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SPECTROPOP - Spectacular! Retro! Pop!
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There are 25 messages in this issue.
Topics in this digest:
1. Re: mono White Album
From: James Botticelli
2. Re: Collectors Choice; "some crooner"; more
From: Bill Reed
3. Re: Freakbeat and Other Categories
From: Bryan
4. Re: Collector's Choice, Beau Brummels' "Triangle"
From: Bryan
5. Re: Lillian Roxon
From: Steve Harvey
6. More Beatles
From: Alan Gordon
7. Re: Lillian Roxon
From: Phil Milstein
8. Re: Richard Perry
From: Phil Milstein
9. Re: Randy's Rain
From: Eddy
10. The Rainy Days; Blood Of Oblivion
From: Justin McDevitt
11. Re: Julius LaRosa
From: Michael Gessner
12. Canadian Rogues
From: Michael Gessner
13. Re: The Rainy Days; Blood Of Oblivion
From: JJ
14. Re: Canadian Rogues
From: Rat Pfink
15. Re: Julius LaRosa / Killer Tomatoes
From: Rat Pfink
16. Re: Lillian Roxon & Brian Wilson
From: Bill Reed
17. Re: Richard Perry
From: Mark Wirtz
18. Re: More Beatles
From: Mark Wirtz
19. Re; Richard Williams / White Album etc
From: Watson Macblue
20. Re: Lillian Roxon
From: Richard Williams
21. The intriguing Suzi Jane Hokum
From: Kurt
22. Re: The intriguing Suzi Jane Hokum
From: Phil Milstein
23. Re: Collectors Choice
From: Mark
24. Re: Collectors Choice Music
From: John Briggs
25. Re: Richard Perry
From: Mike Rashkow
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Message: 1
Date: Fri, 03 Oct 2003 19:33:19 -0400
From: James Botticelli
Subject: Re: mono White Album
Previously
> Most memorable was the reprise or end section of Helterskelter
> which was extended and created the sound of rampaging elephants
> beyond the call of duty displayed by the stereo version.
>
> Now I have to wonder if that was the version Charlie Manson'd been
> listening to ...
Hey, if Ted Kennedy drove a Volkswagen he'd be President.
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Message: 2
Date: Sat, 04 Oct 2003 00:30:09 -0000
From: Bill Reed
Subject: Re: Collectors Choice; "some crooner"; more
Previously:
> LaRosa's "Eh Cumpari" was the first record and first hit on Cadence.
> Godfrey's show also featured the Chordettes, also on Cadence; I
> believe Cadence owner Archie Bleyer was Godfrey's musical director.
> (Dan and Bill, do I have that right?)
Blyer was fired along with LaRosa. I believe he then founded Cadence
in the wake of this. Soooo, it is just barely pzbl that had it not
been for LaR's "lack of humility" we might not have the Everly
Brothers , early Cadence blockbusters, in the exact legendary form we
have them today. ("For want of a nail. . ..etc.) After all, they
flopped on Columbia prior to signing with Cadence.
For the record, there is nothing remotely derogatory about the
word "crooner." I think the poster who initially drew attention to
this was more reacting to the word "some" (crooner). In a followup
post, the original writer who started this mini-thread explained that
he is Dutch and was five-years-old at the time of the Godfrey
incident. As he correctly implies, it was big news, but not THAT big.
BTW I'm one of those, perhaps, rare otokichi, i.e. Japanese = "mad
for sound") who gets off equally on crooning AND rock, old and new in
both departments.
Bill Reed
www.cllrdr.com
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Message: 3
Date: Fri, 03 Oct 2003 18:21:17 -0700
From: Bryan
Subject: Re: Freakbeat and Other Categories
> I'm like you Phil, I hear terms like freakbeat all the time and
> wonder what they mean. Of course I have a vague idea, but it's
> never been defined clearly to me.
In the psych-pop collector world, there's some debate as to who came
up with the term "freakbeat" -- either Bam Caruso czar Phil Smee
created it in the mid-'80s or Richard Allen came up with it as the
name for his psych fanzine (Greg Shaw of Bomp told me he borrowed
"freakbeat" from the magazine of the same title for some of his
reissues in the 80s).
The All Music Guide says:
"Freakbeat is the name for rare, collectable, and obscure British
Invasion records. Usually, these are rare British blues and garage
rock, bands that sounded a bit like the Rolling Stones, Yardbirds, or
the Bluesbreakers, but occasionally some of the tougher Merseybeat
bands fit this category, too. The criteria for freakbeat is a little
vague, and known basically to collectors who specialize in the style,
but it generally is fairly obscure British Invasion of all types."
Important Freakbeat albums and groups include:
Wimple Winch & Just Four Men - Wimple Story 1963-1968
The Pretty Things - Get the Picture? and The Pretty Things
The Creation - Our Music Is Red - With Purple Flashes
The Birds - Collectors' Guide to Rare British Birds
Les Fleur de Lys
Tomorrow
The Sorrows
The Smoke
Bryan
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Message: 4
Date: Fri, 03 Oct 2003 18:32:42 -0700
From: Bryan
Subject: Re: Collector's Choice, Beau Brummels' "Triangle"
Collector's Choice executive prodcuer Gorden Anderson has a
special working relationship with Warner Music's third-party
Special Markets division (formerly the guys at Rhino, working
now for Warner Strategic Marketing); unfortunately, Warner
does not allow bonus tracks and/or any unreleased material to
be issued on those CC reissues, as far as I know, which is too
bad....
The CC releases, by the way, seem to be getting better all the
time. Richie Unterberger is writing a lot of the liner notes, for
instance, and he generally knows what he's talking about, and
the digital re-mastering is getting better all the time too.
> I have a number of Collector's Choice CDs and most recently
> purchased the Beau Brummels' "Triangle" on the label.
> Does anyone else here like "Triangle"?
I love this album -- it's one of my favorites!
> I see that "Bradley's Barn" has also been released - I've never
> heard it and I'm debating on whether to cough up the cash for
> that one.
This is a horse of a different color (or colour, if you prefer)...It's
more country sounding (recorded, in Nashville, with producer
Lenny Waronker and a handful of top session players)...
And guess what? There's more Beau Brummels from the '67-'68
Warner period coming out -- as I recall, there were about 40
unreleased tracks in the Warner vaults...perhaps Warner UK will
issue them?
Bryan
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Message: 5
Date: Fri, 03 Oct 2003 20:20:17 -0700 (PDT)
From: Steve Harvey
Subject: Re: Lillian Roxon
Art Longmire wrote:
> back in the 70s through the book Lillian Roxon's Rock
> Encyclopedia (the first rock encyclopedia, I think, but
> who was Lillian Roxon?)
I use to read that book religiously in the early 70s.
Lillian Roxan was a rock critic that died shortly
after the book was published. Some respritory disease
as I recall. I think was updated once after her death.
Didn't she also write for that NY rock magazine that
Richard Robinson and his wife wrote for? Always had
stuff on the New York Dolls.
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Message: 6
Date: Fri, 03 Oct 2003 21:19:55 -0700
From: Alan Gordon
Subject: More Beatles
From: Matthew
Subject: Mono versus Stereo
> For example, I am led to believe that the only versions of Beatles
> records that George Martin actually produced were in mono and then
> somebody else would come in and remix them for stereo.
Once again I'm probably late on commenting... but...
I think your above comment is "mostly" true through Sgt Peppers. I
think that Mark Lewisohn says that George Martin or one of his engineers
did the stereo mixes of all the earlier albums, but that's not much of a
job, seeing as - besides the earliest songs which were recorded
virtually live - most of those recordings were done on a 2 track machine
(Vocals on one track and instruments on the other), or sometimes a new-
fangled 3 track. If I'm not mistaken, you can tell which cuts these are,
because the track with just the vocals on it - that you can hear on one
side of most of those early stereo versions - has the bleed from the
moniters that were being played in the studio for the Beatles to sinc
their vocals. I don't think they used headphones on the early
recordings.
Mono was THE thing back then. America was experimenting with stereo but
most American homes had mono Victrolas or something similar.
I remember reading that a couple of the Beatles were present on the
stereo Pepper sessions, and just had fun doing what they thought was the
trivial job that no one in the future would even notice. I'm pretty
sure that the White Album and all subsequent Beatles albums were mixed
for mono and stereo by George and the Fabs.
I put in a call to a good friend who has worked with McCartney a lot
during the last few years and this is what I got back (and I paraphrase):
The important thing to realize here is that the idea of stereo wasn't
even considered during the recordings of these old toons, so there wasn't
any real stereo information produced for any of these albums. Meaning:
There were no instruments recorded with the intent of having that
instrument actually have a stereo image. To imagine a true stereo image,
think of recording a set of drums with a mike on either side of the drums
recording the same information from two distinct sources. That is very
different than recording a bass and a guitar on separate tracks, and just
panning them to one side or the other of the stereo image. Placement of
an instrument in the mix is not really a stereo thing.
From: John Berg
Subject: Re: Harrison/Beatles/recording
> In contrast to what you may think, the fact is that back in the 1960s
> labels in other countries did often receive copies of the multi-tracks,
> and created their own mixes.
I have heard of a few examples of this. I know George Martin was livid
about them "darn Americans" adding reverb to the Beatles cuts, but I am
fairly sure that the reverb was added in the U.S. to the final stereo mix
that was shipped to the states... again, I think Lewisohn mentions this.
The American Blue and Red CD compilations are great if you wanna hear the
"American stereo with added reverb" versions of the early Beatles stuff
I also know there are slight differences on a few Beatles songs depending
in which country the song is issued. As an example: The cow bell in the
German version of "You Can't Do That" starts a few bars into the song
rather than from the very beginning as it does on the original American
and British releases. And I think these versions have inadvertently been
substituted on occasion here in the states on different releases.
But these are very rare anomalies.
Do you have any other examples?
peace,
~albabe
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Message: 7
Date: Sat, 04 Oct 2003 01:10:28 -0400
From: Phil Milstein
Subject: Re: Lillian Roxon
Art Longmire wrote:
> back in the 70s through the book Lillian Roxon's Rock
> Encyclopedia (the first rock encyclopedia, I think, but who
> was Lillian Roxon?)
Roxon was an Australian transplant who worked as the pop music critic
for the New York Daily News in the 1960s and early '70s. She was revered
by colleagues as much for her kindness and generosity of spirit as for
her talent. Her 1969 "Rock Encyclopedia" was, for better or worse, one
of the first (if not THE first) attempt to reflect comprehensively on
the still-young idiom. While flawed and, of course, since exceeded many
times over, its personal touch and the author's overall thoughtfulness
leaves it a still very readable volume.
I can attest firsthand to the influence of the book. Her entry on the
Velvet Underground, read while I was in high school, remained in memory
a few years later when I first noticed one of their albums in a used
record bin. Her mood-setting comments on the band spurred me to take a
chance on the record, which would in turn soon change the direction of
my life, as I spent my post-college years immersed in researching their
music and career.
Roxon died from an asthma attack in 1973. In double-checking the facts
above (which I did rather quickly, and so one or two errors may "linger
on"), I noticed that a bio of her came out last year, perhaps published
only in Australia. An interesting review, by one of her grateful former
colleagues, can be found at:
http://bulletin.ninemsn.com.au/bulletin/eddesk.nsf/All/C137933565835EE7CA256C2AOO27C180
A characteristic article by her, in the form of a 1959 interview with
Col. Tom Parker, is at:
http://www.elvis.com.au/ein/article_imetthecolonel.shtml
while another, in the form of a 1972 chat with David Bowie, is at:
http://www.5years.com/roxon.htm.
Rocks on,
--Phil
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Message: 8
Date: Sat, 04 Oct 2003 01:32:08 -0400
From: Phil Milstein
Subject: Re: Richard Perry
Country Paul wrote, on Richard Perry:
> I know he produced the Pointer Sisters among many others. What else
> did he do in the S'pop era?
The three albums Perry did with Tiny Tim were all labors of love as well
as realizations of a uniquely well-balanced synthesis of their
respective talents. While these albums -- CD releases of which Tiny fans
clamor for -- formed the apex of the artist's long career, Rhino
Handmade's release of his stellar 1968 Royal Albert Hall performance,
which Perry both music-directed and recorded, was a fitting coda to it.
This latter release, at least, is still in print, and can hardly be
recommended highly enough; see:
http://www.rhinohandmade.com/browse/ProductLink.lasso?Number=7710.
--Phil M.
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Message: 9
Date: Sat, 04 Oct 2003 07:54:59 +0200
From: Eddy
Subject: Re: Randy's Rain
As far as I can tell the first released version was by Eric Burdon &
the Animals on the Eric is here album, which also includes the original
version of Mama told me not to come.
Eddy
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Message: 10
Date: Sat, 04 Oct 2003 00:18:54 -0700
From: Justin McDevitt
Subject: The Rainy Days; Blood Of Oblivion
Hello again Spectropop compadres,
Two postings in 9 hours; somebody must have put something in my drink!
I just got finished listening to a series of Reelradio airchecks including
one featuring B Mitchell Reed, from October 1967.
At this point in his radio career, Reed had returned to Kfwb Los Angeles
where he had been a popular local Dj in the early 60s. He then matriculated
to Wmca New York. An Mca aircheck from the spring of 1963 was later
transferred to vinyl as part of the Cruisin series. Okay McDevitt, end the
history lesson and get to the point!
The brief Kfwb aircheck from 1967 featured Reed at the dawn of his
transition from top 40 jock to underground, progressive radio. In fact,
Reed pioneered this format in southern California on Kppc.
Besides snipetts of tracks by Marianne Faithful singhing Yesterday, Peter
Paul and Mary's Leavin On a Jet Plane and Bob Dylan's Memphis Blues, my ears
perked up when I heard the intro and ending of a great track called Blood Of
Oblivion by The Rainy Days, who I assume were a southern California garage
band.
So of course, yu have already anticipated my inquiry; now don't hold your
breaths too long. Is there a Rainy Days compilation, or as an alternative,
is this track and possibly some other of their music included on a various
garage band compilation?
As always, I know I'll get an answer.
Yours in peace,
Justin
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Message: 11
Date: Sat, 04 Oct 2003 04:08:13 -0400
From: Michael Gessner
Subject: Re: Julius LaRosa
The last I heard of Julius LaRosa was seeing "The Attack of the Killer
Tomatoes". He sang the theme song.
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Message: 12
Date: Sat, 04 Oct 2003 04:10:34 -0400
From: Michael Gessner
Subject: Canadian Rogues
Does anyone remember a Florida 60s group called the Canadian Rogues? I
found one of their songs on a compilation but was wondering if they
released any 45s or LPs.
Thanks,
Mike
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Message: 13
Date: Sat, 04 Oct 2003 12:02:16 -0000
From: JJ
Subject: Re: The Rainy Days; Blood Of Oblivion
Justin wrote:
> ....."Blood Of Oblivion" by The Rainy Days, who I assume were
> a southern California garage band.
> ......Is there a Rainy Days compilation, or as an alternative,
> is this track and possibly some other of their music included
> on a various garage band compilation?
**Justin; this track will be included on the NEW(out in 2 weeks!)
Fading Yellow CD comp(vol 6), along with other US late 60s 45s,
and below youŽll see the liner notes to this track.
RAINY DAZE - "Fe Fi Fo Fum"
- A great outfit from Denver, Colorado. They first formed in 1965
when they specialised in playing beat and R&B and they were a
regular attraction at local frat parties. Almost unbelievably they
were unearthed by Phil Spector who signed them to a management
contract and a giant publicity campaign was planned but never
really materialised.
A year or so later "That Acapulco Gold" appeared on the local IP
label and Frank Slay, a local producer, bought the rights and
released it on his Chicory label. However, it was quickly leased
to UNI and became the band's best known song making the No. 70 spot.
Although they never again equalled this commercial success, they
continued to make some excellent 45s. One of the best, a beautifully
crafted piece of pop-psych was originally released as "Fe Fi Fo Fum",
but was almost immediately withdrawn and reissued with a different
title, "Blood Of Oblivion", and non-LP. 1967 saw the release of
their sole LP, "That Acapulco Gold" (UNI), highlighted by the fab
(Dylanesque) folk-rock track, "Absurd Bird", and the psychy "In My
Mind Lives A Forest".
Tim Gilbert, the main songwriter, also released a solo 45 "Early
October"/"If We Stick Together" (UNI 55045) 1967-
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Message: 14
Date: Sat, 04 Oct 2003 09:54:03 -0400
From: Rat Pfink
Subject: Re: Canadian Rogues
Michael Gessner wrote:
> Does anyone remember a Florida 60s group called the Canadian Rogues?
> I found one of their songs on a compilation but was wondering if they
> released any 45s or LPs.
According to "Fuzz Acid & Flowers" they released five 45s:
1 Have You Found Somebody New/You Better Stop (Fuller 2597) Jul 1965
2 Oop-Poop-A-Doop/Keep In Touch (Charay 19/P-5017) 1966
3 Oop-Poop-A-Doop/Keep In Touch (Palmer 5017) 1967
4 Run And Hide/Love And Dreams (PIC INSERT) (Paris Tower PT-112) 1967
5 Do You Love Me?/Mickey's Monkey (Rogue 1967) Dec 1967
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Message: 15
Date: Sat, 04 Oct 2003 10:11:06 -0400
From: Rat Pfink
Subject: Re: Julius LaRosa / Killer Tomatoes
Michael Gessner wrote:
> The last I heard of Julius LaRosa was seeing "The Attack of the
> Killer Tomatoes". He sang the theme song.
Hmmm, where'd you get that info? I'm pretty sure Lewis Lee did the
vocals for the Tomatoes theme song.
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Message: 16
Date: Sat, 04 Oct 2003 15:55:29 -0000
From: Bill Reed
Subject: Re: Lillian Roxon & Brian Wilson
> I think was updated once after her death. Didn't she also write for
> that NY rock magazine that Richard Robinson and his wife wrote for?
> Always had stuff on the New York Dolls.
I knew Lillian and spoke to her on the phone the day before she died.
(Me: "Anything I can do for you?" LR: "No, I am doing okay.") We
became friends at the old NY Lower East Side haunt, Stanley's.
The NY magazine that Lillian and I both wrote for was simply
called "ROCK" and it was headquarted on 7th AV just north of 14th
Street. I'll never forget going to the office one day right after
they had run an especially dicey, warts 'n all "expose" of certain,
um, aspects about, uhh, alleged mob ties of a major indie soul record
label. I arrived to find newly installed iron gates on the door, and
an intercom system. In typical youthful journalistic zeal, way too
many names, dates, and places had been cited in the article, and the
requisite bomb threats had begun pouring in. The mag ceased publication
shortly after that, though I doubt there was any connection. Then there
was the time that I went too far in another mag and stoopidly used the
"M" word in connection with another record label, resulting in my
receiving a phone call as follows:
"This is _____. Do you know who I am and how much power I have? I can
squash you like a bug, and I'll do worse than that if you ever use
the word "mafia" and ____ Records in the same space again."
He really had me quaking in my wedgies.
He slammed down the phone before I even had the chance to respond. In
the following issue of the mag where the piece had appeared, they
issued an appology. It is a measure of how eager and naive the rock
press was, even as late as 1971, that it let such a clearly loaded
phrase as "mafia rock" slip into print.
My big scoop for ROCK was a phoner interview (I still have the tape)
with Brian Wilson at the height of his infamous bedroom hibernation.
Here's a sample of Brian at his looniest from the interview, as
printed:
Brian: Bill?
Me: Yes, Brian?
Brian: Have you ever interviewed Mick Jagger?
Me: I never have. Why?
Brian: Are going to?
Me: I'd like to. Sure. But I don't see it in the near future. Why?
Brian: I think you should.
Me: What do you mean?
Brian: I think he'd make an interesting rap. He's in this
movie "Performance" where he's dressed like a girl, and I think he'd
make a good rap.
Me: Uh, okay [beat] Are you tired of being asked about 'Surf's Up"?
Brian: NO!
Me: Do you think it will make it onto a future album?
Brian: No.
Me: Why?
Brian: We lost it.
Me: No dubs or anything?
Brian: Nope, it's gone
Me: What are you working on now?
Brian: The soundtrack for an Andy Warhol movie about a spade, gay
surfer. [?????]
Ever since then, I have assumed Brian was just riffing or putting me
on. There eventually was a Warhol movie roughly along these
lines "San Diego." But it was never released, and to the best of my
knowledge Brian Wilson had nothing to do with its music.
The more or less "over" (only temporarily it would turn out) Beach
Boys were so desperate for coverage of any kind at this juncture,
that I received their manager Jack Rieley's eager cooperation on
numerous pieces I wrote about them for ROCK, Rolling Stone, Zoo World
(out of Florida) and Fusion, a terrific, now-long-defunct Boston rock
mag. I even traveled on bus about the east coast with them a bit for
a spate of college dates and TV shows (Merv, etc.). Brian, of course,
was nowhere in sight, but safely tucked away in bed back home in Bel
Air.
Bill Reed
www.cllrdr.com
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Message: 17
Date: Sat, 04 Oct 2003 12:14:50 -0400
From: Mark Wirtz
Subject: Re: Richard Perry
How about Richard Perry's work with Harry Nilsson?? Some classic gems
there! He also produced, among a gammut of 70's/80's pop treasures, a
memorable album with Barbra Streisand.
best,
Mark Wirtz
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Message: 18
Date: Sat, 04 Oct 2003 12:50:01 -0400
From: Mark Wirtz
Subject: Re: More Beatles
Previously:
> For example, I am led to believe that the only versions of Beatles
> records that George Martin actually produced were in mono and then
> somebody else would come in and remix them for stereo.
This is not quite correct. Whereas George Martin, the Beatles, and
engineer Geoff Emerick did indeed spend far more time on the mono
mixes, executed in the studio (usually Abbey Road #2) often adding
last minute live recordings during the mix (which are therefore not
present on the stereo mixes), the stereo mixes were nevertheless
engineered by Geoff Emerick and supervised by George Martin. The
stereo mixes, however, were done in a hurry in one of Abbey Road's
mixing suites, often without the Beatles' presence. To wit: "Sgt
Pepper's" took several weeks to mix in mono. The stereo mixes were
done in about 3 days.
> ..... Mark Lewisohn says that George Martin or one of his engineers
> did the stereo mixes of all the earlier albums, but that's not much
> of a job, seeing as - besides the earliest songs which were recorded
> virtually live - most of those recordings were done on a 2 track
> machine (Vocals on one track and instruments on the other), or
> sometimes a new-fangled 3 track.
Also not quite correct. Abbey Road never installed any 3-track machines
and went straight from 2-track to Studer 4-track machines. I remember
having my EMI studio audition (as a solo pianist at that time) on the
very day when the Beatles recorded "All My Loving" in studio 2 (having
to wait for them to finish before then engineer Norman Smith could tend
to my test). At that time already - the days of the earliest Beatles
recordings - Abbey Road was equipped with 4-track recorders.
Once having the freedom to experiment, the Beatles used a "4 to 4"
recording method, namely filling all 4 tracks of one of the 4-track
machines, then sub-mixing to a second 4-track machine, often while
adding live signals during the sub-mix. Once the new 'free tracks" were
filled, the process was reversed, sub-mixing to machine 1 to once again
arrive at (usually 2) free tracks, and so on....
> I don't think they used headphones on the early recordings.
Abbey Road had plenty of head sets, but most of us didn't like working
with them (especially for vocals) because of the nefarious "pitchbend"
syndrome that can cause a vocalist to hear the track in a slightly
different pitch and therefore sing "out of tune." All of Abbey Road's
engineers became masters at indeed playing the tracks through the studio
monitors for overdubs [filtering out the bleeding and likely feedbac) --
eventually even with large orchestral groups.
> Mono was THE thing back then.
Very true. Only classical and big band music was being recorded in
(true) stereo back then, as even albums (back then mostly "Best Of..."
compilations) were only bought in mono. Another interesting fact was the
"B-side" syndrome back then. Statistically, only 35 to 40% of record
buyers ever even listened to them, and they were therefore treated as
"throaways" or political, free but lucrative piggy-back rides for music
publishers.
Best,
Mark Wirtz
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Message: 19
Date: Sat, 04 Oct 2003 10:08:18 -0700 (PDT)
From: Watson Macblue
Subject: Re; Richard Williams / White Album etc
Peter Lerner wrote:
> The author of that excellent book was of course Spectropop
> contributor Richard Williams, who can speak for himself, but is now
> a highly respected sports journalist amongst other things. And it
> was written as long ago as 1972. Time flies.
Indeed it does. *Really* old British Spectropoppers may also remember
him as the first presenter of The Old Grey Whistle Test (yes, the one
*before* Whispering Bob!). If you can't remember the whole face, you
couldn't forget the Zapata moustache and - yikes - the frilly shirts.
It's sad that it has taken (the recent tragic event) to get someone to
re-issue this really excellent book. (* see end)
Phil Milstein wrote of the mono White Album, complete with elephants:
> Now I have to wonder if that was the version Charlie Manson'd been
> listening to ...
Charles Manson is an evil bastard, rotting in the jail he deserves to
be in, but the whole story of him receiving "messages" from the Beatles
was a crock from day one. "Healter - sic - Skelter" was part of a
half-assed attempted coverup, not part of the "plan". Charlie Manson
couldn't plan his way out of bed.
Watson
* Moderator's Note:
This paragraph has been edited. The subject of the "recent tragic event"
is deemed off-topic at S'pop. We will not go there.
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Message: 20
Date: Sat, 04 Oct 2003 18:38:39 +0100
From: Richard Williams
Subject: Re: Lillian Roxon
Art Longmire asked about Lillian Roxon, the author of The Rock
Encyclopedia (1969), which as far as I know was the first of its kind.
She was an Australian journalist who worked for the Sydney Morning
Herald both before and after moving to New York in the Sixties. She
made good connections inside the rock world (e.g. Linda Eastman and
the highly influential Richard and Lisa Robinson) and wrote a witty
and well informed column for the New York Daily News. Like Lisa
Robinson and 16 magazine's Gloria Stavers, she was a woman who could
recognise a happening scene and knew how to enjoy good music without
losing the fun of it. A long-time sufferer from chronic asthma, she
died in 1973, aged 41, greatly mourned by her many friends.
Richard Williams
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Message: 21
Date: Sat, 04 Oct 2003 11:20:16 -0700
From: Kurt
Subject: The intriguing Suzi Jane Hokum
Does anybody know where Nancy Sinatra's psuedonym 'Suzi Jane Hokum'
came from?
What exactly did SJH have to do with the International Submarine band's
album, 'Safe At Home'?
Suzi Jane Hokum IS Nancy Sinatra isn't she?..or am I somehow confused...?
Kurt
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Message: 22
Date: Sat, 04 Oct 2003 14:55:49 -0400
From: Phil Milstein
Subject: Re: The intriguing Suzi Jane Hokum
Kurt wrote:
> What exactly did SJH have to do with the International Submarine
> Band's album, 'Safe At Home'? Suzi Jane Hokum IS Nancy Sinatra isn't
> she?..or am I somehow confused...?
Suzi Jane Hokum is Suzi Jane Hokum. She was Lee Hazlewood's sidekick
for a while in the '60s, recording extensively with him as both solo
artist and in duets, wrote some good songs, and produced, for Lee's LHI
imprint, "Safe At Home" by Gram Parsons and his Int'l Submarine Band.
Nancy Sinatra is Nancy Sinatra -- a whole other story entirely.
--Phil M.
Moderator's Note:
For a picture of the intriguing Ms Hokum, and more besides, follow the
URL below and scroll down to the bottom of the page:
http://www.spectropop.com/recommends/index.htm#Lost60sRecordings
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Message: 23
Date: Sat, 04 Oct 2003 20:29:32 -0000
From: Mark
Subject: Re: Collectors Choice
Previously:
> Collector's Choice executive producer Gorden Anderson has a
> special working relationship with Warner Music's third-party
> Special Markets division (formerly the guys at Rhino, working
> now for Warner Strategic Marketing); unfortunately, Warner
> does not allow bonus tracks and/or any unreleased material to
> be issued on those CC reissues, as far as I know, which is too
> bad...
I don't think it's fair to just put the blame on Warners. CCM
always puts things out with the least effort possible. The 2 on
1 We Five could have included their non-LP single also on A&M but
didn't. Likewise their Pozo-Seco Singers comp left off non-LP
tracks which could easily have fit. I agree with the poster's
assessment that they are nothing more than a slightly more
interesting version of Collectibles.
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Message: 24
Date: Sat, 04 Oct 2003 20:33:55 -0000
From: John Briggs
Subject: Re: Collectors Choice Music
I believe CC Music's corporate offices are located on Wilshire
Boulevard in LA. However, I am reasonably sure the origins of CC
Music and the sister firm, CC Video, began in Chicago several years
ago under the corporate umbrella of Hugh Hefner's Playboy
Enterprises. A quick look through www.Playboy.com showed me no
links to either Collector's Choice site. Perhaps Playboy has
divested itself of these two companies by now.
Although much of the CC Music reissue catalog is mundane MOR schlock
of no interest to most of us, listening to Dean Martin has always
been a guilty pleasure of mine. I have not yet been able to obtain
the German Dean Martin Bear Family boxes. But, I have managed to
acquire several of the CC reissues. Recorded with our friend Carol
Kaye, Hal Blaine and most of the LA session regulars, these
recordings still hold up well over a quarter of a century after
their initial releases. Never heard that mama's boy Frank do any
Merle Haggard!!
I always admired Hefner and the civil libertarian causes he supports.
Wasn't there a Playboy record label back in the '70s? It seems
like I have a Barbi Benton LP of country tunes on a Playboy label.
John Briggs
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Message: 25
Date: Sat, 04 Oct 2003 16:43:59 EDT
From: Mike Rashkow
Subject: Re: Richard Perry
Mark Wirtz wrote:
> How about Richard Perry's work with Harry Nilsson?? Some
> classic gems there! He also produced, among a gammut of
> 70s/80s pop treasures, a memorable album with Barbra Streisand.
I believe he also married George Goldner's daughter around 1967
and that was a very sweet piece -- of music I mean.
Rashkovsky
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