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SPECTROPOP - Spectacular! Retro! Pop!
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There are 27 messages in this issue.
Topics in this digest:
1. Re: Stewball, The Left Banke, Melodies Rule, etc.
From: Glenn
2. Re: How about brilliant tracks with ONE inept ingredient!
From: Paul Bryant
3. Jaynetts & other sing-a-long flipsides
From: Michael Fishberg
4. Re: The Swans and Alder Ray
From: Mick Patrick
5. Re: 4 Seasons 45s mixes
From: Lou
6. Re: Most inept hit
From: Hugo M.
7. Re: Vance-Pockriss query
From: Laura Pinto
8. Re: Answer Songs
From: David Coyle
9. Re: Most Inept Hit
From: David Coyle
10. Gene Hughes (Casinos:'Then You Can Tell Me Goodbye') Benefit Show
From: Skip Woolwine
11. Re: MacArthur Park
From: sarah vaughn
12. New member
From: Lloyd Thaxton
13. Re: Hello everyone
From: Phil Milstein
14. Re: Grapefruit
From: Scott Swanson
15. Re: How about brilliant tracks with ONE inept ingredient!
From: Mike McKay
16. Re: The Buchanan Brothers/Cashmen/Morning Mist, etc etc
From: Clark Besch
17. Re: Jimmie Haskell / Louie Shelton / Clingers
From: Patrick Rands
18. Re: Most Inept Hit
From: steveo
19. Re: Rapper DJs' use of vinyl records
From: Rodney Rawlings
20. Re: Worst Lead Vocal
From: Bob
21. Re: Best lyrics / more on parentheses
From: Phil Milstein
22. Re: How Sweet It Is
From: Dan Hughes
23. Re: U.S. Bonds
From: Tom Taber
24. Re: Gene Pistilli
From: Austin Roberts
25. Answer to Peter Kearns
From: steveo
26. Re: Most Inept Hit -- Angel Baby
From: John Sellards
27. Re: How about brilliant tracks with ONE inept ingredient!
From: Phil Milstein
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Message: 1
Date: Fri, 09 Jan 2004 08:51:00 -0000
From: Glenn
Subject: Re: Stewball, The Left Banke, Melodies Rule, etc.
Jeff Lemlich wrote:
> I may be wrong, but I think "Love Theme From Romeo And Juliet" was
> originally a vocal -- "What Is A Youth" -- which was sung in the
> film by Glen Weston. If I recall correctly, the instrumental was
> based on that song (minus the silly middle eight). I do agree
> the later lyrics, "A Time For Us", leave a lot to be desired.
Yes, I DO now remember that song being sung in the film. But to say
that "the instrumental was based on that song" seems a bit backwards,
IMHO - the score by Nino Rota, who was a film composer and not a pop
songwriter, makes extensive use of two major instrumental themes, one
for Romeo and one for Juliet - and "What Is A Youth" is basically
Juliet's theme with a lyric and that "silly middle eight" added. All
the music in the film, including the song's melody, is by Rota.
Also, "Love Theme from Romeo and Juliet" as we know it is actually in
the film in its full version, played in the scene in the tomb at the
end. So Juliet's Theme, "What Is A Youth" and the "Love Theme" are
three related, but not identical, pieces. The latter was the basis
for the instrumental hit single.
It was also the basis for the "A Time For Us" lyric that was created
post-film by people unrelated to the film project. While not quite as
bad as the lyrics tacked onto "Love Is Blue" and "Exodus", they were
still equally unneccessary, and equally destructive to the melody.
But you are absolutely correct that this example doesn't hold up as
well as the others, just knowing that the composer of the theme even
CONSIDERED allowing ANY words to be put to it, much less that he
actually allowed it to happen in his own film score.
"Middle eight", eh? Wow, I've only ever heard British songwriters
refer to the bridge as "the middle eight" before. Are you a British
songwriter by any chance?
Cheers,
Glenn
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Message: 2
Date: Fri, 09 Jan 2004 01:43:50 -0800 (PST)
From: Paul Bryant
Subject: Re: How about brilliant tracks with ONE inept ingredient!
Peter Kearns wrote:
> My example is a slightly different concept; the otherwise great
> recording that has an ingredient so off-putting you'd wonder why
> the producer let it through.
Okay - interesting -- you give two examples of off-key backing
singing, My Sweet Lord and You're Gonna Lose that Girl. I'll put up
my hand and say I honestly never heard these as off-key at all! So
here's the perfect forum to ask the question - what does everyone
else think?
My example of your excellent concept is slightly outside the scope of
Spectropop, Gene Clark's masterpiece "No Other" -- a fantastic album,
but since it was 1974 the producer thought he'd spray truly hideous
wah-wah guitar over one of the best songs. Wah wah wah!
pb
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Message: 3
Date: Fri, 09 Jan 2004 03:22:43 -0800 (PST)
From: Michael Fishberg
Subject: Jaynetts & other sing-a-long flipsides
Further to the Jaynetts' "Sally Go 'Round The Roses" - the flip
was just the backing track (with the girls faintly heard). I
think I've got another 7" on Tuff by another group that has this
poor value phenomenon.
Michael Fishberg
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Message: 4
Date: Fri, 09 Jan 2004 20:30:59 -0000
From: Mick Patrick
Subject: Re: The Swans and Alder Ray
Jimmy Crescitelli:
> Okay... it's time for more girl-group minutiae! I've been
> playing Touch the Wall of Sound, Volume 2, in the car, and
> "A Little Lovin' Goes A Long, Long Way" never sounded so great.
> MAN! And my fave of the week is the Swans' "I Love Him".
> Queries: do there exist any photos of the Swans, and Alder Ray?
> And one of the Swan's backup singers has a VERY deep voice...
> anyone know who these ladies were?
Ooh good, girl group minutiae. My favourite! Hey Jimmy, you'll
find a nice ('70s) pic of Alder Ray in the S'pop photos section.
Click here http://www.spectropop.com/go2/members.html then click
on "Photos". Have a look around while you're there, why not. A
search of recent messages will reveal more about Alder too.
David Coyle:
> Is this the same song that was recorded by the Liverpool beat
> group the Fourmost in 1964?
Actually, the Alder Ray track is "A Little Love (Will Go A Long
Way)". They got the title wrong on the bootleg CD Jimmy mentions.
So no, it isn't the same song as the Fourmost.
Likewise, the correct title of the Swans' track is actually "He's
Mine", not "I Love Him". I've never seen a photo of the Swans but
I can tell you that they were from Camden, New Jersey and included
sisters Tina and Jean Thomas in their line-up. I think they also
recorded as the Dreamers (on Fairmount) and later evolved into the
Mellowmoods.
Of course, "A Little Love (Will Go A Long Way)" by Alder Ray and
"He's Mine" by the Swans are both out on legit CDs. But you all
know that already, right?
Gotta trot, Sex In The City is about to begin. I can't possibly
watch it dressed like this.
Hey la,
Mick Patrick
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Message: 5
Date: Fri, 09 Jan 2004 07:04:40 -0500
From: Lou
Subject: Re: 4 Seasons 45s mixes
Doc wrote:
> Does anyone know if there is a CD of the 4 Seasons, in mono,
> the 45 mixes?
Ace Records reissued the 4 Seasons double album " Edizione D'Oro"
on Cd (CDCHD 642) back in '97. As stated on the back: "The original
double album re-mastered with mono single versions but retaining
all the original stereo versions unique to this album -- most of
which are previously unavailable to CD" (Ace did have to drop 3
songs from the original album due to Cd time restrains).
Most of the hits are in mono except for:
- Ain't That A Shame
- Dawn (Go Away)
- Save It For Me
- Girl Come Running
- Let's Hang On
Lou
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Message: 6
Date: Fri, 09 Jan 2004 12:56:26 -0000
From: Hugo M.
Subject: Re: Most inept hit
How 'bout "I've Had It", by The Bell-Notes?
NA-na-na-na-na!
Hugo M.
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Message: 7
Date: Fri, 09 Jan 2004 13:57:25 -0000
From: Laura Pinto
Subject: Re: Vance-Pockriss query
Hugo M. wrote:
> I've been seeing those names [Vance/Pockriss] a LOT lately, they
> seem to be there every time I turn around. lounge/Bacharach/bossa
> stuff, girl-group, novelty songs (like the weird baby-talk/hipster
> lingo parody of "The Chick"...) They seem to have done a little bit
> of everything, and I've never seen them mentioned here -- anybody
> have good info or anecdotes to share about these two careerists?
Hi,
Paul Vance and Lee Pockriss were responsible for lots of hits like
"Catch a Falling Star" (Perry Como) and "Itsy Bitsy Teenie Weenie
Yellow Polka Dot Bikini" (Brian Hyland), as well as a bunch of
recordings during the 60's with Ron Dante, i.e., "Don't Stand Up in a
Canoe," all the Detergents sessions, and a few years later, the Cuff
Links (as both composers and producers).
One thing I found during my research for the Spectropop article and
which will appear in a piece I wrote about Ron's 60's work in the
forthcoming issue of a fanzine (details to follow) is that Paul Vance
also wrote "Playground in My Mind," recorded by Clint Holmes, and
that it's Paul's young son singing the "My name is Michael" chorus
along with Clint.
Laura
-------------------------------------------------------------
Admin Note:
Don't miss Laura's "Then & Now: A Ron Dante Retrospective" at the
New @ S'pop section: http://www.spectropop.com/RonDante/index.htm
Enjoy!
The S'pop Team
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Message: 8
Date: Fri, 09 Jan 2004 07:04:28 -0800 (PST)
From: David Coyle
Subject: Re: Answer Songs
> Memphis Calling New York City, by Carole Coby Epic 9711
But Chuck Berry had already answered his own song with "Little
Marie". When and where was it released? I heard it on one of CB's
"Rock And Roll Rarities" compilations.
David
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Message: 9
Date: Fri, 09 Jan 2004 07:01:52 -0800 (PST)
From: David Coyle
Subject: Re: Most Inept Hit
Was "Love You So" by Ron Holden actually a hit? If so,
that one ranks right up there with "Angel Baby" in
terms of some lousy musicianship. Of course, why do we
always remember these songs? BECAUSE of the mistakes.
If "Louie Louie" by the Kingsmen doesn't qualify as
THEE most inept hit of all time, so mangled that the
FBI couldn't even figure out the lyrics to see if they
were dirty, and pronounced the song "unintelligible at
any speed", then I don't know what does.
Not to mention the drummer losing the beat and yelling
the f-word right in the middle of a split-second pause
(apparently not picked up by the Louie-haters at the
time).
David
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Message: 10
Date: Fri, 09 Jan 2004 10:15:43 -0600
From: Skip Woolwine
Subject: Gene Hughes (Casinos:'Then You Can Tell Me Goodbye') Benefit Show
In Nashville TN: Feb 10, '04 @ 7:00 p.m., "Rockin' At The Trap":
A Benefit From The Heart for Gene Hughes. GIFT and friends present an
evening of classic rock 'n roll benefitting Gene Hughes, lead singer of
the CASINOS (Then You Can Tell Me Goodbye). Gene, a long time music
industry veteran, has sustained injuries resulting from an automobile
accident in Nashville. Many of his friends and recording artis will be
performing at the TRAP to raise funds to offset Gene's medical bills.
Artists include: Clifford Curry, Bruce Channel, Larry Henley of The Newbeats,
Dickey Lee, Buzz Cason (Garry Miles), Bucky Wilkin (Ronny & The Daytonas),
Steve Jarrell and the Sons Of The Beach! (there may be more to be announced).
Tickets are $10 and may be purchased at the door or ordered online at
musicnashville.com (very soon). Donations can also be mailed to GIFT at
2804 Azalea Pl., Nashville, TN 37204. Call 615/383-8682 for details (Buzz Cason's office).
Skip Woolwine
Emmons Hicks Woolwine and Associates
708 Tern Court
Nashville, TN 37221
(615) 376-6462 Fax: (615) 463-0454
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Message: 11
Date: Fri, 09 Jan 2004 08:31:49 -0800 (PST)
From: sarah vaughn
Subject: Re: MacArthur Park
Phil Milstein wrote:
> As much as I love MacArthur Park, I'd be curious to apply the
> Shatner question to it: was Webb kidding when he wrote those
> lyrics, or was he dead serious?
He was actually very serious. He told me all about it when I was in high school. He's related to my auntie. I guess I believed him, but of course I couldn't read his mind!
Sarah in MA.
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Message: 12
Date: Fri, 09 Jan 2004 16:39:37 -0000
From: Lloyd Thaxton
Subject: New member
Hello out there in Yahooland. I have just joined the group
and would love to hear from my fans out there. Who am I?
Lloyd Thaxton, former TV host of the 60's The Lloyd Thaxton
Show (So What!) and now author of a new book, STUFF HAPpENS
(and then you fix it).
Check it out on http://www.stuffhappens.net - Drop me a line.
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Message: 13
Date: Fri, 09 Jan 2004 12:10:31 +0000
From: Phil Milstein
Subject: Re: Hello everyone
Howard wrote:
> I've just joined the group and like to post a brief introduction,
> my name is Howard, Im 51 years old, and am still an active member
> of the progressive northern soul scene, being editor of 'Soul Up
> North' fanzine.
Welcome to Spectropop, Howard. I'm curious in what way "progressive"
Northern soul differs from the ordinary variety.
--Phil M.
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Message: 14
Date: Fri, 09 Jan 2004 09:43:07 -0800
From: Scott Swanson
Subject: Re: Grapefruit
Mr. Wirtz:
>I did indeed produce two tracks with Grapefruit in 1967
>at Abbey Road #3 for Paul McCartney (I only remember one
>of the titles - "One More Try")
I wonder if that song is related to "Give It One More Try", which was
released on the "Around Grapefruit" LP in 1968?
P.S. This is such a cool list when I can just ask a question about Mark
Wirtz and get an answer directly from him in a matter of hours! If only it
worked that way with EVERY famous person I had a question of! :)
Regards,
Scott ("I wonder what Brian Wilson thinks of....")
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Message: 15
Date: Fri, 09 Jan 2004 12:42:09 EST
From: Mike McKay
Subject: Re: How about brilliant tracks with ONE inept ingredient!
Peter Kearns wrote:
> My example is a slightly different concept; the otherwise great
> recording that has an ingredient so off-putting you'd wonder why
> the producer let it through.
> So I'll mention George's 'My Sweet Lord'. Nice playing yes,
> nice arrangement; the 'He's So Fine' debacle notwithstanding,
> and not to mention the borrowing of the Krishna prayer.
> BUT! Why on earth did Phil let 'those' backing vocals pass the
> test? They're so out of tune it's not funny. I've always been
> amazed by this. How could that happen?
I can't say I've ever noticed this, but if they're indeed out of tune Phil
may have let them pass because George sang every single one of them himself --
which obviously took some considerable effort given how many parts there are.
It's one thing to boss around anonymous background singers and another to
boss around one of The Beatles!
> And another example from 1965; The Beatles 'You're Gonna Lose
> That Girl'. Again, the backing vocals are woefully out of tune.
> Couldn't they hear it?? It's beyond me.
It must be beyond me too, because I've never noticed it. This has always been
a favorite Beatles track of mine. Where do you hear something off-key? In the
response vocals or on the bridge where there's full three-part harmony? If
you can be specific, I'll listen for it.
Mike
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Message: 16
Date: Fri, 09 Jan 2004 17:48:42 -0000
From: Clark Besch
Subject: Re: The Buchanan Brothers/Cashmen/Morning Mist, etc etc
Mark wrote:
> Who put out the Cashman and West CD? Sounds like something
> from Varese Vintage to me!
The CD came out in 1993 on New York City's Razor & Tie Records,
which makes even more sense, right?
> I agree, "American City Suite" and "King of Rock and Roll"
> are great tunes (I remember "King of R&R" from when I was a
> kid!). "American City Suite" is a great predecessor to songs
> like "Scenes From an Italian Restaurant" and "New York State
> of Mind", but lacking the pretentiousness of Billy Joel.
Altho hearing it a million times may make a difference, I'd much
rather hear the 10 minute "American City Suite" than the 8
minute "American Pie" anyday. Yet, with the CPW song coming only
months after McLean's epic, maybe that song gave them the idea to
tell a long tale too? Cool promotion too, a nice pic cover 45 short
version, a 10" DJ version with a longer version and a different
pictur cover yet. Fun for us collectors! Never heard "King of Rock
N Roll" until a few years later when i picked it up cheap.
Anyway, the Cd is really good, but my ears tell me that many tracks
seem more sparse than i remember them as 45s. Maybe the stereo
separation? I really think there may be overdubs missing on some
tracks. Anyone else feel that way? The Cd has both sides of the 69
Capitol 45 "Some of my Best Friends are People" and "Sausalito" in
stereo. That's all from Capitol tho. They had a handful of 45s for
Capitol including the one I liked, "Goodbye Jo" (not to be confused
with the great Laura Nyro song). Other late 60's Capitol 45s I have
not on the Cd are "Sister John"/"Memphis Medley:Proud Mary/Dock of
the Bay" (hmm, maybe that''s where the medley idea came from--the
Lettermen! Also on Capitol was their Fred Neil 45 cover, "Dolphins"
which they performed on "Upbeat" in 69. Back to the Cd, "Medicine
Man" is neither the 45 length or side one and 2 combined as I might
have expected. It seems to be the version the 45 was cut from, but
has a cold ending without the 45's ending at all! Odd. The vocals
really stand out tho and sound is pristine. BTW, their Lp has both
Part 1 & 2 separated.
"California on my Mind" is just so great. Bobster, if you liked the
Picardy songs, this is for you too. Originally "Kodak makes your
pictures count" ad, this one sounds great, but something still sounds
slightly different to me from the 45. Then, their Spanky hit "Sunday
will Never Be the Same", which is a great version too! Without
digging out the 45, "King of RNR" sounds like it's missing something
too? Again, I am almost 100 % sure "Son of a Lovin Man" is missing a
thing or two also. Cd also has "Talkin Baseball". Does anyone have
ALL the versions with pic sleeves? I have the Braves one with
tribute to Phil Neikro (I'm a lifelong Braves fan).
Unfortunately, the Cd does not have their original version of the
Robbs great 45, "I'll Never Get Enough" (but it is on their Lp) or
their later 45's "The Last Time"/"Feelin that I Get"
and "Rosianna"/"A Song With A Happy Soul". "Rosianna" was the
original version of the Robbs' later incarnation, Cherokee's second
single release. Austin, were you involved in these?? Did you have any
contact with the Robbs? I have been hoping for a legit Cd of their
stuff.
Anyway, well worth getting at 20 nice songs, but don't throw your 45s
out, cause I think they're better.....or my ears are worse?
> I too thought the line in the song was 'come a-close'. Another
> way I heard it (feasible since it's called "MEDICINE Man"):
> 'comatose' (pronounced comma-tose). Best, Mark
Just listened again, sure sounds like "come-a close" sometimes and
other times "comatose". Sometimes, I swear you hear an "s" at the
end of what he sings and sometimes not! What does it all mean????
Number 9, number 9, number 9.........
Take care,
Clark
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Message: 17
Date: Fri, 09 Jan 2004 17:51:25 -0000
From: Patrick Rands
Subject: Re: Jimmie Haskell / Louie Shelton / Clingers
Austin Roberts wrote:
> You're right about Jimmie Haskell, he was the best and a fun guy
Hi Austin,
I've got not one but two copies of Jimmie Haskell's concept album
from the early 70s - California '99. I've been meaning to put the lp
on disc for a long time, so keep your ears peeled to musica for a
taste (soon). It's got not one but two songs from the classic Curt
Boettcher project, The Millennium (Prelude and To Claudia on
Thursday). Til then, read about the album here (a really great read):
http://theband.hiof.no/albums/california_99.html
> We worked with Hal Blaine, Joe Osborn and Larry Knechtal, with Ben
Benay and Louie Shelton
Is Louie Shelton at all related to Fred Shelton? Just curious,
because The Clinger Sisters sang backup on one of Fred's albums in
the 70s, maybe they also worked with Louie at some point too.
Now's a good a time as any to let you all know that next friday night
I'm doing a one hour spotlight show on The Clinger Sisters. It's been
one long odyssey collecting their music (and I'm still not done with
it!), but they've been worth it, a lot of interesting projects under
their collective belts including The Rock Flowers, The Cattanooga
Cats, a Kim Fowley/Michael Lloyd produced single on Columbia Records
(I believe they were the very first all girl rock band signed to a
major label - even before Fanny in 1970), their mid-60s girl group
records recorded as The Clinger Sisters (some of which are as rare as
steak these days), a Johnny Cymbal produced single, as well as Peggy
co-writing a bunch of songs with Johnny including music for The
Partridge Family, Peggy's song she wrote for Cher, and Debra's music
for Billy Cowsill's solo album (Patsy played drums too!) and the 70s
tv show Kaptain Kool and the Kongs.
http://www.angelfire.com/d20/reefer/clingers.html
It's quite a resume of great music, and if you are at all curious to
hear these girls from Utah have a way with a song, then tune between
6 and 7 pm (Eastern Standard time), Friday January 16th to 90.3 WZBC
FM in the Boston, MA area. Or tune in online at
http://www.zbconline.com
If anyone has any information they'd like to share about the
Clingers, I'd love to hear it.
:Patrick
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Message: 18
Date: Fri, 09 Jan 2004 09:56:17 -0800 (PST)
From: steveo
Subject: Re: Most Inept Hit
Phil Hall wrote:
> My vote is for "Wild Weekend" by The Rebels, although
> "Angel Baby" by Rosie & The Originals is certainly a
> good candidate.
Wild Weekend certainly is raw as hell...whoever the
musicians were...this recoding proves that you don't
have to know how to play an instrument to make a
record. Even as such...the rhythmic concept
was original enuff to carry it thru,and despite the
cheezy guitar solo and the slush drummer....I enjoy
the record.
Angel baby is another matter, it must have appealed to
the female audience word wise....that's about all I
can say about it.
Steveo
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Message: 19
Date: Fri, 09 Jan 2004 18:07:17 -0000
From: Rodney Rawlings
Subject: Re: Rapper DJs' use of vinyl records
James Botticelli:
> Nope...a good Stanton Cartridge is a wonderful thing. And it has
> been synthesized. The above programs have the sound or you can
> sample the sound into them (at least with Pro Tools)
What you've described is interesting, but doesn't cover the
main thing I was curious about, which is the sound of a stylus
being dragged across the grooves repeatedly in a rhythmic fashion.
Can you shed any light on this?
Rodney
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Message: 20
Date: Fri, 09 Jan 2004 19:24:17 -0000
From: Bob
Subject: Re: Worst Lead Vocal
Lapka Larry wrote:
> Most of the others that were named were pretty bad, but the worst
> lead vocal from the 1960s era--and one that was on a record that
> was a hit--was Gary Lewis' rendition of "Sealed With a Kiss." He
> simply can't carry this tune, his voice cracks right in the middle,
> and it is a shambles--all the way up to #19 on the Billboard charts.
Larry,
Funny you should bring that song up. A friend of mine who
was running Gary's fan club at the time, was invited to Gary's 50th
birthday party. He asked Gary if he could bring me along and Gary
said fine. Gary at the time lived in Ohio. Anyway, during the party,
the DJ was playing a bunch of Gary's tunes. We happened to be talking
to Gary just as "Sealed With A Kiss" came on. Gary immediately turned
around and said "Turn that off"!!! Even he knew a bad song when he
heard it!
Bob Celli
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Message: 21
Date: Fri, 09 Jan 2004 14:37:57 +0000
From: Phil Milstein
Subject: Re: Best lyrics / more on parentheses
Hugo M wrote:
> I think it was Phil who recently mentioned Richard Hell.
> Kinda outside the group's focus ...
But not entirely: the album was co-produced by Richard Gottehrer.
> ... but some of his lyrics have always
> impressed me mightily, he does really striking things with meter
> sometimes... like the anapests (I think that's right) in "He was
> a cartoon, long-forsaken by the public eye"
> From "(I Belong To) (The) Blank Generation."
> ... and the first verse
> of "Who Says". I can't quote it from memory, and I don't have it
> here at hand, but it's about 16 words, with five or six rhymes
> stuffed into it without damaging the meaning, craft-y like anything
> you could find in Cole Porter.
The verse you cite sounds better than it reads:
I saw what I had so
I got I got mad so
I guess I went bad so
Hell's use of parens in the full title of this song, "Who Says (It's
Good To Be Alive)?", is another example of his fascination with that
punctuation device. Taken separately, the subtitle means virtually
the opposite of its in-context meaning.
--Phil M.
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Message: 22
Date: Fri, 09 Jan 2004 13:47:33 -0600
From: Dan Hughes
Subject: Re: How Sweet It Is
Phil asks about Pat Williams. Wrote tons of TV themes;
Columbo, Bob Newhart, Mary Tyler Moore....
http://www.patrickwilliams.net/credits.html
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Message: 23
Date: Fri, 09 Jan 2004 12:33:35 -0800 (PST)
From: Tom Taber
Subject: Re: U.S. Bonds
Simon White wrote:
> My personal fave is "Not Me," which has a great
> lyric. Which is first, Gary's or The Orlons'?
> Or is there another?
Gary's was his follow up to, I believe, "New Orleans,"
and "bubbled under" the top 100, supposedly done in by
objections to the "punch in the face" line. I don't usually
buy those "we would have had another hit, but..." stories,
but I like his version so much I'm surprised it didn't do
better. Orlons hit quite a bit later, months if not a year
or more. If you haven't heard forgotten oldie "Dear Lady
Twist" for years, go play it loud - it will blow you away!
Tom "working from memory" Taber
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Message: 24
Date: Fri, 09 Jan 2004 14:50:34 EST
From: Austin Roberts
Subject: Re: Gene Pistilli
Hi Guys,
Gene is still writing in Nashville as far as I know. I last
wrote with him was about 6 years ago, but I've been gone since
then. I'm in the process and plan to renew our writing and
friendship. He's a terrific singer and writer, for sure.
Austin
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Message: 25
Date: Fri, 09 Jan 2004 13:02:44 -0800 (PST)
From: steveo
Subject: Answer to Peter Kearns
Paul Bryant wrote:
> Okay - what's your choice of the most badly
> performed song ever to become a hit?
Peter Kearns rote:
> My example is a slightly different concept; the otherwise great
> recording that has an ingredient so off-putting you'd wonder why
> the producer let it through.
Peter,
I'm aware of these imperfections...noticed them, like
you...but what I think the producers went after was
the "Feel" of the take....For most of us that's fine...
do you have perfect pitch? It can be annoying to those
who do..to hear this stuff. These imperfections...
Steveo
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Message: 26
Date: Fri, 09 Jan 2004 20:15:08 -0000
From: John Sellards
Subject: Re: Most Inept Hit -- Angel Baby
John Fox:
> The Innocents' harmonies are a bit off-key (but not as bad
> as don't say that Kathy Young's singing is flat -- after all,
> I feel about her the same way Mike McKay and others feel about
> Mary Weiss!
Well...and I'm not trying to CMA here...it's mainly the first time
she sings the word "stars", and that's where the Innocents come in
as well, so maybe she was thrown a bit by them. She's not unpleasant
to listen to - as I said, my wife loves "Stars" and can't stand
"Angel Baby", and I'm the opposite.
The Innocents did an incredible job on "Gee Whiz", one of my
favorite records, and a pretty much flawless performance. Wonder
why they don't sound that great on other things? I have the LP
(I haven't listened to it in a few years) and recall some intonation
issues there as well.
John Sellards
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Message: 27
Date: Fri, 09 Jan 2004 15:59:41 +0000
From: Phil Milstein
Subject: Re: How about brilliant tracks with ONE inept ingredient!
Paul Bryant wrote:
> Okay - interesting -- you give two examples of off-key backing
> singing, My Sweet Lord and You're Gonna Lose that Girl. I'll put up
> my hand and say I honestly never heard these as off-key at all!
One of the Papas comes in early after the break in "I Saw Her Again",
abruptly cutting off his "I saw her ..." before order is restored.
Given how professional, talented and careful the M's & P's ordinarily
were, however, I wonder if this little glitch wasn't somehow intentional.
--Phil M.
[warning: I'm going from memory here, so facts may be a bit off ...]
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