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SPECTROPOP - Spectacular! Retro! Pop!
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There are 25 messages in this issue.
Topics in this digest:
1. "The White Whale Story"
From: Michael Edwards
2. 2 Austin Roberts groups (Arkade/River Deep)
From: Jeff Lemlich
3. Re: Good Vibrations/Pet Sounds
From: Steve Harvey
4. Felice Taylor
From: Jakeeo
5. Re: jailbait rock
From: Glenn
6. Re: The Band
From: Stephane Rebeschini
7. Re: Hangmen
From: Jeff Lemlich
8. Re: Jimmie Cross / Let's Live For Today
From: Clark Besch
9. Ricky Nelson-Summertime - Let's Live For Today - We Ain't Got Nothing Yet
From: Albabe Gordon
10. Re: Tony Velona
From: Stephane Rebeschini
11. Re: (Why) Brackets?
From: Glenn
12. Re: Hamilton, Joe Frank, & Reynolds
From: Glenn
13. Brian Wilson influence
From: Wayne Short
14. Re: Merry Go Round Stereo 45 / The Band
From: Tom Taber
15. Re: Left Banke/Cherry People's "And Suddenly"
From: Mike McKay
16. Please Phil Spector
From: S'pop Projects
17. Brain Wilson/BBs homages
From: David Mirich
18. Re: Brian Wilson influenc
From: Peter Kearns
19. Re: Stereo 45s
From: Mike McKay
20. A Forgotten "Jailbait" Song
From: Larry Lapka
21. Re: Stereo 45s
From: Tom Waters
22. Re: Elvis's and Terry Stafford's "Suspicion"
From: Mike McKay
23. Re: Stereo 45s
From: Jerry Lintelf
24. Re: (Why) Brackets?
From: Phil Milstein
25. Left Banke 45 on Camerica
From: Jules Normington
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Message: 1
Date: Wed, 31 Dec 2003 00:03:56 -0000
From: Michael Edwards
Subject: "The White Whale Story"
I recently received the Rev-ola (UK) CD, "Phantom Jukebox
Vol. 1 – The White Whale Story" and after playing it a few
times, I recommend it to members of this group.
It doesn't include anything by the Turtles and it doesn't
duplicate any of the tracks on the Varese CD, "Happy Together
– The Very Best Of White Whale Records". In fact it complements
some of the titles on that set by offering some of their b-sides.
Liz Damon's "You're Falling In Love" and the Committee's "If It
Weren't For You" being fine examples of this.
The Liz Damon track is the best on the CD being a superb Pet
Clark/Tony Hatch knock-off. Another surprise is the inclusion
of "We've Only Just Begun" by Holiday Inn lounge singer, Freddie
Allen – apparently the original version of the hit song by the
Carpenters.
Not every track is a gem but there are enough of them to justify
the $13.98 asking price at amazon.com. There is a BT Puppy Rarities
CD from the same company which should now be available in the US.
Mike
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Message: 2
Date: Wed, 31 Dec 2003 06:08:41 -0000
From: Jeff Lemlich
Subject: 2 Austin Roberts groups (Arkade/River Deep)
Clark Besch
> I am very happy to have Austin Robert's Arkade hit "Morning
> of Our Lives" on a stereo/mono DJ 45, as the store copy was
> mono and it is not on CD yet in stereo - AND the stereo is
> well mixed!! Gotta be one of the few Hot 100 hits that is
> in stereo on vinyl, that is still unavailable in stereo on
> legit CD.
Clark, I know you mentioned this song being used in a Bridal
Fair ad in your area. It was also used in the same manner by
WFUN in Miami: "it's the morning of our lives, and it starts
with Bridal Fair"!
Probably my favorite Austin Roberts record is "Shelly Tell Me
Why" by River Deep, which reminds me a lot of "Time Of The
Season" by the Zombies. Austin, any memories of recording
that one?
Jeff Lemlich
http://www.limestonerecords.com
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Message: 3
Date: Tue, 30 Dec 2003 21:06:45 -0800 (PST)
From: Steve Harvey
Subject: Re: Good Vibrations/Pet Sounds
I doubt that "Good Vibrations" was ever supposed to be
on "Pet Sounds" since they put "Sloop John B" on and
that fit even less than "Good Vibrations" did in the
scheme of things. Still, they wanted a hit single to
entice buyers (lotta good it did!). Something like
"Good Vibrations" would have even been more enticing
to tack onto Pet Sounds, but I suspect it wasn't
totally finished when Pet Sounds came out.
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Message: 4
Date: Wed, 31 Dec 2003 00:26:10 EST
From: Jakeeo
Subject: Felice Taylor
Hello, does anyone know whatever happened to Felice Taylor?
Is she still singing. I heard that she may have had some past
emotional problems, but is she still with us? I am an
"Entertainment Specialist" and would like to write a story about
her, but know one seems to know where she is these days.
If anyone has information about her at all, please reply to
this message.
Thanks,
P.S. There may also be record royalties stored up for her
if she can be found.
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Message: 5
Date: Wed, 31 Dec 2003 07:01:19 -0000
From: Glenn
Subject: Re: jailbait rock
Phil Milstein wrote:
>I'd like to point out that society does (or at least should)
> make a clear distinction between sex between near-age partners,
> and sex between an adult and a minor. Donny Osmond's "Sweet And
> Innocent," for example, doesn't really belong on a "jailbait" list
A matter of happenstance, Phil, in that the artist who recorded it
was 13 years old at the time (which also brings up the disturbing,
yet silly, question: just how young WAS this girl that was after
him?) But I included it because the song itself fits the classic
lyrical themes of songs about conflicted men who are "of age" being
involved with girls who are not "of age", right down to the lyric
"I'd like to kiss you and hold you tight/So go on home girl or I
just might", clearly depicting a temptation to cross some kind of
forbidden line, and reminiscent of "Get out of here/Before I have
the time/To change my mind/'Cause I'm afraid we'll go too far".
So the fact that the artist that recorded it happened to be 13,
which actually makes the lyric fairly absurd coming out of his
mouth, does not disqualify this song from being about what it
was clearly about, which of course would have been much clearer
(and less ridiculous) had it been recorded by someone older.
So with a suspension of disbelief, which is necessary in any
case when you hear a 13 year old telling any girl that she is
too "Sweet and Innocent" for HIM (at least back in 1971), the
song belongs on the list.
BTW, I heard a 42 year old Donny Osmond sing the song at a concert
several years ago - does that change anything? :)
But I do agree with you that distinctions should be made between
near-age partners and adults with minors, even tho they can be
pretty much the same thing - say, someone who is 17 years, 11 months,
30 days, 23 hours and 55 minutes old with someone who is 18.
>(Also, the defense that "she lied about her age" is hardly a valid
> one; as they say, "Tell it to the judge." Or, put another way,
> "When in doubt, leave it out.")
LOL. Well, that's true, but I simply stated that the "Young Girl"
narrator is beyond MORAL reproach because the girl lied about her
age - I didn't say he was beyond legal action. And fear of the latter
is exactly why he is telling her to get out of his mind, and his life.
Glenn
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Message: 6
Date: Wed, 31 Dec 2003 14:03:42 +0100
From: Stephane Rebeschini
Subject: Re: The Band
Art Longmire a écrit:
> Another sort of puzzling 45 I have is one by the Band on Capitol
> Records. It's their first single, "I Shall Be Released", but instead
> of the artist name being given as The Band, the name on the record
> is "Music From Big Pink". It makes me wonder if the group (or the
> record company) might have released some early copies of their first
> single under this name.
Hi - The first single of "The Band" was released by
"Robertson/Danko/Manuel/Hudson/Helm", this was before
"The Band" became the group's name. "Music From Big Pink"
was the name of their first LP. You can find everything
you need to know (and much more!) about the Band there:
http://theband.hiof.no/singles/index.html#the_band_1968-1978
Stephane Rebeschini
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Message: 7
Date: Wed, 31 Dec 2003 06:13:46 -0000
From: Jeff Lemlich
Subject: Re: Hangmen
Phil Milstein:
> Were The Hangmen the same as The Hangmen Of Fairfield County, of
> "Stacey" fame? I'd thought the Fairfield Co. mention in their name
> referred to Virginia, but, with parts of VA being so close to DC,
> perhaps there is a connection between the two.
There was no connection between the groups. The Fairfield County
group came from Fairfield, Connecticut, and oh what a record
they made! I did "Stacey" in my short-lived garage-punk band
The Hivebizzers, but changed the lyrics to reflect some of the
newer drugs those crazy kids were consuming. I still can't believe
I found that record at a Hialeah thrift shop!
Jeff Lemlich
http://www.limestonerecords.com
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Message: 8
Date: Wed, 31 Dec 2003 06:11:51 -0000
From: Clark Besch
Subject: Re: Jimmie Cross / Let's Live For Today
Phil Milstein wrote:
> Ricky Nelson's 1962 version of "Summertime," which opens
> with the signature "Let's Live For Today" lick. I'm guessing
> it was played there by James Burton.
Phil, I think you are confused on the Rick Nelson track. His
"Summertime" starts with the exact licks of the Blues Magoos'
"Nothin' Yet". As for Jimmie Cross, it is a great record that
(again) Spectropopper Doug Richard turned me on to when doing
our radio show in the 80's. As usual, kudos to Doug....:)
Take care,
Clark
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Message: 9
Date: Tue, 30 Dec 2003 17:29:27 -0800
From: Albabe Gordon
Subject: Ricky Nelson-Summertime - Let's Live For Today - We Ain't Got Nothing Yet
Phil Milstein sayeth:
> Ricky Nelson's 1962 version of "Summertime," which opens
> with the signature "Let's Live For Today" lick. I'm guessing
> it was played there by James Burton."
Hey Phil. Actually it's more like The Blues Magoos, "We Ain't
Got Nothing Yet." ... and according to the liner notes, the
riff is credited as being played on a fender bass by Joe Osborn...
but James Burton was on the track as well... I wonder who came
up with the great lick?
The Rick(y) fan formally known as,
~albabe
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Message: 10
Date: Wed, 31 Dec 2003 14:16:09 +0100
From: Stephane Rebeschini
Subject: Re: Tony Velona
Jules Normington a écrit:
> Hi there Phil...we have Tony Velona to thank for those
> observations...Sidney Ramin wrote the music, and I can't
> find a single other song written by the two of them...would
> love to know if there were any more ...folks?
> Tony also wrote "Lollipops And Roses" (Paul Petersen/Jack
> Jones would be best known versions), and, although there's
> not a lot of them, again the lyrics are eloquent and heartfelt.
>
> He apparently added "some catchy musical production numbers"
> to the 1968 kids movie "The Clown And The Kids", but apart
> from the two above-mentioned songs I know of bugger-all else
> by him. Would love some leads ...anyone?
Velona also
- wrote the lyrics for the only LP of the Inner Dialogue
(Ranwood R.8050, 1969), a soft pop trio with female vocals.
- worked on the music of the Night Gallery TV serie (1970,
Rod Serling's follow-up to The Twilight Zone)
Stephane Rebeschini
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Message: 11
Date: Wed, 31 Dec 2003 08:54:42 -0000
From: Glenn
Subject: Re: (Why) Brackets?
Paul Bryant wrote:
> You all remember these:
> (There's) Always Something There To Remind Me
> (The Best Part Of) Breaking Up
> Remember (Walkin' in the Sand)
> Dawn (Go Away)
>
> So the question is... why was there this rash of silly
> brackets in song titles in the 60s? Who started it (anyway)?
Who started it I can't answer. As for WHY, there are several
specific reasons, but most of them boil down to one thing:
consumer recognition.
The goal of singles is to sell, so the chances are that your average
consumer walking into a record store having heard a song they liked
on the radio, and probably not having a clue who the artist is (most
people who buy records aren't as enlightened as us), would be asking
for "that song called 'Don't You Worry 'Bout Me'", and not for
something called "Opus 17". Heck, even us enlightened folks probably
wouldn't have been asking for something called "Opus 17"! But the
song was titled that at the insistence of its writers, Sandy Linzer
and Denny Randell, who decided after some major hits to be eccentric,
and was subtitled (Don't You Worry 'Bout Me) at the insistence of the
record company, which decided they wanted to both hold on to the
loyalty of these writers and to sell records. Thus we got "Opus 17
(Don't You Worry 'Bout Me)".
Fact is, songwriters have a right to call their songs whatever they
want, and copyright them that way. And get PAID for them that way.
So, in most cases, record companies DO NOT have the right to change a
song title, without specific permission from the songwriter and/or
publisher, but they have a right to append parenthetical phrases to
them, or even to put the real title in brackets and substitute a more
easily-recognized title. More people would have probably asked
for "It's In His Kiss" than the fanciful real title of "The Shoop
Shoop Song". Sometimes record companies even tack on bracketed parts
of titles mid-release, when they are told by radio and record stores
that people are asking for a song by a certain name or part of the
title. Thus the Spinners' "Games People Play" became the oddly-
named "They Just Can't Stop It the (Games People Play)". Odd as it
is, you will notice that the original title always stays intact and
unchanged, even if it is in brackets.
Sometimes, shorter titles are simply more commercial, fit on record
labels and album covers better, and are easier to refer to. While
there isn't one person in this group who wouldn't know what song I'm
talking about if I mentioned "Satisfaction" by the Rolling Stones,
the full title of the song is "(I Can't Get No) Satisfaction".
In many cases, the songwriters themselves include the parentheses in
the title, being savvy enough to recognize the commerciality of
shorter titles as well as the tendency of most people to quote whole
lines when asking for titles. Thus Tony Macaulay's "I Didn't Get To
Sleep At All" is rarely referred to as anything but "Last Night I
Didn't Get To Sleep At All' when people talk about it or request it,
and he anticipated this when he wrote it, titling it "(Last Night) I
Didn't Get To Sleep At All". In much the same way he titled "Love
Grows" "Love Grows (Where My Rosemary Goes)" because of the same
reasons. Face it, both now and back then, if you just said the
title "Love Grows" to your average person, they wouldn't have a clue
what song you were talking about. As soon as you add the "where my
Rosemary goes" part of the line, you have a connection, you have
instant recognition. And usually a big smile.
One interesting story was the conflict between Eric Carmen, when he
was in Raspberries, with the group's label, Capitol. Eric had written
a song called "Hit Record", and while Capitol wanted to release it as
a single, they were afraid a song with that title might be a little
presumptuous and arrogant, and might work against the single becoming
successful. Carmen disagreed. This was a fairly big fight, but they
finally settled on the compromise "Overnight Sensation (Hit Record)".
And the song became a Top 20 hit (record) for Raspberries and Capitol.
Anyway, parenthetical titles is one of my favorite topics, and I
could go on and on. But I'm sure some of the professional songwriters
in this group could add more insight and interesting stories to what
I have to say.
Glenn
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Message: 12
Date: Wed, 31 Dec 2003 09:01:56 -0000
From: Glenn
Subject: Re: Hamilton, Joe Frank, & Reynolds
Nick Archer wrote:
> I purchased a copy of "Annabella" by HJF&R the other day on
> the iTunes music store for 99 cents. Almost as much fun as
> finding it in a store. Anyone else been browsing the digital
> stacks?
No, but that is a GREAT song!!! I have it on HJF&R's "Greatest
Hits" CD. Which also includes their never-on-an-LP single "Daisy
Mae", a bouncy pure-pop delight that just missed the Top 40 at #41.
Glenn
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Message: 13
Date: Wed, 31 Dec 2003 07:42:52 -0000
From: Wayne Short
Subject: Brian Wilson influence
Pete Kearns has it right. Brian is the template. The songs and
arrangements have this uniqueness that make The Beach Boys inimitable.
What I find interesting is that there is a plethora of soundalikes
out there and to my ears always sound like a poor man's version of
The Beach Boys. The harder guys attempt to sound like them the worst
they fare.
Conversely, there are more artists abroad who cite The Beatles as
amajor influence, yet to my ears fare better, not to supercede the
template, (with respect to The Rutles!) but its as if The Beatles
influence allows broader musical brush-strokes. Again, I think this
is because Brian's musical vision was more exclusively his, (with due
respect to The Freshmen and Chuck Berry and Spector).
IMHO what The Beatles and Brian both achieved in the mid-sixties was
to push the edge of the envelope in pop. The move was masterly and
resides as the exemplar,the paradigm to this very day.
Those contemporary artists licking the edge of the Wilsonian envelope;
The High Llamas, XTC, Apples In Stereo, Ladybug Transistor, Silver
Sun, Peter Lacey, The Pearl Fishers, Louis Phillipe and others, all
deserve credit in their various projects that transcend the
soundalike tag, BUT there's only one Brian Wilson.
Wayne Short :)
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Message: 14
Date: Wed, 31 Dec 2003 06:03:07 -0800 (PST)
From: Tom Taber
Subject: Re: Merry Go Round Stereo 45 / The Band
Art Longmire wrote:
> Another sort of puzzling 45 I have is one by the Band on
> Capitol Records. It's their first single, "I Shall Be Released",
> but instead of the artist name being given as The Band, the
> name on the record is "Music From Big Pink". It makes me wonder
> if the group (or the record company) might have released some
> early copies of their first single under this name.
I've been meaning to ask for ages about The Band 45 I
have, regular commercial copy, which doesn't credit
"The Band", but rather lists it as being by all the
members, by first and last names. I believe it is also
"I Shall Be Released".
Tom Taber
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Message: 15
Date: Wed, 31 Dec 2003 08:53:25 EST
From: Mike McKay
Subject: Re: Left Banke/Cherry People's "And Suddenly"
previously:
> I know the Left Banke's "And Suddenly" was a 45 by them
> but not sure if it battled the Cherry People or if it
> was even the A side.
For the Left Banke, "Ivy, Ivy" was the A-side, while "And
Suddenly" was the B-side. And of course, these two songs
were both the work of Michael Brown and lyricist Tom Feher,
the latter of whom is the lead vocalist. No other Left
Banke members are present on these tracks.
I was surprised at how well Cherry People's version actually
did. If I'm remembering correctly from having looked it up
last night, it made it to #45. Don't ever recall hearing it on
the radio (though I do remember hearing "Ivy, Ivy"...exactly
once!).
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Message: 16
Date: Wed, 31 Dec 2003 13:48:35 -0000
From: S'pop Projects
Subject: Please Phil Spector
New @ S'pop
PLEASE PHIL SPECTOR: HIS SUBJECTS PAY HOMAGE
David A. Young brings new meaning to the term "Spector Collector"
with a feature article now showing in the New @ S'pop section.
Begin here:
http://www.spectropop.com/PPS/index.htm
Or view the pages individually:
Part 1: HONORABLE MENTION
Songs about or including lyrical references to Phil Spector
http://www.spectropop.com/PPS/PPSpart1.htm
Part 2: QUOTE UNQUOTE
Songs that include lyrics originally found in Spector records
http://www.spectropop.com/PPS/PPSpart2.htm
Part 3: IT SAYS HERE . . .
The category for printed allusions to Spector
http://www.spectropop.com/PPS/PPSpart3.htm
Part 4: FREE SAMPLES
Recordings that include actual segments of Spector discs
http://www.spectropop.com/PPS/PPSpart4.htm
Part 5: YOU GET THE PICTURE?
Records packaged to look like Spector releases
http://www.spectropop.com/PPS/PPSpart5.htm
Part 6: THE SINCEREST FORM OF FLATTERY
Releases that are in their very essence intended as tributes
http://www.spectropop.com/PPS/PPSpart6.htm
Part 7: WHAT WAS THE QUESTION?
Answer records and parodies
http://www.spectropop.com/PPS/PPSpart7.htm
Part 8: WHAT'S GOOD FOR THE GANDER
Recorded homages to Ronnie Spector, rather than Phil
http://www.spectropop.com/PPS/PPSpart8.htm
Enjoy!
The S'pop Team
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Message: 17
Date: Wed, 31 Dec 2003 06:19:29 -0700
From: David Mirich
Subject: Brain Wilson/BBs homages
> In the 60s/70s resurgence of recent years, the 'influence' of the
> Wilsons has indeed been somewhat obscure. But it's definitely there.
> But indeed, I think Dave is quite right in suggesting there's been no
> influence in as much as 'following on' and continuing to develop from
> what the Brian Wilson did. So I guess the below might fall into the
> category of homage. These examples to my ears are the most notable
> and definitely worth a listen. All british too. Of course I'm sure I
> haven't heard them all and would welcome any other suggestions.
> Pale And Precious - Dukes Of Stratosphear (Actually an XTC pseudonym)
> From Psonic Psunspot (1987)
> Chalkhills And Children - XTC
> From Oranges And Lemons (1989)
> Service - Silver Sun
> From Silver Sun (1997)
I LOVE Pale and Precious by the Dukes of Stratosphere (XTC).
Other great homages include:
Beach Boys Blood (in my veins) by Dave Edmunds (a wonderous song)
Beach Baby by First Class (crank this loud and have a fresh listen)
The first side of the Toons LP So Far
The Ghost at Number One by Jellyfish
Brian Wilson Said by Tears for Fears
Much of David Cassidy's best stuff (which is quite good)
Here There and Everywhere by the Beatles
Back in the USSR by the Beatles
(Also, what song did George say on Anthology that they were
trying to sound like the BBs?)
I Wanna be Sedated by the Ramones (Joey said they were trying
to sound like the BBs)
There are plenty more, not to mention the beautiful harmonies
of the Critters, Flower Pot Men, Yellow Balloon, Sunrays and ?
Dave Mirich
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Message: 18
Date: Wed, 31 Dec 2003 15:15:30 -0000
From: Peter Kearns
Subject: Re: Brian Wilson influenc
Stuart Miller wrote:
> Steveo said:
> My judgement would be, does that sound like a BB's record?
> Very few records indeed have ever made that impact on me
> and my own interpretation of that would simply be that the
> BB's sound was very hard to copy.
That is interesting. What does a BB's record sound like? I'm
sure there are still purists that might argue that 'Heroes And
Villians' doesn't sound like a BB's record. My nose would be
highly put out of joint by that suggestion. Or some might say
the 'Wild Honey' album is questionable as the real BB's sound.
I would incline (scuse the nose pun) more towards that. But then,
I'm a Smile convert through and through. All rise please!
It's Jan 1 already where I live. Happy new year spectropoppers
all!
Peter.
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Message: 19
Date: Wed, 31 Dec 2003 09:43:53 EST
From: Mike McKay
Subject: Re: Stereo 45s
Clark wrote:
> Then, stereo stations got either stereo/mono or stereo/stereo
> 45s and mono stations got mono/mono copies! This happened
> with Columbia Records especially. Then, there was the
> "compatible mono/stereo" labelling. Often these were actually
> just plain mono!
Then on LP, you had the reverse of this phenomenon -- at least
with The Left Banke and some other Mercury/Smash acts. I have
a copy of the "Walk Away Renée/Pretty Ballerina" album that
says mono on the label and the jacket but that in fact plays
stereo. I'm not sure if this album was ever actually issued in
mono or not, and it's my understanding that this was the case
with several other releases at this time when "playable on mono
phonographs" stereo LPs first came out.
I also believe I have some examples of unscrupulous smaller
labels releasing mono albums with a big sticker saying "This
record is playable on STEREO phonographs". Of course, this was
always the case with mono records! It was when you went the
other way and tried to play a stereo record with a mono cartridge
that you came to grief (until the compatible process was developed).
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Message: 20
Date: Wed, 31 Dec 2003 14:57:55 -0000
From: Larry Lapka
Subject: A Forgotten "Jailbait" Song
Who can forget (or for some, who wants to remember) the
Raiders' own contribution to the "Jailbait" song spectrum:
Just Seventeen, which if I remember correctly, talks about
involvement with an underage groupie and concludes with the
sound of a jail door slamming shut.
This single actually made the Hot 100, if I am not mistaken,
and can be found on their Collage album, when they were trying
to change their direction from a teenybop band to something
with more substance.
Larry Lapka
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Message: 21
Date: Wed, 31 Dec 2003 09:22:14 -0000
From: Tom Waters
Subject: Re: Stereo 45s
A question was asked about the first stereo 45. I believe
the first two 45s in stereo were "There Goes My Heart" by
Joni James and "Born Too Late" by the Poni-Tails. Both released
in 1958 and fantastic recordings I might add.
Tom
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Message: 22
Date: Wed, 31 Dec 2003 09:30:52 EST
From: Mike McKay
Subject: Re: Elvis's and Terry Stafford's "Suspicion"
Steve Harvey wrote:
> Terry Stafford's big hit "Suspicion" replicates the
> styles of the original.
> Stafford's version must have some extra that Elvis'
> version didn't since the King flopped on that one.
>
I'm pretty certain that Elvis's "Suspicion" was the B-side
of "Kiss Me Quick" and therefore wasn't being touted as a
hit single. I also seem to remember looking into this a
while back and learning that the song was already a couple
of years old before it was put on the single (it had been
an album track prior to that).
Mike
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Message: 23
Date: Wed, 31 Dec 2003 07:00:34 -0800 (PST)
From: Jerry Lintelf
Subject: Re: Stereo 45s
Polydor in Germany were issuing stereo 45s from the back end
of 1958. The first was "Malaguena" by, I think, Kurt Edelhagen.
These were pressed by DGG and were available on special import
here in the UK.
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Message: 24
Date: Wed, 31 Dec 2003 11:07:39 +0000
From: Phil Milstein
Subject: Re: (Why) Brackets?
steveo wrote:
> Paul, My guess is because the title phrase was longer than they
> wanted it to be, or it helped the public identify the song by
> including more of the phrase. Could have been a producers gimmik,
> I dunno. It is a very interesting question and I'd like to know
> more about it myself, which record started it, what year, etc.
I don't know who started it, but I can report that the punkrock
postmodernist Richard Hell used to like to have a lot of fun with
parentheses in his song titles, messing with the formula in various
ways just because it was there.
I've always thought that the use of parens were a way of "double-decking"
a title; in other words, giving less-than-complete weight to the subtitled
part much the way a New York Times headline will often go two or three
decks deep, with diminishing weight given to each successive level.
--Phil M.
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Message: 25
Date: Thu, 01 Jan 2004 02:56:47 +1100
From: Jules Normington
Subject: Left Banke 45 on Camerica
Speaking of Michael Brown as we have been, did anyone here
ever get a copy of the solitary 45 from their brief reformation
in 1978...it was on a label called Camerica. The 'A' side was
"Queen Of Paradise", and it remains one of the most beautifully
melodic songs (along with the Beckies "River Bayou"...and how
good is that one!!) that any MB band has recorded...it's one of
those 45s I'd never part with. Just wondering if it's one of
those 45s that surfaced much over there in the US...I ordered
stock of it for my record shop here (Sydney, Australia) back then,
and I remember it taking a while to come through from the one-stop
we used in L.A. Well worth the wait and effort though. Anyone else
here know that gem?
Cheers,
Jules
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