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SPECTROPOP - Spectacular! Retro! Pop!
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There are 25 messages in this issue.
Topics in this digest:
1. Tuesday Weld 45
From: lobsterman730
2. Dennis Wilson title change
From: Susan
3. Re: Grapefruit
From: Austin Roberts
4. Re: Cashman, Pistilli and West
From: Austin Roberts
5. Ed & Sam Chalpin
From: S'pop Projects
6. Re: Various
From: Austin Roberts
7. Re: Bobby Vee "Beautiful People"
From: Bob
8. Re: Apple books
From: Steve Harvey
9. Re: Answer Songs
From: Mark
10. Re: Left Banke 70s LP
From: David Goodwin
11. Re: Words and melodies
From: John Sellards
12. Walter Scott Book
From: Mark
13. Re: Rundgren / Nyro
From: Steve B
14. Re: Cashman, Pistilli and West; Words and melodies
From: Mike Rashkow
15. Austin Roberts Interview - Arkade
From: Mike Dugo
16. Melinda Marx
From: Simon White
17. Re: Where are they now
From: Jules Normington
18. Re: Tuesday Weld 45
From: Fred Clemens
19. Re: Melinda Marx
From: Mark
20. Re: Grapefruit; Iveys
From: Scott
21. Re: Changed titles
From: Fred Clemens
22. Re: "Beautiful People", Vee vs. O'Dell
From: John Fox
23. Danny Buoy
From: John Sellards
24. Why Can't Shatner Be More Like A Singer?
From: Chris
25. Re: Avanti
From: Dan Hughes
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Message: 1
Date: Thu, 08 Jan 2004 00:31:13 -0000
From: lobsterman730
Subject: Tuesday Weld 45
Hi Y'all! FIRST POSTING! Got a question...
I have been troubled for almost two decades on this matter...
Exactly, how RARE is the TUESDAY WELD 45, "Are You The Boy"
on Plaza Records? Can anyone share some light on the value and
the history of this recording?
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Message: 2
Date: Wed, 07 Jan 2004 19:55:26 EST
From: Susan
Subject: Dennis Wilson title change
Jon Stebbins, who wrote on of the more authoritative DW
biographies, doesn't know of any particular reason for
the change *to* POB. He does say that the change came
after Dennis's first split with Karen Lamm, who, in 2000,
still referred to POB as "her" album
See the Blue Bamboo board -
http://pub21.bravenet.com/forum/show.php?usernum=1801480168&cp=
- for further discussion.
Susan
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Message: 3
Date: Wed, 07 Jan 2004 20:14:00 EST
From: Austin Roberts
Subject: Re: Grapefruit
Clark,
Thanks once again for great info. I loved Maybe Tomorrow.
Should've been a monster.
Best,
Austin
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Message: 4
Date: Wed, 07 Jan 2004 20:08:07 EST
From: Austin Roberts
Subject: Re: Cashman, Pistilli and West
Rashkovsky:
> 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".
Mike,
You make me realize how porous my mind is. If I did it, I've
forgotten. I did some fun things with Terry And Tommy And Gene
later on, but that was in NYC and I'm not sure I was even out
of diapers then. All 3 were terrific in helping me get started
in the business.
AR
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Message: 5
Date: Wed, 07 Jan 2004 22:26:58 -0000
From: S'pop Projects
Subject: Ed & Sam Chalpin
Mick Patrick wrote:
> Move over, Dora Hall. Step aside, Mrs Miller. Make way for
> Sam Chalpin, pop singer, age 65.......... I borrowed a pile
> of records from m'colleague Waxie Maxie Baumgart the other
> day - every Annette LP under the sun, that kind of thing.
> Among the pile was an album entitled "Sam Chalpin - My
> Father The Pop Singer", released on Atco 33-191 in 1966.
> I see that the record was engineered by one Mike Rashkow,
> for whom I guess this missive might bring back some crazy
> memories...
Mike Rashkow replied:
> If I tell this story, no one will believe it. I will do it.
> Give me a couple of days. I will tell you about Ed Chalpin.
New @ S'pop
Ed & Sam Chalpin, His Father The Pop Singer
A Recitation Of The Ridiculous
By Mike Rashkow
Don't miss it, it's a scream. If you don't like it, blame
Mick for talking Rashkovsky into writing it. Follow this link: http://www.spectropop.com/SamChalpin/index.htm
Enjoy!
The S'pop Team
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Message: 6
Date: Wed, 07 Jan 2004 20:18:31 EST
From: Austin Roberts
Subject: Re: Various
Re: Ivey's; Grapefruit
Eddie, Thank you my friend. I still think about how
good "Maybe Tomorrow" was.
Re: Favorite Jimmie Haskell arrangements
How's about Tommy Roe's Dizzy?
Re: The Buchanan Bros
Hey Mark,
I did a couple of other `ghost leads' for them but
not the one mentioned. They were very talented and
kind of big brothered me in 1968 and 69.
Re: The Buchanan Bros
Still am,crazy man. How's your part of NC these days?
May stop on way through from Nashville this weekend.
Take care,
Austin
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Message: 7
Date: Thu, 08 Jan 2004 01:21:52 -0000
From: Bob
Subject: Re: Bobby Vee "Beautiful People"
Clark Besch:
> 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:
> Dallas Smith, and he told me that "Beautiful People" sold
> 750,000, so your statement couldn't be truer!
Clark Besch:
> 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.
Clark,
You're right about the airplay part. Around here WHOT played
O'Dell's version, but in Cleveland WIXY 1260 played Vee's. I've talked
to Bobby about the circumstances surrounding "Beautiful People". He
told me that initially he was totally against covering that record
because he felt, coming off his biggest selling record, "Come Back
When You Grow Up", that he could "roll the dice" with any number of
songs, and do well. The folks at Liberty said "Well, let's record it
and see what you think. If you don't like it, we won't do anything
with it." Bobby said that he loved the version he cut and eventually
decided to let Liberty put it out. "And my worst fears came true"
Bobby said. Apparently White Whale picked up the O'Dell record and
they were released on vitually the same day, and fought it out on
their way up the charts.
Bobby told me that White Whale was started by a couple of
ex-Liberty employees and they worked their tails off promoting
the O'Dell version. Bobby told me that he and O'Dell met at an
airport during this fiasco and that Kenny was not upset about Vee
covering the song. Why should he be? He made money on both records,
not just one!
Bob Celli
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Message: 8
Date: Wed, 07 Jan 2004 17:26:10 -0800 (PST)
From: Steve Harvey
Subject: Re: Apple books
Bryan wrote:
> I just received another book about Apple --
> "The Longest Cocktail Party: An Insider's Diary of The
> Beatles, Their Million-Dollar 'Apple' Empire and Its Wild
> Rise and Fall" by Richard Dilello --
Yeah, I got that book back in the 70s. Has it been updated?
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Message: 9
Date: Thu, 08 Jan 2004 01:48:56 GMT
From: Mark
Subject: Re: Answer Songs
Hey Guys!
Add to the original list of answer songs: "Got a Job"
by the Miracles (their first record, answer to--what else
--the Silhouettes' "Get a Job").
There's also the Skeeter Davis LP of answer songs,
"Here's the Answer", which features a number of country hits
from the period (all on RCA, as was this LP) and Skeeter's
'answer song' to each (i.e, Floyd Cramer's "Last Date" and
Skeeter's "My Last Date (With You)").
Best,
Mark
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Message: 10
Date: Wed, 07 Jan 2004 19:31:04 -0600
From: David Goodwin
Subject: Re: Left Banke 70s LP
Just a quick note. Although this album has not officially been reissued
on CD, two tracks *do* appear on legit compact discs:
a) Strangers on a Train is on the Relix Sampler 1 CD, although it's
taken from a somewhat muddy source (perhaps from vinyl?).
b) Voices Calling is on the Bam Caruso Waxworks Vol. 1 CD, and sounds
*stellar*...far better than it sounded on the LP!
-David
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Message: 11
Date: Thu, 08 Jan 2004 01:37:39 -0000
From: John Sellards
Subject: Re: Words and melodies
Austin Roberts:
> For that matter They're Coming To Take Me Away
> (Napoleon XIV)
Of the two examples recently mentioned (Dylan & Napoleon XIV),
those are both examples where the impact clearly comes from the
performance and not from the melodic worth of the music. The rock
and roll era shifted the importance from the composition to the
ultimate performance, so after years of hits that only really use
about five notes for melody ("Sea Cruise" comes to mind) something
like "Subterranian Homesick Blues" could be a popular record, when
a tune with such limited melody would probably not have done much
twenty years previous. I know people my age who certainly know
"Yummy Yummy Yummy" by name as played by anybody (mentioned as
a great melody) and probably wouldn't know "Subterranean Homesick
Blues" at all!
John Sellards
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Message: 12
Date: Thu, 08 Jan 2004 02:02:14 GMT
From: Mark
Subject: Walter Scott Book
John Fox--could you please tell me the title and author of
the book about the Walter Scott murder? Thank you very much.
Best,
Mark
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Message: 13
Date: Thu, 08 Jan 2004 21:25:22 -0500
From: Steve B
Subject: Re: Rundgren / Nyro
previously:
> Now, here's my toss on Brian Wilson's influence: How about
> Todd Rundgren? 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?
When he sings, "deep down inside me, there's..." in Real Man,
it's a direct reference to "step on the gas, she goes..." from
Custom Machine."
It's just a tacet with a bass voice going into the chorus,
but it's a great song propellent.
Steve B
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Message: 14
Date: Wed, 07 Jan 2004 21:20:22 EST
From: Mike Rashkow
Subject: Re: Cashman, Pistilli and West; Words and melodies
Austin:
> I did some fun things with Terry And Tommy And Gene
> later on, but that was in NYC and I'm not sure I was even out
> of diapers then.
Well you were out of the Marines by then, I hope you were
out of diapers.
> 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 will rise to no bait not served with fries.
Di la,
Rashkovsky
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Message: 15
Date: Wed, 07 Jan 2004 20:19:09 -0600
From: Mike Dugo
Subject: Austin Roberts Interview - Arkade
Thanks to this great list, I'm currently in the process of
conducting an email interview with Austin Roberts. Since my
website is primarily geared towards 1960s rock and garage bands,
http://60sgaragebands.com - I'm focusing primarily on his days
as a member of Arkade - but I'd like to really touch on any
subject that may be of interest to knowledgeable music fans
such as the ones on this list.
I know Austin has been kind enough to respond to many questions
via this list, but I'd like to welcome any and all questions from
fellow Spectropoppers. If you have questions you'd like to ask
Austin, please send them to me, mike @ 60sgaragebands.com (no spaces)
- I'll be sure to include them into my interview. Thanks in advance.
Cool info from Austin: He wrote and sang lead on "Pretty Mary
Sunshine" and "Seven Days A Week" from the great, original
SCOOBY DOO cartoon. Both songs are among my two boys' favorites!
Mike Dugo
http://60sgaragebands.com
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Message: 16
Date: Thu, 08 Jan 2004 02:12:50 +0000
From: Simon White
Subject: Melinda Marx
Ed B wrote:
> 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?
Ed- great Yahoo address btw ! - strange but true , Melinda
was Groucho's daughter, something I only found out a few years
back. There's another Vee Jay 45 It Happens In The Same Old Way/
What -VEE JAY 689 - which is also rather nice, although Melinda
is not the world's greatest singer, but has a naive charm.
"What" is the original version of a song that became a massive
Northern Soul favourite by a lady named Judy Street, a more
uptempo version produced by the untouchable H.B. Barnum.
There are 45s by Bill Marx on Vee Jay too and something tells me
that he was a son of a Marx Brother. I'll have a look in my books.
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Message: 17
Date: Thu, 08 Jan 2004 13:31:57 +1100
From: Jules Normington
Subject: Re: Where are they now
Phil Hall:
> I've always wondered what became of the some of the lesser-
> known but still noteworthy girl groups and female performers
> of the sixties.
> I love Chuck Mallory's site http://www.girl-groups.com
> but while it's a mile wide, in many places it's understandably
> only an inch deep. I'd love to fill in the cracks.
I'm with Phil! I'd love to know what happened to a whole
plethora of girl group singers...like Jill Harris, Bernadette
Carroll...but I won't go on...(yet)
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Message: 18
Date: Thu, 08 Jan 2004 02:48:10 -0000
From: Fred Clemens
Subject: Re: Tuesday Weld 45
lobsterman730 wrote:
> Hi Y'all! FIRST POSTING! Got a question...
> I have been troubled for almost two decades on this matter...
> Exactly, how RARE is the TUESDAY WELD 45, "Are You The Boy"
> on Plaza Records? Can anyone share some light on the value and
> the history of this recording?
I first heard it on Jim Pewter's ROCK SHOPPE, ca.1973-74, a
syndicated program that took the place of Gus Gossert's show
on WPIX 102FM in New York. He played it as a mystery song
where you had to guess the Artist, and apparently the song was
new then. The flip was called "All Through Spring And Summer",
which Pewter played a portion of when he revealed the answer.
I was told a couple of years later that it was on Warner Bros.
Records, though I've never seen a copy in any form. I would say
that it is VERY RARE (as opposed to ULTRA RARE).
Fred Clemens
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Message: 19
Date: Thu, 08 Jan 2004 02:25:04 GMT
From: Mark
Subject: Re: Melinda Marx
Hi Ed!
Melinda had one other single that I know of, also on
Vee-Jay (689).
The songs are "It Happens in the Same Old Way" and "What".
"What" has gotten the attention of a few Northern soul
collectors, as it's the original of the beloved Northern
soul chestnut by Judy Street on the Strider label (produced
by H.B. Barnum, who probably owned the label).
"What" was remade by Soft Cell in the early '80s. Of course,
Soft Cell's giant hit, "Tainted Love", is also a Northern soul
classic (done originally by Gloria Jones).
Best,
Mark
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Message: 20
Date: Wed, 07 Jan 2004 21:57:45 EST
From: Scott
Subject: Re: Grapefruit; Iveys
Orion:
> 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.
Aren't there at least two Grapefruit LPs?
Scott
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Message: 21
Date: Thu, 08 Jan 2004 03:11:42 -0000
From: Fred Clemens
Subject: Re: Changed titles
In late 1961, there was a song called "Poof" recorded by Bill Giant
for MGM Records. Bill was a member of the song writing team who wrote
the song, the others being Bernie Baum and Florence Kaye. The trio
were responsible for a great portion of songs recorded by Elvis
Presley, most of which were movie tunes. Their only big Hit for him
was "(You're The) Devil In Disguise".
Getting back on track, "Poof" was picked up by Kenny Lynch in the UK.
But when he recorded it, the title took on a new name, becoming "Puff
(Up In Smoke)". In October of 1962, the song saw some success on HMV
Records. The reason for the name change was because the word "Poof"
was a derogatory term defining a certain lifestyle.
Around March of 1963, Lynch's song made it's way Stateside, where the
title was reverted back to it's original "Poof", released on Big Top
Records. It did find some regional play, but effectively flopped. But
also in March saw the release of a song called "Puff", this one by
Peter, Paul & Mary on Warner Bros.. When that song started moving up
the Charts nearing the Top 10 in April, the title suddenly
became "Puff (The Magic Dragon)". Some will tell you that the title
was changed to clarify it from it's presumed drug reference (reefer-
ence!). But I will offer that the title was changed to keep from
being confused with the Lynch UK release.
Slightly on track, a couple of years later, the Giant-Baum-Kaye team
composed the Americanized theme to a popular Japanese cartoon, to
which Bill Giant can be heard singing it. The cartoon became (in
America) "Kimba, The White Lion". I mean, it WAS about a
lion, ...wasn't it??
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Message: 22
Date: Wed, 07 Jan 2004 22:27:36 EST
From: John Fox
Subject: Re: "Beautiful People", Vee vs. O'Dell
I think Bobby's version was much smoother and pleasant to
the ear than Kenny's I agree completely. O'Dell's version
always grated on me, especially his use of the word "ya"
instead of "you" in "It's true, it's true, it's true...
and I love you". Also, at the end of the song, where Vee
sings "I do, I do, I do...mmm I love you", that makes much
more sense than O'Dell's "I do, I do, I do...and I love ya".
As I write this, I'm thinking (are you listening, Mrs. Fred?)
where else but in Spectropop can you express such minutiae
that's been bothering you but you've never had anyone to tell
it to? Spectropop, you're like a proverbial psychiatrist's
couch for us hopeless rock junkies!
John Fox
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Message: 23
Date: Thu, 08 Jan 2004 04:00:23 -0000
From: John Sellards
Subject: Danny Buoy
Several years ago a local fellow (I'm in WV) brought me a
record he had made in NY in the late 50s/early 60s under the
name of Danny Buoy (his real name was Dan Wallen). The songs
are "Baton Rouge Rose" and "One Way Affair" and it was released
(with picture sleeve, no less) on, I think, Date Time or Play
Time Records - I can't remember which, although I scanned the
sleeve and have the file somewhere. He told me he had been a
demo singer for Benny Benjamin (the pop writer, not the Detroit
drummer). Dan was eaten up with cancer when I met him and didn't
last more than a couple of years. I'd love to know more about
the recording...I wish I'd thought to look at the matrix numbers
on the record. Anybody have a copy and know anything about the
label or any other related information? I'd also love to get a
good copy if anybody knows where I could find one. I have a tape,
but the copy was worn-out styrene (see what got me thinking about
this?) and sounds awful.
John Sellards
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Message: 24
Date: Wed, 07 Jan 2004 20:33:15 -0800 (PST)
From: Chris
Subject: Why Can't Shatner Be More Like A Singer?
Phil M.:
> *aren't these both ["Why Can't a Woman Be More Like A Man?"
> and "How To Handle A Woman"] from My Fair Lady? I wonder if
> Shatner's stylistic progenitor wasn't Rex Harrison.
No, actually it was Lee Marvin in the "Paint Your Wagon" movie.
"Why Can't A Woman" was from "My Fair Lady", "How To Handle A
Woman" from "Camelot", and "Wand'rin' Star" from "Paint Your
Wagon" -- and all three were written by Lerner & Loewe. They
had something of a strategy in these three musicals: build your
plot around the triangle of a male lead (non-singer), a singing
soprano, and a singing romantic male who could produce notes but
would appear ridiculous:
Higgins/Eliza/Freddie, Arthur/Guinevere/Lancelot, etc. etc.
Probably Shatner, or someone advising him, noticed that
"How To Handle" was a song one could "act" one's way through.
Now if it had been David Bowie singing "Why Can't A Woman be
More Like A Man" ...
Chris
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Message: 25
Date: Wed, 07 Jan 2004 22:45:35 -0600
From: Dan Hughes
Subject: Re: Avanti
A few of you have replied to my question "What's an Avanti?"
What I SHOULD have asked is "Where did Studebaker come up
with the name Avanti?" Is it an obscure Indian tribe, or a
European quadraped, or a made-up word?
---Dan
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