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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: Tuff Stuff
From: Davie Gordon
2. Re: Bill Lavorgna
From: C. Ponti
3. Re:Chrisine Quaite
From: Howard
4. Re: Tuff Stuff
From: Howard
5. Tim Ashibende / Northern Soul
From: Howard
6. Re: More Arties
From: IDreamMusic
7. Re: Clingers - Rock Flowers
From: Patrick Rands
8. Help!
From: Martin Roberts
9. Re: The Chiffons - "My Secret Love"
From: Donny
10. Re: Drummer on 4 Seasons' "Dawn"
From: Ron
11. Re: "In The Rain"
From: Ron Dante
12. Re: Bobby Pedrick
From: Orion
13. Re: Herman's Hermits In 70s
From: Sebastian Fonzeus
14. Re: Chuck's finest moments
From: Paul Bryant
15. Re: Shangri-Las / Skapop / Help!
From: Mick Patrick
16. Welcome Lloyd Thaxton
From: Peter Richmond
17. Welcome Artie Butler
From: Peter Richmond
18. Re: Christine Quaite
From: Austin Powell
19. Re: Mark Radice
From: Mike McKay
20. Skapop again.
From: Julio Niño
21. Re: Answer Songs
From: Phil Milstein
22. Re: Pet Sounds whoopsies
From: Watson Macblue
23. Re: Free As a Bird / Beatles mono mixes
From: Mark Frumento
24. Re: Christine Quaite
From: Jules Normington
25. Re: Innocence, despair and mistakes
From: Art Longmire
26. Re: Free As a Bird / Jeff Lynne
From: Peter Kearns
27. Re: Christine Quaite
From: Ken Silverwood
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Message: 1
Date: Mon, 12 Jan 2004 17:28:03 -0000
From: Davie Gordon
Subject: Re: Tuff Stuff
Here's some notes on the Tuff label
TUFF owner - Abner Spector
369 THE JAYNETTS (08/63) # 2
Sally Go Round The Roses / inst.
370 THE HEARTS
Dear Abby / inst.
371 THE JAYNETTS
Keep An Eye On Her / inst.
372 THE POPPIES
Johnny Don't Cry / inst.
373 THE HEARTS (1963)
I Understand Him / inst.
374 THE JAYNETTS (1964)
Snowman, Snowman, Sweet Potato Nose / inst.
375 THE CORSAIRS
Save A Little Monkey / inst.
376 JANUARY STAR
And So She Took A Ring / ?
377 THE JAYNETTS
There's No Love At All / Tonight You Belong To Me
378 THE PATTY CAKES
I Understand Them / inst.
[ I've seen this listed as a Beatles novelty - presumably a re-
write of of 373 ]
379 ?
380 ?
381 VERNELL HILL (09/64)
Long Haired Daddy / Sometimes Love
The nominal producer for most (if not all) of these singles was
Abner Spector.
There was a third series (400 to 422) but most of those releases
seem to be independent productions bought in by Spector (who'd
produced the Corsairs' late '61 hit "Smokey Places"). Tuff was
wound up around early '67 and Abner Spector joined Chess, who'd
been distributing Tuff nationally, as a staff producer where he
produced Wayne Cochran. Spector is now deceased - possibly some
time in the seventies - the last producer credit I have for him
is a Wayne Cochran single on Chess, a version of "You Can't Judge
A Book By The Cover" (2054) from 07/68.
Here's a few other versions of "Sally Go Round The Roses" -
The Ikettes (Modern 1015, 1965)
The Inner Circle (Impact 1019,1966) prod. Theodore-Coffey-Kreinar
The Sunshine Ward (RCA 9227, 1967) - prod. Rick Jarrard
Grace Markay (Capitol 2161,1968) prod. Kelly Gordon
Grace Slick and The Great Society (Columbia 44583, 1968) prod.
Peter Abram
LaClave (Verve 10704,1973) prod. Tony Bruno
Davie Gordon
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Message: 2
Date: Mon, 12 Jan 2004 18:11:53 -0000
From: C. Ponti
Subject: Re: Bill Lavorgna
Lapka Larry wrote:
> Bill Lavorgna in recent years has moved totally away
> from this type of music. He has been the drummer in
> Liza Minnelli's backing bands for quite a long time.
> During her concerts, she basically refers to him as
> "her best friend in the world", and since he has been
> with her forever, you have to believe her. And yes, he
> is a terrific drummer, even on her material.
I still have not recovered from the assertion that he didn't play
on "Dawn"! He is one of my heroes and for most of my life, when
listening to Four Seasons records, I have thought fondly of him and
his feel on those records. I still am not convinced he didn't play
on that cut!!
The stubborn, C Ponti
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Message: 3
Date: Mon, 12 Jan 2004 14:29:14 EST
From: Howard
Subject: Re:Chrisine Quaite
Mark:
> Howard--Christine Quaite's version of "Long After..." was
> released here on Laurie. I remember it being listed on Tim
> Ashibende's voluminous want list.
Yes, 'Laurie' was one of the labels that had a few releases over
here on the 'Stateside' label (what a great collectors label it
is too, with many great soul and beat tracks from the sixties
released on it) I have the full Stateside label listing( in the
loft) if anyone requires info let me know...
cheers. Howard
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Message: 4
Date: Mon, 12 Jan 2004 14:36:31 EST
From: Howard
Subject: Re: Tuff Stuff
Julie writes:
> You are oh-so-on-the-mark there about the E. Rodney Jones
> 'B' side being a part 2...but are you SURE it's not just
> a continuation in the fine tradition of some Marva Whitney
> /James Brown gems
I've got both Bobby Treetop & E. Rodney Jones, so I'll have to
check and answer that later this week :-)
> the 'B' side of TUFF 417, Bobby's "Wait Till I Get To Know You",
> is in fact, none other than "R & B Time" (but maybe you knew
> that, Howie?).
I'd honestly forgotten that, I'm off now to dig them both out for
the check on Instrumental vs. Continuation question!
cheers.. Howard
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Message: 5
Date: Mon, 12 Jan 2004 14:45:23 EST
From: Howard
Subject: Tim Ashibende / Northern Soul
Jules:
> Regarding 'destroying' labels (aka 'cover-ups') on the
> Northern Soul scene, there's an interview with Tim Ashibende
> at http://members.tripod.com/SoulfulKindaMusic/timashibende.htm
> wherein he gives a bit of the lowdown on that seemingly errant
> behaviour...it's a good interview actually, if you're keen on
> a bit of insider Northern DJ rant...wouldn't you say so Howard?
> ...Tim sure knows his stuff.
Tim is one of the most respected chaps on the northern soul scene,
and has written some very infomative and accurate articles, (I used
to buy records from him when in my early twenties!!) Whatever you've
read that has been written by Tim can be taken very seriously.
cheers.. Howard
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Message: 6
Date: Mon, 12 Jan 2004 15:55:07 EST
From: IDreamMusic
Subject: Re: More Arties
Artie Kaplan is alive and well in Florida.
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Message: 7
Date: Mon, 12 Jan 2004 20:16:45 -0000
From: Patrick Rands
Subject: Re: Clingers - Rock Flowers
Here's a new website I had never seen before of a Rock Flowers
article from Feb 1972:
http://www.doylex.com/Music/Bubblegum/Articles/TheRockFlowersArticle.htm
According to the Rev-ola website, Melody Clinger was in The
Cattanooga Cats. I think it was actually Peggy, since she wrote some
of the incidental music for the cartoon. I would love to know if
anyone knows conclusively. I doubt both of them were in the band.
My information says that Melody married Jim Bell (from The Poor / The
Ballroom), left the business and moved to Colorado (with him). Her
marriage to Jim would help explain how the Clingers got to work with
Curt Boettcher. Anyone know of more details about the Clinger/Michael
Lloyd/Curt Boettcher/Kim Fowley/Mike Curb connection beyond Melody
marrying Jim Bell?
:Patrick
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Message: 8
Date: Mon, 12 Jan 2004 20:34:48 -0000
From: Martin Roberts
Subject: Help!
No, not another Beatles track for members to debate, but
two scans that would make my day:
If any of the musos on the list have The January 1987 "Mix-Pro"
magazine (a studio recording mag published in the US) I'd
appreciate them contacting me.
Likewise The Starr Sisters' "All Because Of You"/"Ready For A
Change," U.A. 569. I know the record exists because it's listed
on an old printout from J.D. Doyle that catalogued his Girl Group
collection.
Martin
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Message: 9
Date: Mon, 12 Jan 2004 20:36:04 -0000
From: Donny
Subject: Re: The Chiffons - "My Secret Love"
Mike McKay wrote:
> This gives me the opportunity to pose a question I think I
> know the answer to, but I'll throw it to the experts here to
> confirm that which I dread: has The Chiffons sublime "What Am
> I Gonna Do with You (Hey Baby)" ever been reissued anywhere on
> the planet on CD? There are many Chiffons comps with just about
> everything (other than the "Secret Love" tracks) on them, but
> I've yet to see this anywhere.
I believe Mick Patrick once told this group that the master tape
for "What Am I Gonna Do With You (Hey Baby)" was missing, and that's
why it doesn't appear on the Ace "Chiffons Greatest Hits" CD.
Mick, please correct me if I'm wrong.
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Message: 10
Date: Mon, 12 Jan 2004 20:42:51 -0000
From: Ron
Subject: Re: Drummer on 4 Seasons' "Dawn"
Billy G. Spradlin wrote:
> 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".
Right before I read this message, I came upon a web site devoted to
Gary Chester. (http://www.angelfire.com/music5/garychester/bio.html)
On the site it says he played drums on Gene Pitney's "It Hurts To Be
In Love" LP, along with many other hit records.
I have often wondered, with so many great records coming out of New
York, why we don't hear of the NY session players spoken of with the
same reverence as the west coast people, and the Funk Brothers. (At
least I never have.)
Finally, thanks to all the new posters (AND people who have been
around the list for a while) with ties to the music industry. For a
guy whose sole musical talent consists of laying down a few bucks for
some records, I really enjoy reading posts on this list from people
whose names appeared on those records. I do also enjoy the posts from
the people like me, who are just plain crazy about the music.
Ron
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Message: 11
Date: Mon, 12 Jan 2004 20:10:07 -0000
From: Ron Dante
Subject: Re: "In The Rain"
Ron, previously:
> That was a great session ["In The Rain"]. Don't remember
> the studio name but it was in The American Hotel in NYC.
Rashkovsky:
> Had to be Mirasound. No?
Mirasound it was. Great studio. Terrific live drum sound.
C. Ponti:
> Ron, Gene Radice was the engineer, right? Remember his son Mark
> had those cool demos and was quite talented? Alot of us felt
> he was going to be huge....
Don't remember the engineer but those guys were just great.
They knew the sound for sure.
Rashkovsky:
> More likely it was Brooks Arthur, but I was among those who
> heard Mark Radice and thought he would be GIANT. I think
> Gene Radice produced a pretty darn good record, was possibly
> Ben E. King, called, "What Is Soul".
Seems like Brooks was the king of that studio during those years.
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Message: 12
Date: Mon, 12 Jan 2004 16:08:05 -0500
From: Orion
Subject: Re: Bobby Pedrick
Robert John is one of my favorite artists. It is hard to imagine he can get his voice so high up there. I haven't seen anything out by him in quite awhile which leaves me with "Sad Eyes".
Orion
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Message: 13
Date: Mon, 12 Jan 2004 22:11:06 +0100
From: Sebastian Fonzeus
Subject: Re: Herman's Hermits In 70s
previously:
> One of my great curiosity is about who was lead vocals
> in some singles that the Herman's Hermits did in the 70s.
> LOVE their '75 Private Stock 45, "Ginny Go Softly!
Seconded! Fabulous piece of soft pop.
Take care!
/Sebastian
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Message: 14
Date: Mon, 12 Jan 2004 13:22:53 -0800 (PST)
From: Paul Bryant
Subject: Re: Chuck's finest moments
steveo wrote:
> I think that "No Particular Place To Go" is Chuck's
> finest moment.
My choice is You Never Can Tell, where the precision of
a novelist combines with an irresistible swing -- such
great great lines:
They furnished off an apartment
with a two room Roebuck sale
The coolerator was crammed
with TV dinners and ginger ale,
But when Pierre found work,
the little money comin' worked out well
"C'est la vie", say the old folks,
it goes to show you never can tell
It don't get better than that.
pb
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Message: 15
Date: Mon, 12 Jan 2004 21:18:55 -0000
From: Mick Patrick
Subject: Re: Shangri-Las / Skapop / Help!
Phil Milstein:
> For now, at least, John Grecco's online Shangs history
> (http://www.redbirdent.com) remains the most thorough
> account of the girls' history....my own Spectropop article
> (http://www.spectropop.com/Shangri-Las), based on an
> interview with producer Andy Paley, gives a more in-depth
> view of what recording with them was like. ...the latter
> piece only covers their aborted 1977 reunion sessions...
I agree, those are two very vital URLs for serious Shangri-Las
fans. Also, Alan Betrock's Girl Groups: The Story Of A Sound is
a must-read, as is our very own John Clemete's more recent Girl
Groups: Fabulous Females That Rocked The World. All girl group
buffs should own both of these books. Discover more about John's
tome here: http://www.spectropop.com/gg/girl.html Modesty should
forbid me from mentioning the essay that accompanies the Shangri-
Las' "Myrmidons Of Melodrama" CD (but it obviously doesn't!). It
includes exclusive interviews with Ellie Greenwich, Jeff Barry,
Cousin Brucie and the Shangs' labelmate, lovely blue-eyed soul
heroine Evie Sands. Find more information at the RPM website:
http://www.cherryred.co.uk/rpm/rpm/theshangrilas.htm
Martin Roberts exclaimed "Help":
> No, not another Beatles track for members to debate...
Good.
Julio Nino identifies the following as examples of Skapop:
> Shirelles – Long Day Short Night
> Annette – Jamaica Ska
> Steve Alaimo – I Don't Know
> Doris Troy – What'cha Gonna Do About It
Mike Edwards:
> Sounds good to me, Julio. If you get a moment why not list
> out some more titles. This is lively.
A few more girly Skapop faves off the top of my bonce while
I'm waiting for my rice and peas:
The Pussycats "Come On And Ska" (Keetch)
The Angels "Jamaica Joe" (Smash)
Tracey Dey "Ska-Doo-Dee-Yah" (Amy)
This trend was probably sparked by the freak success of Milly
Small's "My Boy Lollipop" in 1964, no?
Hey la,
Mick Patrick
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Message: 16
Date: Mon, 12 Jan 2004 21:21:13 -0000
From: Peter Richmond
Subject: Welcome Lloyd Thaxton
Lloyd Thaxton wrote;
>Most recent saddest moment: the passing of Bobby Hatfield of
>The Righteous Brothers. I introduced them to TV 40 years ago
>and had the honor to introduce them again recently at their
>Hollywood Bowl concert to 18 thousand fans. Wow, what a night.
>What a great reunion. I was so glad I got to see Bobby again.
>I will miss him. However, I know Bill will carry on the tradition.
Welcome aboard Lloyd, I was interested to read in your message that
you gave the Righteous Brothers their TV debut. I knew that they had
appeared on your TV show but have never been able to find any details
of dates and the songs they performed. Is there anywhere where this
information is available?
I particularly would be interested in their TV debut. Do you have any
recollections of this or any other Righteous Brothers stories to share
with us?
I have just updated the photo gallery on my website and there is a
photo of yourself with the Righteous Brothers.
Peter
Righteous Brothers Discography
http://freespace.virgin.net/p.richmond/
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Message: 17
Date: Mon, 12 Jan 2004 16:31:39 -0000
From: Peter Richmond
Subject: Welcome Artie Butler
Welcome aboard Artie, I wondered if you could possibly throw some
light on the 1973 Bill Medley A&M 3517 album "Smile" produced by
Tom Catalano, you arranged five of the tracks "Hello Rock N Roll",
"Wasn't It Easy", "Rock N Roll Loser", "Oh Me Oh My (I'm A Fool For
You Baby)" and "Smile" -- the first three written by Bill Medley himself.
I am just curious to know if you had arranged some other tracks for
Bill Medley that were not released, possibly intended for the unreleased
Bill Medley album on A&M 3512.
Or indeed, any recollections of the tracks that were released would be
greatly appreciated.
Peter.
Righteous Brothers Discography
http://freespace.virgin.net/p.richmond/
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Message: 18
Date: Mon, 12 Jan 2004 21:58:16 -0000
From: Austin Powell
Subject: Re: Christine Quaite
Mike Edwards:
> I always thought that Christine was British, having two or
> three releases in the early 60s on the UK Oriole label. One
> of these was the great "Tell Me Mama"/"In The Middle Of The
> Floor", which got a US release on World Artists in 1964.
Christine Quaite was certainly born in England and although
her two UK Stateside releases are credited as being "Laurie"
recordings, her earlier singles on UK Oriole, inc "Tell Me
Mama" (US World Artists 1022) were arranged and produced
by Oriole Records' head of a 'n' r, Frank Barber....Any help ?
Austin
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Message: 19
Date: Mon, 12 Jan 2004 16:23:14 EST
From: Mike McKay
Subject: Re: Mark Radice
C. Ponti wrote:
> Gene Radice,was the engineer,right? Remember his son Mark
> had those cool demos and was quite talented? Alot of us felt
> he was going to be huge....
>
I have a Mark Radice album that I believe dates from the mid-70s. On the
cover, he looks to be all of about 12 years old. Haven't listened to it in years,
but I recall thinking it was pretty good. And though I'm not the kind of label-
squinter that many Spectropoppers are, I also remember seeing Gene Radice's
name at some point after this and figuring there must be a connection.
Mike
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Message: 20
Date: Mon, 12 Jan 2004 23:29:19 -0000
From: Julio Niño
Subject: Skapop again.
Hi Everyone,
Mike Edward's wrote about skapop themes : "...Sounds good to
me, Julio. If you get a moment why not list some more titles...".
Mike, surely there are many people on this list with more
information than me about the topic , but I´ll try to please you.
Many of Millie´s mid sixties songs for Fontana can fix in this
category, for example " Sweet Williams", " Oh Henry", "He´s
mine", or even the poppier " Something is gonna be done"
(which has great girl backing voices, wonderfully hysterical , they
sound to my ears like The Breakaways, but I don´t trust my ears
very much ).
Continuing with Jamaican artists, the tracks of Byron Lee and The
Dragonaires (Byron appears briefly in the first James Bond film
playing the Jump up, a sort of Calypso Ye Ye) of this period
represents also the pop side of Ska (in opposition to the
genuine one, more jazzy, represented by The Skatalites). Check
for instance "Jamaica Ska", or the cool " Ska De Wah", that
almost sounds like a Madison.
Also,many mid sixties versions around the world of the super hit
"My Boy Lollipop " can also be considered Skapop, for instance:
"C´est toi mon idole" by Agnes Loti (France), " My boy Lollipop"
by Sakura and The Quest (sung in Chinese), "Tu sei pallido" by
Rita Pavone (recorded in Italy in the sixties but only issued
recently), etc, etc.
In France "Les Surfs" recorded a version of Millie´s " Sweet
Williams" (titled "Sacre Josh") that is also a good example of the
topic; they also released " Scandale dans la familie", a version in
Ska rhythm of a popular Calypso (Peter Tosh recorded also the
song in Jamaica in mid sixties).
In the UK , The Tornadoes released as a B-side of a 1964 single
"Blue Blue Blue Beat" (Bluebeat was a term used in UK to refer
to the pre-Reggae Jamaican music), that was a bizarre hybrid
between ska and a cosmic instro.
And let not forget the prototypical "Operazione Sole" by Peppino
the Capri that I mentioned the other day in my first message
about the topic (someday, if there is space in music I would like
to play "Operación Sol" by Los de la Torre, a Spanish version of
Peppino´s song, a very good example of Skapop and so kitsch
that I find it really hilarious).
Chao (Spanish version of Ciao).
Julio Niño.
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Message: 21
Date: Mon, 12 Jan 2004 12:40:54 +0000
From: Phil Milstein
Subject: Re: Answer Songs
Mick Patrick wrote:
> And talking of answer records, "Midnight Cryin' Time" is a good
> source of those too:
> Jimmy Cross "I Want My Baby Back" (Shangri-Las "Leader Of The Pack")
I never read I Want My Baby Back as a specific response to Leader Of The
Pack, so much as a parody of the teen death-disc cycle in general. I
realize it contains a specific reference to Leader, but one reference
does not an answer record make. Am I missing something?
--Phil M.
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Message: 22
Date: Mon, 12 Jan 2004 14:05:16 -0800 (PST)
From: Watson Macblue
Subject: Re: Pet Sounds whoopsies
C. Ponti writes:
>>It's one of the things that gets fixed in the stereo mix (which, let me
>>say immediately, I otherwise loathe - the stereo Sloop John
>>B and You Still Believe In Me are unlistenable in my book).
>How about on "Here Today", where during the instrumental break I
>can here Brian call to Chuck Britz, "Chuck??" None of PET SOUNDS
>is unlistenable to me, though "Sloop" never seemed to fit with the
>rest of the work.
Just to be absolutely clear (as my attorney is fond of writing at a buck a syllable,
damn him): my "unlistenable" comment applies to parts of the *stereo* mix of
Pet Sounds, and not Brian's mono, which I still play at least once a day, flaws or no.
Brian doubled his vocal on You Still Believe In Me for a good reason; without the
double, it sounds reedy, small and slightly out of tune. I've never understood what
kind of pseudo-antiquarianism prevented the producers of the stereo version
(Brian? Yeah, right - wanna buy a bridge?) from simply ADT-ing the existing
vocal. Similarly, Billy Strange's 12-string overdub on Sloop John B is there for
*2* reasons: (a) to add a new layer of timbre to the track and (b) to cover a
stumble on the bass line at "got into a fight". In the stereo version, the bass
stumble is right there in your face, and it annoys the Bejasus out of me - just
like it did Brian, which was why he called Billy Strange in the first place. (Ask
him - I did). The end of God Only Knows is ruined by Carl's soggy entry on the
fugato (attention, Mr. Leaf!) that finishes the song; once again, Brian knew what
he was doing when he overdubbed the entry himself.
I do play bits of the stereo mix from time to time, though. I actually prefer Wouldn't
It Be Nice without Mike's whiney contribution on the bridge, and I Just Wasn't Made
For These Times definitely gains from being opened out for stereo.
As for the 5.1 mix - don't get me started. Like coloring Casablanca with crayons.
Watson
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Message: 23
Date: Tue, 13 Jan 2004 00:08:30 -0000
From: Mark Frumento
Subject: Re: Free As a Bird / Beatles mono mixes
Mike McKay wrote:
> It just seemed like some were bending over backwards not to like
> the Threetles project or find fault with it in some way.
McCartney said that someone stopped him in an airport (a customs
person or the like) and basically chided him, saying "you know, any
song you do can never be the Beatles." This was before the song even
came out.
I'm not sure if the story is true or if it was just a figment of
McCartney's insecurity, but you are right, Mike. For some reason
certain fans hated the very thing people have been clammering for
for years.
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Message: 24
Date: Tue, 13 Jan 2004 10:09:29 +1100
From: Jules Normington
Subject: Re: Christine Quaite
Mike Edwards wrote:
> I always thought that Christine was British, having two or
> three releases in the early 60s on the UK Oriole label. One
> of these was the great "Tell Me Mama"/"In The Middle Of The
> Floor", which got a US release on World Artists in 1964.
> I don't think Christine's two releases on UK Stateside,
> "Long After Tonight Is All Over" (SS 482) and "If You've
> Got A Heart" (SS 435) were issued in the US.
Hey Mike...Christine's last (UK) Oriole 45 "Mr. Stuck Up" was released in
the US as the follow-up to "Tell Me Mama" (of which both sides are awesome
as you suggest), on World Artists 1028 in '64, but you're right, her two UK
Stateside 45s didn't make the grade in the US, nor did any of the other
four Oriole 45s. She had six on Oriole and the two on Stateside in the
UK (and just the aforementioned two in the US), and then, by 1965, she'd
disappeared. Anyone know what happened to her...???...great voice!!
Cheers, Jules
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Message: 25
Date: Mon, 12 Jan 2004 22:25:47 -0000
From: Art Longmire
Subject: Re: Innocence, despair and mistakes
Paul Bryant wrote:
> For some very different versions of some Spectropop
> favourites, with many many mistakes, off-key singing
> and yet with much beauty too, check out the Langley
> Schools Music Project
> http://www.keyofz.com/keyofz/langley/
Paul, the Langley Schools Music Project CD is a classic and I've been
a huge fan since I bought it back in 2002. Their versions of "In My
Room", "You're So Good To Me", "God Only Knows", and other songs by
Brian Wilson and various other songwriters are delightful.
I have a lot of other records by school choirs and groups doing pop
and rock songs, and to me this is a really fascinating genre.
Frequently child performers bring out aspects of a song that are
every bit as musical and beautiful as "professional" adult artists.
Also it's fun to check out the song selections (sometimes very
creative) that these custom school pressings come out with. For
instance, I have a record put out in 1970 by a local high school here
in Sacramento, California, with one song featuring a student
doing "I'm Still Here" (originally by the Notations) -- and this version
is terrific, as good as the original.
Art Longmire
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Message: 26
Date: Mon, 12 Jan 2004 23:24:13 -0000
From: Peter Kearns
Subject: Re: Free As a Bird / Jeff Lynne
Mike McKay wrote:
>Yes, I could have done without the Jeff Lynne drum sound
Ironic. Isn't this a bit hair-splitting? Ringo and his contemps were
seminal influences on Jeff's production style. Lynne is one of the
few remaining producers still giving a nod toward the 60s in a
positive, non-corny way. He didn't play a note on the record; it was
Ringo playing after all, and I'm sure Geoff Emerick/Jon Jacobs had
something to do with getting the drum sound; perhaps to Jeff's
specifications, but he was after all the producer of the record. He
was the man for the job.
Peter.
-------------------[ archived by Spectropop ]-------------------
Message: 27
Date: Tue, 13 Jan 2004 01:11:53 -0000
From: Ken Silverwood
Subject: Re: Christine Quaite
Mike Edwards wrote:
> I always thought that Christine was British, having two or
> three releases in the early 60s on the UK Oriole label. One
> of these was the great "Tell Me Mama"/"In The Middle Of The
> Floor", which got a US release on World Artists in 1964.
> I don't think Christine's two releases on UK Stateside,
> "Long After Tonight Is All Over" (SS 482) and "If You've
> Got A Heart" (SS 435) were issued in the US.
I have posted the "unknown fem." version of " Long After Tonight Is All
Over " to musica to see if it can be identified, maybe as Christine Quait .
As you will find it is not a full copy as it was taped from a radio programme.
Of course, if anyone has the full version please let me know. Her " Tell Me
Mama " reached the dizzy heights of # 85 in Billboard in 1964.
Ken On The West Coast.
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