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SPECTROPOP - Spectacular! Retro! Pop!
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There are 25 messages in this issue.
Topics in this digest:
1. Re: Gene Hughes Benefit Show
From: Anthony James
2. Welcome Lloyd Thaxton
From: steveo
3. Progressive Northern soul
From: Howard
4. Re: One Inept Ingredient: Jack Webb & Jack(ie) Wilson
From: steveo
5. Re: Lloyd Thaxton
From: Steve Grant
6. Re: Lloyd Thaxton
From: Bob Bailey
7. Re: Austin Roberts Interview - Arkade/Austin R. music
From: Joe Nelson
8. Re: U.S. Bonds
From: Billy G. Spradlin
9. Re: Lloyd Thaxton
From: Lou
10. Re: 4 Seasons in Mono
From: Billy G. Spradlin
11. Re: Vinyl / Stylii / Radio Stations / Cue Burn
From: Billy G. Spradlin
12. Re: How about brilliant tracks with ONE inept ingredient!
From: Billy G. Spradlin
13. Re: Lloyd Thaxton
From: Dan Hughes
14. Re: Grapefruit
From: Mark Wirtz
15. Re: Clingers
From: Glenn
16. Re: How about brilliant tracks with ONE inept ingredient!
From: Eddy
17. Re: U.S. Bonds
From: Eddy
18. Re: Most Inept Hit
From: Mike McKay
19. Re; Brian Wilson influence
From: Stratton Bearhart
20. Re: Where Were You When I Needed Ya?
From: Glenn
21. Re: Inept must be a compliment
From: Peter Kearns
22. Re: Alder Ray
From: Rat Pfink
23. Re: Clingers
From: Jason
24. Re: Favorite Jimmie Haskell arrangements
From: Glenn
25. Re: Answer Songs
From: Eddy
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Message: 1
Date: Fri, 09 Jan 2004 18:56:51 -0500 (Eastern Standard Time)
From: Anthony James
Subject: Re: Gene Hughes 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.
Will there be a CD or tape made for sale to help as well?
That could generate a lot of money for the cause. If they
do, let us know when they go on sale. Gene is a great talent
and a big mainstay here in Cincinnati.
Anthony James
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Message: 2
Date: Fri, 09 Jan 2004 16:49:23 -0800 (PST)
From: steveo
Subject: Welcome Lloyd Thaxton
Welcome to Spectropop, Lloyd. I remember your brilliant TV
show well ... It was a groove to watch. Just out of curiosity,
I know that some of the early shows were on Low Band (Black
and White video tape), and the later ones on High Band (color).
Lloyd, whatever happened to those tapes? Did KCOP-TV re-use
the tapes all the time, or do any of these exist? Have seen
some small clips of your show recently, on record ads for the
sixties such as Ben E. King singing "Stand By Me" (I think
that was a color tape). Do complete shows exist?
Steveo
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Message: 3
Date: Fri, 09 Jan 2004 19:54:52 EST
From: Howard
Subject: Progressive Northern soul
Phil M:
> Welcome to Spectropop, Howard. I'm curious in what way
> "progressive" Northern soul differs from the ordinary variety.
are you (1) asking what the difference is between the 'ordinary variety' of
northern soul, against the progressive northern soul scene of today, or
are you (2) just asking what the difference is between soul and northern
soul??
(1) The first question is easier to answer, as the northern soul scene has
been active since the late sixties. 'Ordinary' northern soul IMO refers to the
records that were played all those years ago, and continue to be played
today -- these are commonly classed as 'oldies'. The progressive or
'UPfront' policy of certain venues are to 'discover' unknown or hardly
known records of the sixties - known as new 6T's sounds - and play
these rather than the (maybe still rare) but well known sounds of the past
few decades.
(2) The second possible question is far more difficult to answer.
Someone help me!!!!!!
regards,
Howard
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Message: 4
Date: Fri, 09 Jan 2004 16:55:47 -0800 (PST)
From: steveo
Subject: Re: One Inept Ingredient: Jack Webb & Jack(ie) Wilson
John Sellards wrote:
> Again, here's one outside the realm, but I'll offer it
> anyway since it was after the start of the rock and roll era:
> The beautiful backing orchestration of Billy May supporting
> Webb's emotionless lyric readings on his "You're My Girl"
> LP.
> And what about the out of tune guitar on Jackie
> Wilson's "Higher And Higher"?
John,
How about the bass player who gets lost and is asking on
Stevie Wonder's first big hit ("Fingertips"), "What key...
what key?" (lol) I love it!
Steveo
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Message: 5
Date: Fri, 09 Jan 2004 18:34:02 -0500
From: Steve Grant
Subject: Re: Lloyd Thaxton
Lloyd Thaxton:
> 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).
Mr. Thaxton, you deserve to know that all those many years ago
yours was the show airing on St. Louis TV when, for the very
first time in my then-young life, I got to second base. Thanks
for the coming to the aid of a good cause :)
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Message: 6
Date: Sat, 10 Jan 2004 01:33:29 -0000
From: Bob Bailey
Subject: Re: Lloyd Thaxton
Mr. Thaxton- I sent you an email but I thought I might share this
with the group. About 1983 or so I worked for Northrop in Hawthorne
Calif. My brother-in-law was a veterinarian in Hermosa Beach, about
Inglwood Ave. and Artesia Blvd. One afternoon while visiting him
after work in walks this gentleman with a sick dog -- a new customer.
Doing the customary paperwork, the man reveals his name as Ian
Whitcomb. My brother and I look at each other and I asked him was he
THE Ian Whitcomb, and of course he was. We talked a bit and he was
surprised I remembered the complete name of Ian Whitcomb and
Bluesville, but I do believe he appeared on your televison show
somewhere in the neighborhood of 1964 to perform his One Hit Wonder
You Turn Me On (The Turn On Song). And yes I saw the show.
I can't remember what it was he did at the time but he did live in
Renondo Beach so I figured he made some wise investments or managed
somehow. Oh and yes, my brother-in-law saved the dog from whatever
it was.
Thanks for the memories, Mr. Thaxton. I spent many a afternoon tuned
to KCOP Channel 13 in Los Angeles, because my 2 older sisters made me
turn it from Felix the Cat each afternoon.
Bob Bailey
Kansas- Land of Oz and that stupid dog Toto!
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Message: 7
Date: Fri, 09 Jan 2004 20:38:15 -0500
From: Joe Nelson
Subject: Re: Austin Roberts Interview - Arkade/Austin R. music
Clark Besch:
> With my posting of Austin's "One Word" and the stereo "Morning of Our
> Lives" "in cue", I spent some time digging out my Austin 45s. With
> Austin's permission only (sorry I didn't consult you on "One Word",
> but it SHOULD be heard!), I could likely post any of these songs.
> Not sure if I found all I have, but a couple of early efforts on
> Philips would be "Mary & Me", b/w "I'll Smile" as well as a
> mono/stereo "One Night Ann", the Chelsea 45s including the Bobby Hart
> co-written "Somethin to Believe In" mono/stereo (non-LP?) as well
> as "Rocky's" B-side "You Got the Power" which I just noticed was co-
> written with Kenny O'Dell, whom I'd just been writing about!! Any
> comments from Austin on Kenny would be appreciated in the interview.
> Also, the 1978 mono/stereo "Don't Stop Me Baby (I'm On Fire)" -- OH
> THOSE DASTARDLY BRACKETS AGAIN!! The latter from Bobby Goldsboro's
> House of Gold Music publishing.
Clark,
Would you mind puting these on the CD? Jim Abbott will be interviewing
Austin on the 60's and 70's show at WNHU in a few weeks, and I'd like
to forward the tracks to Bob Radil for possible use on the show.
Thanks in advance,
Joe
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Message: 8
Date: Sat, 10 Jan 2004 01:46:31 -0000
From: Billy G. Spradlin
Subject: Re: U.S. Bonds
> 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 version was the first. From the liner notes of "Rock
Revolution - The Roots" a 1979 compilation on Legrand records.
"This recording was judged "too violent" to play on the air.
The line "Or I'll punch you in the lip" was too much under FCC
regulations. Later Kal Mann changed the line and produced the
song on the Cameo label with the Orlons. It went into the Top 5."
(Billboard says it hit #12, July 1963)
Billy
http://listen.to/jangleradio
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Message: 9
Date: Fri, 09 Jan 2004 21:04:42 -0500
From: Lou
Subject: Re: Lloyd Thaxton
Lloyd Thaxton:
> 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.
The big question .... is there video tape of your shows and
do you own the rights ?
Being originally from N.Y.C. area, there was only 3 shows to
feed your music hunger back in the early '60s : American Bandstand
(WABC TV)/ The Clay Cole Show (WPIX TV) / and the fantastic Lloyd
Thaxton Show (also WPIX TV). The thing that set your show apart
from the others is that it seemed that the guest on your show wanted
to be there. Any great stories to share with us ?
Lou
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Message: 10
Date: Sat, 10 Jan 2004 02:08:03 -0000
From: Billy G. Spradlin
Subject: Re: 4 Seasons in Mono
> As a Seasons fan can I ask if the mono mixes are better than the
> stereo or significantly different?
For the tracks that were released stereo/mono simultaneously there's
no big differences in the mixes. I think the mono mixes have
more "punch" and more bass than the stereo versions, especally on the
Seasons 1966-7 recordings (Workin' My Way, Opus 17, Beggin').
The Mono tapes of thier hits proably havent been used since the 60's
while the stereo mixes have been used over and over for LP-CD
reissues, they might have degenerated over the years. I would love to
see Rhino/Ace/Sundazed put together an all-mono Seasons compilations,
but people want/love stereo....
I read on the Yahoo ValliSeasons club last year that Bob Gaudio had
recovered the original 4 track master tapes which were thought long
lost. Hopefully there will be better sounding remixes in the future,
though I cringe at most remixes of 60's material (and still remember
those horrble 4 Seasons dance mixes a few years ago).
Billy G. Spradlin
http://listen.to/jangleradio
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Message: 11
Date: Sat, 10 Jan 2004 02:24:06 -0000
From: Billy G. Spradlin
Subject: Re: Vinyl / Stylii / Radio Stations / Cue Burn
I remember visiting a christain radio station in Shreveport,
it was a low budget 250 watt daytime station. They had a
Panasonic/BSR automatic turntable (yes, those cheap things!)
with ceramic cartridge in their main studio (and the DJ was
playing music from two portable CD players!) through an ancient
Gates tube control board.
The one cartridge I have seen and used on the air for years was
the Stanton 500. They didnt have the greatest frequency range but
were proably the most bulletproof for abusive DJ's. Radio Shack
sells a version of them, I picked one up just for converting old
worn vinyl to CD/Mp3 when I needed heavy tracking. They have a
high end rolloff around 17 khz, which does a good job of covering
up scratches.
http://www.stantonmagnetics.com/alpha44/load.asp?page=500alII
Most stations had Gates/Harris, QRK or Russco ("Rumble-Matic")
turntables. My University FM station and later stations used Technics
SL and SP-1200's. I loved those turntables, so easy to use and quick
starting. I even bought one a couple years ago for my home stereo!
Billy
http://listen.to/jangleradio
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Message: 12
Date: Sat, 10 Jan 2004 02:41:55 -0000
From: Billy G. Spradlin
Subject: Re: How about brilliant tracks with ONE inept ingredient!
Since Im on a 4 Seasons Kick:
On their 1966 LP cut called "Comin' Up in the World". Frankie
gets a frog in his throat and his voice goes horse on the line
"It's YOUUURE Love.." With Bob Crewe's and the Seasons high
production standards I wonder why it was never fixed (punched-in).
Or how about the cough in the middle of The Beach Boys "Wendy"?
I blame the engineer for not muting it.
Billy
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Message: 13
Date: Fri, 09 Jan 2004 21:00:05 -0600
From: Dan Hughes
Subject: Re: Lloyd Thaxton
Hi Lloyd,
We were just talking about your show a few days ago. I remember
seeing the Grass Roots on your show before they had any hits, and
I was wondering who was in the group when they appeared with you.
You don't have any files I suppose?? You let each of them give
their names after they performed Mr. Jones (Ballad of a Thin Man).
Welcome to the group; you're gonna be astonished at the minutia
you'll see here. Some of these folks are more than walking
encyclopedias--they are walking encyclopedia FOOTNOTES.
---Dan
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Message: 14
Date: Fri, 09 Jan 2004 22:06:49 -0500
From: Mark Wirtz
Subject: Re: Grapefruit
Me:
> 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")
Scott:
> I wonder if that song is related to "Give It One More Try",
> which was released on the "Around Grapefruit" LP in 1968?
Well, Scott - major Kudos to you!! Yes, that DOES sound like
the track I was referring to. It is amazing to me that nobody
else has figured that out, and believe me, the "scouts" have
been searching. Now, the remaining puzzle is the title of the
other track, which I cannot remember. I guess I would have to
hear it in order to recognize it. So, I shall start with "Around
Grapefruit." Chances are that I might find it there.
Thank you Scott, for solving a long standing puzzle - and in
such a casual way! LOL
Very best,
mark :)
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Message: 15
Date: Sat, 10 Jan 2004 08:12:39 -0000
From: Glenn
Subject: Re: Clingers
Patrick Rands wrote:
> 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
Sounds fascinating! I'd never heard of the Clinger sisters, but I
love the first Rock Flowers LP. Was Clinger the beautiful, fair-
skinned brunette with that radiant flower-child glow, or the other
white girl?
Just curious. And probably not suitable to be allowed in mixed
company.
I'd like see the Clingers single review on your site but there is no
link to it from the URL you gave. Can you help?
I recently mentioned the Levine/Brown songwriting team of "Tie A
Yellow Ribbon" fame in another post - one of their better songs was
the Rock Flowers' only charting hit, "Number Wonderful", also covered
by Jay and the Techniques.
I only mentioned the Jay & the Techniques cover to sound like a
knowledgeable S'Popper, but it's totally irrelevant.
Glenn
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Message: 16
Date: Sat, 10 Jan 2004 09:12:02 +0100
From: Eddy
Subject: Re: How about brilliant tracks with ONE inept ingredient!
Peter Kearns:
> 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?
Mike McKay:
> 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!
Actually, it's all George + 1 Spector. So maybe he's outta whack
himself ;)
Eddy
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Message: 17
Date: Sat, 10 Jan 2004 08:57:54 +0100
From: Eddy
Subject: Re: U.S. Bonds
Simon White:
> My personal fave is "Not Me," which has a great lyric. Which is
> first, Gary's or The Orlons'? Or is there another?
Bonds was first. Orlons didn't come until two years later.
Eddy
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Message: 18
Date: Sat, 10 Jan 2004 02:43:52 EST
From: Mike McKay
Subject: Re: Most Inept Hit
David Coyle wrote:
> 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.
In fairness, there's some reasons behind the mangling. Jack Ely had
just recently undergone dental surgery, plus he was singing into a
single mic suspended high over the band, straining his neck to get
close to it. Further, the band believed that they were just playing
a sound check, and were astounded when the engineer said, "OK,
fellas, that's a take...thanks!" But of such things is rock 'n' roll
magic born.
> 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).
It's a little misleading to say the drummer "lost the beat." What he
did was simply miss a drum he intended to hit when doing a roll
around the skins, thus occasioning his expletive. The beat of the
song is never actually lost at all.
Also not pointed out so far is that Jack Ely comes in a measure too
early as he begins to sing the final verse after the solo. He
realizes his mistake and clams up, and the drummer compensates
nicely with a flashy set of rolls and cymbal crashes. To me, if he
had waited the proper amount of time, it wouldn't have been nearly
as cool. As it is, his jumping in early gives the song additional
momentum it would have otherwise lost if he'd waited for two
iterations of the chords before singing.
Me, I think there's room under the rock 'n' roll tent for both
perfectly realized, lavishly produced gems AND the stuff of "Louie,
Louie." We'd be the poorer without one or the other.
Mike
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Message: 19
Date: Sat, 10 Jan 2004 07:31:09 -0000
From: Stratton Bearhart
Subject: Re; Brian Wilson influence
The question of influence reminds me of the problem of intention in
an artist's work. The argument goes that if a painter paints a picture
and intends to place a specific meaning or overt message in it, that
meaning or message must be manifest in the work, it must be visible.
Conversely, If viewers have to ask the artist what they meant by it
they have failed to embody the meaning or message in the work.
So, if an artist claims that X is a influence on their work and that
influence isn't in anyway apparent, the term is highly ambiguous.
Another term,- 'Inspiration' might be more suitable?, whereby
respect for another artist's ability acts as a motivating force upon
the artist yet has no direct effect upon the artists own work.
That said, in the notion of inspiration we do in some sense return to
the problem of intention and to circularity....
Philosophical considerations aside, we are on safe ground when we
brand various bands and artists with plagarism and pastiche.
But perhaps too safe...
There are a plethora of examples in Brian Wilson's case, no
ambiguities in sight. On a positive note, Andy Paley and Jeff Foskett
can sound more like Brian than Brian, and I'm sure he's needed a mess
of help to stand alone with support from these guys.
My support goes to contemporary artists such as Sean O'Hagen, Robert
Schneider and Peter Lacey who are overtly influenced and
unambiguously inspired by Mr Wilson yet who produce their own clear
aesthetic into the bargain.
Stratton.
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Message: 20
Date: Sat, 10 Jan 2004 07:14:29 -0000
From: Glenn
Subject: Re: Where Were You When I Needed Ya?
Albabe Gordon wrote:
> Hey Glenn: Re: Vocals on WWYWINY. Have you tried to play both
> versions on separate players to see if you can sync them, and
> then see if only the vocal phases? Just a suggestion.
Interesting suggestion, Al. I've never personally tried it but I've
heard from people that have tried it - over and over.
The conclusion seems to be that even if you could put both versions
into atomizers and somehow separate out the molecules of the lead
vocals and compare them side by side, there would be no detectable
difference.
In other words, there have only been two officially released versions
of the song under the Grass Roots name (and once, on the Golden Grass
LP, under the Grassroots name): the later one by Rob Grill, and the
earlier one that is either by Phil Sloan or Bill Fulton.
Now, I'm kinda sorry I put that out there about the atomizer, because
I just KNOW someone is gonna try it...
Glenn
Golden Grass - The Grass Roots Fan Page
http://home.att.net/~souldeep69/index.html
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Message: 21
Date: Sat, 10 Jan 2004 06:43:48 -0000
From: Peter Kearns
Subject: Re: Inept must be a compliment
Ian Slater wrote:
> Really, does it matter if some obscure (to some of us, anyway)
> musical rules are broken, or mistakes are made, if the result
> sounds brilliant, as all these records do?
No it doesn't.
> So why not "wrong" notes, "flat" singing, "out-of synch" drums,
> etc., if the result sounds great? Lets call it "improvisation".
Either that, or we could call it 'Today's top 40'. See! Even the so-
called 'inept' stuff has already been done. :-)
Peter.
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Message: 22
Date: Sat, 10 Jan 2004 01:27:41 -0500
From: Rat Pfink
Subject: Re: Alder Ray
Phil Hall wrote:
> Just so you'll know, I clicked the link on your post for a photo of
> Alder Ray, and after following the instructions on the page
> explicitly, I got the message "Sorry, no matches found for 'Alder
> Ray'". Are there any photos anywhere else?
Try this link:
http://photos.groups.yahoo.com/group/spectropop/
It's the last photo on the page.
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Message: 23
Date: Sat, 10 Jan 2004 09:05:49 -0000
From: Jason
Subject: Re: Clingers
Patrick Rands wrote:
> 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.
The Clingers aka The Clinger Sisters recorded a one-off 45
(unreleased) with Curt Boettcher and Lee Mallory: "Sing to Me"
b/w "You Were Near Me". Although it was never released,
"Sing to Me" eventually came out on the Millennium's BEGIN LP,
and was also covered by the great Bob Dileo for the b-side of
his 3rd and final Columbia 45.
Jason
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Message: 24
Date: Sat, 10 Jan 2004 08:49:47 -0000
From: Glenn
Subject: Re: Favorite Jimmie Haskell arrangements
Glenn wrote:
> One of my favorite things he did was the horn & string
> arrangement on Blondie's "The Tide Is High". Made the whole
> record, IMO.
James Cassidy wrote:
> I concur. I also like his arrangement on Steely Dan's "My Old
> School" and some of the Decca-era Rick(y) Nelson stuff.
NO! Really???!!!
I've been finding out in the past few months that Jimmie Haskell, my
all-time favorite arranger, arranged several of my all-time favorite
records, but I never knew that he arranged *them*.
One of these was "The Tide Is High". For over 20 years I've been
blissing out on the incredible strings and horns on that record,
and I only found out about two months ago that it was my guy Jimmie
that was responsible for it!
Another was "Longellow Serenade" by Neil Diamond. Always loved that
string section, never knew till about three months ago that it was
Jimmie Haskell.
And now, you tell me that he did the horns on "My Old School"???!!!
I've loved the horns on "My Old School" since before I was born!!
Certainly another case of an orchestral arrangement totally MAKING
a record. And I love that record.
Wow, thanks for telling me this, Jim. Really freaked me out!
Yes, I knew he did almost all of Ricky Nelson's early albums.
Interestingly, and probably not coincidentally, he also arranged
two albums by Ricky's sons, who recorded as Nelson in the 90's.
In case anyone's wondering, Jimmie's still at it. His most recent
major arrangements were for Sheryl Crow's "The Globe Sessions" album.
Glenn
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Message: 25
Date: Sat, 10 Jan 2004 09:47:48 +0100
From: Eddy
Subject: Re: Answer Songs
David Coyle:
> 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.
It's on the St Louis to Liverpool album (1964) and on several
compilations, including the 1988 Chess box.
Eddy
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