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SPECTROPOP - Spectacular! Retro! Pop!
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There are 23 messages in this issue.
Topics in this digest:
1. Re: He Hit Me (And It Felt Like A Kiss)
From: Laura
2. Reality - The Rock Opera
From: Les Fradkin
3. Re: Sid Bernstein
From: Mike Rashkow
4. Snuff Garrett
From: Mark T
5. Rupert's People
From: David Walker
6. Re: Joss Stone / Sid B. / Mellotron / Big Al & the Wildweeds / Sam C.
From: Phil Milstein
7. Re: Early Synths
From: Mike Rashkow
8. Brit Girls
From: Mike Dina
9. Re: la di da
From: Stuart Miller
10. Re: More Gay Songs
From: Jimmy Crescitelli
11. Best line in a song
From: Bill Brown
12. Johnny's Day.
From: Julio Niño
13. Re: Lost Master Tapes
From: Mikey
14. Re: Tom Wilson
From: Artie Wayne
15. Re: Tom Wilson / Sound Of Silence
From: Dan Hughes
16. Jim Doval & The Gauchos
From: Matt
17. Re: Javier Solis
From: Julio Niño
18. Re: The death of the LP
From: Vlaovic B
19. R. I. P. Tom Wilson
From: Stuffed Animal
20. Re: The End of Albums
From: Paul Bryant
21. Re: Viva Snuff / royalty dreams / He Hit Me / AM concrete
From: Phil Milstein
22. Rock concert geography / David Hemmings
From: Watson Macblue
23. Sweetshop - Lead The Way
From: Mutsushi Tsuji
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Message: 1
Date: Mon, 08 Dec 2003 17:13:04 -0000
From: Laura
Subject: Re: He Hit Me (And It Felt Like A Kiss)
Julio Niño:
> 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?.
Phil Milstein wrote:
> I would put Hal David's lyric for "Johnny Get Angry" in that
> category.
How about the Beatles' "Run For Your Life?"
Laura
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Message: 2
Date: Mon, 08 Dec 2003 18:22:04 -0000
From: Les Fradkin
Subject: Reality - The Rock Opera
Dear Group,
I've just joined the group at the urging of my good friend
Mark Wirtz. My music is clearly influenced by may icons of
this group including Spector, Beach Boys and Curt Boettcher.
I do symphonic pop with big harmonies and telling lyrics.
So....It gives me great pleasure to announce to all that my
new solo CD - "Reality-The Rock Opera" is in release. It's
available as I write this at http://www.cdstreet.com
http://www.cdbaby.com and http://www.amazon.com
National distribution has been obtained for my new label
(RRO) and that means that "brick & mortar" stores like Tower,
Barnes & Noble and Borders will be carrying the CD as of 2004
(Jan or Feb).
Thanks for all the group's support in advance. This CD is
Symphonic pop with big harmonies and really catchy hooks.
Phil Spector fans should feel right at home.
Happy holidays and peace to all!
Les Fradkin
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Message: 3
Date: Mon, 08 Dec 2003 13:53:54 EST
From: Mike Rashkow
Subject: Re: Sid Bernstein
djholvay:
> "Brenda, I'm going to make you into
> another Judy Garland."
Sounds like he was threatening her to me.
di la,
Rashkovsky (pushing the limit as usual)
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Message: 4
Date: Mon, 08 Dec 2003 20:06:32 -0000
From: Mark T
Subject: Snuff Garrett
Sorry to hear that he [Snuff Garrett] is in ill health.
He was another one of the unsung producing geniuses.
Seeing his name on a label almost guarantees a really
good pop record with excellent production. Hope someone
tells him about this board and he comes on. We can never
have enough living legends on here.
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Message: 5
Date: Tue, 09 Dec 2003 05:47:12 +1030
From: David Walker
Subject: Rupert's People
Re Rupert's People: "Reflections of Charles Brown" is a
wonderful record. Does anyone know who the lead singer was?
Can anyone confirm or explode my belief that the backing band
were Fleur de Lys, possibly with Bryn Haworth on lead guitar?
I have the Rupert's People 45 "A Prologue To A Magic World /
Dream on My Mind" and have so for many years. It was bought
brand new from a remainder table and played to anyone who
would listen way back when.
The B-Side "Dream On My Mind" is power driven piece which
I think the trendies call psyche or something like that.
A Prologue to A Magic World was written by R Linton & A Condor.
Dream On My Mind was written by R. Linton.
At the time I pasted the following names on the sleeve; so it
may help in identifying who they were.
Steve Brendell Drums
Raymond Beverley Bass
Rod Lynton (sic) Lead Guitar
Dai Jenkins Rhythm Guitar
John Tout Organ
Regards,
Norman
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Message: 6
Date: Mon, 08 Dec 2003 15:43:08 -0500
From: Phil Milstein
Subject: Re: Joss Stone / Sid B. / Mellotron / Big Al & the Wildweeds / Sam C.
Yanks curious to hear what all the fuss is about Joss Stone
can see and hear for themselves tonight, as she appears on
the Conan O'Brien Show.
James Holvay wrote:
> 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."
A loaded line if ever I heard one!
David Coyle wrote:
> 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.
Michael Pinder, in association with the Mellotron Archives,
has created a set of discs for use with various modern-day
electronic keyboards that are digital transfers of the
original Mellotron and Chamberlin tapes. I don't know if
this set is still in print (check around at
http://www.mellotron.com to see), but if not I imagine
copies would turn up on eBay, etc. every now and again.
Steve Harvey wrote:
> 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.
Ian Matthews' Matthews Southern Comfort also covered And
When She Smiles, and included it alongside another fab Big
Al song, Mare Take Me Home. I've said it before here, but
it's worth repeating: I can't imagine a single member of
this list not being able to find at least a couple of big-time
thrills on "No Good To Cry: The Best Of The Wildweeds" (http://www.confidentialrecordings.com/shop_wds.html). The
label it's on, Confidential Recordings, was created expressly
to release this collection, and of course it is with the band
members' full cooperation.
David Coyle again:
> 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.
I suppose this means Sam's name should go on that list of
producers with an identifiable and highly personal sound.
--Phil M.
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Message: 7
Date: Mon, 08 Dec 2003 13:57:48 EST
From: Mike Rashkow
Subject: Re: Early Synths
David Coyle:
> "Mellotron".
They had one at Allegro in NYC once upon a time. There was
a delay between the attack and the sound.
Personally, I am anaesthetized by the amount of posts on
synthesizers (I wish I could get that to really rhyme)
and I cast one vote to end this filibuster - ass that I am.
I believe that between the last two weeks and the archives
it has been done to death.
Di la,
The Always Pleasant and Reasonable Rashkovsky
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Message: 8
Date: Sun, 07 Dec 2003 22:31:13 -0000
From: Mike Dina
Subject: Brit Girls
Hi Gang:
At long last a group that I can really sink my teeth into! Love
the Girl Group scene and British Pop including all those wonderful
Brit Girls!
Would like to correspond with anyone who grooves to the following
artists: Susan Maughan, Billie Davis, Jackie Trent, Julie Grant,
Samantha Jones, Kathy Kirby, Tammy St. John, Lulu, Cilla Black,
Sandie Shaw, The Great DUSTY SPRINGFIELD, Lyn Cornell, Jackie Lee,
Dodie West, Shirley Abacair, Glenda Collins, Petula Clark, Helen
Shapiro, Julie Rodgers, Anita Harris, Francoise Hardy, Sylvie
Vartan, France Gall, Rita Pavone, Lorraine Silver, Andee Silver,
P.P. Arnold, Nita Rossi, Nita Stern, Chiffons, Cookies, Angels,
Connie Francis, Lesley Gore, Flirtations, Royalettes, Carole King,
Ronettes, Crystals, Darlene Love, Shelley Fabares, Supremes,
Marvelettes, Martha & The Vandellas, Kim Weston, Brenda Holloway,
Brenda Lee, Diane Renay, Peggy March, Velvelettes, Annette, Suzy
Wallis and tons more too numerous to mention here, but I did
pretty well for openers right?
Also like Producer/Writer music like Phil Spector, Tony Hatch,
Bacharach & David, King & Goffin, Mann & Weil, etc.
To give you a little info about me, my name is Mike, was born and
raised in Queens, New York City and currently live in Palm Bay,
Florida and followed music very, very extensively since I was 5
years old in 1960. I'm a G/W/M, 48, Italian, Irish & German and
music has been my passion all my life. If you would like to
correspond and share ideas/opinions about the most wonderful ever
recorded, then please don't hesitate to write me offlist.
Take care all!!
Happy Holidays to all!
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Message: 9
Date: Mon, 08 Dec 2003 21:02:26 -0000
From: Stuart Miller
Subject: Re: la di da
John wrote:
> 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)
"Lucky Lady Bug" by Crewe/Slay. Sung by the 4 Seasons. Maybe.
Stuart
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Message: 10
Date: Mon, 08 Dec 2003 16:10:16 EST
From: Jimmy Crescitelli
Subject: Re: More Gay Songs
Did anyone mention Josie Cotten's "Johnny Are You Queer?" A clever
penning from the distaff side of things.
; )
Jimmy
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Message: 11
Date: Mon, 08 Dec 2003 08:17:26 -0800 (PST)
From: Bill Brown
Subject: Best line in a song
What does everyone consider the best line in a song? One I like
is "The Captain laughed and said 'You boys want some sex? You
can squeeze the sails, you can lick the decks'" ("Shakedown
Cruise", Jay Ferguson)
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Message: 12
Date: Mon, 08 Dec 2003 18:04:57 -0000
From: Julio Niño
Subject: Johnny's Day.
Hi Everyone,
In reference to the track "Johnny I Love you" by Booker T and
The MGs, is a song included in the motion picture soundtrack
album Uptight, 1970 directed by Jules Dassin. I, myself haven't
seen it but it belongs to the Blaxplotation genre. I've always
liked that song and it seems incredible that with a such a voice
Booker T didn't sing more often. Although the track seems
shamelesly gay, maybe it has other nuances in the context of the
film.
In terms of songs with SM connotations, it is funny that I had
never realized the implications of the lyrics to "Johnny Get
Angry" (today must be Johnny's day) surely because my English
is so poor that I don´t get half of the lyrics. For instance,
every time I listen to the song "Bandit of my Dreams" I imagine
a vicious adolescent having wet dreams about a male Bandit
(again maybe because the word bandit/bandida is not often used
in feminine in Spanish) but I suppose it must be that I don't
understand the lyrics very well or maybe it's because I have
a twisted mind, or a combination of both factors.
A song frequently associated with SM is "These Boots are made
for Walking" by Nancy Sinatra". Personally, the most fun version
I know of the song is in Spanish by the Benitez Sisters, "Estas
Botas son para caminar" (Discophon- 1966), a well aged Cuban
sister trio that don´t seem to realize the implications of what
they are singing, and they sound totally like dominatrix moms.
The Benitez sisters recorded amongst many horrors a couple of
very fun tracks in ye-ye style during the second half of the 60s
in Spain.
Julio Niño.
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Message: 13
Date: Mon, 08 Dec 2003 16:14:34 -0500
From: Mikey
Subject: Re: Lost Master Tapes
When a reissue label licenses a title from a small label, they may
or may not spend time and money trying to track down Master Tapes.
In many cases, because the time period that the label has to issue
the material is small, they will do a Disc transfer if their first
inquiry comes up with "no tapes found".
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Message: 14
Date: Mon, 08 Dec 2003 13:17:21 -0800 (PST)
From: Artie Wayne
Subject: Re: Tom Wilson
James..........Unfortunately, Tom Wilson passed away about 20 years
ago. Considering the time frame he produced the Dylan and Simon/
Garfunkel electric sides, 1964-66, I've always wondered if could he
be credited with the first "Folk-Rock" recordings?
regards, Artie Wayne
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Message: 15
Date: Mon, 08 Dec 2003 15:19:59 -0600
From: Dan Hughes
Subject: Re: Tom Wilson / Sound Of Silence
The way I heer'd it was that Tom Wilson did not think about juicing
up the Sounds of Silence until he saw Like a Rolling Stone become a
big hit.
So a timeline that makes logical sense is this:
Wilson records Wed Morn 3AM--a folkie album--and it flops.
Wilson records Like a Rolling Stone--by a folkie doing rock--in July
1965 and sees it go to #2 in Billboard for two weeks: Sept 4 and
Sept 11, 1965.
Seeing this, Wilson says "Hmmmm....." and calls the session guys back
in mid-September to change Sounds-folkie into Sounds-rock.
By the way, wasn't the S&G song variously entitled "Sound of Silence"
and "Sounds of Silence" on the 45, first album, and second album?
---Dan, http://members.soltec.net/~dan (spiffy home page)
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Message: 16
Date: Mon, 08 Dec 2003 21:28:01 -0000
From: Matt
Subject: Jim Doval & The Gauchos
I recently watched an old episode of Shindig which featured this
group. Anyone know anything about them? I checked All Music Guide but
other than listing one of their songs on a compilation album...
Anyway, they flat-out ROCKED and I was amused by their Raider-like
ponytails...hmm, which (or rather who) came first, I wonder? Or was
it purely coincidental?
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Message: 17
Date: Mon, 08 Dec 2003 21:33:18 -0000
From: Julio Niño
Subject: Re: Javier Solis
Hugo M wrote:
> Mexican singer Javier Solis had a knack for picking out songs where
> romantic rhetoric took on a dominant/submissive flavor - the obvious
> one was "Esclavo Y Amo" (Master & Slave) but there were a couple
> others I can't think of right now, 02 or 3 others that were either
> on the Sombras LP or the one that was originally called "Rancheras"
> and is currently available as "15 Autenticos Exitos". Wish I could
> remember what they were.
I love Javier Solis (although his kind of music is definitively off
topic here). My favourite songs of his are "Escándalo" (a gay classic),
and "Entregatotal", so exaggeratedly sadomasochistic that it has to be
heard to, to be believed.
Julio Niño.
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Message: 18
Date: Mon, 08 Dec 2003 16:37:40 -0500
From: Vlaovic B
Subject: Re: The death of the LP
Back in the late 70s when I started buying vinyl LPs (as opposed to
45s which had been a purchasing staple for close to a decade, not
counting the Peter Pan 45s from even earlier in my childhood) I
could get, on sale, LPs for 4.99 Canadian. Fast forward less than a
decade and CDs move into the market. Usually they were priced at
about $21-25 Canadian, while the humble vinyl LPs could be purchased
for about $8 (on sale). BTW, I can remember the first time I saw
CDs was in 1983 when I was doing my back-pack through Europe. Mostly
classical selections, but Roxy Music’s Avalon and a Deram David Bowie
compilation were also frequent sightings. Mais, je digress…..I
think the shock of having the same product at that time, circa 1986 at
such vastly different prices has never left me, and I’ve never made
the inflationary adjustment in my mind. And although I love the
longer format of the CD, the reality is most ‘artistes’ seem to have
difficulty filling up the allotted 75 minutes with decent material. I
recall Motown embarking on a programme circa 1985 of withdrawing all
their recent vinyl reissues of classic Motown LPs and replacing them
with Twofer CDs. I remember being slightly p*ssed at the thought of
them deleting the vinyl before I’d purchased much of it. And I also
remember mentioning to a friend who worked in a traditional music store
that I wasn’t into CDs because it was all just current stuff and
there’d never be historical stuff released…..geez was I wrong.
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Message: 19
Date: Mon, 08 Dec 2003 21:38:46 +0000
From: Stuffed Animal
Subject: R. I. P. Tom Wilson
> What's Tom Wilson doing now? I've always been a big admirer of his
> work and always wanted to meet him.
Unfortunately, he died of AIDS. Sometime in the mid-1990s, as I recall.
His passing was noted in The Advocate, the gay and lesbian newsmagazine.
Don "Stuffed Animal" Charles
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Message: 20
Date: Mon, 08 Dec 2003 13:53:17 -0800 (PST)
From: Paul Bryant
Subject: Re: The End of Albums
Tom Taber:
> 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
Ah - it is, and it isn't. The concept of the "album",
which in pop/rock music was introduced by Dylan, the
Beach Boys and the Beatles, made sense for a long
time. Albums were approximately 40 minutes long, and
there were two sides to them - this was important! You
could concentrate for 20 minutes without too much of a
problem, then came the natural break, the ritual of
turning the record over - then back to another 20 or
so minutes. And throughout this intense listening
period, there was the album sleeve - which was large
enough to be able to read everything on it without the
use of a magnifying glass, and which in many cases was
a work of art in itself.
You don't have to turn over a cd and thus there is
no natural break, and no element of ritual. This is
important! The whole aesthetic experience is shattered
also by the tiny size of the cd cover and - you can't
see the cd going round like you could an lp!
And then, modern bands realising that you can get
75 minutes easily onto a cd think that if you don't
fill up your new cd with music you're in some way
short-changing the buyer. Well, of course, that's an
argument. But they have overlooked this - how many
people have the time to concentrate on 70 plus minutes
of music? How many people's private time is so orderly
and their concentration level so high? Very few.
40 minutes was tolerable, and indeed, highly
enjoyable. 70 minutes is way too long. Instead of a
manageable chunk of vinyl time, the album has
elephantised into an evening-crunching experience.
Playing two albums in one evening was perfectly
feasible. Two cds all the way through? Not a chance.
So I now believe that there are millions of cds
sold to buyers who often never get round to listening
to the whole thing - they'll just pick out three or
four favourites.
I agree with all the commercial reasons put forward
for the death of the album, and I am hereby adding the
aesthetic reason. The pudding has been over-egged and
the customers are sick of it. In this case, less was
more.
pb
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Message: 21
Date: Mon, 08 Dec 2003 17:11:04 -0500
From: Phil Milstein
Subject: Re: Viva Snuff / royalty dreams / He Hit Me / AM concrete
Mark T wrote:
> Sorry to hear that he [Snuff Garrett] is in ill health.
> He was another one of the unsung producing geniuses.
> Seeing his name on a label almost guarantees a really
> good pop record with excellent production. Hope someone
> tells him about this board and he comes on. We can never
> have enough living legends on here.
Does anyone know of a good discog. on his Viva label? They few records
I have on it run a very strange gamut of sounds. I mean, what kind of
nut would put out Prof. Irwin Corey 45s ...?!?
Kevin Melville wrote:
> Although there may be other problems with this idea, if there was
> a flat master use rate - say $.10 per master per CD sold - you
> could put 20 songs on a CD, pay the $2.00 royalties to the labels
> (RIAA could act as a blanket licensing agency) and $1.70
> royalties to the songwriters, sell for $15.00 and everybody gets
> their share. Fair price, selection unlimited, everybody makes as
> much money as they can. Labels even make money off "dead" catalog.
I don't see where the artist comes in for his/her/their cut of the
action.
astro4004 wrote:
> Be sure to include the Chantelles "Gonna Get Burned"
> from volume three in the Dream Babes series!
Alder Ray, in A Little Love (Will Go A Long Way), sings:
My baby he don't love me
The way I think he should
Ooh whee when he hurts me
It makes me feel so doggone good
Available on the fabulous "Phil's Spectre." Then, of course, there is
"One of these days these boots are gonna walk all over you ."
Clark Besch wrote:
> Hi, now playing to Musica is 10 minutes of "Being There: The
> Beatles on Radio".
Wow, what a totally amazing pastiche! How long did it take you to put it
together? And, did you edit it all at once, or bits at a time? (And
forgive me if you answer these questions in your text, I skimmed it but
didn't read every word.)
I think what I like best about it is the detritus of the AM signal.
Since most of us, at least those of us old enough to have been around
when the AM band was mostly dedicated to music stations, similarly tried
to pull in whatever signals we could from wherever they arrived (and
sometimes it could be almost a game to get them from as far away as
possible), there is a real romance to the static, the whirs, the fades
in and out, etc. As a kid growing up in N.J., sometimes I thought that
if I could pull in a station from, say, Kansas, if I tried hard enough
maybe I could get one from China, or even the Moon!
Listening to Clark's AM concrete makes me curious about how the AM/FM
dichotomy might've played out in countries other than the U.S. Did the
dynamics unfold in much the same way as they did in the U.S.?
Bang a gong,
--Phil M.
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Message: 22
Date: Mon, 08 Dec 2003 14:15:38 -0800 (PST)
From: Watson Macblue
Subject: Rock concert geography / David Hemmings
David Coyle writes:
> 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.
Never forget "The TAMI Show," whose title song, From All Over The
World, has Jan and Dean intone "...the Rolling Stones from Liverpool
are bound to be there." The Grateful Dead from Boise? The Beach
Boys from Tampa? Clods. We American-based Scots spend a calculable
proportion of every year explaining to our neighbors that Scotland is
not part of England. The response is usually "What's the difference?"
- to which I always reply "You Texans always say that." "But I'm not
... " Well, exactly.
By way of adding a dollop of murk to the David Hemmings story, his
early years as a classical singer included creating the role of Miles
in Benjamin Britten's opera The Turn of the Screw; he also sang the
treble solo in the first performance of Britten's cantata St. Nicolas.
The librettist of The Rape of Lucretia, another of Britten's operas,
Ronald Duncan, includes a creepy passage in which he describes having
the next-door hotel room to Britten and his lover Peter Pears in
Venice; Duncan was kept up half the night by a screaming match between
Britten and Pears on the basic text of Britten (a known pedophile)
preferring Hemmings to Pears. Hemmings always insisted that nothing
untoward ever happened between him and Britten, but a Radio 3 play
broadcast a few years ago (The Ceremony of Innocence) went into
Britten's kiddie-fiddling tendencies in some detail, and it's
impossible not to wonder. Another young singer, a few years after
Hemmings, was sufficiently traumatized by Britten to wind up changing
his name to lose the association. Hemmings certainly chose not to go
the musical path until much later, and this may have had something to
do with it.
Watson
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Message: 23
Date: Tue, 09 Dec 2003 07:23:15 +0900
From: Mutsushi Tsuji
Subject: Sweetshop - Lead The Way
Hello, I'm a Mark Wirtz fan from Japan. I'd like sing along with
the song: Sweetshop - Lead The Way but I can't recognize the
complete its lyrics from CD: Mark Wirtz / Pop works Two. Here are
some lines of lyrics below that I could get to hear. So please
somebody help to complete or fix the lyrics.
Lead The Way
Lead the way, I will follow
Leave today for tomorrow
To you towns, To you places
To you friends, To you faces
Let's see vain, a life of routine
There's a world of wonder to see
We're too young to grow old much too soon
To be told what to do, Lier blue, oh blue
Lead the way, I will follow
Leave behind, all our sorrow
Look ahead, naughty hind
Search for love and peace of mind
Let's see vain, a life for routine
There's a world of wonder to see
We're too young to grow old much too soon
To be told what to do, Lier blue, oh blue
Kind regards,
mutsushi
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End
