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SPECTROPOP - Spectacular! Retro! Pop!
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There are 25 messages in this issue.
Topics in this digest:
1. Shelley Fabares on CD
From: Billy G. Spradlin
2. "I Know that You´ll be There"
From: Julio Niño
3. Re: B.Wilson influence. Weezer
From: Richard Hattersley
4. Re: The Saddest Story Ever Told
From: Sebastian Fonzeus
5. Re Moon River and Audrey Hepburn
From: Vlaovic B
6. Re: Bobby Vee "Beautiful People"
From: Clark Besch
7. Girls
From: Simon White
8. Cashman, Pistilli and West
From: Mike Rashkow
9. Re: Brian Wilson influence
From: Rodney Rawlings
10. Grapefruit
From: Clark Besch
11. S'pop Remembers Bobby Hatfield
From: S'pop Projects
12. Re: Weezer and Ben Folds
From: Sebastian Fonzeus
13. Re: Answer Songs
From: Brian Davy
14. Melinda Marx
From: Ed B
15. Re: Sally Go 'Round The Roses
From: Mike Rashkow
16. Re: Buzz Cason
From: Austin Roberts
17. Re: Melodies Rule - The Words Just "Go On"
From: Rodney Rawlings
18. Rundgren / Nyro
From: Dave Heasman
19. Re: Words and melodies
From: Austin Roberts
20. 2:45
From: Charles G. Hill
21. more BW
From: Susan
22. Re: Rundgren / Nyro
From: Steve Harvey
23. Re: Melodies Rule - The Words Just "Go On"
From: Steve Harvey
24. Re: Shatneresque
From: Phil Milstein
25. Re: Grapefruit; Iveys
From: Orion
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Message: 1
Date: Wed, 07 Jan 2004 19:57:26 -0000
From: Billy G. Spradlin
Subject: Shelley Fabares on CD
previously:
> Incidentally, whatever happened to I Know That You'll Be
> There, recorded by Shelley Fabares with The Fantastic Baggys?
> I've been expecting to see it on CD sometime over the last
> few years, but no show. Grumble.
Rhino reissued it on on thier "Best of Shelly Fabares" CD, but
its been out of print for a long time.
http://entertainment.msn.com/album/?album=277507
Billy
http://listen.to/jangleradio
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Message: 2
Date: Wed, 07 Jan 2004 21:51:29 -0000
From: Julio Niño
Subject: "I Know that You´ll be There"
Watson Macblue wrote:
> ...whatever happened to I Know That You'll Be There,
> recorded by Shelley Fabares with The Fantastic Baggys?
> I've been expecting to see it on CD sometime over the
> last few years, but no show...
Watson, Shelley Fabares' "I Know you will be There" ( my
favorite Shelly's song next to "Make me happy" a little
song included in the album "Hold on" by Herman's Hermits)
is included in the Rhino CD "The Best of Shelley Fabares"
and also in the Castle Pulse CD box set "Chapel of Love
and other Great Girl Groups Gems".
Julio Niño.
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Message: 3
Date: Wed, 07 Jan 2004 20:05:43 +0000
From: Richard Hattersley
Subject: Re: B.Wilson influence. Weezer
Ruby:
>I definitely agree with this comment about Fountains of Wayne.
Wilco I have a bit more respect for, and can hear an influence
of Brian Wilson in. What about Weezer?
I agree they had a single on their last album that was pretty
Wilsonesque. I can't recall the title but the video had them
petting animals as well (another influence?).
Some unsigned influenced artists for you to seek out:
Tripsitter: great harmony band from vegas:
http://tripsitter.tripod.com/
Great central: wilsonesque 1 man band from leicester UK:
http://www.great.central.btinternet.co.uk/
Richard Snow: This guy is fantastic!!! :-)
http://www.wiz.to/richardsnow
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Message: 4
Date: Wed, 07 Jan 2004 20:50:53 +0100
From: Sebastian Fonzeus
Subject: Re: The Saddest Story Ever Told
Hi!
Albabe Gordon wrote:
> After a while I started to notice that those few cued seconds
> at the beginning of some records would be missing the high-end.
Simon:
> All too technical for me. But what I do know - to my cost - is
> that if you cue up a styrene 45 by winding it backwards it 'burns'
> the record and ruins it. And I didn't know this until I did it on
> a 45 I'd paid £160.00 for. And I don't want to talk about it.
Simon, you probably know this by now, but try to keep styrene
45s WELL away from old and worn styluses in general. I once
played a DJ set and ruined ALL the styrene records I played
- not just cue burns, but entire sides of 45s! :( Luckily(?)
this was when I first started collecting/DJing at soul venues
and the stuff ruined was easily obtainable and cheap 45s like
Betty Harris "Mean Man" on Sansu, Oscar Toney Jr. "Ain't That
True Love" on Bell, Candace Love "Wonderful Night" on Aquarius
etc. Still a bummer though. :(
Since then, I NEVER cue styrene 45s.
Take care!
Sebastian
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Message: 5
Date: Wed, 07 Jan 2004 14:15:04 -0500
From: Vlaovic B
Subject: Re Moon River and Audrey Hepburn
Phil M:
> Granted that Hepburn was no great vocal technician, but
> her debut take of "Moon River" demonstrates that she could
> carry a tune just fine, as well as imbue the right one with
> a subtle dramatic flair. In fact, I've yet to hear so touching
> a version as hers.
> But I'll admit that my use of the word "debut" may be stretching
> its definition a bit. Although Hepburn was apparently the first
> to tackle this classic Henry Mancini tune, her version of it in
> "Breakfast At Tiffany's" was dubbed (by the ubiquitous Miss Nixon,
> I believe) for the original release of the movie, and did not
> appear until a remastered version was released in the 1990s. (I
> wonder which is currently in-print. And whether "debut" means
> "first-ever", or "first released").
It's a little out of the Spectropop realm, but I'll offer my
correction. Moon River, in the film Breakfast at Tiffany's, was
always performed by Audrey Hepburn; it was never dubbed. I've
been a fan of the film for decades and the original copy I bought
in 1987 had Hepburn signing. If I could dig out my 1961 copy of
the vinyl LP I'm confident it too has Hepburn singing. Hepburn
might not have been a brilliant vocalist but her interpretation
was really very touching. Marni Nixon dubbed most of Hepburns
vocals in 'My Fair Lady', but in the earlier 'Funny Face' (1957)
Hepburn handled all of her own vocals.
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Message: 6
Date: Wed, 07 Jan 2004 16:11:45 -0000
From: Clark Besch
Subject: Re: Bobby Vee "Beautiful People"
Austin Roberts:
> Just to keep this string going, I was in a group called the
> Arkade on Dunhill and we released Carole King's "Where You Lead"
> at the same time you guys did; I think we helped cancel each
> other out. Bummer. I think I'm right about that.
Clark Besch:
> How interesting that we have the two of you that had dueling 45s!
> Both coming off moderate hits at about the same time! Reminds me
> of many double releases that WERE hits still - Bobby Vee and
> composer Kenny O'Dell's "Beautiful People" is one I always felt
> would have been top 10, had only one of these two top 40 hits
> been released.
Bob Celli wrote:
> I did an interview with Bobby Vee's producer at that time,
> Dallas Smith, and he told me that "Beautiful People" sold
> 750,000, so your statement couldn't be truer!
Bob, the song seemed to do better with stations' charts when they
played only one version too. #6 for Bobby on WLS Chicago with no
airplay for Kenny O'Dell's version. I think Bobby's version was
much smoother and pleasant to the ear than Kenny's, which is often
the case when pitting a writer's version versus a better produced
and more professional singer's version. When talking with Varese
Vintage's Cary Mansfield this week about the White Whale catalog, I
brought up Kenny O'Dell. The subject was good ideas that wouldn't
sell enough to get a release. I felt that there wouldn't be a big
enough audience out ther to make money off an O'Dell greatest hits
package, he wrote some good songs, had an LP, numerous singles on
Vegas (WW subsidiary) and WW and would have plenty of stuff for a
nice CD comp. I love "Springfield Plane". We both agreed it wasn't
likely, but you never know.....
Clark
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Message: 7
Date: Wed, 07 Jan 2004 14:54:01 +0000
From: Simon White
Subject: Girls
Phil Hall wrote:
> Tracey Dey is one of many others I've always wondered about.
> Is there a subgroup within Spectropop that specializes in
> the 60s girl groups?
Now there's an idea....
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Message: 8
Date: Tue, 06 Jan 2004 20:45:14 EST
From: Mike Rashkow
Subject: Cashman, Pistilli and West
Also on Event, CPW produced a group which I always assumed
was them, or them with Austin. The group (person) was called
Horatio. The A side of the single I have is titled "I Gotta
Have You". It is a very interesting lyric and might be subject
to conjectural interpretation. I'll say no more.
Di la,
Rashkovsky
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Message: 9
Date: Wed, 07 Jan 2004 18:52:14 -0000
From: Rodney Rawlings
Subject: Re: Brian Wilson influence
Rashkovsky:
> What about Jobim's "One Note Samba"?
Actually that song's repeated-note section has a nice melodic
"kicker" at the very end--a sudden move upward that tranforms the
preceding. When I first heard the song attentively, I was rather
bored by the tune until that point was reached--then I was all
ears.
Also, rhythmic variations and metric placement can create melodic
interest even in a succession of repeated notes. Sousa has a part
in one of his marches that weaves a long, fascinating melody out
of the three tones of the tonic chord and no others. The melodic
interest is generated by the rhythmic values.
"One Note Samba" also has a brilliant middle section that further
affects the impression left by the front section and improves the
effect of the last section.
I'm not saying that a lyric can't elevate a so-so tune to the
level of a great song. Just that "One Note Samba" is not a
nonmelodic tune. I also maintain that literary or intellectual
significance of the lyrics is not necessary for a great song and
should not be a factor in measuring songs against one another as
songs.
Rodney Rawlings
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Message: 10
Date: Wed, 07 Jan 2004 16:16:33 -0000
From: Clark Besch
Subject: Grapefruit
Austin Roberts wrote:
> Was it Grapefruit that did Maybe Tomorrow?
Austin, sorry bout the confusion on the Buchanan Bros lead.
I didn't think it sounded like your voice. The Iveys (later
Badfinger) did "Maybe Tomorrow". Grapefruit was signed to
Apple, but their records never appeared on Apple Records.
They started on an ABC subsid, Equinox, with 2 tremendous
singles: "Elevator" and "Dear Delilah". Terry Melcher
produced, if I remember correctly. "Elevator" is great,
but the flip, "Yes", is incredible! Their LP on Dunhill is
great and they later had records on RCA in the UK.
Take care,
Clark
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Message: 11
Date: Wed, 07 Jan 2004 22:26:19 -0000
From: S'pop Projects
Subject: S'pop Remembers Bobby Hatfield
Dear Members,
As reported previously, Bobby Hatfield of the Righteous
Brothers passed away November last. An obituary, written
by Peter Richmond, has just been added to the S'pop
Remembers section:
http://www.spectropop.com/remembers/BHobit.htm
Also recently departed:
Don Gibson:
http://www.spectropop.com/remembers/DGobit.htm
Johnny Cash:
http://www.spectropop.com/remembers/JCobit.htm
Teddy Randazzo:
http://www.spectropop.com/remembers/TRobit.htm
Arthur Conley:
http://www.spectropop.com/remembers/ACobit.htm
Dick St. John:
http://www.spectropop.com/remembers/DSJobit.htm
R.I.P.
The S'pop Team
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Message: 12
Date: Wed, 07 Jan 2004 23:35:13 +0100
From: Sebastian Fonzeus
Subject: Re: Weezer and Ben Folds
> I definitely agree with this comment about Fountains of Wayne.
> Wilco I have a bit more respect for, and can hear an influence of
> Brian Wilson in. What about Weezer?
> Correct me if I'm wrong, but are Weezer the guys that did
> some quite raw sounding stuff a number of years back, recorded
> at home on 8-tracks etc? If so, I was impressed with their
> melodic sensibility. I preferred it to their newer stuff.
Weezer had a couple of major hits with "Buddy Holly" (the "Happy
Days" parody video), "Say It Ain't So" and "Undone - The Sweater
Song" back in 1994 and their debut self titled blue album from that
year is an great pop album. Singer and songwriter Rivers Cuomo went
nuts by all the fame that came their way though plus grew long hair
and beard.
He then wrote, recorded and produced the fantastically brilliant
"Pinkerton" album from 1996. An album so fantastic that I STILL
listen to it weekly and absolutely love it to bits. A pretty lo-fi
recording but not in the early Sebadoh/Pavement kind of way, it's
just very raw with few effects and is guitar/drums heavy. It gave
them no hits at all. But it's nevertheless a mindblowingly cohesive
album and will doubtlessly be hailed as a masterpiece and a key
album of the 90s in years to come.
All the b-sides from 1994-1998 are essential.
The lack of sales etc. made Weezer a low priority at Geffen and the
group thought they had no fan base. But they later realised that
there actually were a lot of people out there who still dug their
debut... and what did they do? Recorded two unispired and extremely
uninspiring albums in 2001 ("Weezer" a.k.a. the green album) and
2002 ("Maladroit") - two records that while it boosted their
popularity and sales probably is the biggest reason as to why they
don't get any critical acclaim anymore. These two albums lack all
the emotions that are evident on the troubled "Pinkerton" and to a
lesser extent their debut.
Really off-topic I know. But there you go.
I also really like Ben Folds (Five). Actually listened to the
"Whatever And Ever Amen" album when I got up this morning. Great CD.
Classic pop. :)
Take care!
Sebastian
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Message: 13
Date: Wed, 07 Jan 2004 22:39:51 -0000
From: Brian Davy
Subject: Re: Answer Songs
If I add Gerri Granger's "Don't Want No Letters" to the list as
the answer to "Return to Sender", it gives me the opportunity
to beg that someone with the wherewithal posts her Elvis cover
"Just Tell Him Jane Said Hello" to Musica.
Brian
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Message: 14
Date: Wed, 07 Jan 2004 23:18:50 -0000
From: Ed B
Subject: Melinda Marx
While on vacation this week have been playing a lot of 45s
from my collection and came across Melinda Marx VJ 657
The East Side of Town/How I Wish You Care - A quick Google
search revealed she is daughter of Groucho, something I
wasn't aware of, nice girl group sound on both sides, did
she have any other releases?
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Message: 15
Date: Wed, 07 Jan 2004 18:15:20 EST
From: Mike Rashkow
Subject: Re: Sally Go 'Round The Roses
Carl asks:
> Ok, was this the pressing or just bad mastering? "Sally Go Round
> the Roses" by the Jaynetts. Tuff Records was right! How could a
> song that sounded this bad on 45 ever make the top 10?
Dan Hughes:
> I remember reading somewhere (Burt Bacharach column perhaps, or maybe
> even Walter Winchell, when the song was a hit) that there was an
> electronics problem with the audio board that recorded it. A burned-
> out capacitor or some such, that gave the song the fuzzy-buzz sound.
> Better equipment would probably have kept the song from becoming a hit!
Go here and ask Artie Butler--he made the record. He'll know the story.
It's the first thing you see and hear on his homepage:
http://www.artiebutler.com
Rashkovsky
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Message: 16
Date: Wed, 07 Jan 2004 18:25:43 EST
From: Austin Roberts
Subject: Re: Buzz Cason
Gary Miles (Buzz Cason) and Gary Mills (whoever that was)
had Look For A Star out at the same time. I think the song
came from the horror flick 'Circus Of Horrors'... Buzz's
version was much better and went higher I'm pretty sure.
Buzz was also a great publisher, co-publishing among others
Honey and Little Green Apples. He published "She Believes In
Me" and a couple of country hits he and I co-wrote. He wrote
"Everlasting Love" and is currently coming out with a book
about his life in the music business for 50 years. I have
known and been very best of friends for over 30 years. He is
honest, funny, extremely talented and as good a man as I have
ever met. Sounds like a eulogy, but believe me it's a heartfelt
tribute to a great friend.
Austin Roberts
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Message: 17
Date: Wed, 07 Jan 2004 23:31:41 -0000
From: Rodney Rawlings
Subject: Re: Melodies Rule - The Words Just "Go On"
Me:
> Those who dispute the dominance of melody often say words
> and music are equally important, and in a sense this is true.
> Bad lyrics can kill the appeal and worth of a good tune ...
(I should have said merely "the appeal of a good tune." It is the
worth of the SONG that is diminished.)
Rex Strother wrote:
> I think in current popular songwriting - it is the melody
> that is prominent. Of course, there are exceptions - but
> the hooks can keep nonsense or cliche lyrics popular as ever.
I agree that a bad lyric does not necessarily kill a song's success.
If a lyric is bad due to being ILL-SUITED to the melody, however, it
is more likely to undermine the song's success, I think.
I should make it clear what I mean by good and bad. The lyric to
TIE A YELLOW RIBBON ROUND THE OLD OAK TREE is absolutely masterful
(so is the tune) and I would not be surprised if it were penned by
someone famous. On the other hand, many so-called "significant"
or "important" lyrics seem to deliberately court or embrace
obscurity -- thus they frustrate judgment, which is in part the
purpose. I classify them as bad.
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Message: 18
Date: Wed, 07 Jan 2004 23:40:45 -0000
From: Dave Heasman
Subject: Rundgren / Nyro
Diane:
> Now, here's my toss on Brian Wilson's influence: How about
> Todd Rundgren? His very melodic songs, his great harmonies,
> his arrangements, with separate "movements". I don't know if
> Todd has ever acknowledged a debt to Brian, but I feel Brian's
> stamp on Todd's writing. Anyone else see this?
I've been a fan of both Todd & Laura Nyro for over 30 years, and
only noticed 6 months ago how much Todd was influenced by her -
down to chord changes.
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Message: 19
Date: Wed, 07 Jan 2004 18:33:42 EST
From: Austin Roberts
Subject: Re: Words and melodies
For that matter They're Coming To Take Me Away (Napoleon the
XIV, I think). OK Rashkow, my friend (which he is), there are
always various opinions on the same subject. I would love to
hear what the Spectropop people think.
Austin
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Message: 20
Date: Wed, 07 Jan 2004 18:11:38 -0600
From: Charles G. Hill
Subject: 2:45
Saith Billy G. Spradlin:
> I think the worst sounding but one of the greatest early rock
> recordings is Gary U.S. Bonds'"Quarter To Three" - I have it on
> original 45, on a vinyl LP and Rhino CD and they all sound like
> it was recorded with the microphone stuck in a closet or under
> a blanket!
A "most peculiar unity", said Dave Marsh in naming it to his Top
1001. "I've played it on stereo systems ranging from $49.95 to
$10,000, and the equipment makes no difference".
I always figured that if that record comes on and I don't start
to move, they've already carried out the DNR instruction. :)
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Message: 21
Date: Wed, 07 Jan 2004 19:24:10 EST
From: Susan
Subject: more BW
Paul writes:
> This I do not understand - why would any record label turn
> down original material from Brian Wilson? Hasn't he long
> since become so revered record executives would love to
> issue anything he wants to do?
Um....how much of Brian's recent [last 20 years, just to pick
a timeframe], unreleased material have you heard? There are a
few songs that are pretty good, some that are average at best,
and a lot that isn't that good. I love Brian, I want him to
have One More Great whatever inside him, and i want it to come
out. But the *quality* of that unreleased material that you
yearn for really isn't that great.
The best of it, IMHO, is that which he did with Andy Paley.
But there are many who will tell you that Andy is the best
BW mimic they've ever heard, and these sessions prove it.
So that doesn't seem to count for much, even tho it might be
the best - and most complete - work he's done post-Landy.
Brian's gifts to the world were given in the 1960s. They
continue to bless us, and the fact that he's still out there
making music, giving an effort, speaks volumes not only for
his talent and perseverence, but also for the power of his wife,
who is spearheading Brian's Efforts these days. And one must
acknowledge her contribution to his resurgence since 1998...
But is there a great Brian Wilson song still to come, one that
isn't just Feels or Noodling? Is there something there, yet to
come, that a record executive is going to wet his pants to release?
I wouldn't bet on it.
Susan
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Message: 22
Date: Wed, 07 Jan 2004 16:30:00 -0800 (PST)
From: Steve Harvey
Subject: Re: Rundgren / Nyro
Dave Heasman wrote:
> I've been a fan of both Todd & Laura Nyro for over
> 30 years, and only noticed 6 months ago how much Todd
> was influenced by her - down to chord changes.
Which is why Todd once sang, "Laura, I caught your
show in L.A." in "Baby's Let's Swing". Now I love to
shuffle so surrey on down.
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Message: 23
Date: Wed, 07 Jan 2004 16:32:54 -0800 (PST)
From: Steve Harvey
Subject: Re: Melodies Rule - The Words Just "Go On"
Rodney Rawlings wrote:
> Those who dispute the dominance of melody often say words
> and music are equally important, and in a sense this is true.
> Bad lyrics can kill the appeal and worth of a good tune ...
I don't know about lyrics and melodies being equal or lousy
lyrics killings decent songs. Still love the Flamin' Groovies
despite their throwaway lyrics. I remember Cyril once admitting
that he couldn't be too bothered with writing lyrics. However,
I still love their rockin' stuff despite the lyrics.
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Message: 24
Date: Wed, 07 Jan 2004 18:45:50 +0000
From: Phil Milstein
Subject: Re: Shatneresque
I wrote, re: Shatner:
> of "Rocket Man," "Taxi" and "Why Can't A Woman Be More Like
> A Man"), yet they're still pretty screwy in their own right.
The latter piece was actually "How To Handle A Woman."*
Another fact done gone.
Urp,
--Phil M.
*aren't these both from My Fair Lady? I wonder if Shatner's
stylistic progenitor wasn't Rex Harrison.
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Message: 25
Date: Wed, 07 Jan 2004 16:58:11 -0800
From: Orion
Subject: Re: Grapefruit; Iveys
Eddy:
> The Grapefruit did "Dear Delilah", which was their first
> 45 with Apple Publishing. There was no Apple label yet.
The Grapefruit, IMHO, were really pretty good. I liked the song
"Elevator". I have their LP and the few 45s released here in the US.
Orion
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SPECTROPOP - Spectacular! Retro! Pop!
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