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SPECTROPOP - Spectacular! Retro! Pop!
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There are 25 messages in this issue.
Topics in this digest:
1. Today in history
From: Country Paul
2. Re: Michael Brown
From: Scott
3. Re: Peter Gallway
From: C. Ponti
4. Re: Michael Brown / All This & WWII / Sgt Pepper Movie
From: Jon Cook
5. Re: Debbie Campbell / Jimmie Cross / All This & WWII
From: ACJ
6. Re: Gilbert O'Sullivan
From: Albabe Gordon
7. Re: "uptight"
From: Bill Craig
8. Re: Nina Simone question
From: Steve Harvey
9. Re: I'll Be Back
From: Justin McDevitt
10. Re: Patsy Cline
From: Phil Milstein
11. Re: Michael Brown / The Cherry People
From: Justin McDevitt
12. Re: US chart question
From: Austin Powell
13. Re: Nina Simone - Peaches
From: Dee
14. Re: Nina Simone question
From: Simon White
15. Re: Nina Simone - Peaches
From: Paul Bryant
16. Re: Tootie & the Bouquets
From: Mick Patrick
17. Re: Beatles covers/"uptight"/Sixties geniuses/Harry Lookofsky
From: Richard Williams
18. Ricky Ticky Ta Ta Ta, Johnny Cymbal, Jerome Brothers
From: Martin Roberts
19. Re: Ed Cobb
From: Tony Baylis
20. Re: Early 45s
From: steveo
21. Re: Bobby Vee
From: Bob
22. Re: Manhattans - Kiss And Say Goodbye
From: beegleaw23185
23. Jerry Fuller
From: steveo
24. Re: Lloyd Price and Harold Logan
From: steveo
25. All This and World War II
From: Watson Macblue
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Message: 1
Date: Fri, 26 Dec 2003 15:57:04 -0500
From: Country Paul
Subject: Today in history
1963 Beatles release "I Want To Hold Your Hand"/"I Saw Her Standing There"
1964 Beatles' "I Feel Fine" single goes #1 & stays #1 for 3 weeks
1965 Paul McCartney is interviewed on pirate radio station Radio Caroline
1965 Barbra Streisand closes in "Funny Girl" on Broadway
1967 The BBC broadcasts "The Magical Mystery Tour"
1967 Dave Brubeck Quartet formally disbands
1968 Led Zeppelin's concert debut in Boston as opener for Vanilla Fudge
Just keeping things in perspective,
Country Paul
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Message: 2
Date: Fri, 26 Dec 2003 16:53:56 EST
From: Scott
Subject: Re: Michael Brown
> attempted Left Banke reunion...which like several others ended
> in acrimony between Brown and Martin.
So what's the source of their ongoing dislike for one another ???
Scott
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Message: 3
Date: Fri, 26 Dec 2003 23:30:35 -0000
From: C. Ponti
Subject: Re: Peter Gallway
Me;
> And you know that Gary Bonner got his start playing at the
> Night Owl as part of The Magicians? They used to open for the
> Spoonful, as did the Strangers with Kenny Altman and Peter Galway.
David Heasman:
> Ah, Peter Gallway. Made 3 good records as "Fifth Avenue Band",
> "Ohio Knox" and himself. What happened to him I wonder.
Peter has albums out in Japan on the Dreamsville label. He has a
hardcore following, of which I am one. He is gifted writer and a
fantastic and loyal friend!
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Message: 4
Date: Fri, 26 Dec 2003 21:43:30 EST
From: Jon Cook
Subject: Re: Michael Brown / All This & WWII / Sgt Pepper Movie
First, thanks very much to the Michael Brown info. I was surprised
to read about the 2001 sessions. Everything I had heard had painted
him as a voluntary shut-in with no interest in music. Nice to hear
he's still active.
On a semi-related note to "All This and World War II" - did I
imagine this or is the 'Sgt Pepper' movie actually out on DVD now?
Anybody else read that MOJO article on the making of this movie.
Incredible story, especially the confidence everybody had in it...
until it got into the theaters. But, I'll say this - the 'failures'
from past years are much more interesting than today's (ie Justin
Loves Kelly, or whatever that American Idol movie was called).
Happy Holidays
jon cook
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Message: 5
Date: Fri, 26 Dec 2003 23:07:40 -0500 (EST)
From: ACJ
Subject: Re: Debbie Campbell / Jimmie Cross / All This & WWII
Mark T: Debbie Campbell had a minor US hit in the mid-1970s with "Please
Tell Him I Said Hello" (previously a British hit for Dana). Do you
perchance know if she's also the Debbie Dawn who recorded a bizarre
country single called "Hands" that wound up on Rhino's "World's Worst
Records Volume 2"?
Country Paul: Jimmie Cross's "other" single, "Hey Little Girl," was
released on the Charly 4-CD set "The Red Bird Story", but not since
(that I know of).
All This and World War II: If I remember right, this film actually
started as a dream (literally) of a film executive; in the dream he saw
old newsreel footage of WWII while hearing Beatles songs, and upon
waking, realized that his generation was (a) the last to be directly
affected by WWII and (b) the first to be directly affected by the
Beatles.
ACJ
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Message: 6
Date: Fri, 26 Dec 2003 20:08:36 -0800
From: Albabe Gordon
Subject: Re: Gilbert O'Sullivan
Stuart Miller said:
> Well, my claim to knowing what it was about was because he was
> telling the world about it in endless interviews when the record
> was released.
Hey Stuart sir. My comment was in regards to the people that thought
the song was about pedophilia... of which I completely defended Mr.
O'Sullivan. It may have been about whatsisname's daughter, but was
it "impure?"
More Stuart:
> I'm not entirely sure (being British and therefore culturally
> constipated) whether you're being serious or not here. I strongly
> suspect you are not, but just on the off chance that you are, then
> I have to rush to the defense of an artist I thought was one of
> the most boring and dullest performers ever to emerge from anywhere.
I'm assuming I'm the constipated one here, Stuart. You're "defending"
an artist you thought was "...the most boring and dullest performers
ever to emerge from anywhere?"
Anyway. I like a lot of O'Sullivan's stuff.
~albabe
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Message: 7
Date: Sat, 27 Dec 2003 04:22:44 -0000
From: Bill Craig
Subject: Re: "uptight"
Bill Craig:
> "Oh you know it isn't right to put yourself uptight
> By thinkin about the things he's done before"
> Obviously used in the negative sense.
David Heasman:
> Likewise "I'm not lookin' to uptighten you" from "All I really
> Want to Do" 1964.
Dave,
I was going to include this in my post also but according to the
Dylan lyrics the line is:
I'm not looking to fight with you, frighten you or tighten you"
But it sure did sound like The Byrds sang it as "uptighten", which
would work actually better than Dylan's original.
Bill Craig
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Message: 8
Date: Fri, 26 Dec 2003 21:20:58 -0800 (PST)
From: Steve Harvey
Subject: Re: Nina Simone question
Paul Bryant wrote:
> Nina screams out "what do they call me? My name is PEACHES!!!"
> So - what's the significance of the name Peaches?? To my
> (British) ears it sounds very strange, but I kind of think I'm
> missing something Americans would understand straight away...
Actually Paul, being an American Nina fan doesn't help anymore than
being a Brit one. I always thought she picked the name as a kind of
joke. Not exactly the type of character you'd think would go by the
name Peaches considering how rough Nina made her out to be. However,
it could be along the lines of A Boy Named Sue. The name is the
reason for all that rage.
Always loved Nina's cover of "Don't Pay Them Any Mind", "The Man
With the Horn" and "This Is All I Ask".
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Message: 9
Date: Fri, 26 Dec 2003 23:27:29 -0700
From: Justin McDevitt
Subject: Re: I'll Be Back
ACJ asked:
> Speaking of non-copycat Beatles covers: did anyone do their "I'll
> Be Back" in waltz time, the way John & Paul originally wrote it?
> I heard the Beatles' waltz version on "Anthology 2" and thought
> it was lots better than the released version.
ACJ, I don't imagine that another group recorded the waltz version
of this track. However, in 1968, my cousin Frank who had just
completed boot camp with the Marine Corp at the infamous Paris
Island training facility sent me a compilation Lp which among its
tracks included The Moby Grape's 805, as well as the Buckinghams
singing I'll Be Back.
Justin McDevitt
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Message: 10
Date: Sat, 27 Dec 2003 00:33:52 -0500
From: Phil Milstein
Subject: Re: Patsy Cline
Phil Hall wrote:
> This tune may be slightly off-subject, but in the mid-1950's
> I had 2 uncles who were country artists with their own weekly
> radio show in Huntsville, Alabama. For those who don't remember,
> it was a different world back then; a world where Elvis Presley
> could just hop off a bus at the end of a tour and walk home.
> Anyway, they knew a few lesser Nashville stars and had picked
> up a demo 45 by Patsy Cline called "If You Don't Believe I'm
> Leaving, Just Count The Days I'm Gone". I'm almost positive it
> was on the black Mercury label. I later found out that it was
> a cover of an Eddie Marshall tune.
> I'd love to get my hands on a copy of it, but the president of
> the Patsy Cline Fan Club assures me that Patsy never recorded
> such a song, and claimed to have verification from Patsy's
> husband as well. I KNOW she recorded the song; it just may not
> have been released. One of my uncles also distinctly remembers
> the record, although he has no idea what happened to his copy of
> it.
> Does anyone have or remember this song?
I sure don't, but Margaret Jones's bio of Patsy offers a few clues
that help me arrive at one possible scenario. Back in Virginia,
before her success, Cline cut a number of songwriter demos at one or
more of the local studios. According to Jones, after the success of
"Walking After Midnight" (or perhaps it was after her death, I can't
recall) some of those recordings were spirited out of one of those
studios by Cline's husband Charlie Dick, their contents never to
publicly surface.
The possibility that "If You Don't Believe ..." might've been among
them would depend on Dick's verification having been in error (either
inadvertently or willfully); on Cline's version of the song having
been a songwriter demo rather than a cover; and on that demo having
somehow made its way into your uncles' hands, and then back out again.
All a bit far-fetched, I'll admit, but perhaps not entirely out of the
question.
--Phil M.
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Message: 11
Date: Fri, 26 Dec 2003 23:48:17 -0700
From: Justin McDevitt
Subject: Re: Michael Brown / The Cherry People
Austin Roberts asked:
> Was Mike Brown involved with the Cherry People?
Austin, I don't know if Mike Brown was involved with the Cherry
People. I have an Lp by this group from 1968 and can take a look.
For clarification, are you referring to the same Cherry People
some or all of whose members were also members of The Hangmen, a
Washington D.C. area based group from 1965-66?
Justin McDevitt
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Message: 12
Date: Sat, 27 Dec 2003 08:39:48 -0000
From: Austin Powell
Subject: Re: US chart question
PB wrote:
> in the UK, because in the 1950s and for most of the 1960s there
> was only one state monopoly broadcaster, the BBC, there was no
> such thing as a Most Played on Radio chart, and I believe there
> was never a Most Jukebox Plays chart either.
There was a "juke box plays" chart for many years in the UK...It
was printed weekly in a newspaper called "World's Fair" which was
aimed at juke box operators, funfair operators and the like....
Whilst many of the music papers were still only printing Top 40s,
"World's Fair" printed a Top 100.....
(The far, far less talented) Austin
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Message: 13
Date: Sat, 27 Dec 2003 01:40:29 -0800 (PST)
From: Dee
Subject: Re: Nina Simone - Peaches
> My name is PEACHES!!!" So - what's the significance of the name
> Peaches?? To my (British) ears it sounds very strange, but I kind
> of think I'm missing something Americans would understand straight
> away...
Believe it or not, I used to wonder the same thing (though I'm
American), and just four or so years ago I had the chance-of-a-
lifetime conversation with Dr. Simone and actually asked her this
very question . . . after discussing my admiration for the song at
ample length to sway her into thinking I wasn't a total idiot.
Her reply was, "Honey, does Peaches sound like a killer's name to
you? They MADE her angry, she wasn't BORN like that!"
So "Peaches" was just meant to convey that this character was once
as full of sweetness and light as any child.
Dee
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Message: 14
Date: Sat, 27 Dec 2003 10:04:29 +0000
From: Simon White
Subject: Re: Nina Simone question
Paul Bryant wrote:
> So - what's the significance of the name Peaches?? To my (British)
> ears it sounds very strange, but I kind of think I'm missing
> something Americans would understand straight away...
Interesting question. Jackie Wilson shouts out the name on his
"Whispers Getting Louder" too.
Simon
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Message: 15
Date: Sat, 27 Dec 2003 05:00:15 -0800 (PST)
From: Paul Bryant
Subject: Re: Nina Simone - Peaches
I asked:
> ... "...My name is PEACHES!!!" So - what's the significance of the
> name Peaches?? To my (British) ears it sounds very strange, but I
> kind of think I'm missing something Americans would understand
> straight away...
Dee:
> Believe it or not, I used to wonder the same thing (though I'm
> American), and just four or so years ago I had the chance-of-a-
> lifetime conversation with Dr. Simone and actually asked her this
> very question . . . after discussing my admiration for the song at
> ample length to sway her into thinking I wasn't a total idiot.
>
> Her reply was, "Honey, does Peaches sound like a killer's name to
> you? They MADE her angry, she wasn't BORN like that!"
>
> So "Peaches" was just meant to convey that this character was once
> as full of sweetness and light as any child.
Man alive, Spectropop rules! Talk about straight from the horse's
mouth! Many many thanks - not often we get definitive answers to our
questions!
pb
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Message: 16
Date: Sat, 27 Dec 2003 14:18:38 -0000
From: Mick Patrick
Subject: Re: Tootie & the Bouquets
Jimmy Crescitelli:
> I listened (in my car!) to Touch the Wall of Sound, Volume 2,
> which contains the aforementioned group's "The Conqueror". I
> read about them on Will Stos' fabulous girl groups site, but...
> does anyone think the lead sounds like Little Eva? Could Tootie
> & her Bouquets be Eva and the Cookies? The phrasing,
> pronunciation... that sounds like Eva to me.
How right you are! It does sound remarkably like not only Little
Eva but also the Cookies. I've posted the track to musica:
http://groups.yahoo.com/group/spectropop/files/musica/ What does
anyone else think? Little Eva? Or Memorex? Alas, Eva is dead, so
we can't ask her. Maybe John Clemente could ask one or other of
the Cookies for us?
All you short guys be sure to listen, this one's for you.
Hey la,
Mick Patrick
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Message: 17
Date: Sat, 27 Dec 2003 14:59:13 +0000
From: Richard Williams
Subject: Re: Beatles covers/"uptight"/Sixties geniuses/Harry Lookofsky
1. Late entries for great Beatles covers: Roy Redmond's "Good Day
Sunshine", J.J.Barnes' "Day Tripper" and two versions of "I've Just
Seen a Face", by the Dillards and Holly Cole.
2. Interesting comments on "uptight". The question now puzzling
amateurs lexicographers must be, how and why did it reverse its
original (negative) meaning so briefly (circa '66, cf Stevie Wonder
and Andy Warhol) before reverting?
3. I second Paul Bryant's defence of Bob Dylan's performances of
his own songs without reservation, but I question his selection of
Lennon, McCartney, Dylan and Wilson as the four geniuses of Sixties
music. Was there no black writer or performer fit to be considered
their equal? Not Smokey Robinson, Curtis Mayfield or James Brown? If
you listen to the music that's around today, Brown had as much
influence as anyone, with the possible exception of Dylan. And
personally, much as I loved the Beatles, I'd put Holland-Dozier-
Holland up there with Lennon and McCartney.
4. Harry Lookofksy (the father of the Left Banke's Michael Brown) is
a familiar name from Sixties and Seventies album covers, but I bet
he never did a better day's work than his solo on Gil Evans's "Zee
Zee", from the album Where Flamingos Fly (A&M, 1981). The tune is a
sort of blues based on a Basque dance in 5/4, and Lookofsky plays a
tenor violin, apparently tuned an octave lower than the regular model.
And a happy new year to all those members whose erudition and
enthusiasm keeps introducing me (and no doubt many others) to
wonderful stuff I'd somehow missed.
Richard Williams
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Message: 18
Date: Sat, 27 Dec 2003 15:20:02 -0000
From: Martin Roberts
Subject: Ricky Ticky Ta Ta Ta, Johnny Cymbal, Jerome Brothers
Hello Austin,
I have your second 45 on Philips, "Ricky Ticky Ta Ta Ta". It's
what I'd describe as a bright, breezy and bouncy piece of late
60s pop, very popular with many of the 'poppers on the site.
It's not just the "shanga lang" chorus that puts me in mind of
the early Bay City Rollers and Rubettes, I wonder if they were
listening?! Playing now at musica to let the people decide:
http://groups.yahoo.com/group/spectropop/files/musica/
You're credited as writer of both sides, how did your connection
with the Jeromes come about? Did you turn up at their door with
sheaves of songs and say, "Go on, make me a star", or did they
spot you? And what was it like working with them?
The site really does have some incredibly knowledgeable people on
it but the input from folk such as yourself, Mike, Alan, Artie,
Al, James, Carol etc etc who actually made the records is a major
factor in Spectropop being so special.
Thanks for sharing your comments on Johnny Cymbal, good to hear
of his sense of humour. There can't be many who hear Mr. Bassman
without a grin on their face.
Martin (The other Mr.) Roberts
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Message: 19
Date: Sat, 27 Dec 2003 15:44:25 -0000
From: Tony Baylis
Subject: Re: Ed Cobb
I feel it most important that we should never forget that Ed Cobb,
along with Lincoln Mayorga, gave us the Piltdown Men. Great
instrumentals even if they did come along as instrumentals were
falling out of favour. Brontosaurus Stomp, MacDonald's Cave,
Piltdown Rides Again and the Great Imposter still provide much
pleasure fourty years (Ouch!) after their release ...
Tony Baylis
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Message: 20
Date: Sat, 27 Dec 2003 08:06:06 -0800 (PST)
From: steveo
Subject: Re: Early 45s
Bill Craig wrote:
> Here's a few recollections and questions about 45 releases in
> the late '50s and early '60s. What were the contributing factors
> to whether a record was released with a picture sleeve or without
> one? Was it all a function of the budget alloted for the paticular
> record? Did all 45's put out by major labels have a picture sleeve
> put together for it and some retail outlets got these while other
> stores were shipped the records in plain paper sleeves? Were there
> some small labels that never put out picture sleeves because they
> just couldn't afford them? Also I remember a time when some
> supermarket chains sold 45s (I'm not sure about LPs). Was this rare
> or fairly widespread? I remember the first non-childrens record I
> bought was "I'll Wait For You" by Frankie Avalon. (No picture
> sleeve) I was 7 years old and I bought it in an Acme market on a
> highway somewhere near the Jersey shore. I'm not even sure I'd ever
> heard the song I was just anxious as Marshall Crenshaw says "To be
> a part of that Rock and Roll thing". I knew it would be the start
> of a magical journey. (Does Frankie even qualify as R&R?)
Bill, Nice to say hello to you again.As far as I can tell from my
memory, picture sleeves were issued universally, if it was deemed for
the artist. I think a picture sleeve was released if the record
company had the money, and also if the artist was popular enough to
merit one. Picture sleeves were a god way to promote the artists's
likeness and I.D... Paul Anka had no picture sleeve for Diana, his
first release for ABC-Paramount..however, realizing that Paul was a
hit, they subsequently put him on picture sleeves. I think it helped
bolster his career.
Steveo
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Message: 21
Date: Sat, 27 Dec 2003 15:20:15 -0000
From: Bob
Subject: Re: Bobby Vee
Country Paul wrote:
> S.J. Dibai, thanks for the "At The Drive-In" review. Uneven
> as it seems, I'd still like to have seen it, just for the
> history value. Gee, I'd always liked Bobby Vee....
S.J. Dibai:
> Country Paul, good to hear from you, and you're welcome.
> Don't get me wrong: I've always liked Bobby Vee, too, and I
> own a good deal of his work. I just thought that he didn't
> sound good on "At The Drive In". Either his voice just hasn't
> held up or he's another artist who tries too hard to sound like
> he's still 17 instead of just flowing with the sands of time.
> Take Paul Anka--his voice doesn't sound anything like it did in
> his teen idol phase, but I saw him on TV a couple of years ago
> and he sounded great.
S.J. There is an explanation for Bobby Vee's vocals sounding like
they did. He did the show prior to an operation that he had to
have performed on his throat. There were a couple of problem areas
in his throat that I won't get into here, but they had to be
addressed, and they were taken care of by a surgeon in Nashville
who regularly does these types of procedures on singers. He now
sounds more like his old self thanks to that procedure.
Bob
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Message: 22
Date: Sat, 27 Dec 2003 16:12:14 -0000
From: beegleaw23185
Subject: Re: Manhattans - Kiss And Say Goodbye
Phil Milstein says:
> I imagine it won't be for many more years still until I'm able to
> listen to "Kiss And Say Goodbye" with anything near objectivity."
Whilst not exactly overenamoured of the song myself, I do find that
it is far more palatable when one listens to the X-Rated Version.
This has a far longer spoken intro, and alters the meaning of the
song considerably. It starts off with the 'lady' being called 'the
Baddest Bitch' he's ever known, and accuses her of beating him up
for the two years they have been sleeping together .. in fact he has
been at the hospital so much the staff know him very well.
I don't know if it was released as a regular single, but it does
exist as a DJ copy .. Columbia AS 263 (ZSP 162527), is in Mono and
the lable copy does state 'Warning. Not Recommended For Airplay'.
Of course, with the junk played today, I guess this is quite tame,
but in 1976 I believe it safe to say a few eyebrows would have been
raised ... The B side is also Rated X - I Kinda Missed You.
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Message: 23
Date: Sat, 27 Dec 2003 07:49:30 -0800 (PST)
From: steveo
Subject: Jerry Fuller
Austin Roberts wrote:
> Jerry Fuller, the great writer and producer,was also a good
> singer and loved Pucket's voice because he could write the
> kind of songs that he (Jerry) liked to sing (big ballads),
> consequently, many great records, most of which Jerry wrote
> and produced.
Met Jerry Fuller in his office in Hollywood years ago. He was a
wonderful person to talk to, very personable. Besides, he said I
sang good! lol
Steveo
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Message: 24
Date: Sat, 27 Dec 2003 07:46:59 -0800 (PST)
From: steveo
Subject: Re: Lloyd Price and Harold Logan
Dave, I've been doing some research on Harold Logan. It appears
from what i can find, that Logan was a songwirter out of West
Virginia originally, met Price somehow before the Korean war.
Price then went into the army, came out and resumed his
relationship with Logan. However, Price and Logan moved to
Washington D.C at this time. I feel that Logan probably
contributed to some song material, but that Price was the main
man musically. If anyone has any info on their writing partner
ship, I'd be interested in hearing about it. I'm also interested
in where and how Price met Logan.
Steveo
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Message: 25
Date: Sat, 27 Dec 2003 08:43:04 -0800 (PST)
From: Watson Macblue
Subject: All This and World War II
I have actually seen this masterpiece of Deranged Cinema - once.
The BBC (or Channel 4 - anyway, someone who should have known
better) actually transmitted it in the earlyish 90s. Imagine a
cross between the Bee Gees' Sergeant Pepper and Triumph of the
Will; older British Spectropoppers might think that the editor
of All Our Yesterdays (remember?) has been at the pills again.
The largest part of the production budget must have been
the rights payments to Pathe, as it's all documentary footage,
cut in a cool, hip (aaargh!!! NOOOOOOOOOOO!!! Yuk!!) way to
Beatles tunes sung by anyone who could be persuaded, bribed or
blackmailed into taking part on one of the weirdest, phoniest,
dumbest offshoots of Beatlemania. I can remember raising a weary
smile to "Here Comes The Sun King" cut to footage of Pearl Harbor,
but I'm strange that way.
I remember someone once saying that telling Bryan Ferry you had
a copy of his ATAWW2 version of She's Leaving Home would earn
you a face similar to the one you get by telling someone I Have
The Negatives.
Do your mind a favor, fellas. Give this one a miss. God, I feel
all strange now ...
Watson
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SPECTROPOP - Spectacular! Retro! Pop!
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