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SPECTROPOP - Spectacular! Retro! Pop!
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There are 25 messages in this issue.
Topics in this digest:
1. Murray The K Shows / The Tubon / Irwin Levine
From: Al Kooper
2. My Verve 45
From: Al Kooper
3. Re: Smile in London
From: Al Kooper
4. Re: Smile in London
From: Martin Jensen
5. Re: Del Shannon
From: Martin Jensen
6. 40 years ago
From: Herb
7. This Diamond Ring
From: Bob Celli
8. Dick Clark/Monkees
From: Lapka Larry
9. Re: Obscurities Online?
From: Joe Nelson
10. Re: Some Things Just Stick In Your Mind
From: Mike McKay
11. Re: Styrene vs plastic 45s
From: Steveo
12. Re: David Mook
From: Steveo
13. Re: Sock It To Me Time, Laugh-in bands
From: Sean Anglum
14. Collecting records
From: Alun Hill
15. Re: Speaking of disappointments
From: That Alan Gordon
16. Re: Some Things Just Stick In Your Mind (+ Del Shannon)
From: Scott Swanson
17. Red Bird CDs Vol 1 - 04 From: Brad
18. Elvis Sun Records master tapes
From: Mike McKay
19. Re: Scooby Doo / Ben Raleigh / Austin Roberts
From: Austin Roberts
20. Howard Tate / Barbara Jean English
From: Al Kooper
21. Re: The Blues Project -- Tommy Flanders
From: J Berg
22. Re: The long "El Paso" does exist in stereo
From: Paul Bryant
23. Re: Sock It To Me Time: Strawberry Alarm Clock on "Laugh-In"
From: Art Longmire
24. Heaven Bound with Tony Scotti
From: markt439
25. Re: Annie Haslam/October Project/Grey Eye Glances
From: Ken Mortimer
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Message: 1
Date: Tue, 20 Jan 2004 03:56:52 EST
From: Al Kooper
Subject: Murray The K Shows / The Tubon / Irwin Levine
> Al, Do you recall The Blues Project performance at the Murray The K
> show at the Paramount Theater in the spring of 1967? Also on the
> bill: The Who, Cream, and Wilson Pickett, among others. I remember
> when TBP were in the middle of "No Time Like The Right Time" you
> switched to your somewhat synth-like keyboard (called something like
> a tubon? It was tubular in shape.)and the thing refused to produce
> any sound, forcing Danny Kalb to improvise a solo to fill the void.
> Does this ring a bell at all? Equipment failure not withstanding the
> Blues Project set was great. It couldn't have been too much after this
> that you split to form BS&T.
I think we played 5 shows a day for a week at that engagement which was
actually at the RKO 58th Street Theater (now defunct) So if you say it
happened, I believe it, but I don't recall it. The tubon was a pain-in-
the-arse battery-operated instrument and it's entirely possible a battery
fell out.
> Also in about 1970 my friend Steve and I were in NYC trying to shop
> an acetate demo around to some labels. To illustrate just how much we
> didn't know what we were doing, we were there on a Saturday having
> made no prior contact thinking that we would find someone to give a
> listen. Of course on a weekend most of the places we tried were either
> closed or no one relevant was there or willing to give it a spin.
> Interestingly we did somehow manage to get past the security at the
> CBS offices and go up in one of the bank of elevators and find
> ourselves in a deserted series of offices, one of which seemed to be
> yours! We considered leaving the demo but instead beat it out of
> there realising that we could be in trouble just for being ther Hey,
> we were teenagers in a strange land.
In terms of sneaking into CBS, I used to do that myself before I worked
there and liberated some Dylan acetates from Tom Wilson's office, I am
ashamed/proud to say. Security? Not like today, my friend!!!
> Here's another question: Do you remember a talent scout from NJ named
> Walter Gollender who supossedly put Irwin Levine together with Larry
> Brown before they went on to write "Tie A Yellow Ribbon"? I think he
> told me they were writing for a band called "The Purple Avalanche"
When Irwin hooked up with Larry Brown, I was long gone from the fold so
I have no idea how it happened. Irwin is no longer with us so I can't
find out that way.
Al Kooper
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Message: 2
Date: Tue, 20 Jan 2004 04:06:19 EST
From: Al Kooper
Subject: My Verve 45
Den Lindquist:
> Note for Al Kooper: (My apologies if this has been mentioned before)
> I have a single you recorded on Verve Folkways: "Changes" b/w "Pack
> Up Your Sorrows" (Verve Folkways KF5026 -circa 1965 or 66). I'm
> guessing this came prior to the Blues Project recordings. I will try
> to post it to Musica (if my computer will cooperate!) Any
> recollections would be greatly welcomed. Thanks!
Den,
This was one of the many mistakes I accrued in my 46 year career, so
far... I started making an album, based on my success as a studio
player, the kind of which peoliferated in the mid-sixties; a sideman
covered all the hits of a genre on one album. A mentor of mine, Wally
Gold, produced it. I was in The Blues Project when I did it and Andy
Kulberg and Roy Blumenfeld helped me out by playing on it. It took me
cutting about 5 tracks before I realized what a wanker I was for doing
it in the first place, and somehow I was able to pull the plug. That
single you have is the only remnant of that possible debacle. I think
it's corny trash, but if you like it, than I've made another person
happy and I certainly don't regret THAT.
al kooper
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Message: 3
Date: Tue, 20 Jan 2004 04:13:55 EST
From: Al Kooper
Subject: Re: Smile in London
> I'm going to London next month in order to see Brian Wilson
> perform Smile, and since I've never been there, I wondered
> if someone here could recommend any good records shops with
> CDs of Spectropopper interest?
First of all, London & Japan are orgasm-shopping for collectors.
Both countries routinely release albums that US record companies
would never DREAM of re-releasing. My first trip to London in the
late '60's, I brought 40 albums through customs. On my Japanese
tour last year, I had SONY mail me the 65 CDS I had acquired on
that trip. What I'm trying to say is, you dont need to find small
out of the way shoppes. The chains have great stock in them i.e.
Tower, HMV or Virgin. It just takes a long while to go through the
racks, so if you can, leave 2 or three extra days just for record-
buying, it helps a great deal. Good luck and I'm quite jealous -
SMILE and English CDs. Oh what a lucky man you ARE.
al kooper
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Message: 4
Date: Tue, 20 Jan 2004 09:34:14 -0000
From: Martin Jensen
Subject: Re: Smile in London
C. Ponti wrote:
> What are they charging for seats at the Royal Festival Hall?
It's pretty expensive. I paid 60 pounds (about 107 U.S dollars) for a
seat at row 7.
Though, I think that Bryan is right in claiming that all the shows
have been sold out by now... You can check out www.brianwilson.com
for up-to-date information.
With regards
Martin, Denmark
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Message: 5
Date: Tue, 20 Jan 2004 09:51:38 -0000
From: Martin Jensen
Subject: Re: Del Shannon
Michael:
> Aloha, Can anyone help on this one? I recieved a disc in trade a
> while back. Marked "Home and Away" 1967 Del Shannon, Finally got
> around to listening to it and was much surprised. Great Stuff. Can
> anyone tell help with artwork, setlist and who produced this gem?
> Mahalo, Michael
Hi Michael,
Congratulations with the great disc. It was produced by Andrew Loog
Oldham, the manager of the Rolling Stones and a great champion of
Spector's 'Wall of Sound', which I'm sure you've noticed. There's
some great stuff on there - I especially like the mellow track
'Silently', 'It's my Feeling' and Del's take on Billy Nicholls' 'Come
Again', - in my opinion even better than his stripped down original.
Basically, Del went to England and recorded the songs with Andrew and
the help of some of the guys associated with his Immediate Records;
notably Nicholls and Twice as Much. (And I think that P.P Arnold is
also in there somewhere. :-)
>From what I've read, Home and Away was shelved for some inexplicable
reason. Very strange, given that the songs are really well-produced
and melodic. Del subsequently went back to the U.S and recorded a new
psychadelic offering called 'The Further Adventures of Charles
Westover', which you also ought to track down. It's quite good...
There's this killer track on it called 'Gemini' - absolutely awesome!
(BGO Records have reissued this album, by the way. They have also
reissued Home & Away but under the title 'And the Music Plays On...)
With regards
Martin, Denmark
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Message: 6
Date: Tue, 20 Jan 2004 10:14:59 -0000
From: Herb
Subject: 40 years ago
Hi,
PART ONE:
On a local Toronto message board, I've been posting the top ten's of
Billboard and our CHUM chart. I started doing this in 2001 and 1961
was 40 years ago then.
Around this time in 1962, the Twist was the rage.
November 1963, JFK was assassinated. I was in Grade 9 and at High
School when our class found out. (I was 16 at the time).
So much time has passed that my memories of that time have receded.
I don't really recall being "affected" by the news and can't remember
the weeks following. Being not in tuned with politics may have been
a factor.
I have been told or read that there was a general malais. People
were affected whether they were old or young, black or white, rich or
poor. It was/is my understanding that the youth back then held JFK
in high esteem. If I am wrong, let me know.
In a book, Phil Spector blamed the lack of interest in his Christmas
LP "A Gift For You" on the events of Nov. 1963.
I asked a friend who lived in Ottawa at the time and he reiterated
that a lot of people were affected. It seems Canadians were touched
by the event.
Do you have memories regarding JFK's death, the funeral procession,
etc?
PART TWO:
On the cover of Toronto's CHUM chart dated January 20, 1964, The
Beatles are featured as the phenomenon of Beatlemania began to take
root.
I am quite aware that The Beatles were quite popular back in August
of 1963 and they caught on in Continental Europe, Australia, New
Zealand and other countries.
Advanced copies of Beatle singles were sent to American labels (Swan,
Vee Jay, etc.) but they seemed to have shrugged their shoulders at
the time.
On January 20, 1964, She Loves You became #1 on the CHUM chart while
the single only debuted on Billboard's Hot 100.
What followed next was screaming female fans and pandemonium.
I myself never really caught on to them. In fact, I "hated" them.
As The Beatles and other British acts crossed over, I was left
wondering where are my favouties -- Dee Dee Sharp, The Orlons, The
Marvelettes, The Crystals. To me, it was like they were shunted
aside.
The only British acts I did like were Dusty Springfield and The Dave
Clark 5 (they seemed "cuter" than the Fab 4).
Since then, I have wondered "Why The Beatles?" "What made them hot
and others not?" They did borrow from other artists. Roll Over
Beethoven was a Chuck Berry hit, FIRST. The Beatles did Pleae Mr.
Postman and other songs.
Feel free to respond.
Thank you,
Herb
Toronto, Canada
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Message: 7
Date: Tue, 20 Jan 2004 13:10:53 -0000
From: Bob Celli
Subject: This Diamond Ring
I recall in an interview with Snuff Garrett several years ago, my
asking him if he offered the song to Bobby Vee before Gary Lewis. He
said that he did, Vee says he didn't! He then proceeded to tell me
that Gary was the first performer on the Ed Sullivan Show to lip sync
a song. He told me there was no way he was going to let Gary do that
song "live" on Ed Sullivan for various reasons, one being that the
Tympanis were sped up on the record, and the other being that he felt
Gary couldn't do an effective vocal "live" on tv and would hurt future
sales. He told me that he had Jerry Lewis call Ed up and request the
change in policy and that Ed said ok. Interesting story!
Bob
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Message: 8
Date: Tue, 20 Jan 2004 05:43:19 -0800 (PST)
From: Lapka Larry
Subject: Dick Clark/Monkees
Dear All:
Interesting bits about performers having to buy their
Bandstand performances. Was/is the same thing true for
those who appeared on Where the Action Is and the
other Dick Clark-produced rock/pop shows in the 1960s?
Also, with so many industry veterans on board, perhaps
they can answer a question for me. Were any of you
involved in pitching/creating songs for the Monkees
project? I realize that most, if not all, the
songwriting talent had a strong connection to Don
Kirshner, but I would imagine that when the word went
out that songs were needed, did any of you seriously
try to create a tune for this project? What were the
mechanics involved in getting such a song heard? Was
it a similar situation with the Partridge Family
project?
Larry Lapka
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Message: 9
Date: Tue, 20 Jan 2004 09:00:09 -0500
From: Joe Nelson
Subject: Re: Obscurities Online?
Rex Strother:
> Just a question to the many fans of this site - has anyone tried out
> iTunes, or its competitors? I was wondering if all this hype about
> "500,000 tracks" being available for purchase, if any music of the
> type discussed here was popping up for legitimate download (which,
> of course, would never satisfy the vinyl fetish of Mick Patrick - but
> would be making this stuff available to the "masses").
Fat chance. The process of taking older music from analog to digital
doesn't change between CD and MP3 - you still have to pull the tape,
bake it, EQ it and transfer it in real time to be remastered
digitally. I doubt anyone will be pulling tapes to satisfy a few
listeners with interest. The 500,000 tracks are as common as most
CD'sd because it's easier to just pop in the CD and rip it.
Joe Nelson
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Message: 10
Date: Tue, 20 Jan 2004 09:34:47 EST
From: Mike McKay
Subject: Re: Some Things Just Stick In Your Mind
Phil M wrote:
> I was stunned to hear Dick & Deedee's fantastic take on "Some Things
> Just Stick In Your Mind" recently. I have versions by Mick Jagger and
> Vashti -- haven't A/B'd any of 'em to compare basics, but they sure do
> all share the same feel, especially with that dark and insistent piano
> riff rumbling underneath like a subway train. Anyone know the story
> behind this killer song? Who wrote it, even? Any other versions kickin'
> around?
I have this single on Warner Brothers. The flipside is "Blue Turns to
Grey," and both are Jagger-Richards compositions. I agree with you, Dick
and DeeDee's take on "Mind" is great, and that unearthly backing track
is wonderful.
Of course, the Stones' original of "Grey" is on one of their early albums
("December's Children"? I'm not at home now so I can't check), and wasn't
their version of "Mind" on the Alan Klein mining of unreleased Stones
tracks "Metamorphosis" (see previous parenthetical statement!)?
Mike
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Message: 11
Date: Tue, 20 Jan 2004 09:10:04 -0800 (PST)
From: Steveo
Subject: Re: Styrene vs plastic 45s
Denny wrote:
> You may already know this or you may not. Many record companies
> used BOTH vinyl and styrene, and for these labels, instead of
> tapping on the record, you can tell one from the other by just
> looking at the label. In such cases as Gordy, Cameo, and Uni,
> if the label's colors are deep, flat or dark, they are vinyl
> records. Bright or "bleached" colored labels are styrene pressings.
Denny, I hadn't really pondered that thought, but yes, I would
imagine it's true about the same plant using both vinyl or styrene,
based on the label's wishes.
On that topic, Herb Alpert's first TJ Brass album was pressed on
vinyl only, at his request, as styrene before 1962 was used on mono
pressings of albums and vinyl on stereo. (According to this article)
Herb wanted to make sure the pressings were top notch.
Steveo
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Message: 12
Date: Tue, 20 Jan 2004 09:15:51 -0800 (PST)
From: Steveo
Subject: Re: David Mook
Al Kooper wrote:
> David Mook worked for my publisher at the time, Aaron Schroeder.
> David helmed the west coast office and Schroeder was based in
> the east. Schroeder started Musicor Records with one of my
> songs "Sick Manny's Gym," a take-off on the Vic Tanny muscle
> centers on the eastcoast. I wrote that song in math class in
> high school! Mook got us lotsa west coast covers, but sadly we
> did not attend any of the sessions........
Al,
I remember playing some of my songs for David Mook at Schroeder's
office a few times in the 9000 building. David appeared to me to
be one of the most low-keyed guys personality-wise, I've ever met!
LOL.
Steveo
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Message: 13
Date: Tue, 20 Jan 2004 10:18:33 -0700
From: Sean Anglum
Subject: Re: Sock It To Me Time, Laugh-in bands
Lou B. wrote:
> Thanks for bringing up the fact that "Laugh In" did try (for
> a moment at least) to incorporate pop music as part of their
> show's format.
It's true that Laugh-In didn't have many bands on, but..... while
the hallucinations are still fresh, does anybody remember two promo
films by The Bee Gees on Laugh-In? I remember them from right
around the time of "Horizontal" (late '67 to early '68) and, I believe,
that that ran only two of them. One was "Lemons Never Forget" (an odd
song choice because it wasn't a single, but a very funny clip and a
groovy Beatlesque song) and another tune whose title escapes me.
Possibly "Massachusetts" or "World." Anybody else remember these, or
did I pick them up on my "special television", if you get my drift??
It was '67, for gawdsakes! This, of course, was back when The BGs were
a glorious pop band. Their first four LPs still put me away!
-Sean
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Message: 14
Date: Tue, 20 Jan 2004 17:35:49 -0000
From: Alun Hill
Subject: Collecting records
Hi all,
This great thread about collecting brings me out of lurkerdom.
The posts of messrs. Hall and fellow Torontonian Alan Zweig
reminded me of an anecdote about the collecting mind. Years ago,
I knew a collector of classical music, a man who used to buy a
foot-high stack of CDs on a Friday night, and beside whom I
always felt lacking in seriousness when I stood behind him at
the checkout with my piddly single disc. One day he stopped
buying so many. "When I buy a whole whack of discs, I end up
never listening to half of them, because I am always thinking
about the ones I have yet to buy." So he adopted a new buying
method, which was to buy fewer at a time and visit the store
more often. "The secret of collecting," he said, "is to always
have something to look forward to." I think he was afraid he
would run out of things to collect.
AH
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Message: 15
Date: Tue, 20 Jan 2004 10:47:56 -0700 (MST)
From: That Alan Gordon
Subject: Re: Speaking of disappointments
A few days ago Mike Rashkow was talking about being let down
when he heard the first version of Al Martino's "Mary In The
Morning." That got me thinking about a feeling we've all gone
through. For example.....(bear with me, it's kind of a long
story):
When I was 18 or 19, I was in a doo wop group in Brooklyn, on
Ave U to be precise. The group consisted of Luca, Tony, Joe,
Mike and myself. Four Italian guys and one skinny Jewish kid
who wrote the songs. We bought red cardigans, black slacks and
sang at some record hops with Jack Spector from WMCA. We
performed with Jay & the Americans and Candy & the Kisses to
name a few. A local "merchant" had visions of being our manager
and let us use his basement to rehearse. One night he brought
along a man who had a small label - we were very impressed. The
man's name was Tony Dano and wow, he looked very wealthy. He wore
alligator shoes, the creases in his pants were sharper than a
knife and the shirt was silk. His blazer had the family emblem -
two baseball bats - his thin moustache was waxed, his black hair
had enough grease to lube a cadillac for a year, and he topped
it all off with tortoiseshell sunglasses.
He said he was tight with Dick Clark and Clay Cole and he took
us to Manhattan to a studio. We cut 2 sides [I still have the
records]. He said for us to go back and work on our dance steps
and that he was going to make us famous. We were beside ourselves
with pure joy; this would be the man who would make our dreams
come true - new cars, girls, fame and fortune, and girls. This
would be the man who would even get rid of our acne! We returned
to Ave U on cloud nine. The following week, I was returning home
from my job in Manhattan - I was a messenger for an ad agency. I
was waiting for the subway train on 42nd Street, it was hot and
crowded. I held my NY Post sports page, ate my pretzel, sipped my
coke and was ready for the challenge of the day - getting a seat
on the train. I gazed around the crowded platform, saying to myself,
keep looking at me, people - though I might be a lowly skinny
messenger now, MY day is coming. Then I heard the roar of the mighty
subway train zooming into the station. I said to myself, this Puerto
Rican chick standing next to me is really cute - if I get a seat
should I give it to her? As I was saying that, the train suddenly
screeched to a halt.
Directly in front of me, the conductor popped his head out of his
window - he looked to the left, then to the right then at me. He
looked like a tired, hot weary man, but wait - those sunglasses he
was wearing looked like Tony Dano's sunglasses, the moustache looked
like Tony Dano's moustache..... Wait a minute - Holy Jesus, IT WAS
TONY DANO!!!!! He was a conductor! Oh God! I stood there, my jaw
hanging. I let the train leave without me. What was I going to tell
the guys, *what* was I going to tell the guys?
A true story.
Best,
That Alan
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Message: 16
Date: Tue, 20 Jan 2004 10:13:02 -0800
From: Scott Swanson
Subject: Re: Some Things Just Stick In Your Mind (+ Del Shannon)
Phil M.:
> I was stunned to hear Dick & Deedee's fantastic take on "Some Things
> Just Stick In Your Mind" recently. I have versions by Mick Jagger and
> Vashti -- haven't A/B'd any of 'em to compare basics, but they sure do
> all share the same feel, especially with that dark and insistent piano
> riff rumbling underneath like a subway train. Anyone know the story
> behind this killer song? Who wrote it, even? Any other versions kickin'
> around?
"Some Things Just Stick In Your Mind" was one of about 30 songs Mick
Jagger & Keith Richards wrote during their "let's learn how to be
songwriters" period (late 1963 through fall 1964).
Jagger and Richards recorded a demo version of the song c. July 1964
with the Andrew Oldham Orchestra backing them. (This is the version
which can be found on the Stones' "Metamorphosis" LP). Supposedly,
the same backing track was later used for Vashti's version, which was
released in May 1965.
Dick & Deedee's version was recorded c. December 1964, and Dick St. John
has claimed that the Stones actually played on it. But I've never A/B'd
all three songs to compare them.
Michael:
> Can anyone help on this one? I received a disc in trade a while
> back. Marked "Home and Away" 1967 Del Shannon. Finally got around to
> listening to it and was much surprised. Great Stuff. Can anyone tell
> help with artwork, setlist and who produced this gem?
"Home And Away" was the original proposed title of the album Del Shannon
recorded with Andrew Oldham in 1967. But the album did not see the light
of day until 1978, when it was packaged with a couple new songs and
released as "And The Music Plays On". The songs recorded in 1967 are:
It's My Feeling (writers: Skinner/Rose from Twice As Much)
Life Is But Nothing (writers: Skinner/Rose)
Easy To Say (writers: Skinner/Rose)
Cut And Come Again (writer: Billy Nicholls)
Led Along (writer: Billy Nicholls)
Friendly With You (writer: Billy Nicholls)
Mind Over Matter (writer: Jeremy Paul, of "Would You Believe" fame)
My Love Has Gone (writer: Ross Watson)
He Cheated (writer: Del Shannon)
Silently (writers: Shannon/Bourgoise)
Runaway '67 (remake)
Hope this helps,
Scott
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Message: 17
Date: Tue, 20 Jan 2004 19:48:19 -0000
From: Brad
Subject: Red Bird CDs Vol 1 - 04 I am looking for these 4 CDs....any info would greatly be
appreciated on how and where to buy them. I am a huge Red
Bird fan and this would be some interesting listing.
Thanks,
Brad
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Message: 18
Date: Tue, 20 Jan 2004 14:48:16 EST
From: Mike McKay
Subject: Elvis Sun Records master tapes
I know this is somewhat off-topic for this group, but I received
this press release today and I'm not sure what to make of it...
Media Advisory for Tuesday, January 27th
Witness the Official First Cut of the Original Sun Sessions Master
Recording Tape of Elvis Presley
Two-Inch Segments from the Original 1954-1955 Studio Recording tape,
beginning with "That's All Right," the Song that Propelled Elvis's
Career, to be Cut, Certified, Numbered and Mounted on Commemorative
Plaques and Sold to the Public
* * *
Music Industry Artists and Veterans will witness this First Ever Cut
of a Certified Elvis Presley Original Master Source Tape Recording.
Graceland's Elvis Presley Enterprises to Receive Plaque Number (1)
WHAT: The official first cut of the original 1954-55 Sun Sessions
master recording tape made by Elvis Presley and his band. Master
Tape Collection, which unearthed and preserved this initial original
source recording of Elvis and his band, will officially cut, certify,
number and mount each 2-inch segment of this Sun Sessions Master Tape.
Each segment will comprise an authenticated collectible limited edition
plaque licensed by Elvis Presley Enterprises. The master tape has been
authenticated by recording industry experts, and historians Tony
Bongiovi and Jim Czak, and is licensed by Graceland's Elvis Presley
Enterprises. Those attending the invitation-only news conference in New
York will bear witness to the very first cut of this master tape and
will hear, first-hand, the off-the-record conversations between
Elvis, his band members and engineers from this historic recording.
WHEN: Tuesday, January 27, 2004 - 11:00 a.m.
WHERE: NOLA RECORDING STUDIOS 111 West 57th Street - 17th Floor
Penthouse (bet. 6th & 7th Aves)
WHO: Mike Esposito, President, and Master Tape Collection
Tony Bongiovi, Record Producer, Authenticator
Jim Czak, Owner and engineer, Nola Recording Studios
Joe Franklin, radio personality
Cousin Brucie, CBS FM radio personality
Joey Reynolds, radio personality
Pete Davidson and Todd Morgan, Graceland's Elvis Presley Enterprises
Representatives from the Smithsonian in Washington, D.C. and Christie's
Rock musicians and personalities to be named later
* * *
To me, this sounds like messing with a very significant piece of rock
'n' roll history for the sake of making a few bucks. What say you?
Mike
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Message: 19
Date: Tue, 20 Jan 2004 14:58:58 EST
From: Austin Roberts
Subject: Re: Scooby Doo / Ben Raleigh / Austin Roberts
Artie Wayne wrote:
> Austin........How ya' doin'? I didn't know you did the Scooby
> Doo records.....that's cool! My long time collaborator Ben
> Raleigh co-wrote "Scooby Doo Where Are You?" with David Mook.
> I once asked him which of the songs he wrote, that included,
> "Tell Laura I Love her" [Raleigh/Barry], "Wonderful, Wonderful"
> [Raleigh/Edwards], "Dead End Street" [Raleigh/Linden], and "[Meet
> me at] Midnight Mary" [Raleigh/Wayne], made the most money. He
> laughed and said, "Scooby Doo"....which he wrote in 20 minutes!!
Hey Artie,
Great to hear from you! Ben was a great writer, as are you.
Dave Mook was a nice man that I had the pleasure to do a little
work with circa '69,70.
I know they both have done well with Scooby, as it's still playing
somewhere all the time. I'm gonna sing a little bit of it in a
benefit for Gene Hughes in Nashville next month. It'll probably get
more audience reaction than the hits I've had as an artist.
What have you been up to lately?
Austin
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Message: 20
Date: Tue, 20 Jan 2004 15:11:55 EST
From: Al Kooper
Subject: Howard Tate / Barbara Jean English
Phil Milstein wrote:
> My own personal concert recollection to ask Al the K about is
> the Howard Tate show of a summer or two ago at the Harvard Square
> House of Booze, at which I saw him weave a masterful B-3 with a
> crack band behind Mr. Tate's blissful time-leap back to 1967.
> Any good stories of working with him? Did he rehearse at all with
> the band? Who were the other cats in the band? And, was Mr. Tate
> more aware of changes in music that've come down in the intervening
> years than he seemed? (not meant as a cut, believe me, as I so
> appreciated the apparent purity of the retro experience). By the
> way, I'd seen H.T. there in his first swing through a year or two
> prior, but without you at the wheezer it was just a bit lesser of
> a great experience.
Jeez Phil
Thanks for all the huzzahs !!!
As one gets older, one has less knowledge of the current music biz
unless they actually work for a company or somethin'. I usually dont
know anything in the Top Ten. I'm sure Howard follows less than I do.
Doesn't matter. We both know what counts for both of us and that's
ALL that matters. He's a wonderful, spiritual person and he DID make
rehearsals. And Lord, what a voice! I worked for zero income cause I
couldn't get tix and the seat on the organ bench was pretty damned good.
Mick Patrick:
> One of your old friends from the Aaron Schroeder days, Barbara
> Jean English, was at the S'pop Shindig in New York last summer.
> Remember her?
Of course.
She was the receptionist at Aaron Schroeder's office, where I was a
young virile songwriter who lusted after her like every other employee
there. I'm pretty sure none of us got past the typewriter, but Babs
was quite the looker...AND quite the singer. She sang all our girl-songs
demos and they were GREAT. Aaron cut a version of "Small Town Girl" on
Reprise with her about 1965. Dusty Springfield covered it and imitated
Barbara !!!!! A great gal and if anyone is in contact with her, send her
my breast...uhhhh...best!
Al Kooper
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Message: 21
Date: Tue, 20 Jan 2004 10:13:52 EST
From: J Berg
Subject: Re: The Blues Project -- Tommy Flanders
Non-Yehudi Tommy Flanders "solo" album is worth your listen --
some very nice material, singing and playing (by a good set of
session musicians). But another Jewish mother's son, David
"Blue" Cohen, also arose during that same era and is perhaps
even more worth your time exploring, being slightly prolific
(at least for a time) ....
J Berg
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Message: 22
Date: Tue, 20 Jan 2004 04:40:22 -0800 (PST)
From: Paul Bryant
Subject: Re: The long "El Paso" does exist in stereo
vanmeterannie wrote:
> The issue wasn't about the song never appearing in stereo,
> it's about the missing verse. If yours is stereo AND has
> these four lines at that point in the song, then you do
> have something that's been missing for many years!
My mistake - I thought the long version was the 4:20
version, I didn't know about the missing verse, so
many apologies. I promise to pay more attention.
pb
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Message: 23
Date: Tue, 20 Jan 2004 22:02:48 -0000
From: Art Longmire
Subject: Re: Sock It To Me Time: Strawberry Alarm Clock on "Laugh-In"
Back in the 80's or early 90's I saw a rerun of "Laugh-In" that
featured a terrific film clip of the Nitty Gritty Dirt Band doing
their great song "Buy For Me the Rain". The clip was somewhat
humorous and featured the group clowning around in what appeared to
be Civil War uniforms, with flowers popping out of their gun barrels.
In addition to the humor, there was a strong anti-war message to the
clip. I remember it was one of the earlier episodes, so it probably
dates back to 1968.
I was a huge fan of Laugh-In as a kid, but unfortunately I was not a
music fan during the early years that the show was on, so I have no
recollections of musical acts that may have appeared there. The show
I really remember having a lot of musical acts was the Smothers
Brothers show-I recall seeing Donovan, Jennifer Warnes (just billed
as "Jennifer" at the time) John Sebastian (I remember he did "Did You
Ever Have To Make Up Your Mind") and of course the regulars like Glen
Campbell, John Hartford, and Mason Williams, and also Steve Martin
plucking his banjo. Those were the days!
Art Longmire
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Message: 24
Date: Tue, 20 Jan 2004 22:13:32 -0000
From: markt439
Subject: Heaven Bound with Tony Scotti
I haven't seen any mention here about this great group.
Definitely one for Partridge Family fans to look for.
Kind of like what they would have sounded like if Susan
Dey could sing and she sang lead. Don't know anything
about this Tony Scotti guy but I know Michael Lloyd,
who was a sunshine pop genius, produced them.
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Message: 25
Date: Tue, 20 Jan 2004 22:53:23 -0000
From: Ken Mortimer
Subject: Re: Annie Haslam/October Project/Grey Eye Glances
Austin Roberts wrote:
> Hey Jules, That's some good info; I'll check those out.
> What do you think of Steeleye Span?
Steeleye Span - now you're talking! They're still going after
30 years!! Thankfully Maddy Prior has rejoined.
Ken
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