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SPECTROPOP - Spectacular! Retro! Pop!
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There are 16 messages in this issue.
Topics in this digest:
1. Re: Fake Skipping (related)
From: ACJ
2. Re: Colours / Bad Day At Black Rock, Baby
From: Billy G. Spradlin
3. Re: Italian Drama
From: Steve
4. Re: The Beat Goes On
From: Al Kooper
5. Re: The Beat Goes On
From: Al Kooper
6. Re: Writer/Arranger
From: Al Kooper
7. Re: Sebastian & Boone & Dylan
From: Al Kooper
8. Re: anoraks
From: Rob Stride
9. Re: Roy Hamilton
From: Howard
10. Re: Take Five vocal
From: Al Kooper
11. Paul Evans - now a member of Spectropop
From: Paul Evans
12. Re: Songwriters' Credits / "Theme From A Summer Place"
From: Chris
13. Re: Alex Chilton
From: Al Kooper
14. Re: House In The Country
From: Al Kooper
15. Re: Spine Shiverers / Big Finishes
From: Trevor
16. Finding Rambeau, Roberts and Paul Evans
From: Clark Besch
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Message: 1
Date: Tue, 27 Jan 2004 18:53:14 -0500 (EST)
From: ACJ
Subject: Re: Fake Skipping (related)
One of the New Colony Six's pre-Mercury albums, "Colonization,"
includes a nearly seven-minute version of "Mister, You're A Better
Man Than I"; about a minute before the track ends, it suddenly runs
down as if it's been switched off, then perks back up as if it's
been switched back on.
ACJ
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Message: 2
Date: Wed, 28 Jan 2004 00:29:56 -0000
From: Billy G. Spradlin
Subject: Re: Colours / Bad Day At Black Rock, Baby
Mark Hill wrote re. Colours' first LP:
> Got my vinyl copy the first season I started hitting yard sales for
> records, c.1980. I'm sure I only paid a quarter for it. I have seen
> it as a CD-R bootleg, but not a real reissue. Will have to follow
> that tip to the COLLECTORS CHOICE catalog.
I love the liner notes of Colour's first album - "they have the
crystalline sharpness of the Beatles before they turned acid." Huh?
It's very clear that this MOR-Champaign & Cheese record company (who
thought Leonard Nimoy could sing?) had little understanding of their
music.
I just wonder if Colours' first LP was popular during the late 60s, or
one of those LPs that didnt chart and laid to rest in bargain bins
for years, only to be rediscovered by a new generation of fans?
BTW I checked Collectors Choice site - didn't find anything. I wish
Sundazed (or ANYONE) could get the rights for reissuing this album on
CD.
Billy G. Spradlin
http://listen.to/jangleradio
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Message: 3
Date: Wed, 28 Jan 2004 10:25:17 -0000
From: Steve
Subject: Re: Italian Drama
Paul Bryant:
> I would love it if you could confirm if these songs were all
> originally Italian.
Hey Paul
I was fascinateed to know as well - and just LOOK what I
found out!! It's the same old song....
Gli Occhi Miei - Dino
Help Yourself - Tom Jones
Balla Linda - Lucio Battisti
Bella Linda - Grass Roots
Quando M'Innamoro - Anna Identici
A Man Without Love - Engelbert Humperdinck
Melodia - Jimmy Fontana
The Way It Used To Be - Engelbert Humperdinck
Luglio - Riccardo Del Turco
Something's Happening - Herman's Hermits
Ti Vedo Uscire - Donatella Moretti
Don't Answer Me - Cilla Black
Il Mio Mondo - Umberto Bindi
You're My World - Cilla Black
Dimmelo Parlami - Fabrizio Ferretti
A Fool Am I - Cilla Black
Il Paradiso - Patty Pravo
If Paradise Is Half As Nice - Amen Corner
L'Amore Se Ne Va - Carmelo Pagano
Give Me Time - Dusty Springfield
- and do you think I can find any reference on the net for Amore Se
Ne Va?? So far - no luck!
Grande Grande Grande - Mina
Never Never Never - Shirley Bassey
Hope this whets your appetito!
Ciao
Steve
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Message: 4
Date: Wed, 28 Jan 2004 05:23:33 EST
From: Al Kooper
Subject: Re: The Beat Goes On
previously:
> Okay Al, How would you judge something like "The Beat
> Goes On" which mainly runs due to the riff Carol Kaye
> came up with on bass. Musically that riff is what hooks
> the listener and yet she has yet to get any writing
I dont think you read my dissertation very well if you ask
that. If you take away the instruments and sing the song,
that IS the song. Lyrics and melody.
She was hired to play bass to that melody & lyric. Did a
great job as a bassist. Not as good a job as George Martin
did on Yesterday, but NEITHER of them wrote the song. The
song is the melody & the lyric. Got it? Get it...........
Al Kooper (hoping he's understood)
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Message: 5
Date: Wed, 28 Jan 2004 05:26:15 EST
From: Al Kooper
Subject: Re: The Beat Goes On
previously:
> Okay Al, How would you judge something like "The Beat
> Goes On" which mainly runs due to the riff Carol Kaye
> came up with on bass.
How do you know she made that up? Harold Battiste arranged
all those sessions. It could have easily been HIS line.
But still, my friend, it's an arrangement, not a song.
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Message: 6
Date: Wed, 28 Jan 2004 06:15:01 EST
From: Al Kooper
Subject: Re: Writer/Arranger
Paul Bryant:
> You give us the ground on which we
> can stand in this article. And you allayed my Beatle
> fears too, because sometimes I kind of think that
> George Martin DID deserve a songwriting credit. Two
> examples among many: they recorded In My Life and
> left a 32 bar gap (?) and told George Martin to fill
> it in -- you'll think of something! they said cheerily
> as they breezed out of the studio -- and he did, the
> famous speeded up baroque interlude; and Being for the
> Benefit of Mr Kite, when John told him to make it
> sound like an old-fashioned carnival, and lo! he did.
> But no, you're right, it still doesn't make him the
> co-writer.
God bless ya
Ya got it right!
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Message: 7
Date: Wed, 28 Jan 2004 06:10:45 EST
From: Al Kooper
Subject: Re: Sebastian & Boone & Dylan
Steve Harvey:
> Here is the link for the Dylan sessions for Bringing
> It All Back Home. Both John Sebastian and John (sic)
> Boone are listed as bass players. The third bassist
> was actually Spike Lee's pop! Small world.
Okay lemme tell ya what I know for true. If those guys
are hired for the session, it don't mean that they played
on every track. I was hired on the session that Desolation
Row was on., but that track is only Bob & Charlie McCoy on
guitars. No other dudes.
Another REALLY annoying revisionist thing is the misinterperetation
of Columbia Records worksheets. Those english guys like Colin Escott
have no idea how to read those sheets correctly. Blonde On Blonde was
done in a weeklong session in Nashville except for Sooner Or Later
which was cut in NYC. Colin Escott told me face to face that it was
done in two separate visits and he had the worksheets to prove it. A
worksheet will have a date on it, list songs and HCO numbers. It could
be a mix session or it could merely be an engineer cutting acetates.
A great misinformative mess has been created out of those worksheets.
That's just one little boo boo. There are millions. It seems in my
lifetime that the journalistic "truth" is the most repeated story.
I won't always be here to say they weren't booing us for playing
electric at Newport. And so the most bandied about story becomes the
"truth". Be careful, Spectropoppers. Don't believe everything you read
....p l e a s e !
Al Kooper
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Message: 8
Date: Sat, 28 Jan 2023 12:05:07 -0000
From: Rob Stride
Subject: Re: anoraks
> By extension, music geeks who like to record matrix numbers
> and know the different versions of "Do It Again" by the Beach
> Boys and also who played bass and who was married to the
> person who would have played bass on "Do It Again" except they
> missed that session due to being double-booked on a different
> session in an adjacent studio, and who collect 78rpm records
> and have the right equipment to play them and own Godrich &
> Dixon's Complete Guide to Matrix Numbers 1922-1937 -- those
> people are called anoraks, rather unkindly.
Spot On Paul, although I think knowing who played bass on what,
and the treatment of the fourth note of an arppegio are extremely
different examples of "Anorakism". Which is to say I suffer badly
from the first example, but only mildly from the second.
My medication is helping immensely and thank you for explaining
the Anorak Condition to those who are not aware of the affliction.
Rob
PS do you know who played bass on The Last time by the WHO?
The same guy who played bass on Thunderclap Newmans
"Something In The Air"
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Message: 9
Date: Wed, 28 Jan 2004 07:26:11 -0500
From: Howard
Subject: Re: Roy Hamilton
Peter wrote..
> Couldn't agree more, Howard. Roy Hamilton was a truly
> magnificent singer and his version of "Dark End Of The Street"
> is one the most spine-tingling tracks I have ever heard, the
> power of his voice is awesome. He was a really big guy, having
> been a professional heavyweight boxer.
> My understanding is that, sadly, "Dark End Of The Street" was
> from the last recording session before he died aged only 40,
> on 20 July 1969, but ironically at the same session he
> recorded a cover of Bill Medley's "100 Years" that Medley
> had recorded for soundtrack of the film "The Riot".
> Personally I much prefer his '60s musi,c and he cut some other
> great tracks including "Don't Let Go", "Midnight Town, Daybreak
> City", "Let Go", "A Thousand Tears Ago", and "Cracking Up Over
> You", to name a few.
Oh yes, I most certainly agree with you..his 60s releases
are awesone! Dark End Of The Street c/w 100 Years, was released
here in the UK on Dave Godins much missed 'Deep Soul' label
(sister label to (UK)Soul City)
Can anyone out there furnish me with a full US discography,
(I have his UK discography)
all the best..
Howard
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Message: 10
Date: Wed, 28 Jan 2004 02:59:19 EST
From: Al Kooper
Subject: Re: Take Five vocal
previously:
> Wasn't there a vocal version of Dave Brubeck's "Take Five"?
That would probably have been Lambert Hendricks & Ross on
Columbia.
AK
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Message: 11
Date: Wed, 28 Jan 2004 13:43:12 -0000
From: Paul Evans
Subject: Paul Evans - now a member of Spectropop
Hi, Thanks to the efforts of several S'poppers, I've
become a member of the group. I'll be more than happy to
answer questions posted here regarding my experiences in the
"biz" in the 50s, 60s and beyond.
For a reminder of where my perspective on those years comes
from and what I've been up to since, just visit my site:
http://www.paulevans.com
Just as a reminder, I had several recorded hits starting
with "Seven Little Girls, Sitting in the Back Seat" (1959)
and wrote several charted songs starting with "When" by the
Kalin Twins (1958), "Roses Are Red (My Love)" by Bobby Vinton
(1962) and four cuts by Elvis.
Thanks for remembering. The record business has given me
many great moments. Speak to you later,
Paul Evans
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Message: 12
Date: Wed, 28 Jan 2004 00:41:35 -0800 (GMT-08:00)
From: Chris
Subject: Re: Songwriters' Credits / "Theme From A Summer Place"
Ken On The West Coast:
> Percy Faith's "Theme from A Summer Place" spawned two
> notable vocal versions.
Shouldn't that be *Max Steiner*'s "Theme from 'A Summer
Place'"? It was, after all, Steiner who composed it.
Later on, words by Mack Discant were added.
Steiner, who had been writing scores since the 1930s,
produced at least one other hit song in "It Can't Be Wrong"
(derived from his score for "Now, Voyager"). Dick Haymes
recorded the most popular version. For me, though, the
definitive vocal version is that of Bugs Bunny ...
Chris
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Message: 13
Date: Wed, 28 Jan 2004 09:09:46 EST
From: Al Kooper
Subject: Re: Alex Chilton
previously:
> How about Alex Chilton mentioning the blues classic
> (dont know the original artist) "You Left The Water
> Running" at the end of the Box Tops "Cry Like a Baby"?
Both written by his producer Dan Penn
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Message: 14
Date: Wed, 28 Jan 2004 09:16:37 EST
From: Al Kooper
Subject: Re: House In The Country
previously:
> Remember the inspiraton for "House In The Country"?
Okay
House In The Country
Two avant garde filmmakers I knew asked me to act in a movie
they were to begin shooting. I had no interest in such a thing
and didn't particularly feel talented in that area but I got
talked into it. The first weeks shooting was in a house in
the country in Bucks County PA. My co-stars were Michael J
Pollard and Edie Sedgewick. Edie, of course, cancelled 2 weeks
b4 shooting started and they got TV star Zina Bethune, the lead
in the '60s show The Nurses. I wrote the song in that house one
day and shortly thereafter, the movie folded after the writer
and director had a fistfight on the set. The rest is hysterical.
Al Kooper
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Message: 15
Date: Wed, 28 Jan 2004 14:48:24 -0000
From: Trevor
Subject: Re: Spine Shiverers / Big Finishes
> Back to center on this thread: how about the great
> vocal 'bong' at the end of Thomas Wayne's "Tragedy" ?
Paul Bryant wrote:
> I'm a fan of Big Finishes, so with a nod to the already
> acknowledged "Since I Don't Have You" (Skyliners) how
> about "Smoke gets in your....EYESSSSSS" by the Platters,
> Dusty howling "believe me!!" (oh I did, I did) at the end
> of "You don't hafta say you love me", and the very
> Righteous Bros' "Ebb TIIIIIIDDDDDDDEEEEE" - which is very
> wonderful. Oh, and pretty much anything at all by Roy
> Orbison, but let's go for "It's Over". Ba-ba-ba-ba-boom!
Great choices, both of you, although I always thought of
the "Tragedy" ending as "Bung". Does the Exciters' "Tell Him"
end cold or fade? Don't have a copy at the moment. Seem to
recall it winds down to the quick violin notes.
Trevor Ley
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Message: 16
Date: Wed, 28 Jan 2004 18:18:35 -0000
From: Clark Besch
Subject: Finding Rambeau, Roberts and Paul Evans
If you're like me (God help you!), you have thousands of
45s that you bought from all possible ways over 40 years.
I have most alphabetized, but tons not. Anyway, when I
see a post like Eddie Rambeau's for wanting mp3s of his
songs, I try to go "shopping" in my mess. I just did, and
found none of the 45s Ed wanted. Of course, I did see some
interesting things along the way: two Spectropopper 45s
jumped out of there! First, a Cameo 45 by Bobby Sherman
"and friends" called "Happiness Is" written by Paul Evans
and Paul Parnes. Then, I spotted "What Can I Wish For You
My Son" by Ron Marshall on Intrepid (probably 1970). It was
produced by Art Wayne and arranged by Dean Christopher and
Art Wayne. Any comments on these, guys?
Clark
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SPECTROPOP - Spectacular! Retro! Pop!
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