[Prev by Date]
[Next by Date]
[Index]
[Search]
Spectropop - Digest Number 1271
- From: Spectropop Group
- Date: Sun, 18 Jan 2004
________________________________________________________________________
SPECTROPOP - Spectacular! Retro! Pop!
________________________________________________________________________
There are 29 messages in this issue.
Topics in this digest:
1. Austin, Guy, David, Al, Artie, Eddie and Jack
From: Martin Roberts
2. Concrete & Clay
From: Ed Rambeau
3. Re: Rambeau's records
From: Ed Rambeau
4. Re: Songs' Running Times (60's/70's versus now)
From: Robert R. Radil
5. Re: non-male Vinyl Junkies
From: Marci
6. Re: Worst hit performance; Angel Baby (Again)
From: Natasha Mc Namee
7. Re: In praise of the Three Minute Single
From: Paul Bryant
8. Re: Feldman, Goldstein, and Gottehrer
From: steveo
9. Re: Grapefruit
From: Mike McKay
10. Re: This Diamond Ring
From: Austin Roberts
11. Re: the Bubblegum question
From: Austin Roberts
12. Re: Feldman, Goldstein, and Gottehrer
From: Austin Roberts
13. Re: Chris White/Louis Phillipe/Peter Lacey
From: Dindale Hogg
14. Re: Fluri/Racheck
From: Ed Rambeau
15. Re: Long songs
From: Paul Bryant
16. Re: That 60s Show
From: Robert R. Radil
17. Dylan's "To Make You Feel My Love"
From: Al Kooper
18. Committee's question
From: Jonathan Lentz
19. HOLD ELO Clones / Re: Digest Number 1255
From: Mark Hill
20. Re: SCOOBY DOO'S SNACK TRACKS cd
From: Mark Hill
21. Eddie Rambeau-American Bandstand Jul10, 1961
From: steveo
22. Mixdowns; Robert John; Down Home Girl
From: Country Paul
23. Welcome to Al Kooper
From: Phil Hall
24. Re: JELLYFISH- Bellybutton
From: Dr. Mark
25. Annie Haslam/October Project/Grey Eye Glances
From: Jules Normington
26. Re: Go Back- Crabby Appleton
From: Dr Mark
27. Collecting records/music
From: Phil Hall
28. Marcy Joe
From: Jules Normington
29. HOLD P.S. To my Marcy Joe post
From: Jules Normington
________________________________________________________________________
________________________________________________________________________
Message: 1
Date: Sun, 18 Jan 2004 17:48:46 -0000
From: Martin Roberts
Subject: Austin, Guy, David, Al, Artie, Eddie and Jack
Austin Roberts and Guy Lawrence recently brought up the name
David Mook in regards to his TV & Bubblegum work but in my
record collection he's known more as a pop producer. With
records bearing the delightful, "Produced by David Mook for
Past, Present and Future Productions" (maybe labelled in
honour of Artie Butler's arrangements!) particularly on the
Aurora record label. I wonder Austin, was David a producer
in terms of business and getting the right people and song
together, or a hands-on in the studio way?
A couple of Aurora 45s bear Al Kooper's name as co-writer
with Irwin Levine, "The Water Is Over My Head" and "The Old
Rag Man" both sung by former child star - which may have
hindered any chart action - Eddie Hodges and arranged by
Jack Nitzsche. "The Water.." in particular is a big favourite
and one in which Jack recalled in his interview with BOMP! as
featuring backing vocals by some of the guys who were later to
find fame as Crazy Horse.
I wonder if Al Kooper can recall if he was present at this
session and some of his favourite recordings from his mid-sixties
compositions. Not just the ones arranged by Jack Nitzsche, although
there were plenty and I'd like to think you enjoyed working with
Jack as much as Alan Gordon but the records back then when the
world seemed young!
Martin
-------------------[ archived by Spectropop ]-------------------
Message: 2
Date: Sun, 18 Jan 2004 13:37:00 EST
From: Ed Rambeau
Subject: Concrete & Clay
Bob Radil:
> 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.
It was the strangest thing, Bob, but I could actually drive from one
city to the next and hear my version played in one and the Unit 4 + 2
played in another. I did get most of the West Coast, however, so
that's why I got a call to appear on the hit show "SHINDIG". They
weren't even aware of the Unit 4 + 2 out there.
Ed Rambeau
-------------------[ archived by Spectropop ]-------------------
Message: 3
Date: Sun, 18 Jan 2004 16:42:13 EST
From: Ed Rambeau
Subject: Re: Rambeau's records
previously:
> I recently picked up Eddie Rambeau's "The Train" (Bubbled #129,
> 11/65) and played it on the show. It should've been a SMASH!
> Also got "My Name Is Mud" (Bubbled #112, 07 /65) by him, which I
> also played recently, and is also real good.
> His '63 Swan duet with Marcy Jo, "Lover's Medley" was real big
> on 'DRC, and has been on my "Top 25 Most Wanted 45s" list for
> about 10 years now (Bubbled #132, 08 /63). NOBODY has it. Damn,
> if the Robbs, aka "Cherokee", are the CEO's of "Bubbling Under"
> songs (6, with never a Hot 100 appearance!),
> Eddie's got to be at least a vice-president ("Clock" by him
> also Bubbled at #122, 10/66, which I haven't tracked down quite
> yet. But at least he had his ONE shining moment in the national
> Top 40!)
Check with Mike Edwards, Jim. I believe he has copies of most of the songs
you mentioned above. I sure in hell don't. Used to have them, before my
computer crashed. I'll know next time to back everything up.
Ed Rambeau
-------------------[ archived by Spectropop ]-------------------
Message: 4
Date: Sun, 18 Jan 2004 22:37:42 -0000
From: Robert R. Radil
Subject: Re: Songs' Running Times (60's/70's versus now)
Laura Pinto wrote:
> 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...
Of the 3 songs you mentioned, only "Hey Jude" was released in its
full length on 45RPM. "American Pie" was divided into parts 1 + 2.
Promo singles had a 4:21 edit. I don't think "Alice's Restaurant" was
ever released as a single. Corrections, anyone?
Bob Radil
-------------------[ archived by Spectropop ]-------------------
Message: 5
Date: Sun, 18 Jan 2004 16:54:34 EST
From: Marci
Subject: Re: non-male Vinyl Junkies
Art Longmire wrote:
> 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 ..."
Hello guys -- female record collector here! I have about 200 albums
from the '60s and '70s. Last night I was thrilling to Jackie DeShannon
singing "Needles and Pins" from the "Lonely Girl" LP on Sunset Records.
Imagine my chagrin at my holiday party when the 45 adapter was
missing and I couldn't play my "Happy Xmas (War Is Over) single.
Marci
-------------------[ archived by Spectropop ]-------------------
Message: 6
Date: Sun, 18 Jan 2004 19:37:18 +0000 (GMT)
From: Natasha Mc Namee
Subject: Re: Worst hit performance; Angel Baby (Again)
Rob Stride wrote:
> This fourth note of the arpeggio thingy might be getting a
> little bit anorak. While people like you and I might enjoy
> and understand what you are on about, we could be leaving
> a lot of people in this out in the cold, or just a little
> frightened. I do think that sometimes that we over analyse
> things to the point of destruction. And I mean no offence.
I loved the 'flat' arpeggio thingy. If you start on C it
goes to E flat, which sounds lovely. What got me was on
my Rosie CD, the drummer can't keep time on Angel Baby
and Lonely Blue Nights at all!!
-------------------[ archived by Spectropop ]-------------------
Message: 7
Date: Sun, 18 Jan 2004 12:23:49 -0800 (PST)
From: Paul Bryant
Subject: Re: In praise of the Three Minute Single
Laura Pinto wrote:
> 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.
The 2-3 minute single goes right back to the earliest
78 rpm records, I believe, and does relate to the
amount of playing time they could get on one side --
but this needs confirmation.
> 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?
This is a crucial question, and I answer it merely as
a humble fan. I believe that the constraint of the
single greatly aided the fantastic creativity and
diversity we hear in the pop music of the golden
period, which for me extends from 1955 to 1970. After
the late 60s, albums became the main focus ("the album
artist"), and to a great extent singles were regarded
as fodder for teenyboppers (I think that was the term
back then) -- i.e. girls aged 10-15. Certainly that was
the case in Britain, where we got inundated with the
Osmonds, David Cassidy and the home grown glam rock
crew. (But since that was also a prevailing view in
the Brill Building period, it doesn't by itself explain
the steep decline in singles in the early 70s.)
In poetry, forms such as the sonnet or the sestina
or haiku serve the same purpose as the 3-minute single
does in pop music. There are rules which you can bend
but not break, and you must use your imagination to
make the rules work for you, not against you. I would
be fascinated if anyone could tell me where some of
the 3-minute single rules actually came from. Intro,
verse, chorus, bridge ("middle eight!"), instrumental
break, verse, chorus, fade. Pretty much along those
lines, every time. So who decided there should be an
instrumental break in there? Why did fades become such
a standard feature? Who said there should be a bridge/
middle eight as well as a chorus? I've no idea.
pb
-------------------[ archived by Spectropop ]-------------------
Message: 8
Date: Sun, 18 Jan 2004 12:46:38 -0800 (PST)
From: steveo
Subject: Re: Feldman, Goldstein, and Gottehrer
Bob Celli wrote:
> "Willingly" ended up on the double cd out of the UK. "Rhythm of Love" remains
> in the can. There was also a demo session in the vault done with the
> Strangeloves with what I would assume are other tracks written by the trio.
> The titles were "Because of Him", How About You?", "Something About
> You", and another version of "Rhythm of Love". I was wondering if any
> of these songs were recorded and released by any one else, and also,
> what are these three great talents up to now?
Hi Bob,
I don't know what these guys are up to now, but they
were interviewed on the "Girl Groups"(Story of a
Sound).
One of my favorite discs of theirs was a B-side which
usually closed the teen center dance in a small Ohio
town where i lived for awhile.It was a slow dance
entitled "Thank You And Goodnight" (The Angels).A very
creamy sound; highly romantic. Great memories.
Steveo
-------------------[ archived by Spectropop ]-------------------
Message: 9
Date: Sun, 18 Jan 2004 14:34:11 EST
From: Mike McKay
Subject: Re: Grapefruit
markt439 wrote:
> 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.
I'm guessing it had to do with the tenor of the times, when it suddenly
became fashionable to be "heavy" (read loud, plodding and generally obnoxious).
There are many other examples of bands/artists that started out with great
melodic gifts, and then got seduced by the heavy siren and turned into something
at best ordinary, and at worst -- as you say, unlistenable.
I think I made a similar observation about Badfinger, though the process
didn't happen over time, but rather, concurrently. Side-by-side with brilliant
melodic tracks rest rather ordinary exercises in typical 70s boogie.
A couple others that come to mind, from different eras:
Crabby Appleton -- Their debut album is brilliant, with MIchael Fennelly's
melodies and harmonies (honed, no doubt, during his time with The Millenium and
Sagittarius) shining on both ballads and harder-rockin' numbers. Their
follow-up LP, "Rotten to the Core," fully lives up to its title. It's the most
wretched piece of boogie tripe you could imagine.
Adam Schmitt -- A 90s power-popper with a great first album, "World So
Bright," filled with sparkling guitars and Beatle harmonies. Most of that went away
for his second album, "Illiterature," with the volume and crunch turned up at
the expense of melody.
The Sighs -- Same deal ... a great, melodic first album followed by a so-so
second one, with greater emphasis on loudness and less on melody.
Don't get me wrong -- I like loud, solid rock 'n' roll as much as the next
person. But I also don't think volume makes up for a lack of melodies and hooks.
In the case of the last two, it's almost as if the artists are afraid of being tagged
with being wimpy, so they crank it up to show how "heavy" they can be. A shame,
really...
Mike
-------------------[ archived by Spectropop ]-------------------
Message: 10
Date: Sun, 18 Jan 2004 16:32:01 EST
From: Austin Roberts
Subject: Re: This Diamond Ring
All I know is Al Kooper and Leon Russell (I'm pretty sure) as writers of This
Diamond Ring. I guess there could've been a third writer.
Austin Roberts
-------------------[ archived by Spectropop ]-------------------
Message: 11
Date: Sun, 18 Jan 2004 16:52:31 EST
From: Austin Roberts
Subject: Re: the Bubblegum question
previously:
> Just wanted to ask you guys how you felt about the term "bubblegum"
> being used in relation to your music. Is is something that you don't
> mind or are you offended by it? It seems that it began to get used
> for most uptempo, cheery, happy sounding pop at some point. I
> personally don't mind it although I prefer the term "sunshine pop"
> myself. Over the years, the term bubblegum has gotten so corrupted
> that it is now used for any kind of music that appeals to teens,
> regardless of what type of music it is. I personally don't think
> I've heard true bubblegum since Debbie Gibson in the late 80s.
Now that's a good question. Except for maybe Something's Wrong With Me and
most of the county and some pop hits I've been lucky enough to write or
co-write, most of my hits and misses have been of a bubblegum flavor.
I, personally, first as an avid listener and fan of pop and country music, happen to love
`bubblegum' music. The first word that comes to mind is 'infectious'. Great-feeling
tracks, super bgds. and solid lead vocals. If anybody could do it there would've been
a Billboard Top 10,000 list each week, as opposed to Top 100. The songs had to
be melodic with simple but clever lyrics.
It was a great time for pop music, because you never knew what was coming
next.
Best, Austin
-------------------[ archived by Spectropop ]-------------------
Message: 12
Date: Sun, 18 Jan 2004 16:29:24 EST
From: Austin Roberts
Subject: Re: Feldman, Goldstein, and Gottehrer
I talked with Bobby Feldman several times while he lived in Nashville. I had
heard that he moved in the past 5 years, but I'm sot sure. What a character!
(fun guy)
Austin Roberts
-------------------[ archived by Spectropop ]-------------------
Message: 13
Date: Sun, 18 Jan 2004 20:24:31 -0000
From: Dindale Hogg
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.
Rob Stride wrote:
> 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.
Sure, I also would not put Lacey in the same category.*
I bought his debut album BEAM! back in 2000 after I read Paul Williams'
review of the album in Crawdaddy, waxing lyrical about the songs
as "the best child of Brian album of the many I have heard and yet
very much itself".* Apart for my respect for Williams as a writer and
critic, I've admired his lasting desire to champion music that
otherwise might not see the light of day.
What I heard was a shoe-string effort, recorded on four track
porta-studio but also full of rich musical ideas and words that truly
worked as an antidote to the garbage I'm forced fed on a regular
basis that masquerades as music.
Different as our tastes be, sure, I agree with Mark Frumento in so
far as vocal styles are critical to each and every listener's acceptance
of a song. Rob Stride on the other hand I disagree with entirely: to
devalue the songs and their structures in such cavalier fashion
can surely only reveal a clear lack of listening.
D. Hogg
*I'm not really into guys who create variations on a Beach Boys
theme, and as much as I'm sure its odious to make comparisons between
them, it's also a categorical mistake to place Lacey directly in this
context too. --D.H.
-------------------[ archived by Spectropop ]-------------------
Message: 14
Date: Sun, 18 Jan 2004 16:39:03 EST
From: Ed Rambeau
Subject: Re: Fluri/Racheck
Julio Niño wrote:
> I have a question for Eddie Rambeau. I've been listening this
> morning to Ria Bartok's "Quand reviendra le garçon que j'attends"
> (Columbia 1965, France), a great version of Shirley Matthews'
> "Big Town Boy". In the French compilation that includes Ria's
> version the song is credited to Rambeau and Rehak, while Shirley's
> version is credited in the notes of the compilation Where the
> Girls are (Vol.4) to Edward Fluri and Andrew Racheck. Maybe
> those are your real names? Could you please confirm if you
> wrote that song. Thank you very much.
Yes, Julio, you were correct. Edward Fluri is my real name and Andrew
Racheck is Bud Rehak's real name. Why they listed them differently is
beyond me, but we both did write "Big Town Boy".
Ed Rambeau
-------------------[ archived by Spectropop ]-------------------
Message: 15
Date: Sun, 18 Jan 2004 13:19:05 -0800 (PST)
From: Paul Bryant
Subject: Re: Long songs
Paul Levinson wrote:
> I think the same is probabaly true of songs and recordings. The
> Beatles' "Hey Jude" was long because of its ending -- the song could
> have worked just as well without it. On a lyrical level, most of the
> story in songs is usually told in a few verses. Although I love every
> verse of "Positively Fourth Street", I think the song would have been
> much the same without some of its middle verses.
How about ballads, such as The Lonesome Death of
Hattie Carroll, or El Paso? The former is a "folk
song", so called, and the latter a country song (and
was edited for playlist purposes, as I found out from
Spectropop) but both are severely diminished by any
omissions becaue you'd lose half the plot.
pb
-------------------[ archived by Spectropop ]-------------------
Message: 16
Date: Sun, 18 Jan 2004 18:37:34 -0000
From: Robert R. Radil
Subject: Re: That 60s Show
Country Paul wrote:
> Could you please post the date and time? I'm frequently in
> Connecticut and would love to hear it.
Hi Paul,
Are you the same Country Paul who was with WHCN a few centuries ago?
Do you remember WKOB in New Britain?
Anyhow, "The 60s Show", hosted by Jim Abbott, is on WNHU/88.7, in New
Haven. I'm a regular participant and occasional fillin. We've been
testing out streaming the show the last few weeks. I'll post the link
here soon.
Although he's only heard the show via the live stream a couple times,
Joe Nelson has contributed a number of times over the last couple of
years by sending me a number of rare MP3s. And now he's connected me
here. Thanks, Joe :)
Bob Radil
-------------------[ archived by Spectropop ]-------------------
Message: 17
Date: Sun, 18 Jan 2004 14:13:21 EST
From: Al Kooper
Subject: Dylan's "To Make You Feel My Love"
Peter:
> Dylan's 'To Make You Feel My Love'. I realize it was on the recent
> 'Time Out Of Mind' album, but was the song actually an older one
> that hung around for years? For some reason I think this. I don't
> know why. Are you able to verify that either way Al?
nope - AK
-------------------[ archived by Spectropop ]-------------------
Message: 18
Date: Sun, 18 Jan 2004 12:55:47 -0500
From: Jonathan Lentz
Subject: Committee's question
I noticed someone talking about the songs "California My Way" and
"You For Weren't It If" on the same 45. I'd like to get copies of those
songs. Please send a link where I can find then or an MP3 copy of
the songs to lentzj1[at]comcast.net. Thank you.
-------------------[ archived by Spectropop ]-------------------
Message: 19
Date: Sun, 18 Jan 2004 19:00:42 -0500
From: Mark Hill
Subject: HOLD ELO Clones / Re: Digest Number 1255
Bibi LaRed wrote:
> How come with the success of ELO, there were no clone bands out there?
Didn't ELO pave the way for STYX, KANSAS and THE CARS?
> Furthermore, how come no one has tried it again?
I think they have. More that you would think. It's just scattered around.
I collect songs/groups that sound alike and keep many notes and lists.
And I love ELO. They were one of my first, favorite bands.
Here is some of what I have on ELO:
The 90's grunge rock group, THE OFFSPRING have made a career copying
Jeff Lynne multi-tracked vocals on songs like, "Self Esteem" 1994 ("Do
Ya") and "Gotta Get Away" 1994, right up to their current late-2003
release, "Hit That." The similarity is amazing. Think Jeff Lynne's
"singing into a fan" vocal style.
You may be able to hear "Hit That" here. (Quicktime -- never works right on
my PC!) There is a great article on the "Hit That" video on the Rushes post
production site: http://www.rushes.co.uk/offspring
Other 70s to 90s songs that owe a debt to ELO:
~~~~~~~~~~~~~~~~~~~~~~~~~~~~
SEMISONIC- "If I Run" 1996 Beatles + Cheap Trick + Todd Rundgren + ELO
FASTBALL- Ocean (Del Amitri + ELO + The Tragically Hip)
ALAN PARSONS- "Don't Answer Me" 198? (Vocals and synth style orchestra-
Out Of The Blue-era ELO),
SWEET- "Love is Like Oxygen" 1978 and "Fox On The Run" 1975 ("Do Ya?")
TALKING HEADS- "I Zimbre" (w. intro like "Last Train To London")
PHISH- "If I Could" 1994 (Electric violin sound)
SPACEHOG- "In The Meantime" mid 90s (Telephone intro)
DEXTER FREEBISH- Leaving Home (Vocals) late 90s This REALLY sounds like
ELO.
GRANDADDY- Crystal Lake. 2000 (ELO + "Wish You Were Here" <- ???)
Another *BIG* (and recent) ELO imitator. They have a current song out,
too.
CHER- Believe c.2000 (The vocorder vocals made me think of ELO)
NEW RADICALS- You Get What You Give 1994 (Vocals are very Jeff
Lynne-like.
ie. "All Over The World" from the XANADU-era.)
BOB MOULD- Too Late late 90s
STARLIGHT MINTS- (Not sure of title- Might be SUBMARINE #3) late 90s
Lyrics: "If you pull me apart, don't swallow my heart" (sts= elo + ween)
There is this 70s jab at ELO: RANDY NEWMAN- Story Of A Band
And then there are all of DAVE EDMUNDS 80s "ELO-era" songs like "Slippin'
Away" (which always reminds me of "Diary Of Horace Wimp.") Produced by Jeff
Lynne himself.
Mark
http://groups.yahoo.com/group/popmusicpopculture
-------------------[ archived by Spectropop ]-------------------
Message: 20
Date: Sun, 18 Jan 2004 18:24:02 -0500
From: Mark Hill
Subject: Re: SCOOBY DOO'S SNACK TRACKS cd
Austin Roberts wrote:
> I appreciate the kind words about Scooby Doo. I think Rhino or
> Varese have at least one CD out, though I haven't got it. Nobody ever
> gives the singers and writers any freebies anymore (last on the food
> chain). Whine whine whine.
Greetings to Austin Roberts and the Group,
I'm a big cartoon music fan and have most all of this stuff in my archives.
Here's the lowdown on the SCOOBY cd and a few questions I've
been wondering about. Hopefully not too many.
I'd welcome any answers or comments from you, Austin.
Cartoon Network SCOOBY DOO'S SNACK TRACKS The Ultimate Collection
Rhino R2 75505 (c. Fall 1998)
It gives only half of the 19 tracks to the "classic" Scooby Doo episodes/songs,
before it gives way to the terrible late 70's and 80's versions. I'd have included
more pop songs from the original series and incidental music tracks.
Great fidelity on the tracks. They must have used original tapes. These are
the complete songs, they were not just recorded from episodes with sound FX.
There are (not-overlapping) Scooby sound bites between the songs on the CD.
I though Austin composed (?) as well as sang the Scooby theme, but it's listed
here as (David Mook/Ben Raleigh.) I don't think I've seen their names before.
Who were they????
Here are the original Scooby Doo series songs on the CD:
Scooby Doo Where Are You? (David Mook/Ben Raleigh) 1969
Recipe For My Love (Danny Janssen) 09/70
Seven Days A Week (Danny Janssen/Austin Roberts) 10/70
Daydreamin' (Danny Janssen/Austin Roberts) 10/70
"I'm in love with an OSTRICH!" <--- Actual line from the song!
Love The World (Danny Janssen) 11/70
Tell Me, Tell Me (Danny Janssen/Sue Stewell) 11/70
Pretty Mary Sunlight (Danny Janssen/Austin Roberts) 12/72
performed by Jerry Reed
I Can Make You Happy (Danny Janssen/Sue Stewell) 12/72
performed by Davy Jones of the Monkees
Austin, did you sing lead on the first 6 songs? Can you tell us some of the musicians?
I know who Danny Janssen is, but what about Sue Stewell?
The "Pretty Mary Sunlite" included is with vocals by the guest star of
that episode, Jerry Reed. It's acoustic. Just Jerry and a guitar. Was this the
only version? Did you work with Jerry Reed in recording this track?
The excellent "Recipe For My Love" and "Seven Days A Week" would not
have sounded out of place on early 70s Top 40 radio. Interesting guitar
work on "Daydreamin'."
Were any of these songs ever marketed as singles??
All other tracks and songs on the CD are credited with the same:
(Joseph Barbera/Hoyt Curtin/William Hanna), as are most cuts of
Hanna-Barbera music you find on CD.
I know Hoyt Curtin was a H-B musical director. But did Joe Barbera
and William Hanna *actually* compose music??? Or did they just get
credit this way to receive royalties?
Austin, did you have a clear idea of what the final project was you were
working on, when you recorded the theme and songs for Scooby Doo?
I may have my stories mixed up, but weren't they first considering FEELIN'
SO GOOD (SKOOBY-DOO), by (Barry-Kim) and later recorded by THE ARCHIES,
as the theme for SCOOBY DOO?
Didn't you also work on JOSIE AND THE PUSSYCATS and THE AMAZING
CHAN CLAN?
Austin if you really don't have a copy of this CD, just contact me and I'll
be glad to get you one.
With sincere interest,
Mark
http://groups.yahoo.com/group/popmusicpopculture
-------------------[ archived by Spectropop ]-------------------
Message: 21
Date: Sun, 18 Jan 2004 19:08:15 -0800 (PST)
From: steveo
Subject: Eddie Rambeau-American Bandstand Jul10, 1961
Ed,
It says on a website that you appeared on American
Bandstand July 10,1961, along with Connie Stevens and
Troy Donahue(Surfside 6 actors). Do you remember the
song you did, and does it exist on film?
Steveo
-------------------[ archived by Spectropop ]-------------------
Message: 22
Date: Sun, 18 Jan 2004 21:54:36 -0500
From: Country Paul
Subject: Mixdowns; Robert John; Down Home Girl
steveo wrote:
> Those old Altecs were plenty loud...enuff to cause
> hearing damage. Consider this, ..some producers mixed
> down on transistor radio sized speakers to gear for
> the beach and the kids...it had to sound groovy for
> that as well.
They still do -- not everyone has a huge system at home or in the car. But
the small studio speakers are larger than the old transistor-radio-sized
ones, as the general level of playback quality has improved over time.
Phil Hall wrote:
> ...what happened to Bobby Pedrick;
> aka Robert John, who had his first minor hit in
> the late 50s at age 12 and had several bigger
> hits in the late 60s and 70s? His cover of
> "Maybe" sounded a lot like Arlene Smith.
I found a 1988 update at http://www.superseventies.com/sw_sadeyes.html --
hope it helps.
Re: Alvin Robinson's "Down Home Girl" -- there was also a fine version by the
Coasters on Date (mid '60s).
See -- I *can* write short posts!
Country Paul
-------------------[ archived by Spectropop ]-------------------
Message: 23
Date: Mon, 19 Jan 2004 00:48:11 -0000
From: Phil Hall
Subject: Welcome to Al Kooper
A belated welcome to Al Kooper to the board. I was fortunate enough
to hear you at the Syracuse Blues Fest last summer. I took a few
digital pictures of you performing that I'd be happy to share with
you. I've been a DJ at our local jazz radio station for almost 10
years, and whenever I pull a regular shift, I *always* start the
show off with "Flute Thing". When I fill in for someone on the
blues show, I also add "Jelly Jelly Blues" and "Back Door Man".
Two quick questions regarding The Blues Project, Al. I've always
wondered what happened to Danny Kalb and Tommy Flanagan. I know
Tommy quit the group and did not have the career he and his
girlfriend had envisioned, but are you still in contact with him
and/or Danny?
Thanks,
Phil
-------------------[ archived by Spectropop ]-------------------
Message: 24
Date: Sun, 18 Jan 2004 19:53:27 -0500
From: Dr. Mark
Subject: Re: JELLYFISH- Bellybutton
Billy G. Spradlin wrote:
> If you love ELO I suggest checking out Jellyfish 1991 album "Spilt
> Milk"
I had "Spilt Milk" and sold the CD at least 5 years ago because I felt it
did not measure up to their debut CD, "Bellybutton", in any way.
Especially the lack of catchy songs. But I keep running into review after
review that revere "Spilt Milk" and seem to ignore (or have never heard),
"Bellybutton." I need to find another copy and give it a listen again.
"Bellybutton" was one of my favorite albums of the 90s. I could listen to
it over and over. My favorite tune on the album is "Baby's Comin' Back",
that has a wonderful calliope sound and ends with the organ riff from THE
BEACH BOYS- "Little Girl I Once Knew", that later became the basis for
the Partridge Family theme. Going over all this, I'm gonna have to pull
"Bellybutton" out right now to hear it again. (And find out more about
EARTH OPERA.) PS- Look for their "New Mistake" EP where they cover,
BADFINGER- No Matter What (Live)
Dr. Mark
-------------------[ archived by Spectropop ]-------------------
Message: 25
Date: Mon, 19 Jan 2004 13:20:13 +1100
From: Jules Normington
Subject: Annie Haslam/October Project/Grey Eye Glances
Austin Roberts wrote:
> I think Annie Haslam's clear, beautiful, 'olde English'
> voice is one of the best ever.
I'm right with you there Austin...what a voice indeed...just how PURE are
those vocals on their masterpiece "Ashes Are Burning" (eg the song "At The
Harbour")...I still think the guitar solo at the end of the title track is
one of the greatest, most beautiful and most fluid, melodic solos I've ever
heard...and in keeping with that style of vocal...one I LOVE immensely, have
you ever had the good fortune to catch a current band called Grey Eye
Glances?...or a few years back, October Project...their first (self-titled)
album, described by Billboard as ³caviar for the sophisticated palate,² was
an absolute gem and a must for Renaissance fans. They still exist actually,
and their singer Marina Belica also put out a beautiful CDEP called
"December Girl" (they'd reformed as November Project after the first split).
...And then there's Sylvia Tosun...again, what a voice...these are all worth
checking out for any Annie Haslam fan...honest!
Personally I'm a massive fan of this ilk, so if anyone out there has any
recommendations, let me at 'em...there were also UK progressive folk band
Trees, and an obscurity on [U.S.] Columbia in 1971 by a band called
Michaelangelo, that fall into this genre of female-led, ethereally beautiful
proponents of that sound, with the olde English hint in the vocal. [Of
course, those long flowing beaded-and-mirrored crushed velvet dresses have
only add(ed) to the charm.]
Cheers, Jules
-------------------[ archived by Spectropop ]-------------------
Message: 26
Date: Sun, 18 Jan 2004 20:51:31 -0500
From: Dr Mark
Subject: Re: Go Back- Crabby Appleton
Previously:
> -When the jangle of the guitar starts 8 or 12 measures into
> "Go Back" by Crabby Appleton.
That very moment brings a lump to my throat every time.
This has been on my player a lot lately. Having recently re-discovered it
(for about the 3rd time in my life) on a Warner collection (Buried
Treasures.) I have the single, LP and the 8-track (which features a few
extra snippets not on the LP.) 3:07 of pure pleasure. It gives almost
everything it has to give in 1:24 and then starts those jangly guitars
all over again. "Go Back" is one of my favorite singles of all time. The
mysterious jangly intro guitars (and later one that bounces from speaker
to speaker), tambourine, the haunting vocals, powerful drums (those
little bursts of [tom-tom?] on the left channel.) (Are those keyboards
mixed way in the back somewhere?) And the big, "whoo" at about 2:38.
Heaven on headphones- bouncing all over inside your head. Even those who
not necessarily into collecting music, will give glowing comments on
recalling, "Go Back." A powerful song.
This is one I have to play about 5 times in a row before I can stop.
Anyone else have that?
Mark
-------------------[ archived by Spectropop ]-------------------
Message: 27
Date: Mon, 19 Jan 2004 00:38:53 -0000
From: Phil Hall
Subject: Collecting records/music
Alan Zweig wrote:
> I understand the distinction and this may be true in your case.
> But just to be clear, EVERYONE says that. People with 25,000
> records, completists, those who would buy the same song over
> again because of a different pressing, people who still haven't
> played half the records they own etc etc. They all say "I don't
> collect records. I collect music".
Interesting viewpoint. I think there is a distinction between the
types of music collectors. I used to be a record collector, but
after a couple of years, I realized I didn't have the assets to
pursue it the way I wanted to. Which is O.K. For me, collecting
songs is like picking up little pieces of my youth; when I was young
and could run fast and throw hard, and the kids on American
Bandstand were as big or bigger stars than some of the guests on the
show. The songs are like pieces of a puzzle, and if I can get
enough of them, I feel like I might be able to put my youth back
together. Listening to the songs helps me remember what it was like
to be young. Collecting songs means I can do it anytime I want.
-------------------[ archived by Spectropop ]-------------------
Message: 28
Date: Mon, 19 Jan 2004 13:54:01 +1100
From: Jules Normington
Subject: Marcy Joe
Austin Roberts wrote:
> Hey, does anybody know of a record called "Since Gary Went In The
> Navy" (about Gary Troxel of the Fleetwoods)? I think Billy Meshel
> wrote it, but I can't remember who sung it. I think it was Diane
> something.
Yep, as Mick sez that was Marcy Joe all right. She had a couple of other 45s
on Robbee too: "Ronnie", and "Take A Word" on either side of "Since
Gary.."...and then moved to Swan in 1962/63 for 5 singles...one of which, of
all coincidences, was a duet with Eddie Rambeau "That Car Hop And The Hard
Top"....(what WAS that all about?)
Eddie...please DO spill the beans on Marcy if you will...I know I know damn
all about her...did she go on to do anything else under her full name at
all...or just disappear after those few 45s?. (Mind you, Austin you DID only
appear to want to know who'd sung it...there's the distinct stench of a
tangent forming here.)
Cheers, Jules
-------------------[ archived by Spectropop ]-------------------
Message: 29
Date: Mon, 19 Jan 2004 14:00:00 +1100
From: Jules Normington
Subject: HOLD P.S. To my Marcy Joe post
Have been away and came back to 225 posts...maybe I oughta have read em all
before replying...all points in that post fully covered already...sorry for
going over what is already 'old ground', team.
on 17/1/04 18:42, spectropop@yahoogroups.com at spectropop@yahoogroups.com
wrote:
> Date: Fri, 16 Jan 2004 21:54:53 EST
> From: Ed Rambeau
> Subject: Marcy Joe
>
> Mick Patrick:
>> Our new colleague Ed Rambeau made some records with Marcy. Maybe
>> he can tell us a bit more about her.
>
> I did several recordings with Marcy Jo. One was called "A Lover's
> Medley" which was a combo of 2 songs "The More I See You" and "When
> I Fall In Love". It became a number one hit in the city of
> Baltimore where Marcy and I did many record hops. I haven't seen
> Marcy since that time. The other song we did together was called
> "The Car Hop and The Hard Top". A novelty song. Would love to hear
> from Marcy Jo. Thanks to computers I just in back in touch with
> Diane Renay after 40 years...and saw her recently in New Jersey where
> I appeared as a surprise to her at the Old Time Radio Convention held
> at the Holiday Inn in Newark annually. It was good to see her after
> all these years.
>
> Ed Rambeau
-------------------[ archived by Spectropop ]-------------------
SPECTROPOP - Spectacular! Retro! Pop!
End
Spectropop text contents © copyright 2002 Spectropop unless
stated otherwise.
All rights in and to the contents of these documents, including each element embodied therein, is subject to copyright
protection under international copyright law. Any use, reuse, reproduction and/or adaptation without written permission of the owners is a violation of copyright law and is strictly prohibited. All rights reserved.