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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: The first song to use a synthesizer / Eddie Smith, R.I.P.
From: Mike Rashkow
2. Re: The first song to use a synthesizer
From: Mikey
3. Re: The first song to use a synthesizer
From: Mike Rashkow
4. Re: The first song to use a synthesizer
From: Rat Pfink
5. Re: proto-synths / Zager & Evans / death of the album
From: Phil Milstein
6. Re: The first song to use a synthesizer
From: Mike Rashkow
7. Re: Zager and Evans - One Hit Wonders?
From: Orion
8. Re: Zager and Evans - One Hit Wonders? The Saga!
From: Orion
9. Re: Zager and Evans - One Hit Wonders?
From: Eddy
10. Re: Eddie Smith, Bell Sound engineer, R.I.P.
From: Mick Patrick
11. James Taylor
From: Alan Gordon
12. Re: Tom Wilson
From: Artie Wayne
13. Re: Being Bootlegged
From: Orion
14. Glen's Mug
From: Alan Gordon
15. Re: Whiter shade of Charles Brown
From: Andrew Hickey
16. Re: Tom Wilson / Sound Of Silence
From: Mike McKay
17. Re: US hits, UK flops
From: friscopedro
18. Re: The End of Albums
From: Peter McDonnell
19. Producers & artists redux; pre-progressive artists "going progressive"; Little Isidore's modern doo-wop
From: Country Paul
20. Coke Ads @ Musica
From: Mike Rashkow
21. Re: The first song to use a synthesizer
From: Mike Rashkow
22. Re: The first song to use a synthesizer
From: Neb
23. Re: The first song to use a synthesizer
From: James Botticelli
24. Re: The Delicates - "Comin' Down With Love"
From: Mick Patrick
25. Re: Eddie Smith, Bell Sound engineer, R.I.P.
From: That Alan Gordon
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Message: 1
Date: Fri, 05 Dec 2003 18:59:59 EST
From: Mike Rashkow
Subject: Re: The first song to use a synthesizer / Eddie Smith, R.I.P.
James Botticelli:
> "Switched-On Bach was the first to use a Moog synthesizer
Yes, that's where I first heard it. It still sounds great today. An
amazing accomplishment given the complexities of synths back then.
Something special about that record that I personally like, aside
from the fact that it sounds so great and was done with such
rudimentary tools, is that it was originally credited to a person
named Walter Carlos -- now if you buy it it is credited to Wendy
Carlos.
How quaint. Which one has the Toni? (That reference may be too old
for this room).
Walter Sear, still active in NYC, was very much involved in that
project and he was the man whose synth we used and who programmed it
for the Fuzzy Bunnies recording. I spoke with Walter on the phone
several months ago -- very nice guy.
Which reminds me belatedly that I failed to note the passing of the
great studio engineer Eddie Smith who died maybe a month or so ago.
Eddie came to NYC from Cincinatti, Ohio where he had been the man on
the board for many years at King/Federal and worked with all of
those great R&B talents. he then was one of the top dogs at Bell
Sound in its heyday and from there to Mayfair. I don't know anything
about him after that.
When you listen to the early Bacharach/Dionne Warwick hits as well
as many many others, think about the fact that most of those were
live mono and stereo simutaneous mixes right off the date in Studio
A -- Bell Sound.
Yes, they were running a 4 track master and a 4 track safety at the
same time, but often the mono and stereo references couldn't be
improved. That's saying something.
I had the honor of being a button pusher for Eddie on many sessions
and I only wish that I had appreciated the experience as much then
as I do now. He was good, he was unflappable, he had ears like an
elephant and hands like a magician.
Maybe someone else can add to my little Eddie Smith remembrance --
he deserves it.
Well this sure went off on a tangent.
Di la,
Rashkovsky
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Message: 2
Date: Fri, 05 Dec 2003 19:04:07 -0500
From: Mikey
Subject: Re: The first song to use a synthesizer
Nick Archer wrote:
> What instrument was used on "Telstar" by the Tornados? Was that
> an early synth?
James Botticelli:
> It's the thing Kai Winding used. Forget the name. Early synth will
> do though!
It's a Clavoline. It was NOT a Synthesizer in any way, shape or form.
Mikey
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Message: 3
Date: Fri, 05 Dec 2003 19:12:04 EST
From: Mike Rashkow
Subject: Re: The first song to use a synthesizer
Larry Lapka:
> Dear Rashkovsky: I always thought that the Monkees "Pisces, Aquarius,
> Capricorn and Jones Ltd." LP was the first use of synthesizers in
> rock (certainly on the songs Star Collector and Daily Nightly--
> remember that video?), but I am wrong. I had been told that Micky
> Dolenz actually owned one of the world's first Moog synthesizers. I
> guess this fable came about because of the Monkees' popularity, but
> thanks so much for setting the record straight.
Larry, thanks but I didn't set the record straight and I am not
claiming anything.
Like all good things and all good ideas there are usually many people
in many places finding them and working on them in the same time frame.
I just heard the Walter Carlos record, went bonkers and looked for the
first opportunity to use a synth.
I had never seen one or heard of it before. I asked Ron Frangipane,
an arranger friend about it and he brought Walter Sear and us together.
Di la,
Rashkovsky
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Message: 4
Date: Fri, 05 Dec 2003 20:09:55 -0500
From: Rat Pfink
Subject: Re: The first song to use a synthesizer
Q:
> What instrument was used on "Telstar" by the Tornados? Was that
> an early synth?
A:
> It's the thing Kai Winding used. Forget the name. Early synth will
> do though!
I believe it's called a Clavioline.
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Message: 5
Date: Sat, 06 Dec 2003 03:24:24 -0500
From: Phil Milstein
Subject: Re: proto-synths / Zager & Evans / death of the album
Art Longmire wrote:
> I have read a few articles on electronic music that trace the
> development of synthesizers and instruments such as the mellotron.
> It's fascinating stuff but, not being a musician, some of it's a bit
> over my head. It seems that tracking down the first use of a
> synthesizer on a pop record is every bit as difficult as identifying
> the first rock and roll record.
I think the problem with this issue lies with having to define what
exactly a "synthesizer" is.
> By the way, I saw the Chamberlain mentioned in an earlier post as a
> precurser to the mellotron-I always associate that instrument with
> song-poem king Rodd Keith...his use of it on the song "Little Rug
> Bug" is nothing short of masterful!
David Kean runs a terrific Mellotron/Chamberlin website, at
http://www.mellotron.com. He and his colleagues also do wonderful work
restoring and maintaining old 'trons and their tapes, and have also (in
league with Moody Blues keyboardist Michael Pinder) have digitally
transferred all commercially-available tapes for repurposing for all
sorts of electronic keyboard formats. Also worth noting along these
lines is L.A.-based record producer and artist Jon Brion, who has made
much of his (fast-growing) reputation based on his use of the Mellotron.
Nick Archer wrote:
> What instrument was used on "Telstar" by the Tornados? Was that
> an early synth?
John Repsch in his Meek bio has it as a clavioline, played by Geoff
Goddard.
Clark Besch wrote:
> Surprisingly, their followup 45, "Mr. Turnkey", did not reach the
> Hot 100, despite charting in many markets, even getting airplay as
> a "Bonus Play" on WABC New York (America's #1 Top 40 station at the
> time) on their survey.
I think it was RCA's promo department who dropped the ball on that one,
somehow failing to see the breakout potential of a song from the
perspective of a convicted rapist who's nailed his wrist to the prison
wall! But then again, it's awfully hard to deny the power of a line
like "Mister Turnkey, she was lovelier than oil rights." I will post
this marvel to musica, as soon as there's room enough.
> There you have it: Exordium and Terminus!
Thanks for the great rundown, Clark. I too enjoy Z & E quite a bit,
although primarily for their irony value. In my opinion Rick Evans
consistently fell so far short of conveying the weight he strove for
that the results were often staggering. Since in this duo too all of the
songs were written by just one of the members (although the other at
least played an instrument), I think of Zager & Evans as the poor man's
Simon & Garfunkel.
By the way, someone earlier referred to a Michael Evans who had a disco
hit. But the Zager in Z & E is named Denny, so I doubt there's a
connection.
Don Charles wrote:
> USA Today (December 5 - 07 edition) has two lengthy articles
> predicting the imminent death of the album format. Doors keyboardist
> Ray Manzarek is quoted as saying: "Each generation gets the music it
> deserves, and three good minutes is about all anyone really wants
> (anymore). . . perhaps listening to an entire album is too much to
> ask of the TV generation in the mad pace of the 21st century."
Interesting article, Don -- thanks for pointing it out. Surprisingly
in-depth and thoughtful for McPaper, and even the "talking head" quotes
were useful. However, in my cynicism I can't help but wonder if, given
the article's tone of nostalgia for the dying album, it wasn't planted
by the RIAA's P.R. department. The article can be found at http://www.usatoday.com/life/music/news/2003-12-04-album-main_x.htm.
My own belief is that unless the record industry can find some way to
truly prevent its product from being copied and recopied, then what is
doomed isn't so much the album as the large-scale record company. Our
generation (and I use that word very loosely here) grew up with a full
acceptance of the concept of paying for recorded music; we even (well,
maybe not us collectors, but our generation as a whole) happily
repurchased the same albums every time a new format was foisted upon us.
The college kid of today has a vague memory of the idea of paying for
recorded music, but the young kids are growing up accustomed to recorded
music being free. If the industry is to somehow turn these kids into
record buyers, they will have to get their technology way into line.
Perhaps that is possible, but I don't know. If it never comes to pass,
eventually the process of walking into a record store -- or typing in a
credit card number online, for that matter -- will be completely
obsolete, and music will be traded freely by one and all. The genie is
out of the bottle, and no amount of scolding, cajoling or even random
prosecuting will get it back in again. But hellfire, it is the
industry's own damn fault -- I don't remember the general public ever
demanding the creation of the CD! The industry invented it, it stuffed
it down our throats, and now it is bitching and moaning about the fact
that its monster has arisen from the slab and gotten out into the village.
But, I think there may be a basic human need for long-form music, for
coherent collections of songs that only something like an album can
fulfill. Sure, an iPod crammed full of isolated favorite tracks is all
well and good, but I rue the day that the collective attention span will
have grown too short to crave the occasional hour spent with a more
fully-integrated set of tunes. Furthermore, even if the demand for
albums is reduced, there will still exist the urge to occasionally
create in that mode (and this is enhanced by the growing accessibility
of music creation and distribution tools). So what may occur, in that
case, is the retention of the CD, or something like it, with albums
taking on a more grassroots role, made and distributed by the artists themselves.
I'm not sure how I would react if any of the developments I'm suggesting
here come to pass. The world has seen a number of format changes during
the 100+-year history of recorded music, most of which have engendered
changes of one sort or another in the underlying music (i.e., time
constraints; acoustic vs. electrical recording; etc.). But the music has
always risen to the occasion, providing listeners with vast arrays of
high-quality sounds at every turn. I'm sure the future will not be much
different, and I am eager to see how it all plays out.
Rex Strother wrote:
> I think one big condition leading to bootlegging is that unlike
> the "statutory" rate set by Congress for songwriter royalties,
> there is no similar set rate for master use licensing. Labels
> (or conglomerates who have swallowed up dozens - nay hundreds -
> of labels) can set any price they want to use a master recording.
> Those releasing little forgotten (but loved) artists, who might
> sell only 1,000 copies, can't afford the prohibitive licensing
> fees.
On paper, this does sound like a great idea. But I think the sticking
point would be ithe fact that music publishing is not dependent on the
existence and location of a "hard copy" of the music -- in other words a
master tape. Not a problem with tracks that have already been carefully
digitized, but for everything else, good luck getting access to those
masters for such low and legally-limited fees. If only ...
--Phil Milstein
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Message: 6
Date: Fri, 05 Dec 2003 19:13:19 EST
From: Mike Rashkow
Subject: Re: The first song to use a synthesizer
Ron Sauer:
> I was always under the impression that the first use of a synthesizer
> was Max Crook using what he called a "Musitron" on the instrumental
> break in "Del Shannon's "Runaway".
Eveyone I ever spoke to about that said it was a Hammond B3 with a VFO.
James Botticelli:
> I hear a new girl done found you yeah
> Now you think she's runnin' round yeah
Close enouugh for government work...."I heard a new girl moved into
town" is actually the first line.
Di la,
Rashkovsky
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Message: 7
Date: Fri, 05 Dec 2003 19:32:39 -0600
From: Orion
Subject: Re: Zager and Evans - One Hit Wonders?
Art Longmire a écrit:
> Country Paul mentioned several several acts that had number one
> hits and no further chart activity. Another one that falls into
> that category (I think!) is "In the Year 2525" by Zager and Evans.
> Anyone who was around in 1969 will probably recall this dirge-like
> little ditty. I have a German copy of this record and wonder how
> well it did in other countries -was it a hit in the U.K.?
Stephane Rebeschini wrote:
> Not exactly a one hit wonder, as Michael Zager would sell "some"
> copies of his "Let's All Chant", the disco hit ("Oooh Oooh Let's
> All Chant"...) from 1978 (not from 2525!)
Billboard would with their book "One Hit Wonders" state that any
artist/group that never had a song hit the top 40 again, was a one
hit wonder... Just a thought.
Orion
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Message: 8
Date: Fri, 05 Dec 2003 19:38:13 -0600
From: Orion
Subject: Re: Zager and Evans - One Hit Wonders? The Saga!
Clark Besch:
> Locally, Z&E would folowup their megahit with KLMS placings at
> #11 for "Mr. Turnkey", #11 for "Listen to the People" and the
> above mentioned, "Crutches" would not even chart in Lincoln!
> RCA dropped them, but they resurfaced on Vanguard with a pic
> sleeve 45, "Hydra 15000" which reached #4 on KLMS. I have to
> say, it could be the worst record ever recorded! Back on Truth
> Records (talk about full circle!) in 1972, their swan song was
> "Sunday Morning Band" reaching #10 on KLMS.The duo split up, Rick
> Evans and his wife did an Lp for Truth.
Turnkey did hit the top 40 in Kansas City on WHB (world's happiest
broadcaters, not the best paid though).
Orion
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Message: 9
Date: Sat, 06 Dec 2003 08:03:27 +0100
From: Eddy
Subject: Re: Zager and Evans - One Hit Wonders?
Art Longmire:
> Country Paul mentioned several several acts that had number one
> hits and no further chart activity. Another one that falls into
> that category (I think!) is "In the Year 2525" by Zager and Evans.
> Anyone who was around in 1969 will probably recall this dirge-like
> little ditty. I have a German copy of this record and wonder how
> well it did in other countries -was it a hit in the U.K.?
Huge hit on the old continent! # 1 in most W-European countries.
Eddy
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Message: 10
Date: Sat, 06 Dec 2003 09:46:38 -0000
From: Mick Patrick
Subject: Re: Eddie Smith, Bell Sound engineer, R.I.P.
Mike Rashkow:
> Which reminds me belatedly that I failed to note the passing of
> the great studio engineer Eddie Smith who died maybe a month or
> so ago. Eddie came to NYC from Cincinnati, Ohio where he had
> been the man on the board for many years at King/Federal and
> worked with all of those great R&B talents. He then was one of
> the top dogs at Bell Sound in its heyday and from there to
> Mayfair. I don't know anything about him after that.
>
> When you listen to the early Bacharach/Dionne Warwick hits as
> well as many others, think about the fact that most of those
> were live mono and stereo simultaneous mixes right off the date
> in Studio A -- Bell Sound.
>
> Yes, they were running a 4 track master and a 4 track safety at
> the same time, but often the mono and stereo references couldn't
> be improved. That's saying something.
>
> I had the honor of being a button pusher for Eddie on many
> sessions and I only wish that I had appreciated the experience
> as much then as I do now. He was good, he was unflappable, he
> had ears like an elephant and hands like a magician.
>
> Maybe someone else can add to my little Eddie Smith remembrance
> -- he deserves it.
Thanks Mike. It's not often that studio engineers get any
recognition. I, for one, had never heard of Eddie Smith before.
Well, I have now, and I'm glad. Maybe some of our other "insider"
contributors worked with Eddie at Bell Sound too - Artie? That
Alan?
Were you ever Eddie's "button-pusher" at an actual Bacharach
session?
Mmm, I'm in just the right mood for my new "Isley Meets Bacharach"
CD now.
Hey la,
Mick Patrick
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Message: 11
Date: Fri, 05 Dec 2003 16:00:13 -0800
From: Alan Gordon
Subject: James Taylor
From: Phil Milstein
> In my opinion the closest Jackson Browne ever came to
> rock'n'roll was losing his virginity to Nico, but that's
> more than you can say about (previous inductee) James Taylor.
I vehemently disagree... about JT, not Jackson losing his virginity.
Ever heard "Slap Leather," the original "Steam Roller" and the
live one from a few years back? (Just to name a few)
Just another opinion brought to you by,
~albabe
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Message: 12
Date: Fri, 05 Dec 2003 16:07:09 -0800 (PST)
From: Artie Wayne
Subject: Re: Tom Wilson
Phil.......Your description of Tom Wilson is perfect. He was
a friend of mine. I would always love to visit him in his
office at Columbia records where he'd play me latest stuff he
was doing with Dylan. He Once gave me a copy of a tape that
included "If you Gotta' Go...Go Now" years before Manfred Mann
or Dylan released it.
I feel that his contributions to the productions were immeasurable.
He had the incredible ability to instill confidence in his artists
and get the most out of them..........He was also able to act on
their behalf as liason between the label.
I'll never forget him for the recommendation he gave me when I
was up for Prof. Mgr. of April-Blackwood Music Columbia records
Publishing arm.
regards,
Artie Wayne
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Message: 13
Date: Fri, 05 Dec 2003 19:28:46 -0600
From: Orion
Subject: Re: Being Bootlegged
Mike Rashkow:
> The best unreleased are some things Ms. Ellie Greenwich and I
> tracked in Muscle Shoals. One, a cover of "Magic Carpet Ride",
> was finished in NY by us together, with Billy Harner from Philly
> on lead - we never were able to place it. It is a very good
> record.
>
> Three I finished alone with a terrific singer from Newark, Jesse
> Henderson. I'd love them to see the light someday, but have never
> found a suitable outlet that was interested. Among them a down
> home version of Neil Diamond's "Glory Road".
>
> Maybe sometime a compilation of great unheard R&B records will be
> made and I'll get them out that way. Is anyone out there paying
> attention to this??????
Okay I will buy one of each..... NOW how about those tapes :) LOL
Orion
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Message: 14
Date: Fri, 05 Dec 2003 17:54:43 -0800
From: Alan Gordon
Subject: Glen's Mug
From: Laura Pinto
Subject: Glen Campbell mugshot
> The color version of this mugshot...
Just a thought... I'm not sure that's a real color photo.
I have some experience with Photoshop, and I know that when
people "colorize" b & w photos, they usually make the blemishes
etc. look even worse, unless they're very good at Photoshop,
and their specific intent is to minimize these artifacts.
That may be why Glen looks like warmed up death.
~albabe
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Message: 15
Date: Sat, 06 Dec 2003 06:19:47 +0100
From: Andrew Hickey
Subject: Re: Whiter shade of Charles Brown
Previously:
> > Rupert's People "Reflections of Charles Brown",
> That's a fantastic song! By the way, do you happen to know who
> stole it, Rupert's People from Procol Harum or Procol Harum from
> Rupert's People?
According to the Nuggets II booklet, the song was recorded
while Procol Harum were at number one, but supposedly
'written well before' (and if you believe that...)
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Message: 16
Date: Sat, 06 Dec 2003 00:53:12 EST
From: Mike McKay
Subject: Re: Tom Wilson / Sound Of Silence
Alan V. Karr:
> Question for all: Are the VU the electric backing on "The Sound
> of Silence" and possibly other "Sounds of Silence" LP era tracks?
Mike McKay:
> No...if this were so, it certainly would have been documented. The
> story I've heard most frequently is that the electric backing was
> added to "The Sounds of Silence" at the same session and by the
> same musicians who had just backed Bob Dylan on "Like a Rolling
> Stone.
Art Longmire:
> Do you mean Mike Bloomfield, Al Kooper, etc. who backed Dylan
> on "Like a Rolling Stone" did the backing for "Sounds of Silence"? I
> think you should question your sources...That Dylan session is one of
> the best documented in history and I've never heard anyone involved
> in it mention a Simon and Garfunkel connection.
Jerophonic:
> The backing track on "Sounds of Silence" is too lackluster to be
> Kooper and Bloomfield, and too technically proficient for the VU.
> IMHO.
Here's one cite out of several I've seen that supports the
"Like a Rolling Stone" session hypothesis. This is from the
book "Simon and Garfunkel: Old Friends" by Joseph Morella and
Patricia Barey:
"On June 15, 1965, Tom Wilson sat in on a Columbia studio session
with Bob Dylan, who was working on 'Like a Rolling Stone' with an
electronic backup band. After Dylan had finished, using that same
band, Wilson overdubbed bass, electric guitar and drums onto the
original track of 'The Sounds of Silence,' beefing it up with a
rock beat."
Now I agree that the electric guitar on "The Sounds of Silence"
sounds nothing like something Mike Bloomfield would do -- though
it's just as possible that he was not the only electric guitarist
on "Like a Rolling Stone." It's also possible that these authors
have merely repeated a story told by others that is inaccurate.
But nevertheless, the story has been told -- and more than once.
To set this right, it would be good to see a *complete* list of
the musicians who played on "Like a Rolling Stone." As Art says,
that seems like something that would be easily obtainable. Or to
come at it from the other direction, are the musicians on the
"Sounds of Silence" electric overdub session listed anywhere --
the Simon and Garfunkel box set, perhaps?
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Message: 17
Date: Fri, 05 Dec 2003 22:21:11 -0800 (GMT-08:00)
From: friscopedro
Subject: Re: US hits, UK flops
Peter McDonnell writes:
> A casual glance at singles chart lists of big British hitmakers who
> did nada Stateside shows Cliff Richard as the all time leader, with
> nearly 65 top 20 singles in Britain between 1958 and 1983,( four of
> which made top 20 in the US); the Shadows had 24 top 20 hits in the
> UK from 1960 through 1980, none of them hits here; Slade, The Small
> Faces, Status Quo, The Move, The Jam, Shakin' Stevens, Showaddywaddy
> (who?), Roy Wood, all show up as doing big things there and not much
> here.
Michael Edwards:
> An interesting observation, Peter; I wonder if you could offer
> some thoughts as to why these artists did so poorly in the US.
> Given their considerable UK chart success and punk/new wave
> leanings, I've always wondered why the Jam didn't show up even
> once on the US Hot-100.
Mike,
I couldn't offer any great insight, really. It was just an
observation. There is probably something homegrown and regional
in their respective appeal that doesn't make the jump across the
pond I guess. Most bands have different 'careers' in the two
countries, as was pointed out regarding Simon & Garfunkel, The Who,
The Kinks, The Grassroots, etc. There are different cultural
parameters going on, and as is always the case, the public's taste
in both countries doesn't always dovetail. Slade is band I know
nothing about, Status Quo I know only their US hit, "Pictures of
Matchstick Men", same with Small Faces' "Itchycoo Park". And The
Jam, well, I've got a Greatest Hits package of theirs that I bought
only recently to check out early Paul Weller, whose solo album of a
few years ago I really liked ( it had "Uh Huh, Oh Yeah" and "Strange
Museum" on it, forgot the title). Certainly there were huge acts
here that probably got less fanatacism over there, like Lynyrd Skynyrd,
The Eagles, Creedence, The Doors. Tom Petty is a huge star here, for
example, as was Bob Seger; I don't know what they did in the UK.
friscopedro
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Message: 18
Date: Fri, 05 Dec 2003 22:44:39 -0800 (GMT-08:00)
From: Peter McDonnell
Subject: Re: The End of Albums
Don Charles:
> What do y'all think about this? How will the death of albums
> impact those of us who collect vintage pop and rock?
A fascinating quote from the learned Ray Of The Desert. He
may be right. Record sales are down by almost a third from
a few years ago, and with the downloading of music by the
song off the web from places like Apple's music site, it
seems that today's buyers are bypassing the whole notion of
album oriented purchasing and just compiling their music song
by song. And I honestly feel that listening to a vinyl album,
pulled out of that big cardboard sleeve with the square foot
of artwork on it, and flipped over manually at the end of side
one, just has a completely different vibe to it than listening
to a CD, and I'm not talking about an aural experience.
friscopedro
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Message: 19
Date: Sat, 06 Dec 2003 01:53:19 -0500
From: Country Paul
Subject: Producers & artists redux; pre-progressive artists "going progressive"; Little Isidore's modern doo-wop
Peter Lerner:
> I like the Be Good Tanyas version [of "House Of The Rising Sun"]
> myself. Now there's a female group which hasn't previously been
> mentioned on Spectropop.
Haven't heard that, but WFUV plays them occasionally. Well
worth the mention.
My late two-cents-worth on the production teams and artists issue.
I think both Simon and Paul Bryant came closest:
> There were many huge hit records which the public loved
> without ever finding out or being at all interested
> in who was actually performing them.
I'd add that some producers were really "into" their artists
and produced them amplifying the artist's vision. Others -
Phil Spector at the head of this class - were really the artists
themselves, thinking of their vocalists as simply "additional
studio musicians", albeit with a name (or stage name) and
occasionally a face. I think both visions have credibility. Of
course, very few producers - Spector, Brian Wilson, some of the
disco folks - ever became household names, but as music people
and serious fans, we know and appreciate them.
Jeffrey Kennedy:
> Mala, York and Bell were sister labels, right?
Amy, Mala and Bell were the "sisters" - York was distributed
by them. That group then transformed into Arista. And yes,
the Priscilla Paris LP would be a treat to have on CD.
Stewart Miller, re: the Four Seasons' "GILG":
> Unquestionably, if this had been released by any other
> "progressive" artist, it would have been hailed a masterpiece.
I tend to side with Paul Bryant on his musical view of this
album, although I confess it's been a long time since I tried
to get through it. Many non-"progressive" artists tried to
"make the leap", and I'd suggest others were far more successful
musically. Some "updated" artists even sold a few copies. The
Beach Boys' progressive creds stood tall in album circles from
"Pet Sounds" onward, and again in the 70's "Surf's Up"-"Sunflower"
phase. Rick Nelson reinvented himself with the help of the Stone
Canyon Band and had some sales success as well as the fluke #1,
"Garden Party". Dion's work on Columbia was fairly well regarded,
and his Laurie album got attention and respect, especially for his
complete and wonderful reinterpretation of "Purple Haze." Bobby Vee
- 'scuse me, Robert Thomas Velline - put out a serious album on UA
in '72, "Nothin' Like A Sunny Day", with some superb tracks,
including "Every Opportunity" and "My God and I". Bobby Darin's
"conversion" to sensitive folkie and singer/songwriter on his Atlantic
and Perception albums had credibility with audiences who really
listened to music; "Sweet Reason" is an under-two-minute masterpiece.
Sure, the most narrowly-formatted album-rock stations didn't touch
most of these, but they weren't really "progressive". Those stations
who had music directors and DJ's "with ears" were aware of the above.
I personally just don't think GILG "had it"; sorry. (And yes, Stewart,
I'm a "media guy" - 29 years being paid to play music on the air, and
proud of it; I left radio in part because I couldn't be proud of it
anymore.)
Mark "Cleve Soulie" mentions "An Evening With Wild Man Fischer".
For a truly hair-raising experience, listen to the all four sides
of the album in sequence. Horrible, terrifying, inventive and poignant.
A remarkable document.
Re: modern doo-wop: How could I have forgotten to cite Little
Isidore & The Inquisitors? This ain't no Sha-Na-Na type goofin'.
Two wonderful CDs, on Hy-Sam Records, must be heard to be believed.
Their originals are exceptional; "Go" is a transcendently soulful
ballad, and "Harlem Hit Parade" meets at the interesection of
doo-wop, bop and r&b. And that's just the beginning. Hard to admit,
but several of their remakes exceed the originals, e.g. "Let's Go
For A Ride" (Collegians) and "La La" (Cobras). The group disbanded
last year - "Isidore", a/k/a David Forman, had a heart attack which
slowed him down a bit - but their live shows were a total trip:
theatre between the songs, totally honest and authentic with their
music. Two of them joined Kenny Vance's Planotones after the breakup.
Find their CDs - I suggest starting with "No One Gets Hurt". Clifton
Music has them: http://www.cliftonmusic.com - tell Ronnie I that
I sent you.
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Message: 20
Date: Sat, 06 Dec 2003 09:42:10 EST
From: Mike Rashkow
Subject: Coke Ads @ Musica
Orion;
> Okay I will buy one of each..... NOW how about those tapes :) LOL
No problem and much appreciated. The Billy Harner might already be
on LostJukebox -- though he tends not to use unreleased stuff. He
had an acetate. As for the Jesse Henderson material, kindly submit a
contract with a box of money and you can own them. How's that? ;-)
Two of the Coke ads - "Come Take My Hand" with lead vocal by Ellie
Greenwich and "Do You Remember" - have been posted to musica for all
to hear: http://groups.yahoo.com/group/spectropop/files/musica/
Rashkovsky
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Message: 21
Date: Sat, 06 Dec 2003 08:50:47 EST
From: Mike Rashkow
Subject: Re: The first song to use a synthesizer
Nick Archer wrote:
> What instrument was used on "Telstar" by the Tornados? Was that
> an early synth?
James Botticelli:
> It's the thing Kai Winding used. Forget the name. Early synth will
> do though!
Mikey:
> It's a Clavoline. It was NOT a Synthesizer in any way, shape or
> form.
Are you sure it wasn't Vasoline on his slide?
Di la,
Anonymous
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Message: 22
Date: Sat, 06 Dec 2003 16:23:29 -0000
From: Neb
Subject: Re: The first song to use a synthesizer
Ron Sauer:
> I was always under the impression that the first use of a
> synthesizer was Max Crook using what he called a "Musitron" on
> the instrumental break in "Del Shannon's "Runaway".
Mike Rashkow:
> Eveyone I ever spoke to about that said it was a Hammond B3 with
> a VFO.
For lots of information about Max Crook and his Musitron, go here:
http://go.zibycom.com/members/002222119/Site4/maxmusitron.html
-Neb
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Message: 23
Date: Sat, 06 Dec 2003 12:00:46 -0500
From: James Botticelli
Subject: Re: The first song to use a synthesizer
Nick Archer:
> What instrument was used on "Telstar" by the Tornados? Was that
> an early synth?
Me:
> It's the thing Kai Winding used. Forget the name. Early synth
> will do though!
Mikey:
> It's a Clavoline. It was NOT a Synthesizer in any way, shape or
> form.
Rat Pfink:
> I believe it's called a Clavioline.
Close.... Just remembered, actually I believe its called an
Ondioline. At least that's what Kai Winding used on "More".
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Message: 24
Date: Sat, 06 Dec 2003 11:32:10 -0000
From: Mick Patrick
Subject: Re: The Delicates - "Comin' Down With Love"
John Clemente:
> Hello All, I recently acquired a copy of "Comin' Down With Love/
> Stop Shoving Me Around" by The Delicates on Challenge 59304
> (black label with swords). I had heard the song years ago when
> I bought a copy of the "Girls About Town" LP on Impact. When I
> put the record on my turntable, lo and behold, it was a different
> version than the version I knew on the LP. This version is also
> wonderful, but much more "girl group" sounding than the Northern
> sounding version on the LP. What version is the LP version? Is
> it the Soultown version? Was it an "accident" that a previously
> unreleased version wound up on the LP? I would appreciate any
> light anyone can shed on this.
Hi John, How right you are, those are two totally different versions
of the Delicates' "Comin' Down With Love". I'm not sure which I
prefer, the "soulful" rendition on the LP or the "girly" Challenge
single. Unless my ears deceive me, it's not the same girl singing
lead, is it?
Alas, I don't own the Soultown single, so I don't know which version
that plays. It did see a copy at a record fair last year, but it was
too expensive for me to buy. Feh! I do remember, though, that the
group are billed on the label as "The Delicates featuring Alder Ray",
whereas the Challenge 45 just lists them as the Delicates.
Did you spot that "Comin' Down With Love" is written by two West
Coast songwriters much admired here at S'pop - Baker Knight and
Annette Tucker? You've read "Too Much To Dream: Songwriter Annette
Tucker Interviewed By Al Hazan", yes? If not, just click here:
http://www.spectropop.com/AnnetteTucker/index.htm
"Comin' Down With Love", along with the Delicates' four other
Challenge releases, not to mention 23 other great tracks, is
contained on the CD "Playin' Hard To Get: West Coast Girls" (Ace
CDCHD 559). You can view the complete tracklist here:
http://216.15.202.119/cgi-bin/SearchCatNo.asp?lngID=183652
I have some unissued Delicates tracks somewhere. Anyone interested?
Hey la,
Mick Patrick
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Message: 25
Date: Sat, 06 Dec 2003 09:58:48 -0700 (MST)
From: That Alan Gordon
Subject: Re: Eddie Smith, Bell Sound engineer, R.I.P.
I never had the pleasure of working with Eddie Smith. I too think
it would be great if we all learned a lot more about the engineers
who helped create the hits we all love.
One of my dearest friends is the great engineer Art Polhemus who
produced the Magicians' records. He was the man who introduced me
to Garry Bonner.
Armand Steiner was another brilliant engineer who helped create
some wonderful records. There's so many who never get the
recognition they deserve. Maybe we could change that here at S'pop.
Speaking of the Magicians, we were on Columbia Records. One day we
all went up to meet the head of the label, Bill Gallager. We went
around meeting the executives, promo guys etc. including Clive
Davis. I peeked into the office of an exec. named Gene Weiss, on
his wall was a signed photo of Bob Dylan. The words on the photo
said "God Bless you please" Bob Dylan. I often wondered if Paul
Simon saw the same photo?
Best, That Alan
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