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SPECTROPOP - Spectacular! Retro! Pop!
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There are 26 messages in this issue.
Topics in this digest:
1. The earth-shattering important "Henry The 8th". God save us.
From: Michael Fishberg
2. Re: The End of Albums
From: Scott
3. Re: Tom Wilson / Sound Of Silence
From: Paul Underwood
4. Re: The End of Albums
From: Scott Charbonneau
5. Re: Tom Wilson / Sound Of Silence
From: Fred
6. Lynsey / Lesley / Gay Songs
From: Keith Moore
7. Inquiring minds...
From: Jon Adelson
8. PBS fundraiser
From: Watson Macblue
9. R. I. P. David Hemmings
From: Steve Harvey
10. Re: Sid Bernstein
From: Jon Adelson
11. Tutti Frutti.
From: Julio Niño
12. Re: Tom Wilson / Sound Of Silence
From: JB
13. Re: The earth-shattering important "Henry The 8th". God save us.
From: Mikey
14. Re: Obscurities; Yom Kippur music
From: Jerry Lintelf
15. Re: Glen's Mug
From: Bill Brown
16. Re: Eddie Smith
From: Andrew Jones
17. Snuff Garrett
From: Artie Wayne
18. Mr. Turnkey
From: Phil Milstein
19. Re: The first song to use a synthesizer
From: Rat Pfink
20. Re: British Invasion redux
From: Jake
21. Master Use but not Master Access
From: Rex Strother
22. Re: Tom Wilson / Sound Of Silence
From: Mikey
23. Re: USA No 1s which were UK chart failures
From: Bob Rashkow
24. MOOOOOGZZZZZZZZZZ..........
From: Simon White
25. Re: First synth
From: John Fox
26. Re: The first song to use a synthesizer
From: Billy G. Spradlin
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Message: 1
Date: Sat, 06 Dec 2003 04:23:09 -0800 (PST)
From: Michael Fishberg
Subject: The earth-shattering important "Henry The 8th". God save us.
Mikey wrote:
> "I'm Henry The Eighth" is such a swinging record it's unbelievable.
> And it doesn't hurt that Jimmy Page's Guitar solo really smokes,
> along with Clem Cattini's great drumming.
Mike McKay:
> I know that Page and others played on a LOT of Herman's Hermits
> tracks, but I've always understood that "Henry" was among the few on
> which The Hermits actually played their own instruments ("I'm Into
> Something Good" was another). It certainly sounds like Lek Lekenby's
> guitar style.
UK artists Joe Brown and the Bruvvers had the original pre-Hermits hit
with "I'm 'Enery The Eigth I Am".
Michael Fishberg
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Message: 2
Date: Sat, 06 Dec 2003 08:02:54 EST
From: Scott
Subject: Re: The End of Albums
Previously;
> 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.
As the father of a 13 year old I suspect the decline in CD sales has
a great deal to do with pricing. The record industry has nobody to
blame but themselves for the current situation. Selling a CD for $12
- $18 is plain stupid and it shouldn't come as a shock that many
folks aren't willing to pay those prices.
My 13 year would love to buy more CDs but he can't afford to on his
allowance. Any surprise that he's much more selective in buying stuff?
He's also turned to alternative sources for scoring music. We won't
let him burn stuff of the internet, however we do allow him to buy
used CDs at stores, yardsales and fleamarkets where he seems to find
stuff in the $2 - $5 range versus store prices.
In contrast when I was a teenager and albums cost $4 - $5 I could
afford to buy 2 - 03 LPs at once. That also gave me the freedom to
buy stuff that I might not have heard ...
Just my two cents worth.
Scott
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Message: 3
Date: Sat, 06 Dec 2003 14:34:06 +0100
From: Paul Underwood
Subject: Re: Tom Wilson / Sound Of Silence
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.
I can't believe Mike Bloomfield and Al Kooper had anything to do
with "The sound of silence". I found a Simon and Garfunkel site:
http://www.vex.net/~paulmac/simon/simon64_71.html that lists the
following on the track: Al Gorgoni - guitar; Bob Bushnell - bass;
Bobby Gregg - drums.
And in December 1964, the same Bobby Gregg played on the session
where Dylan's "House of the Rising Sun" was overdubbed to make it
sound like the Animals.
Paul
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Message: 4
Date: Sat, 06 Dec 2003 14:30:30 -0000
From: Scott Charbonneau
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?
Makes sense to me. When you take into consideration all of the
"advances" in the way music is listened to and acquired, there is
no doubt that we are moving away from the "collecting" culture as
we know it. Given that the current generation of music listeners are
the ones who have most readily embraced the ideas of file sharing and
downloading it is no surprise at all that they have absolutely no
idea about what it is like to purchase a 45 or LP where you just
could not wait to get home, slip it out of the bag, slit the shrink
wrap and slap in onto your turntable. The totality of such an
experience is something that today's music consumers will never know,
and nor will they care to because music is never more than a mouse
click away for them. For older listeners like ourselves, that
experience is something that we'll continue to savor and hold onto
for as long as it is possible.
Scott
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Message: 5
Date: Sat, 06 Dec 2003 14:33:24 -0000
From: Fred
Subject: Re: Tom Wilson / Sound Of Silence
Previously:
> 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?
As I understand it, Vinnie Bell was in on the "Sounds Of Silence"
session. I recall reading somewhere that when Simon appeared on
SHINDIG(?), Paul went over over the guitar arrangements with the
shows session players, one of whom was Bell. Vinnie assured Paul that
he already knew the arrangement because he played at the overdub
session.
Vinnie Bell ranks as one of the most prolific session guitarists
ever, and is a personal favorite. On his 1964 Verve album, WHISTLE
STOP, he mentioned that he was looking over the Top 50 songs for a
recent week, and noted that he played on 32 of them! If that's not
prolific, I don't know what is. Bell learned from the best teachers
in the business, ...Tony Mottola, Carmen Mastron, Everett Barksdale,
and Mickey Baker.
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Message: 6
Date: Sat, 06 Dec 2003 15:05:11 -0000
From: Keith Moore
Subject: Lynsey / Lesley / Gay Songs
I agree with Mark Frumento's views on Lynsey De Paul's "Ooh I Do" -
an excellent Spector soundalike. I have a soft spot for Lynsey - I
used to cut pictures of her out of the Daily Mirror and stick them on
my bedroom wall! Back in 1972 I didn't quite understand the lyrics to
her hit "Getting A Drag", which would fit quite nicely into the gay
songs list. Lynsey gives her boyfriend the push when he becomes just
a bit too girly for her tastes - "I thought you were a brother/But
you turned out like my mother/And it's getting a drag" - "Most people
make up when they break up/But we break up cos you make up".
An example of a 60s-influenced lesbian song can be found on the
soundtrack to the Brill Building film "Grace of My Heart". Bridget
Fonda played a lesbian Lesley Gore-ish type singer, for whom the
song "My Secret Love" is written - "Girls like me/Have to hide our
hearts away" - sung by Miss Lily Banquette of Combustible Edison and
co-written by none other than........Lesley Gore.
A good account of lots of gay (or possibly gay) songs can be found
in "Rock On The Wild Side" by Wayne Studer, published in 1994. He
includes "House of the Rising Sun" and pretty much anything else you
could think of (although not "Getting A Drag" or the Dickies slightly
bizarre punk track "Going Homo").
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Message: 7
Date: Sat, 06 Dec 2003 20:49:47 -0000
From: Jon Adelson
Subject: Inquiring minds...
At the risk of totally exposing my stupidity (as well as being
somewhat off topic), I gotta ask: is there a relationship between
Mick Patrick's "hey la" and Rashkovsky's "di la?"
Jon Adelson
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Message: 8
Date: Sat, 06 Dec 2003 07:57:21 -0800 (PST)
From: Watson Macblue
Subject: PBS fundraiser
Bill Craig wrote:
> Did anyone catch the latest PBS fundraising special that featured
> Gerry Marsden and a version of Manfred Mann called The Manfreds
> that included 3 out of 5 of the original members (no Manfred Mann
> or Mike Vickers)? ...Check it out if you have the chance.
Phew. It really did happen, then; I thought I was hallucinating.
This was the slimmed-down, bargain-basement edition of The Manfreds,
with only (only!!!???) Paul Jones and Tom McGuinness (and, I think,
just possibly, Mike D'Abo lurking in the background on one of the
keyboards) from the old days. Because of the commitments of the
various guys concerned, the personnel fluctuates wildly, but when
everyone's present, The Manfreds are a bona-fide supergroup. There
is an utterly wonderful live 2-CD Manfreds set doing the rounds that
has Benny Gallagher on bass, Mike Vickers, Mike Hugg, Tom McGuinness,
Mike D'Abo and Paul Jones. No Manfred Mann, who hasn't played with
them in upwards of 20 years. However, every true Spectropopper should
get this set and find out just what a Good Time can still be. I'm
serious, folks - it's that good.
The truly scary thing about The Manfreds is Paul Jones. I swear
that man has a painting in his attic. He's got to be in his early
60s, and he would easily pass for 40. Tom McGuiness looked like
his father. And Paul has kept it all together, too; check out the
live set for great vocals and simply superb harmonica breaks. Wow.
Mike D'Abo's voice has mellowed into something a little rougher than
of old, but he's still got it. Great to hear *both* ex-Manfred Mann
front men in the same show.
Nobody could ever have convinced me up front that one of the best
performers in the PBS thrash would be - good God - Brian Hyland,
but it's true. He sounded great. I'm still not sure about the
16-going-on-62 looks (I should talk ...), but a big surprise, and
a big hand from me. Lesley Gore basically phoned in Maybe I Know
and looked eerily like my mortgage broker; Gerry Marsden looks like
his diet has been mainly helium and yeast for the last 35 years (no
surprise that he's since had a huge heart attack), though the voice
is still there. Gary U.S. Bonds remains a great good-time yeller
(and nothing wrong with that); Darlene Love (genuflect) was sent
directly from God, no arguments. But poor old Bo Diddley is way
past his sell-by (I felt embarrassed for him), and even Jerry Lee
is starting to fray at the edges. At his best, Jerry Lee looked
like the weird uncle who lurked in the toolshed when the cute nieces
came by, but he's definitely starting to morph into Crazy Old Overweight
Guy (again, I should talk).
These PBS specials are always a bit of a grab-bag, but this was the
best ever; it's sad that it wasn't particularly successful as a
fund-raiser. The last Doo-Wop marathon was a genuine horror, with
some of the artists yanked out of retirement homes on two sticks,
croaking their last (and they got duly name-checked in the
unintentionally ironic "in memoriam" segment of the Thanksgiving show).
The presence of The Manfreds on this show did make me think it was
time that something similar got made in Britain before it's too late.
There are still crediblve incarnations of some of the great 60s bands
working the cabaret circuit - the Swinging Blue Jeans, the Searchers,
the Rockin' Berries, even (yeah, I know - dubba-dubba-dubba-cha) the
Troggs; and the methods of the US shows (money? threats? We Have
The Negatives?) might be used to bring people like the Ivy League and
(please, please, please) the Peddlers out of retirement.
But, like I said, Paul Jones is *how* old again?? I'm covering up
the mirrors.
Watson
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Message: 9
Date: Sat, 06 Dec 2003 10:43:41 -0800 (PST)
From: Steve Harvey
Subject: R. I. P. David Hemmings
Country Paul:
> "David Hemmings, the British actor who starred in
> the 1966 film "Blow Up," has died while filming a
> movie in Romania. He was 62.
I remember talking to McGuinn once about the Hemmings
LP that the Byrds did (well, Roger and Christ with
some tunes from Gene). Little more than a cash-in on
the Blow Up craze, but an interesting item for Byrd
completists.
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Message: 10
Date: Sat, 06 Dec 2003 16:47:20 -0000
From: Jon Adelson
Subject: Re: Sid Bernstein
Phil Milstein :
> I don't really know much about him, other than that anecdote
> and some of the background info on the Beatles' tours. Ruth's
> story makes him sound like one of the good guys. Can Mike, or
> anyone else, offer a word or two about Sid Bernstein?
I was raised in Newport, Rhode Island, and in high school I was part
of a Kingston Trio clone-type group that was pretty popular locally.
In the early 60s (can't remember which year -- good grief), a young
Sid Bernstein put on the Newport Jazz Festival. Riots had broken out
at the previous year's festival and one our group's members (Bill
Thomas) wrote a satire (using The Battle of New Orleans as a vehicle)
called The Battle of Freebody Park (where the festival was held at
that time). Because the riots were so much the talk of the town, the
song was a big hit at our various local gigs. Somehow someone got
the word out to Sid about us, and darned if an "audition" wasn't set
up -- in my parent's living room! He liked the song, and actually
arranged to have us perform it during one of the afternoon shows of
the festival. The music, of course, was a mismatch, but humor can be
a big equalizer. Sid was rotund, gracious, and warm, and said if we
ever needed anything in New York, to contact him.
A short time later, we competed in a local talent contest whose first
prize was a trip to NYC to audition for the Ted Mack Amateur Hour.
We won the contest and called Sid to tell him we'd be in the city.
He said to call him when we were there and let him know how we did.
After we auditioned, it was one of those "don't call us, we'll call
you" scenarios, and we told this to Sid. Shortly thereafter, he
called us back and said he had contacted the show, and that we didn't
make it because we were too Kingston Trio-like; however, he said he
could arrange a second audition! We were grateful but respectfully
passed (we figured if we went again, we'd still be too Kingston Trio-
like), but we were so impressed by Sid's congeniality and generosity
of time.
A quick additional note: one of the perks of playing the festival
(and knowing Sid) was getting some tickets, and I got to see an
afternoon performance by Judy Garland (I remember railings were set
up across the front of the stage). I had my camera, and was in the
front section of the audience (thanks of course to Sid). They were
just starting a number, and I walked up the aisle to get a great
picture. I wasn't aware that Ms. Garland did not allow pictures (or
perhaps it was just nearby audience movement that she didn't allow).
I had moved just past Sid to get in position to take my picture when
I heard him say in a loud whisper, "No, Jon!". By then it was too
late. Ms. Garland spotted me and told the band to stop the music
(see "mortified" in the dictionary). She looked straight at me and
said, "Go ahead, take the picture." I did, of course, and then about
faced and tried to disappear from the planet. Sid, of course, was
fine about it; he knew I didn't know better.
When I was in NYC in the late 60s looking for fame and fortune, I
contacted him a few times. He was of course much busier and less
readily accessible, this being post-Beatles and in the heart of the
Young Rascals era. But I did get some original material to him, and
he did respond. Unfortunately for me, he wasn't blown away by it.
In my experience I found him to be one of the good guys.
Jon Adelson
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Message: 11
Date: Sat, 06 Dec 2003 18:37:46 -0000
From: Julio Niño
Subject: Tutti Frutti.
James Botticelli wrote:
> Is that the same rekkid done by the Wildweeds and then
> Jimmy James & The Vagabonds? Great rekkid.
Mike Rashkow:
> Don't know. It was written by Al Anderson ...
Probably, it must be the same song, because The Jimmy
James song (which I love) is also a song written by Al
Anderson.
Ian Chapman wrote:
> ... the album opens with Robert Orsi
> (of the Scratch Band) doing "He Hit Me"...
The mention of "He Hit Me" brings to mind some early
sixties songs with SM ("Sadomaso" as we say in Spanish)
connotations, like Brian Hyland's "Let Me Belong To You",
Jess Conrad's "Hurt Me" (produced by Joe Meek) or Little Eva's
"Please Hurt Me". I always find a bit of perversity wrapped
in an innocent package very sexy. Could anybody add some more
examples?.
Changing completely the subject. I'm going to travel on holidays
this Christmas to LA, and I would like to know some adresses of
good records shops to buy oldies music. I would be very grateful
if you all could suggest some places to look around. You can
answer me off-list.
Thanks in advance.
Julio Niño.
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Message: 12
Date: Sat, 06 Dec 2003 12:36:00 EST
From: JB
Subject: Re: Tom Wilson / Sound Of Silence
Al Kooper is still alive and well, so maybe somebody with
access could ask him to clarify what he knows about who
overdubbed Sound Of Silence and other tracks on the S&G album.
JB
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Message: 13
Date: Sat, 06 Dec 2003 16:28:02 -0500
From: Mikey
Subject: Re: The earth-shattering important "Henry The 8th". God save us.
Mike McKay:
> I know that Page and others played on a LOT of Herman's Hermits
> tracks, but I've always understood that "Henry" was among the few on
> which The Hermits actually played their own instruments ("I'm Into
> Something Good" was another). It certainly sounds like Lek Lekenby's
> guitar style.
Nope.....Page himself said in an interview he played the
guitar solo on "Henry". Said it was amono to mono overdub
session as well, which means the only way to get a stereo
mix would be to sync the tapes.
Mike
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Message: 14
Date: Sat, 06 Dec 2003 08:05:52 -0800 (PST)
From: Jerry Lintelf
Subject: Re: Obscurities; Yom Kippur music
Bob Rashkow:
> My own Jewish background enables me to appreciate recordings
> such as The Electric Prunes' "Release of an Oath", their own
> LP based on the Yom Kippur service, at least the Kol Nidray
> atonement prayer.
Of course there is the very famous (and still in print) 1930s
recording by Pablo Casals playing cello of the Bruch (not
Jewish composer) version of the Kol Nidre prayer. Truly
awesome and one of the most moving recordings of all time.
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Message: 15
Date: Sat, 06 Dec 2003 13:35:00 -0800 (PST)
From: Bill Brown
Subject: Re: Glen's Mug
Alan Gordon:
> Just a thought... I'm not sure that's a real color photo.
Actually, mug-shots are not supposed to be happily posed
professional portraits in the first place, you should expect
Glen to be grim. I don't think anyone would be happy having
their photo in a police mug book.
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Message: 16
Date: Sat, 06 Dec 2003 16:12:11 -0500 (EST)
From: Andrew Jones
Subject: Re: Eddie Smith
About Eddie Smith: I remember that two of my favorite
pre-S'pop tracks, "Rave On" and "That's My Desire" by
Buddy Holly, were recorded at Bell Sound - was Eddie Smith
involved in either of these?
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Message: 17
Date: Sat, 06 Dec 2003 13:39:28 -0800 (PST)
From: Artie Wayne
Subject: Snuff Garrett
Does anyone know what Snuff Garrett [who produced Bobby Vee,
Gary Lewis and the playboys] is up to these days?
regards,
Artie Wayne
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Message: 18
Date: Sat, 06 Dec 2003 15:08:19 -0500
From: Phil Milstein
Subject: Mr. Turnkey
Now playing at musica is Zager & Evans' remarkably bizarre
"Mister Turkey" ... I mean, "Turnkey."
Enjoy,
--Phil M.
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Message: 19
Date: Sat, 06 Dec 2003 14:20:54 -0500
From: Rat Pfink
Subject: Re: The first song to use a synthesizer
Rat Pfink wrote:
> I believe it's called a Clavioline.
James Botticelli wrote:
> Close.... Just remembered, actually I believe its called an
> Ondioline. At least that's what Kai Winding used on "More".
You are correct in the case of "More" by Kai Winding,
however a Clavioline was used on "Telstar".
More info on the two instruments is available here:
http://www.clavioline.com/
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Message: 20
Date: Sat, 06 Dec 2003 19:55:12 -0000
From: Jake
Subject: Re: British Invasion redux
John Berg:
> The Manfreds have in fact been going gangbusters in the UK
> for several years now, doing annual tours all over the country.
> They are usually paired up with several other top UK artists
> best known from their '60s work, such as Colin Blunstone,
> Cliff Bennett and the Rebel Rousers, etc. These gents are among
> my all-time fave singers -- wish I could catch one of their gigs!
You can still catch "one of their gigs", John.
Colin Blunstone & Rod Argent (along with Jim and Steve
Rodford & Keith Airey) will be in the U.S. as follows:
Fri 02/06/04 Stamford, CT Palace Theatre
Sat 02/07/04 Atlantic City, NJ Trump Marina
Sun 02/08/04 Farmingdale, NY Downtown
Wed 02/11/04 New York, NY B.B. King's Blues Club
Thu 02/12/04 Annapolis, MD Ramshead
Fri 02/13/04 Charlotte, NC Amos' Southend
Sun 02/22/04 Austin, TX Antone's
Thu 02/26/04 San Pedro, CA Warner Grand Theatre
Fri 02/27/04 West Hollywood, CA Key Club
Sat 02/28/04 San Juan Capistrano, CA Coach House
Sun 02/29/04 San Francisco, CA The Independent (venue
is under construction....really).
Jake
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Message: 21
Date: Sat, 06 Dec 2003 12:56:57 -0700
From: Rex Strother
Subject: Master Use but not Master Access
Phil Milstein:
> 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.
You have a good point about accessing the masters, but even today - when you request and receive a Master Use License, all you have is the "approval" to put that sound recording on your CD. A Master Use License doesn't give you access to the master at all. You then have to come up with the "sound recording" (whether you restore it from vinyl or head for the master tapes). That's a separate charge.
When I was thinking of producing an RCA-produced Bell Sister CD, they wanted a $1.00 per unit "master use" fee, with a guaranty of 10,000 units being sold. Well, the Bells, love 'em dearly, weren't gonna hit 10,000. On top of that was a $3,000 "mastering" charge to transfer their master tapes (25 songs).
But RCA/BMG did not insist on this as part of the Master Use - if I could come up with a master some other way, it mattered not to them.
So I say, if the Master Use is not reliant on accessing the master tape (and some tapes just don't exist anymore - a la Gold Star's fire - or as noted, the studio couldn't find the master "with both hands" as the insult goes), then let us restore them from vinyl and just pay the smaller "statutory" charge.
Maybe I should be preaching to RIAA instead of the choir?
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Message: 22
Date: Sat, 06 Dec 2003 16:19:50 -0500
From: Mikey
Subject: Re: Tom Wilson / Sound Of Silence
Fred Clemens:
> Vinnie Bell ranks as one of the most prolific session guitarists
> ever, and is a personal favorite. On his 1964 Verve album, WHISTLE
> STOP, he mentioned that he was looking over the Top 50 songs for a
> recent week, and noted that he played on 32 of them!
What kind of LP is "Whistle Stop" Folk??
thanks,
Mikey
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Message: 23
Date: Sat, 06 Dec 2003 18:16:09 EST
From: Bob Rashkow
Subject: Re: USA No 1s which were UK chart failures
Thank you, Richard Havers, I stand corrected!!! Rupert's
People charting in Britain must have been a very wishful
fantasy I had!!! We loved "Honey", Dickey Lee's "Patches",
the other one by Clarence Carter, the somewhat morbid
"The Night The Lights Went Out In Georgia", here in the
States. So never let it be said, as I almost did, that
the UK has a monopoly on "sad"!!!
Bobster
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Message: 24
Date: Sat, 06 Dec 2003 21:43:43 +0000
From: Simon White
Subject: MOOOOOGZZZZZZZZZZ..........
I was with Dr Moog just two weeks ago at a seminar in Cape Town.
If only we'd had this thread a month ago I could have asked him
questions then and we could have put an end to this.
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Message: 25
Date: Sat, 06 Dec 2003 20:11:39 EST
From: John Fox
Subject: Re: First synth
Previously:
> Close.... Just remembered, actually I believe its called an
> Ondioline. At least that's what Kai Winding used on "More".
*I swear we've had this discussion earlier this year (or last).
The Ondioline sounds different from the "Telstar" and "More"
lead keyboard instruments (always thought it was strange that
Winding, a trombonist, had a song that so strongly featured
keyboards--of course, Dave Clark, Paul Revere, Bob Kuban,
Harold Melvin, Billy ward et al weren't lead singers).
Anyway, Al Kooper is known for using the ondioline with The
Blues Project ("Fly Away"), Super Session and the Live Adventures
of Al & Bloomfield (two songs with "Holy Modal" in the titles).
As long as we're trying to find old synths, what about the
Theremin in "Good Vibrations" and featured by Lothar & The
Hand People?
John Fox
*Admin: This subject has indeed been raised previously on S'pop,
starting at http://www.spectropop.com/archive/digest/d812.htm
Checkout http://www.maxcrook.com - including an entire page
devoted to "Runaway". And take a look at the "who played what"
page on http://www.combo-organ.com/discography.htm
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Message: 26
Date: Sat, 06 Dec 2003 22:01:27 -0000
From: Billy G. Spradlin
Subject: Re: The first song to use a synthesizer
I have a album from the mid 50s called "The RCA Synthesiser"
but it's more of an experimental LP than pop. You can see
pictures of it at http://www.obsolete.com/120_years/machines/rca/
This huge tube-based machine made simple bleeps and bloops that
any 20 dollar keyboard that's made for kids can make now.
I think the first synth album I heard was Perrey - Kingsley's
"The In Sound From Way Out!" It was used a lot on 60's TV
advertising for kids games and toys. Walter/Wendy Carlos
"Switched on Bach" is also a favorite from my childhood because
my grade school library had a copy. More childhood synth favorites:
Todd Rundgren's "Breathless" (from his classic "Something/Anything?
LP) Hot Butter's "Popcorn" and Edgar Winter's "Frankenstein".
I've read for years the Monkees used a Moog on thier "Birds Bees
& The Monkees" album - it was recorded in 1967. They may have been
the first major group to use one.
Billy
http://listen.to/jangleradio
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