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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: Christine Quaite
From: Jules Normington
2. Many great men; 45 pressings, more
From: Country Paul
3. Stateside Records
From: Austin Powell
4. Re: Scooby-Doo
From: Clark Besch
5. Christine Quaite
From: John Lester
6. Re: Pet Sounds mix whoopsies - I'm Waiting For The Day
From: Billy G. Spradlin
7. RE: Gene Radice - Bob Gallo
From: Stephane Rebeschini
8. Re: How about brilliant tracks with ONE inept ingredient
From: Billy G. Spradlin
9. RE: Gene Radice
From: Al Kooper
10. Re: Free As a Bird / Jeff Lynne
From: Martin Jensen
11. Re: Pet Sounds whoopsies
From: Al Kooper
12. Re: Mark Radice
From: Al Kooper
13. Alvin Robinson / What is soul?
From: Richard Williams
14. Re; Brilliant tracks with one inept ingredient
From: Craig Davison
15. Re: Righteous Brothers
From: Al Kooper
16. Re: Picardy/Ron Dante welcome/Gary Chester
From: A. Zweig
17. Re: Macca Bass/speeding up
From: Joe Nelson
18. RE: Jeff Lynne on Free as a bird
From: Richard Hattersley
19. Re: Picardy / Ron Dante welcome / Gary Chester
From: Jonathan Singer
20. Re: Mixing, "Run To Him"
From: Steveo
21. Re: Chuck's finest moments
From: Phil Milstein
22. Paul Vance/Danny Jordan
From: Artie Wayne
23. Gene Hughes Benefit Info
From: Ed Salamon
24. where's Bo?
From: Phil Milstein
25. Re: Lloyd Thaxton
From: Clark Besch
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Message: 1
Date: Tue, 13 Jan 2004 17:27:41 +1100
From: Jules Normington
Subject: Re: Christine 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.
Howard:
> 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...
Eeeek! And here I was confidently espousing her two World
Artists 45s in the US, as the ONLY US releases...have never
spotted any on Laurie, after eons of searching out this stuff.
I stand corrected...(dammit!).
Was there more than just the one on Laurie?
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Message: 2
Date: Tue, 13 Jan 2004 02:12:35 -0500
From: Country Paul
Subject: Many great men; 45 pressings, more
Peter Kearns:
> 'God Only Knows' was the last great piece of pop genius.
> Nothing on 'Abbey Road' came close.
JB:
> ...[T]he prize went to the Beatles. That they had melodic
> sensibility and could turn a lyric was their collective gift,
> but that came about largely after the beats made them kings
> of the hill, top of the pops. And who can deny that the Beach
> Boys were Spectrofied? Without that Spectrofication they would
> have been Chuck Berry's red-headed step-cousin.
Mike McKay:
> Most of the lead guitar work you heard was of the Chuck Berry
> variety -- again, nothing wrong with that, but certainly the
> electric guitar offered additional possibilities.
I disagree with the Great Man Theory. There were many great men (and women).
All contributed something, some more than others. All mentioned above
certainly were leaders. There are also more. I think comparisons past a
certain point are occasionally entertaining, but more often useless
exercises in frustration. And re: Chuck Berry, before him rock & roll guitar
had not been formulatred. He seriously affected all players after him (with
the possible exception of Duane Eddy and Chet Atkins, who "wrote their own
books") - including, if we remember, early Beach Boys and Beatles records,
which liberally copped his style, albeit with much different guitar tones.
And there's my two cents.
Steveo wrote:
> A 45 that gets my vote for the worst pressing is the Elektra 45
> compatible mono/stereo 1967 release of the Doors "Light My Fire".
Most of the stuff pressed by Golden Crest on Long Island was pretty bad. In
addition to their own label (with "Tall Cool One" by the Wailers, although
the group was based in Washington state), they did the east coast pressing
for Liberty/Imperial/Minit in the early 60's - all on brittle styrene, which
became "crispy critters" in just a couple of plays. I think they also did
some Columbia commercial pressings, too. They'd come in clean, self-destruct
quickly, and crackle on forever.
Worst out of the sleeve: Cameo Parkway commercial pressings. Pressed on
sandpaper, I swear. (Or recycled vinyl.) Very heavy, too.
Some companies used the RCA-style soft vinyl pressings for DJ copies, even
Columbia when they were using the cheap stuff for commercial copies. This
was the same stuff the good Capitol pressings used. It was a pleasure to use
these on the air - no cue burns, etc., and relatively long-lived clean
playing.
Steve Grant, I didn't know the Avanti auto was still being made!
http://www.avantimotors.com/ VERY cool; nice stylistic update. I notice they
don't give the estimated MPG - or the price! :-)
Mark:
> Country Paul--my Jukebox from Hell would have to include such
> crap as the overwrought "Hotel California" by the Eagles (makes
> my ears bleed!), "The Night Chicago Died" by Paper Lace and
> "Billy Don't Be a Hero" by Bo Donaldson and the Heywoods.
Agreed wholeheartedly. May I also add a song we consciously misintroduced on
the radio, "Love Goes Where My Rosemary Grows"?
"platch1":
> My father, Don Ralke, was the arranger/conductor of
> "The Transformed Man".... My dad also produced
> Dick & Dee Dee.
A late welcome to you, Mr. Ralke Jr. May I propose a Don Ralke thread?
Platch, what other goodies that we have discussed or would or should
discuss here was he involved with? Connie Stevens, if I remember
correctly....
Mike Edwards:
> UK balladeer Mike Preston became one of only a handful of UK
> artists to reach the US Hot-100 in the pre-Beatles' era, when
> "A House, A Car And A Wedding Ring" crept in at #99 in December
> 1958. (It was not a UK hit). It was a Jerry Lordan song and the
> lyric runs: "Got a house and a car and a wedding ring but I
> don't know what I'll do without a wife..".
My God! I have that record - and don't know where or when I got it. I
remember one listening was fine; repeated listenings got cloying. I vaguely
remember Dale Hawkins' version, too; he could really sing, although he was
known more for his rockabilly. "My Babe," of course, became the A-side, no
matter what the intention of the record company.
Steve Harvey:
> How many people have bought a song because it had great lyrics,
> but a lousy tune[?]
With the exception of Dylan - but I haven't heard too many instrumental
covers of his songs! :-)
John Love:
> Does anyone know why The Searchers' 1965 hit "Goodbye My Love"
> was bizarrely retitled "Goodbye My Lover Goodbye" for the American
> market?
Because that was the title of the original version by Robert Moseley [sp?].
Great record, by the way. I also commend you to his earlier record on Coed,
"Just A Little More."
Correction: I cited the Big Daddy Gregorian chant version of REM's "Losing
My Religion" which is indeed the The Benzedrine Monks of Santa Domonica.
Forgive me, Daddies, for I have sinned; 'twas a nom de plume. Go in
peace....
...which I shall now do.
Country Paul
(eternally one week behind)
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Message: 3
Date: Tue, 13 Jan 2004 07:53:45 -0000
From: Austin Powell
Subject: Stateside Records
Scott Swanson:
> By the way, if anyone out there happens to know the contents
> of "SS 427" and "SS 436", please let me know because they're
> the only Stateside 45s from 1965 that I don't have!!
Scott...SS 427 was Gary Criss "Hands Off Buddy" c/w "If This Is
Goodbye" and SS 436 was Ronnie Dove "A Little Bit Of Heaven" c/w
"If I Live To Be A Hundred". Both were licensed from Joe Kolsky's
Diamond Records label in N.Y. and released in mid-65...
Austin
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Message: 4
Date: Tue, 13 Jan 2004 07:49:17 -0000
From: Clark Besch
Subject: Re: Scooby-Doo
Austin Roberts wrote:
> David Mook was a cool guy to deal with. I did a few things with
> him. Also did one (I think, just one) vocal for a Fruitgum cut
> and wrote one song for them. Since One is the loneliest number,
> they must not have liked my vocal or my song much.
Austin, was the Fruitgum Company song "Go Away"? It was one
of the last, 1970. Just curious.
Clark
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Message: 5
Date: Tue, 13 Jan 2004 09:11:34 -0000
From: John Lester
Subject: Christine Quaite
Ken:
I have posted the "unknown female" version of "Long After
Tonight Is All Over" to musica to see if it can be identified,
maybe as Christine Quaite.
http://groups.yahoo.com/group/spectropop/files/musica
I will check that the posted version is Christine's version.
I bought that version in 1966 on Stateside....and I love it.
The flip side was called "I'm Hoping" which was almost as good.
John Lester
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Message: 6
Date: Tue, 13 Jan 2004 09:56:06 -0000
From: Billy G. Spradlin
Subject: Re: Pet Sounds mix whoopsies - I'm Waiting For The Day
There was a quote by one of Brian's friends (it's in one
Beach Boy Bio) that said "He spent all this time recording
Pet Sounds - but he zipped it down (to mono) in one day and
it was full of noise"
It has always sounded to me that instead of using a new reel
of tape for "Im Waiting For the Day" the engineer/tape-op
reused an older reel that didnt erase correctly and you can
hear the old song "peek through" the final mix. There's a
really bad edit or tape glitch at the start of "Pet Sounds",
right at that organ hit at :05.
And theres 2 different mixes of "Wouldnt it be Nice" - the
original LP mix and a another mix that appeared on the "Made
in the USA" CD that sounded sped up with the vocals mixed higher.
Another reason to believe that engineers didn't have good monitoring
equipment in the 60s - leaving all these mistakes to hear on better
stereo equipment and CD since then.
Billy
http://listen.to/jangleradio
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Message: 7
Date: Tue, 13 Jan 2004 11:02:23 +0100
From: Stephane Rebeschini
Subject: RE: Gene Radice - Bob Gallo
Mike Rashkow a écrit :
> Yesterday I posted an item saying I thought Gene Radice
> produced a thing called "What Is Soul" by Ben E. King.
> See, it was gnawing at my psyche so I went to the attic
> and pulled out Atco 6454. Right artist, right title --
> wrong producer. The producer was Bob Gallo. Gallo and Ben E.
> wrote the song. Now, even though I had the producer wrong,
> this record is a pretty funky piece of R&B -- has a lot
> going for it -- and I know nothing about Bob Gallo. Something
> in the back of my head says he had his own studio on 42nd St.,
> near 6th Ave. Anyone know something about Bob Gallo besides
> (to paraphrase Hoyt Axton) "helping him drink his wine"?
> Anyone else know this record? (...)
Bonjour,
I have/know several records produced by Bob Gallo, who
had a long career
- 1965, The "You-Know-Who" Group (Int'l Allied IA 420).
US group with masks, pretending to be british...
- 1967, Sounds Of Modification, same, (Jubilee JGS 8013).
New York group, pop rock
- 1969 : Aesop's Fables : In due time, (Cadet Concept LPS-323).
Hampstead, Long Island group, recorded at Syncron Sound Studios,
Wallingford, Connecticut with Louis Cofredo.
White soul rock with horns
- 1970/71, Sum Pear : Sum Pear (Euphoria EST 1), recorded at
Soundview Environmental Studios with Louis Cofredo. Psych rock
- 1977, Michel Pagliaro, "Dock Of The Bay" 45 (CBS). Quebec,
Canada, rock singer
- 1978, Hellfield, Hellfield LP, CBS. Canadian rock group
There must be many others.
NB : Sounds Of Modification, Aesop's Fables & Sum Pear were
all formed by italo-americans from the NY area.
I hope that helps
Stephane
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Message: 8
Date: Tue, 13 Jan 2004 10:13:53 -0000
From: Billy G. Spradlin
Subject: Re: How about brilliant tracks with ONE inept ingredient
Skip Woolwine rote:
> At the end of Glen Campbell's vocal on "Guess I'm Dumb"
> which appears on The Honeys' recent compilation of various
> Brian Wilson productions, you plainly hear someone - probably
> Brian - exclaim "Awesome!" over the talkback among the music track.
I have Mp3's of the vocal tracks from the "Unsurpassed Masters"
bootlegs and Brian says through the control room mic: "Glen,
that was outta-site, c'mon in".
I took all the vocal and instrumental takes, edited them then
synched them all together using Cool Edit and made my own true
stereo remix of "Guess I'm Dumb" last year. Sounds great but
I left that little goof out! oops.
Billy
http://listen.to/jangleradio
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Message: 9
Date: Tue, 13 Jan 2004 05:26:34 EST
From: Al Kooper
Subject: RE: Gene Radice
Group,
This is my first reply in S'pop, but I'm an old fan of
"What Is Soul" by Ben E King. I'm pretty sure Bob Gallo
was a Long Island type of guy, but that means I have to
go upstairs and check some LPs and I'm on the road at the
moment. But "WIS" by BEK is a masterful track: great songs,
great production, great arrangement, great engineering &
great playing. I have it on a 45 and have never heard it in
stereo. Is there such a thing on CD?
Al Kooper
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Message: 10
Date: Tue, 13 Jan 2004 11:05:20 -0000
From: Martin Jensen
Subject: Re: Free As a Bird / Jeff Lynne
Peter Kearns wrote:
> Lynne is one of the few remaining producers still giving a
> nod toward the 60s in a positive, non-corny way.
Hi Peter,
I really agree with you in this. Have you heard the Zoom album,
which he issued in 2001 (or was it 2002, ...nevermind) under
the old Electric Light Orchestra name? There's a song on it
called 'State of Mind', which faboulously evokes a 60s feel.
It's quite a good album... Both Ringo and George plays on it.
With regards
Martin, Denmark
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Message: 11
Date: Tue, 13 Jan 2004 06:26:23 EST
From: Al Kooper
Subject: Re: Pet Sounds whoopsies
Watson Macblue:
> As for the 5.1 mix - don't get me started. Like coloring
> Casablanca with crayons.
As a major Brian fan, I welcome the stereo & 5.1 additions as
a Brian student. Many questions are answered re: arrangements
& engineering. I HATE mono for that reason with the exception
of Elvis, Gene Vincent, Phil Spector & Pet Sounds.
Al Kooper
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Message: 12
Date: Tue, 13 Jan 2004 06:39:40 EST
From: Al Kooper
Subject: Re: Mark Radice
Mike McKay:
> 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 had a wonderful Mark Radice single on DECCA called "Natural
Morning". A pop beauty amazingly overlooked. Any of you 'poppers
heard it or own it ?
Al Kooper
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Message: 13
Date: Tue, 13 Jan 2004 11:56:17 +0000
From: Richard Williams
Subject: Alvin Robinson / What is soul?
1. Thanks to Artie Butler for the information that he didn't
arrange Alvin Robinson's sublime "Fever" (the B-side of "Down
Home Girl"). Can anyone out there confirm a suggestion that it
(the chart) might have been the work of Robinson's fellow native
of New Orleans, Wardell Quezergue?
2. Re Rashkovsky's meditations on "What is Soul": so popular
was Ben E.King's record in UK discotheques that it became the
title track of a succesful Atlantic budget-price compilation.
Richard Williams
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Message: 14
Date: Tue, 13 Jan 2004 13:51:54 -0000
From: Craig Davison
Subject: Re; Brilliant tracks with one inept ingredient
How about that big tape pull or whatever it is at the
end of The Rolling Stones' "19th Nervous Breakdown?"
Annoying!
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Message: 15
Date: Tue, 13 Jan 2004 06:36:15 EST
From: Al Kooper
Subject: Re: Righteous Brothers
Peter Richmond:
> I have just updated the photo gallery on my website and
> there is a photo of yourself [Lloyd Thaxton] with the
> Righteous Brothers.
Peter
Just to inform you that I cut two sides with Bobby Hatfield
around 1971-72 for Warner Bros. One was a cover of Orbison's
"Crying" and the other was a Motown cover of a song called
"Sweet Joy Of Life". SJOL was the better of the two.
Never released. Neither of them. He was GREAT to work with
and I treasure the time we spent together.
Al Kooper
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Message: 16
Date: Tue, 13 Jan 2004 09:07:27 -0500
From: A. Zweig
Subject: Re: Picardy/Ron Dante welcome/Gary Chester
Phil Milstein:
Subject: Re: Picardy / Ron Dante welcome / Gary Chester
> The show was hosted by the extremely unfunny Canadian
> comedian David Steinberg (whose tagline was "Booga booga",
> which I assure you had us all rolling in the aisles).
> For the show's first season Steinberg was joined by a
> self-consciously recruited (as opposed to organic) comedy
> troupe, only one of whom, Lily Tomlin, ever went on to any
> notable success. The troupe was such a bust that they were
> not invited back for the second season, although Steinberg,
> who may have been harboring incriminating photos of the producer,
> was.
For what it's worth, David Steinberg was one of my favorite
comedians when I was a kid. "Booga Booga" was not exactly
his tagline. It was the tagline of a particular character
he played in skits. I'm pretty sure he performed that skit
on the Smothers Brothers show among others. I don't think
skits were his greatest strength. And the whole idea of
having a comedy troupe "hosting" a music show was just one
of those bad ideas TV execs had in the sixties. But as a
standup, Steinberg did have my siblings and I rolling in the
aisles. (I'm also wondering why you added "Canadian". Why not
"Winnipeg" too? That's okay. When I was a kid, things like
that could actually make me proud.)
AZ
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Message: 17
Date: Tue, 13 Jan 2004 10:37:56 -0500
From: Joe Nelson
Subject: Re: Macca Bass/speeding up
previously:
> Especially surprised the Beatles haven't made more use of
> the mono mixes in re-issues, especially as the first real
> bonofide stereo mix wasn't really made until 1969.
I'm not really sure what this means. Does the fact that EMI abandoned
mono for all intents and purposes in 1969 mean that all mono mixes
prior to that were automatically definitive? It seems to me the group
had at least become aware that an alternative to mono existed by 1968,
and used it to create two deliberately different versions of the White
Album. (Some differences, such as the occasional odd overdub added to
the stereo might be attributed to failure to mix out, but how does one
explain the false fade on the stereo "Helter Skelter"?)
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Message: 18
Date: Tue, 13 Jan 2004 13:56:43 +0000
From: Richard Hattersley
Subject: RE: Jeff Lynne on Free as a bird
>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.
I think Jeff is a great producer and i love that drum sound
too, it's so fat.
I really don't understand why he gets such a hammering by
press and music buffs.
Maybe you have to have been around in the 70's to hate ELO,
but being born in '74 i only vaguely remember ELO at their
height of fame, hence I hear the sounds of Jeff Lynne without
any image and I like it.
As for Free as a bird, its amazing what effect press has on
people. The week it was released I was in a band that played
it at a gig and it got a standing ovation, but 3 or 4 months
later it was dropped because of the moans and groans that
playing it caused! Maybe we just murdered it !:-)
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Message: 19
Date: Tue, 13 Jan 2004 14:54:13 -0000
From: Jonathan Singer
Subject: Re: Picardy / Ron Dante welcome / Gary Chester
Billy G. Spradlin wrote:
> 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."
Phil M:
> Thanks for the link, Billy. Loved the bit about breaking glass! I once
> interviewed a NYC-based recording engineer named Gary Chester, after
> which I began coming across all sorts of references to the same name as
> having tubbed on many of my favorite NYC-based sessions, causing me to
> wonder if they weren't one and the same cat. The bio you provided
> finally confirmed that they're not, although for all I know the drummer
> could still be the engineer's dad.
Gary Chester, the engineer, IS the son of Gary Chester the drummer.
Jonathan Singer
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Message: 20
Date: Tue, 13 Jan 2004 08:13:27 -0800 (PST)
From: Steveo
Subject: Re: Mixing, "Run To Him"
Bob Celli:
> Several years ago I was at Bobby's home and he let
> me rummage through several boxes of acetates. I came
> across one for "Run To Him", Take 11A. I played it
> and was amazed that the entire first verse was done
> just like the Everlys would have done it, only with
> Bobby singing a high harmony part throughout the entire
> verse. It sounded great but they obviously made the
> right choice with the version that was released.
Bob,
Thanks for the great info.I feel that the mono
versions are superior on Bobby Vee. However, I'm
glad I have the stereo versions so I can figure
out Ernie Freeman's brilliant scoring (tee hee).
Ernie wrote the whole shebang, including the voices!
Johnny was there to supervise and handle any changes
or problems, as well as direct the choir.
Steveo
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Message: 21
Date: Tue, 13 Jan 2004 00:56:05 -0500
From: Phil Milstein
Subject: Re: Chuck's finest moments
Steve Harvey wrote:
> Jo-el Sonnier, the Cajun accordianist, did the best
> version I've heard. Something about Cajuns playing
> Chuck Berry appeals to me.
Johnnie Allan: Promised Land.
--Phil M.
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Message: 22
Date: Tue, 13 Jan 2004 08:42:30 -0800 (PST)
From: Artie Wayne
Subject: Paul Vance/Danny Jordan
Laura.........How ya' doin'? You asked if anybody knew
Paul Vance? When I was 19,in 1961, I asked for a release
as a staff writer from Aldon Music.Although I learned how
to write songs from Carole King,Barry Mann and Howie
Greenfield, I was overshadowed by them and wasn't able to
get one cover record in the 18 months I was there!!
I went from office to office in 1650 B'way with a batch of
new songs, 'til I met Paul Vance, whose name I recognized
from "Catch a Falling Star" and "Itsy Bitsy, Teenie Weenie,
Yellow Polka Dot Bikini" [which he co-wrote with Lee Pockriss].
He liked what I was doing and athough he couldn't afford to
sign staff writers he gave me a place to operate out of and
continue my "unorthodox education" in the music buisness.
Paul teamed me up with his professional mgr. Cirino Colocrai,
and his nephew Danny Jordan [before he cleaned up as one of
the Detergents]. During the year that followed, Paul and I
wrote songs that were covered by the Fleetwoods, Gary Miles,
the Playmates, while Danny and I had songs covered by the
Angels, "You Should've Told Me" [co-written with Ellie Greenwich],
"Meet me Where we used to Meet" by Brian Poole and the Tremeloes
[co-written with Joey Powers].....among others.It was also during
this time that Paul produced Danny and me for Diamond records as
Jordan and Wayne.
Paul was an excellent producer, who unselfishly shared his
knowledge and contacts with me. It was through him I met Jeff
Barry, Ellie Greenwich, Artie Resnick, Ron Dante, Snuff Garrett,
Morris Levy, George Goldner, Morty Craft, Artie Ripp, Jack Gold,
to name a few...but I am most grateful for his introductions to
Joey Powers[who I produced after Paul released him from his contract].........and Ben Raleigh [with whom I co-wrote "(Meet
me at) Midnight Mary"]....who became my songwriting partner for
over 20 years.
The most important thing I learned from Paul Vance was how
to make concept records...he could sell an idea to a record
company based on his enthusiasm...but it was usually
accompianied by a great song!!
regards,
Artie Wayne
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Message: 23
Date: Tue, 13 Jan 2004 16:55:36 -0000
From: Ed Salamon
Subject: Gene Hughes Benefit Info
Anthony James:
> Can anyone give me some more information about Gene's accident.
> We here in Cincinnati would like to know what happened and when.
> Any info would be great so we can pass on to his fans here.
Austin Roberts:
> Anthony, I'm singing at a show for Gene Hughes in Nashville
> in Feb. so I'll find out more and let you know. He's a great
> guy and what a voice.
Here's the info. I just got off the phone with Steve Jarrell,
who advise T. Graham Brown is in too;
BENEFIT CONCERT: "Rockin' At The Trap"
Friends come together for the benefit of industry vet
Gene Hughes
TUESDAY, FEBRUARY 10, 2004
7:00 PM
THE TRAP, NASHVILLE
A Benefit From The Heart
for Gene Hughes
Enjoy an evening of classic Rock 'n Roll.
Proceeds to benefit 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 artists will be performing at to raise funds
to offset his medical bills.
Artists confirmed to perform are: CLIFFORD CURRY, BRUCE CHANNEL,
LARRY HENLEY OF THE NEWBEATS, DICKEY LEE, BUZZ CASON (GARRY MILES),
BUCKY WILKIN (RONNY AND THE DAYTONAS), STEVE JARRELL AND THE SONS
OF THE BEACH! More artists to be announced.
Tickets are $10 at the door. Advance tickets may be purchased on
line @ musicnashville.com.
Donations may be made by sending a check or money order to:
GIFT
2804 Azalea Place, Nashville, TN 37204
For more information call 615/383-8682
See you there,
Ed Salamon
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Message: 24
Date: Tue, 13 Jan 2004 11:34:18 +0000
From: Phil Milstein
Subject: where's Bo?
Anyone know what's become of the official Bo Diddley website,
previously at http://www.turnup-root.com ?
--Phil M.
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Message: 25
Date: Tue, 13 Jan 2004 17:55:36 -0000
From: Clark Besch
Subject: Re: Lloyd Thaxton
Bob Bailey wrote:
> Thanks for the memories, Mr. Thaxton. I spent many an
> 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, I saw your name and had to think for a minute. I have
a cousin Bob BaYley living in Dodge City. So, it was not you.
I see you did not grow up in Kansas but live there now. I grew
up in Dodge City, but live in Lincoln, Ne. Either way, my 3
brothers and I watched Lloyd Thaxton's show syndicated also,
just like you. Can't remember which station, but probably
Garden City station. Seemed like it was on about 5 PM, but
I think it was only on Saturdays there. Maybe Lloyd syndicated
it to stations outside of California for weekends only?? I
often taped songs off his show and still have many. I could always
tell, cause Lloyd kinda yelled or said something loudy over the end
of the song to get the crowd revved up, I figure, for applause.
He certainly had all the great groups on his show. Only Upbeat
could compare on a syndicated basis, I'd think.
Clark
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