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SPECTROPOP - Spectacular! Retro! Pop!
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There are 22 messages in this issue.
Topics in this digest:
1. Re: sediS-B sdrawkcaB fo noitalipmoC
From: Jules Normington
2. Hey Remember - Record Players - 11th hour notice
From: Mark Hill
3. Betty & Karen
From: Mick Patrick
4. ?s for Al Kooper & Austin Roberts; musica; Robert John; Millie and Lollipop; Chuck Berry; Bob Gallo; more
From: Country Paul
5. Re: Long songs
From: John Sellards
6. Eddie Rambeau's Songs
From: Bobster
7. Re: Bandstand
From: Ed Rambeau
8. Re: Go Back -- Crabby Appleton
From: David Bash
9. Re: Car Hop, Hard Top & Marcy Jo
From: Ed Rambeau
10. Re: The Daughters Of Eve
From: James Holvay
11. Re: Jellyfish
From: Mike McKay
12. "As Seen on TV"
From: Andrew C. Jones
13. Amen to Phil's remarks
From: Rich
14. Angel Baby
From: Doc Rock
15. Re: Collecting records/music
From: Bob Celli
16. Re: Janet Deane's "Another Night Alone"
From: T.D. Bell
17. Re: Bubblegum
From: Dan Hughes
18. Re: Long songs
From: Paul Levinson
19. Re: Good Morning Starshine / Summertime Guy
From: Mark Hill
20. Re: This Diamond Ring
From: steveo
21. Johnny Tillotson
From: Dan Hughes
22. Concrete and Clay -- the commercial
From: Mark
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Message: 1
Date: Mon, 19 Jan 2004 14:34:29 +1100
From: Jules Normington
Subject: Re: sediS-B sdrawkcaB fo noitalipmoC
On-subject/Off-genre:
In 1966 a ferocious garage punk band from Australia here, called the Missing
Links put out their solitary album (on Philips) which included a version of
"Momma Keep Your Big Mouth Shut", and tagged on the end of the LP, last
track, was a five and a half minute backwards version of the song, entitled
"H'tuom Tuhs". After two roaring garage punk 45s as their first two singles
from the album met with no success, Philips deigned to split that track and
release "H'tuom Tuhs" Part One b/w "H'tuom Tuhs" Part Two as their final
single. To this day I simply cannot fathom what was inside the head of he at
Philips who made the decision to do that...we're talking a major label
releasing the most non-commercial 45 in history here. It's also the only
instance I'm aware of, of a backwards song being on the 'A' side of a
single.
Naturally it didn't sell and is impossibly rare...last copy I know of sold
for over US$1000 on ebay, quite recently...such is the collectability of the
band's other material, that a completist would go that far!
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Message: 2
Date: Sun, 18 Jan 2004 22:41:51 -0500
From: Mark Hill
Subject: Hey Remember - Record Players - 11th hour notice
There is a show on the HOME AND GARDEN Network called,
"Hey Remember." A fun show about nostalgic things from the past.
Tonights (Sunday) 10:30pm shows opening segment is about RECORD PLAYERS.
Like big, console stereos (One collector has a whole house full!)
They even cover component stereos and 45rpm adapters!
This will be repeated overnight at 2:30am (early Monday)
I'm writing from Ohio, so check your times accordingly.
Mark
http://groups.yahoo.com/group/popmusicpopculture
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Message: 3
Date: Mon, 19 Jan 2004 08:08:28 -0000
From: Mick Patrick
Subject: Betty & Karen
Simon White:
> Calling on the experts on the list. I found an old tape today
> and there's a rather wonderful girlie track on it, credited
> to Betty and Karen and called "I'm Not Satisfied". However,
> there's a chance this is not the correct artist. I can't find
> any reference other than that. It sounds like a 67/68 pop/dance
> track. Anyone? Help! I want one!
Me:
> Details are: Betty And Karen, "I'm Not Satisfied" b/w "Stop And
> Listen", MGM K13559, 1966, both sides written by Ameche and
> Segalla, produced by Pat Jaques and arranged by Richie Tee......
> What else can I tell you? They were two white girls, kinda folky
> looking with acoustic guitars and long hair. I wouldn't be
> surprised if Ameche and Segalla were their surnames.
Peter Richmond:
> You are spot on with the surnames Mick, Betty Ameche and Karen
> Segalla. The two tracks were recorded in New York City, 05 July
> 1966.
Having discovered the above exchanges while idly searching for her
name on the net -- like y'do :-) - Karen Segalla left the following
message on the S'pop Public Bulletin Board:
> This is Karen of Betty and Karen. Just some quick history. We
> were both 16 years old at the time and wrote the music in our
> dorm room. (We went to boarding school). Betty is the daughter
> of Jim Ameche (a radio DJ in NY back in the 60's, 70's) and niece
> of Don Ameche (Jim's brother). I was a nobody from Fort Lee, NJ.
> We recorded the music under the direction of Pat Jacques -- a great
> guy, and the record label was MGM. We also appeared on the Clay
> Cole Show in NY. It was a brief but fun career for two teenagers,
> and we actually wrote and recorded 18 songs. Betty lives in
> Morristown NJ and I have been living on Key Biscayne for 21 years
> now. Your comments were great to read and thanks for the interest
> in a childhood fantasy. Regards, Karen Segalla.
Karen has promised to fish out her old publicity photos. When that
happens I'll let you know. In the meantime, I've posted "I'm Not
Satisfied" to musica. Rather splendid record, in a Janis Ian meets
the Shangri-Las kinda way. And, hey, you can dance to it too. The
other side's also good. Take a listen, maybe you'll like it as much
as Simon does: http://groups.yahoo.com/group/spectropop/files/musica/
Hey la,
Mick Patrick
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Message: 4
Date: Mon, 19 Jan 2004 02:28:19 -0500
From: Country Paul
Subject: ?s for Al Kooper & Austin Roberts; musica; Robert John; Millie and Lollipop; Chuck Berry; Bob Gallo; more
Welcome again to Al Kooper. I have a 45 of yours that appears to be a
one-off: "New York's My Home (Razz-A-Ma-Tazz)" b/w "My Voice, My Piano and
My Foot," Aurora 164 (dist. by Bell), both sides wr. Kooper, arr/cond by
Artie Butler. How did this come to pass? Was this just after the Blues
Project and before BS&T? And wasn't the "A" side later done by the Kitchen
Cinq on LHI as "Street Song"? It's a great composition, and any light you
could shed on this would be welcome.
Also, a question for Austin Roberts: I Have a 45 by Castle Creek (Roulette
R-7104 - promo, same song both sides mono/stereo) called "I Can Make It
Better" (prod. Tom Rizzi-Gene Allan and Gary Knight). At first I thought it
was a girl-group sound until the singer started singing about his
girlfriend. Who was this light-textured high-voiced male? It's a pretty nice
recording once one gets used to that voice being male. Thanks in advance for
the info.
Also, welcome, Mark Radice. You ask: "Hey do links work here like
http://cdbaby.com/cd/soundslikeus ?" Yes, they do, and I just ordered your
CD based on the sample of "One False Move." What a groove -- and clever
lyrics, too!
Been trying to stay on top of musica, since things seem to come and go in a
matter of hours these days! :-) Sorry I missed hearing Picardy, Clark; it
looks interesting, and right up my alley. The Betty & Karen track is a
delight. I also don't know why I never heard it or the Daughters of Eve
track before; very nice! (Tchaikovsky would be proud.) Thanks for both,
Mick!
More for Phil Hall re: Bobby Pedrick, Jr., later Robert John: I interviewed
Marc Scott of The Front Porch last year. I quote the following:
"There was another singer, Bobby Pedrick Jr. who was a friend from
kindergarten, that went to the same school [in New York] and had several hit
singles, 'White Bucks and Saddle Shoes' and 'Stranded,' on Big Top Records.
He became Robert John, and hit again with 'The Lion Sleeps Tonight' and 'Sad
Eyes.'"
Re: Millie of "My Boy Lollipop" fame -- some questions: She was Millie in the
UK but Millie Small on Smash in the US. Was Small her real last name, or a
stage name based on her height? Is she still alive and recording? What and
where? I assume, by the way, that most of us know about the original "My Boy
Lollipop" from 1957, a small hit by Barbie Gaye - as I remember, it had more
of a swing rhythm, and lent itself to "ska-ifying" easily as a result. (It's
on the Ace CD "Early Girls Vol. 2.")
It's good to see Chuck Berry "getting his props" on S'pop. It's hard to pick
a favorite -- he was so spot-on in his lyrics (he didn't earn the title "poet
of the common man" for nothing -- such amazing imagery and economy of words
to paint big pictures); his guitar style changed how rock guitar was played
and still imitated and expanded on; and Johnny Johnson's piano work is
simply supercharged, rockin' and soulful. His later pianist, Lafayette
Leake, was no slouch either. Creator of dozens of seminal cultural icons,
pretty much anything before his "federal vacation" has at least some merit
and usually much more. Plus, it's fun! As I've mentioned here before, I got
to hang out with him for most of a day back in '72; despite his legendary
cantankerousness, which must have been fairly subdued, he was great to be
around. (Of course, he had my then-girlfriend in his lap for much of the
time....)
And a related note to Mike McKay, re: "Great Man" theory et al:
> My point was that The Beatles opened up many new possibilities in
> terms of melodies, chord structures, and ultimately the way rock
> 'n' roll guitar was played.
Agreed and acknowledged. If I missed your original context, I apologize.
Rashkovsky:
> Anyone know something about Bob Gallo...?
>From the All Music Guide:
"Most likely an exploitative joke, the You Know Who Group were a calculated
attempt to capitalize on the British Invasion by emulating the Merseybeat
sound with anonymous studio players who purported to be a bona fide British
group (and who were pictured with masks on the sleeve of their album).
Masterminded by producer and arranger Bob Gallo, the group, if they could be
called that, actually managed a small hit with "Roses Are Red, My Love."
With their exaggerated fake British accents, moderately catchy, minor-chord
heavy songs, and wheezing harmonica, they sounded like a low-rent Beau
Brummels — an ironic twist, as the Beau Brummels were the first American
group to successfully emulate the British Invasion sound."
My experience: "Roses Are Red, My Love" was an incredibly "greasy" record
(think 1964 Liverpool-by-way-of-the-Bronx) on Kapp's Four Corners label. A
moderate hit, it sounded (or wished it did) marginally like "Things We Said
Today," with the lead guy grunting "Yeah" way too often. I got a copy of
their album (since lost) when I visited Bob Gallo in a New York studio (I
forget its name -- sorry). He insisted on playing the track for me at
ear-splitting volume, probably through some of those monster Altec Lansings
that were recently discussed. You probably wouldn't know the You Know Who
Group; they sank without a trace, taking their capes and Zorro masks with
them, after their 2'30" or so of anonymous "fame."
Now that I've dredged up that one, there's a website
http://www.whiteoakrecords.com/ citing Bob Gallo as a longtime
producer/collaborator with an r&b singer named Jimmy Young. You can hear
some recent samples of Gallo-produced tracks, and read a bit more about
Gallo, at http://yaheard.bet.com/yaheard/artist/0,2261,10680,00.html.
Quick notes:
Ron Sauer, thanks for the Gary Chester website:
http://www.angelfire.com/music5/garychester/bio.html. He played on all those
records, and this is the first I've heard of him -- and I consider myself to
be fairly knowledgeable. But as you note, we don't hear the names of the New
York session folks like we do the LA crew.
Steve Harvey wrote:
> Jo-el Sonnier, the Cajun accordianist, did the best
> version I've heard. Something about Cajuns playing
> Chuck Berry appeals to me.
He also had a sizable country hit in the late '80s with Richard Thompson's
"Tear-Stained Letter." Well worth hearing.
Country Paul
(who still likes "Free As A Bird" and Jeff Lynne's drum sound)
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Message: 5
Date: Mon, 19 Jan 2004 03:45:35 -0000
From: John Sellards
Subject: Re: Long songs
previously:
> 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.
What? El Paso is actually longer on the single. I asked Bobby
Braddock about this one time, on the off chance he might know why.
He became Marty's piano player several years after El Paso, and he
suggested Marty may have decided to flesh out the lyrics after the
initial session. I've never heard a better solution, since the full
version has never turned up in stereo (to my knowledge).
John Sellards
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Message: 6
Date: Mon, 19 Jan 2004 00:36:00 EST
From: Bobster
Subject: Eddie Rambeau's Songs
Freaking out TOTALLY......Jules, you came back to 229 posts? I've come back
to 294. Spectropop is alive and rocking. There are ever so many responses I
would like to give to all the magical, mystical reminiscing and music
dialoguing going on, but since much-needed sleep awaits, I will confine myself to one
for now. It is a privilege indeed to have Eddie Rambeau with us. I'm sorry to
report that it was Unit Four Plus 2's remarkable version of Concrete & Clay
that was a hit in Chicago (or at least the one I heard here in '65.) But I'm
happy to discover that I am familiar with other highlights of your career,
Ed -- I now know that you penned the wonderful Navy Blue, which counts as another of
my "spine-shiver" moments of 6Ts pop. I was a "Newlywed Game" freak in the
6Ts and remember the theme music vividly. Although I have not heard Summertime
Guy (nor any of your other solo recordings as an artist), I have no doubt that
I would absolutely love it, so I'll be looking for it! Speaking of Chuck
Barris, in "Confessions of a Dangerous Mind" some woman at poolside tells Sam
Rockwell (as Chuck) that "Palisades Park" is so much sentimental trash, or
something like that. I'm wondering if anybody else who saw that flick thought, as I
did, that this was the producers' opinion and was completely superfluous to
the screenplay. It's hard for me to imagine that anyone but classical and
blues aficionados in 1962 would slam a great, oh-so-catchy, rollicking tune such
as this one.
Bobster
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Message: 7
Date: Sun, 18 Jan 2004 22:58:05 EST
From: Ed Rambeau
Subject: Re: Bandstand
steveo wrote:
> 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,
The song had to be either "Skin Divin'" or "Summertime Guy". Probably "Skin
Divin'", because I think I was on with Dionne Warwick when I had "Summertime
Guy".
I'm sure it exists somewhere. I was told that I could get anything I want
from Dick Clark Productions for $100.
Ed
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Message: 8
Date: Sun, 18 Jan 2004 19:59:44 -0800
From: David Bash
Subject: Re: Go Back -- Crabby Appleton
Dr. Mark wrote:
> 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.
I can't say I share that exact experience, but the first time I heard that
song was definitely a significant moment in my music listening history. It
was July 1975, and American Top 40 was doing a re-broadcast of their first
show, which had originally aired 5 minutes earlier. A slightly
nervous-sounding Casey Kasem was counting 'em down, and when he got to
number 36 he introed the song by saying something like "this band had gone
by the name Stonehenge but changed it to Crabby Appleton". Then came those
opening guitar riffs, which sounded pretty cool, but I heard that first
jangle note ... man, what an epiphany! I had never heard anything like that
note, both in timbre and pitch, and it was truly transcendent.
I was so happy when Collector's Choice reissued the debut Crabby Appleton
album, which is a great example of melodic hard rock, and "Go Back" is
definitely a candidate for my favorite song of 1970.
Spectropop Rules!!!!!
Take Care,
David Bash
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Message: 9
Date: Sun, 18 Jan 2004 23:02:46 EST
From: Ed Rambeau
Subject: Re: Car Hop, Hard Top & Marcy Jo
Jules Normington wrote:
> 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
The Car Hop and The Hard Top was a novelty song that Frank Slay found for
Marcy Jo and I to record together. As far as Marcy Jo is concerned, I haven't
seen or heard from her since we were almost another Paul and Paula back in the
early 60's. If anyone knows how to reach her, please let me know.
Ed Rambeau
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Message: 10
Date: Sun, 18 Jan 2004 20:15:49 -0800
From: James Holvay
Subject: Re: The Daughters Of Eve
Mick Patrick wrote:
> I've seen your old colleague James Butler's name on a couple of
> records by the Daughters Of Eve, an all-girl band from Chicago.
> They were managed by Carl Bonafede, who also managed your friends
> the Buckinghams. Did you ever meet the Daughters? If so, any
> memories to share? Their drummer Debi and I are putting together
> a small article about this group for the S'pop website. All help
> gratefully received.
Mick: I did hear of the group "Daughters" while in Chicago, but have nothing
to add. There was another girl group, which I think was the first out of Chi
Town, called The Chips. I believe they did have a single released.
James
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Message: 11
Date: Sun, 18 Jan 2004 23:09:44 EST
From: Mike McKay
Subject: Re: Jellyfish
Dr. Mark wrote:
> "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.
I played in an acoustic band throughout much of the 90s, and we used to do
"Baby's Comin' Back." A bit of a challenge to do it acoustically, but we pulled
it off pretty well.
Mike
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Message: 12
Date: Sun, 18 Jan 2004 23:29:47 -0500 (EST)
From: Andrew C. Jones
Subject: "As Seen on TV"
Two of the seminal records of my childhood were two anthologies that
were advertised on TV and bought by mail. They were: 24 HAPPENING HITS
(Columbia Special Products; produced by Telerad) and DO IT NOW (Ronco's
first album; a charity LP for an anti-drug charity called The Do It Now
Foundation). Was anyone in S'pop involved with the assembling or
compilation of either of these albums? Thanks.
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Message: 13
Date: Mon, 19 Jan 2004 04:16:16 -0000
From: Rich
Subject: Amen to Phil's remarks
Just read Phil Hall's remarks regarding record collecting/music. My
feelings and thoughts exactly! Came to the same cost/return
conclusion several years ago and have followed that direction of
collecting songs. The song (music) is the most important part and why
burden yourself with having to pull out a piece of vinyl, tape, or
plastic each time you want to listen to a piece of the past and
have to worry about ruining it, losing monetary values each time you
listen to it? While I do buy cds, it is on a very very selective
basis and I will usually resell the cd after I get the particular
songs I would like.
Plus the fact, if I had continued to collect that way, I would
probably be divorced right now. Broke. And have to have a huge
storage age. If by some chance if I WASN'T divorced would probably
have to sleep with one eye open knowing wife loves to throw
away "stuff". And she would definitely consider all that "stuff".
LOL
Rich
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Message: 14
Date: Sun, 18 Jan 2004 23:30:14 -0500
From: Doc Rock
Subject: Angel Baby
Hey, cut Rosie some slack! She had a cold that day, and she wasn't even a
part of the group, just happened to be in the right place at the right
time (as I understand it).
I love amateur nature of the whole song!
Doc
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Message: 15
Date: Mon, 19 Jan 2004 04:44:27 -0000
From: Bob Celli
Subject: Re: Collecting records/music
> Listening to the songs helps me remember what it was like
> to be young. Collecting songs means I can do it anytime I want.
Now this says it all!! Great post!!
Bob
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Message: 16
Date: Sun, 18 Jan 2004 23:45:21 -0500
From: T.D. Bell
Subject: Re: Janet Deane's "Another Night Alone"
Country Paul wrote:
> Speaking of Pittsburgh, do you or any member have Janet
> Deane's "Another Night Alone" available to post? This great
> ballad is the only lead I know by the late Janet Vogl of the Skyliners,
> and she smoulders!"
I have an MP3 of Janet Vogel billed "Janet Deane". She recorded
"Another Night Alone"--Gateway Records (1963). Please send
directions to me on how to share this beautiful recording. As you
say, the song is a great ballad and "smoulders".
She's the co-writer and 'top tenor' (adding to the celebrated finalé of
"Since I Don't Have You"). Janet Vogel was not with The Skyliners
when she recorded "Another Night Alone". I have no idea how the
rest of the nation received the song when it was released. In
Pittsburgh, KQV'S TOP "50" TUNEDEX shows "Another Night
Alone" listed at #48 for the week of DECEMBER 28 - JANUARY
4, 1964 ... (and January '64 marks the start of Beatlemania in
the USA, and it's "twenty-two Beatle degrees outside our KQV
window, your Beatle station at the corner of Walk and Don't Walk!")
and this masterpiece from Janet Vogel got lost in the pop music
shuffle ... This recording is "unique" and prized amongst
'connoisuers' -- glad you mentioned it, Country Paul.
-- TD
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Message: 17
Date: Sun, 18 Jan 2004 22:32:11 -0600
From: Dan Hughes
Subject: Re: Bubblegum
Anybody know the origin of the term Bubblegum music? I first heard it
used to describe Yummy Yummy Yummy by the Ohio Express, then the other
Buddah hits that followed: 1910 Fruitgum Co, Ohio Express, et al. Was
the term in use before that?
---Dan
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Message: 18
Date: Mon, 19 Jan 2004 04:52:07 -0000
From: Paul Levinson
Subject: Re: Long songs
Paul Bryant wrote:
> 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.
Yep, you're right about those, pb -- songs that Kenny Rogers
calls "story songs" and Phil Ochs called "troubadour journalism".
They go right back to Alan o'Dale and Robin Hood, and earlier, and
are the roots of lots of folk songs, country story songs, and rock
bio songs. Ochs' "Joe Hill" and "Jim Dean of Indiana,"
Dylan's "Hurricane," and Elton John & Bernie Taupin's "Candle in the
Wind" are the purest examples, but so are Rogers' less factual "Ruby"
and, as you say, Marty Robbins' fictional "El Paso".
But I think most rock 'n' roll and pop songs come from a somewhat
different tradition -- the dance hall tradition, where the story is
less important than the catchiness of the lyrics. For those songs,
no damage to the story is done when the length is confined to 3
minutes or under. Either because there isn't much of a story -- and,
instead, there's a mood, an impression, like a watercolor -- or the
story is so short (as, in say, "Indiana Wants Me," to stay with one
state) that the story can be told in 3 minutes.
All best,
Paul
http://www.sff.net/people/paullevinson
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Message: 19
Date: Sun, 18 Jan 2004 23:08:47 -0500
From: Mark Hill
Subject: Re: Good Morning Starshine / Summertime Guy
Ed Rambeau wrote:
> This is for the trivia buffs. Don't know how many of you
> Spectropoppers know this, but Bob Crewe actually recorded the first
> version of "Good Morning Starshine" with me and changed my name to
> Eddie Hazleton for the release. The show "HAIR" had just opened so
> the song was not accepted. The record had me singing along with a
> bunch of kids doing silly answers. It bombed big time, of course.
> When I moved to California, Bob rerecorded the song by taking off
> the silly kids answers and putting Oliver's voice on the same identical
> track. The rest is history. I'm sure my version (if it can be found
> anywhere) is very valuable right now. So look for it guys.
> And the 3rd and final story is regarding my recording of "Summertime
> Guy". The record looked like it was going to take off big time.
> Then, while in Chicago, getting ready to perform it on a TV show...I
> was called into the control room and told that I'd have to perform
> the "B" side of the record. Apparently they discovered that
> Summertime Guy was written by Chuck Barris who was Vice-President of
> ABC at the time and they considered it a conflict of interest.
> Therefore, Summertime Guy was immediately pulled from all ABC Radio
> and TV affiliates. Why the hell they didn't discover this when he
> wrote Palisades Park is beyond me. But that one seemed to slip
> through.
> Forgot to mention that "Summetime Guy" went on to become the theme
> song on the Newlywed Game which was a Chuck Barris Production.
Hi Ed,
Good story about your track from HAIR. Being a "version" collector,
I'll be on the lookout for that one.
> Forgot to mention that "Summetime Guy" went on to become the theme
> song on the Newlywed Game which was a Chuck Barris Production.
Can you clarify?
Are you saying that this is a version of the familiar
"Newleywed Game" theme song... WITH LYRICS???
I'll be on the lookout for this one, too.
Thanx,
Mark
http://groups.yahoo.com/group/popmusicpopculture
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Message: 20
Date: Sun, 18 Jan 2004 21:31:15 -0800 (PST)
From: steveo
Subject: Re: This Diamond Ring
Austin Roberts wrote:
> 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,
It was Kooper, Brass, and Levine.
Steveo
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Message: 21
Date: Mon, 19 Jan 2004 00:26:06 -0600
From: Dan Hughes
Subject: Johnny Tillotson
Hiya Gang,
I've received an offer from Johnny Tillotson to answer questions our
group might have for him. I warned him he might get some really obscure
stuff thrown his way!
So let's not disappoint him -- drop me a note to pass along, and I'll post
his responses here. My email is danhughes[at]juno.com. Just put Johnny
Tillotson in the subject line.
Thanks,
---Dan
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Message: 22
Date: Mon, 19 Jan 2004 03:41:09 GMT
From: Mark
Subject: Concrete and Clay -- the commercial
Hey Guys!
I haven't seen it, so could you kindly tell me which commercial uses
"Concrete and Clay"?
Thanks in advance. :)
Best,
Mark
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