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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: Manhattans - Kiss And Say Goodbye
From: Joe Nelson
2. Re: The Cherry People / The Hangmen
From: Mark T
3. Re: The Shadows And Surf
From: David Coyle
4. Re: Pet Sounds
From: Paul Bryant
5. Re: Lafayettes
From: Dave Heasman
6. Famous Amos
From: Steve Harvey
7. Re: The Cherry People / The Hangmen
From: Austin Roberts
8. Re: Michael Brown / The Cherry People
From: Austin Roberts
9. Re: Soma and the Gestures
From: Dan Hughes
10. Re: Lafayettes
From: Austin Roberts
11. Re: Re: Jerry Fuller/Soul'd Out
From: James Holvay
12. Re: The Cherry People / The Hangmen
From: Scott Charbonneau
13. '60s Influential Geniuses/Brian Wilson
From: Dave Mirich
14. Re: Jukebox from Hell
From: Billy G. Spradlin
15. Re: Sixties Geniuses
From: Richard Williams
16. Re: Lafayettes
From: Fred Clemens
17. Tim Gilbert
From: Scott Charbonneau
18. Re: "Walk Away Renee"
From: Peter Lerner
19. Ketty Lester
From: Robert Beason
20. Re: Jerry Fuller/Gary Puckett soundalikes
From: Austin Roberts
21. Limelites, Heartbeats, and harmony; mentally "different" artists; Dolphin>Dolton; "uptight"; short takes
From: Country Paul
22. Re: Tootie & the Bouquets
From: James Botticelli
23. Re: Let's Live For Today
From: David Coyle
24. Lyrical gems
From: Jules Normington
25. Re: The Knickerbockers/Jimmy Walker
From: Austin Roberts
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Message: 1
Date: Sun, 28 Dec 2003 09:01:05 -0500
From: Joe Nelson
Subject: Re: Manhattans - Kiss And Say Goodbye
Tony Bayliss:
> 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.
Actually, what he claims is he has to break off the affair because
his wife has been beating him up! Talk about "I won't see you any
more because of my obligations"... Here's the transcript of Blue
Lovett's X-rated intro:
"This is rated X.
You're the baddest bitch I ever had.
I don't give a damn who knows it.
For two years we've been going to bed together,
and now my wife wants to kick my ass.
I'm sorry I've got to leave you,
but she beats me up so goddamn bad that the people in the hospital are
tired of seein' me.
I've got to say one thing to you baby before I leave ya.
The next young man that you make love to - don't do it to him so good!
Bye, bitch!"
(I had to meet you here today, etc...)"
...and goes on to finish off the album length version of the song.
Joe Nelson
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Message: 2
Date: Sun, 28 Dec 2003 18:38:40 -0000
From: Mark T
Subject: Re: The Cherry People / The Hangmen
> A propros of the discussion that spawned this query, I recall
> from reading the book that the Cherry People album was one of
> those that was completely dominated by its producer. Cherry People
> were in fact a very hard-rockin' punk aggregation, probably second
> in popularity only to The Hangmen in D.C. But the album's producer
> used studio musicians and made them do lightweight pop along the
> lines of "And Suddenly." They were quite disgusted with the whole
> thing and disavowed it.
It never ceases to amaze me the great lengths that groups would go
to to try to avoid any possibility of success. I think the Cherry
People recordings are excellent and that was actually one of my first
pleasant surprise CDs that I had bought without ever hearing any of
the music. So they really were angry that they were made to put out a
commercial sounding record that had a chance rather than some garagey
crap that they wanted to record. The best story I heard in this
regard is the one about the Go Gos. Not the RCA sixties band but the
80s girl group. They were also some unlistenable punk band but when
they got their record deal they told the producer to do whatever he
had to do to make them successful. The results speak for themselves.
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Message: 3
Date: Sun, 28 Dec 2003 11:19:02 -0800 (PST)
From: David Coyle
Subject: Re: The Shadows And Surf
I have the Shadows boxed set with everything recorded
from 1959-66 and I don't think there's a single surf
cover on the set, not even "Mr. Moto."
On the other hand, the Shadows did occasionally have a
bit of influence on US surf acts, even if their
records didn't actually get their due over here. There
are several Shadows covers on LPs by the Challengers,
notably "The Rise And Fall Of Flingel Bunt" and "Man
Of Mystery." So I think the Challengers at least might
have dug the Shadows.
David
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Message: 4
Date: Sun, 28 Dec 2003 11:31:51 -0800 (PST)
From: Paul Bryant
Subject: Re: Pet Sounds
Steve Harvey wrote:
> The new book "Wouldn't It Be Nice" is the second (following
> Kingsley's) to deal with "Pet Sounds". It also contains a quote
> from Clapton on its influence on him. Something I would have
> thought Mr. "God of the Blues" would never acknowledge. How many
> LPs have had one, let alone two, books written about them?
Not to mention The Pet Sounds Sessions, a 4 CD box set containing:
1) the original mono album
2) the brand new stereo mix
3) the backing tracks of all the songs without vocals
4) the vocals without the backing tracks
5) various excerpts from the instrumental sessions for each song
6) various alternate takes
And it's all dazzling, all of it. Any Spectropopper who thought -
hmm, they're really milking this Pet-Sounds-Is-God thing, I'll stick
to my old LP thanks - should immediately spend some Christmas gift
tokens on this amazing box set, the greatest work of rock archaeology
ever.
pb
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Message: 5
Date: Sun, 28 Dec 2003 18:40:44 -0000
From: Dave Heasman
Subject: Re: Lafayettes
Austin Roberts wrote:
> Hey Mike,
> Do you know anything about a 60's group called the Lafayettes,
> who had a small hit with a song called Life's Too Short?
A wonderful record, b/w "Nobody But You", released on RCA about 1962,
very influential on UK bands, particularly Them. I heard it at the
time on French radio, and bought it used when reissued about '77/'78.
This time it had a picture sleeve of the 3 Lafayettes. And here's a
funny thing: It was featured in the movie "Hairspray" (though it isn't
on the soundtrack album) and playing it "live" in the film were 3 guys
who were the spitting image of the Lafayettes on the single picture
sleeve. Except that "Hairspray" came out much later.
Dave H
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Message: 6
Date: Sun, 28 Dec 2003 10:52:50 -0800 (PST)
From: Steve Harvey
Subject: Famous Amos
Dan Hughes wrote:
> Bob, thanks for bringing up Soma (Bobby Vee's first label).
> Seems I heard it was named for founder Amos (Garrett) spelled
> backwards,
Amos Garrett is the session guitarist known for such solos as the
one he did on "Midnight At The Oasis". He is also an early disciple
of the "The Humbler" tape that was eventually released legitimately
due to his enthusiasm.
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Message: 7
Date: Sun, 28 Dec 2003 16:02:27 EST
From: Austin Roberts
Subject: Re: The Cherry People / The Hangmen
Thanks so much for the info. You folks out there are incredible
with the knowledge of little known facts, but things that matter
to people like us.
I'm lovin' this site! Best thing I've ever seen on music on the
internet!
Austin
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Message: 8
Date: Sun, 28 Dec 2003 16:16:59 EST
From: Austin Roberts
Subject: Re: Michael Brown / The Cherry People
Scott wrote:
> Geez, the late Bayou ... what a great club down in Georgetown
> near the water ... Gone and is now part of an office building
> or condo development.
Scott,
What a great balcony the Bayou had! A bunch of us used to come
up 3 or 4 times a year from Newport News just to go to the Bayou
because of the incredible feel of the place.
It figures that someone would tear it down to "put up a parkin' lot"
as Joni would say.
Did you know of a band in the DC area called the Party Makers?
Austin
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Message: 9
Date: Sun, 28 Dec 2003 14:07:37 -0600
From: Dan Hughes
Subject: Re: Soma and the Gestures
Bob wrote:
> Soma was Amos spelled backwards but his last
> name was not Garrett it was Heilacher.
I thought it was Garrett because Soma's twin label was
Garrett (Trashmen, Gregory Dee & the Avanties, Underbeats, etc).
So who was Garrett?
---Dan
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Message: 10
Date: Sun, 28 Dec 2003 16:30:17 EST
From: Austin Roberts
Subject: Re: Lafayettes
Mike Dugo wrote:
> Sorry, Austin - I don't have any info on The Lafayettes.
> If anybody on the list can chime in - please do!
Hey Mike,
I remember it had a quirky lyric that started with:
Well life's too short - And you're too sweet
Every day of your life child - You're gonna spend with me
(now get this)
We gonna up and get married - Before my hair turns gray
I need you for my baby -
........and another line I can't remember
It was a cool little record. Hey wait a minute, I just found it!
They were from Bethesda, Maryland and the record went to number
87 (Billboard) in 1962. Now I remember that that's where and when
I heard it. I was 16 and playing in an awful 3 piece pop rock group.
We all sucked, but we played in a fire station for donations. (I sure
wouldn't have payed us a dime if I was in that firehouse listening).
Austin
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Message: 11
Date: Sun, 28 Dec 2003 15:03:58 -0800
From: James Holvay
Subject: Re: Re: Jerry Fuller/Soul'd Out
Steveo wrote:
> Thanks for the post about Jerry Fuller. I do remember "Lies"
> and the Knickerbockers,as I was in Hollywood at that time.
> I spoke with the Knicks at Disneyland...Buddy and Jimmy Walker
> (he was an amazing drummer). They often played at a night club
> not far from Vine St. on the north side of Sunset Blvd. that
> was later called "Soul'd Out" (can't remember the original name)
Steveo: The name of the club you referenced (Soul'd Out) was
originally called The Red Velvet. That was the first club my
group (The Mob) played in LA, when Capitol flew us out to
record in '66.
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Message: 12
Date: Mon, 29 Dec 2003 00:10:41 -0000
From: Scott Charbonneau
Subject: Re: The Cherry People / The Hangmen
JJ wrote:
> Agree TOTALLY, regarding the diff between the FAB orig 45
> version of "What a girl..", compared to the LAME LP ditto!
> Didn't know it was another line up, i.e. group(!) who recorded
> the 45 version...
The Hangmen LP, as a whole, is a huge disappointment when set
against those 45 versions of "What A Girl Can't Do" and "Faces."
Definitely not worth the bucks!!
Scott
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Message: 13
Date: Mon, 29 Dec 2003 06:28:08 -0700
From: Dave Mirich
Subject: '60s Influential Geniuses/Brian Wilson
Paul Bryant:
> If we're talking about "most influential people" then immediately
> James Brown and Lou Reed must be added and probably Brian Wilson
> removed (can't think of many people who aspired to be like him or
> the Beach Boys, with the notable exception of the barking mad High
> Llamas).
Sean Lennon gushes that there is no better music than Brian Wilson
and the Beach Boys and that he listens to it every day. Carpenters,
Beatles, Tears for Fears, XTC, Garbage, Barenaked Ladies, Dave
Edmunds, David Bowie, Frank Black, Jellyfish, Teenage Fanclub,
Ladybug Transistor (excellent!), Apples in stereo (excellent!),
REM. It is rare that modern musicians (and older ones too) don't
acknowledge Brian Wilson's influence, in interview or tribute.
Even Hetfield of Metallica has "Pet Sounds" on his list of 10 all-
time favorite LPs (it recently was rated by 350 music experts as the
#2 greatest LP of all time by Rolling Stone).
Elton John recorded "Caribou" at the BBs Caribou studios and has
spoken of the influence on him of LPs such as "Wild Honey." Listen
to the many tribue CDs with the like of Sonic Youth who have talked
of BW's influence. I was amazed watching the bio "I Just Wasn't Made
for These Times" to hear Petty, Crosby and Nash, Ronstadt and others
speak of how BW influenced them. Elvis Costello has written about
how he revers BW and many of his LPs from late '60s-early '70s. Also
amazing is to see how many times the man is mentioned in Mojo, Uncut,
Rolling Stone, Pulse, Goldmine, Billboard and other mags -- 35 years
after his biggest hits. There are more BW/BB "soundalike" covers and
even bands than I could mention here. What always tickles me is when
a young punker or rock/hip-hop type mentions in interview how much BW
has influenced him/her. It would be hard to imagine the course of
music history since the '60s without the talents of Brian Wilson.
Even when a musician doesn't try to copy him, there is a debt of
gratitude (and awe) acknowledged by so many on their music. I can only
imagine the music we have listened to in the time since
the '60s would be diminished without Brian's genius and legacy.
Dave Mirich
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Message: 14
Date: Mon, 29 Dec 2003 07:44:29 -0000
From: Billy G. Spradlin
Subject: Re: Jukebox from Hell
Country Paul wrote:
> Certainly in the Top Ten on the Jukebox From Hell. Which could
> start another interesting thread: which songs are on your Jukebox
> From Hell (records you NEVER want to hear again, but no doubt
> will be subjected to)? I'll let others go first, but offer Dionne
> Warwick's treacly "That's What Friends Are For" as a starting
> point.
I DJ'ed at a tiny 1000 watt Adult Contemporary radio station in
Claremore OK in 1985. The station had been off the air for over a
year with no record library (and no microphones - we went over to the
local Radio Shack and bought about 4 "Hiball" mics to use on air) and
the present owner brought in a good sized 45 and CD library (mostly
Motown and Classic Rock) which served the station well.
We put together a good sounding station, but being a AM daytimer
broadcasting in mono with a weak signal kept us from pulling
listeners who preferred the nearby Tulsa FM stations. After about 5
months of making little money (with fellow employees recieving
bounced checks) the bank pulled the ownership from him and on Friday
cleaned out his office and took back his library of oldies. The
Program-Music Director had quit a couple weeks before. A quick call
to the man with whom the bank left the station in recievership (a
former Mayor and TV dealer) left me with the instructions to play
whatever 45s were left in the station - about 20 hits from the current
Top 40. The morning jock had a sports talk show and a syndicated
countdown show to help him out - no such luck for me.
I played those damned 20 records over and over and over for a whole 6
hour shift on saturday and also sunday afternoon! So records like
Whitney Houston's "The Greatest Love Of All", The Pet Shop Boys' "West
End Girls", Atlantic Starr's "Secret Love", Mr. Mister's "Broken
Wings" are on my personal Jukebox from Hell. The later owner decided
to can everyone and run a satellite format.
Billy
http://listen.to/jangleradio
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Message: 15
Date: Mon, 29 Dec 2003 09:35:06 +0000
From: Richard Williams
Subject: Re: Sixties Geniuses
Paul Bryant wrote:
> ...wonderful though H-D-H were, they were stuck on one
> level forever. No equivalent of Strawberry Fields, Blackbird,
> Cabinessence or Idiot Wind from them, as far as I have heard.
Now, Paul, are you seriously telling me that "Reach Out I'll Be There"
isn't fit to be spoken of in the same breath as any of those tracks you
cite? Or "Heatwave"? Or "Can I Get A Witness"? And what's this about "one
level"? Was Charlie Parker on "one level" because he only played alto
saxophone and concentrated on 12-bar blues and 32-bar show tunes within a
relatively restricted instrumental format? As a rather older song put it:
it ain't what you do, it's the way that you do it. Most of the time,
anyway.
And speaking of Charlie Parker, I should have added to my list of suggested
black geniuses of '60s music the name of Jimi Hendrix, the Parker of his
time.
Richard Williams
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Message: 16
Date: Mon, 29 Dec 2003 07:46:30 -0000
From: Fred Clemens
Subject: Re: Lafayettes
Mike Dugo wrote:
> Sorry, Austin - I don't have any info on The Lafayettes.
> If anybody on the list can chime in - please do!
This link may answer some questions about the group:
http://www.artweb.org/RandB/lafayettes_SUNart7-28-03.htm
As you can see, the info is fairly recent.
Fred Clemens
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Message: 17
Date: Mon, 29 Dec 2003 00:14:53 -0000
From: Scott Charbonneau
Subject: Tim Gilbert
Hi Clark!! Do you think that, at your convenience, you could
play the other side of the Tim Gilbert 45, "Early October," to
musica?
Many Thanks,
Scott
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Message: 18
Date: Sun, 28 Dec 2003 20:39:44 -0000
From: Peter Lerner
Subject: Re: "Walk Away Renee"
Richard Williams wrote:
> "Walk Away Renee" is one of the few great songs, I think, to
> exist in three outstandingly and completely different versions
> -- by the Left Banke, Four Tops and Rickie Lee Jones. Not just
> covers, complete revisions of equal artistic merit. Any more?
Well, I would just like to add that Vonda Shepard's cover of "Walk
Away Renee" stopped me in my tracks when I heard it played in a store
three years or so ago. I hadn't heard the song for 20 years or so.
And Vonda's re-creation of Lulu's "To Sir With Love", with Al Green
duetting, is nothing short of brilliant.
Peter
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Message: 19
Date: Mon, 29 Dec 2003 02:54:18 +0000
From: Robert Beason
Subject: Ketty Lester
Mick Patrick:
> I've posted one other to musica: "I'll Be Looking Back" by
> Ketty Lester, released on Tower 166 in 1965. Take a listen,
> it's great
Indeed it is, Mick! And thank you so much for playing it to musica!
I'd been wondering what the title of that fantastic song was ever
since I first saw her perform it on a bootleg Shindig video many
years ago. You made my day, mate!
Bob Beason
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Message: 20
Date: Sun, 28 Dec 2003 16:38:09 EST
From: Austin Roberts
Subject: Re: Jerry Fuller/Gary Puckett soundalikes
Mark T wrote:
> Apparently when Jerry found something that worked, he stuck
> with it. I have records he produced on Columbia by himself,
> Jimmy Walker and Jack Bedient and the Chessman that all have
> that great Gary Puckett sound to them.......
Man do I ever agree with you about Jerry Fuller's formula.
I think he also produced and may have written Al Wilson's #1
"Show And Tell," which to me, had a Puckett flavor to it.
Austin
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Message: 21
Date: Mon, 29 Dec 2003 02:46:37 -0500
From: Country Paul
Subject: Limelites, Heartbeats, and harmony; mentally "different" artists; Dolphin>Dolton; "uptight"; short takes
Jon Adelson:
> (I've waited for this moment) ra ta tat
And what a moment it was. I mentioned I was off to see the Heartbeats 50th
anniversary reunion (much fun if not a perfect recreation) which UGHA
sponsored last night (Saturday, 12/27/03), but there was a surprise: Shep's
original Limelites, with their current lead singer (sorry I didn't get his
name) were in the audience and were persuaded to get onstage for a couple of
numbers, including "Daddy's Home" and "Our Anniversary" (Hull, 1960-61). In
a word: wow! Not quite as idiosyncratic a voice as the late James Sheppard,
but the lead channeled the inflections and phrasing perfectly; of all the
artists on the bill, their set was to my ears even better than the original
recordings. The Heartbeats singing together for the first time in 44 years
was the emotional high point of the night, but the Limelites scored the
musical one. (Kudos, too, to the excellent Eternals ["Babalu's Wedding Day,"
"Rockin' In The Jungle"] with the original lead singer; and Cleveland
Still's Dubs ["Could This Be Magic" and many more], with only Mr. Still from
the original group, but a credible re-creation. Two very fine contemporary
groups, The Sheps and Cornerstone, rounded out the bill.)
By the way, even if you don't know The Heartbeats ("A Thousand Miles Away"
and many more), who were pioneers of the now-classic doo-wop sound, you know
the work of their bass singer after the group split up. Wally Roker did lots
of producing and arranging for Scepter/Wand and many other labels; others in
this group can cite "chapter and verse" better than I. James Sheppard, by
the way, either died of a heart attack, was murdered, was mugged, or drank
himself to death in 1970. All the facts but the ultimate one remain sketchy.
For doo-wop and early 60s group fans, January's UGHA meeting/concert
features The Florida Legends, including Tony Passalacqua of The Fascinators
(previously discussed at length in S'pop), Jimmy Gallagher of The Passions
("I Only Want You," Audicon, 1960-61), the lead of the Imaginations ("Hey
You," Music Makers, 1961), and the bass from The Five Sharks. Details at
http://www.ugha.org
Paul Bryant:
> On "An Evening With Wild Man Fisher" he sings "Dream
> Girl" which includes"
> "Her eyes are brown, her hair is blonde
> And everything about her's strong"
To me, picking on Wild Man Fischer isn't quite fair, as he is "delicately
balanced" mentally. That said, sometimes the imagery of the mentally
"different" is outstanding. Rhyming or not, I think this is pretty cool.
Of course, the "song" is open to debate....
Would the Brian Wilson lyrics David Mirich cites (his "Love You" lyrics)
also count as mentally precarious?
And from another mentally "different" person, Skip Spence, a great song
title from the "Oar" album/CD: "Lawrence of Euphoria." Also from the same
album (I forget which song) comes these delicious but totally un-PC lines,
even for the times:
"I will stay by your side by the day,
You'll stay underneath me at night."
By the way, as I've probably mentioned in this group before: for all its
sloppy imperfection, stream-of-consciousness-type lyrics, and drugged-out
nervous-breakdown terror and humor, I love this insane album. "Oar" was
among Columbia's worst-selling LP's upon release but has become a
well-deserved cult classic, in my opinion. (Thinking about it makes me want
to go find it and play it again; those unfamiliar with it can find an
expanded reissue on Sundazed.)
Re: Dolphin/Dolton: Here's the word from "Both Sides Now"'s Dolton page,
http://www.bsnpubs.com/dolton.html , by David Edwards and Mike Callahan:
"Dolton records started life in 1959 as Dolphin Records, a small
Seattle-based company. Their first label contained fish symbols that were
consistent with the Dolphin name. However, they soon apparently ran into a
problem with another label which had the name first, hence the quick change
to "Dolton," which didn't involve too much change on the label art, although
the fish logo stayed around for some time afterwards. This duplication of
names would probably not have been discovered for some time had not their
very first single release, "Come Softly to Me" by the Fleetwoods, been a
huge international hit. Because of the name change, and the ultimate need
for better distribution, the first single was issued as Dolphin 1, then
Dolton 1, then as Liberty 55188. Their first 45 was also issued as a stereo
single in 1959, although the stereo version contained bongo overdubs."
Paul Bryant:
> ..."Uptight, everything is all right" sings Stevie
> [Wonder] - but "uptight" doesn't mean "all right"
> does it? It's ancient 60s slang meaning the very
> opposite to all right!
Stevie and another artist, Judy Clay ("I'm Uptight," Lavette, early '60s)
both use it as a positive term. (In Judy's ballad, she's uptight with her
guy and feelin' good.) The term obviously reversed its meaning shortly
thereafter.
Notes from The Catch-up Files:
David Coyle, thanks for the info on Joe Brown and the Bruvvers. I think I
actually saw them on a Dick Clark show doing "Teardrops In The Rain," and I
love that 45, which was on Jamie in the US. What was his career post-British
Invasion era?
Don "Reubin" (Koppelman-Rubin) was really "Rubin," at least according to
their many label credits. (Can't vouch for the birth certificate, though.)
Art Longmire:
> the Left Banke's original [of "Walk Away Renee" is
> definitive, in my opinion.
My two cents: agreed, and the follow-up, "Pretty Ballerina," is even more
fey, more intricate a composition and more beautiful. Please forgive that I
never "got" either the Four Tops or the Orpheus versions.
Nick Archer:
> Left to right, it's my friend Skip Woolwine, Tupper
> Saussy, and John "Buck" Wilkins....
...who looks scarily old! How old IS he now, Nick?
Finally, a mea culpa, mentioned in service of keeping S'pop factual: I
credited the Larks' "The Jerk" to being on Cash, when it was really (as
Chris Lalor noted) on Money. I sit corrected. (Hard to type while standing!)
Too many good posts, not enough time....
Country Paul
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Message: 22
Date: Mon, 29 Dec 2003 08:38:35 EST
From: James Botticelli
Subject: Re: Tootie & the Bouquets
Mick Patrick and Phil Chapman:
Thanks for posting, and for Phil's alternate take. As soon as I heard
Tootie's release, I thought of Little Eva; "Tootie's" voice employs
that same vocal quirk as Eva's - "chewing" certain syllables and vowels
- that make the voices identical to me.
It's all too bad that girl-group producers in the early 60s didn't keep
logs as detailed as Carol Connors'... think of all we'll never know!
--Jimmy--
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Message: 23
Date: Sun, 28 Dec 2003 11:36:46 -0800 (PST)
From: David Coyle
Subject: Re: Let's Live For Today
There are two songs on the CD "Jump!" by the UK freakbeat/mod
band The Riot Squad that sound like blueprints to the Rokes
original version of "Let's Live For Today" as well.
David
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Message: 24
Date: Mon, 29 Dec 2003 12:03:29 +1100
From: Jules Normington
Subject: Lyrical gems
I always figured one of the great ones was in Hal (& Burt's)
"Magic Moments" sung so magically by Perry Como, natch, where
he intones:
"The way that we cheered whenever our team was scoring a touchdown
The time that the floor fell out of my car when I put the clutch down"
...and how can you go past "Music To Watch Girls By" for lyrics so
evocative, so damn clever, and so damn simple (just how good is that
first line)..the scene is set so well...you just wanna be there....
piazza in Italy...scooters...mini-skirts...boys sitting 'n' leaning on scooters...
"The boys watch the girls while the girls watch the boys who watch the
girls go by
Eye to eye, they solemnly convene to make the scene
Which is the name of the game, watch a guy watch a dame on any street in
town
Up and down and over and across, romance is boss
Guys talk "girl talk", it happens everywhere
Eyes watch girls walk with tender lovin' care
It's keepin' track of the pack watching them watching back
That makes the world go 'round
"What's that sound?" each time you hear a loud collective sigh
They're making music to watch girls by"
...well...it does it for me anyway...truly quality stuff.
And, not that we were discussing songwords of great romantic beauty,
but are there any more romantic lyrics than those of Vic Damone's
"On The Street Where You Live"...??!!
-------------------[ archived by Spectropop ]-------------------
Message: 25
Date: Sun, 28 Dec 2003 15:26:42 EST
From: Austin Roberts
Subject: Re: The Knickerbockers/Jimmy Walker
Steveo wrote:
> Thanks for the post about Jerry Fuller. I do remember "Lies"
> and the Knickerbockers, as I was in Hollywood at that time.
> I spoke with the Knicks at Disneyland....Buddy and Jimmy Walker
> (he was an amazing drummer). They often played at a night club
> not far from Vine St. on the north side of Sunset Blvd. that
> was later called "Soul'd Out" (can't remember the original name)
Steveo,
When Jimmy Walker went with Bobby Hatfield (I think he took Bill
Medley's place), a friend of mine named Eric (brain fart; can't
remember his last name) took his place. He was a solid drummer.
I remember the club you're talking about. Where did you live in LA?
Austin
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