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SPECTROPOP - Spectacular! Retro! Pop!
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There are 20 messages in this issue.
Topics in this digest:
1. Re: Austin Roberts - Upbeat TV show.
From: Laura
2. Re: Musica probs
From: Rat Pfink
3. I'm Brian, fly Me
From: Steve Harvey
4. Re: sediS-B sdrawkcaB fo noitalipmoC
From: Joe Nelson
5. Re: Hello Muddah
From: Mike Rashkow
6. Songs' Running Times (60's/70's versus now)
From: Laura
7. Re: Chris White/Louis Phillipe/Peter Lacey
From: Rob Stride
8. Re: Iveys on CD
From: Rob Stride
9. Re: I Can't Keep From Crying Sometimes
From: Al Kooper
10. Re: Concrete and Clay + Bronx
From: plev20032003
11. Re: This Diamond Ring
From: Al Kopper
12. Re: Welcome Paul Levinson
From: Paul Levinson
13. Re: Welcome/Joe's Pub
From: Al Kooper
14. RE: Stupid songs...and stupider still..
From: Denis Gagnon
15. Re: sediS-B sdrawkcaB fo noitalipmoC/ Zal Yanovsky!
From: C Ponti
16. Grapefruit
From: markt439
17. "Mary In The Morning"
From: Michael Edwards
18. Lloyd Thaxton show tapes
From: markt439
19. Re: sediS-B sdrawkcaB fo noitalipmoC :eR
From: Robert R. Radil
20. Re: Concrete & Clay
From: Robert R. Radil
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Message: 1
Date: Sun, 18 Jan 2004 02:06:22 -0000
From: Laura
Subject: Re: Austin Roberts - Upbeat TV show.
Austin Roberts wrote:
> I was sitting on some gym stand seats when my time came to tape.
> Someone had worked out some choreography for this pretty girl
> to be dancing around me while I sat on a stool and lipsanc
> (weird word) the song. Then I was supposed to stand up near
> the end and dance with her (remember it was mid 1968). OK, I
> sat on the stool and the song started and the girl danced
> and I lipsanc. When it was time for me to dance, I stood up
> and the friggin' stool stood up with me at an almost 45 degree
> angle. I had sat on a large glob of bubblegum in the stands
> before I went on (you'd think a grown man of 22 would know
> if he'd sat on that much bubblegum that clung to his pants).
Hi Austin,
Great story! That could be me writing that ... no, I never had that
EXACT situation, but it's amazing how many times I've come up short
when trying to impress people. You know, fly unzipped or a piece of
broccoli between my teeth, stuff like that. Happens all the time ...
although not usually with cameras running! Thanks for sharing.
Laura
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Message: 2
Date: Sat, 17 Jan 2004 20:59:10 -0500
From: Rat Pfink
Subject: Re: Musica probs
Jon Adelson wrote:
> I know someone has previously posted regarding this, but I have to
> echo (as it were) that I have chronic problems downloading from
> Musica. (I have other chronic problems too, but they're off-topic :-))
Yahoo Groups imposes a limit on how many files, depending on
size, you can download at a given time. Usually if you try to
download again in 30-60 minutes you can grab a couple more
before receiving the error message again.
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Message: 3
Date: Sat, 17 Jan 2004 18:38:53 -0800 (PST)
From: Steve Harvey
Subject: I'm Brian, fly Me
The Brian plane story took place in 1964. I think it
was a joke that Brian made about "having lots of fun
on tour" (nudge, nudge, wink, wink) to his fiance,
Marilyn, that triggered the nervous breakdown. Marilyn
didn't let the comment shake her and said something to
the effect that she too was going to have lots of fun
at home. His joke backfired and Brian caved in, but
did fly onto the starting location of the tour. I
think his mom had to fly out to get him and bring him
home.
Steve Harvey
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Message: 4
Date: Sat, 17 Jan 2004 19:40:33 -0500
From: Joe Nelson
Subject: Re: sediS-B sdrawkcaB fo noitalipmoC
Previously:
>Pow Wow -- 1919 Fruitgum Co. -- Buddah 91 (backwards ode to Howdy
>Doody)
This was released forwards on Bell single, but I can't remember the
title or artist.
Joe Nelson
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Message: 5
Date: Sat, 17 Jan 2004 20:49:01 EST
From: Mike Rashkow
Subject: Re: Hello Muddah
Jerry Osborne wrote:
> It may be something I can write about in the syndicated "Mr. Music"
> newspaper feature. Here's the online edition:
> http://www.jerryosborne.com/mr.music.htm
Hey now, (as Hank Kingsley might say), I would like to welcome The Man
himself, Mr. Jerry Osborne to S'Pop. His reputation as an expert on music and
records is well known and well documented. We have added another icon and name
brand personality to the membership list.
Di la,
Rashkovsky
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Message: 6
Date: Sun, 18 Jan 2004 02:44:25 -0000
From: Laura
Subject: Songs' Running Times (60's/70's versus now)
Hi, fellow Spectropoppers,
Since we have so many composers, producers, and performers as members
of the discussion group, I thought I'd pose a question I brought up
to Mike Rashkow off-list.
Most records in the 60's and 70's were limited to about two and a
half minutes in length, on average, probably for a variety of
reasons -- the physical size of a 45, more attractive to radio
program directors, etc. etc. There were exceptions, like "Hey
Jude," "Alice's Restaurant," "American Pie" and a few others I refer
to as deejay bathroom break songs. Then the eighties came, and songs
began getting longer, and still longer in the nineties, and over the
years the technology radio stations used to bring music to the
airwaves progressed from records to carts to CDs. Now that we've
arrived in the new milennium, the songs of today are literally twice
as long as the hits were when I was growing up. (I can't resist
adding, though, who the heck wants to hear these longer songs?)
Anyway, I digress. For those of you who worked in the music business
during the 60's and 70's is, did having a two- or three-minute
limitation on the running time of a record intended for mass
production and hopefully destined for the national Top Forty put a
damper on your creativity? Or was the knowledge that you had to keep
the length of songs to a given running time actually helpful to you,
because it "forced" you to work within certain guidelines and
parameters and assisted in the creative process?
I'm not in the music business, but I am a writer, and I can say from
personal experience that it's a heck of a lot easier for me to write
when I don't have a limitation on the number of words I can use -- I
can just go with the creative flow. However, if you're writing for a
periodical, you often do have to go by a predetermined word count,
and editing can be painful! Did any of you have to do any painful
editing of your musical creations?
What about the rest of you? Do you wish the cool songs from the 60s
and 70s had had longer running times?
Thanks,
Laura
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Message: 7
Date: Sun, 18 Jan 2004 02:47:52 -0000
From: Rob Stride
Subject: Re: Chris White/Louis Phillipe/Peter Lacey
Mark Frumento wrote:
> I'm sorry to say that I just don't put Peter Lacey in the same
> category as Chris White, Chris Rainbow or Jeff Foskett (as mentioned
> by Richard). I've tried to listen but can't get past the singing.
I must Agree with Mark
Peter Lacy has all the sounds but doesn't have the Harmonies, Structures, Voice or songs of the others mentioned.
Regards
Rob Stride
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Message: 8
Date: Sun, 18 Jan 2004 02:48:46 -0000
From: Rob Stride
Subject: Re: Iveys on CD
Stewart Mason wrote:
> Country Paul: The Iveys' MAYBE TOMORROW was reissued
> on CD by Apple in 1994. Like the other non-Beatles
> Apple CDs, it was in print for about 15 minutes and is
> basically impossible to find today.
The Magic Christian Music album, was the Iveys
Rob Stride
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Message: 9
Date: Sat, 17 Jan 2004 21:57:59 EST
From: Al Kooper
Subject: Re: I Can't Keep From Crying Sometimes
Dan Hughes wrote
> Al, sorry this is a repeat for you; wanted to tell the rest of the group:
>
> My first exposure to Al Kooper was the WHAT'S SHAKIN' album, with his
> slow, almost dirge-like rendition of I Can't Keep From Crying Sometimes.
> I loved it. Then a couple of years later, I heard the same song on the
> Blues Project PROJECTIONS album. My hair did actually stand on end -- I
> swear it did -- a few bars into the song, when I realized it was the same
> song from WHAT'S SHAKIN'. I literally vibrated in delight! (And I'm
> usually not that weird -- honest).
>
> What an education to hear these two diametrically different versions of
> the same song! Kinda like listening to Mr. Tambourine Man, first by Dylan
> and then by the Byrds. Same great song, yet at the same time two
> entirely different songs. But with Kooper, it was the SAME ARTIST! To
> me, this is absolute genius.
>
> Thanks again, Al.
Ahhhh....you're missing the end of the trilogy
Try the CD "Rare & Well Done" and hear The Blues Project do yet ANOTHER
arrangement of the same song ( I bore easily???) That CD is under my own name
Thanks for enjoying the music. It really means a lot!
Al Kooper
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Message: 10
Date: Sun, 18 Jan 2004 02:58:56 -0000
From: plev20032003
Subject: Re: Concrete and Clay + Bronx
Ed Rambeau wrote:
> In the Bronx, huh? Well, then you must have grown up
> with the Unit 4 + 2's version because I didn't get much
> air play in NY. A cappella, no less. I've often sung it
> a cappella myself because sometimes when I was on the
> road the bands were so bad I decided to sing it without them.
Yeah, I guess it was Unit 4 + 2.
We even scatted that great lead guitar in the break...
We did most of this singing, by the way, on the corner of Allerton
Avenue and White Plains Road -- the same Allerton Avenue that, 20+
years later, became known as one of the birthplaces of hip-hop.
There was something uniquely musical about the Bronx in those days
(maybe still is). Around the time we (The New Outlook, later The
Other Voices) were singing "Concrete and Clay" on the corner, we also
went to Orchard Beach one afternoon, and were standing on the sand
singing "Cottonfields" (the Highwaymen song). Some guy walks over
and joins in, and what a voice -- he sounded just like the one of the
Highwaymen. We ask him if he'd like to join our group more
permamently. He just smiles and says, well, I'm actually already in
a group.... The Highwaymen.
All best,
Paul
www.sff.net/people/paullevinson
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Message: 11
Date: Sat, 17 Jan 2004 22:11:24 EST
From: Al Kopper
Subject: Re: This Diamond Ring
Alan Gordon wrote:
> Is there a version of "This Diamond Ring" performed in its original R & B
> style?
Alan Gordon, you magician, you
I was a big fan of your composing for that group. (that was YOU, I hope)
The version of This Diamond Ring on myalbum "Rare & Well Done" on SONY-Legacy
is as close an approximation as can be made to the original concept of that
song. It is also on the album Act Like Nothing's Wrong," but the mastering is
better on R&WD.
Lovely to hear from you and thanks so much for your kind words
Al Kooper
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Message: 12
Date: Sun, 18 Jan 2004 03:11:52 -0000
From: Paul Levinson
Subject: Re: Welcome Paul Levinson
Mike Rashkow wrote:
> Since I recruited Paul--first to Pineywood Productions and now to
> Spectropop, thirty-three years or so later, I'd like to be the
first
> to welcome him to the greatest little music place anywhere in cyber
> space.
Thanks, Mike -- amazing the way the Web just evaporates the years.
All best,
Paul
www.sff.net/people/paullevinson
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Message: 13
Date: Sat, 17 Jan 2004 22:19:41 EST
From: Al Kooper
Subject: Re: Welcome/Joe's Pub
Artie Wayne wrote:
> Al.........How ya' doin'? I've been a fan of your music for a long time.
> and I'm proud to have witnessed some of your accomplishments
> early in your career. I remember when I ran into you up at Liberty
> Records in N.Y., where I was an artist and you were there to pick
> up the first commercial copy of "This Diamond Ring" by Gary Lewis
> and the Playboys. You shared your cab with me back to 1650 B'way,
> where you played it for me. I remember saying ,"It was one of the
> most obvious number one records I'd ever heard!!"
>
> A few years later, I remember running into you outside of the Ed Sullivan
> Theater. You were so excited about a new group you put together.
> You took me to a little rehearsal studio and let me hear Blood, Sweat
> and Tears for the first time!! Every time I run into you something eventful
> seems to happen, like the time, while we were catching up on old
> times in front of the Cafe Au Go Go and you introduced me to Bob Dylan.
>
> Now thirty years later we run into each other again, this time on
> Spectropop, the best music site on the net .... and your presence has
> made it even better!!
Artie,
I see your name here and I smile
I think I knew that guy!
Great to "speak" with you again
We've been around the track a few times, haven't we?
I'm still kickin' - gonna be 60 on feb 5
If you're in NYC, come to Joe's Pub in the Village
I'm playin' 2 shows that night to prevent anyone from throwin' me a
surprise party
Would love ta see ya
For that matter any Spectropoppers are welcome as well!
See www.alkooper.com under LIVE
Keep in touch, Artie
Al Kooper
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Message: 14
Date: Sat, 17 Jan 2004 22:22:15 -0500
From: Denis Gagnon
Subject: RE: Stupid songs...and stupider still..
Phil Hall wrote:
> What's the most nonsensical song you've ever heard,
> other than something like "Ne Ne Na Na Na Na Nu Nu"?
> I'll start it off by nominating "Toom Toom (Is A Little Boy)"
> by Marie Applebee.
What about "The crusher" by the Novas ?
I always thought I was one of a few hundreds that bought this 45.
Denis
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Message: 15
Date: Sun, 18 Jan 2004 03:23:49 -0000
From: C Ponti
Subject: Re: sediS-B sdrawkcaB fo noitalipmoC/ Zal Yanovsky!
lightning_15228 wrote:
> I am in the process of making a compilation (for my own use, of
course)
> of those neat backwards B-sides of hit singles that were
deliberately
> pressed to prevent double-side hit exposures.
Lightning!
Your quest is very obviously the product of a troubled
mind. No one had a better appreciation of troubled minds than the
brilliant, winning, and sadly, late Zal Yanovsky of the Lovin'
Spoonful. When he was no longer with the band his album, ALIVE AND
WELL IN ARGENTINA featured the single, "As Long As You're Here". The
B-side was...as mentioned, "Ereh Er'ouy Sa Gnol Sa", which was the
same track backwards. What a wonderful, innovative guitarist and a
delightful, mischievous human being he was.....
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Message: 16
Date: Sun, 18 Jan 2004 03:24:48 -0000
From: markt439
Subject: Grapefruit
Sorry to jump on this topic so late but I was away for 2 weeks.
Both LPs were out on CD in the 90s. I bought the first which is great
and passed on the second which is terrible. Love to know what happened
and why they changed their sound so drastically. We're not talking
about a small dropoff in quality, this was from great to unlistenable.
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Message: 17
Date: Sun, 18 Jan 2004 03:46:09 -0000
From: Michael Edwards
Subject: "Mary In The Morning"
Artie Wayne writes (re: "Mary In The Morning"):
> If I were you I'd contact your publisher and ask him to get a copy to
> country artists like Alan Jackson or Trace Adkins....I can see them
> fighting over who should do it first!!
Terrific idea. I have just put away my copy of Alan Jackson's "A
Holly Jolly Christmas"; a recording that shows just how comfortable
Alan is when singing a pop oldie (original by Burl Ives). I'm sure he
could do an equally great job with "Mary In The Morning". Let's hope
it happens.
Mike
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Message: 18
Date: Sun, 18 Jan 2004 03:29:30 -0000
From: markt439
Subject: Lloyd Thaxton show tapes
I hate to be the bearer of bad news but I have it from a
reliable source that of the 800 or so shows that were done there are
only about 30 tapes that still exist. The rest were given away to a
college for use by their broadcast students decades ago. The tapes
that are still around were not kept by selection as to if they had
great guests or not but as usually happens they just happen by chance
to be what got saved. Still 30 is better than nothing and its still
way more than was saved on 2-inch tape of any other sixties rock
shows, AB included.
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Message: 19
Date: Sun, 18 Jan 2004 03:48:39 -0000
From: Robert R. Radil
Subject: Re: sediS-B sdrawkcaB fo noitalipmoC :eR
lightning_15228 wrote:
> I am in the process of making a compilation (for my own use, of
course)
> of those neat backwards B-sides of hit singles that were
deliberately
> pressed to prevent double-side hit exposures.
This is going a little off your topic but "Mirage" by Tommy James &
The Shondells is based on "I Think We're Alone Now" played backwards.
Bob Radil
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Message: 20
Date: Sun, 18 Jan 2004 04:09:00 -0000
From: Robert R. Radil
Subject: Re: Concrete & Clay
Ed Rambeau wrote:
> It's interesting that depending on where you lived in the country as
> to whether or not you grew up with my version or the Unit 4 + 2's
> version of "Concrete and Clay". Some cities played only my version,
> others played theirs. As far as original songs go...it's always the
> version you grew up with that becomes your favorite. Anyone who grew
> up listening to mine doesn't take a liking to the Unit 4 + 2's
> version and vice versa. It's just the nature of the beast.
Ed,
Just as an FYI - In Hartford, CT WPOP played your version where it
went top 10 and WDRC played Unit 4+2 where it went to #1. At that
time I was a WPOP listener so I heard your version more.
Bob Radil
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SPECTROPOP - Spectacular! Retro! Pop!
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