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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: ELO
From: Bibi LaRed
2. Re: Inept / Mistakes
From: Scott Charbonneau
3. Re: Inept / Mistakes
From: Art Longmire
4. Good Vibrations/Motown backing tracks
From: Kingsley Abbott
5. Re: Vinyl Junkies
From: Art Longmire
6. Re: the (un)original hits by the original artists!
From: Stewart Mason
7. Al Kooper's "Lucille"
From: John
8. Re: Mark's Jeff Lynne comment
From: Peter Kearns
9. Re: non-male Vinyl Junkies
From: Patricia ModGirl
10. Reintroduction, ELO, and whew!
From: Alan Haber
11. benefit for Paul Atkinson
From: Jake
12. Re: Lloyd Thaxton DVD
From: Orion
13. Re: Inferior Oldies
From: John Fox
14. Re: Lloyd Thaxton
From: Patricia ModGirl
15. Re: Chuck Berry
From: Phil Milstein
16. Big ol' record-collecting gals
From: Hugo M.
17. Recent discovery knockout instant faves
From: Hugo M.
18. Re: Alvin Robinson
From: Phil Milstein
19. "You Gave Me Somebody to Love" / female record collectors / Christine Quaite
From: Mark
20. Re: Lorna Dune
From: Artie Wayne
21. Organic Sound / Jon Brion
From: Peter Kearns
22. Re: Jeff Lynne
From: Martin Jensen
23. Re: Jeff Lynne covers
From: Peter Kearns
24. Re: ELO
From: Peter Kearns
25. Female record collectors
From: Kim Cooper
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Message: 1
Date: Wed, 14 Jan 2004 11:39:08 -0800 (PST)
From: Bibi LaRed
Subject: Re: ELO
Mark Frumento wrote:
> I will be so bold as to say that I like ELO!
Growing up in a Latin community, I had to deal being called a weirdo
for most of my high school years for having ELO has my fave band.
Sure, the sounds were sappy love songs (most of them at least), but
it was the unique mixture of Lynne's rugged voice, Bevan's Slingerlands and
Tandy's melodic riffs (not to mention the string section) that made Lynne a
legend in our own time. At this time, I was also listening extensively to Annie
Haslam & Renaissance. These were called classical rock bands, which I feel
Renaissance was much more classical than rock! :)
My question is: How come with the success of ELO, there were no clone bands
out there? Furthermore, how come no one has tried it again?
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Message: 2
Date: Wed, 14 Jan 2004 20:08:53 -0000
From: Scott Charbonneau
Subject: Re: Inept / Mistakes
previously:
> Some of the coolest cuts from way back would now be
> considered "train wrecks" in the studio. The instruments would be
> digitally tuned, the vocal takes comped to perfection, (and to
> death), and the result would have little soul....
Isn't this the truth!!! Recording technology today makes perfection
possible. But, so what if the human element is not there. No matter
how much polishing of a piece of crap you do, it still stinks (this
regarding most of today's popular music).
Scott
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Message: 3
Date: Wed, 14 Jan 2004 20:11:49 -0000
From: Art Longmire
Subject: Re: Inept / Mistakes
C. Ponti wrote:
> You've hit on what bothers me about most recordings being done now.
> There is no longer that organic sound. Production technique has so
> evolved that we can take out anything imperfect, so you have
> slightly humanized virtual tracks and faultlessly recorded real
> instruments and voices, all digitally recorded with none of the warm
> sound of analog, and the result makes you wish for an old record
> through your first stereo system. I commented on my affection for
> some of the fallible sounds on "I Can't Find The Time To Tell You",
> from (Orpheus). Some of the coolest cuts from way back would now be
> considered "train wrecks" in the studio. The instruments would be
> digitally tuned, the vocal takes comped to perfection, (and to
> death), and the result would have little soul....
All I can say is, "Amen". One of the banes of modern existence is the
excessive use of technology in the recording process. Not only does
this result in slick, sterile recordings (at least to my ears) but
has given us a host of overproduced "artists" who have all but taken
over the airwaves. It kind of saddens me to think that whole
generations of kids are growing up hearing nothing but the pap that
the recording conglomerates are force-feeding them.
You're certainly right about many great recordings not making the cut
today. All the spontaneity and subtlety is taken out of the recording
process and replaced by a cookie-cutter production process. I
commented earlier on how much I like "Angel Baby" by Rosie and the
Originals -- every time I hear the tentative, stumbling beginning of
this track, it puts a smile on my face. Nobody would even consider
putting out something like this now, at least not on a "major" label.
Regarding Orpheus, I want to thank the earlier posters who
recommended their "Best Of" CD on Varese Saraband -- I picked this up
last week and it's fantastic. I can't wait to hear more by this band.
And I do like their version of "Walk Away Renee". Too bad they got
caught up in that "Bosstown" hype.
Art Longmire
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Message: 4
Date: Wed, 14 Jan 2004 19:35:00 -0000
From: Kingsley Abbott
Subject: Good Vibrations/Motown backing tracks
Following on from the recent Brian Wilson/Good Vibes
thread, UK members may wish to catch a BBC Radio 2 show
purely about Good Vibrations due to be aired on Wed 21st
of this month at, I believe, 10pm.
Also, US members may have missed a recent series on CDs
of Original Motown backing tracks that have surfaced in
electrical stores. Retailing at around $10, each issue has
eight tracks mixing early and mid period Motown. Some are just
the backing track, whilst others have B'Vox depending on the state
of the various masters. I particularly enjoyed the B'vox on 'Quicksand'
There are already, or soon will be, 12 volumes. Look in the Karaoke
sections -- they are very well worth tracking down, as you hear many
of the tyracks in a very new light. They appear to be issued by the
Singing Machine Company.
Kingsley
(who still rates Louis Philippe 'Azure' album as one of the very best
Wilson influenced pieces ever)
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Message: 5
Date: Wed, 14 Jan 2004 22:10:31 -0000
From: Art Longmire
Subject: Re: Vinyl Junkies
Craig Davison wrote:
> I've skimmed over parts of the book, Mark -- it's intriguing,
> although I don't agree with everything he says. One statement
> made in the text really caught my eye -- someone was quoted as
> saying that there are no female record collectors! There's got
> to be some somewhere, although I personally don't know any ...
It's interesting that this topic hasn't been discussed more often.
I'm sure there are quite a few female record collectors around, but
as others have noticed, the vast majority of collectors appear to be
male. I was joking this morning with a female friend about this
(she's NOT a collector and sometimes laughs at me for my obsession
with old records) and told her that record collectors, like Three
Stooges fans, seem to be mainly guys. But back in the '60s when I was
growing up, I had little interest in music and considered it to be a
primarily female pursuit, in that girls were the main fans of the big
music groups (the Beatles, the Monkees, etc.). It wasn't until I was
14 in 1970 that I was bitten by the music bug. So I feel that as a
male I was slow to pick up on the joys of music, compared to my
female contemporaries.
I did notice in the book ["Vinyl Junkies," by Brett Milano --admin], that almost
all the record collectors (R. Crumb, John Tefteller) were male.
Along the same lines, with respect to hip/hop and Northern soul DJ's,
this also seems to be an almost entirely male field. I'd be
interested in hearing comments from both guys and gals regarding this --
certainly there's some food for thought there.
Art Longmire
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Message: 6
Date: Wed, 14 Jan 2004 11:36:03 -0800 (PST)
From: Stewart Mason
Subject: Re: the (un)original hits by the original artists!
Mike McKay wrote:
> "A further consequence: the classic songs heard on
> Oldies radio stations are often wildly different from
> the way they sounded when they were contemporary
> hits...and yet all but the most avid listeners don't
> even realize this and come to accept what they hear
> today as the real McCoy."
The most egregious example I know of this is Spanky
and Our Gang's "Like To Get To Know You," which I knew
and loved first as an oldies radio hit and then on a
used vinyl copy of the compilation SPANKY'S GREATEST
HIT(S). I always marveled at how deeply weird this
song was structurally, with a coda that's nearly as
long as the body of the song itself. So imagine my
disappointment when I laid hands on the original album
and discovered that this was because said coda was
actually a reprise from the end of side two that was
edited onto the song for the compilation, which then
became the standard form of the song!
I've never seen the original single: does it have this
coda edited onto it as well?
S
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Message: 7
Date: Wed, 14 Jan 2004 22:16:36 -0000
From: John
Subject: Al Kooper's "Lucille"
It's wonderful to have Al Kooper here and for my first post
I'd like to thank Al for all the great music he's given us.
I worked in radio back in the late '60s through mid 70's
and always championed Al's music on our small station.
"Lucille" from his second solo album was a favorite of mine
and our listeners. It should have been a Top 40 hit !!!
John
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Message: 8
Date: Wed, 14 Jan 2004 22:55:59 -0000
From: Peter Kearns
Subject: Re: Mark's Jeff Lynne comment
Mark Frumento wrote:
> Ok now, hold on... I didn't arrive at that sentence scientifically.
> However poorly I worded it I was trying to defend him at his level
> of competence. He's a good producer (in my opinion he did his best
> work with his own band but that's just my preference) but I don't
> know if he's really the innovator it takes to be great....however
> much you and I love his work.
Of course. I couldn't count the people I feel that way about. They
all have their particular 'thang' and who am I to criticize.
Technical greatness surely is as perceived anyway. We can't ignore
virtuosity; Parker, Hendrix, Clapton etc.m and a veritable minefield
of brilliant jazz/fusion musicians. But the way Jeff and many others
will place just one note or chord with just the right sound in just
the right place to make your skin crawl. THAT is technical greatness.
Wouldn't you agree? :-)
Peter.
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Message: 9
Date: Wed, 14 Jan 2004 21:59:56 -0000
From: Patricia ModGirl
Subject: Re: non-male Vinyl Junkies
Tom Taber wrote:
> As a collector of other people's hordes of 45s for about 35 years
> now, it is my belief that around 75% of garage sale collections
> of 50 to several hundred "records with the big holes" were
> originally acquired by the fairer sex, especially those collections
> that started around '56 with Elvis. Some still won't part with
> their 45s, though they haven't played them in years (and often
> now have no means of playing them!) I guess boys tend to stay
> glued to their boyhood passions, while girls move on to other
> duties, interests, and responsibilities.
Au contrare, you guys! I may be in the minority but I NEVER gave up
my passion for collecting music! True, I don't collect as much vinyl
as I do reissued CDs now -- a huge fan of alternate takes, always
was -- but I still keep my eye open for the occasional mint condition
to-die-for LP! I also have a thing for any album that sports a cover
bearing 60s art imagery, the more psychedelic the better! So, my
question to you guys is. .. WHY DON'T ANY OF YOU LIVE NEAR ME??? ;)
Patricia aka ModGirl
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Message: 10
Date: Wed, 14 Jan 2004 17:34:26 -0500
From: Alan Haber
Subject: Reintroduction, ELO, and whew!
Since I have posted maybe a total of two or three times ever, I'd like to
reintroduce myself to the group: I'm Alan Haber, former host of the Pure Pop
radio show (melodic, harmony pop from the sixties and seventies; I also had
a corresponding website). I've interviewed many artists I know we all share
a love for, including Paul Revere, Emitt Rhodes, etc., and many disc jockeys
whose voices invoke a smile on a lot of S'poppers' faces, including Cousin
Brucie, Dan Ingram, Gary Owens and Wolfman Jack. (I also wrote for a radio
trade newspaper, and edited a radio magazine, for a few years). It's been
awhile since I've been active, but I've got miles of memories, tapes and
pictures, too, to help me reminisce.
Anyway, I have always enjoyed reading S'pop, but never more so than in
recent days. With the addition of Austin Roberts, Lloyd Thaxton, Ron Dante
(who I had on my show twice), and now Al Kooper, to the ranks, it's become
even more important to read every word, every day, without fail. Kudos to
all behind the scenes who keep the ship running full (s)team ahead.
The very-mini ELO controversy caught me eye, since I am a huge Jeff Lynne
fan. I've always been surprised at how much Lynne gets knocked for his
productions. I was expecting the same reaction to his co-production of
McCartney's Flaming Pie album, but didn't see any; what I was surprised at
was how little of the Lynne footprint was evident! Free As a Bird.well, it
is there, certainly. Every time I hear it, though, I get shivers up my
spine. The whole package-the song, the production, and the superb video (I
see something new every time I look)-is beyond compare, in my book.
Speaking of spine shivers, I've been thinking lately about moments, however
brief, in songs that give me that feeling of euphoria. It's the wow factor,
I guess.currently, I hear it in the harmonies of the last chorus of
Fountains of Wayne's Stacy's Mom, an expertly-crafted, harmony-packed homage
to the seventies and, most pointedly, the Cars' sound. Those "ah-ah-ahhs"
just do it for me every time. Back in the sixties, the opening guitar notes
of "No Milk Today" did it, the pace of "Having a Wild Weekend" did it, and
so did the harmonies on the Beach Boys' "Anna Lee, the Healer." I'd get more
obscure, but I've got this cold that won't quit, and today my head has more
clouds in it than usual!
I'm curious about other S'poppers' spine-shiver moments.
Wow!
Alan
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Message: 11
Date: Wed, 14 Jan 2004 21:32:58 -0000
From: Jake
Subject: benefit for Paul Atkinson
Although slightly off-topic, I thought that S'poppers would care to
note the below info on Paul Atkinson, A&R man and guitarist for the
Zombies. Our own Al Kooper was instrumental in convincing U.S. label
to release "Odessey and Oracle".
____________________
A tribute dinner and benefit concert for Paul Atkinson will be held
on the evening of Tuesday, January 27th, 2004 at the House of Blues
in Los Angeles. Paul will also be honored with the Recording Academy
President's Award for his accomplishments as an artist and top A&R
executive during his nearly 4 decades in the record business.
Apart from this honor being long overdue, Paul has battled illness
for many years. He has had two liver transplants and undergoes
regular dialysis due to kidney failure. He was recently diagnosed
with inoperable cancer and is facing these challenges with the same
courage and strength of character that have defined his life and
career, thus the short notice.
Radio personality Shadoe Stevens will host the evening's entertainment,
to include performances by the Zombies, Bruce Hornsby, Richard Page
of Mr. Mister, Michael Penn, Patty Smyth, Mickey Thomas of Starship,
and Brian Wilson. All the original Zombies (of which Paul was a member)
will be together and we hope that Paul will be able to join them on
stage for a true Zombies reunion.
Your purchase of tickets and/or a donation will benefit the Atkinson
Family Trust to assist with the extreme financial burden placed upon
the family by Paul's long continuing illness. Your support of this
event will help us accomplish these goals together as a caring
community.
An auction of music and other memorabilia is also planned to raise
additional funds. For the donation of auction items please contact
(and send to) Jimmy Edwards, Warner Strategic Marketing, 3400 W.
Olive Avenue, Burbank, CA 91505. Tel: 818-238-6230.
I hope you will respond positively by donating generously to the
Atkinson Family Trust in honor of Paul and all he has accomplished
for our industry, and for the standard of excellence he has helped
establish.
Please join us on January 27th to honor Paul while supporting this
worthy cause. To purchase tickets at $250 each or make donations,
please make your check payable to the "Atkinson Family Trust" and
mail to Kory Klein care of Klein & Company, 11726 San Vicente
Boulevard, Suite 420, Los Angeles, CA 90049.
E-mail: kory@kleincompany.com
The reception will be at 6:30, dinner at 7:30, and the show will
start at 8:00 p.m. A formal invitation will follow.
Also, I would be grateful if you could help spread the word as we
seek to raise both awareness and funds. Our goal is to net over
$250,000 for the Atkinson Family Trust. Please feel free to forward
this letter to any appropriate parties. Whether or not you are able
to attend, we deeply appreciate any level of support.
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Message: 12
Date: Wed, 14 Jan 2004 17:00:46 -0500
From: Orion
Subject: Re: Lloyd Thaxton DVD
If you want I can play "We'll Meet Again" to musica. I have an excellent
45 of it. It is in almost mint condition. I am a huge fan of the Turtles.
Orion
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Message: 13
Date: Wed, 14 Jan 2004 17:12:56 EST
From: John Fox
Subject: Re: Inferior Oldies
Mike McKay wrote:
> the classic songs heard on Oldies radio stations are
> often wildly different from the way they sounded when
> they were contemporary hits..."
This is a great thread to start. And the problem is that these are the
versions that now show up on CDs, preserved for integrity while the versions we
knew and loved in the 60s are gone.
My nomination for the worst offender is the version of Mitch Ryder's "Devil
With The Blue Dress On" that cuts out the first four lines of the last verse,
coming in from the Good Golly Miss Molly part with with "...wearing her
pearls...". I'm sure all of you can come up with examples that are just as bad.
John Fox
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Message: 14
Date: Wed, 14 Jan 2004 21:52:46 -0000
From: Patricia ModGirl
Subject: Re: Lloyd Thaxton
Lou wrote an open letter to Lloyd Thaxton:
> In short, don't let the boneheads currently in charge of TV and
> film tell the story of Rock 'n' Roll & TV. They will inevitably
> over glamorize and get it all wrong. We need guys like you to
> present the real deal.
Good points all, Lou! I myself grew up in Po-Dunk North Ga. (which
now has grown to become a 'burb of Atlanta!) and I totally agree, LT
made it feel like the show belonged to EVERYONE. His HEART was alllll
over that show, wasn't it? Now please send him a copy of your email
so he will be SURE to read it! We can make it happen!
Patricia aka ModGirl
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Message: 15
Date: Wed, 14 Jan 2004 18:44:44 +0000
From: Phil Milstein
Subject: Re: Chuck Berry
Paul Bryant wrote:
> On the tv programme John & Yoko hosted for one night
It was the afternoon schmoozefest Mike Douglas Show, and they actually
co-hosted for an entire cockamamie week. That whole week is available as
a VHS 5-set (probably from Rhino), and good rental shops should have it
as well.
> Chuck was a guest and John introduced him by saying
> "If it wasn't called rock & roll, it would be called
> Chuck Berry Music."
And when Chuck, just before the solo in "Johnny B. Goode," turned to
Lennon, who was strumming along beside him, and said, "Go, Johnny, go,"
Johnny Lennon lit up like a pine tree at Christmas time as he ripped
into his eight-bar. One of the great passing-of-the-torch moments in
rock history.
--Phil M.
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Message: 16
Date: Thu, 15 Jan 2004 00:55:00 -0000
From: Hugo M.
Subject: Big ol' record-collecting gals
It's true that there don't seem to be many women collectors of
records, and I was inclined to agree that collecting in general was a
'guy thing' until we were reminded about the hummel figurines and
commemorative plates.
Something I have noticed, though ... making a broad generalization (get
it?) is that women-what-collects-records tend to focus on individual
artists and assembling a complete array of that person/group's work
more often than men do. Anyone else noticed that?
Tweedly-deedly-deedly-dee --
Hugo M.
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Message: 17
Date: Thu, 15 Jan 2004 01:00:12 -0000
From: Hugo M.
Subject: Recent discovery knockout instant faves
I have been really blase about most of the new-to-me records I've
heard recently, but there has been one that really did that thing for
me. "Pills", by Bo Diddley, the orig. of a song that New York Dolls
later covered. I feel stupid in the first place having let myself live
so long without investigating Mr. Diddley in any detail, but in any
case, this record doth rock. Lovely, swinging rhythm section (maybe a
hint of a calypso feel?) and a great tune & vocal performance. I knew
it was going to be great before I put it on the turntable, and even so
I still wasn't prepared for the brilliant delightsomeness of it.
That reminds me, I've got to get some notes together on the subject of
ska-pop for a post in that thread.
Buzz-buzz-ka-diddle-it --
Hugo M.
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Message: 18
Date: Wed, 14 Jan 2004 18:46:28 +0000
From: Phil Milstein
Subject: Re: Alvin Robinson
Paul Underwood wrote:
> I agree that it doesn't sound like Stoller, but that didn't stop
> him and Jerry Leiber recycling the arrangement when they cut the
> song with T Bone Walker in the early seventies. And they did the
> same thing with the Coasters and "Down Home Girl". But it would
> be interesting to know more about who did what on all these Alvin
> Robinson recordings.
I think Mac Rebennack may have played on a number of them. I believe he
talks about Shine in his book, and if he did extensive session work with him
I'm sure he mentions it there.
--Phil M.
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Message: 19
Date: Thu, 15 Jan 2004 02:42:12 GMT
From: Mark
Subject: "You Gave Me Somebody to Love" / female record collectors / Christine Quaite
John Sellards -- thought you might like to know that "You Gave Me
Somebody to Love" came out on two different major labels, Warner
Bros. and Mercury. There are two other versions of the song that I'm
familiar with, both by artists from Philadelphia (just like the Dreamlovers):
Billy Harner, the great blue-eyed soulster (Heritage 823) and the
Ambassadors do a slightly more uptempo version on their Arctic
LP, "Soul Summit" (which Jamie/Guyden released on CD some time
ago).
Re female record collectors -- here are a few femme Northern soul
collectors on the KTF list. I've also run into a few here and there at
conventions (one was a dealer whom I wound up helping to run
her booth), and there was a Yahoo group called vinyl45records,
or something like that (not sure if it's still around), but the moderator
was a female record collector named Susan, and she was a pretty
good-looking woman too, judging by the picture on her webpage!
Ken -- Christine Quaite had two singles on World Artists:
1022 "Tell Me Mama"/"In the Middle of the Floor"
(as was mentioned, "Tell Me Mama" did reach #85 on the Billboard chart)
1028 "Mr. Stuck Up"/"Will You Be the Same Tomorrow?"
Oddly enough, the preceding releases numerically on World Artists were
both by Chad & Jeremy!
Best,
Mark
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Message: 20
Date: Wed, 14 Jan 2004 19:57:00 -0800 (PST)
From: Artie Wayne
Subject: Re: Lorna Dune
Phil Milstein wrote:
> I'm not familiar with this record, Artie, but I'm curious to know
> the identity behind "Lorna Dune."
Lorna Dune was Lorna Wright. Gary Wright ["Dreamweaver"] was her brother.
regards, Artie Wayne
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Message: 21
Date: Wed, 14 Jan 2004 23:08:57 -0000
From: Peter Kearns
Subject: Organic Sound / Jon Brion
Ponti wrote:
> Albabe, You've hit on what bothers me about most recordings being
> done now. There is no longer that organic sound. Production
> technique has so evolved that we can take out anything imperfect,
> so you have slightly humanized virtual tracks and faultlessly
> recorded real instruments and voices, all digitally recorded with
> none of the warm sound of analog, and the result makes you wish for
> an old record through your first stereo system.
There are a handful of producers following the traditions whom I
greatly admire. All of the work of Mitchell Froom/Tchad Blake in the
late 80s and 90s reeks of spectro-ism. For an example, listen to
Sheryl Crow's theme from the Bond movie 'Tomorrow Never Dies'.
And I would definitely recommend LA producer Jon Brion. He carries a
truck full of exotic instruments with him and insists on the real
thing; yes, Mellotron included. He turns down major requests to work
with 'big' artists so he can stick with what he believes in. There is
no one like him. His solo album 'Meaningless' is worth ten times it's
weight in gold. He also works with Fiona Apple.
Check him out. http://www.jonbrion.com
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Message: 22
Date: Wed, 14 Jan 2004 23:12:47 -0000
From: Martin Jensen
Subject: Re: Jeff Lynne
Ruby wrote:
> It would be interesting, I think to hear some cover versions of
> ELO songs just to see how they hold up to that test.
That would be the 'Lynne Me Your Ears' tribute on Not Lame records
then. Check out the info and track list at
http://www.ftmusic.com/shop_lynnemecd.html
> Also - the only band that I can think of whose sound owes any kind
> of debt at all to ELO is Freiheit - can anyone think of anyone else?
Perhaps Grandaddy on the 'The Sophtware Slump' album? Jason Lytle,
the leadsinger, is supposedly a big fan of ELO & Jeff. At one point
during this particular album, he tries his best at reciting a
backwarded message from ELO's 'Face the Music' album - (the music is
reversible...turn back..turn back..) A pretty obvious nod towards
Jeff. :-)
Nice to see that so many people here dig his music!
With regards
Martin, Denmark
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Message: 23
Date: Wed, 14 Jan 2004 23:17:40 -0000
From: Peter Kearns
Subject: Re: Jeff Lynne covers
Ruby wrote:
> Apparently I am not the only one who has to defend my ELO
> collection. I have never really understood why ELO is consistently
> shunned.
Strange isn't it? They were so huge in America. And when I was in LA
a few months ago, the classic rock station played an ELO track every
hour. I thought I was in heaven. haha
> At least to me. It would be interesting, I think to hear some cover
> versions of ELO songs just to see how they hold up to that test.
> Also - the only band that I can think of whose sound owes any kind
> of debt at all to ELO is Freiheit - can anyone think of anyone else?
There's a Jeff Lynne cover's homage album called 'Lynne Me Your
Ears'. Like some of those kinds of albums it has some obscure acts on
it, but there is a version of 'Bluebird Is Dead' by Todd Rundgren.
I also hear traces of ELO around the place in the music of Michael
Penn. What a fabulous songwriter he is.
Peter.
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Message: 24
Date: Wed, 14 Jan 2004 23:23:14 -0000
From: Peter Kearns
Subject: Re: ELO
> I will be so bold as to say that I like ELO! So there! OK, I
> mostly like their early stuff as they were evolving from The Move,
> who I adore.
The odd thing is that not one person has said a negative thing about
ELO, apart from my misunderstanding one comment by Mark. Yet we're
acting as if someone has. haha. My fault; I started the stream, much
like I added in the 'one inept ingredient' thing. Thanks for paying
so much attention. (Humbly bows).
Peter.
-------------------[ archived by Spectropop ]-------------------
Message: 25
Date: Wed, 14 Jan 2004 15:27:21 -0800
From: Kim Cooper
Subject: Female record collectors
No female record collectors? Hmm, maybe we just keep a little quieter
about habit than y'all do. Few female COLLECTORS period? Who d'ya
think is buying all those dolls, Hummel figurines, Beanie Babies,
teapots and depression glass?
drowning in discs,
Kim
--
Scram
http://www.scrammagazine.com
Scram #18 out now with Emitt Rhodes, the Ramones, Marty Thau, Smoosh
and more.
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