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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: Songs that "quote" others
From: Mike McKay
2. Stars in the Sky: Phil's Spectre?
From: Mark Frumento
3. Re: Emitt Rhodes
From: Austin Roberts
4. worst singing
From: Phil Milstein
5. Re: AK as songwriter / varispeed listening / U.M. / Hibbler
From: Phil Milstein
6. Re: Reparata & The Detergents
From: Ron Dante
7. Re: Rain From The Skies
From: Mike Edwards
8. Re: Attn all Lloyd Thaxton fans
From: John Grecco
9. some of you may relate to this
From: Alan Zweig
10. Head hung down
From: Steve Harvey
11. Re: Batman theme
From: John Grecco
12. Everlys' quote
From: Steve Harvey
13. Bobby Vee-Jay
From: Steve Harvey
14. Re: Ben Findon
From: Peter Lerner
15. Re: Beatles Bands
From: John Sellards
16. Re: Songs that "quote" others
From: Doug Richard
17. Re: Beatle Myth
From: Paul Bryant
18. Re: Artists that "quote" themselves
From: Paul Bryant
19. Songwriter Credits, General Question
From: Paul Bryant
20. Re: Emitt Rhodes article
From: Alan Haber
21. Rambeau, Cashman & West, DelShannon
From: Ken Silverwood
22. Music Theory
From: Country Paul
23. Re: Boone & Sebastian & Dylan
From: Steve Harvey
24. You Didn't Have To Be So Nice - Direct from the source
From: Steve Harvey
25. Re: Stars in the Sky: Phil's Spectre?
From: JJ
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Message: 1
Date: Sun, 25 Jan 2004 12:53:46 EST
From: Mike McKay
Subject: Re: Songs that "quote" others
Steve Harvey wrote:
> I always liked tunes that hint at another song with a
> bit of a riff or lyrics.
Aretha Franklin quotes her own "Runnin' Out of Fools" at the end of
"Respect," and also at the end of another one of her hits (which one escapes
me just now).
"Lucy in the Sky with Diamonds" is quoted in two songs that could hardly be
more disparate: "The Grooviest Girl in the World" by Fun and Games, and "Let
There Be More Light" by Pink Floyd.
It's pretty hard to miss the "Satisfaction" riff in Buffalo Springfield's
"Mr. Soul."
And an obscure favorite: on The Hombres' album ("Let It Out"/"Let It All Hang
Out"), they do a five-minute plus version of "Gloria." Right in the middle of
it, they suddenly sing the title phrase from "Eight Miles High"!
Mike
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Message: 2
Date: Sun, 25 Jan 2004 17:59:46 -0000
From: Mark Frumento
Subject: Stars in the Sky: Phil's Spectre?
I wonder if anyone can tell me about Stars in the Sky and the Milky
Way Band? The 45, Baby Hold On/Love (What a Feeling) (Stars 101,
1976) lists the arrangers/producers as Dan & David Kessel but a web
search turns them up this way:
Dan Phillips - lead vocals,guitar,bass,piano
David Scott - lead vocals,guitar
Could the last name "Kessel" be an allusion to Barney?
The A-side is a competent and catchy power pop song but the B-side
has a heavy Phil Spector influence. It could certainly be a
contender for a follow-up volume of Phil's Spectre? (hint hint).
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Message: 3
Date: Sun, 25 Jan 2004 13:18:46 EST
From: Austin Roberts
Subject: Re: Emitt Rhodes
Al Kooper wrote:
> I faced similar obstacles to ER. I was cheated throughout my entire
> career because I loved music & not money particularly. The sharks
> can smell that on ya and they circle ya and take all your money.
Al,
Yours is a truly heartfelt statement about the pariah in our business who
live off the talents of others. Their only talent seems to be 'to see us
coming'. I'm another writer/artist/producer who lives primarily off my catalog,
created from 1968 through 1998. Thank God it's my Legacy to my kids in the future.
Though most of my hits as a writer are in the country music field, I came out of
the pop music land and still love it, though I don't understand the lack of
melody in many of today's songs.
I know that I am in my prime as a writer but, because of my age (58), the
present regime, which is so caught up in youth, doesn't seem to care. I do see a
glimmer of light, as I am starting to get some requests from some of today's
hit producers to write songs for some of their acts due to the dearth of
professionally written songs that can sell more than what's currently being recorded
in cookie cutter fashion but have stopped selling, as record buyers are
starting to feel a bit cheated by the CDs they've been buying (many downloaded).
The indepentant labels, publishers and artists are our main hope to change
things. This seems to happen every few years, but this past decade or more has
been the worst I've seen musically since I started professionally in 1968.
Here's hoping for another creatively driven period of music!
Austin Roberts
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Message: 4
Date: Sun, 25 Jan 2004 18:22:35 -0500
From: Phil Milstein
Subject: worst singing
You cats think Tuesday Weld was a bad singer? I've got news for you, she
was a regular Dionne Warwick compared to Patty Duke. The proof is now
playing at musica, in the form of Andre & Dory Previn's "I'll Plant My
Own Tree," a track from the album that ended her singing career, "Patty
Duke Sings Songs From 'Valley Of The Dolls' And Other Selections." The
fact that Miss Duke's version of the title theme was not invited to
represent the song in her own movie speaks volumes for her vocal
abilities. Hellfire, even her own official website can get no more
excited about it than to say, "Out of all of Anna's released albums,
this is by far one of the best." For more, including Gene Kelly's
original liner notes, see http://www.officialpattyduke.com/vodlp.htm
--Phil M.
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Message: 5
Date: Sun, 25 Jan 2004 15:41:35 -0500
From: Phil Milstein
Subject: Re: AK as songwriter / varispeed listening / U.M. / Hibbler
Al Kooper wrote:
> Just to help out some 'poppers I thought I'd take some info
> from the discograpgy on me website to see if I could get some
> keys clickin' on some of these obscurities:
I'll betcha Mick has all of 'em! Could Al, or anybody, please play "My
Voice, My Piano And My Foot" up to musica?
Al Kooper wrote:
> I gotta say that back in the days of marijuana, I quite enjoyed
> perusing certain 45s at 33+1/3.
My favorito 45 @ 33 is The Collins Kids' "Whistle Bait," which comes out
sounding, both vocally and instrumentally, like Led Zeppelin.
> Unchained Melody - original version
An absolutely fascinating interview with "Hy Zaret," who wrote the lyric
to "Unchained Melody" at age 16 (with Der Bingle in mind) and never
wrote another song professionally, can be found at
http://newstranscript.gmnews.com/news/2003/1203/Front_Page/047.html
> 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 !!
In imitation of Lord Eckstine?
--Phil M.
P.S. I don't mean to start another thread here, but I am curious to know
if I'm the only dingaling who saves record co. stickers from the covers
of sealed CDs and LPs.
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Message: 6
Date: Sun, 25 Jan 2004 20:08:39 -0000
From: Ron Dante
Subject: Re: Reparata & The Detergents
Mick Patrick wrote:
> Do you remember this tour, Ron? I guess it was your first.
> Full article here:
> http://www.chachacharming.com/article.php?id=9&pg=1
Mick,
Yes, I rememeber this tour very well. It was my first and most
interesting. The girls just didn't show and the tour manager asked us
to sing some backgrounds, which were a lot of fun to do. Got to see
Peter Noone (great guy) and Little Anthony (card shark) perform live.
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Message: 7
Date: Sun, 25 Jan 2004 20:33:50 -0000
From: Mike Edwards
Subject: Re: Rain From The Skies
Al Kooper writes:
>Other great tuned bongo records are I Wake Up Crying by Chuck
> Jackson, Rain From The Skies by Adam Wade and one of the greatest
> tracks of all time I Keep Forgettin; by Chuck Jackson, a Leiber-
> Stoller composition/production, arranged by Burt Bacharach!
I did not think I'd ever see Adam Wade's "Rain From The Skies"
mentioned on this site. It's a little known gem from Bacharach-David
that slipped out early in 1963, right after Adam switched from Coed
to Epic. The song is a huge Popcorn favorite in Belgium and pretty
much defines that genre.
There was another version out on Tollie by Johnny Walker on which he
was backed by Steve Tudanger and the 4 Evers (info courtesy of their
CD booklet). Tollie (a Vee-Jay subsidiary) was a US outlet for some
UK material including the Beatles' "Twist And Shout" and "Love Me
Do", Twinkle's "Terry" and Liverpool's Big Three's "Winken, Blinken
And Nod". This prompted some to conclude that Johnny Walker was the
UK DJ currently on the BBC's Radio 2. The 4 Evers' sleeve notes
pretty much confirmed that that wasn't him.
I'm amazed that with all the recent hoopla surrounding Bacharach and
David, Adam Wade's "Rain From The Skies" didn't make it to a
compilation CD.
Thanks for the reference, Al.
Mike
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Message: 8
Date: Mon, 26 Jan 2004 01:50:17 -0000
From: John Grecco
Subject: Re: Attn all Lloyd Thaxton fans
Phil Milstein wrote:
> If Lloyd's master tapes, or something close to them, still exist, their
> release would be a vital addition to our cultural heritage, especially
> when you consider the alternative: their being lost forever.
I agree with Phil. A release of Lloyd's shows on DVD would definitely
be a great addition to our music heritage. Although many of us may
see small clips from shows like Lloyd's in those infomercials for
Time/Life CDs, etc., I think it's safe to say the majority of people/
music lovers would MUCH rather have the choice of viewing the
artist performing along with the music.
As for the clip Phil mentioned of the Shangri-Las on Lloyd's show, I
had also viewed it an dagree, the pixelated timing bars made it worse
than if the timer was just left alone. It was cool, however, to see
the girls do "Shout" on the show, along with "Give Him A Great Big
Kiss".
If Lloyd does decide to release these on video, I would HOPE that he
would release some full clips of artists such as: The Shangri-Las,
Ben E. King, The Crystals, Jan & Dean, Donna Loren, Bobby Fuller 4,
Del Shannon, the music alumni from Philly like Dee Dee Sharp, The
Dovells, The Orlons, etc.
Although other people/companies have previously released clips from
other music shows of the era, many seemed to gravitate to the same
acts like The Supremes, Beatles, Joplin, British Invasion groups,
etc., and charge a premium price to see these same groups. There is
MORE than enough material available on the Supremes, Beatles, British
Invasion, etc., so let's see some groups/vocalists that have been
grossly overlooked on the DVD/VHS market.
Hope these shows/full clips make it on to DVD. I'd definitely sign-
up to buy them.
John Grecco
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Message: 9
Date: Sun, 25 Jan 2004 19:41:19 -0500
From: Alan Zweig
Subject: some of you may relate to this
http://jaguaro.org/feature/archives/000286.html#000286
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Message: 10
Date: Sun, 25 Jan 2004 12:28:48 -0800 (PST)
From: Steve Harvey
Subject: Head hung down
Al Kooper wrote:
> The Chuck Berry quote is "meanwhile I'm still thinkin':
> and it's from "Little Queenie"
OK, OK! I surrender! I flunk Berry 101, it's "thinkin'", not "waiting".
Sheesh.
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Message: 11
Date: Sun, 25 Jan 2004 23:26:51 -0000
From: John Grecco
Subject: Re: Batman theme
Joe Nelson wrote:
> Surprised I never thought to ask this one before now - does anyone
> know if the TRUE recording of the Batman TV show theme has ever
> appeared on disc? Even the Neal Hefti and Nelson Riddle records
> turned out to be different recordings. I've been trying to search this out
> with a friend for years with no success.
Joe,
I came across a 45 rpm a few years back with the "Batman Theme"
that may have been used when Adam West & Burt Ward made personal
appearances. It is a plain blue label with the words: "Batman Theme"
and "For Promotional Purposes Only". There are no credits given for
the band or writers. For that matter, there is no company name on
the record label. The flip side is: "Batman Batusi", written by Duke
Edwards, recorded by Jon & Lee and The Checkmates. The theme side
seems identical with the version from the T.V. show, except for the
deletion of the horns when the "Pow", "Bam", "Uugh" would show on the
screen during the opening credits.
Hope this helps you out a bit.
John Grecco
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Message: 12
Date: Sun, 25 Jan 2004 12:25:25 -0800 (PST)
From: Steve Harvey
Subject: Everlys' quote
Al Kooper wrote:
> Man, this article almost made me cry.
> I faced similar obstacles to ER. I was cheated
> throughout my entire
> career because I loved music & not money
> particularly. The sharks
> can smell that on ya and they circle ya and take all
> your money.
Reminds me of Don' and Phil's advice on making money
in the music business, "Become an accountant first
then learn to sing".
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Message: 13
Date: Sun, 25 Jan 2004 12:34:15 -0800 (PST)
From: Steve Harvey
Subject: Bobby Vee-Jay
Bob Hanes wrote:
> It's his album with the Ventures I never "got".
> The Right Reverend Bob, dumb angel chapel,
> Church of the Harmonic Overdub
Was that their lone acapella one?
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Message: 14
Date: Sun, 25 Jan 2004 20:35:24 -0000
From: Peter Lerner
Subject: Re: Ben Findon
Mark Frumento wrote:
> Does anyone have information on song writer Ben Findon?
Well, Mark. Ben wrote the following songs with Sharon Sheeley in the 60s.
Cheers, love
Baby what went wrong
Mrs Mac
Something different
They all appear on the rpm CD "Sharon Sheeley-Songwriter"
Peter
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Message: 15
Date: Sun, 25 Jan 2004 21:44:29 -0000
From: John Sellards
Subject: Re: Beatles Bands
Al Kooper wrote:
> In case any of you missed it, theres an album called Faith Hope &
> Love by Kings X on Atlantic, About 9 years old I think. This is the
> best pseudo Beatle album I ever heard because it supposes what The
> Beatles might've sounded like in the 90's. I'll send ya your money
> back if ya dont like it!
I've had several people recommend this to me over the years, but
have never bought it because I saw them live about 12 years ago when
I was in college, and thought they were awful - it seemed to me at
the time that every song was in E! Plus they seemed more pseudo
metal than pseudo Beatles, and were VERY loud (they opened up for
Living Colour, and both shows sounded like mush). But then I saw a
video - I don't recall the song - and that music lived up to Al's
description, so I'm still wondering about what I saw that night.
John Sellards
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Message: 16
Date: Sun, 25 Jan 2004 23:19:10 -0000
From: Doug Richard
Subject: Re: Songs that "quote" others
I too love to find those little musical or lyrical asides that
refer to another song. Here's a few of my favorites (in addition to
the already mentioned T-Rex "Little Queenie")
1. The Mojo Men-Dance With Me: As the song fades on this Sly Stone
produced hit from '65, the singer sings:
Like What's Happening
She sure is hip
Like hi-yo big daddy
That's a take-off on the ending "Alley Oop" by the Hollywood
Argyles.
2. Bob Dylan-Can You Please Crawl Out Your Window: On the fade of
this early '66 hit, Dylan sings:
You Got A Lot Of Nerve
To Say You Are My Friend
If You Won't Come Out Your Window
Of course "You Got A Lot Of Nerve To Say You Are My Friend" was the
first verse of his previous hit "Positively 4th Street", so he was
actually quoting himself. On the Biograph box set Positively 4th
Street follows Can You Please Crawl Out Your Window, so you actually
get the same verse twice in a row. I've often wondered if this was
Dylan's joke.
3. The Animals-See See Rider: On the break of this '66 hit, Eric
Burdon sarcastically sings:
Jenny Take A Ride Now
HA! HA!
Burdon was supposedly unhappy about Mitch Ryder's song "Jenny Take
A Ride", (which was a combination of "Jenny Jenny" and "See See
Rider") because the Animals had been playing the song in concert for
years before recording it, and Ryder had "stole" the song and had a
hit with it first. Another version I've heard is that Burdon just
didn't like Ryder.
4. The Flamin' Groovies-Good Laugh Mun: There's a little "Pet
Sounds" type bit on the ending of this song from their "Now" album.
It's no surprise, knowing how much both the Groovies and producer
Dave Edmunds respected Brian Wilson.
Also, there's Eddie Money's song "Take Me Home Tonight", which
features Ronnie singing a line from "Be My Baby."
Doug
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Message: 17
Date: Sun, 25 Jan 2004 16:38:19 -0800 (PST)
From: Paul Bryant
Subject: Re: Beatle Myth
I wrote:
> Although I love (some of) the American pop of 1963
> it was filled with the likes of Bobby Vinton and
> Bobby Vee and all those other
> Bobbys and Frankies. Rubber Ball, bouncy bouncy.
> The Beatles practically killed that style off.
Doc Rock responded:
> You are just wrong. Go to the library and read my
> 1991 book, "The Beatle Myth."
> Taste is one thing. If you don't like Bobby Vee,
> fine. I don't like Bobby Vinton!
Well! I never said I didn't like Bobby Vee - The Night
has 1000 Eyes is an all time fave here at Bryant
Towers - I was trying to talk about a style, which
perhaps we could call Teen Idols. The handsome young
boys, Ricky Nelson, Bobby Rydell, Fabian, Bobby Vee,
etc etc - you know 'em all - who were, I guess,
"manufactured", as were girl groups - that is, they
has material written for them and their producers
created the records, not them. Of course later, guys
like Bobby Vee became singer-songwriters, and changed
their names to prove they were different (Robert
Velline, I think, and Rick Nelson) - but I'm strictly
talking about the 1960-63 period. American pop was
delightful but often (not always) very lightweight.
Bouncy bouncy, as I say. I believe the Beatles did
either kill off this style or mortally wound it, and
we can check this easily by seeing what hits the Teen
Idols had in the years 1964-6. I think most of their
chart careers faded away when the British invasion
happened followed swiftly by a whole raft of American
garage bands directly inspired by the
Beatles/Stones/Kinks etc. So 1963 was the last year of
pure American pop. In 1964, it changed.
You misunderstand me when you say "But the claim
that the Beatles killed off American music is just
plain wrong." Sure would be wrong! All I'm saying is
that the Beatles killed off a certain sort of American
pop music. A different, tougher form of American pop
took its place.
By 1966 the Lovin' Spoonful, the Byrds, the Mamas
and the Papas, the Beach Boys and the 4 Seasons AND
Phil Spector were all putting out fabulous singles
every three months, regular as clockwork, which is
(partly) why I say 1966 was the high watermark of
popular music. It don't get any better than that.
Long live all of the music from the 1960s, which
even a deaf, dumb and blind kid can tell was the best
decade for pop by a long, long, long way for about
four hundred reasons which I'll be happy to mention,
but in this company I kind of feel I don't really need
to.
pb
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Message: 18
Date: Sun, 25 Jan 2004 16:48:12 -0800 (PST)
From: Paul Bryant
Subject: Re: Artists that "quote" themselves
Steve Harvey wrote:
> I always liked tunes that hint at another song with a
> bit of a riff or lyrics.
> 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
Can I take off at a slight tangent here? The Beatles
quote themselves as you say on All you Need is Love, &
also on Glass Onion. Then we have
Simon & Garfunkel quoting "Sound of Silence" on "Save
the Life of my Child"
The Who quoting "The Kids are All Right" on "5:15"
and Brian Wilson quoting from various early Beach Boys
songs on a dreadful song called "Smart Girls" on the
boot Sweet Insanity.
Any other people who quote themselves on their own
records?
pb
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Message: 19
Date: Sun, 25 Jan 2004 16:56:15 -0800 (PST)
From: Paul Bryant
Subject: Songwriter Credits, General Question
Dear Poppers,
I have a question for the songwriters amongst you.
Some time ago Bill Wyman was trying to get some kind
of songwriter credit for various early Jagger/Richards
songs because he said his bass playing helped make the
records hits (I remember 19th Nervous Breakdown was
singled out for its diving bass runs). Was he being
ridiculous? I mean, all the players who turn the song
into a record should by that logic have a credit too.
We recently discussed "You Didn't have to be so nice"
and concluded that Mr Boone came up with the phrase
but Mr Sebastian actually wrote the song. We know that
Ringo Starr came up with a few Beatles song titles,
like A Hard Day's Night and Tomorrow Never Knows - so
should he get a credit? What's your opinion on this
kind of thing?
pb
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Message: 20
Date: Sun, 25 Jan 2004 21:51:40 -0500
From: Alan Haber
Subject: Re: Emitt Rhodes article
Previously:
> Thought you folks might be interested in the cover story on
> Emitt Rhodes that ran in yesterday's CityBeat out here in LA.
To which Rashovsky said:
> Uh oh! Don't read this unless you're pretty well
> emotionally balanced. Scary and very, very sad.
And how. This is just another in a series of articles that does no one any
good, least of all Emitt. It just breaks my heart.
Emitt was the one guest I was going to have-or-else on my Pure Pop radio
show. Thankfully, the search for a contact came easily, as one of the indie
record company heads I knew through the show was a friend of Emitt's and put
me in touch with him.
It wasn't an easy interview. For about 90 minutes, I got no more than a
sentence or two's worth of answers from the man. Nothing particularly deep
or incisive. It wasn't until he put his mother on the phone, while I was
playing one of his songs on the air, that the interview picked up. Such a
charming woman! She told really wonderful stories about how proud she was of
her son. She also talked about playing on the radio in West Virginia, if
memory serves, with some family members-in a bluegrass band, I think. Once
Emitt got back on the phone, it was back to quick, no-depth answers. I was
feeling really depressed that I hadn't gotten the interview I'd hoped to
get, that the Emitt I was speaking with was not the Emitt I was expecting.
In retrospect, I'm not sure what I was expecting. I mean, I idolized the
man. After about 90 minutes of feeling let down, I asked Emitt if he wanted
to continue. He told me that it was my dime, and that he was enjoying
himself. It didn't seem like that to me, so I suggested we stop.
I was so depressed driving home from the station. I don't know why I felt
the way I did.I just felt let down, somehow.
When I finally met Emitt at the first International Pop Overthrow in Los
Angeles, I put the interview behind me (for the longest time, I wouldn't let
anybody hear the tape of the interview, it so saddened me) and walked up to
him, sat down beside him, and shook his hand, figuring he didn't know me
from a hole in the wall. I figured I was just another fan coming to pay
homage. But, no, he knew exactly who I was, and told me so. He told me his
mother couldn't stop talking about being on the air with me, that it was one
of her favorite recent times. He thanked me for being so nice to her, and to
him. He told me he had a great time speaking with me. He bought me a coke. I
have a picture of the two of us that I treasure, big time.
Emitt is simply Emitt. He's had a hard life. That he made three great albums
that have had such an impact on people, and continue to, so many years
later, seems amazing to me in context. That some people can't let go of what
Emitt was when he made those records, and accept him for what he is today,
also seems amazing to me. And a bit sad. I can't see Emitt making another
record-at least one that harkens back to the good old days. I suppose
anything's possible, but he isn't the same guy anymore.
Now, I can listen to that interview I did with Emitt and find real pleasure
in what it contains, and I can see that I expected him to be the guy who
recorded those three albums when I was interviewing him, and when he wasn't,
I was crushed. Now, I see him as someone who had a great impact on me, whose
music I continue to enjoy immensely. And the feeling I got when I met
him.well, I'll carry that with me forever.
Alan
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Message: 21
Date: Mon, 26 Jan 2004 01:26:29 -0000
From: Ken Silverwood
Subject: Rambeau, Cashman & West, DelShannon
Ed Rambeau wrote:
> As far as original songs go...it's always the
> version you grew up with that becomes your favorite.
> Anyone who grew up listening to mine doesn't take a
> liking to the Unit 4 + 2's version and vice versa.
> It's just the nature of the beast"
Hi Ed & welcome aboard, I didn't know about your version
until i saw it appear in the US top fifty chart, and never
heard it till years later. But i do remember " My Name Is Mud "
as it got a lot of plays on " pirate radio " here in the UK.
So I bought it.
Austin Roberts wrote:
> I know that Tommy ran MTM Records in Nashville for several
> years in the 1980's ,so it could well have been his version
> that you heard,though Dennis could surprise you sometimes,
> as could their original partnership with gene Pistilli
> (a terrific country and pop songwriter) when they were Cashman,
> Pistilli and West, though this was before the song was written."
Tommy Cashman (Dennis Minogue ), Tommy West( Thomas Picardo Jnr)
& Eugene Pistilli were all responsible for The Shakers "
One Wonderful Moment " on ABC 10960 which has long been a staple
diet at Northern Soul functions.
Ed Rambeau wrote:
> 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."
This track can be found On " Midnight Cryin' Time " Sanctuary Records
--Castle Pulse PBX CD 356. Highly recomended & very cheap!!
Martin Jensen wrote:
> 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. :-)
There is some amazing material & performances on these tracks,
all the stops were pulled out . I believe John Paul Jones played
a part in it , pre-Led Zeppelin. I still can't believe it wasn't
given a release.
Ken On The West Coast.
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Message: 22
Date: Sun, 25 Jan 2004 22:00:29 -0500
From: Country Paul
Subject: Music Theory
Rob Stride:
> This fourth note of the arpeggio thingy might be getting a
> little bit anorak. While people like you and I might enjoy
> and understand what you are on about, we could be leaving
> a lot of people in this out in the cold, or just a little
> frightened. I do think that sometimes that we over analyse
> things to the point of destruction. And I mean no offence
No offense (US spelling) taken, Rob. But one of the great things
about S'pop is that it has never been dumbed down. I think such
comments are appropriate since, to quote Laura, "we have so many
composers, producers, and performers as members of the discussion
group." There are comments I skip over, too, sometimes for excessive
detail, sometimes for lack of interest, but I'm glad they're there.
(Nor am I the first person to cite a chord structure, etc.)
And besides, didn't I enrich your experience just a wee bit? :-)
By the way, I sent an e-mail to Rosalie Hamlin inviting her to
join the group. (My feeling is that she's a much better singer than
the group was musicians - and I've heard her interviewed and know
she does great on that end as well.) No response yet, but I hope
she at least considers it.
Rob - and Stewart Mason - thanks for the Ivey info.
Also, welcome, Jerry Osborne!
More later,
Country Paul
-------------------[ archived by Spectropop ]-------------------
Message: 23
Date: Sun, 25 Jan 2004 18:59:28 -0800 (PST)
From: Steve Harvey
Subject: Re: Boone & Sebastian & Dylan
Al Kooper wrote:
> There is actually a photo of John Sebastian with a
> bass at a Dylan session. That is where THAT
> revisionism must come from. Dylan & Sebastian were
> pre-Spoonful pals.
Daniel Kramer's book of Dylan photos has a couple of
shots of John Sebastian and Bob. One has them playing
acoustic guitars and another has John playing a cool
50s Fender bass while Bob shows him the chord changes.
John was on three songs for Highway 61 Revisited. Mr.
Tambourine Man and two others.
Despite the Spoonful being my favorite band I never
knew it was John (looks like a pre-Beatles college
kid) until he mentioned playing bass for Dylan. Then
it clicked.
-------------------[ archived by Spectropop ]-------------------
Message: 24
Date: Sun, 25 Jan 2004 19:03:45 -0800 (PST)
From: Steve Harvey
Subject: You Didn't Have To Be So Nice - Direct from the source
C. Ponti wrote:
> You gotta learn to trust! Now a song Stebun DID
> write solely is "Forever" on EVERYTHING PLAYING.
> It is a gorgeous piece of work, too.
Steve Boone replies:
Hi Steve,
Happy New Year, You're not wrong. I came
up with the melody and first verse and John and I
fleshed out the rest of the song together. Also don't
forget "Full Measure" which Joe sang and also made the
Top 20 as a B-side to "Nashville Cats". " Butchie's
Tune which was the B-side to Summer in the City has
also been cited very fondly by many country players
that I know.
Best regards,
Steve Boone
-------------------[ archived by Spectropop ]-------------------
Message: 25
Date: Mon, 26 Jan 2004 03:26:25 -0000
From: JJ
Subject: Re: Stars in the Sky: Phil's Spectre?
Mark Frumento wrote:
> I wonder if anyone can tell me about Stars in the Sky and the Milky
> Way Band? The 45, Baby Hold On/Love (What a Feeling) (Stars 101,
> 1976) lists the arrangers/producers as Dan & David Kessel but a web
> search turns them up this way:
> Dan Phillips - lead vocals,guitar,bass,piano
> David Scott - lead vocals,guitar
> Could the last name "Kessel" be an allusion to Barney?
YES, they are the sons of BARNEY KESSEL!(at least thatīs the info
i got in the 70īs)
JJ
-------------------[ archived by Spectropop ]-------------------
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