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SPECTROPOP - Spectacular! Retro! Pop!
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There are 25 messages in this issue.
Topics in this digest:
1. Re: Four Evers Noisy CD
From: Tom Taber
2. Re Vance & Pockriss
From: Tony Baylis
3. Re: Kusick-Anton
From: Al Kooper
4. Re: Mary Hopkin
From: Mike
5. Re: Sammy Davis Jnr
From: James Botticelli
6. Songs that "quote" others
From: Steve Harvey
7. Re: Biggest record label blunders!
From: Clay S
8. Re: Bubblegum Acts Play Psych
From: Austin Roberts
9. Re: "I Love You More Than You'll Ever Know"
From: Bob Radil
10. Re: Spine Shiverers / Big Finishes
From: Austin Roberts
11. Emitt Rhodes article
From: S'pop Team
12. Re: Sings The New Sound From England
From: Bob
13. Re: Unchained Melody
From: Al Kooper
14. Re: Summertime Guy
From: Ed Rambeau
15. Re: Thanx To Austin and Others - Love This Group!
From: Austin Roberts
16. RE: Scooby - Austin Roberts Connection
From: Scott Shot
17. Re: "I Love You More Than You'll Ever Know"
From: Doug Richard
18. Re: "I Think We're Alone Now" sdrawkcaB :eR
From: Robert R. Radil
19. Buffalo Nickels
From: Steve Harvey
20. Re: Change in direction / Colours
From: Billy G Spradlin
21. Re: budget vinyl / Elvis' Sun master tapes
From: Mikey
22. Re: Johnny Tillotson
From: Mark Wirtz
23. Re: "Porpoise Song" in stereo
From: Rat Pfink
24. Re: Shirley Matthews
From: Ed Rambeau
25. Re: Forthcoming 'Smile'
From: Paul Bryant
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Message: 1
Date: Sat, 24 Jan 2004 08:01:17 -0800 (PST)
From: Tom Taber
Subject: Re: Four Evers Noisy CD
Mark wrote:
> I have over 2,000 CDs in my collection and this is by
> far the worst sounding thing I have. Most of the songs
> are taken off of horrible condition, scratchy records
> with no attempt whatsoever made to de-noise them or
> clean them up.
My pet peeve - cds (usually of questionable legality)
made from 45s that no one even bothered to put in
mono! Minor pops and clicks are so much less annoying
if they're not the only stereo effect on an otherwise
mono recording. $5 worth of RCA plug connections will
put the source into mono. I also urge anyone making
cdrs to put an equalizer between their receiver and
the cd recorder - cds, 45s, and lps vary so much in
their volume that without one, sound levels are all
over the place.
Tom Taber, reasonable guy or anal-retentive
perfectionist - you be the judge!
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Message: 2
Date: Sat, 24 Jan 2004 16:10:39 -0000
From: Tony Baylis
Subject: Re Vance & Pockriss
Alan Warner "There was also the novelty song WHILE THE RECORD GOES
AROUND by The Playmates which was a big radio hit in
the UK when EMI released the original American version
on their local Columbia label in 1958."
"While the Record Goes Around" is not a novelty song, but maybe you
are thinking instead of a Vance/Pockriss song also by The
Playmates 'What Is Love'. US #15 1959 .. 'Sways with a wiggle with a
wiggle when she walks, sways with a wiggle when she walks .....' of
course, they are referring to her ponytail (Drat).
On the subject of WTRGA, this was a B side in the US, with the
A, "The Day I Died", charting at #81 1958. I recall that Sam (Costa
maybe ????) someone, used "While The Record Goes Around" as the
theme to a 15 minute record show on the wireless.
Again concerning The Playmates, they did a vocal version of the
theme from the film "On the Beach" which I believe was an
instrumental in the film.
Tony Baylis
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Message: 3
Date: Sat, 24 Jan 2004 11:10:42 EST
From: Al Kooper
Subject: Re: Kusick-Anton
Previously:
> The writers credited with the "A" side were Kusick-Anton,
Kusick was probably Larry Kusick, a NYC songwriter I wrote
some songs with in my youth..
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Message: 4
Date: Sat, 24 Jan 2004 11:52:54 EST
From: Mike
Subject: Re: Mary Hopkin
Phil M. wrote:
> Does anyone know what Mary Hopkin does these days?
I recall reading an extensive interview with Mary within the past few years,
possibly in Goldmine or DISCoveries. She's alive and well, still recording,
had lots to say about her years of fame. For one thing, she actively hated songs
like "Knock, Knock, Who's There" -- didn't like the song to begin with, and
also I think generally chafed at her sweetness and light image.
A post subsequent to the above noted that another round of Apple albums is
due for the CD reissue treatment songs, and among them was Mary's second album
"Earth Song, Ocean Song," which is very good indeed. A great selection of
songs, and it benefits from the absence of McCartney's occasionally heavy-handed
production on "Postcard."
Mike
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Message: 5
Date: Sat, 24 Jan 2004 11:16:55 -0500
From: James Botticelli
Subject: Re: Sammy Davis Jnr
Howard wrote:
> Sammy Davies Jr. did a vocal to Hawaii 5-0 which was an album track,
> but I'm damned if I can remember the title of either now.
> Spectropoppers - help :-) This track gained a certain amount of
> 'fame' due to spins at the Wigan Casino.
Simon White wrote:
> Howard, it was "You Can Count On Me", which of course you knew, and I
> can't remember the album title either, but it was on 20th Century. It
> came up on Spectropop before I think.
> Sammy has two later (minor) Northern plays with "The Shelter Of Your
> Arms", also done magnificently by the great Bobby Sheen, and "Not For
> Me", the Bobby Darin song.
Clap...I just kumpleeted a CD-R called "Sammy Davis Junior Now!" in which
all his 'groovy' work gets its day in the sun. With help from Z-Dog~
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Message: 6
Date: Sat, 24 Jan 2004 09:06:21 -0800 (PST)
From: Steve Harvey
Subject: Songs that "quote" others
I always liked tunes that hint at another song with a
bit of a riff or lyrics.
For example: Bang A Gong ends with "meanwhile I'm
still waiting" which is a swipe off of Chuck Berry's
"Carol";
Bryan Ferry's "Let's Stick Together" which quote "Can
I Get A Witness?" with "somebody, somewhere, tell her
it ain't fair";
The Box Tops "Cry Like A Baby" ends with "You left the
water running";
The Drifters' "Under the Boardwalk" has the music riff
from "Up On the Roof";
The Beatles' "All You Need Is Love" has McCartney
singing a snippet of "She Loves You", for some reason
when I first heard this I took it to mean that Beatles
were breaking up because they were mocking their own
material;
Sugarloaf's "Don't Call Us" uses the "I Feel Fine"
riff.
Your turn.
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Message: 7
Date: Sat, 24 Jan 2004 18:39:36 -0000
From: Clay S
Subject: Re: Biggest record label blunders!
The Kingsmen's "Louie Louie" is listed at the (approximately)
correct time of 2:42 on the original Jerden 712 pressing. When Wand
picked it up the time was somehow changed to 2:24. Deliberate or
typo error -- anyone know? The error has been repeated on numerous
reissues.
Clay S.
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Message: 8
Date: Sat, 24 Jan 2004 13:47:09 EST
From: Austin Roberts
Subject: Re: Bubblegum Acts Play Psych
Previously:
> 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.
David Coyle wrote:
> Sounds like the case of The Lemon Pipers, who fancied
> themselves a heavy psych band and were reportedly not too
> thrilled at the material they were made to record.
> However, these guys could actually deliver the psych goods
> when permitted. "Through with You" from their first album
> is a psych classic...though most of you guys would probably
> hate it -- all eight minutes plus of it!
Hey Mike,
Along those lines,when Johnny Cymbal had Cinnamon out under
the name of Derek. (who was actually his brother) he decided
to send his bro Derek out as the artist. Unfortunately, Johnny
hadn't heard Derek's group in a a couple of years. Anyway,I was
at Bang Records (NYC) one night with Johnny ,when an irate call
came in from a club owner in the midwest. When Johnny first picked
up the phone all he could hear was a raucous Cream like version of
Cinnamon in the background as the owner held the phone up. When he
got back on the phone he started screaming about the group
representing themselves as Derek. Cymbal calmly said to the guy
"Here's the real Derek, talk to him" as he handed an unsuspecting
Austin Roberts the phone. Such was my buddy Cymbal. Loved him for
that kind of quick wit, just wished it had been someone else sitting
next to him that night.
Austin
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Message: 9
Date: Sat, 24 Jan 2004 19:31:03 -0000
From: Bob Radil
Subject: Re: "I Love You More Than You'll Ever Know"
I wrote:
> Regardless of your intentions, "I Love You More Than You'll Ever
> Know" ended up being one of my favorites. I was a bit dissapointed
> hough last year when filling in on "The 60s Show" on WNHU/New Haven
> when I played it from CD and it turned out to be from a different
> take or recording from what I remember on the original vinyl LP.
Al Kooper wrote:
> Could only have been the CD SOUL OF A MAN - which is a live album
> from 1995. BTW I just remixed CHILD IS FATHER TO THE MAN in 5.1
> Surround Sound and remastered the stereo tp SACD. Dont know when
> they'll (SONY Legacy) release it but it's darned good.
I don't know. It didn't sound live. I'll have to get my original LP
out of storage and compare it to the CD at the station. If it *is*
the same take after all, we can just blame my aging ears! In any
case, I'll get back to you on this.
Bob Radil
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Message: 10
Date: Sat, 24 Jan 2004 14:35:54 EST
From: Austin Roberts
Subject: Re: Spine Shiverers / Big Finishes
John Sellards:
> ...or the great last chord of "Been So Long" by the Pastels.
> Maybe this is a new thread - great endings????
Naw. Rashkow had gone off center with something (as Mike is
prone to do, which makes him an interesting dude) and I was
just trying to get back to great endings, vocals, etc.
How about Billy Stewart's vocal ending on Summertime (for that
matter his whole vocal)?
Austin
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Message: 11
Date: Sun, 25 Jan 2004 07:30:47 -0000
From: S'pop Team
Subject: Emitt Rhodes article
[from Message #18386]
> Thought you folks might be interested in the cover story on
> Emitt Rhodes that ran in yesterday's CityBeat out here in LA.
> http://www.lacitybeat.com/article.php?id=583&IssueNum=33
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Message: 12
Date: Sun, 25 Jan 2004 06:02:14 -0000
From: Bob
Subject: Re: Sings The New Sound From England
Previously:
> and the ill fated "Sings The New Sound From England"
Al Kooper:
> I actually like that album.
> It was obviously an attempt by Bobby Vee to "steal" the
> Beatlesound before it acrtually got over here, but those
> Merseylads moved just a little too fast for the Bobmeister.
> To me it's like having an extra dose of Lennon-McCartney
> early tunes on hand. Imitation? Why yes....but quite well
> done and the sincerest form of flattery.
Al,
I liked the album too, but the poor guy was crucified for
making it! Actually, BV was onto the Beatles very early on.
He did shows with them when they were hot in England and
totally unknown here, and knew at some point they were going
to be huge in the USA also. Snuff Garrett was trying to get
Al Bennett to sign them to Liberty in the worst way but Al
didn't want to hear about the $50,000 price tag at the time!!
Bobby told me he did that album as a tribute to the Beatles
sound and never expected that kind of reaction. That may have
been a bit naive, but it wasn't like he hadn't done other
tribute albums already! Btw Al, your tune on the "Look At Me
Girl" album, "Fly Away", is right there with the best cuts on
the album. One thing about Bobby Vee is that he could do justice
to a good piece of material, and "Fly Away" is a really good
piece of material!
Bob
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Message: 13
Date: Sun, 25 Jan 2004 00:44:06 EST
From: Al Kooper
Subject: Re: Unchained Melody
Andrew Hickey:
> Some guy?! Al Hibbler was only the singer with Duke Ellington's
> band for 7 years, and one of the *very* few singers with
> Ellington ever to actually have a half-decent voice...his
> version of "Trees" is probably his best known performance.
Naaah !!!!
Unchained Melody - original version
After The Lights Go Down Low - huge hit
My favorite thing about Al Hibbler, a blind, black man, was
he would randomly break into a British accent in the middle
of a song for one line; for no apparent reason. He's my fave
50s singer for that reason alone !!
Al Kooper
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Message: 14
Date: Sun, 25 Jan 2004 00:04:14 EST
From: Ed Rambeau
Subject: Re: Summertime Guy
JB writes:
> Piping in for that Swan Baby, "Summetime Guy". It was a
> HUGE hit in Lexington Massachusetts on WCOP-AM (now defunk)
> in 1962. Me and my home boys did pre-karaoke to it the entire
> summer. so Eddie, as you were known then, you got the job done.
See that....and I never even knew till now. 1962 to 2004 are
a lot of years to have not known something. But better late
than never. Thanks, JB, for clueing me in.
Ed Rambeau
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Message: 15
Date: Sat, 24 Jan 2004 12:44:12 EST
From: Austin Roberts
Subject: Re: Thanx To Austin and Others - Love This Group!
Dr. Mark:
> I just want to thank Austin and others who have answered
> or commented on my questions.
Hi Dr. "Mark",
As someone who has spent his whole life (since 16,except for
a stint in the Marines) involved in music,it's people like
you that I appreciate the most because you've never lost your
excitement level for the music of the times that I feel were
the best in pop music.
Many thanks to you Mark and everyone like you,
Austin Roberts
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Message: 16
Date: Sat, 24 Jan 2004 14:04:18 -0600
From: Scott Shot
Subject: RE: Scooby - Austin Roberts Connection
Joe Nelson wrote:
> Cool info from Austin: He wrote and sang lead on "Pretty Mary
> Sunshine" and "Seven Days A Week" from the great, original
> SCOOBY DOO cartoon. Both songs are among my two boys' favorites!"
Cool info for sure for us Saturday morning tune lovers. Of course, "Pretty
Mary Sunlite" was actually sung by Jerry Reed, as it was part of the Scooby
Doo Movies series.
But I was wondering if Austin might share some insight on how he got this
Scooby Doo gig. Also, I've always thought the sound of "Seven Days A Week"
was very Archies. Obviously, the success of that musical series was the
impetus for the Scooby Doo tracks. But did Hanna Barbera actually say they
wanted an "Archies sound"? And how many tracks did you record for the show?
How did they present the idea, seeing as there was no actual rock band in
the show?
Also, I have heard for years that an album was released in '69 or '70 that
included the music from the Scooby Doo series (like those Archies & Josie &
the Pussycats gems). I've never been able to find any evidence of it,
though, in my 20+ year search. Does it really exist?
The CD "Scooby-Doo's Snack Tracks" was released by Rhino in 1998. The first
half is pretty great, but it takes a turn toward the unlistenable about
halfway through when you get to the songs that Hanna-Barbera wrote
themselves.
Sorry for the revival of the Scooby topic-- I have just now mananged to get
to those digests from the new year! This group is sending out 200K worth of
messages daily! It's incredible... and rather daunting to keep up with.
Scott
in Houston
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Message: 17
Date: Sat, 24 Jan 2004 20:31:51 -0000
From: Doug Richard
Subject: Re: "I Love You More Than You'll Ever Know"
Al Kooper wrote:
> Could only have been the CD SOUL OF A MAN - which is a
> live album from 1995. BTW I just remixed CHILD IS FATHER
> TO THE MAN in 5.1 Surround Sound and remastered the stereo
> tp SACD. Dont know when they'll (SONY Legacy) release it
> but it's darned good.
Sounds like I'll be buying my third or fourth copy of that
record soon...
Doug
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Message: 18
Date: Sat, 24 Jan 2004 20:49:14 -0000
From: Robert R. Radil
Subject: Re: "I Think We're Alone Now" sdrawkcaB :eR
Glenn wrote:
> Did I say "myth"? I meant to type: Truth. Total truth.
> It was just a typo!
> Seriously, after hearing the segments you played to Musica,
> Bob, there can be absolutely no denying that the segment from
> "Mirage" is exactly "ITWAN" played backward. It's stunning!
> It couldn't have been accomplished with just a simple chord
> reversal. So I admit that I was wrong.
> However, I am sure I can find the early Tommy James interview
> where he made the statement that they reversed the chord sequence
> of "ITWAN" to create "Mirage", and said nothing about playing the
> record backwards. Of course, playing the record backwards would
> also have naturally led to the reversed chord sequence, but in this
> particular interview James said nothing about that. Perhaps it was
> at a point where he wasn't ready to own up to it?
> When I find the interview I'll post the quote.
I would certainly like to see it.
As Joe Nelson mentioned elsewhere, this is something I discovered
back in 1967 when "Mirage" was added to WPOP's playlist. As a goof,
I had modified a turntable to play backwards after learning that
the vocal track on the fade of "Rain" by The Beatles was backwards.
I then listened to a number of songs backwards. And this was more
that 2 years before the "Paul is dead" rumours! Why couldn't I
discover it??? Anyhow, while I try to keep my records in good
condition, it's me that's a bit warped! :)
Bob Radil
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Message: 19
Date: Sat, 24 Jan 2004 12:53:14 -0800 (PST)
From: Steve Harvey
Subject: Buffalo Nickels
Dan Hughes wrote:
> I bought BUFFALO SPRINGFIELD AGAIN after reading about it
> in Hit Parader magazine. Hated it first time through, but
> continued playing it and it got better with each listen.
> Now I love it.
Buffalo Springfield were definitely a band that improved
with each album. LAST TIME AROUND is even better although
it does come off like a batch of solo pieces strung together
ala THE WHITE ALBUM.
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Message: 20
Date: Sat, 24 Jan 2004 21:30:49 -0000
From: Billy G Spradlin
Subject: Re: Change in direction / Colours
Scott wrote:
> Colours.... The first LP is great Beatles-styled psych-pop.
> The 2nd LP is nothing like the debut and is simply dull.
I got to hear a CD-R dub of "Atmospheres" after several years of
loving their first album and was greatly disapointed. After the
first cut "Angie" and it quickly goes downhill. Colours first
album is in serious need of a CD reissue!
Billy
60's Jangle Radio
http://listen.to/jangleradio
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Message: 21
Date: Sat, 24 Jan 2004 17:38:01 -0500
From: Mikey
Subject: Re: budget vinyl / Elvis' Sun master tapes
Steveo:
> Perhaps they were worried that he couldn't sing conventionally,
> like Perry Como or Vaugh Monroe? and were worried. Dunno
Yes, I agree. And Perry Como was "The Man" at RCA, so they
used him as a yardstick.
Mikey
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Message: 22
Date: Sat, 24 Jan 2004 18:04:29 EST
From: Mark Wirtz
Subject: Re: Johnny Tillotson
Dan Hughes:
> Five S'poppers sent me questions for Johnny Tillotson.
As I lost contact with Johnny some years ago, I would like
you to send him my warmest regards. It so happened that,
after Johnny had been one of my teenage idols before I came
to the UK and entered the the music business, he and I and
the gang did a concert tour In Saudi Arabia of the ARAMCO oil
bases back in the late 70s (I was Johnny's pianist and band
leader). And what an unforgettable adventure we shared!!!
Tell him that I'd love to connect with him.
Best,
Mark Wirtz (writing from London, after a truly memorable session
with Tony and Anthony Rivers! :):):)
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Message: 23
Date: Sat, 24 Jan 2004 18:02:44 -0500
From: Rat Pfink
Subject: Re: "Porpoise Song" in stereo
Bryan wrote:
> That long version -- 4:00 (Colgems single #66-1031, 1968)
> -- is soon-to-be available again on an upcoming Rhino
> Handmade release, 'Hallucinations: Psychedelic Pop Nuggets
> From The WEA Vaults (RHM2 7821).
The "Listen To The Band" box set has a 4:15 stereo version.
RP
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Message: 24
Date: Sat, 24 Jan 2004 18:19:50 EST
From: Ed Rambeau
Subject: Re: Shirley Matthews
Mick Patrick:
> Shirley Matthews "(He Makes Me) Feel So Pretty" (Amy 910,
> 1964). Written by Eddie Rambeau, Bud Rehak & Bob Crewe,
> Arranged by Charlie Calello, Produced by Bob Crewe.
> Were you at the session, Ed? Is that Jeanne Thomas & the
> Rag Dolls I hear on back-ups? Were you a lyrics man, or melody?
> Shirley was a great singer, deserved a hit.
I suppose I was at the session, Mick, however I've been to
so many recording sessions that it's hard to remember them.
So I can't honestly say who sang backup, altho' Bob Crewe
used Jeanne Thomas quite a bit.
I was both a lyrics and melody man. Often times I even wrote
both. There is a Los Bravos song I wrote complete lyrics to
while in Cannes at the music festival in 19 blah, blah, blah.
I can't even remember the name of it. Mike Edwards will remember.
Hey, Mike...help me out.
Ed Rambeau
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Message: 25
Date: Sat, 24 Jan 2004 15:44:04 -0800 (PST)
From: Paul Bryant
Subject: Re: Forthcoming 'Smile'
Hi Poppers
This article
Grin and bear it
Sylvie Simmons
Friday January 23, 2004
The Guardian
Alas peddles a lot of the usual myths. For instance
> Shy and reserved, he still looks fragile, despite the
> enormous progress made since his breakdown in the
> mid-1960s, which confined him first to his bed for two
> years and then, for even longer, to the controversial
> care of Eugene Landy (the psychiatric doctor whose
> relationship with Wilson was finally severed by the
> courts)."
This is all muddled up. After the "first breakdown",
which was 1964, Brian entered into his most
brilliantly creative three years. The famous Brian in
bed period came much later. (And we would hope Brian
had indeed made "enormous progress" in FORTY YEARS!)
> It's so different now," says Melinda. "This band
> really supports Brian. They love his music and they
> love him . He always needed to be told, 'this is
> incredible', 'this is great', and in the past he
> didn't get that from [the Beach Boys] or anybody. But
> now he's got what he needs around him to be able to
> courageously attack this new project."
I really can not believe the Beach Boys didn't ever
tell Brian his songs were wonderful! Melinda says he
didn't get this kind of praise from anybody - what
about all the music press calling Brian a genius for
years? That became a problem in itself. So what makes
Melinda say this?
> "Teenage symphonies to God", Brian called it. The
> Beach Boys, when they got back, called it "freaked
> out" and "fucked up". Mike Love, Wilson's cousin and
> most vocal critic in the band, scoffed that it was "a
> whole album of Brian's madness". Already reeling from
> a distressing battle with the group's record company,
> Wilson was overwhelmed.'
Here's a big myth - that Brian had to fight with the
Beach Boys all the way & finally crumbled under their
unrelenting unbelief in Smile. If you listen to the
Sea of Tunes boots of Smile sessions you hear a whole
lot of time and trouble being taken by the Beach Boys
trying to get the complex vocals right. Brian was
getting them to do very odd things at times, and to my
ears they really put their hearts into the whole
thing. (And also it sounds like they were quite as
stoned as Brian was.) I appreciate that they might
have has misgivings, but they still went along with
Brian for months.
> The final straw was the sudden appearance at the top
> of the charts by another far-reaching concept album:
> Sgt Pepper's Lonely Hearts Club Band, by arch-rivals
> the Beatles. Wilson put the Smile tapes on the shelf,
> went home, got into bed and closed the door. "
This is wrong, Smile collapsed way before Sgt Pepper.
All the writers agree that Brian had given up Smile by
spring 67.
> And for decades, while some of his Smile songs were
> rejigged for subsequent Beach Boys albums or slipped
> out on bootlegs or the internet, he refused even to
> mention the project. Until last October, when he went
> back to the album and finished it. "
I confess this is news - so he's finished it! Wow.
> "The people in England appreciate my music more",
> Wilson says.'
I'm English so I don't object to Brian saying this but
once again I can't believe it's true.
> [Brian says] "We didn't want it to come out. Because
> we thought that it was too weird. Too weird. We
> thought that it was a weird album."
> Such a pity, I say. If it had come out before Sgt
> Pepper, it might have changed the course of music
> history - or certainly the way people viewed the Beach
> Boys. His face clouds. "No", he says.'
Quite right, Brian - it was very weird and it wouldn't have
changed the course of music history if by that she means
people would have tried to follow its unique vision. No one
would have been able to.
pb
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