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SPECTROPOP - Spectacular! Retro! Pop!
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There are 25 messages in this issue.
Topics in this digest:
1. Brian Wilson's last great song
From: Chris
2. Orgone Box
From: Jules Normington
3. Re: Stereo 45s
From: Paul Urbahns
4. Re: Stackridge
From: sarah vaughn
5. Re: (Why) Brackets?
From: Orion
6. Re: Troggs / parens
From: Phil Milstein
7. Re: Badfinger / Beatles influence
From: Mike McKay
8. Left Banke mea culpa
From: Mike McKay
9. Herd song / Bi question
From: JD Doyle
10. Re: (Why) Brackets
From: Richard Williams
11. Brian Wilson at the Rose Bowl, and lots of catching up
From: Country Paul
12. Re: Badfinger / Beatles influence
From: Eddy
13. Re: Good morning little school girl
From: Denis Gagnon
14. Re: Brian Wilson's last great song
From: Paul Bryant
15. Lambert-Potter productions
From: Nick Archer
16. Macarthur Park
From: Paul Bryant
17. Re: Badfinger / Beatles influence
From: Peter Kearns
18. Austin Roberts & Bazooka
From: Tony Waitekus
19. Re: Time to get a loan
From: Mark Frumento
20. Re: Stackridge
From: Mark Frumento
21. The Hangmen's "What A Girl Can't Do"
From: Bill George
22. Re: Bi question
From: Jeff Lemlich
23. Re: Badfinger / Beatles influence / Come and Get it Lead Vocal
From: Mark Frumento
24. Happy Birthday, Julie
From: Country Paul
25. Re: Stalker Rock
From: Bob Hanes
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Message: 1
Date: Thu, 01 Jan 2004 15:43:34 -0800 (PST)
From: Chris
Subject: Brian Wilson's last great song
Question for Paul Bryant (mostly): Just out of curiosity, what
do you think is the last Brian Wilson composition -- i.e., the
most chronologically recent one -- worth listening to?
Chris
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Message: 2
Date: Fri, 02 Jan 2004 11:29:53 +1100
From: Jules Normington
Subject: Orgone Box
Now, I've been reading these High Llamas posts with great interest
as I admire them immensely...but I'd like to throw another hat into
the ring (that's the legends-as-an-influence ring)...and this, by
the way, is a hat that will fit MANY of you on this list.
That hat belongs to The Orgone Box... If you don't know them, if
you were to find a copy of their self-titled CD, you'd be blessed
by a stunning album full of the most beautiful melodies, utterly
gorgeous production (think George Martin, Phil Spector, Brian
Wilson) providing a huge full sound, and an ever-present touch of
psychedelia (think British pop-psych 1967 era). It's the melodies
that over-ride everything else though. The Orgone Box is Rick
Corcoran...and you could be excused for thinking he grew up on an
exclusive diet the Beatles and the Beach Boys...it's engendered
some amazing reviews, viz:
³Glorious, pulsing psych-drenched power pop of the highest order;
lyrically intelligent and driven by joyous energy and majestic
melodies with more hooks than a lifetime subscription of Angler's
weekly.² - Mick Dillingham from an interview with Rick in
Bucketful of Brains #58
³...the CD is psychedelic as hell. It's also poppier 'n hell,
with its big, lush waves of sound, irresistible hooks, and rolling
harmonies...In fact, with his heliumated Lennonesque vocals, this
may be the best marriage of pop and psych since 'Strawberry Fields
Forever'.² - Toast Magazine
³Above parody, beyond revival, Corcoran knew, and maybe still does,
exactly what made the Beatles chord-progressions and lysergic-
world special. And it shows! Well worth investigating!!²
- Record Collector.
³The results are absolutely mind-blowing when everything clicks, as
it does on just about every track...Easily a contender for album of
the year, I'd say.² - Goldmine
³The collective result resembles a fantastic Baroque pop construct
of Sgt. Pepper-y proportions, the kind of record that headphones
were invented for.² - All Music Guide
I hope a lot of you already know this album...but if not, boy have
you got a treat awaiting. (It's on Minus Zero Records in the UK.)
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Message: 3
Date: Thu, 01 Jan 2004 20:34:53 EST
From: Paul Urbahns
Subject: Re: Stereo 45s
Mike Callahan explained stereo 45s in one of his articles. The
first stereo 45s were issued in the 50s with the first stereo
albums. But the juke boxes were made for mono and few rcord
buyers purchased them. So the companies went back to mono for
singles. Then juke box companies covered to stereo but by the
time they were in most locations they were filled with mono 45s.
The 6 song stereo EPs (short versions of albums) were
manufactured strictly for the juke box trade and was generally
in stereo.
The first all stereo 45 label I know of is the Hit Records sound-
a-like label in Nashville that was pressing everything from
January 1964 on in stereo. The singles were mastered by Columbia's
Nashville Studio in Compatible which became the industry standard
for a short while when Clive Davis eliminated mono Lps in the late
60s. Those Columbia Lps saying something to the effect also plays
in mono were Compatible materings originally.
Many Mercury albums which play stereo in mono sleeves are actually
Compatible pressings and have both release numbers etched in the
groves. My Mystic Moods "More Than Music" though in a mono sleeve
is actually compatible mastered and plays stereo.
For those who missed our earlier discussions a Compatible mastered
album has the bass (frequencies below 500 cycles) in mono.
Therefore they can be tracked by a mono needle which was not as
sharp (had a bigger needle) than stereo needles. I have some
Compatible stereo Atlantic 45s that were made from Mono tapes so
they would track better on stereo turnatables.
Paul Urbahns
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Message: 4
Date: Thu, 01 Jan 2004 17:40:34 -0800 (PST)
From: sarah vaughn
Subject: Re: Stackridge
Mark Frumento wrote:
> Stackridge released an amazing and yet totally unnoticed "reunion"
> LP in 1999 called "Something for the Weekend." It's full of the
> same melodic tendencies as their 1970s releases. James Warren, who
> was probably the main proponent of their Beatles/Beach Boys sound,
> was also in the 70s band Korgis... yet another example of a band
> updating 60s sounds.
I had no idea about this album. I'll have to check this out! I love
the first two albums, and that's all I've ever heard from them. I've
been lurking around for a while and never posted anything so it
seems like it's approriate for my first post to be to thank you for
informing me of this. First thing I must do is see who produced it,
and if there's any songs about giant vegetables or hedgehogs on it.
Happy new year everyone! Sarah 1969
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Message: 5
Date: Thu, 01 Jan 2004 20:58:37 -0600
From: Orion
Subject: Re: (Why) Brackets?
Gary Spector wrote:
> As for the best answer (so far), I think Glenn has the answer that
> makes the most sence (to me).
I agree Gary except how do you explain songs that were written long
before radio was around that carried the ( )? To me it is not
something we will know for sure, but I will go along with Glenn's
theory, at least since the production of records and the billboard/
Cashbox Hot 100, etc.
Orion
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Message: 6
Date: Thu, 01 Jan 2004 22:33:23 -0500
From: Phil Milstein
Subject: Re: Troggs / parens
Artie Wayne wrote:
> ......so 15 minutes before they were due to arrive, I picked up my
> guitar and wrote "Somewhere my Girl is Waiting". Larry loved it
> and recorded it a few weeks later. Although it was banned in the
> UK [for being too suggestive] and never released in the U.S. it
> gave me an open door to Larry from then on.
Fantastic song! Although, with all due respect (and quite jokingly),
it seems it was harder to get a cut on The Troggs that WASN'T banned
than one that was!
Speaking of Page's boys, does anyone know why the excellent "Troggs
Archaeology" 2-CD set (which includes Artie's "Somewhere My Girl Is
Waiting") was pulled off the market so quickly after its release in
1992? I mean, ya sneezed and ya missed it, and no store I tried could
get it back in again.
While I'm at it, here's a great lyric couplet, from I Can't Control
Myself:
You fill me so with this big temptation
This kind of feeling could move a nation
Richard Williams wrote:
> During the sessions for "Happy Xmas (War Is Over)", John Lennon
> pointed out the brackets in the song's title and said it was one
> of those pop-music habits that he liked a lot.
Good story. One of Richard Hell's song titles read, "(I Could Live
With You) (In) Another World." Which was reduced to just "Another
World" for the album version.
--Phil M.
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Message: 7
Date: Fri, 02 Jan 2004 00:20:29 -0500
From: Mike McKay
Subject: Re: Badfinger / Beatles influence
I wrote:
> Badfinger had the last of their four major Top 40 hits, all of
> which were very Beatles-sounding, in 1972.
Peter Kearns replied:
> This would fall in a slightly different category I would think.
> I'm not convinced of how overtly Beatle-sounding Badfinger were.
> Again, it's that 'influence' thing. The literal involvement of
> McCartney/Harrison unavoidably gave them a Beatle 'bent' as it
> were...
Well, as Paul McCartney instructed Badfinger to virtually duplicate
his demo of "Come and Get It" down to the smallest detail (assuring
them that it would become a hit if they listened -- they did and it
did), I think you'd have to stretch to say it's not Beatles-sounding.
And I can't be the only one who hears similarities in Pete Ham's and
Paul's voice (the irony was that it was Joey Moelland who looked so
much like Paul!).
Then as you allude to later, you have things such as the slide solo
on "Day After Day" (played by Pete Ham and doubled by George
Harrison, who produced the track).
> and may well have been a double-edged sword when you consider
> that Badfinger in a way were tainted by the Beatle presence and
> could very well have flourished without them (and indeed had
> already existed as the Iveys) in a way that someone like Mary
> Hopkin could not.
It's hard to say to what extent they were "tainted" by the
association with The Beatles, but the reality is that the association
was entirely limited to "Come and Get It" and the handful of tracks
Harrison produced. There was no involvement whatsoever between them
beyond this (despite their residence on the Apple label).
Believe me, I love Badfinger, and wouldn't think of taking away from
their accomplishments by labelling them as unduly influenced by The
Beatles. The influence, I think, was unavoidable -- and in my
personal view, when Badfinger tried to be a more traditional "heavy"
group, leaving behind the virtues of melody, harmony, and songs with
hooks, they were far less interesting.
And let's remember that the original statement I was responding to
was that having a sound with Beatles touches was an impediment to
commercial success in the early 70s. I believe the examples I cited
show this wasn't entirely the case.
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Message: 8
Date: Fri, 02 Jan 2004 00:37:38 -0500
From: Mike McKay
Subject: Left Banke mea culpa
Thanks to those who pointed out my error in crediting Tom Feher
with the lead vocal on "Ivy, Ivy" and "And Suddenly." I know
better, and I should have been more careful. My apologies.
Small consolation, but it's nice to know the big guys can screw
up too. I happened to be thumbing through Dave Marsh's "The Heart
of Rock and Soul" earlier today, and in his "Give Him a Great Big
Kiss" entry, he calls Mary Ann Ganser the lead singer of the
Shangri-las and makes Mary and Betty Weiss the "brunette twins"
backing her up!!
This only reinforces my belief that Marsh must have been a real
geek growing up. Given what Mary Weiss did (and still does) to me
both vocally and, er, "hormonally" -- well, I damn sure knew which
one she was!
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Message: 9
Date: Fri, 02 Jan 2004 05:45:36 -0000
From: JD Doyle
Subject: Herd song / Bi question
Hi,
Can someone give me info about the song "Something Strange" by The
Herd? I've read that its lyrics have bisexual or gay context to them.
Can someone verify that to me, or, better yet, tell me how I can hear
the track.
The reason I want it is I'm doing research for a radio show. I
produce a monthly show out of Houston called Queer Music Heritage. I
think my February show will be on bisexuality in music...not bisexual
artists, but songs actually lyrically about that. There are numerous
recent songs to be found, but I'm having trouble finding many "older"
ones. Surely folks didn't just start singing about this in the 90s.
Any song ideas would be much appreciated. I don't know that anyone
has tried to do a show on this, so I want to make it as good as
possible. Thanks,
JD Doyle
http://www.queermusicheritage.com
qmheritage@aol.com
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Message: 10
Date: Fri, 02 Jan 2004 09:27:32 +0000
From: Richard Williams
Subject: Re: (Why) Brackets
Come to think of it, the greatest parenthesized song title of all
time must be Bacharach and David's "(Here I Go Again) Looking With
My Eyes (Seeing With My Heart)", a wonderful 1965 single for Dionne
Warwick.
Richard Williams
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Message: 11
Date: Fri, 02 Jan 2004 01:52:43 -0500
From: Country Paul
Subject: Brian Wilson at the Rose Bowl, and lots of catching up
Happy New Year to all - may 2004 be a year of health, happiness,
peace, prosperity, satisfaction, good music, and all the items on
your want list being found in mint condition on the original label
for waaaay below market value!
New Year's News: Today's Tournament of Roses Parade features Brian
Wilson (the real one) and his wife (also real) riding in a '47 Ford
woodie (not a real car, but a beautifully designed float in flowers).
Poor Brian looked a little wooden, but you can't help think he was
having at least a little bit of fun, fun, fun.
Back to catching up:
Steve Crump, re: Mina:
> Il Cielo In Una Stanza was released in the USA on the Time label
> and made the charts 1961. The label lists the song as "This World
> We Love In", but is the Italian language version.
...and it was a small hit in the US; it's the only record of hers I
knew of before the discussion here.
Martin Roberts:
> The featured song on Al Hazan's page is another obscure 60s female
> vocalist: Lee-Anne with the self-composed "Never" on Ann records:
> http://www.spectropop.com/JackNitzsche/ahjnrotw.htm
Well, the first 8 seconds sound great; the rest won't play for me.
Any tips, please?
Mark T:
> I don't really think there is much recorded in the last 25 or so
> years that I would constitute as being good....I learned in a
> sociology class in high school that matters of taste can never be
> argued.
Then I won't argue, just differ in my opinion that there has been
lots of really good stuff; most of it just doesn't show up on
commercial radio. But check any site that distributes music and has
reasonably-sized samples, such as www.cdbaby.com, and you'll find
dozens of new and recent albums worth owning, many by artist-owned
companies, with quite a few paying homage to "our" genres.
As a starting point, I'd commend you to my friend Alice Bierhorst's
"Oxygen," found there or at her own website:
http://www.alicebierhorst.com
And on a more mainstream note, find 1993's superb debut album by
October Project (Epic), with the remarkably distinctive lead voice
of Mary Fahl and some of the best writing and vocal interplay of the
1990's. Not a clinker in the bunch. If you like great orchestrated
pop, beautiful melodies, and a nod to Fairport Convention, find this
CD; you won't regret it.
Peggy Lee's name came up, and I was wondering if "Sing A Rainbow,"
from the original Disney movie "Lady & The Tramp," originally on a
Decca 45, was available anywhere on a CD? (My 45 plays like Rice
Krispies!)
Will Stos:
> I just stumbled across a site called http://the.soulclub.org which
> has hundreds of really hard-to-find tunes available for your
> listening pleasure.
Indeed - but two notes: (1) the files have the extension ".ram" which
I haven't encountered before; and (2) artists are filed by first name
or, in the case of groups starting with "The..." under the letter T.
But yes, Will, what a find! Now, if you've never heard it, go to "T"
and check out The Dontells' "In Your Heart You Know I'm Right" (VeeJay,
1964). Musical question of this post: what is the original inspiration
for this title?
And answering an earlier question, Jim Cassidy and TD correctly
identified "Mmm-dap, mmm-dap, mmm-wa-wa-wa" as "Baby Talk" by Jan &
Dean. Congratulations - your diploma from the College of Musical
Knowledge is lost in the mail somewhere! :-)
Literature Dept.:
C. Ponti:
> For those who feel, as I do, that the business aspects of the music
> industry are indisputably wed with the artistic, I would recommend
> reading HITMEN by Dannen and another book, OFF THE CHARTS.
And for a nuts-and-bolts guide to navigating the industry's
treacherous shoals, I suggest "Confessions of a Record Producer" by
"Moses Avalon," an admitted nom-de-plume. He offers a step-by-step
how-to, including the categories of people who have to be "stroked,"
etc. No names are given, but it's a handy tool if you want to either
crash the majors or start your own artist-based label. Barnes & Noble
stocks it in the US.
Justin McDevitt:
> It's good to see some postings on this group regarding Ruby and The
> Romantics. My favorite song by this wonderful harmony group is When
> You're Young And In Love.
May I throw in a nod to my personal fave, the doo-wop inspired
"Moonlight and Memories."
Mike McKay re: Godfrey Daniel;
> ...The thing of it is, the singing and the arrangements are
> EXCELLENT -- and outside of a component of humor that seems
> naturally occurring in doo wop music, they're played perfectly
> straight. That is, there's no element of exaggerated parody
> such as you find with Sha-Na-Na. These guys were serious about
> what they were doing....[D]oes anyone know more about this
> thoroughly enjoyable album?
Wish I did, Mike; we used to play them occasionally at WHCN (a
progressive rock station). They may have been the best neo-doo-wop
act until Little Isidore & The Inquisitors came along - and
LI&theI's played live!
LI's CD's are also excellent: http://www.littleisidore.com has more
info.
For a good review of this now-disbanded group's live show, click on
"Isidorian Historian" and then "Third Wave." (I heard a third-hand
rumor that they might reform; hope it's true.)
Mark Frumento:
> Another interesting little LP from Bosstown is Chamaeleon Church.
> The band's main distinction was that Chevy Chase ranked among its
> members (don't laugh, he's actually quite good and even
> contributes a credible pop vocal on one song). I would never
> compare CC to Orpheus but the LP has a nice baroque pop sound with
> fairly accomplished songs.
The beautiful "Camelia Is Changing" from that album is, in my opinion,
the lead track. Well worth finding, either 45 or LP version.
Incidentally, although based in Boston (with Mr. Chase being from
Pawtucket, RI) and on MGM, they were not marketed as part of the
Bosstown Sound hype, despite the Chevy Chase narrative quoted by Tom
about this group posing as Orpheus.
Scott Swanson:
> I do know of 4 Wilbury-related Del Shannon recordings, though:
> 1. Hot Love (with Lynne, Petty & Harrison)
> 2. Lost In A Memory (with Lynne & Petty)
> 3. I Got You (The Bird's Song) (with Lynne & Petty)
> 4. Walk Away (with Lynne & Petty)
Where are these available, please?
Peter Kearns:
> In that case, since we're on the topic of Beatle covers, here's
> one I did of Across The Universe recently. See what you think:
> http://www.peterkearns.net/listen.htm
Nice re-conception, Peter; will listen to more at your site when I'm
more awake.
Ah, to slumber, perchance to dream,
Country Paul
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Message: 12
Date: Fri, 02 Jan 2004 12:43:18 +0100
From: Eddy
Subject: Re: Badfinger / Beatles influence
Mike McKay:
> It's hard to say to what extent they were "tainted" by the
> association with The Beatles, but the reality is that the
> association was entirely limited to "Come and Get It" and the
> handful of tracks Harrison produced. There was no involvement
> whatsoever between them beyond this (despite their residence
> on the Apple label).
Mike, Although you're absolutely correct in your statement, I
think you're underestimating the influence of "just being on Apple"
was at the time. I remember buying several records just because
they were on Apple.
Eddy
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Message: 13
Date: Fri, 02 Jan 2004 07:30:19 -0500
From: Denis Gagnon
Subject: Re: Good morning little school girl
Perhaps because it sounded more rock n' roll than bluesy, my
favorite version of this song was recorded by a relatively
unknown British group (at least on this side of the pond), Ian
& the Zodiacs.
Denis Gagnon
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Message: 14
Date: Fri, 02 Jan 2004 04:31:54 -0800 (PST)
From: Paul Bryant
Subject: Re: Brian Wilson's last great song
Chris wrote:
> Question for Paul Bryant (mostly): Just out of curiosity, what
> do you think is the last Brian Wilson composition -- i.e., the
> most chronologically recent one -- worth listening to?
Two answers - a gorgeous sad ballad called She Says that She Needs
Me released on the last BW solo album "Imagination" in 1998. However
I discovered that that song was composed in the mid-60s. So the real
answer is "Water Builds Up" which is absolutely wonderful - it's
just a pop song, not a masterpiece like God only Knows or
Cabinessence, but it's just great - and alas yet to be officially
released as it's on Sweet Insanity & therefore dates to around 1992
I think. Sweet Insanity is I think still unreleased because it's
mired in some Eugene Landy legal morass. (Remember the joke bootleg
title for some unreleased Beach Boys material - "Landylocked"!)
If you're trying to get me to say that Brian hasn't written many
good songs lately, then yes, it's very true.
pb
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Message: 15
Date: Fri, 02 Jan 2004 06:33:07 -0600
From: Nick Archer
Subject: Lambert-Potter productions
As long as we're in the Lambert-Potter mode, I have two singles
that I'd love to get more information about. One is "This Heart"
by Gene Redding on Haven Records, and the other is "If That's
The Way You Want It" by Diamond Head on Dunhill. Both are
written by and produced by Lambert-Potter. Does anyone know the
story of these records?
Also, how about Chris Hodge's "I'm On My Way"? A record with a
unique sound.
Nick Archer
Nashville TN
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Message: 16
Date: Fri, 02 Jan 2004 04:40:25 -0800 (PST)
From: Paul Bryant
Subject: Macarthur Park
Dear Poppers, I found a "Top 100 Worst Songs Ever" list on some
web page or other, and I confess I was surprised to see that
beating all the usual dreck like "Agadoo" or "Long haired Lover
from Liverpool" to the No 1 position was, yes, Jimmy Webb's 7
minute epic from 1968, as sung by Richard Harris.
As for me, it's actually one of my all time favourite 60s records,
and I was always disappointed that Jimmy Webb's later stuff never
came anywhere near it. But now I'm wondering - whaat do
Spectropoppers think of this record? Am I the only person who
still plays it for pleasure? Does it now make people cringe and
run away?
"Between the parted pages and were pressed
In love's hot, fevered iron
Like a striped pair of pants"
- makes perfect sense to me!
pb
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Message: 17
Date: Fri, 02 Jan 2004 13:49:40 -0000
From: Peter Kearns
Subject: Re: Badfinger / Beatles influence
Mike McKay wrote:
> Well, as Paul McCartney instructed Badfinger to virtually duplicate
> his demo of "Come and Get It" down to the smallest detail (assuring
> them that it would become a hit if they listened -- they did and it
> did), I think you'd have to stretch to say it's not Beatles-
> sounding.
That's what I mean. I may not have been clear. The "Come And Get It"
duplication stripped them, in that instance, of their personality
which otherwise would've been more unique; as indeed it was on the
other three tracks; Harrison's contribution notwithstanding.
> It's hard to say to what extent they were "tainted" by the
> association with The Beatles.
To the extent of "Come And Get It" I would think. But hey! You can't
argue with success right? :-)
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Message: 18
Date: Fri, 02 Jan 2004 07:08:25 -0800
From: Tony Waitekus
Subject: Austin Roberts & Bazooka
Hey Austin, Last week I was in a record store in Plainfield,
IL (near Chicago) that is going out of business and is selling
everything they have, including shelves of records in their
basement. As I was going through the basement stacks, I can
across about 20 copies of "Boo On You" by Bazooka on Bang
records. You're listed as the writer, and after listening to
it, I think you may also be "Bazooka". Are you? Cool fun record.
Tony Waitekus
Davenport, IA
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Message: 19
Date: Fri, 02 Jan 2004 15:28:32 -0000
From: Mark Frumento
Subject: Re: Time to get a loan
Jeff Lemlich wrote:
> I was waiting for some loan company to rewrite "Alone" by Heart
> as... (drumroll)... "how do I get you a loan"...
Or The Beach Boys'... "Time to Get Alone"
"time to get a loan ...."
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Message: 20
Date: Fri, 02 Jan 2004 15:39:43 -0000
From: Mark Frumento
Subject: Re: Stackridge
sarah vaughn wrote:
> First thing I must do is see who produced it, and if there's
> any songs about giant vegetables or hedgehogs on it.
No but there are songs about Vegans, Wildebeestes, drinking and
driving and grooving along on the highway on a Monday morning
once!
"Something for the Weekend" is a wonderful record but it is
mostly a James Warren produced affair. I happen to like his pop
sensibilities (mostly influenced by Brian Wilson and the Beatles)
but maybe not quite as quirky as the first few LPs. For the most
part though it's so strangely sounds like the band recorded it in
the early 70s.
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Message: 21
Date: Fri, 02 Jan 2004 10:56:32 EST
From: Bill George
Subject: The Hangmen's "What A Girl Can't Do"
Can this be played to musica? Sounds great!
Bill
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Message: 22
Date: Fri, 02 Jan 2004 16:06:49 -0000
From: Jeff Lemlich
Subject: Re: Bi question
JD Doyle :
> I think my February show will be on bisexuality in music...not
> bisexual artists, but songs actually lyrically about that. There
> are numerous recent songs to be found, but I'm having trouble
> finding many "older" ones. Surely folks didn't just start singing
> about this in the 90s. Any song ideas would be much appreciated.
JD,
The first song that comes to mind is "Another Love" by Stories on
Kama Sutra. I'm not sure if it's been reissued.
Jeff Lemlich
http://www.limestonerecords.com
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Message: 23
Date: Fri, 02 Jan 2004 16:06:22 -0000
From: Mark Frumento
Subject: Re: Badfinger / Beatles influence / Come and Get it Lead Vocal
Mike McKay wrote:
> And I can't be the only one who hears similarities in Pete Ham's
> and Paul's voice (the irony was that it was Joey Moelland who
> looked so much like Paul!).
You may be alone in this as Tom Evans sang the lead on "Come and Get
It." Tom definitely sounded a bit like McCartney as evidenced on his
other vocals like "Maybe Tomorrow."
Aside from this though Pete Ham sounds nothing like McCarntey to me.
His voice is way too low.
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Message: 24
Date: Fri, 02 Jan 2004 12:29:00 -0500
From: Country Paul
Subject: Happy Birthday, Julie
Relating to recent discussions, today (January 2nd) is Julius
Larosa's birthday (born 1930).
Country Paul
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Message: 25
Date: Fri, 02 Jan 2004 09:52:53 -0800 (PST)
From: Bob Hanes
Subject: Re: Stalker Rock
The #1 candidate for inclusion in this genre would have to be Brian
Wilson's -(unrelease) Lazy Lizzie! What an incredibly creepy song!
But, sorta funny in that naive BW sort of way. Have y'all heard it?
The Right Reverend Bob, dumb angel chapel,
Church of the Harmonic Overdub
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