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SPECTROPOP - Spectacular! Retro! Pop!
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There are 25 messages in this issue.
Topics in this digest:
1. Skapop
From: Julio Niño
2. Re: Re: Welcome to Ron Dante
From: Artie Butler
3. you will not bore us Lloyd
From: Mary
4. Shangri-Las sessions
From: Paul Bryant
5. Re: How about brilliant tracks with ONE inept ingredient!
From: John Sellards
6. stereo/mono irony
From: Paul Bryant
7. Re: Drummer on 4 Seasons' "Dawn"
From: steveo
8. Welcome to Ron Dante!
From: Laura Pinto
9. Beatles For Sale
From: Steve Harvey
10. Re: McCartney bass
From: Steve Harvey
11. Re: Kane & Abel and The Taylor Brothers
From: James Holvay
12. Jack Nitzsche at Spectropop update.
From: Martin Roberts
13. Re: How about brilliant tracks with ONE inept ingredient!
From: Eddy
14. Re: Drummer on 4 Seasons' "Dawn"
From: steveo
15. Re: What Ever Happened to Lloyd Thaxton
From: Mike Nathan
16. Re: "Lose That Girl"& "DYWTKAS"
From: steveo
17. Re: If I Fell - unique vocal harmony on "vain"
From: steveo
18. Ron Dante/Artie Butler
From: Artie Wayne
19. DA DOO RON RON - this coming Saturday
From: Chris King
20. Re: one inept ingredient
From: Phil Milstein
21. Re: Grapefruit?
From: Mark Wirtz
22. Re: Progressive Northern Soul?
From: James Botticelli
23. Re: Rapper DJs' use of vinyl records
From: Paul Bryant
24. Re: Herman's Hermits In 70s
From: Steve Harvey
25. Re: First Gears - The In Crowd
From: Sean
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Message: 1
Date: Sun, 11 Jan 2004 17:41:37 -0000
From: Julio Niño
Subject: Skapop
Hi Everyone,
Let me begin by saying that the story of Ed and Sam Chaplin
amused me quite a bit. I´m a total fan of Mike Raskow´s sense
of humor.
Days ago was mentioned the magnificent box set "Chapel of
Love" by Castle Pulse. The third cd of my box has a mistake in
the booklet inside, and in place of the always succulent notes by
Mick Patrick and Malcolm Baumgart are the credits of another
CD. Would someone happen to have the notes from this third
CD, be able to scan them and put them on file or even send
them to me. I would appreciate it a lot.
Changing topics, Mike Edward includes in his personal
Shirelles´ top 5 the curious song " Long day , Short night"
(Bacharach / David), which is a perfect example of what we could
call Skapop; a type of subgenre that developed in the mid-sixties
all around the world. Without a doubt the spark was the hit by
Millie, "My Boy Lollipop". The event organized by the Jamaican
government to promote the island could have also contributed to
the difusion of Ska in the USA, which included important figures
from the Jamiacan musical scene in the New York World's Fair in
1964. All of which led Atlantic to publish the LP "Jamaica Ska". In
parallel, Epic published another LP, "The Real Jamaica Ska,"
produced by (a little carelessly in my opinion) Curtis Mayfied and
Carl Davis, which included such important Jamaican artists as
Jimmy Cliff or the fabulous The techniques, with the unequaled
voice of Slim Smith (whose falsetto sounds like Mayfield in an
attack of existential angst.
In any case, Ska germinated in "The Land of the Thousand
Dances", totally "popified", adopted as just another
dance rhythm. Naturally these Skapop tracks have nothing in
common with the rude and sophisticated spirit of authentic
Jamaican ska, but nonetheless I like it quite a lot.
Examples of Skapop that come to mind right now are " Jamaica
Ska " by Annette (the original is by Byron Lee and the
Dragonaires), "I Don´t Know" by Steve Alaimo (original by The
Blues Busters), and "What´cha Gonna Do About It" by Doris Troy.
Outside of the USA the phenomenon was heard in Italy. Peppino
de Capri had a hit with "Operazione Sole", later covered in
Spain by the bizarre combo Los de la Torre.
It would be really cool if someone well-informed made a
compilation of the topic.
Salutations to everyone,
Julio Niño
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Message: 2
Date: Sun, 11 Jan 2004 12:50:15 EST
From: Artie Butler
Subject: Re: Re: Welcome to Ron Dante
A personal welcome to Ron Dante. I know Ron real well. He is a class
act as a talent and as a person. We made tons of music together.
Artie Butler
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Message: 3
Date: Sun, 11 Jan 2004 17:51:15 -0000
From: Mary
Subject: you will not bore us Lloyd
Hi Mr. Thaxton.
Hope you will email more of the great stories, and we see more of
you. You along with Bob Eubanks are the best.
Mary
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Message: 4
Date: Sun, 11 Jan 2004 10:05:11 -0800 (PST)
From: Paul Bryant
Subject: Shangri-Las sessions
Dear Poppers
Can anyone direct me towards any accounts of the
Shangri-Las' recording sessions? I ask because I read
an offhand comment once to the effect that the Shangs
took it all very emotionally and seriously, and
consequently the sessions were quite ... difficult.
Would love to know.
It wouldn't surprise me, either. Out of all the
great girl groups, they're the ones who really put a
lot of soul and suffering into their singing. Gets me
every time.
pb
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Message: 5
Date: Sun, 11 Jan 2004 18:05:36 -0000
From: John Sellards
Subject: Re: How about brilliant tracks with ONE inept ingredient!
> And you can only hear those mistakes only on the stereo
> mixes. On the mono mixes they were corrected. Like Motown,
> mono versions were carefully mixed and the stereo versions
> were quickly done, sometimes by a staff engineer.
Something that has always amazed me is that there's huge harmonica
mistake in "Laugh Laugh" by the Beau Brummels that sticks out like a
sore thumb in the mono version, but is relatively buried in the
stereo mix. Normally I'm mono all the way, but in this case it's
clearly not the better mix!
John Sellards
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Message: 6
Date: Sun, 11 Jan 2004 10:08:59 -0800 (PST)
From: Paul Bryant
Subject: stereo/mono irony
Billy G. Spradlin wrote:
> And you can only hear those mistakes only on the
> stereo mixes. On the mono mixes they were corrected.
> Like Motown, mono versions were carefully mixed and
> the stereo versions were quickly done, sometimes by
> a staff engineer.
This is truly ironic, since it's the hasty stereo
versions which we now hear on all cd reissues.
pb
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Message: 7
Date: Sun, 11 Jan 2004 10:14:47 -0800 (PST)
From: steveo
Subject: Re: Drummer on 4 Seasons' "Dawn"
Billy G. Spradlin wrote:
> I think Ron Dante or Jeff Barry mentioned him as their drummer.
> I still love the booming sound Bob Crewe gave him on
> many of his productions. I have always wondered if Saltzman
> played on Gene Pitney's "It Hurts To Be In Love" and the great
> B-side (co-written by Al Cooper) "Hawaii".
Billy,
Sure fits right in, the idea that Buddy Saltzman could
have been the drummer stylistically on "It Hurts To Be
In Love" by Gene Pitney.
Steveo
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Message: 8
Date: Sun, 11 Jan 2004 18:18:13 -0000
From: Laura Pinto
Subject: Welcome to Ron Dante!
Hi Ron,
It's great to see you on the Spectropop board. You're a perennial
favorite with the group here and I'm sure I speak for a lot of folks
when I say we're glad you showed up. And thanks for the wealth of
information you gave me for the Spectropop article.
As those of you who've been keeping up with the message threads from
yesterday and today know, Ron was mentioned along with Mike Rashkow
in Jerry Osborne's "Mr. Music" column yesterday, in a discussion of
the 1968 single "Variations on a Theme Called Hanky Panky." However,
it wasn't the first time Ron's name had appeared in Jerry's column;
check out this archived column from April, 2002:
http://www.jerryosborne.com/4-1-02.htm
I've been a fan of Ron's since 1970. At that time I was aware of his
Archies, Cuff Links and post-Archies/Cuff Links solo work, and I knew
he'd been with a group called The Detergents, but I had no idea of
the enormous scope of his work until these past few years, since
1999, thanks to the Internet. Ron literally did so many studio
sessions in those days that he can't remember it all. It seems like
every day, one or both of us is learning (or reacquainting with)
something "new" about Ron's 60's and 70's work!
Thanks again for joining the discussion, Ron, and welcome.
Laura
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Message: 9
Date: Sun, 11 Jan 2004 10:48:23 -0800 (PST)
From: Steve Harvey
Subject: Beatles For Sale
> Beatles For Sale was the backward step, a fairly
> listless beast and some mediocre songs (What You're
> Doing, I Don't Want toSspoil the Party). Then Help!
> was somewhat better.
What?!?!?! You gotta be kidding! "I Don't Want To
Spoil the Party" is one of the best British Invasion
attempts at country/folk rock that ever was. Rosanne
Cash thought enough of it to do a cover as well. "What
You're Doing?" is terrific too, starting with those
drums setting the tones followed by that twangy guitar
riff. I like "Help", but most of those tunes can't
hold a light to the two listed above. I can see "Mr.
Moonlight" being listed as mediocre (although Lennon's
heartwrenching intro is terric -- sounds like he
recorded the vocals right after "Twist & Shout"), but
not "Party" & "What You're Doing?"
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Message: 10
Date: Sun, 11 Jan 2004 11:04:28 -0800 (PST)
From: Steve Harvey
Subject: Re: McCartney bass
Peter Kearns wrote:
> Was Paul not using a Rickenbacker on 'Band On The
> Run'? I presumed
> it was but I might be wrong.
McCartney started using the Rickenbacker with the
Beatles (see the shot of him with it in the Magical
Misery Bore booklet).
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Message: 11
Date: Sun, 11 Jan 2004 11:50:02 -0800
From: James Holvay
Subject: Re: Kane & Abel and The Taylor Brothers
Martin Roberts:
> A new batch of records revealed a few pleasant surprises,
> one of the most interesting being The Taylor Brothers "Showdown",
> United 98. A wonderful mid-60s Four Seasons' homage, with a
> Shangri-Las twist, the middle break features a "Leader of The
> Pack" semi-spoken section, complete with "Kill 'im, Kill 'im"
> and "Yeah, we hear he's got a bad reputation"!
>
> A BIG production and one I'll play to musica when space permits.
> The main credit on this obscure label is James Butler co-writer,
> arranger and conductor. On the B-Side "Your Last Chance", a more
> traditional Four Seasons clone (i.e. also fab) it states, "Recorded
> In Chicago" and all the credits belong to Mr. Butler. Now I'd like
> to think he's Artie's brother but if not...
>
> We've discussed James Holvay's super Righteous Brothers-styled
> homage to Phil Spector by Kane and Abel many times. First released
> as "Break Down And Cry" on Destination and then as "He Will Break
> Your Heart" on Red Bird, now the record is so good I'm glad they
> played it twice with albeit slight differences.
>
> James wrote an informative and fascinating account of the original
> recording (message #14528) the only omission being the name of the
> astute engineer, the credit on the label reveals him to be Stu Black.
> Besides no engineer credit on the Red Bird release the other credits
> remain more or less the same. With one major difference, 'Peterson'
> has joined Mr Holvay as co-writer. I'd assumed this was a biz credit,
> "I'll put your record on a big label you give me a cut on the take",
> sorta thing. But...a BMI search apparently revels that James Butler
> (Peterson) are one and the same.
>
> Perhaps James Holvay can fill in the blanks?
Martin: Where do I start? Jimmy Peterson & James Butler were one
and the same person. He was a singer, entertainer, songwriter and
a pretty creative guy in general. He formed the group The
Chicagoans along with Gary Beisbier, myself, Bobby Ruffino, Chuck
Russell and Larry McCabe. Peterson being the salesman that he was,
convinced Ed Cody/Stereo Sonic Recording in Chicago, into giving
us free studio time. In exchange, we would provide the musicians,
artists, songs, etc. and become our own Motown and split 50/50 with
Ed. We recorded a lot of tracks, most of which I wrote or co-wrote
with Peterson. Unfortunately, depending on Peterson's greedy mood,
the 45's would come out by "whomever" and sometimes I got credit
and sometimes I didn't. I, along with all the other guys in the
band, eventually got fed up and kicked him out of the band, after a
2 week engagement, backing up JoAnn Cambell at a club called the
Hollyoak in Indianapolis. The Taylor Brothers were named after
Taylor Street (Italian neighborhood) in Chicago. He loved Jerry
Butler and that's why he took his last name. We were also The
Livers/"Beatletime", which I believe Clark Weber (DJ/WLS) came up
with, after he heard the acetate. The Kane & Abel singles were
produced, after we had severed our relationship with Peterson. Joe
Defrancesco, a local promoter in Chicago, would find a lot of the
acts that The Chicagoans produced, even though Peterson would have
his name all over the label. Joe found an R&B group in Milwaukee
called Little Artie and The Pharoas. Artie and his brother Al
Herrera were Kane & Abel and were the original lead singers when The
Mob was formed. Artie got drafted at the peak of the Vietnam war and
Al became "Big Al", the lead singer for The Mob.
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Message: 12
Date: Sun, 11 Jan 2004 15:43:07 -0000
From: Martin Roberts
Subject: Jack Nitzsche at Spectropop update.
Oh you lucky people! Billy Daniels is singing his heart
out as the Record of the Week on the Home page,
http://www.spectropop.com/JackNitzsche/index.htm
Next week, the choice is between two songs that, almost
impossible to believe, are not on CD: Merry Clayton with
the original of "It's In His Kiss", and The Paris Sisters
with their beautiful version of "It's My Party".
On The Radio http://www.spectropop.com/JackNitzsche/radio.htm
is still playing the KHJ Jingles. This time it's #11, the
"Short Blockbuster" but not for much longer!
The clue as to the weekly radio transmission to replace the
jingles is contained in a new article on the Record Reviews page,
http://www.spectropop.com/JackNitzsche/recordreviews.htm -
St. Giles Cripplegate was re-released on a small UK label
almost ten years after the US Reprise pressing. Considering
the US release sold next to no copies, WHY? The label's owner,
Karel Beer, tells the answer to this and a very interesting story.
Another feature that is reaching the end of its run is the
recommendation from 'Hazan and Nitzsche's Record of the Week'
page http://www.spectropop.com/JackNitzsche/ahjnrotw.htm but
I can promise some very exciting records and stories to close
the feature. This week the record under the spotlight is a
presumed unreleased recording by everyone's favourite singing
grandma, Dora Hall, with "The Gold Cup".
Plenty of things planned for the New Year. Two of the features
I'm working on are Jack's time with Koppelman and Rubin, paying
particular attention to the recordings involving our Alan Gordon
(Songwriter!), and a 'Nitz Bitz Scrapbook' page containing,
as you may guess, interesting pictures, short articles and other
titbits that I've accumulated that haven't found a home elsewhere.
As with all the pages on the site, assistance in the way of
articles, pictures etc is eagerly sought and will be credited.
Lastly, thanks for the folk who have provided feedback on the
site via the form on the voting page. Sorry I've been remiss
in thanking you by email, but your comments are appreciated.
To show I read and act on your comments, a menu has been added
to the top of the pages.
Best,
Martin
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Message: 13
Date: Sun, 11 Jan 2004 15:21:07 +0100
From: Eddy
Subject: Re: How about brilliant tracks with ONE inept ingredient!
Here's more than you need to know on all sorts of weird (?)
stuff going on on Beatles records that doesn't really belong
there : http://www.pootle.demon.co.uk/beatles/wgoalbu.htm
Eddy
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Message: 14
Date: Sun, 11 Jan 2004 08:40:42 -0800 (PST)
From: steveo
Subject: Re: Drummer on 4 Seasons' "Dawn"
Paul Bryant wrote:
> Speaking of the 4 Seasons, can anyone tell me who
> the fantastic drummer was on such songs as "Dawn (Go
> Away)"
Mike Edwards wrote:
> I was able to get a question in to the great
> arranger, > Charlie Calello and he says, without hesitation,
> that Buddy Saltzman was the drummer on "Dawn". Not that I
> know who Buddy was; I'm just passing this on.
Kudos to Buddy Saltzman -- he is awesome on those
records, especially Dawn [Go Away]. Thought y'all
might like to see the brackets once again!
Steveo
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Message: 15
Date: Sun, 11 Jan 2004 06:26:53 -0800 (PST)
From: Mike Nathan
Subject: Re: What Ever Happened to Lloyd Thaxton
Mr. Thaxton,
I am a huge fan of your work on the Fight Back series. You
probably don't get the credit you deserve for the groundbreaking
nature of those consumer protection oriented broadcasts.
Anyway, just wanted to say welcome to the Spectropop group and
please please please post anything you can about making your
60's shows available, if only to hardcore collectors like you'll
find here.
Mike Nathan
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Message: 16
Date: Sun, 11 Jan 2004 08:54:43 -0800 (PST)
From: steveo
Subject: Re: "Lose That Girl"& "DYWTKAS"
Stratton Bearhart wrote:
> Closer inspection of the start reveals that in Paul and George's
> response to John's call that it is George alone taking the lower
> harmony who is flat at particular moments. Musical errors aside,
> He did have a way of intoning via his Liverpudlian accent.
Stratton,
True, George could be flat, but so could John. I'm not
sure if this was one of the contributing factors or
not to the opening being off, but out of the 4 Beatles. George's voice
had the strangest "scouse" Liverpudlean accent. Which
i don't like to hear on his solos. However, I must say
that as part of the 3 part harmony sound the Beatles
had, his "scouse" accent must have been an important
factor in that blend, and that part I wouldn't change
at all. (Just don't want to hear "Do You Want To Know
a Secret" as sung by George. However due the charm of
the song, and John and Paul's "doo dah doo"s, it helps
me listen to it.
Steveo
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Message: 17
Date: Sun, 11 Jan 2004 10:11:51 -0800 (PST)
From: steveo
Subject: Re: If I Fell - unique vocal harmony on "vain"
Peter Kearns wrote:
> Another notable vocal is on the Beatles "If I Fell"
> on which Paul McCartney has a high harmony to maintain
> for the whole song - eventually his voice cracks, but
> as they were really pushed for time they had to leave
> it in.
> There are versions with and without the voice breakup. I believe this
> was only on the mono mix and only on the said mono mix for a certain
> issue/country. I'm not sure exactly. The final time Paul sings "was
> in vain" is the moment. The Beatles released recordings are a
> veritable minefield of these occurrences. They are everywhere. I
> still can't even tell the difference between the two versions of 'All
> You Need Is Love. But then I've never listened to them side by side
> either.
> All I can tell you is that when I heard 'Free As A Bird', I
> unexpectedly became weak at the knees and shed a
> tear. That record still amazes me.
Peter,
I feel the same way when I hear the record "If I Fell"
It effects me emotionally. I know the song is not much
on the piano, or done with other artists (with the
exception of Stu Phillips' Hollyridge Strings) but the
Beatles record is "fab". Incidentally, that one part you
mention where Paul's voice cracks on some versions ...
on the word "vain" ... the interval of vocal harmony is
unique. A major seventh in the vocal? Strange then and
strange now -- you will never hear it elsewhere. Just
another unique "Beatleism.
Steveo
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Message: 18
Date: Sun, 11 Jan 2004 10:25:04 -0800 (PST)
From: Artie Wayne
Subject: Ron Dante/Artie Butler
Ron.......Artie......How ya' doin'? I've been away for a week
.....when I got back I checked the posts from Spectropop. When
I scrolled down the list it was like going up the elevator at
1650 B'way!! I'm so happy that you guys are on board ... you
both have so much to offer and, as time goes by, you'll find out
how much Spectropop can offer you. In the past year the group
has discovered 22 recordings I was part of, but had forgotten.
They've also reminded me of many stories that will be part of a
book ... or a ransom note or two!!
Welcome my friends, regards,
Artie Wayne
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Message: 19
Date: Sun, 11 Jan 2004 18:40:20 -0000
From: Chris King
Subject: DA DOO RON RON - this coming Saturday
Dear Brit-based Spectropoppers -
The first Da Doo Ron Ron - the one & only 60s girl group club - of 2004 is
happenin' this coming Saturday January 17th @ the sumptious Sussex
Arts Club, 07 , Ship Street, Brighton, BN1. Doors swing open @ 9pm & the
music stops at 2am. Admission is just £5 if you mail me all the names of
those wishing to attend here:- dadooronron.club@ntlworld.com in
advance OR alternatively phone Tel:-01273-778020 / 727371.
DJs Chris 'Da Doo' King & Si Bridger will spin their familiar mix of 60s
girly sounds a-go-go from the likes of The Ronettes, Dusty, Supremes,
Marvelettes, Lesley Gore, Barbara Lewis, Chris Clark, Shangri-La's,
Petula, Lulu, Helen Shapiro, Vandellas, Brenda Holloway, Shirley Bassey
& so on. You'll NEVER hear a MALE lead vocal @ DDRR!
Check the DDRR web-site for more info.
http://homepage.ntlworld.com/dadooronron/
Many thanks indeed for your indulgence,
Kindest regards,
Chris Da Doo
Da Doo Ron Ron
60s girly sounds a-go-go!
Saturday 17th January 2004
& thereafter
The THIRD Saturday of each month
@ the Sussex Arts Club, 07 , Ship St, Brighton, BN1
9pm - 2am
£5 ONLY if names are RESERVED in advance via E-mail
or Phone 01273-778020 / 727371
£6 on the door on the night
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Message: 20
Date: Sun, 11 Jan 2004 14:25:53 -0500
From: Phil Milstein
Subject: Re: one inept ingredient
About 2/3rds of the way through Little Richard's most manic
recording, "Keep A-Knockin'", the speed of the whole recording
suffers a brief "wow", as if the engineer inadvertently brushed
his hand against one of the tape reels for a second. Not that
they usually need it, but I like things like that -- they give
the song an extra little hook.
--Phil M.
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Message: 21
Date: Sun, 11 Jan 2004 09:02:52 -0500
From: Mark Wirtz
Subject: Re: Grapefruit?
Mark Frumento wrote:
> Mark - I sent you the track called "Theme for Twiggy." We haven't
> confirmed that it's the same track as "Give it One More Try." But
> either way it's not representative of the quality of the record.
> Though I prefer the McCartney-produced version of "Lullaby", the
> album is mostly stunning, fully released, Beatlesque pop. Well done
> by Mr Melcher and considered one of the crown jewels of the early
> Apple era.
I meant no disrespect to Mr. Melcher. Far from it, I am simply
surprised that he produced that track, BECAUSE he produced some
of my all time favorite records. My comments were merely in defense
of Grapefruit's formidable talents, most certainly way transcending
how they were portrayed in the "Twiggy" track. But then, I spotted
a post by another SP member who mentions it as a favorite, so the
most important goal was fulfilled: To keep the audience happy. I
won't argue with that, and I shall now shut up, LOL.
I am writing to John Perry in the hope that he might perhaps have a
copy of "One More Try." If not, I'll knock on Geoff Emerick's door.
As "Try" was recorded at Abbey Road, EMI surely have tapes of it in
their archives... We'll see. It's the mystery that's intriguing me.
> Now about "cheezy": when do you think you were at your "cheesiest".
> I'm dying to know! ;>))
Oh, it came and went, like the flu :->>
Best,
Mark :->>
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Message: 22
Date: Sun, 11 Jan 2004 14:18:06 -0500
From: James Botticelli
Subject: Re: Progressive Northern Soul?
Howard wrote:
> I don't understand the term 'destroying' rare soul records..
> could you explain what this is supposed to refer to??
Howard...from what I understand, Brits would come to America
seeking lost soul rekkids in warehouses, basements of rotting
old soul record shops in third-rate cities, ship's ballast, in
short, anywhere there were records to be found and even more
desirable if you got filthy dirty diggin' through damp moldy
stacks. Then, the story goes, a product known as Vymura was
applied to the labels of the rekkids to remove them so that
turntable sniffers couldn't identify and seek out the rekkid
being played, thereby giving the DJ the exclusivity cachet.
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Message: 23
Date: Sun, 11 Jan 2004 11:55:22 -0800 (PST)
From: Paul Bryant
Subject: Re: Rapper DJs' use of vinyl records
James Botticelli wrote:
> Everything a band does to perform is done to look cool. No?
You wouldn't say that if you'd ever seen the Pogues live.
pb
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Message: 24
Date: Sun, 11 Jan 2004 11:33:53 -0800 (PST)
From: Steve Harvey
Subject: Re: Herman's Hermits In 70s
csasml2007 wrote:
> One of my great curiosity it's about who was lead vocals
> in some singles that the Herman's Hermits did in the 70s.
I saw them minus Herman and Keith in the 70s down in
Newark, DE at the Stone Balloon. They had somebody to
take Keith's place, but I think it was Karl singing
lead for most of the show.
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Message: 25
Date: Sun, 11 Jan 2004 20:16:53 -0000
From: Sean
Subject: Re: First Gears - The In Crowd
Tim:
> "The In Crowd" by First Gear is available on the Castle label
> 2CD "Jimmy Page and his heavy friends" (NEECD 486). The record
> was produced by Shel Talmy and Jimmy Page contributed guitar
> during his time as a session musician.
It's also on:
Doin' The Mod #1 [The Go-Go Train] - CD (Sequel, 2000)
Jimmy Page - Hip Young Guitar Slinger - CD (Sequel, 2000)
Jimmy's Back Pages [The Early Years] - CD (Sony, 1992)
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SPECTROPOP - Spectacular! Retro! Pop!
End
