Line Meaning
I just talked to my baby on the telephone
I had a conversation with my significant other on the phone
She said, "Stop what you're doing, come on home"
My partner requested that I return home immediately
I can't hold out, I can't hold out too long
I'm struggling to wait for my partner's company
I get a real good feelin' talking to you on the phone
Speaking with my beloved on the phone makes me sincerely happy
You said, "Baby don't you worry, don't you cry
My lover reassured me by requesting that I do not become anxious or upset
You know that I love you baby, you're my heart's desire"
My love for you means you are the most important thing to me
She said, "Baby you can run, you can walk or fly
My significant other mentioned that I have the freedom to go about as I please
Can't hold out, can't hold out too long
My impatience to be with my partner is reaching its limits
I get a real good feeling talking to you on the phone
Communicating on the phone with my beloved makes me incredibly happy
You know that I love you, I can't stand to see you cry
My devotion to you makes it impossible for me to watch you cry
Well, talk to me baby, talk to me baby
Please speak with me, my love
I get a real good feelin' talking to you on the phone
Talking to you over the phone provides me with immense pleasure
Lyrics © BMG Rights Management
Written by: Elmore James
Lyrics Licensed & Provided by LyricFind