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SPECTROPOP - Spectacular! Retro! Pop!
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There are 24 messages in this issue.
Topics in this digest:
1. Variable Speed Oscilator/Hastening the track...
From: C Ponti
2. The Zombies Live On
From: Neb Rodgers
3. Re: No Greater Sin
From: Guy Lawrence
4. Homburg
From: Peter Kearns
5. Re: Bubblegum
From: David Coyle
6. Rev-Ola's Phantom Jukebox
From: S'pop Team
7. Re: sediS-B sdrawkcaB fo noitalipmoC :eR
From: Joe Nelson
8. Aurora label listing
From: Davie Gordon
9. Re: Austin Roberts Live?
From: Clark Besch
10. Caroline No
From: Richard Havers
11. Re: Elvis Sun Records master tapes
From: Mikey
12. Re: There Is No Greater Sin
From: Dan Hughes
13. Re: Stroboscope
From: Dan Hughes
14. Richard Hawley / Grey Eye Glances
From: Jules Normington
15. Russell Bridges (Leon Russell) and groupie life in Tulsa al la '70s
From: Bob Bailey
16. At Last and Brenda's BG singer
From: Albabe
17. Re: Austin Roberts Live?
From: Austin Roberts
18. Re: Thoughts on rarity / instrovox / label typos
From: Phil Milstein
19. Re: Biggest record label blunders!
From: Art Longmire
20. Re: 2003 top 10 albums
From: Peter Lerner
21. Re: The Cake
From: Art Longmire
22. Re: Biggest record label blunders!
From: Patrick Beckers
23. Re: Female collectors
From: mattmattador60
24. Re: Steve Tudanger & the Four-Evers
From: Mike Rashkow
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Message: 1
Date: Thu, 22 Jan 2004 05:52:53 -0000
From: C Ponti
Subject: Variable Speed Oscilator/Hastening the track...
On almost every session I remember from the 60s, there was a time
when the VSO would be brought out. After the tracks were mixed, we
would experiment to see if the cut was improved by being sped up a
hair. The effect was to compress and integrate the track. Also the
voices had more energy, (of course they were higher), and the
instruments had a more saturated sound. I continue in this tradition
even now, digitally, despite protest! Engineers want to kill me 'cause
they perceive it as a dated effect and they seek naked, documentarian
truth versus "it sounds like a hit!!" type compression. One would be
hard pressed to find a single in the 60's where VSO wasn't used. It
was ubiquitous. I hear it indelibly on Beatles, Spoonful, Hollies,Four
Seasons, Mamas & Papas tracks. This is why some songs seem tuned sharp
of "concert". If you sometimes wonder how a lead guitar part was
played at that speed.....maybe it wasn't!
-------------------[ archived by Spectropop ]-------------------
Message: 2
Date: Wed, 21 Jan 2004 21:55:59 -0800 (PST)
From: Neb Rodgers
Subject: The Zombies Live On
The Zombies live on. Well, two of 'em, anyway. And they're touring
the US in Feb. More info here:
http://www.pollstar.com/tour/searchall.pl?By=Artist&Content=A-BLUARG&PSKey=Y
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Message: 3
Date: Thu, 22 Jan 2004 10:16:53 -0000
From: Guy Lawrence
Subject: Re: No Greater Sin
Dan wrote:
> Guy, I think you've sparked a long-buried memory here. Is the
> full line "And there is no greater sin / Than what you're tryin'
> to do"? Where was the group from and what label were they on?
> I feel sure I know that song, and I was thinking it was a local
> group (from the midwest US).
You're right Dan, the Boys were referred to as the 'Beach Boys of
the Midwest' no less! After one surfy Soma 45 as the Four Wheels
they released a bunch of great tracks on several different labels
though with no national chart action. Well written and produced,
they remind me of "Today" era Beach Boys with nods to the Byrds
and Zombies here and there. Luckily the whole shebang has been
packaged together on one CD (with unissued tracks and radio spots
natch!) for your convenience and is available from Sundazed at:
www.sundazed.com
Guy
http://groups.yahoo.com/group/TweedleeDumsDrive-In/
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Message: 4
Date: Thu, 22 Jan 2004 11:05:41 -0000
From: Peter Kearns
Subject: Homburg
I just finished this version of Procol Harum's 'Homburg' for a cd my
brother is doing. I wondered if spectropoppers at large might be
interested in checking it out. I'm pretty happy with it.
http://www.peterkearns.net
Cheers, Peter.
-------------------[ archived by Spectropop ]-------------------
Message: 5
Date: Thu, 22 Jan 2004 06:33:05 -0800 (PST)
From: David Coyle
Subject: Re: Bubblegum
Somebody mentioned seeing a show by the reformed 1910
Fruitgum Co. I'd like to see that. I saw the Ohio
Express in Mansfield a few years ago, and they had a
similar thing going.
The only original member is Tim Corwin, who was
originally drummer of Sir Timothy & The Royals, the
band that went out on the road as the Ohio Express
from 1967 on. He is now the singer, backed by about
five younger guys and a couple of girl backup singers.
They did a purely bubblegum set, with not only the
OE's hits, but others by the Fruitgums, Crazy Elephant
and 1941 Dubble Bubble Trading Card Co. or whatever
they were called.
They put on a really good show...Tim had the Joey
Levine voice down pat. He has definitely come to terms
with the bubblegum past. The Ohio Express used to play
heavy psych on stage to avoid those sticky sticky
hits, but now, as I said, it's bubblegum music all the
way.
What is Mark Gutkowski of the 1910 Fruitgum Co. up to
now? I saw one clip of the group doing "Simon Says" in
1968, and the bass player looked very embarrassed,
making funny faces and shrugging his shoulders
whenever he was shown close-up. Wonderful piece of
'60s TV that.
David
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Message: 6
Date: Fri, 23 Jan 2004 01:10:29 -0000
From: S'pop Team
Subject: Rev-Ola's Phantom Jukebox
New @ S'pop Recommends - Rev-Ola's Phantom Jukebox
Vol I: "In The Garden - The White Whale Story", featuring Liz Damon's
Orient Express, Nino Tempo & April Stevens, Lyme & Cybelle, Laughing
Gravy, Dobie Gray + more.
Vol II: "Night Time Music - The B.T. Puppy Story", featuring the Tokens,
Randy & the Rainbows, Canterbury Music Festival, Beverly Warren, the
Sundae Train + more.
"The true nature of singles is the pursuit of the hit record . . . .
Thus, it's fascinating to hear the pursuit of the hit as carried out
by White Whale and B. T. Puppy, two successful singles-oriented
independent labels featured on the first two installments of Rev-Ola's
Phantom Jukebox compilations." (Country Paul)
Paul's review in full:
http://www.spectropop.com/recommends/index2004.htm#PhantomJukebox
Enjoy!
The S'pop Team
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Message: 7
Date: Thu, 22 Jan 2004 10:29:59 -0500
From: Joe Nelson
Subject: Re: sediS-B sdrawkcaB fo noitalipmoC :eR
Robert R. Radil wrote:
> This is going a little off your topic but "Mirage" by Tommy James
> & The Shondells is based on "I Think We're Alone Now" played
> backwards.
Glenn responded:
> Myth. Total myth.
> It's weird how these things get started. Tommy James once laughed in
> an interview about the fact that the chord sequence of the chorus
> of "Mirage" was created, by writer Ritchie Cordell, by taking the
> chord sequence of the chorus of "I Think We're Alone Now" and playing
> it backwards - in other words, reversing the order of the chords.
> James thought this was funny because it showed how formulaic the
> creation of a hit could be. In a later interview he shortened the
> comment by simply saying that "'Mirage' is 'I Think We're Alone Now'
> backwards."
When Bob Radil first brought this to my attention, I promptly ripped a
wav file of "I Think We're Alone Now" and played it backwards using
Sound Forge. It turns out the melodies also match, and the backward
drum part in question matches the bongo solo at the end of each
chorus. Try it out.
(Bob, incidentally, discovered this as a kid when he wired a cheap
record player to spin backwards. He played ITWAN a few times, then
wondered a couple of months later when "Mirage" was released why it
sounded familiar.)
Joe Nelson
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Message: 8
Date: Thu, 22 Jan 2004 17:45:29 -0000
From: Davie Gordon
Subject: Aurora label listing
AURORA RECORDS, distributed by Amy/Mala/Bell [see below]
Any help in filling in missing credits and matrix numbers would be
appreciated.
I think "Ronga", the co-writer of the Jorge single, might well be Bob
Ronga. He was a member of a good garage band called the Teddy Boys
("Mona" and "Where Have All The Good Times Gone" on Cameo). I suspect
he's the same guy who went on to be a member of Ian Matthews' seventies
group Plainsong, but have yet to see this confirmed anywhere. Most
seventies groups tended to see being a member of an unsuccessful group
in the sixties as an embarrassment that was best never mentioned. Can
any Fairports alumni fans confirm this, or am I suffering from one of
my periodic data-overloads ?
While David Mook's name is being mentioned, it should be remembered
that he was the first producer for the great Lou Johnson. He gets
credits for "If I Never get To Love You" and "You Better Let Him Go",
then Burt Bacharach took over. Lou Johnson's a guy who is loooooooong
overdue for a CD compilation. He has tracks available on various
compilation CDs, but I want ALL of it in one place.
Davie Gordon
_______________________________________________
150 EDDIE HODGES (1965)
ACROSS THE STREET
SHE DOESN'T LOVE ME (Randy Newman)
Prod : David Mook for P, P & F prod.
Arr: David Gates
151 JOEY BROOKS
A LITTLE BIT OF RAIN
?
Prod :
152 JOEY BROOKS
YOU BETTER MOVE ON
NEIN, NEIN,FRAULEIN
Prod :
153 EDDIE HODGES (06/65) UK : Stateside SS442, 07/65
NEW ORLEANS (Frank Guida,Joe Royster)
HARD TIMES FOR YOUNG LOVERS
Prod : David Mook for P, P & F prod.
Arr: Gene Page
154 JIMMY RADCLIFFE
MY SHIP IS COMING IN (Joey Brooks) 6453
GOIN' WHERE THE LOVIN' IS 6454
Joey Brooks - arr/prod.
155 BARBARA ENGLISH
(YOU GOT ME) SITTIN' IN THE CORNER (Al Capps,Mary
Dean) 6492
STANDIN' ON TIP TOE (Jimmy Radcliffe,Philips
Swern) 6493
Prod. David Mook
156 EDDIE HODGES (10/65) UK : Stateside SS469,11/65
LOVE MINUS ZERO - NO LIMIT (Bob Dylan)
THE WATER IS OVER MY HEAD (Al Kooper)
Prod. David Mook for P, P & F prod.
Arr: Jack Nitzsche
157 THE WHEEL-A-WAYS UK : Columbia DB7827;flip
DB7682
BAD LITTLE WOMAN
(Tinsley,Catling,Demick,Rosbotham,Armstrong) 6614
DON'T YOU KNOW
Scott-Solomon Productions
[UK releases credited to The WHEELS, 'Bad Little Woman' was
covered in the US by the Shadows of Knight on Dunwich]
158 JAMES GALT UK : Pye 7N17021
A MOST UNUSUAL FEELING
(Gallagher,Lyle) 6654
WITH MY BABY
no producer credits
159 SKIP BATTYN AND THE GROUP
NIGHT TIME GIRL (Al Kooper,Irwin
Levine) 6689
THE DATING GAME THEME
Past Present & Future Productions
160 THE PENDULUMS
LOVE IS SUMMERTIME (Ritchie Adams,Irwin
Levine) 6769
WHERE THERE'S SMOKE THERE'S FIRE (Al
Kooper) 6770
Prod : Ritchie Adams & Irwin Levine
161 EDDIE HODGES
HITCHHIKE (Marvin Gaye,Wm.
Stevenson) 6849
THE OLD RAG MAN (Al
Kooper) 6850
Prod : David Mook for P, P & F prod.
162 ROBB STORME GROUP UK : Columbia DB7993
HERE TODAY (Brian Wilson,Peter Asher)
DON'T CRY
Prod : Monty Babson
163 TWINKLE (08/66) UK : Decca F12464;flip F12305
WHAT AM I DOING HERE WITH YOU (P F Sloan,Steve Barri)
END OF THE WORLD (Dee,Kent)
Prod : Tommy Scott
164 AL KOOPER
NEW YORK'S MY HOME (Al Kooper)
8012
MY VOICE, MY PIANO AND MY FOOT (Al Kooper)
8013
Prod : arr - Artie Butler
165 THE FUNKY SISTERS
SOUL WOMAN (Hayes,Porter)
8676
DO IT TO IT (Derrell Jackson)
8677
Prod : Derrell Jackson for Past,Present and Future Productions
166 JORGE
EVERYBODY WANTS TO BE LOVED
(Schroeder,Barberis,Ronga,Goehring)
TIC TAC TOE (Schroeder,Goehring)
Prod : David Mook for PP&F Prod. arr ; Joe Renzetti
-------------------[ archived by Spectropop ]-------------------
Message: 9
Date: Thu, 22 Jan 2004 18:37:14 -0000
From: Clark Besch
Subject: Re: Austin Roberts Live?
Austin Roberts wrote:
> ...my friend Gene Hughes' Benefit in Nashville in February. I'll
> probably get the bug again and maybe do some more dates since my
> 3 kids are grown now. Also, I'm interested to see if I can remember
> any lyrics. Ha, who knows, but I used to love performing.
Orion: wrote
> Austin, I believe you will be terrific. If you get anywhere near
> Omaha, NE please let me know. I wouldn't miss a concert by you.
Ditto, since I'm in Lincoln!
Clark
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Message: 10
Date: Thu, 22 Jan 2004 22:39:01 +0000
From: Richard Havers
Subject: Caroline No
Just browsing through the New Musical Express of April 1 1966, the
sort of thing you do on a winter night in the hills. I chanced upon the
first review of Brian Wilson's 'Caroline No'/'Summer Means New
Love'. I quote:
"If you're expecting a stimulating surf sound from the leader of the
Beach Boys, you're very much mistaken. Supported by background humming
Brian only once zooms to falsetto. Might just make it on the strength
of group's popularity, but not normal chart material."
I think he was saying it was a flop!
Richard
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Message: 11
Date: Thu, 22 Jan 2004 17:15:59 -0500
From: Mikey
Subject: Re: Elvis Sun Records master tapes
The reverb/echo chamber on the Elvis Sun stuff was NOT added
at the time of recording. There was a small amount of "slapback"
echo added during the original recording. The echo you hear on
the Elvis Sun stuff was done in the late 50s, when RCA dubbed
all the Sun tapes to new masters. They added the echo at that
point. Sadly, many of the original "clean" Sun tapes were lost
so that all the now remains are these "dubbed with extra echo"
tapes. The only way to hear what Elvis really sounded like on
Sun is to get some clean Sun 78s or 45s. They do exist.
-------------------[ archived by Spectropop ]-------------------
Message: 12
Date: Thu, 22 Jan 2004 16:11:02 -0600
From: Dan Hughes
Subject: Re: There Is No Greater Sin
Al quotes lyrics:
> She's a poor man's daughter she don't do the world no harm
> She goes to church on Sunday & no one has to twist her arm
> But you sit there and boast of how you'll wreck her when you're through
> Ahhh there is no greater sin, than what you're tryin' to do....
Yep, that's it! Now can someone please play it to musica??!
Thanks,
--Dan
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Message: 13
Date: Thu, 22 Jan 2004 16:07:44 -0600
From: Dan Hughes
Subject: Re: Stroboscope
Wendy Flynn wrote:
> Hey S'Poppers......anyone know where I can buy a stroboscope
> online? It's a paper circular device you put on your turntable
> to make sure it's playing at the right speed. An English website
> was selling them a few years ago but I cant seem to find
> it now. Thanks!
Wendy, do you have a large album collection? Back in the sixties,
a lot of albums released on the Audio Fidelity label (pretty sure
that's the one; anyone confirm?) had the strobe bars printed right
on the label.
You have to have it under a fluorescent light to make it work ....
--Dan
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Message: 14
Date: Fri, 23 Jan 2004 03:04:53 +1100
From: Jules Normington
Subject: Richard Hawley / 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?
Geez...I drop off to hang with the kids for a few days and another 250-plus
posts...but you jus' gotta love all the activity going on here.
Yep, Austin, I liked Steeleye Span enough in the early to mid '70s to buy a
few albums and go see them live out here, then fell away around "Commoner's
Crown"...of that ilk of the folk bloodline. I was more a Fotheringay/
Fairports fan -- too many reels and jigs soon enough weren't my
bag anymore (but Maddy's voice was a treat, I gotta admit. It's the more
moodier, ethereal stuff now that gets me. Early All About Eve was another,
and Sylvia Tosun is a gem! Grey Eye Glances "Painted Pictures" was the one
that got me hooked on them so that may be a good place to start.
Another tip re an utterly amazing album with not one note out of place: try
Richard Hawley's "Late Night Final" -- specifically that one (he has an
alnost-but-not-quite as good second album too). "LNF" is loaded with the
most beautiful melodies, dream lyrics, and the most effortless singing voice
you've ever heard .I mean it -- I'd go as far as to defy anyone on this list
not to like it. The production is simply awesome, too. I don't want to
pretend it's Spector-ish, or girl-group-ish (natch ...he's a bloke after
all), or even '60s-ish, but it's smoother than the finest wine, and has
almost the same effect. It's powerful and gentle, at the same time, and
at times ethereal, sometimes sad and wistful (not much), as pure as can be,
and pretty definitely the first Desert Island Disc I'd pick. I'm not really
that sure what else to say to convince you to go out and find it, but I do
suggest lying on the floor with your head on a soft pillow for the first
listen -- you'll sigh a couple of extra inches into it from the first few
notes.
(Would love feedback from anyone who may have lucked onto it already!)
-------------------[ archived by Spectropop ]-------------------
Message: 15
Date: Thu, 22 Jan 2004 17:12:03 -0000
From: Bob Bailey
Subject: Russell Bridges (Leon Russell) and groupie life in Tulsa al la '70s
While spending high school years and adulthood in the Tulsa area, it
was always a quest for us psuedo-groupies to see if we could meet
those stars that regularly lived or visited in Tulsa. This was a very
time consuming process, as you might guess -- a lot of beer and zig-zags
went into this effort over the years.
Leon Russell was always the hardest to interface with, as he was
seemingly arrogant and inaccessable, but probably in retrospect was
tired of people doing what we were doing.
We got tossed off Galaird Sartain's mother's property by none other
than Garaird himself a few times. I spent many Saturday nights at
Channel 8 trying to get a seat on Mazzeppa Popazoids Uncanny Film
Festival and Camp Meeting (Galaird's ahead-of-his time-show for the
chemically inebreited). Ran into Dwight Twilly at a local club a time
or two, he was always friendly and accessable. Leon had a house
near this park (Wooward Park). and once early in the morning ran
into an English-accented fellow on a bench looking at the roses a la
Eric Clapton visiting Mr. Russell up the street. The late Jesse Ed
Davis was gentle and kind -- friendly. His dad was a riot when under the
influence of beer.
A good place to go was the Guitar House. We found Elvin Bishop there
buying a guitar -- he was nice. If you were lucky you could encounter
Roy Clark at Jim Halsey's office (his manager). if you drove over
there enough times. He is without a doubt one of the most accessible
guys, there were practically invites to the house for dinner.
And we even went to Jenks America to get beer at the Git n' Go when
the Hanson's were still breastfeeding. May have seen them being
pushed in strollers, who knows.
Looking back at my life, Tulsa was one of the most exciting cities for
its size one could imagine. Much talent has come from that area, as
we all know, and don't forget Woody Guthrie from Okemah (been there
too!). I had a blast groupie-combing the place, as we did. Met a few
others, but can't think of them right now. Hope I didn't bore you guys,
but felt compelled to share the adventures we had. Don't regret a
single mistake I made.
Bob
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Message: 16
Date: Thu, 22 Jan 2004 13:19:50 -0800
From: Albabe
Subject: At Last and Brenda's BG singer
Mike Rashkow said of the Breathless Shivers induced during
"At Last" by Etta James:
> Second that emotion! Who wrote those string parts?
Gawd, I wish I knew ... makes my heart go all a-twitter... gets
my GF even crazier.
And of similar breathlessness: The amazing soprano background
singer in Brenda Lee's "I'm Sorry," who, during Brenda's
heart-felt recitation, echoes that gorgeous melody from a palm-
tree-swaying, soft-breezed beach in the balmy just-out-of-reach,
sun-setting distance ... are two of my all-time fave breathless
shivers.
-------------------[ archived by Spectropop ]-------------------
Message: 17
Date: Thu, 22 Jan 2004 17:01:35 EST
From: Austin Roberts
Subject: Re: Austin Roberts Live?
Orion,
I'll sure let you know. Gonna go slow, since I've been away from Nashville
for 5 years and need to get back in the writing groove again.
Take care, Austin
-------------------[ archived by Spectropop ]-------------------
Message: 18
Date: Thu, 22 Jan 2004 16:50:24 -0500
From: Phil Milstein
Subject: Re: Thoughts on rarity / instrovox / label typos
DJ Jimmy B wrote:
> The desire for rarity comes more I think from overexposure
> to the everyday than a desire for rarity for its own sake,
> although a bit of that pathology creeps into my searches on
> occasion. Rarity implies to me unheard and unknown and when
> it comes to picking up oldies, since I've heard so much during
> my 55 years, I need something 'new' and at this stage of the
> game that means rare practically by definition.
One of the main reasons I'm more prone to be interested in a rare
record or obscure artist than a great popular one (f.e., my collection
includes just a few select Elvis and Beatles records) is because the
popular artists don't need any more exposure than they already have,
whereas the lost records and artists need every single fan and word
of praise that can be mustered. Since I, like all of us, lack the
time (not to mention money, space and energy) to pay attention to
every worthwhile piece of music out there, I generally choose to
attend to the lesser-known.
Put it this way: who would be more appreciative of an interview with
them published in a small fanzine, Paul McCartney or The Gamma Goochee?
previously:
> And while we're on the subject, howzabout "Magic Star," the
> vocal "Telstar"? I have a version by country singer Margie
> Singleton (on Mercury, naturally, since she was Mrs. Shelby S.).
Of course, Joe Meek made a few vocal recordings of Telstar himself!
Although only wordless demos, they are infamous in "outsider music"
circles, in a Linda McCartney/Hey Jude sorta way.
On the topic of label typos, Nervous Norvus's Big Ben release "Does
A Chinese Chicken Have A Pigtail" omitted the word "Chicken" on the
label, rendering a strange and probably racist title even more so.
--Phil M.
-------------------[ archived by Spectropop ]-------------------
Message: 19
Date: Thu, 22 Jan 2004 20:03:17 -0000
From: Art Longmire
Subject: Re: Biggest record label blunders!
Denny wrote:
> Anyone else have any other blunders to add? Let's hear from ya!
I have a great 1970 LP by a South Korean rock group doing covers of a
number of rock songs of the era, along with some originals by the
group. The album has song titles and lyrics, in English, printed on
the back cover, and among the songs is listed "Fire" by the Jimi
Hendrix Experience. When I first got this, I thought, "Great, an
Asian group covering Hendrix -- this ought to be good!" Well, when I
queued up the track on my turntable, out came a cover of "Fire" by
The Crazy World of Arthur Brown ... it still sounded good, though!
Interesting that both of these "Fires" came out at roughly the same
time -- I don't blame them for getting confused.
Art Longmire
-------------------[ archived by Spectropop ]-------------------
Message: 20
Date: Tue, 20 Jan 2004 22:11:25 -0000
From: Peter Lerner
Subject: Re: 2003 top 10 albums
> Bill George wrote:
> I don't know if anyone else has posted year-end lists. But I thought I'd
> post mine in case anyone is interested.
OK. My top 10 albums of 2003 are:
1. Jackie DeShannon: Jackie....... Plus
Do I need to comment?
2. Various Artists: Phil's Spectre - A wall of soundalikes
Not just because this is Spectropop......
3. Various Artists: Singing with Emmylou 2
Excellent Raven compilation
4. The Waifs: Up all night
Australian folk band
5. Maria Muldaur: Classic live
Girl really enjoying herself
6. Dionne Warwick: Soulful
Rhino Handmade reissue of Dionne's Memphis album
7. Rick Shea and Patty Booker: Our ShangriLa
California country
8. Amy Allison: No frills friend
Scottish California country
9. Natalie Merchant: The house carpenter's daughter
Spine-chilling vocals
10. Detroit Cobras: 7 easy pieces
Try 'em poppers, they're worth it!
Peter
-------------------[ archived by Spectropop ]-------------------
Message: 21
Date: Thu, 22 Jan 2004 22:00:14 -0000
From: Art Longmire
Subject: Re: The Cake
Mike McKay wrote:
> I know I saw the Cake at least one other time on TV in addition
> to their Smothers Brothers performance; perhaps even more than
> that. The original poster's description of the blonde member
> standing stock still and singing with a glazed-eye expression
> as if she were stoned out of her mind is spot-on. This was her
> standard shtick, and she performed this way all the times I saw
> them.
Hello Mike,
I erred when I said the Cake were from Sacramento -- I was thinking
of another all-girl band called She who hailed from there. The band
She was active around 1969-1970, and had quite a hard garage-rock
sound.
Art Longmire
-------------------[ archived by Spectropop ]-------------------
Message: 22
Date: Thu, 22 Jan 2004 19:22:45 +0100
From: Patrick Beckers
Subject: Re: Biggest record label blunders!
The biggest record label blunder that I have in my collection is an album on
Harvest from 1978 by the duo of Marshall Hain (who had a #1 hit in Europe
that year with Dancing In The City). On the (Dutch) pressing that I have,
side one is side one of the album called Free Ride. But, side two is NOT
side two of that album. No, side two of the Marshall Hain album is side
two of another Harvest album, The Shirts' debut album from that same
year. Since the hit of the MH album is on side 1, not that many people
may have noticed this blunder!
Patrick Beckers
-------------------[ archived by Spectropop ]-------------------
Message: 23
Date: Thu, 22 Jan 2004 22:27:23 -0000
From: mattmattador60
Subject: Re: Female collectors
Country Paul wrote:
> Where do you live?
ATLAYN-TA JAW-JA
-------------------[ archived by Spectropop ]-------------------
Message: 24
Date: Thu, 22 Jan 2004 17:48:25 EST
From: Mike Rashkow
Subject: Re: Steve Tudanger & the Four-Evers
Mick Patrick:
> Any thoughts on Steve Tudanger, Al? Rashkovsky tells us Steve's not
> in the best of health these days, alas.
Mick, thanks for mentioning Steve's situation. He can't play keys
anymore because his strokes left him a bit disabled. He can't drive
a car. He's not on-line or I'd have brought him in as a member.
I feel it would be nice to let him know that many people still know
that he made a real contribution to music.
Here's what I propose:
If anyone would like to send a Hello note to Steve, send it to him at
this address: Bookedybookedy@aol.com
That is an address of mine. I will print them out and mail them to
him in a nice litle package from the Members of Spectropop.
Please use a larger type font than usual as he has problems reading
regular type and has to use a magnifying glass. Anything 16 pt. or
larger should make it easy for him.
Thanks
Mike Rashkow
-------------------[ archived by Spectropop ]-------------------
SPECTROPOP - Spectacular! Retro! Pop!
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