________________________________________________________________________
SPECTROPOP - Spectacular! Retro! Pop!
________________________________________________________________________
There are 25 messages in this issue.
Topics in this digest:
1. Re: Jeff Lynne
From: Rob Stride
2. Leon Russell
From: Al Kooper
3. Pat Lundy
From: Al Kooper
4. Re: Pete Antell
From: Bibi LaRed
5. Re: Ragin' Cajuns
From: Steve Harvey
6. Re: Jeff Lynne
From: Dave Beard
7. Re: The Lloyd Thaxton Show
From: Herb
8. Re: benefit for Paul Atkinson
From: James Holvay
9. Dillards on White Whale/WKYC Cleveland/Sandusky's Monk
From: Clark Besch
10. Re: Mark Wirtz - Love is Egg Shaped
From: Rosemarie Edwards
11. women and records
From: Alan Zweig
12. Orgone Box; "My Hot Will Go On"; stylii; early Zevon; 1/4 2 3; Nap XIV; Chalpin; Van Dyke Parks
From: Country Paul
13. Re: Don Ralke
From: Tatsurou Sakaguchi
14. Re: Jeff Lynne
From: JJ
15. Re: Answer Songs
From: Eddy
16. Re: Inferior Oldies
From: John Sellards
17. Re: Jeff Lynne
From: Richard Hattersley
18. Eddie Rambeau
From: Dan Hughes
19. Re: Jeff Lynne and Freiheit
From: Mark Wirtz
20. Re: Cymbal & Clinger/Brother John
From: Clark Besch
21. Re: ELO
From: Peter Kearns
22. Re: Vinyl Junkies
From: Paul Bryant
23. Shiver Moments? Mine is ELO.
From: Peter Kearns
24. Re: Jeff and Jellyfish
From: Peter Kearns
25. Re: the stereo/mono debate
From: Paul Bryant
________________________________________________________________________
________________________________________________________________________
Message: 1
Date: Wed, 14 Jan 2004 23:10:07 -0000
From: Rob Stride
Subject: Re: Jeff Lynne
Ruby:
> I have never really understood why ELO is consistently
> shunned. I truly believe that you would have a hard time finding
> anything as listenable or beautiful as "Living Thing" or "Can't Get
> it Out of My Head." I'm not above saying that they were sometimes
> over the top, but LORD HAVE MERCY - that's part of the appeal. 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?
You Are Spot On, but what about "Strange Magic"
..ooohhhhhh...LaLaLaLaLa
Rob Stride
-------------------[ archived by Spectropop ]-------------------
Message: 2
Date: Wed, 14 Jan 2004 19:05:57 EST
From: Al Kooper
Subject: Leon Russell
Mac Joseph:
> If memory serves me right; didn't Leon Russell arrange and
> produce most of Gary Lewis' music (inbetween Spector sessions?)
In all honesty, after This Diamond Ring I stopped paying
attention - although I thought Count Me In was a good record.
-------------------[ archived by Spectropop ]-------------------
Message: 3
Date: Wed, 14 Jan 2004 19:04:26 EST
From: Al Kooper
Subject: Pat Lundy
Matthew:
> A couple of years back I found a brilliant single by Pat Lundy
> called "It's Rainin' Outside" (Leopard Records 5009, 1963) and
> could not find out anything about it anywhere (I even asked about
> it on this list!). Just by luck I found an email address for
> Al Kooper, who had the writing credit on the single, and on the
> off chance I shot off an email to the man. Not only did he
> remember the single but also the lyrics and this is for a single
> that is 40 years old! By the way if there is anything else that
> Al is willing to say about this great slab'o'wax I would be happy
> to read about it
It was done to replicate Motown's "Heat Wave".
Everything on the record is reminiscent of that record including the
songwriting (I'm guilty!!!!) It was produced & arranged by Joe Rene,
who made all the Bobby Lewis and Jive Five records on Beltone Records
at that time. I think I played piano on it.
Al Kooper
-------------------[ archived by Spectropop ]-------------------
Message: 4
Date: Wed, 14 Jan 2004 19:02:47 -0800 (PST)
From: Bibi LaRed
Subject: Re: Pete Antell
Pete Antell scraped the bottom of the Billboard charts
(number 100) on December 15th, 1962 with this, his only
charted track. Personally, I've never heard it. I do,
however, own another of his singles called Keep It Up.
Damn good track~!!
As you may know, Antell was signed to the NOW DREADED
Cameo/Parkway label. The label itself is not dreaded...
Maybe if I'm lucky, Mr. Klein will decide to release a
collection on these labels before the turn of the NEXT
century...
-------------------[ archived by Spectropop ]-------------------
Message: 5
Date: Wed, 14 Jan 2004 19:12:51 -0800 (PST)
From: Steve Harvey
Subject: Re: Ragin' Cajuns
I wrote:
> Yes, Johnnie Allan by all means. Ever note how he
> left out the verse about "put me in a silk suit
> and stuck luggage in my hand"?
Phil Milstein wrote:
> That's because Cajuns are more prone to wearing
> alligator than silk, but to say so would've
> screwed up the meter.
Nah, the line is about racism and how the white
passengers were trying to justify Chuck's presence
on the plane. It wouldn't have made sense coming
from a white singer.
-------------------[ archived by Spectropop ]-------------------
Message: 6
Date: Wed, 14 Jan 2004 23:18:15 EST
From: Dave Beard
Subject: Re: Jeff Lynne
previously
> Lynne really has produced some strong material. My favorite
> album has to be "Time" from 1981. Beautifully crafted concept
> collection. His "Armchair Theatre" is also beautifully crafted.
> Let's not forget he spearheaded the Traveling Wilburys, two
> Tom Petty releases, Roy Orbison's last collection, George
> Harrison's "Cloud 9" and "Brainwashed" and The Beatles "Free
> as a Bird" and "Real Love".
I don't think everything he does is great. "Zoom" feels weak to me,
and "Secret Messages" -- while it has nice moments -- is disjointed.
Lynne does his best work when he works within a concept and usually
when its someone else's music.
Dave Beard
-------------------[ archived by Spectropop ]-------------------
Message: 7
Date: Thu, 15 Jan 2004 05:46:40 -0000
From: Herb
Subject: Re: The Lloyd Thaxton Show
I too would like to add to my thoughts here as a DVD set
would be great!
My teen years were the mid-60s and I watched various
teen-dance shows be they local (Toronto) or from the US.
The Lloyd Thaxton Show came via a Buffalo network - which
one I cannot remember. There were only 3: Channel 2 (NBC),
Channel 4 (CBS-WBEN) and Channel 7 (WKBW).
Being 56 now, my memories are getting scant but I do remember
watching The Lloyd Thaxton Show circa 1964-1965. I have a
vague memory or Martha & the Vandellas doing "Wild One" and
Candy & the Kisses doing "The 81". I also saw the dancers
doing the Slauson (Kick That Little Foot Sally Ann -- Round
Robin).
A DVD set would rekindle a lot of buried memories that's for
sure!!!
Over the years, I bought a variety of VHS tapes that Dick Clark put
out on The Best of Bandstand (2 vol.). Motown put out two tapes of
music set to newsreel - the 60s & the 70s; something about a Lost
Radio Station and another to do with the life of an automobile from
the it rolled off the plant to its return to that owner who had it
first -- all set to 60s Motown songs. Of course, I got the Shindig
and Hullabaloo tapes and others.
Then of course, John Waters' take on the genre in "Hairspray" was
great on all levels. The soundtrack that came disappointed me:
no Cameo-Parkway tunes were on it (they were in the film).
"The In-Crowd" had a dramatic tone however it featured a snippet
of The Lloyd Thaxton Show!!!
Yes, a DVD of The Lloyd Thaxton Show would be great!!!! (As an
aside, I am praying The Orlons are on it.)
Herb
Toronto, Canada
-------------------[ archived by Spectropop ]-------------------
Message: 8
Date: Wed, 14 Jan 2004 23:10:52 -0800
From: James Holvay
Subject: Re: benefit for Paul Atkinson
Jake:
> 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.
Jake: Thank you so much. I worked w/ Paul and The Zombies
many years ago. When he was at RCA, we got together and
talked about old times. I'll be out of town on the day of
the benefit but I can assure you I will be donating to
his "trust" and saying a prayer for him and his family.
Thanks again.
James
-------------------[ archived by Spectropop ]-------------------
Message: 9
Date: Thu, 15 Jan 2004 05:51:06 -0000
From: Clark Besch
Subject: Dillards on White Whale/WKYC Cleveland/Sandusky's Monk
Hi, I need some help. Does anyone out there have mint copies
of the 2 Dillards 45s they had on White Whale? If so, could
you email me off line? Thanks, Clark
Also, I just got done listening to an early 68 aircheck
of Chuck Dann on WKYC Cleveland. He played a local group,
Sandusky's Monk, as far as I can tell. Oddly, it was a
remake of the Tymes' "So Much in Love". I have another
song taped off WKYC, "Beyond the Trees" (I think). I have
never seen or heard of this group on vinyl. Anyone know what
label they were on or have either song?
Thanks,
Clark
-------------------[ archived by Spectropop ]-------------------
Message: 10
Date: Thu, 15 Jan 2004 06:41:41 -0000
From: Rosemarie Edwards
Subject: Re: Mark Wirtz - Love is Egg Shaped
Thanks to Mark I have already heard this CD and all I can
say is Wow - It is fantastic and I have listened to it over
and over again.
I was so impressed with it that I have ordered the book as
well. Mark is a true Artist.
I want to wish him all the best for 2004
Rosemarie
-------------------[ archived by Spectropop ]-------------------
Message: 11
Date: Thu, 15 Jan 2004 02:25:02 -0500
From: Alan Zweig
Subject: women and records
Art Longmire writes:
> 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 ...
Stewart Mason:
> I vaguely know Brett Milano . For one thing, I know
> that Brett knows at least one female record collector,
> because he knows my wife!
I'm in that book and I'm pretty sure I'm quoted on the subject.
But I'm pretty sure I didn't say there were NO female record
collectors since that's patently untrue. I might have implied
that if you were to define a "serious" record collector as
someone with five or ten thousand records, women would comprise
maybe one percent. Which is a lot more than none.
If by record collector, you mean a thousand or so records, then
the proportion might go up to seven or eight percent, though I
think that's probably generous. If you make the distinction between
record collecting and record accumulating and you define record
collecting as a person who is trying to get every single record by
a particular artist, then I think the proportion would go back down
to about one percent.
Of course none of this is scientific. It's just a hunch based on
a fair bit of experience.
And while I'm here, I must say that just seeing the name "Al Kooper"
at the top of a post has broken through my generally blase, unimpressed
attitude. That impresses me. Back in high school I was like "the Al
Kooper guy". I even had this strange rivalry with this guy who was
"the Mike Bloomfield guy" which didn't even make sense at the time
(unlike say Dave Clark Five versus The Beatles). I think the idea
of the rivalry originated with the legend of the Highway 61 sessions.
Even stranger was the fact that I had another rivalry going with
another guy and in that case, I was the "Mike Bloomfield guy".
AZ
-------------------[ archived by Spectropop ]-------------------
Message: 12
Date: Thu, 15 Jan 2004 02:30:50 -0500
From: Country Paul
Subject: Orgone Box; "My Hot Will Go On"; stylii; early Zevon; 1/4 2 3; Nap XIV; Chalpin; Van Dyke Parks
Jules Normington:
> ...I'd like to throw another hat into the ring...that will fit
> MANY of you on this list. That hat belongs to The Orgone Box...
> If you don't know them, if you were to find a copy of their
> self-titled CD, you'd be blessed by a stunning album full of
> the most beautiful melodies, utterly gorgeous production....
By stroke of good fortune, across my desk have come not one
but two Orgone Box CDs. I'm part-way throught he first self-
titled one, and am very much impressed. Not quite "the second
coming", but well worth finding. So far, not a bad track, and
two super ones (at least): "Hello Centra, Give Me Ganymede" and
"World Revolves" (which should more properly be '(The) World
Revolves (Around Me)' - but that would be giving away too much).
I again recommend checking the samples at
http://www.minuszerorecords.com/orgonebox.html#sounds. Beatle fans,
psych fans and fans of lush production especially take note.
Rex Strother, re: lyrics:
> I think in current popular songwriting - it is the melody
> that is prominent. Of course, there are exceptions - but
> the hooks can keep nonsense or cliche lyrics popular as ever.
> If you doubt it - check out the lyric to "My Heart Will Go On"
> from TITANIC. Cliche, boring, and outright inept in places....
Ah, Rex, this is a prominent number on my Jukebox From Hell -
"Neah, faaah, wherever you aaaah".... To address your point,
I think even more than melody, it's the era of the hook - some
dumb phrase designed to get into your mind like a fishhook and
not let go, no matter how brutally obnoxious it is. We are in
the era of limited-attention-span mass pop - no time for full
melodies. It's "music" for people who don't know anything about
music but need to have something on....
And now back to our regularly scheduled era....
Paul Bryant quotes allegedly good and bad lines from "Magic
Moments", originally by Perry Como and later sure (very credible
version, I might add). Paul, I think the whole song is very
lyrically clever, and both couplets you cite are really well
wrought. But chacon a son gout....
Dan Hughes:
> Needles made for radio station turntables were constucted
> so that they could play either direction without harm to
> the record, so cueing by backing up the record was no
> problem.
> Dan, radio DJ 1967-1980, now GM of a radio station that
> still uses turntables for weekend specialty programs.
Ideally, Mr. GM - but I knew too many DJ's who could take
out any stylus in a shift without trying! However, the stylii
and the cartridges to support them are stronger in radio and
DJ turntables. (These days they cost a fortune, too.)
Steve Harvey:
> Here's some new insight on the Left Banke.
> http://dawneden.com/blogger.html
Following that link - and then some - got me to a new release
of early Warren Zevon material on Varese Vintage, including
Lyme & Cybelle and a bunch of unreleased stuff, as well as two
full-length downloads:
http://www.varesesarabande.com/details.asp?pid=302%2D066%2D438%2D2
Recommended.
Richard Hattersley:
> Richard Snow: This guy is fantastic!!! :-)
> http://www.wiz.to/richardsnow
Actually, I do think he is.
Billy G. Spradlin:
> I think the worst sounding but one of the greatest early
> rock recordings is Gary U.S. Bonds'"Quarter To Three" -
> I have it onoriginal 45, on a vinyl LP and Rhino CD and
> they all sound like it was recorded with the microphone
> stuck in a closet or under a blanket!
That's not the pressing, it's the ultra-distorted and overloaded
miking and level-riding. That amazing record is a hit partly either
because of or despite that lo-fi sound. Actually, the LeGrand label
owner/producer Frank Guida is proud of that sound, claiming in liner
notes on an early LeGrand LP (which I'll look up sometime) that all
that distortion was intentional. I dunno - sounds like the luckiest
bad recording job in the world to me, which Guida then imitated for
his next dozen or so releases.
Austin Roberts asks for opinions on "They're Coming To Take Me Away
(Napoleon the XIV)." My two cents: brilliant - funny, wierd, and if
you really "listen into" it, downright scary. I love stuff like this
that works on many levels. (See my previous comments on Gloria
Balsam's "Fluffy.") Did "Napoleon" aka Jerry Samuels ever do anything
out of this vein?
Mike Rashkow, great piece on Ed and Sam Chalpin - irresistably hysterical!
Interesting that you mention Scott English working there as a "hired
throat". Pre-Brandy/Mandy, he had a #2 hit in Boston with the beautiful
late-doo-wop ballad "High On A Hill" (Spokane Records, 1963). It's a
long-time fave of mine. And I didn't know you wrote "Mary In The Morning" -
nice song. For a music junkie like myself, 1650 (and 1619) Broadway were
the centers of the universe at that time. Thanks for the insider's context.
Rodney Rawlings:
> ...[M]any so-called "significant" or "important"
> lyrics seem to deliberately court or embrace obscurity --
> thus they frustrate judgment, which is in part the purpose.
> I classify them as bad.
Phil Milstein responded:
> How about Van Dyke Parks' lyrics to "Surf's Up"?
Van Dyke Parks is, to me, in general one of the most literate,
fascinating, clever and obtuse/obscure lyricists I'vbe ever
encountered. Some might add pompous and pendantic to the list,
but I find close inspection of his work is always fascinating
- and those close inspections are best taken in limited doses
lest one be overwhelmed. The rest of time, I just listen and
let it wash over me. (To specifically answer Phil's question,
"Surf's Up" is gorgeous.) And then there are Parks' wonderfully
cinematic arrangements. I'm proud to have been one of the first
people to play "Song Cycle" on the air, and was sure I'd discovered
a superstar, but I've had to sadly conclude that he's too intellectual
for the masses. (But Dylan's that intellectual, you might say. True,
but Dylan had that rebel folkie persona, and Parks was just too, well,
intellectual!) In operatic terms, "Song Cycle" is like a bunch of
recitative in search of an aria; it can be irritating in grand opera,
but here, it works. End of rant....
How can I be 25 digests behind in only 7 days? Will you guys please
shaddap??? (Just kidding....)
Country Paul
-------------------[ archived by Spectropop ]-------------------
Message: 13
Date: Thu, 15 Jan 2004 00:17:56 -0800 (PST)
From: Tatsurou Sakaguchi
Subject: Re: Don Ralke
Country Paul wrote:
> 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....
Peter Richmond wrote:
> Don Ralke arranged and conducted the main side of Bobby Hatfield's
> first solo single "Hang Ups" (Mann/Weil), it is most likely that he
> also arranged and conducted the other four tracks recorded by Bobby
> Hatfield at the session on 15 March 1968 in Los Angeles.
> The four remaining tacks from the session were unissued but three of
> the titles will be very familiar, "I Can't Make It Alone" (Goffin/King),
> "So Much Love" (Goffin/King) and "See That Girl" (Mann/Weil) - a song
> traditionally associated with other Righteous Brother Bill Medley. The
> other track was "She" which I guess maybe the McKuen/Garson song.
I have a question? I have a Don Ralke acetate record 45RPM
called "I'd Be lost Without You" written Don Ralke. and I
have one regular 45RPM "I'd Be lost Without You" by Dan Rogers
on ERA-3131 both is Same Recording. Dan Rogers is Don Ralke?
-------------------[ archived by Spectropop ]-------------------
Message: 14
Date: Thu, 15 Jan 2004 08:54:43 -0000
From: JJ
Subject: Re: Jeff Lynne
> Richard Hattersley wrote:
> Lynne is one of the few remaining producers still giving a
> nod toward the 60s in a positive, non-corny way.
Mark Frumento:
> I for one am glad to read posts in defense of Jeff Lynne.
> ...........And I still think the guy does one of the best
> Roy Orbisons around!
**2 AMAZING, non-LP, ELO, b-sides, fr 1981, are "When time stood
still" (b-s. to "Hold on tight") & "Julie don´t live here" (b-s.
to Twilight")........To "afford" to hide this GEMS, on b-sides,
SHOWS JL's greatness as a songwriter!
JJ/Sweden
-------------------[ archived by Spectropop ]-------------------
Message: 15
Date: Thu, 15 Jan 2004 10:53:50 +0100
From: Eddy
Subject: Re: Answer Songs
Me:
> But Chuck Berry had already answered his own song with
> "Little Marie". When and where was it released? I heard
> it on one of CB's "Rock And Roll Rarities" compilations.
> It's on the St Louis to Liverpool album (1964) and on
> several compilations, including the 1988 Chess box.
Andres:
> I have this LP, no Little Marie there...
Andres,
Maybe it's not in your part of the world or on the particular
pressing you may have, but it's the opening track of the album,
as you can see on for instance the following sites:
http://departments.colgate.edu/diw/Pegg/CBDiscography.html
http://www.crlf.de/ChuckBerry/chessupto1966.html
http://tinyurl.com/25s5x
These last 2 also have a photo of the cover where you can see
Little Marie listed at the top of the song titles.
Eddy
-------------------[ archived by Spectropop ]-------------------
Message: 16
Date: Thu, 15 Jan 2004 11:13:51 -0000
From: John Sellards
Subject: Re: Inferior Oldies
John Fox:
> 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.
You're right about that one - the drums hotter in mono, too
but the big one is "Creeque Alley" by the Mamas and Papas,
where a substantial part of the instrumentation is missing
from the stereo version.
John Sellards
-------------------[ archived by Spectropop ]-------------------
Message: 17
Date: Thu, 15 Jan 2004 11:50:59 +0000
From: Richard Hattersley
Subject: Re: Jeff Lynne
Martin Jensen:
> Me too, so my untrained ears may mislead me, but to me the
> music of Lynne, whether it is Electric Light Orchestra, solo
> or in terms of production, has always sounded quite good &
> well produced. Especially some of the stuff from the second
> half of the 70s. Though some might find it a bit polished
> and glossy.
Abba suffered exactly the same attitude from the serious rock
press. I think it comes with being succesful in the 70's.
Everybody remembers what ridiculous clothes they were wearing
and it clouds their judgement of the music.
Abba and ELO kept beauty and art in pop music in the 70s.
Richard (a man who mostly dislikes 70's music!)
-------------------[ archived by Spectropop ]-------------------
Message: 18
Date: Thu, 15 Jan 2004 04:27:25 -0600
From: Dan Hughes
Subject: Eddie Rambeau
I recently had a conversation with primo Eddie Rambeau fan
Rosemarie Edwards, and I thought Spectropoppers might like
to comment on what I wrote:
"Even though Eddie's version of Concrete & Clay hit #35 in
the USA and the Unit 4 + 2 version hit #28, I don't think I
ever heard Eddie's version on a radio station (at the time
I lived in Indianapolis, but I also listened to stations in
Chicago and Boston). Some towns must have been playing it
to get that high on the charts.
I think the timing was wrong--in 1965 the USA was in love
with everything British. And the Unit 4 + 2 was definitely
British--their record was even on the LONDON label here!
But white American male singers with names like Tommy and
Bobby and Eddie were out of favor by 1965--and the DynoVoice
label was run by Bob Crewe, whose 4 Seasons were also out of
favor after the British Invasion.
Forget the quality of the music--it was just crazy record-buying
kids leaping off one bandwagon and onto another.
Well, that's my theory. If Eddie had called himself "Guy Fawkes
and the Revolutionaries" he may have gone to number one!"
---Dan
-------------------[ archived by Spectropop ]-------------------
Message: 19
Date: Thu, 15 Jan 2004 07:37:18 -0500
From: Mark Wirtz
Subject: Re: Jeff Lynne and Freiheit
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.
Frankly, I wasn't even aware of the fact that Lynne was shunned.
Without a doubt, like 'em or not, Lynne and ELO stand as a tower
in the anals of rock history, their perhaps most conspicuous success,
"Out Of The Blue" firmly cemented as a spectacular all time "great".
Many have indeed regarded Lynne's work as derivative, in the Lennon
tradition, but then, who of us HASN'T been influenced by others before
us? Brian Wilson was influenced by the Four Freshman. So what? Don't
those kind of influences ultimately become "traditions" rather than
mere emulation? Even Paul McCartney and John Lennon used to come to
the studio with a stack of '45's in the early days and say to George
Martin and Geoff Emerick, for instance, "Hey, listen to this Fats Domino
piano, that's what we want". I myself am known to have been heavily
influenced by Phil Spector and Motown. But, with the exception of actual
tributes that I produced in salute to my "heroes", the influences got
diffused in the creative process and by my own idiosyncratic ideas and
visions. In Jeff Lynne's case, the love affair he had with Beatlesque
music never sank below the surface and remained for all to hear and feel.
Not surprising then that McCartney, and especially George Harrison,
invited and embraced Lynne's guidance and work for some of their own
projects.
> 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?
I am so glad someone mentions Krautland's fantastic "Freiheit", to
me a band whose creativity, material and superb production put them
in a league similar to Abba. As a third generation melodic rock band
they were blatantly inspired by the Beatles, ELO and the BB, but
despite of it, made some amazing, original, harmony pop music.
Unfortunately, their only English language album was the "Fantasy" LP,
hence, they shot themselves in the foot, paralizing, and disqualifying
themselves from any likely Inernational success sprinting. And that name!
Duh! Didn't anybody suggest to them that at least a translation of their
moniker to "Freedom" might have, shall we say, ushered them past certain
prejudices and bias? Be that as it may, those of you who have kept up
with them will agree that they are STILL making great "records"!
Mark Wirtz
-------------------[ archived by Spectropop ]-------------------
Message: 20
Date: Thu, 15 Jan 2004 07:48:48 -0000
From: Clark Besch
Subject: Re: Cymbal & Clinger/Brother John
Patrick Rands wrote:
> Also, there's a Johnny Cymbal project called Brother John
> (2 singles) - one of which I know had arrangements by
> Jimmie Haskell and was produced by George Tobin - both sides
> are great - Polyanna (Paul Davis) and Smokey (Cymbal / Clinger).
Patrick, yes I agree about Pollyanna by Brother John being a good
song and version. I got my copy in October 1970 and played it a
lot then. Shortly before that, it appeared by Paul Davis as the
B side to his great 45 "I Just Wanna Keep it Together".
As for the Clingers, I have a Tollie 45 and the later more common
Easybeats cover, "Gonna Have a Good Time" which is pretty good!
Somewhere I have them as guests on American Bandstand. They looked
great and even better on the Smothers Brothers. On both, they were
highly praised, altho on Bandstand, Dick Clark was more interested
in their producer, future politician, Mike Curb, who Clark all but
called the second coming of Phil Spector. Unfortunately, he spent
so much time glorifying Curb, that he almost forgot to have the
group perform! Oh well.
Clark
-------------------[ archived by Spectropop ]-------------------
Message: 21
Date: Thu, 15 Jan 2004 12:38:38 -0000
From: Peter Kearns
Subject: Re: ELO
Bibi LaRed wrote:
> 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?
Yes it's strange. There are of course many examples in recent
years of retro pop with strings etc. I think it just comes
down to the fact that if you're gonna do it, you gotta have
strong material, and a solid as rock asthetic. Jeff was a gun
songwriter plus he had the layered vocal technique down. To
really make the grade with something like that, we'd need
another genius like him as ringleader, as opposed to a put
together moneymaking retro trash bollocky 21st century schmooze!!
Peter. (With all respect, as ever).
-------------------[ archived by Spectropop ]-------------------
Message: 22
Date: Thu, 15 Jan 2004 04:50:43 -0800 (PST)
From: Paul Bryant
Subject: Re: Vinyl Junkies
Art Longmire wrote:
> 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.
Record collecting... what do we actually mean? There
are different varieties. I don't collect records as
such, I collect the kinds of music I love. It's on
tape, cd and vinyl (most of the vinyl is now of course
in the loft.) I've never wanted to have the original
record in the original sleeve - I guess that's what I
mean by record collectors. I don't know what's rare
and what's not.
Another breed of collectors is the Completists. I
know a John Fahey completist and his collection of
different editions of each album is a sight to behold
- it's like visiting a library. I think some people
are record label completists, but I never met any. Are
there any Completists on this list I wonder? If your
version of Completism also requires that you collect
every known bootleg of your particular musical
obsession then you're truly doomed. I only ever came
across one female bootleg trader and one female
completist. Music may be universal but that kind of
doggedness and endurance seems to be a male thing.
pb
-------------------[ archived by Spectropop ]-------------------
Message: 23
Date: Thu, 15 Jan 2004 12:51:59 -0000
From: Peter Kearns
Subject: Shiver Moments? Mine is ELO.
I like this idea of shiver moments. There are of course so many.
Martin reminded me of one I had again a few days ago.
Martin Jensen:
> 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. :-)
This backward message occurs at the beginning of the opening
track 'Fire On High'. What a sublime piece of music. Easily
one of their greatest tracks.
The shiver moment comes for me when that wonderful guitar melody
section comes. I have it in a mix at home and when that piece
comes I never fail to stop what I'm doing and just stand in awe
of it. It did that to me when I was 8 and it does it to me now.
The saddest melody ever written. It's so beautiful. Jeff never
beat it.
Peter.
-------------------[ archived by Spectropop ]-------------------
Message: 24
Date: Thu, 15 Jan 2004 12:56:41 -0000
From: Peter Kearns
Subject: Re: Jeff and Jellyfish
Billy G. Spradlin wrote:
> If you love ELO I suggest checking out Jellyfish 1991 album
> "Spilt Milk" which has a huge Jeff Lynne-Roy Thomas Baker
> styled production. Lots of fun for 70's Classic rock fans
> with plenty of ELO, Queen and Supertramp quotes.
Yes. And even a Toto quote in 'New Mistake'.
> I love Lynne's "kitchen sink" productions, especally 1981's
> "Twilight". Great on headphones with all that stuff flying
> around your head. I agree with about the "clunky" drum mixes
> - he can make Ringo, Stan Lynch (Tom Petty's former drummer),
> and Jim Keltner all sound like Bev Beven.
That's true. :-) Don't they make Allen-keys anymore??
Peter
-------------------[ archived by Spectropop ]-------------------
Message: 25
Date: Thu, 15 Jan 2004 05:06:26 -0800 (PST)
From: Paul Bryant
Subject: Re: the stereo/mono debate
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.
Not only that, but not infrequently when you buy CD
collections, you find some horrible re-recorded
version slipped in there without it being made clear.
People who do this should be hunted down & strung up
on the city walls by their thumbs as an awful warning
to other entertainment biz execs.
pb
-------------------[ archived by Spectropop ]-------------------
SPECTROPOP - Spectacular! Retro! Pop!
End
