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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: 'appiness ?
From: Simon White
2. The Roots of Disco
From: Stuffed Animal
3. Re: Help please
From: Joel Sanoff
4. the very last day
From: Phil Milstein
5. Re: Another Bob Gaudio Production / Seagulls
From: Frank
6. Re: Sonny Bono
From: Phil Milstein
7. Priscilla Paris
From: Bill Reed
8. Bee Gees
From: Simon White
9. Re: Japanese Bubblegum CDs
From: Mark Frumento
10. Re: Beatles - Born Too Late
From: Martin Jensen
11. Re: Disco
From: Phil Milstein
12. Re: Disco
From: Phil Milstein
13. Re: Short albums
From: Mike McKay
14. Re: Another Bob Gaudio Production / Seagulls
From: Jeff Lemlich
15. Disco - the beat goes on
From: Simon White
16. Calling Patrick Rands re: Cymbal/Clinger
From: Rex Strother
17. Re: House Of The Rising Sun
From: Peter Lerner
18. Re: Beatles - Born Too Late
From: Clark Besch
19. Production teams and artists
From: Mike Edwards
20. Re: Cameo-Parkway & ABKCO
From: Joe Nelson
21. Buddy turned to "Shifty"
From: Steve Harvey
22. Re: Cameo-Parkway & ABKCO
From: Mark
23. Re: Japanese Bubblegum CDs
From: Laura Pinto
24. Re: Karina
From: Don
25. Re: Sonny Bono
From: Martin Jensen
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Message: 1
Date: Tue, 25 Nov 2003 22:57:15 +0000
From: Simon White
Subject: Re: 'appiness ?
Dear Tom, could you please explain what this joke was about to a
miserable foreigner for whom English isn't a mother tongue.
Andres, the French do not pronounce the letter "h" at the beginning
of a word. So "Happiness" becomes "A Penis" (Is A Warm Gun). 'Ope
that 'elps!
Simon
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Message: 2
Date: Tue, 25 Nov 2003 14:55:05 +0000
From: Stuffed Animal
Subject: The Roots of Disco
No bout a dout it, but remember! Yew was Philly. Philly begat disco.
Thank you.
A record cannot truly be called "disco" unless there was some
computer programming involved in the production.
These two statements attest to the fact that disco music was like a
tree with numerous roots. There was the Philly branch, growing out of
Cameo-Parkway and the work of Kenny Gamble and Leon Huff, there was
the Motown branch, growing out of Holland, Dozier and Holland's work,
there was the European branch, "Eurodisco," influenced by Kraftwerk
and pioneered by producers like Giorgio Moroder, there was the New
York/Latin branch, which grew from soil fertilized by the likes of
Leiber and Stoller (think the baion rhythm), Bob Crewe, Van McCoy and
great Latin bandleaders like Tito Puente, Machito and Tito Rodriguez,
and various other branches that connect to sources like James Brown,
George Clinton, Gary Glitter and Curtis Mayfield. Disco was an
interracial, intercultural, international music. It was black, Jewish,
Italian, Cuban, American, European, urban, suburban, funky, uppity,
wholesome, skanky, gay, heterosexual, unmistakably female and
absolutely masculine, all at the same time. I rather suspect that all
those different facets were a bit too much for some people to take.
Don "Stuffed Animal" Charles
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Message: 3
Date: Tue, 25 Nov 2003 14:59:29 +0000
From: Joel Sanoff
Subject: Re: Help please
Kingsley Abbott:
Could any of the US members on the list recommend any US only CD
or DVD collections that could EASILY be found by a non-expert
neighbour of mine who is visiting the States before Christmas?
Any collections of old TV shows like Bandstand/Hull./Sullivan
generally accessible? Any suggestions gratefully received on/off
list - Thanks!
Kingsley, I just checked Tower Records online (www.towerrecords.com)
and on their website they have three Hullabaloo DVDS, each with four
volumes of the show. They are listed at US$20.99 each and it is noted
that supply is low. All dvds are NTSC. Hope that helps some.
Also, there are Sullivan compilations out there, some specific to the
musical performers. One, featuring all the Beatles appearances, has
recently appeared.
Joel
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Message: 4
Date: Tue, 25 Nov 2003 11:11:45 +0000
From: Phil Milstein
Subject: the very last day
I heard a generic cover version the other day of a song I recognize, but
cannot quite place who I know it by. It's called "The Very Last Day." A
Google search shows a prominent version by The Hollies, but I don't know
if that's the one I'm familiar with. Anyone else cut this one? I know
I'll feel like a dope once the answers start coming in, but that's never
stopped me before.
--Phil M.
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Message: 5
Date: Tue, 25 Nov 2003 17:24:51 -0000
From: Frank
Subject: Re: Another Bob Gaudio Production / Seagulls
Art Longmire wrote:
I have a promo 45 by a group called Lock, Stock and Barrel on the
Gazette label-the record is produced by Bob Gaudio and, I would
guess, dates from 1968 or '69. The plug side is called "Happy
People". Are any Bob Gaudio experts familiar with this one? This
record is interesting in that it has a custom sleeve done up to
resemble a newspaper-similar to Jethro Tull's "Thick as a Brick".
Any info would be appreciated-I haven't been able to turn up any
information on this tune so far.
Also, thanks to Faux J.C. for the info on the Seagulls-you
mentioned several titles by them I hadn't heard of, including "Don't
Go Out Into the Rain"-which I have by Herman's Hermits, a nice tune
...as usual it sets me to wondering which version was first. As I
recall, that is a Kenny Young song-was he a member of the Seagulls?
While I can't comment on the record you are referring to I can
comment on the record sleeve. It is a take-off of the Four Seasons
album "Genuine Imitation Life Gazette", also produced by Bob Gaudio,
which predates "Thick As A Brick" by a couple of years. I know of
another record released on this label, "Buena Vista" by a
group/artist called Light, this too produced by Gaudio. The Gazette
label was a Bob Gaudio venture to promote new artists. While I don't
know just how many records were released on this label I feel safe in
saying the number was small.
Frank
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Message: 6
Date: Tue, 25 Nov 2003 12:27:30 +0000
From: Phil Milstein
Subject: Re: Sonny Bono
Guy Lawrence wrote:
What is it about Sonny Bono? He always seems to get such a hard
time! I know he was no genius but all I ever hear is people doing
him down! Sure, he made a dodgy psychedelic album but he did
work with Don & Dewey! Give Sonny a break!
Sonny was underestimated his entire life. But the disrespect only helped
him, as he used it to drive him to prove them wrong, which he always
did. How many times was he counted out, and how many times did he come
back, each time to a greater success than the time before? Unfortunately
the one area in which he failed to accurately assess his own abilities
was in skiing.
Do any of our California members know if his widow Mary Bono still holds
his Congressional seat? If so, she should be impeached for the things
she said about him being a drug addict, and high on pills on that
fateful day on the slopes. Sonny Bono lives in my heart forever, and if
I ever get another tattoo it will be of his smiling, moustachioed face.
--Phil M.
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Message: 7
Date: Tue, 25 Nov 2003 21:43:42 -0000
From: Bill Reed
Subject: Priscilla Paris
I am currently involved in a legit project to reissue Priscilla
Paris' Billie Holiday tribute LP issued on Happy Tiger Records in
1969. The ownership of the masters is a bit hazy. Happy Tiger was
distributed by Era Records, but did not go to K-Tel with the rest of
the Era package. As best as I can determine, in the early 70s the
Happy Tiger masters were picked up by Ampex Records, which did not
have a very long life. I believe that the Ampex masters (except for
the Bearsville product which went to Warners) is now owned by
Universal. But, of course, getting an answer from them, what with
their acquisition of WEA, is highly problematic. Multiple inquiries to
what is now called UMusic have proved fruitless. A bit remindful of
Terry Gilliam's "Brazil."
I would also like to interview Paris for the reissue (when and
if. . .). The last I heard she was responsible for the training of
hotel employees. . .in Paris France.
The producers of the LP, Don Peake and Clancy Grass, are both equally
uncertain about the eventual fate of the masters for the Paris
recording. Anyone with any clues, knowledge, or answers, please email
me at cllr1@comcast.net
Thanks in advance.
Bill Reed
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Message: 8
Date: Tue, 25 Nov 2003 23:05:08 +0000
From: Simon White
Subject: Bee Gees
humthefirst2bars wrote -
The Bee Gees weren't too shabby. Try walking out of Saturday Night
Fever without humming and strutting :-)
Much as I'm not a Bee Gees fan I'm astounded how many wonderful songs
they wrote. "To Love Somebody" is truly, truly great. I played another
one I hadn't realised was one of theirs on Soul 24-7 on Sunday last -
Samona Cooke "Subway". [Disco no less!] She was daughter [or a niece]
of Sam Cooke, I think.
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Message: 9
Date: Tue, 25 Nov 2003 23:29:48 -0000
From: Mark Frumento
Subject: Re: Japanese Bubblegum CDs
Just to clarify, Bubblegum MF is not Japanese. The packaging
is a foil for the fact that they are made right here in the US.
They are decent CDs as long as you are OK getting some rather
common material.
Anyone who has ever put out a CDR (like Mark Wirtz Pop Works)
has had their CDRs bootlegged by the maker of Bubblegum MF too!
Billy is right, they are readily available now on eBay. Search
"Mark Wirtz" and you're sure to get a hit.
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Message: 10
Date: Tue, 25 Nov 2003 23:52:57 -0000
From: Martin Jensen
Subject: Re: Beatles - Born Too Late
Paul Bryant wrote:
I often wonder how young music fans regard the huge mass of great
stuff from (let's say) the 60s and 70s. I myself had to catch up on
the good 50s stuff, but I was only a decade behind - what if you
were starting out today?! The mind boggles.
Well, I can answer that. I was born in 1980 and began to pay serious
interest to the 60s after going through the obligatory 'Beatles-
phase' as a 14-year old. ('obligatory' meaning something that I
guess EVERYONE during or since the hey-day of the fab four have gone
through at some point in their life.)
For me, the cool thing about investigating music of the 60s and 70s
has been the way one thing leads to another: from the Beatles you
eventually go on to other great Britsh groups like the Zombies and
the Kinks, from the Beach Boys to the Association and Mark Eric, from
Spector to Nitzsche, Bono or Tempo and so on. There's no better
feeling than tracing the influence of a cool genre or group, and in
the process discovering some great songs, artists or groups. I guess
that's something everyone here still experiences, but it might be
different for me, being young and all. Imagine how it felt hearing a
fantastic song such as 'Home of the Brave' by Bonnie & the Treasures
for the first time one month ago! :-D
I may in fact be two decades behind, but I'll do my darned best to
keep up.... Come to think of it, I guess I'd better run out to the
mailbox and see if my copy of 'Phil's Spectre' has arrived. Can't
wait...
With regards
Martin, Denmark
PS: Regarding young people and music: I have never understood why
many people at my age, who otherwise dig the Beatles, Stones,
Hendrix, whatever 'well-known' 60s groups/artists, don't make musical
research. With just some passing glances at All Music Guide, or this
knowledgeable group for that matter, they could discover tons of great
stuff, just waiting to be unearthed by them! But I guess that's just
a matter of being a particular type of music lover - one that's
constantly 'on the go', because he/she knows that there's bound to be
a lot more to hear...
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Message: 11
Date: Tue, 25 Nov 2003 15:43:31 +0000
From: Phil Milstein
Subject: Re: Disco
Art Longmire wrote:
I can remember many of the Black artists of the '60s
and early 70's bitterly criticizing disco's emergence-it killed off
many a promising career ...
Fair enough, Art, but by that standard The Beatles and the rest of the
British Invasion would be subject to the same criticism, when all they
did was come along when they did and make some good music.
I notice in recent years I've heard more of the more obscure disco
songs and many, to my surprise, are quite good...your point is well
taken that the radio stations tended to play the worst of the disco
songs (or the most commercial-same difference)? One of my rules of
thumb is never to condemn whole categories of music, and I guess I
should stick to that rule when it comes to disco as well.
A great point. Which leads me to wonder if there aren't any CD comps of
early/obscure disco -- really good collections, I mean (and, ideally,
available ones). Underground/club genres can be so much harder to sort
out than the more visible stuff, and so, lacking the fortitude to get it
all and sort it out later that I had in my punk youth, I prefer to let
someone else do the distilling for me. Any guidance along this line
would be welcome -- and, similarly, with hip-hop, dub, etc.
--Phil M.
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Message: 12
Date: Tue, 25 Nov 2003 15:32:24 +0000
From: Phil Milstein
Subject: Re: Disco
James Botticelli wrote:
Seconding this emotion as well. Disco was really just black vocal groups
singing uptempo in the beginning. Trammps, Intruders, O'Jays,
Blue Notes,
and the thousands of others who didn't make it. In THAT sense it was the
70's version of uptempo doo wop. It was part of the tradition that was
invaded by guitar bearing angry white guys. It's that music that really
didn't join the continuum.
I've always thought that the definition of disco had to do with a
particular rhythm and style on the hi-hat, with which you have it and
without which you do not. I wish I was savvy enough to describe those
factors properly, but, as with pornography, I think most of us know it
when we hear it.
Bill Brown wrote:
A record cannot truly be called "disco" unless there was some
computer programming involved in the production.
Right on. So did Bill Gates create disco, or did he steal it from IBM?
--Phil M.
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Message: 13
Date: Tue, 25 Nov 2003 13:25:44 EST
From: Mike McKay
Subject: Re: Short albums
Sorry for the late reply...as you can tell, I've been all week
catching up!
Watson Macblue wrote:
Shortest LP side I ever came across wasn't on a popular title at all,
but on a classical LP - side 4 of Henze's Raft of the Medusa, issued
in 1971. This came in at an insulting 3 mins 55 secs - shorter than
many singles. Full-price LP, too. You can now get the whole of the
same piece on a single CD with room to spare.
There was just under an inch of playing surface, then a run-off groove
you could hold a party on. If the Beatles had tried that, there would
have been a riot, and quite right too.
Well, there's one that's got that beat. Another one of my cut-out
bin finds
of the early 70s was "The Best of Marcel Marceao" (or something
like that...it
was an intentional misspelling), which consisted of a line art
white-face mime
on the cover. The disc itself comprised a Side One with no
grooves pressed
into the wax whatsoever, and Side Two, which was similar save for
about one
minute of applause at the very end following all that silence.
It's always been fascinating for me, with this and "real" albums that are
only slightly less bizarre, to speculate on how these things ever
got made in the
first place.
Now, would anyone like to make nominations for the shortest
*track* of all
time? (Warning: somewhat of a trick question!)
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Message: 14
Date: Tue, 25 Nov 2003 23:05:03 -0000
From: Jeff Lemlich
Subject: Re: Another Bob Gaudio Production / Seagulls
Art Longmire:
Also, thanks to Faux J.C. for the info on the Seagulls - you
mentioned several titles by them I hadn't heard of, including
"Don't Go Out Into the Rain" - which I have by Herman's Hermits,
a nice tune...as usual it sets me to wondering which version was
first. As I recall, that is a Kenny Young song - was he a member
of the Seagulls?
Kenny Young was MR. SEAGULL! We have a short thread on the Seagulls
(including a picture) over at the Limestone Lounge:
http://pub64.ezboard.com/flimestoneloungefrm7.showMessage?topicID=64.topic
Jeff
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Message: 15
Date: Tue, 25 Nov 2003 22:55:24 +0000
From: Simon White
Subject: Disco - the beat goes on
Steve Harvey wrote -
Of course there have been lots of one hit wonders. My point is that
disco rarely spawned acts that survived past a couple of hits. However,
many soul and rock acts did have many hits and, some even evolving
musically while continuing to hit the charts.
Earth Wind And Fire? Barry White? Donna Summer? Sylvester? Narada
Michael Walden? Patrick Adams? The Trammps? D Train? George McRae?
The Whispers? Chic? The O'Jays? Harold Melvin and The Bluenotes?
The Emotions? Gloria Gaynor? Diana Ross? Archie Bell and The Drells?
Jean Carn? The Moments?
C'mon! Of course there were disco one hit wonders - but under whose
definition of a "hit"? White, rock radios?
Art Longmire wrote -
I can remember many of the Black artists of the '60s
and early 70's bitterly criticizing disco's emergence-it killed off
many a promising career, although some of the older artists were very
successful at recording it - Johnny Taylor comes to mind, along with
the Trammps, whose "Disco Inferno" is an excellent tune.
I remember this too Art - but amongst the list of names above are artists
that had recording careers stretching back into the 60s, under different
names sometimes - and it can be said in a lot of cases that they
did better
- sometimes MUCH better - in the disco days of the 70s. I bet
Leon Haywood,
Edwin Starr, Gene Chandler, Marlena Shaw, Herbie Hancock etc., didn't
complain about the royalties they got from recording disco tunes!
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Message: 16
Date: Tue, 25 Nov 2003 15:52:19 -0700
From: Rex Strother
Subject: Calling Patrick Rands re: Cymbal/Clinger
If Patrick Rands is out there, will he/you please contact me
off-list. I've seen in earlier posts, that you were doing
research into Cymbal/Clinger and am looking for more info/complete
discography. As Cymbal recorded under SO MANY names, I can use
all the help I can get!
Rex Strother
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Message: 17
Date: Tue, 25 Nov 2003 22:34:27 -0000
From: Peter Lerner
Subject: Re: House Of The Rising Sun
Bill wrote:
I always liked the Jody Miller version.
I like the Be Good Tanyas version myself. Now there's a female
group which hasn't previously been mentioned on Spectropop.
Oops! Now they have.......
Peter
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Message: 18
Date: Tue, 25 Nov 2003 18:48:35 -0000
From: Clark Besch
Subject: Re: Beatles - Born Too Late
Michael wrote:
I enjoyed reading the various accounts of when you first heard
particular Beatles records. That's the main drawback I feel about
being a later generation Beatles fan (I'm 34). Sure, I can still
enjoy the recordings on their own merit, and I have my own nice
memories of when I first heard certain songs and albums...But by
not being around when they were first released, I'll never know what
they really sounded like at the time.
Michael, I truly understand. It was truly inspirational to hear not
only new Beatles songs, but others as well. Judging by your email
address, you like the Stones. That was always great too hearing
their new ones - even tho' they didn't get as much fanfare usually as
the Fab 4. I have a radio "medley" of first plays as my brothers and
I recorded them in the 60s. I might play to musica in the future,
but doesn't look good right now. Anyway, it was definitely fun
listening in the 60s!
Clark
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Message: 19
Date: Wed, 26 Nov 2003 00:29:47 -0000
From: Mike Edwards
Subject: Production teams and artists
Simon writes:
Not wanting to be toooooo contentious, but are we really saying that
early '60s artists like the Crystals, Ronettes, Fabian, Chubby
Checker, Dee Dee Sharp - you name 'em - were really any thing more
than the product of the studio production teams?
Sure, there's a degree of success after a certain period for some of
them, but mainly not. Shangri-Las without Shadow Morton? Ronettes
without Spector? Uh, no.
Well I guess we are. Chancellor Records didn't manufacture Fabian's
looks; they were his own and were probably a big factor in his
selling records. Maybe their production team could have cut those
records on anybody but they would have bombed, as did many fine
records in the Chancellor catalog. Likewise not everyone at Cameo-
Parkway and Motown had hits. Chubby Checker had a wonderful
personality, sang well and turned in a likeable acting performance
in "Don't Knock The Twist". Both he and Dee Dee worked in varied
music styles. Chubby's "You Just Don't Know" and Dee Dee's "Deep Dark
Secret" are more soulful than their dance oriented tunes from '62 and
they were good. The Shangs without Morton? Try "Right Now And Not
Later" for a superb Motown knock-off produced by ex-Motowner, Robert
Bateman.
Such artists were definitely more than the "product of the studio
production teams". I asked Stu Phillips recently why he couldn't get
a hit out of Jimmy Beaumont (ex the Skyliners) in the early 60s.
Stu was one of the most successful producers in the world at the time
and laid on some great songs for Jimmy, whose voice was as good as
any of the period. Stu shrugged his shoulders: "I just couldn't get
it to happen" he said. Same could probably be said of Eddie Holland
at Motown.
Even the Motown artists stuggled after they'd left their main
producers behind.
Well Mary Wells and Florence Ballard certainly did but let's not
forget Gladys Knight, the Isley Brothers, the 4 Seasons and the
Jacksons, who all had bigger careers when they left Motown. Granted
they had lives before Motown but their subsequent success shows that
Motown's production team had its limitations, whereas the artists
didn't. And I believe it was Marvin Gaye who forced Motown's
production team to get up to date or he was going to leave. The team
wasn't too enthusiastic about cutting "What's Going On".
Groups like The Drifters, Platters etc, only existed in people's
minds - they didn't know or care in the main who it was up there on
stage - they just wanted to see a group doing those hits.
I guess you could say that about any group whose members didn't come
across as individuals and that's probably why we got Gary Puckett &
The Union Gap, Dennis Yost & the Classics IV, Frankie Valli & The 4
Seasons, Diana Ross & The Supremes etc.
Once the Platters scored with their distinctive sound on Mercury in
the mid 50s, it's difficult to imagine how anyone other than Tony
Williams and Zola Taylor could have been in that group. I think they
were a fully-fledged unit. Also in the early 60s' their manager, Buck
Ram, sued Mercury Records because they refused to release anymore
Platters' material without Tony Williams' lead vocals they clearly
cared about who was in the group. Admittedly, the group on Musicor in
the mid 60s was less distinctive as they went after the Motown record
buyer.
This is not to put any of those people down because they are and
where all seriously talented individuals.
Agreed, so let's hear it for Tony Williams, Nate Nelson, George
Clinton (the Musicor Platters), Ben E King, Rudy Lewis and Clyde
McPhatter! And of course, the guy who started all this, my man,
Fabian.
Mike
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Message: 20
Date: Tue, 25 Nov 2003 16:04:43 -0500
From: Joe Nelson
Subject: Re: Cameo-Parkway & ABKCO
Billy Spradlin wrote:
Thats great news, I HOPE Klein is telling the truth this time, and
he will find someone or a reissue company who knows (and loves) the
material to remaster and package it the right way. Abkco was supposed
to release a Cameo-Parkway box set years ago but nothing hit the
shelves.
Found this item earlier today (wonder why nobody I knew mentioned it
earlier). To hear Jody Klein talk about it you'd think the company's
highest goal was to get this project "just right" and would wait as
long as it took to see the technology match the vision. But would he
have done it with the Stones' Decca material? Hmmmmm....
http://www.bobbyrydell.com/goldmine.htm
Joe Nelson
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Message: 21
Date: Tue, 25 Nov 2003 15:05:06 -0800 (PST)
From: Steve Harvey
Subject: Buddy turned to "Shifty"
"Jailhouse Rock" also mentioned "Shifty" Henri who is
a real person who was one of the first Fender bass
endorsees.
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Message: 22
Date: Tue, 25 Nov 2003 22:12:49 -0000
From: Mark
Subject: Re: Cameo-Parkway & ABKCO
Herb wrote:
Some of the Cameo Parkway material is available as released on
Liberty Bell CDs Vol. 1 to 5.....
These are all bootlegs from vinyl. What people are referring to are
legitimate releases from the master tapes. It's not a big deal to me
as I don't really care for much on the label save for the odd nice
pop tune here and there which most likely wouldn't make any CD
package anyway. But I don't think that it's ever been a rights issue.
From everything I have heard it is just a matter of Klein not being
interested in doing anything with the material. He has a ton of money
and he just can't be bothered. Simple as that. I've also heard a
similar story about the guy who owns the Sussex label (Gallery,
Wadsworth Mansion, etc.)
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Message: 23
Date: Tue, 25 Nov 2003 19:01:23 -0000
From: Laura Pinto
Subject: Re: Japanese Bubblegum CDs
Mark wrote:
I've seen some reference to a Japanese bootleg series with the
horrid title "Bubblegum MF", probably no doubt due to a language
barrier and someone not knowing what a vile word that is. I believe
there is also a Sunshine Pop series with the same vulgar title.
Who can tell me some info on this series such as what's on them,
where to order, etc.
Hi,
The CD series to which you refer often shows up on eBay. To check
availability, go to the seller's list of items at:
http://cgi6.ebay.com/ws/eBayISAPI.dll?
ViewSellersOtherItems&userid=hairlesspider&include=0&since=-
1&sort=3&rows=50
If Yahoo Groups cuts the link short (which it will), you may have to
copy and paste this address into your browser. Or you can just head
over to eBay and do a search. The seller's ID is hairlesspider.
Laura
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Message: 24
Date: Tue, 25 Nov 2003 20:59:47 -0000
From: Don
Subject: Re: Karina
Julio,
Didn't Karina do a version of "Will You Love Me Tomorrow"? It was
called either "Querras Amarme Maqana" or "Me Querras Maqana". If
you have that, I would love it if you could play to musica.
Don
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Message: 25
Date: Wed, 26 Nov 2003 00:15:08 -0000
From: Martin Jensen
Subject: Re: Sonny Bono
Guy Lawrence wrote:
What is it about Sonny Bono? He always seems to get such a hard
time! I know he was no genius but all I ever hear is people doing
him down! Sure, he made a dodgy psychedelic album but he did
work with Don & Dewey! Give Sonny a break!
I recently bought Sonny & Cher's first three albums, and was really
surprised by the quality. OK, so Sonny's no Spector, but then again,
who is? But a lot of his productions are IMHO really, really
enjoyable and very well carried out. I fell instantly for 'The
Revolution Kind' - GREAT song - like a kind of Spectorized Dylan. :-)
I also don't agree with those who argue that Sonny was a horrible
singer. His take on 'Misty Roses' on the third album for example...
Now, to my ears, that's a guy giving a very emotional vocal...
BTW, am I the only one here who thinks that Sonny & Cher's cover
of 'Why Don't They Let Us Fall In Love' surpasses the original? I
love it when Sonny steps up to the mike and wails "Gee, de moon is'a
shinin' bright'"...
With regards
Martin, Denmark
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