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Spectropop - Digest Number 1311
- From: Spectropop Group
- Date: Thu, 29 Jan 2004
________________________________________________________________________
SPECTROPOP - Spectacular! Retro! Pop!
________________________________________________________________________
There are 25 messages in this issue.
Topics in this digest:
1. Re: JFK & the Beatles
From: Phil Milstein
2. Re: Sunrays
From: Clark Besch
3. New @ S'pop - Emily's Illness: Diagnosis Of A Song
From: S'pop Team
4. Re: which High?
From: Bill George
5. Re: Newport boo-boos
From: Paul Bryant
6. Re: Italian Drama
From: Steve
7. Re: Italian originals / becoming a writer
From: Phil Milstein
8. Re: Colours
From: Scott
9. Re: skipping records
From: Clark Besch
10. D.W. Washburn
From: Larry Lapka
11. Re: Dylan's bike crash
From: Steve Harvey
12. Welcome, Paul Evans / intros / Monkees / 6Ts TV songs
From: Bobster
13. Wyman
From: Steve Harvey
14. Re: Albeth Paris's new CD
From: David Young
15. Re: Songs w. Same Title As A Movies But Not Otherwise Related
From: Steve Harvey
16. Re: Colours
From: Bryan
17. Re: Ron Dante/"Without A Dream"
From: Ron Dante
18. Re: Japanese Lyrics to "Sukiyaki"
From: Mike Rashkow
19. Re: Beatle covers
From: Mike McKay
20. Re: cigarette commercial music
From: Bibi LaRed
21. Re: Who played bass
From: Mike McKay
22. Re: Spine Shiverers / Big Finishes
From: Rob Stride
23. Re: Child is Father to the Man/Projections
From: Mike McKay
24. Re: Songs that "quote" others / Bed-In John & Little Paul
From: Clark Besch
25. Even More Skipping Records
From: Mark Hill
________________________________________________________________________
________________________________________________________________________
Message: 1
Date: Thu, 29 Jan 2004 16:40:41 +0000
From: Phil Milstein
Subject: Re: JFK & the Beatles
Mike McKay wrote:
> I remember with absolute clarity the moment I heard "I Want to Hold Your
> Hand" for the first time on the radio. Local DJ legend Boots Bell outroed
> the song by saying this was the new group from England that was taking the
> world by storm. He made quite a big deal out of it, upon which I smugly said
> to myself "If that's the kind of music those English guys think we like over
> here, they're nuts!"
Mike wasn't the only one who failed to recognize the impact The Beatles
were about to have on the U.S. Songwriter's Review, the NYC-based
monthly that catered to amateur songwriters, reported in an April 1964
cover story that "The trade expects this fad to die a quicker death than
the belated twist," and the following January wrote that "The pubs that
gave us the Beatles and another British invasion (of talent) have turned
their heads away from The Beat. Pub clientele are playing bingo." I've
reprinted four brief anti-Beatles articles from the front page of SR at
http://www.aspma.com/sr.htm#beatles , under the heading "'Beatle Music'
Is Similar To Rock 'N' Roll." Also there, albeit in miniature, is an ad,
for a song demo service, from the April '64 issue titled "Write In the
Style of The Beatles."
--Phil M.
-------------------[ archived by Spectropop ]-------------------
Message: 2
Date: Thu, 29 Jan 2004 06:04:08 -0000
From: Clark Besch
Subject: Re: Sunrays
Country Paul wrote:
> Eddy Medora has a Sunrays website at http://sunrays718.tripod.com ;
> when the page opens, you hear a stereo mix of "I Live For The Sun."
> Follow the "buttons" on top of the page -- some cool pix here, too, even
> one with Carol Connors and one with David Marks (!) on the "Sunrays
> and Eddy Medora" page.
> Two interesting sites, not in the least because of their home-made quality.
> And now you know.
Paul,
Murray (the W) had a good formula for awhile. I loved "I Live For
the Sun", and "Andrea" was incredibly great. I must say many of their
other 45s really didn't interest me. I really like "You Don't Phase
Me", but it was a B side, much like the two hits. Odd that the
stereo/mono Lps had a cold ending (stereo) and fade ending (mono)
on "Sun", if I remember correctly.
Clark
-------------------[ archived by Spectropop ]-------------------
Message: 3
Date: Wed, 28 Jan 2004 19:35:51 -0000
From: S'pop Team
Subject: New @ S'pop - Emily's Illness: Diagnosis Of A Song
New @ S'pop
Emily's Illness: Diagnosis Of A Song
"'Emily's Illness', a forgotten 45 from late 1967 recorded by a
17-year-old non-singer named Nora Guthrie (the daughter of folk
legend Woody), is an overpowering musical force. In the three-
minute span from its opening harpsichord down-note to its double-
reverse coda, 'Emily's Illness' expands to occupy all attention,
saturating its environment to the extent that music and listener
are ineluctably fused into one unit." (Phil Milstein)
Although "Emily's Illness" somehow escaped attention upon
its release, it absolutely compels attention when it is played.
Tracking down all principals for extensive interviews, Phil
Milstein details the fascinating story of a record that has
remained criminally unknown for 35 years, and one whose
impact is even greater on music fanatics than it is on civilians.
Access here: http://www.spectropop.com/NoraGuthrie/index.htm
Enjoy,
The S'pop Team
-------------------[ archived by Spectropop ]-------------------
Message: 4
Date: Thu, 29 Jan 2004 01:10:26 EST
From: Bill George
Subject: Re: which High?
previously:
> As I recall without listening, Valley High is a sentimental ballad about
> their high school days. No Doowop here. No mention of Jackie
> DeShannon on the label.
Too bad. Jackie does have a demo of a song called Harbor High, which
would fit your description. I thought perhaps they just changed the name
of the HS.
-------------------[ archived by Spectropop ]-------------------
Message: 5
Date: Wed, 28 Jan 2004 16:15:26 -0800 (PST)
From: Paul Bryant
Subject: Re: Newport boo-boos
Al Kooper wrote:
> 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 !
Thanks for your take on the worksheets as
(mis)interpreted by Krogsgaard, Heylin and the others
-- I had been living in a fool's paradise thinking we
now really knew what happened at each Dylan session.
So thanks again for disabusing me of that notion. I'm
much happier now.
Next big myth to tackle -- Dylan at Newport '65. It's
a big one. The biographies and Dylan scholars have
several theories. The first idea, that the trad
folkies were booing because of the electric
instruments, has been revised. The next alternative
theory is that the crowd was booing because the sound
was terrible and you couldn't hear the words (even
though we know there was a soundcheck); and the third
theory, as explained by Mr Kooper himself (quoted in
Heylin's Dylan bio) is that the crowd booed because
the set was so short.
Back to Al.
pb
ps Hey, Al - it just occurred to me to ask - did YOU
boo Dylan at Newport??
__________________________________
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http://webhosting.yahoo.com/ps/sb/
-------------------[ archived by Spectropop ]-------------------
Message: 6
Date: Thu, 29 Jan 2004 02:13:40 -0000
From: Steve
Subject: Re: Italian Drama
Paul Bryant wrote:
> I could be three times wrong of course! Dusty also did
> a couple which sound exactly like great Italian ballads
> but which are entirely English, I think - All I See is You,
> and Losing You.
> Next question, for Italians only -- why'd you stop
> writing those great ballads?
Mmmmm - let me see ...
All Alone Am I is a Greek song written by Manos Hadjidakis.
I Will Follow Him is a French song called Chariot -- written by "Del
Roma / Stole". Recorded by Petula Clark, it was a huge hit in 1962.
English lyrics by Norman Gimbel turned it into a huge hit in 1963 for
our Peggy. Apparently "Del Roma" is really Paul Mauriat.
Love's Just A Broken Heart was written by Mort Shuman and Kenny Lynch.
I suspect the "big ballads" died out mostly bcause the music scene
changed (as it does). Euro Pop became much more euro, the rise of the
singer/songwriter, also the rise of the bubblegum scene that
dominated for a while?? Who knows?
Steve
-------------------[ archived by Spectropop ]-------------------
Message: 7
Date: Wed, 28 Jan 2004 21:48:07 -0500
From: Phil Milstein
Subject: Re: Italian originals / becoming a writer
Michael Edwards wrote:
> Sidebar – I tell who would have turned in a good job on Italian songs
> if he could have been bothered. Elvis.
Well he sorta did, with You Don't Have To Say You Love Me.
Rex Strother wrote:
> Where it doesn't end in a squabble, we get some lovely music!
And even when it does ...
--Phil M.
-------------------[ archived by Spectropop ]-------------------
Message: 8
Date: Wed, 28 Jan 2004 19:58:45 EST
From: Scott
Subject: Re: Colours
Billy G. Spradlin wrote:
> 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?
Simply a killer LP that is even better in that it's still affordable. I'd
rather have a copy of this than hundreds of supposedly rarer and far
more expensive collectables.
Scott
-------------------[ archived by Spectropop ]-------------------
Message: 9
Date: Thu, 29 Jan 2004 06:10:34 -0000
From: Clark Besch
Subject: Re: skipping records
Mike Stachurski wrote:
> This might be opening me up to public ridicule, but...
> I think the record you mean is "Wombling White Tie and Tails"
> That was my turn at Batt - after being initially stumped... ;)
Mike, glad you came out of the closet about being at the Wombling
Summer Party in 1974. I was at it too! Talk about repeating -- I just
pulled my Wombles Lp, and there are 6 of 11 titles with "Womble" in
them! I really thought it was great light pop. My faves were "Dreaming
in the Sun" and "Wombling Summer Party", but liked 3 others pretty
well too -- and at age 18! Shame on me! Gotta say that Mike Batt's
solo, "Walls of the World", is one of my fave songs. I LOVE it! Time
to Womble ...
Clark
-------------------[ archived by Spectropop ]-------------------
Message: 10
Date: Wed, 28 Jan 2004 19:37:08 -0800 (PST)
From: Larry Lapka
Subject: D.W. Washburn
Dear Clark:
I must humbly disagree with you about the Monkees'
D.W. Washburn. I really think that rather than sending
the death march just yet, they were trying to expand
themselves with this track, which was a Leiber and
Stoller tune previously done by the Coasters, I
believe. They took a calculated risk, and it kind of
worked. I mean, they weren't going to do Boyce and
Hart forever (although that probably wouldn't have
been the worst thing).
If they had the TV series to help promote this, I
think it would have been another smash. I am wondering
if, in actuality, they did any real promotion of this
song, such as performing it on any variety shows or
anything. I kind of doubt it, which probably doomed
it. Nonetheless, it scraped the Top 20, so it really
wasn't that terrible.
The death march came with Head, and even though I love
the movie and the music and the talent attached to
this film, this was the end, followed by 33 1/3
Revolutions Per Monkee, which I continue to believe
has been unfairly judged for years.
Since we are on the subject, can someone answer this
for me: why was there such a small amount of Monkees
singles, based on their huge popularity? I realize
many of the singles were actually two-sided A sides in
actuality, but I remember Mike Nesmith once saying
that they were so hot at the time that if they put out
a version of Happy Birthday it would have sold a
million.
With all the wonderful album tracks on their LPs that
were as hook-laden as their hits, I have often
wondered why RCA and Colgems only put out what
amounted to a couple of 45s. They Monkees could have
easily had 20 or more hit singles if they would have
been released--so why weren't they?
Larry Lapka
-------------------[ archived by Spectropop ]-------------------
Message: 11
Date: Wed, 28 Jan 2004 16:11:10 -0800 (PST)
From: Steve Harvey
Subject: Re: Dylan's bike crash
Carlo Ponti wrote:
> He went into a very strange downward spiral
> culminating in "Self Portrait," which is one of the
> strangest albums released in rock, so he later said,
> in an attempt to stop people liking him so much!
Which is why in Mexico it was released as a single lp.
-------------------[ archived by Spectropop ]-------------------
Message: 12
Date: Wed, 28 Jan 2004 20:23:58 EST
From: Bobster
Subject: Welcome, Paul Evans / intros / Monkees / 6Ts TV songs
Thanks for signing in, Paul Evans. Love all your stuff both penned and
performed!
Anyone know what "older" song is played at the beginning of 10cc's
"I'm Mandy-Fly Me"? Part of the chorus goes, "what goes up ... must
come ... Downdowndowndown" -- any of our UK gang know please?
I agree that "D.W. Washburn" wasn't exactly a high point in The Monkees'
career, much preferring Davy's crisp little tune, "It's Nice To Be With You"
that also charted as the B-side. But what does mean? Did this killer "Pisces, Aquarius ..." kickoff chart in
Canada? Or am I, like, WAY off?
The American Breed vocalized a tune called "Music to Think By" on their
"Pumpkin, Powder, Scarlet & Green" LP. Seems to me this was a 6Ts
commercial too -- for "Wink" soda? For Kodak or Polaroid maybe?
Hope everybody enjoyed "The Ballad of James Bong." What a relic!!
Bobster
-------------------[ archived by Spectropop ]-------------------
Message: 13
Date: Wed, 28 Jan 2004 18:23:16 -0800 (PST)
From: Steve Harvey
Subject: Wyman
Clark Besch wrote:
> I would say in the case of "19th Nevervous Breakdown"
> that it would be ridiculous. I have a boot tape of
> the Stones playing "Diddley Daddy" by Bo Diddley and
> the bass line is exactly the same as "19th, etc". So
> for him to claim ownership on an exact part he stole
> from Bo Diddley
You have to play "Diddley Daddy" by Bo Diddley and
hear "19th Nervous Breakdown" before you could say
Wyman swiped it. If it's on there, fair enough. However,
it is possible that Bill came up with it on his own and
put it into their rendition.
Lately I've been listening to the Stones live and I
noticed Wyman's bass playing was a lot louder and
seemed busier than on the studio recordings. He seems
to be buried more in the mix when it comes to the
studio recordings (depending on what tune you're
listening to) than when he was playing live.
-------------------[ archived by Spectropop ]-------------------
Message: 14
Date: Thu, 29 Jan 2004 00:43:33 -0000
From: David Young
Subject: Re: Albeth Paris's new CD
A big thank you to Bill Reed for his Albeth Paris/Paris Sisters
update in Digest 1303. So great to hear that they have a website in
the works, and that Albeth has a CD out (or out soon). No amount of
Amazoning (including the Japanese site, since I know you're in
Japan, Bill) or Googling yielded any success when I tried to find out
where to order myself a copy, so I assume you have an advance promo,
yes? Please keep us posted on both the CD's availability and the
website progress. Thanks.
I'm sure the trio has set some kind of record: In addition to the
remake of "I Love How You Love Me" they did on their Sidewalk
LP "Golden Hits of the Paris Sisters" (co-produced by Albeth's
husband, Clancy Grass, along with Mike Curb), each of the three
sisters has cut her own solo version. Bill reports that Albeth's is
just out (or soon will be) on CD; lead singer Priscilla's rendition
came out on (UK) Rak 184 in 1974 (produced by Chinnichap and
featuring the same backing track as they used on their version by
Mud, also released as a single), and Sherrell's was issued two years
later as a 45 in the U.S. on Sha $ Sha 286.
Incidentally, while you're waiting for the Sisters' official site to
launch, there's plenty to learn about them right here on Planet
Spectropop. Click below and you're on your way!
http://www.spectropop.com/paris/sisterscd1.html
David
-------------------[ archived by Spectropop ]-------------------
Message: 15
Date: Wed, 28 Jan 2004 18:28:08 -0800 (PST)
From: Steve Harvey
Subject: Re: Songs w. Same Title As A Movies But Not Otherwise Related
Laura Nyro's "Flim Flam Man" didn't appear in the
movie of the same name either.
-------------------[ archived by Spectropop ]-------------------
Message: 16
Date: Wed, 28 Jan 2004 19:04:40 -0800
From: Bryan
Subject: Re: Colours
Billy G. Spradlin opines:
> 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.
Try here: http://www.forcedexposure.com/artists/colours.html
Artist: COLOURS
Title: Colours
Label: WORLD PSYCHEDELIA
Format: CD
Price: $17.00
Catalog #: WPC6 8466
Bootleg reissue. "The liner-notes from this, tha band's first album tell us
that they 'have the crystalline sharpness of the Beatles before they turned
acid', and what's more, it's quite true; an excellent pop-psych album, first
released on DOT in 1968; the first track, 'Bad Day At Black Rock, Baby',
must be reckoned among the very best attempts at an orchestrated psych
sound, with the band easily switching from key to key and featuring many
disturbing time-changes; it's charms are many and varied, with songs like
the sitar drone 'Rather Be Me', and the commune-song 'Brother Lou's
Love Colony', later covered by Moon, and the eerie 'Cataleptic'. An
underestimated LP, until now, but not anymore."
-------------------[ archived by Spectropop ]-------------------
Message: 17
Date: Thu, 29 Jan 2004 03:41:41 -0000
From: Ron Dante
Subject: Re: Ron Dante/"Without A Dream"
Greg Wolf wrote:
> I remember when I was a teenager you recorded a theme song
> for a TV show called "Sweepstakes" . I think the song was
> called "Without A Dream". Can you give me any info on the
> song and your personal recollection of it. I think it was
> written by Charlie Fox and Norman Gimbel but I'm not sure..
Hello.
I did the theme song for "Sweepstakes" with my good friend Charlie
Fox.
Charlie called me in to sing the theme and help produce.
It was a great song and I thought that "Without A Dream" could have
gone on and been a hit if the series got off the ground.
I felt this series had a good shot since it was produced by the best
production team of that time, Tom Miller and Ed Milkis.
They were responsible for Happy Days, Laverne and Shirley, Mork and
Mindy and the many of the best tv productions of the 70's.
Tom Miller was a real stand-up guy and creative as all get out.
Fox, of course, was my hero as a fine writer of pop songs, and the
greatest TV themes of that period.
-------------------[ archived by Spectropop ]-------------------
Message: 18
Date: Wed, 28 Jan 2004 22:48:00 EST
From: Mike Rashkow
Subject: Re: Japanese Lyrics to "Sukiyaki"
John Sellards writes:
> A songwriter friend of mine recently played a show at Brown's diner
> in Nashville and announced that, after years of playing here and
> there down there, he was going to do his first cover song. I guess
> they were expecting "Unchained Melody" or something, but they
> got..."Sukiyaki"! I also have actually played it with him at a sock
> hop we did about two years ago. It's funny that you mention this,
> since he was at my house last Saturday and we were talking about it.
I know it by heart:
Oooh ay oh moo ee tee
ahh roo ko
nah me dah gah
ko go ray
mah he oh oh oh nee
oh no ree dah su
hah roo no hee
etc., etc.
That's from memory 35 years old. Don't ask why, don't ask how, don't
forever of me. ... No guarantee of perfection.
But I have the sheet music, if someone thinks it's important.
That guy Kyu Sakamoto, big star in Japan, was on that JAL plane that lost
its rudder and flew around for a hour or so while people wrote goodbye
notes to their kids and then crashed into a mountain. Sukiyaki!
Oh well,
Rashkovsky
that's from mem
-------------------[ archived by Spectropop ]-------------------
Message: 19
Date: Wed, 28 Jan 2004 23:34:25 EST
From: Mike McKay
Subject: Re: Beatle covers
Paul Bryant wrote:
> I dig all on your list and agree, but hang on, where's
> Paul's amazing throat-shredding "Long Tall Sally" in all
> of this? And "Kansas City?" This can't be your full
> list. C'mon, let's have the full list! I always
> struggle with "Long Tall Sally" - it's as good as Little
> Richard. But how can that be? Little Richard was the
> quasar of rock.
Yes, Paul, I think I have the same problem you do with putting Paul
McCartney on an equal footing with Little Richard. I enjoy The Beatles'
"Long Tall Sally" very much (in fact, when I play it in bands I always throw
in George's ascending octave solo), but I'm not able to say that it stands
toe-to-toe with Little Richard's version, either vocally or instrumentally.
Same deal with "Kansas City."
As for my full list, I'll have to do some digging to see if I can come up
with it, as it was a few years ago.
Mike
-------------------[ archived by Spectropop ]-------------------
Message: 20
Date: Wed, 28 Jan 2004 19:45:38 -0800 (PST)
From: Bibi LaRed
Subject: Re: cigarette commercial music
Robert Beason wrote:
> I've got to admit there was a lot of great music used on
> TV ads in the days of cigarette commercials.
DEFINITELY!
I'd like to know what was that L&M jingle from the early 60's with
the "la-la" female vocal.
My mum always told me my godfather came out walking the street
where the commercial was shot (supposedly Westchester County, NY)
-------------------[ archived by Spectropop ]-------------------
Message: 21
Date: Wed, 28 Jan 2004 23:55:46 EST
From: Mike McKay
Subject: Re: Who played bass
Rob wrote:
> PS do you know who played bass on The Last Time by the WHO?
> The same guy who played bass on Thunderclap Newman's
> "Something In The Air"
Quite so! As John Entwistle was off on his honeymoon during the hastily
arranged recording of "The Last Time," Pete Townshend strapped on the bass. As he did for TN.
Mike
-------------------[ archived by Spectropop ]-------------------
Message: 22
Date: Sun, 29 Jan 2023 05:23:56 -0000
From: Rob Stride
Subject: Re: Spine Shiverers / Big Finishes
For Spine-Shivering Performance and a HUGE epic ending, see
Labelle/"Miss Otis Regrets", as mentioned previously by Phil C., who
worked on it.
I picked this single up at a jumble sale and was knocked out by it!
I must have played it 40 times the first day i got it. My only problem is that
it was scratched to hell, so if anybody has a decent copy please let me
know. I have many versions of this song, but nothing comes as close to
giving me palpatations as this little beauty.
Rob
-------------------[ archived by Spectropop ]-------------------
Message: 23
Date: Wed, 28 Jan 2004 23:50:36 EST
From: Mike McKay
Subject: Re: Child is Father to the Man/Projections
Al Kooper wrote:
> I'm just glad somebody likes anything I did. It's a tough world
> out there ...
Believe me, Al, there are lots of "somebodies" out there.
I have to chime in on two semi-related fronts. "Child Is Father to the Man"
is the only rock 'n' roll album with horns that I like. While horns are fine on
strictly R&B stuff, I guess I'm so much of a straight guitar/bass/
keyboards/drums guy that I've just never been able to get into them in a
rock setting. Never dug Chicago at all, or any of the various other attempts
to integrate horns with rock.
Nevertheless, I dearly love "Child." Somehow all the elements just came
together on that album -- most certainly, the great Kooper songs so many have
cited, along with the others, made a big difference.
And prior to that, there was The Blues Project's "Projections." Man, I just
LIVED with that album all through high school. There's a story I often tell
that illustrates the phenomenon of persistence of musical memory. For as much as
I played "Projections" back in the day, for some reason I seem to have put it
aside for a very long time and just not listened to it...I don't know why.
Then about eight years ago or so, I did a tape trade with someone, and he
threw "Projections" on side two of the cassette he sent me to fill it out. I'm
somewhat ashamed to say that it had probably been well over 20 years since I'd
last listened to it. But I'm here to tell you that, as it played back, I
anticipated and knew every single note of every solo...every vocal nuance...EVERY
moment of that album...before it ever arrived to my ears. I was amazed, really,
at my intimate and total familiarity with something I'd been away from for so
long.
So Al, you and the rest of the boys sure must have done something right!
Thanks for all the great music.
Mike
-------------------[ archived by Spectropop ]-------------------
Message: 24
Date: Thu, 29 Jan 2004 05:57:39 -0000
From: Clark Besch
Subject: Re: Songs that "quote" others / Bed-In John & Little Paul
Phil Milstein wrote:
> Of course, Sir Paul had a bit of help with that one -- lessons
> in "how to do Little Richard" from Little Richard himself! Which is not
> to say that you or I could've done half so well had we had the same
> training ...
Phil, seeing the "quote others/John & Paul" title, I immediately
thought you would bring up Lennon's quotes of Pauly songs in "God"
(Yesterday) and "How Do You Sleep?" (Yesterday and Another Day).
Not nice quotes, but made the songs interesting and the wishes of a
Beatles reunion more remote. Man, how many of us wished for that
reunion right up until John's death? I sure did!
Clark
-------------------[ archived by Spectropop ]-------------------
Message: 25
Date: Wed, 28 Jan 2004 20:25:01 -0500
From: Mark Hill
Subject: Even More Skipping Records
Robert R. Radil wrote:
> I think it's on "Smiling Phases" by BS&T where if you play
> one channel, the one without the keyboard solo, it sounds and
> *looks* like the record is skipping because the beat matches
> the 33 RPM.
I'm scratching my head on this one... Are you saying that if I look at
the actual record while I'm playing only one specific channel, that the
record/tonearm will give some sort of visual response that matches
something on the record?
More explanation, please...
"Dr. Mark" Hill * The Doctor Of Pop Culture /*/ drmark7@juno.com
WEBPAGE: http://groups.yahoo.com/group/popmusicpopculture
-------------------[ archived by Spectropop ]-------------------
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