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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: Tom Wilson / Sound Of Silence
From: Mike McKay
2. Re: First synth
From: Freeman Carmack
3. Re : The End of Albums
From: John
4. Re: Charlotte Russe / Paul Leka
From: Mark
5. Re: Zager and Evans - One Hit Wonders? The Saga!
From: David Walker
6. Re: Snuff Garrett
From: Nick Archer
7. More Gay Songs
From: Simon White
8. New Bobby Vee Christmas CD
From: Bob
9. Re: Coke Ads @ Musica
From: David A. Young
10. Jeff Barry
From: Eddy
11. Re : The End of Albums
From: Tony Baylis
12. Re: The End of Albums
From: Tom Taber
13. RE: end of albums
From: Richard Hattersley
14. Re: Sid Bernstein
From: James Holvay
15. Re: Rupert's People
From: Richard Hattersley
16. Re: Tom Wilson
From: James Holvay
17. Big Al
From: Steve Harvey
18. Re: Snuff Garrett
From: James Holvay
19. Re: The Beatles Christmas messages
From: David Coyle
20. Re: Snuff Garrett
From: Bob
21. Re: The Manfreds and PBS
From: David Coyle
22. Delicates
From: Julio Niño
23. Re: Sam Cooke
From: David Coyle
24. Re: Early Synths
From: David Coyle
25. Re: Inquiring minds / Hey la, di la
From: Jon Adelson
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Message: 1
Date: Sun, 07 Dec 2003 03:41:53 EST
From: Mike McKay
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.
Paul Underwood wrote:
> 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.
OK, it gets curiouser and curiouser.
"Like a Rolling Stone" was recorded on June 15 and June 16, 1965 at
Columbia Recording Studio A in New York City. Take 4 from June 16 was
ultimately selected for the single release.
The backup personnel on both of these sessions was: Robert Gregg
(drums), Al Kooper (organ), Joseph Macho jr. (bass), Mike Bloomfield
(guitar), Al Gorgoni (guitar) and Frank Owens (piano).
Note that Gorgoni and Gregg are common to the musicians' list on both
recordings. However, the web page cited by Paul above lists "September
1965" as the date for the electric overdub to "The Sounds of Silence."
(The cite from the Simon and Garfunkel book I quoted in an earlier
post gave the date of this session as September 15, 1965.)
So it's very possible that the drummer and electric guitarist who
played on the Dylan session in July did the overdub on "The Sounds of
Silence" in September, and likely at the same studio. And it's possible
that this was somehow misinterpreted as having taken place at the "Like
a Rolling Stone" session.
Richie Unterberger's definitive tome on Folk Rock, "Turn! Turn! Turn!,"
doesn't mention the "Like a Rolling Stone" connection with the "Sounds
of Silence" session, but DOES tell the Vinnie Bell story alluded to by
others...
"Vinnie Bell, the session guitarist who had created an electreic
12-string-like tone on 'The Sounds of Silence' with his self-invented
Bellzouki, was privy to an especially embarrassing incident."
Unterberger goes on to relate story of the live performance (actually
on "Hullabaloo") on which Simon sought to teach the riff to the session
guitarist, only to learn that he (Bell) played it on the original
session.
So here's what we have so far:
1. References that say Al Gorgoni and Bobby Gregg played on both the
"Like a Rolling Stone" session and the "Sounds of Silence" overdub
session.
2. Two references that put the "Silence" overdub session in September
1965, not July.
3. One detailed reference, including quotes from Bell himself, that
says Vincent Bell played the prominent guitar part on the "Sounds of
Silence" overdub session. (However, he is not listed in the reference
to the musicians present at that session cited above. Nor can I find
any other reference on the web that ties Bell to "The Sounds of Silence"
in any way.)
4. One reference (from the Simon and Garfunkel book) that says the
"Sounds of Silence" overdub was done immediately following the "Like a
Rolling Stone" session. (And I know I've seen several other such
references...not that this necessarily makes this assertion more
correct.)
So, does anyone have any connections with Gorgoni or Bell, so that they
could be asked? (Apologies for saying this if either is no longer with
us...I have no way of knowing.)
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Message: 2
Date: Sun, 07 Dec 2003 06:06:01 -0000
From: Freeman Carmack
Subject: Re: First synth
The first record that I heard on top 40 radio with a synthesizer as
a featured instument was a moderate novelty tune called "The
Minotaur", by, I believe, Dick Hyman - Summer '67 or '68; can't
recall.
(Keith Emerson worked it into one of his solo stretches on the ELP
live LP, WELCOME BACK MY FRIENDS TO THE SHOW THAT NEVER ENDS). I
remember the DJs in the 60s made a lot about it being a song
featuring the Moog Synth.
I once owned an ARP Odyssey synthesizer and would REALLY like to have
another one - fat chance. The Mellotron(Chamberlain) is really an
analog sampler, rather than being an instrument devoted to positive
synthesis; nothing wrong with that, but it uses voltage to control a
prerecorded analog tape, rather than build, and manipulate
electronically created tones using oscillators.
Happy Holidays to all - I've been recovering from a family tragedy
and have been out of the loop since May.
Freeman Carmack
Worthington, OH
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Message: 3
Date: Sat, 06 Dec 2003 22:43:24 -0800 (PST)
From: John
Subject: Re : The End of Albums
Scott:
> 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.
That's all good and well in theory, but:
> In contrast when I was a teenager and albums cost $4 - $5 I could
> afford to buy 2 - 03 LPs at once.
When I started buying albums in 1978, the top tier price for single
albums was $5.99. Enter that price into the Consumer Price Index to
find the 2003 equivalent, and what do you come up with?
$17.00!
The price of CDs in reality is no more than the price of albums ever
was, when measured in "real" dollars. (In fact, for the most part,
it's even cheaper - and a WAY better deal when you factor in the fact
that CDs often pack two vinyl albums' worth of music on them and
STILL cost less!)
In fact, it's pretty rare I can't find something quite easily for $12
or less, (around $4.25 in '78 dollars!) - even "pricier" items, like
the Dylan reissues are regularly priced at $13.99 at Circuit City, or
less on-line. They were recently on sale at Circuit City for $9.99 -
that's about $3.50 in '78 dollars.
I think it's high time you gave your son a boost in his allowance!
Probably a much bigger factor in the loss of music sales is the wide
range of options now available that weren't in (say) 1978 - video
tapes, DVDs, computer games, computers, and so on - all competing for
those same dollars.
John
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Message: 4
Date: Sun, 07 Dec 2003 08:24:12 -0000
From: Mark
Subject: Re: Charlotte Russe / Paul Leka
Artie Wayne wrote:
> Mark.......How ya' doin'? Thanks for the nice words about The
> Charlotte Rousse on Phillips. My partner Kelli Ross and I had Paul
> Leka ["Green Tambourine"] produce them for us.......unfortunately
> nothing happened.
Paul Leka is one of those people that almost always produced
excellent, commercial pop records. Wasn't he involved with Peppermint
Rainbow and Steam? Charlotte Russe made some great records, too bad
they didn't hi but it wasn't due to the quality, that's for sure.
Mark
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Message: 5
Date: Sun, 07 Dec 2003 18:40:32 +1030
From: David Walker
Subject: Re: Zager and Evans - One Hit Wonders? The Saga!
Hi, re: Zager and Evans: In Australia they did rather well. In
the Year 2525 (Exordium & Terminus) reached # 4 in my hometown in
July of 1969. They followed this in April of 1070 with Help One
Man Today which reached #26.
Michael Zager reached #44 with Let's All Chant in 1978.
So, I suppose from this info they really can't be called one hit
wonders.
Norman
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Message: 6
Date: Sun, 07 Dec 2003 07:33:27 -0600
From: Nick Archer
Subject: Re: Snuff Garrett
Artie Wayne:
> Does anyone know what Snuff Garrett [who produced Bobby Vee, Gary
> Lewis and the playboys] is up to these days?
I recall a story in the Nashville newspaper last year saying that he
was retired in Florida.
Nick Archer
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Message: 7
Date: Sun, 07 Dec 2003 11:54:08 +0000
From: Simon White
Subject: More Gay Songs
Two things for our Gay songs list:
Number one is David Garrick's version of R.Dean Taylor's "Lets Go
Somewhere".
The lyric in this song in the hands of R. Dean is basically a plea for
tolerance of 'Otherness' or an inter-racial relationship. But in the
hands of Garrick, and taking in mind the desciption of him as 'camp'
in the sleeve notes of the Sequel CD "Soul For Sale" (a collection of
"British Northern Soul Dancers") it becomes a plea for tolerence of
Gay relationships:
"They don't understand our love, So they make us suffer".
It's agreat song anyway. I believe there's a girl version too?
Number two is Booker T. and The M. G.'s "Johnny I Love You".
It's quite simply a love song to a man sung by a man. I have no idea
who's singing on it. It can be read as a song of friendship and is
probably a Vietnam song but the lyrics go beyond that using the words
"Baby I love you" instead of "Buddy I love you" at one point and "It's
you and me Johnny right to the end". Maybe it just opens up the whole
thing of close male friendship with or without sex - which is of
course most people real hang up with the whole gay thing anyway.
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Message: 8
Date: Sun, 07 Dec 2003 14:38:13 -0000
From: Bob
Subject: New Bobby Vee Christmas CD
Bobby Vee has just released his newly recorded Christmas CD.The
title is "Up North December". The song list:
1. Christmas Lullaby - Prelude.
2. Home For The Holidays
3. Peace On Earth
4. Up North December
5. Electric Trains And You
6. Little Drummer Boy (Justin Ploof - vocals)
7. White Christmas
8. Small Town America
9. (Merry Christmas) Love To You This Year
10. (Very Merry Holly Jolly) Christmas Holiday
11. Good King Wenceslas (instrumental featuring George Maurer & Jeff
Velline)
12. Christmas Lullaby
Joining the band for this CD are The St.Cloud Strings and the
Cantabile Girls Choir. For those of you interested, ordering
instructions are on his website at http://www.bobbyvee.com in the
"news" section.
All the best.
Bob
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Message: 9
Date: Sun, 07 Dec 2003 22:45:03 -0000
From: David A. Young
Subject: Re: Coke Ads @ Musica
> 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/
Mark Frumento wrote:
> More please! These are great tracks!
A hearty second from me; I enjoyed 'em a lot. And while we're on the
subject of musica requests, I for one would love to hear the
unreleased Delicates cuts Mick mentioned a coupla days ago. Please.
David
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Message: 10
Date: Sun, 07 Dec 2003 17:22:31 +0100
From: Eddy
Subject: Jeff Barry
I just bought the Frankie Miller CD "Dancing in the rain".
It has 6 out of 10 songs co-written by Jeff Barry. Unfortunately
it does not include any details on the musicians. Maybe the
original (vinyl) release has some more info. Anybody got the
scoop on this ?
Eddy
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Message: 11
Date: Sun, 07 Dec 2003 14:51:00 -0000
From: Tony Baylis
Subject: Re : The End of Albums
Scott:
> As the father of a 13 year old I suspect the decline in CD
> sales has a great deal to do with pricing. ...
> 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 ...
Whilst agreeing that the above is definitely a part of the problem,
I do feel that equally as important, if not more so, was the removal
from the market of the 45.
A 45 was definitely affordable .. one could purchase several for
the cost of an album .. and more to the point was that you bought
the song you liked without having to splash out for an entire LP,
with no guarantee that the rest of the album would be what you
would like. How many 45s have we purchased where we didn't even
care for the B side?
With 45s one had to be involved ... it wasn't just a matter of
placing an album on the player then sitting back and listening ..
with 45s you would sift through your piles looking for the next
one to be played, it was (still is of course), fun.
I guess that CD singles were supposed to replace the 45, but it
wasn't the same. Again too expensive, they also all looked the
same, no intriguing, colourful labels (VeeJay, ABC, Dot, London
American etc), and it is a lot more work to play a CD no matter
how 'cleaner' it sounds.
The death of the 45 sparked the downward slide of collecting
'records'. The companies tried to push us towards full-length
albums, presumably because they made more profit .. too bad,
it didn't work.
One can also add into the mix the lack of independent, small,
labels. Once they were bought out by the majors, their experimental
ideas vanished. To my mind, it was the independents of the 50s and
60s that came up with new ideas, and because it was affordable to
put out a 45, these ideas saw daylight. Heck, back then the local
radio stations would even air these local recordings .. fat chance
of that happening in this day and age .. some nitwit in California
creates a playlist for 300 stations all over the US and Heavens to
Murgatroyd if the local station dare change a single note.
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Message: 12
Date: Sun, 07 Dec 2003 09:03:31 -0800 (PST)
From: Tom Taber
Subject: Re: The End of Albums
Scott wrote:
> 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 ...
Not having a calculator with me - I believe that a
60-70 minutes CD is a much cheaper source of music
than the 30 minute $3.98 stereo LP was in 1967, when,
if I had $4.00 in the world, I'd take a chance on an
LP such as Moby Grape (still want my Ultimate Spinach
money back though, as well as for every "sounds great
in STEREO" LP which wasn't and didn't). Figuring
inflation at even 4% a year for 35 years, a $12 cd is
a bargain!
Tom Taber
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Message: 13
Date: Sun, 07 Dec 2003 16:36:00 +0000
From: Richard Hattersley
Subject: RE: end of albums
Maybe it's different here in the UK but to me records are
cheaper than ever.
When I bought my first LP in 1981 it cost me £5.49
My pocket money was 50p a week so it took me a long time to
save for it (Adam and the ants!)
Now I hear of kids getting £5-£10 pocket money. And you can
get a new release CD for £8.99 from CDwow . Which means most
can buy one each week.
Basically I could mostly only afford singles and even those
are relatively cheaper.
Most record companies release singles at £1.99 on the 1st
week of release so they will have more chance of chart entry.
Back in 1981 I think they were about £1.35 - So not much
inflation there.
I think the real death of record sales is lack of interest.
There are computers, games consoles, hi profile sports and
a million other things for kids to spend money on. And when
the music in the chart is so bad, why would they want to
spend their cash on that?
Richard
http://www.wiz.to/richardsnow
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Message: 14
Date: Sun, 07 Dec 2003 09:50:09 -0800
From: James Holvay
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?
Phil: Back in December of 1962, my band "The Wanderers" won a
talent contest in Chicago. The payoff was the opportunity to
perform on a weeklong Holiday Rock n' Roll show at the Shriner's
Auditorium. Sid Bernstein was the promoter on the show. He was a
heavy set fellow. The word was he was a big promoter out of New
York that did Broadway Shows, etc. We were on the show for a
week and saw him walking around backstage all the time but we
never saw scream at anyone. He was very approachable and a nice
guy. Brenda Lee was the headliner of the show and I remember him
saying to her backstage, "Brenda, I'm going to make you into
another Judy Garland."
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Message: 15
Date: Sun, 07 Dec 2003 16:46:50 +0000
From: Richard Hattersley
Subject: Re: Rupert's People
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?
I picked up a green (Columbia)demo copy of this a few years
back, having heard it was a bit of psych number.I was quite
disapointed that it was a lame WSOP rip off. However it's got
a great track on the flipside called "Hold On"
Richard
http://www.wiz.to/richardsnow
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Message: 16
Date: Sun, 07 Dec 2003 10:00:51 -0800
From: James Holvay
Subject: Re: Tom Wilson
Artie Wayne on Tom Wilson:
> 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.
Artie: What's Tom Wilson doing now? I've always been a big admirer
of his work and always wanted to meet him.
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Message: 17
Date: Sun, 07 Dec 2003 11:14:59 -0800 (PST)
From: Steve Harvey
Subject: Big Al
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.
Yes, that is Big Al Anderson of NRBQ and Wildweeds
fame. Jonathan Fred did a few of his tunes on one of
his lps and the Carpenters (originally from his
hometown of New Haven) use to do "And When He Smiles"
in concert.
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Message: 18
Date: Sun, 07 Dec 2003 09:53:51 -0800
From: James Holvay
Subject: Re: Snuff Garrett
Artie Wayne:
> Does anyone know what Snuff Garrett [who produced Bobby Vee,
> Gary Lewis and the playboys] is up to these days?
Artie: One of the young men that work in our office (San Fernando,
CA) is his nephew! Snuff, is retired and living in Phoenix. He's
had some health problems over the years. He's a collector of Western
memrobilia. I'll see if he has an email address or something, I can
foward on to you.
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Message: 19
Date: Sun, 07 Dec 2003 11:42:31 -0800 (PST)
From: David Coyle
Subject: Re: The Beatles Christmas messages
As a Beatles fanatic who has heard many bootlegs, I
for one would like to see the Beatles Christmas flexis
reissued on one legit CD. I know a lot of Beatles fans
would buy this. But that would be the main market for
it. More casual Beatles fans would buy it, and others
might buy it thinking a Beatles Christmas album would
be cool.
But a lot of copies would probably end up being
returned or traded in in secondhand shops when they
realize they weren't traditional Christmas records,
full of stream of consciousness humorous ramblings,
non sequiters, and off-the-cuff Christmas songs. There
are some interesting bits. It's interesting to hear
the early records which were mostly straightforward
greetings and thanks (including Paul's famous line "we
hope you've enjoyed listening to our records as much
as we've enjoyed melting them..."). The last couple of
Christmas records were as much solo projects as the
White Album was, the 1969 edition featuring Tiny Tim
singing "Nowhere Man" after being interviewed by
George Harrison.
"Christmas Time Is Here Again," one of those
off-the-cuff tunes from the 1967 Christmas record, was
shortened for the "Real Love" CD single, and even then
it was too much. The greetings from the Beatles, from
the 1963 Christmas record, made it bearable, as did
John Lennon's magnificent Christmas recitation at the
end. On the other hand, a remake of this song, lacking
the spontaneity of the original track, was also the
low point on Ringo's otherwise incredible and charming
Christmas album from a few years ago, "I Wanna Be
Santa Claus."
David
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Message: 20
Date: Sun, 07 Dec 2003 20:29:36 -0000
From: Bob
Subject: Re: Snuff Garrett
Artie Wayne wrote:
> Does anyone know what Snuff Garrett [who produced Bobby Vee,
> Gary Lewis and the playboys] is up to these days?
Artie,
I talk to Snuff once or twice a year. He lives on a ranch
called "Idle Spurs" in Sonoita, NM. He's pretty much retired
but dabbles in a project or two now and then. He's a big
Western Art collector and has been featured in some articles
over the last few years in regards to his interest in the field.
Bob
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Message: 21
Date: Sun, 07 Dec 2003 12:17:20 -0800 (PST)
From: David Coyle
Subject: Re: The Manfreds and PBS
I was nearly impressed by the "Rock At Fifty" special,
considering it was the first special of its kind I'd
ever seen that had some British Invasion content (I
still haven't seen "The British Invasion Returns!").
The Manfreds were the main reason I tuned in on this.
They did not disappoint, considering I knew they'd
probably only trot out "Do Wah Diddy." Mike D'Abo
doing "The Mighty Quinn" would have been nice as well.
It did satisfy my curiosity about the Manfreds --
probably one of the best latter-day British groups out
there now!
I think nostalgia has taken its toll on Gerry Marsden
though, even more so than age. He had so much schmaltz
in his repertoire already (not that I minded), that I
don't imagine his latter-day Pacemakers rock as much
as the originals did. Does he even play guitar
anymore? I wish they would have balanced things out by
having him do "How Do You Do It?" or "I Like It" as
well...
The Manfreds -- wow! Paul Jones has aged well, and he
sounds much the way he did in the group's heyday. I
always thought the Blues Band stuff sounded like the
original Manfred Mann group might have sounded in the
late '80s. But I would imagine going to see the
Manfreds now is much like seeing them in the '60s.
Speaking of "never went away" British groups, the
Travel Channel had a special called "Temples Of Rock,"
which included a segment on the Cavern Club. Billy J.
Kramer, Tony Crane and Billy Kinsley of the
Merseybeats and Ray Ennis of the Swinging Blue Jeans
were all interviewed and clips of the current SBJ and
Merseybeats were shown performing at the Cavern's main
stage (which is more a conventional hall than the
original Cavern stage). The audio behind the clips was
of the Swinging Blue Jeans doing a recent version of
"Hippy Hippy Shake." They sounded excellent, and Ray's
scream into the guitar solo was well-done! They've
never seemed to mess with thier formula on the song.
All the remakes I've heard, while not exactly like the
original, have all been driving rock numbers.
One major problem I had with the British segment of
the PBS special was the title screen saying "The
Mersey Beat." Years later, and they're still
unwittingly lumping all British rock under the
Liverpool scene. The problem I have with music reunion
specials in general is that "Thank you, Chicago!" and
"Thank you, Philadelphia!" has been replaced by "Thank
you, PBS!" and "Buy our records!" has been replaced by
"Sponsor public television!"
I don't think Brian Hyland was that good. The long
hair just does not suit him any more, if it ever did.
And his voice was very weak, in my opinion. I would
imagine he doesn't relish having to do all his "Bobby
era" hits on these tours any way. Didn't he go a bit
psychedelic and have a comeback in the late '60s? He
just looks like a washed up ex-hippie surfer dude who
has been obligated to do "Sealed With A Kiss" and
"Itsy Bitsy Teenie-Weenie" at oldies concerts and
state fairs every night as penance for some unnamed
sin. That said, I still really like "The Joker Went
Wild" and "Gypsy Woman."
David
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Message: 22
Date: Sun, 07 Dec 2003 21:55:14 -0000
From: Julio Niño
Subject: Delicates
Mick Patrick wrote :
> "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)...
Wonderful compilation full of great songs, a particular favourite
of mine is "Mr. Loveman" by Yvonne Carroll, with that irresistible
rhythm.
Mick again:
> I have some unissued Delicates tracks somewhere. Anyone
> interested?...
I (and many more I suppose) would love to listen to those songs.
Julio Niño.
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Message: 23
Date: Sun, 07 Dec 2003 11:55:41 -0800 (PST)
From: David Coyle
Subject: Re: Sam Cooke
Sam Cooke may have asked for clear enunciation from
his artists on SAR Records, but you'll notice beyond
that that so many of the singers for the label sound
just like Sam! Particularly Bobby Womack and Mel
Carter, whose version of "When A Boy Is In Love" is
almost indistinguishable from Sam's version.
Of course it's a testimony to just how clear a voice
Sam had...
David
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Message: 24
Date: Sun, 07 Dec 2003 11:25:01 -0800 (PST)
From: David Coyle
Subject: Re: Early Synths
I believe the Clavioline is what was used on "Telstar"
by the Tornados, while the Ondioline was used by
(among many others, I'm sure) the Blues Project on
quite a few of their recordings.
When it comes down to it, I'm sure there's not a whole
lot of difference.
I would love to find an electronic keyboard such as
Casio and Yamaha makes that has a setting for
"Mellotron." I know the original ones were difficult
to master and awkward to play, but they made such a
great sound.
David
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Message: 25
Date: Sun, 07 Dec 2003 23:40:34 -0000
From: Jon Adelson
Subject: Re: Inquiring minds / Hey la, di la
Mike Rashkow:
> We wondered if the "play" would be picked up. Mick said it
> would be noted by those whom we would like to have notice it.
> Probably they have, and simply nodded their heads quietly as
> they contemplated the beauty and simplicity of the homage.
Ah, another example of my tendency toward blindness to the
sublime and divine. But I'm getting better as I get older.
> In a word YES, which would have been easier on both me and
> those who have suffered this far through the answer. But it
> will teach people to be careful about asking me questions
> unless they want to miss High Tea while reading the response.
Lesson learned. Think I might do it again :-)
OK, what was the song that went la di da, oh boy, let's go,
cha cha cha? (This is not a test...for some reason, this song
popped into my mind with this thread)
Jon Adelson
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