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SPECTROPOP - Spectacular! Retro! Pop!
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There are 24 messages in this issue.
Topics in this digest:
1. Re: Dylan's bike crash
From: Denis Gagnon
2. Re: Feldman, Goldstein & Gottehrer
From: steveo
3. My own two cents; My Own Two Feet; Four Evers; cheap pressings; cutting Elvis
From: Country Paul
4. Anoraks
From: Frank Murphy
5. Re: Spine Shiverers
From: Rex Strother
6. Fake crackles
From: Rex Strother
7. Rain From The (Jamaican) Skies
From: Julio Niño
8. Fake crackles
From: Stewart Mason
9. Re: Randy Vanwarmer
From: Chuck Limmer
10. Fake skipping records - Roy Wood?
From: Watson Macblue
11. Re: "My Name Is Mud"
From: Ed Rambeau
12. Question for Paul Evans Question regarding Guaranteed Records
From: steveo
13. Dylan
From: Dan Hughes
14. Re: Roy Hamilton
From: steveo
15. Super Bowl playlist
From: Mike Edwards
16. Donovan & Mary Hopkin & Al Kooper
From: TD Stout
17. Re: do the mash
From: TD
18. Re: The Beat Goes On
From: Steve Harvey
19. Re: "Child of Mine" Jim Fielder
From: John Berg
20. Re: House In The Country
From: Mike Rashkow
21. The Dis-advantages
From: Charles G. Hill
22. Re: Sebastian & Boone & Dylan
From: Steve Harvey
23. Re: Ray Hildebrand
From: Hugo M
24. "Shadows & Reflections"
From: John Berg
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Message: 1
Date: Wed, 28 Jan 2004 13:45:31 -0500
From: Denis Gagnon
Subject: Re: Dylan's bike crash
C. Ponti:
> ...I have read somewhere that it was no more than Zimmerman and his
> spinmeisters trying to build the James Dean-type myth by making it
> sound more dramatic than it was.
I'm ready to believe this theory as long as someone can explain to me why
after this "motorcycle accident", his voice changed drastically and became
what is most of the time that swqeaky little sound that comes from his
mouth.
Contrary to what a lot of people might say, I don't think there was anything
wrong with his voice pryor the "accident". Quite the contrary, in fact, I
liked it very much and played his second, third, fourth, fifth, sixth album
plus what I consider his masterpiece, Blonde on blonde, thousands of times
on record player.
Denis
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Message: 2
Date: Wed, 28 Jan 2004 10:51:57 -0800 (PST)
From: steveo
Subject: Re: Feldman, Goldstein & Gottehrer
Trevor, The little town I spoke about was not far from Pittsburg...Cadiz,
Ohio 50 miles away.. As far as the Feldman and assoc bag..I think they
also procduced the Strangeloves.."I Want Candy". Steveo
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Message: 3
Date: Wed, 28 Jan 2004 14:04:12 -0500
From: Country Paul
Subject: My own two cents; My Own Two Feet; Four Evers; cheap pressings; cutting Elvis
Me, earlier:
> My 2 cents on the ELO debate: I saw them live early on. Excellent.
> The great songs were great, the trite songs were trite, the hits
> got burned out quickly to my ears, but stayed around too long,
> obscuring some of the really good stuff that didn't make Top 40
> radio. (Actually, that happened to a lot of groups. ....)
Mark F:
> I've been thinking about the last sentence in Paul's message for
> a few days now (the sign of a good thought-provoking message!).
> I don't agree that there was much competition for ELO on Top 40
> radio. But, as is stated at the end of Paul's message, aren't there a
> lot of musical acts who obscured radio over the years? Haven't the
> Beatles been accused of preventing better quality music from getting
> into the Top 40 or even on the radio?
The following is strictly opinion based on experience; as the Band sang,
"Take what you need and leave the rest." Musical artists don't control radio
playlists and compete to keep others down; that comes from the executive
branches of radio and records. I wasn't criticizing ELO any more than any
other act whose music was seized on by Program Directors, Music Directors
and (bad word ahead) consultants and turned into boring mush. There's a
lifespan for a hit (in several categories in programming falling under the
"current" umbrella) and then ways to ease it into oldie-dom ("recurrent"
then various "oldies" categories, including the [in]famous "lunar
rotation"). In my opinion, by the time most huge hits hit "recurrent"
status, they were burned out and needed a rest before being brought back
more-or-less occasionally as oldies. (All categories are arbitrary, as is
the process despite great pretentions to statistical research; radio sucks
more as more research and fewer ears are applied to it.) It seems that a lot
of ELO's top 40 hits reached the "cherished" status of "burned-out-ness"
and, through no fault of their own, caused a diminution in their status
among musical cognizenti. Another example: I think much of the Eagles'
ouevre suffered from similar over-popularity. I remember seeing them live in
the early 70's, before Joe Walsh joined them and before they became a
household name. They were phenomenal - creative, innovative, and one of the
best live shows I'd seen to date. Within a year, their hits were
over-exposed jukebox fodder. Nothing about the original recordings had
changed; it was just too much exposure of a good thing. Sadly, I'm so burned
out personally on the hits of these artists - and way too many more, whose
names I won't sully by mentioning them - to probably ever hear most of them
with fresh ears again.
This brings up your next point, Mark:
> I've often wondered if there was ever a time when radio was the
> ulimate gauge of quality (i.e. lasting) music?
In a word, no. Some eras were, however, better than others, and I'll keep my
comments to the "music" part rather than the "personality" aspect. I and
many of the stations I worked at tried hard to play the best music,
especially in the evolving days of album rock, and occasionally we
succeeded. Also, the "deeper" top 40 stations who played 50, 60, 100 new
records may have come closer musically than the ones with the excessively
tight playlists. But radio was always guided by someone's opinion and by ad
sales (except for non-commercial, which is guided by begging marathons or
funded by an institution, like a college, which often has its own agenda).
My personal musical gold may be your lead, and vice versa.
At best, commercial radio is somewhat of a compromise. We could open windows
on music you might not have heard otherwise, and we certainly tried to
present what we thought the best music would be, at least most of the time.
But (true confession that hurts) even in freeform commercial radio, all of
us, well-meaning and erudite folks that we were, would pull back from
playing something we *really* wanted to play in favor of something more
popular in order to pander enough to the audience (win them over to our
side - "see, we like what you like too") so they would listen to what *we*
wanted them to listen to. Do I sometimes regret this? Sure - but if I had
let my own taste run rampant, I wouldn't have been paid to do what I was
blessed enough to do for almost 30 years. On the other hand, there's
Spectropop, where my taste *does* run rampant. Yet, even at the New York
S'pop party in June, where I was privileged to DJ for a set, I didn't
compromise my taste, but I did default to a couple of songs that I knew were
better known by the crowd, and saved the others for later. (And y'know, it
was great to see folks singing along to the popular ones, too; I fulfilled
the "job description" - to bring joy to the evening. That works for me. And
I'd DJ again for S'pop in a heartbeat!)
Oh, no! I think I just delivered another tome of a think piece, and opened
myself up to the inevitable criticism to follow - so have at me! :-)
Ian Chapman:
> Only recently did I get to hear the U.S. version [of "On My
> Own Two Feet," wr. Rambeau-Rehak] by Hal Miller, after a
> few years of searching. I'd always imagined it would be
> even better than the [Kenny] Lynch cover and envisaged a
> typical Crewe stomper with Rag Dolls-type b-vox.
Having just heard the Lynch version for the first time on musica, my nod
goes to Hal Miller, Ian, but Lynch is really good, too, and I understand
your preference. I think it's a great song, and I've always felt the Miller
version would have been a monster hit if the Seasons had sung the same
arrangement over the same instrumental track - or (and here's the "monster
in the closet") if Miller had been white instead of black. Another option:
if he had been promoted as the lead voice of the Rays instead of just
another newcomer, it might have helped. (I don't mean to start a race war
here; American radio got much better as the British invasion and progressive
radio opened more doors for black artists [not just "safe" ones] and other
"fringe" folks. And this is just my opinion; I certainly welcome and
encourage others.)
Mick Patrick wrote:
> [now at musica]...The 4 Evers "Stormy" (Constellation 151, 1965)
Another Four Seasons hit that never was; what were they doing on
Constellation, essentially a soul label? It might explain why we were never
serviced with this at WBRU; we darn well would've played it! (The fade-out
is a bit abrupt, though - did the session fall apart, or was that
intentional?) Related topic: Mike Edwards cites Tom Crewe (Bob's brother) –
"Come On Dream" (on Mala); this has always been one of my favorites,
including a Del Shannon/Max Crook-like organ which adds a lot.
Billy G Spradlin wrote:
> The cheapest vinyl I have ever seen is from Cameo/Parkway's
> Wyncote budget label. They used the worst crap!
Bob Radil followed up:
> As bad as the old ABC Paramount singles or early Dunhill stuff? It
> seems they used recycled vinyl, without first removing the labels!
I think they came from a pressing plant called Universal, in Nashville, who
did pressing orders large and small. (They did my first 45, which suffers
from the same disease!)
Mike McKay wrote:
> Witness the Official First Cut of the Original Sun Sessions
> Master Recording Tape of Elvis Presley
Today's (1/28/04) New York Times had an article about it in the
entertainment section. Lots of people aren't happy. Personally, the stunt
sounds like a high-priced form of prostitution.
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Message: 4
Date: Wed, 28 Jan 2004 19:29:38 +0000
From: Frank Murphy
Subject: Anoraks
Anoraks were the choice garments of trainspotters not long brown
overcoats. Anoraks had lots of pockets which could hold a packed
lunch, a Thermos flask, a notebook, an Ian Allen Guide to
locomotives and a camera. One could also hide one's scarf and
mittens in another pocket once were of sight of an elderly mother ;)
I would associate long brown overcoats with either the characters
in the film The Longriders or the fans of the shoe gazing bands of
the eighties.
Frank Murphy
reflections on northern soul Saturdays at 14:30 or listen now
www.radiomagnetic.com/archive/rnb.php
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Message: 5
Date: Wed, 28 Jan 2004 12:28:26 -0700
From: Rex Strother
Subject: Re: Spine Shiverers
Personally (I likewise hope not to be tarred with any ruffled feathers
either), the opening vocal phrase to the Beatles' "Mr. Moonlight" IS one
of my spine-tingling music moments. The effect of that half-ragged
scream always sends a shudder.
Rex
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Message: 6
Date: Wed, 28 Jan 2004 12:34:35 -0700
From: Rex Strother
Subject: Fake crackles
Phil Milstein:
> I also know a reissues compiler who has, on rare occasion yet
> more than once, included his own '60s-styled recordings amidst
> authentic '60s originals, with a crackle 'n' pop track added to
> accentuate the effect. Some customers have been fooled; others
> decidedly have not.
Out of Time Purview:
A famous opening intro with "vinyl" noise added - needle drop and
crackles (even though it came out on LP! originally) is Klaatu's
"Calling Occupants ..."
I believe it also appears on the Crash Test Dummies "God Shuffled His
Feet" - the opening track of their sophomore effort.
As to recording, I understand "They Might Be Giants" went to the Edison
laboratories in Menlo Park and acoustically recorded a song titled "Can
You Hear Me" (or similar, this is striclty off-the-topping) directly
into the bell of an Edison phonograph, and then released on CD.
Sorry - I'll rewind to the 60s now.
Rex
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Message: 7
Date: Wed, 28 Jan 2004 21:17:33 +0100
From: Julio Niño
Subject: Rain From The (Jamaican) Skies
Hi Everybody.
Mike Edwards wrote:
> 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.
I haven´t heard Adam´s Wade´s "Rain from the Skies", but there is a much
versioned Jamaican sixties classic titled also "Rain From The Skies".
The first version is by Delroy Wilson and it´s always credited to him.
But, considering that in Jamaica it is not uncommon that singers, and
specially producers take credit of well known songs (I´ve seen blatant
cases), and that the song has a certain "Bacharach" flavour, I suspect
that maybe they could be the same song.
The lyrics of the Jamaican "Rain From The Skies" are more less like
this:
"Ever since you went away
Everyday is such a cloudy day,
and I don´t know if it´s rain from the skies
tears from my eyes falling down my face
and rolling down my cheek.... "
Am I too suspicious?. I will appreciate any information on the subject.
Thanks.
Julio Niño.
P.D. : By the way, the Jamaican song is beautiful, my favourite is Slim
Smith´s version.
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Message: 8
Date: Wed, 28 Jan 2004 12:23:33 -0800 (PST)
From: Stewart Mason
Subject: Fake crackles
Phil Milstein teases:
> I also know a reissues compiler who has, on
> rare occasion yet more than once, included
> his own '60s-styled recordings amidst authentic
> '60s originals, with a crackle 'n' pop track
> added to accentuate the effect. Some customers
> have been fooled; others decidedly have not.
I'm going to take a wild stab and guess that it's Erik
Lindgren of the fine Arf! Arf! label who does this.
Partially because it just seems like something Erik
would do to amuse himself and partially because some
of the entries on albums like A HEAVY DOSE OF LITE
PSYCH sound just a little *too* perfect.
I can see why some people would be mildly outraged by
this practice, but I think it's both funny and an
entertaining poke at the obsessives -- anoraks, if you
will -- who think that a track's worth is directly
proportional to its rarity. Surely I'm not the only
one to notice that mixed in with all the lost gems on
those Pebbles and Cicadelic reissues are a fair number
of utter dogs that disappeared for a reason!
S
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Message: 9
Date: Wed, 28 Jan 2004 13:27:10 -0700
From: Chuck Limmer
Subject: Re: Randy Vanwarmer
Thanks to all those who remembered Randy Vanwarmer's early career as
a pop-rock recording artist in the late '70s-early '80s, upon his
recent, untimely death from leukemia. (I was surprised that Vanwarmer
was only 48; when I learned that he was 18 when he wrote his #4 hit
from 1979, "Just When I Needed You Most," his relative youth made more
sense.)
Those references to Vanwarmer made me pull his Bearsville LPs off the
shelf for the first time in years. The last of those four albums, THE
THINGS THAT YOU DREAM (23746-1, 1983) is worth revisiting, for those
familiar only with his sole Top 5 hit or his later successes as a
country songwriter and performer. Produced by David Kershenbaum, it
alternated between sprited pop and crisply professional adult
contemporary tracks, with an energetic cover of "Do You Believe In
Magic" (on which John Sebastian plays autoharp and harmonica).
The music lives on,
Chuck Limmer
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Message: 10
Date: Wed, 28 Jan 2004 12:45:35 -0800 (PST)
From: Watson Macblue
Subject: Fake skipping records - Roy Wood?
Has anyone mentioned the title song of Roy Wood's "Mustard"? This
begins with a dropped pickup and hair-raising scratch before Roy's
amazing Andrews Sisters pastiche gets under way. For once, I'm
using "amazing" in its true sense - it's actually slightly
disturbing that someone would go to this sort of trouble to fake up
an entire 1940s Big Band and (girl!!!) vocalists. I've even heard
one casual listener claim to remember the song from the 1940s,
placing Roy in very distinguished company. I know of two other
entirely fake 1940s songs that have been mistakenly described as the
real thing - Andy Mackay's "War Bride" and "Who Do You Think You Are
Kidding, Mr. Hitler?", the title song of Dad's Army. Anyone know any
other pastiches that have been mistaken for the real thing? There
must have been a few 50s tributes that have passed for originals.
Watson
Ailbhean 's an rum, a Mhgr Biorain-goirm ...?
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Message: 11
Date: Wed, 28 Jan 2004 15:58:45 EST
From: Ed Rambeau
Subject: Re: "My Name Is Mud"
Phil Hall:
> My best friend in high school was Robert O'Gwynn, and his
> father, James O'Gwynn had a moderately big country & western
> hit in 1962 called "My Name Is Mud". Is it the same song as
> yours?
I doubt it, but it is possible. There are many songs with the same
title because you cannot copyright a title...but you certainly
wouldn't wanna write a song called "White Christmas". If you have
an MP3 of the country "My Name Is Mud" send it along to me and I'll
let you know if it's the same.
Ed Rambeau
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Message: 12
Date: Wed, 28 Jan 2004 13:46:45 -0800 (PST)
From: steveo
Subject: Question for Paul Evans Question regarding Guaranteed Records
Paul,
Can you tell me who the big shot was behind Guaranteed Records,
and what sutio they used back in the early 60's?
Thanks, Steveo
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Message: 13
Date: Wed, 28 Jan 2004 15:03:36 -0600
From: Dan Hughes
Subject: Dylan
Al, this note was just posted on another group I'm on. You're gonna love
it! Please have a look at it:
"The three minutes spent hearing it [Positively 4th Street] beats hitting
someone over the head with a rake, and it's just plain fun to hear with
its funny lyrics and great melody, punctuated by Mike Bloomfield's organ
throughout. (Note: Bloomfield was Dylan's musical director while making
Blond on Blond and the punk masterpiece, Highway 61 Revisited. "Like a
Rolling Stone" is also Mike playing organ. Bloomfield use to call the
Dylan sessions "a-maze-o-sessions"....He would arrive at the studio late
at night at the studio ahead of when Dylan and the band would arrive and
scribble down the arrangements for the band all within a couple of hours.
And it all worked so beautifully. He was all of 22 years old. And
people tell me they didn't make geniuses in the 60's? Come on!)"
---Dan (who is just the messenger and had nothing to do with the
composition of the preceding)
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Message: 14
Date: Wed, 28 Jan 2004 13:58:19 -0800 (PST)
From: steveo
Subject: Re: Roy Hamilton
Howard,
Thanks for the info on Roy Hamilton. I enjoy the song
"100 years", even tho I only know Bill Medley's version
of it. Not a bad little song!
Steveo
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Message: 15
Date: Wed, 28 Jan 2004 22:36:04 -0000
From: Mike Edwards
Subject: Super Bowl playlist
Here's the playlist for the half time show:
Freddy Cannon - Boston My Home Town
Dave Loggins - Please Come To Boston
Boston Crabs – You Didn't Have To Be So Nice
Boston – More Than A Feeling
Standells - Dirty Water
Merv Griffin - Banned In Boston
Kingston Trio - MTA
Bee Gees - Massachusetts
Kirsty MacColl - A New England
Randy Edelman - A Weekend In New England (also Barry Manilow)
White Plains – Carolina's Coming Home (also Shaun Cassidy, Vanity
Fare)
Marie Antoinette – He's My Dream Boy
Mustangs – Dartell Stomp
Patti Page – Hush Hush Sweet Charlotte
James Taylor – Carolina In My Mind (also Dawn, Melanie)
Reba McEntire – Whoever's In New England
Jerry Vale – I Love New England
Billy Butler – The Boston Monkey
Boston Pops Orch – I Want To Hold Your Hand
Brian Diamond & The Cutters (awesome name for a group!) – Brady Brady
And continuing Ken's Kent Walton thread:
Adrian Street & The Boston Crabs – Imagine What I Could Do To You
Seems a little too one-sided? So will the game be.
(PS – I hope that Adrian Street is still out there, alive and well.
I am a little concerned because no one in this group could locate
Big Daddy for me)
Mike
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Message: 16
Date: Wed, 28 Jan 2004 14:03:31 -0800
From: TD Stout
Subject: Donovan & Mary Hopkin & Al Kooper
Art Longmire wrote:
> I have the Postcard LP and one song I'm interested in on that album
> is the Donovan song "Lord of the Reedy River". Does anybody know if
> Donovan ever recorded a studio version of this, and if so which of
> his albums (or CDs) is it on? I have a Donovan bootleg LP of a live
> late 60s performance that includes a great version of "Reedy River",
> so I wondered if it had ever been released on a studio LP.
Donovan did indeed record a studio version of "Lord Of The Reedy River"
on his UK only release LP, HMS Donovan, which has been reissued on CD a
few years ago. It's also found on a UK Donovan compilation and he's done
a number of live versions.
Back to Mary Hopkin. Mary put out a Japanese release only LP, "Live In
Japan 1970", documenting her tour of that year, which is very rare and
worth searching out. I've never found it but have copies of the songs
(and would like to get good quality versions if anyone can help me...email
me please).
She made some good music in the 80s with a group called Sundance. That
record has also been reissued recently. She was also in a group called
Oasis, long before the the Gallagher's took the name. And she contributed
to a number of other things, Brian Willoughby, Dave Cousins (both British
folkies).
Much of her music is available if you look hard enough, although some is
damn near impossible to locate. "Earth Song" was not around long as a CD.
You had to jump on it when it came out or you were out of luck. Copies on
eBay are quite dear.
I understand she plays on a rare basis in the UK....once in a blue moon or
less. I disagree with those who slag "Those Were The Days". It was a
great single and wonderful song. Like many it suffered from gross
overexposure, but it doesn't diminish it's quality. I'd hate to say which
cut on the LP was the worst. To me it's like asking which song off Pet
Sounds or Rubber Soul would I have left off.
To Al Kooper: I loved your version of "A Rose & A Baby Ruth". It seemed
to come out of nowhere for the times. How was it you came to cover this
tune? It was wonderful.
tdstout
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Message: 17
Date: Wed, 28 Jan 2004 17:47:37 -0500
From: TD
Subject: Re: do the mash
Wendy Flynn:
> Can anyone tell me how to do 'the slop', and if there ever was
> a real dance to go with 'The Monster Mash'?
Doing "the slop" meant dancing "free form". Unlike "the stroll" that
had specific steps (one-two, one-two and back-step), as the name
implies "the slop" was some of this and some of that. When you danced
"the slop", you weren't following a lead from your dancing partner,
you just went wherever the music was sending you. The Monster Mash
was dancing "the mashed potatoes" at a Halloween party--otherwise, it
was no different than "the mash". If you were on a television dance
party show in '62, you could dance the mash, but they'd throw you out
if you did "slop". -- TD
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Message: 18
Date: Wed, 28 Jan 2004 15:04:55 -0800 (PST)
From: Steve Harvey
Subject: Re: The Beat Goes On
Al Kooper wrote:
> 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.
Carol Kaye has claimed she did it. I don't hear her too often taking
credit for songwriting. There was no riff for her to arrange on "The
Beat Goes On", it was just a chord pattern (and nothing that
spectacular). She claims to have come up with the riff and it's what
makes the tune work (as much as the bass riff to "Under My Thumb" does).
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Message: 19
Date: Wed, 28 Jan 2004 18:12:01 EST
From: John Berg
Subject: Re: "Child of Mine" Jim Fielder
Al, I am wondering if you kept in contact at all with bass player
Jim Fielder? His style of bass playing on the first BS&T album is
part of what makes that LP stand out for me. He clearly was
influenced by soul bassplayers of the time, including Jamerson as
well as some of the NYC sessionmen. I wonder what ever became of
Jim once he moved on from the BS&T scene?
One summer in the late '60s I took a Fullerton [California] Junior
College summer school course in speach with Jim's sister Jonelle (sp?)
-- I of course knew who her brother was, having been a fan of the
Mothers, Buffalo Springfield, Tim Buckley and the first BS&T album,
but I never got up the courage to ask her for any "insider" info about
her brother. She was a very good looking, and very nice, young woman,
and I had not yet developed any confidence about talking either to
women or rock musicians. Fortunately those traits came later as I
found both to be strangely human just like me....
John Berg
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Message: 20
Date: Wed, 28 Jan 2004 18:25:31 EST
From: Mike Rashkow
Subject: Re: House In The Country
Al Kooper:
> the movie folded after the writer and director had a fistfight
> on the set
I'l bet $50 on the director.
Rashkovsky
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Message: 21
Date: Wed, 28 Jan 2004 17:24:51 -0600
From: Charles G. Hill
Subject: The Dis-advantages
Bob Beason laments:
> The liner notes to the Collector's Choice comp "Instrumental Gems of
> the '60s" say that the compilers wanted to include "Dis-Advantages"
> but couldn't find a decent source tape, so they went with the BR's
> "Love Theme From 'The Flight of the Phoenix'" instead. Too bad!
Go hunt down "Sunshine Days: Pop Classics of the '60s, Volume 2" on
Varese Sarabande (last seen as Varese Vintage VSD-5802, 1997). Sounds
pretty decent to me, and it's sandwiched between "Open Up Your Heart"
by Thomas and Richard Frost and "Distant Shores" by Chad and Jeremy,
neither of which is exactly overplayed these days.
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Message: 22
Date: Wed, 28 Jan 2004 15:46:23 -0800 (PST)
From: Steve Harvey
Subject: Re: Sebastian & Boone & Dylan
Al Kooper wrote:
> 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.
Al, Boone said he played on only a couple of cuts and was mainly
there because Sebastian took him. I never even knew about it until
he mentioned it the other day. However, that site does mention him
playing at the sessions. I find it strange that Dylan would chose
Sebastian (who admits he's not a bassist) over Boone who is a bass
player. But then again, I heard a story once about the Hibbings
Wunderkind using one of the Royal Teens' guitarists to play organ
on "Like A Rolling Stone".
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Message: 23
Date: Wed, 28 Jan 2004 23:59:23 -0000
From: Hugo M
Subject: Re: Ray Hildebrand
I goofed. Off the top of my head I posted "...made up new names to
record under as often as Ray Hildebrand used-a-do..."
I went back today to look up info & answer the question that came up
about Ray H.s name-changes, and it turns out there WEREN'T a whole
bunch of them like I thought I remembered. In fact, the only one I see
him credited with is being the "Paul" of Paul And Paula. He and Jill
Jackson recorded the song on a local label, first as "Jill And Ray",
and then when it was reissued on Philips Records as "Paul And Paula".
Two Paul/Paula LP.s and they stopped working together; after that, Ray
put out a couple of solo 45's as "Paul", all with titles that referred
to the stages in the two characters' break-up. Along the lines of
"It's All Over Now, Paula"... But other than his couple of years being
"Paul", he didn't record under pseudonyms.
I was just testing y'all to see if you were awake, that's the
explanation....
A-wee-mo-weh...
Hugo M
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Message: 24
Date: Wed, 28 Jan 2004 18:59:56 EST
From: John Berg
Subject: "Shadows & Reflections"
Clark, while you were rooting about amongst your 45s, did you happen
to stumble across copies of Shadows & Reflections by either Eddie
Hodges or The Lownly Crowde? I have the former on the Fading Yellow
Vol 3 CD comp., but have yet to hear the latter version. Being a
huge Action fan, I would dearly love to get hold of these and any
other versions of this song by Tandyn Almer. Speaking of him, does
anybody have a copy of the album of his demo songs that circulated in
the late '60s or maybe it was the early '70s? That's another piece
of music history I would love to get my ears on.
John Berg
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