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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: You Left the water Running/Maurice McAlister & Art Roberts
From: WLS Clark
2. Dwight Twilley; Al Hibbler; Elvis Spector; quickies & a personal note; endings
From: Country Paul
3. Re: Becoming a Writer
From: Glenn
4. Re: Lou Johnson on the Bacharach box
From: Sebastian Fonzeus
5. Re: Roy Hamilton
From: Paul Underwood
6. Re: cigarette commercial music
From: Glenn
7. Re: The earliest fake-skipper?
From: Peter Lerner
8. Re: Italian Roots
From: Paul Bryant
9. Re: Beatle Myth Pt.2
From: Paul Bryant
10. Re: Sock it to me
From: John Fox
11. Re: Payola
From: Paul Bryant
12. Re: Questions for Paul Evans
From: Al Kooper
13. Re: Songwriter Credits, General Question
From: Glenn
14. Re: My Mistakes
From: Al Kooper
15. Re: Beatle Myth Pt.2/Twist & Shout
From: Craig Davison
16. Re: Clapton Solos
From: Al Kooper
17. Re: Songwriter credits
From: Mike Rashkow
18. Re: Ray Hildebrand Question
From: Orion
19. Re: Songs that quote others
From: Eddy
20. Orchestra Wives
From: Al Kooper
21. Louis Phillipe
From: Bill George
22. Patty Duke celebrates Arbor Day
From: Tom Taber
23. Re: Angel Baby
From: Bill George
24. Re: Beatles-inspired girls
From: Andres Jurak
25. "The 60s Show" will be streaming tonight
From: Robert R. Radil
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Message: 1
Date: Thu, 29 Jan 2004 06:19:53 -0000
From: WLS Clark
Subject: Re: You Left the water Running/Maurice McAlister & Art Roberts
Frank Murphy wrote:
> I believe Maurice and Mac did the original version of "You
> left the water Running" It was written by Box Tops producer
> Dan Penn, Rick Hall and ? Frank and recorded at Fame studios
> for Chess.
> Both Maurice McAlister and McLauren "Mac" Green were members
> of The Radiants. Dan Penn later recorded his own version on
> "Do right man".
If anyone doesn't know and remembers the late great Art Roberts of
WLS in Chicago, he did an oldies show in the latter 60's on WLS on
Sunday nights called "Hey Baby, They're Playing Our Song". Most
people know that our Spectropop buddy, James Holvay, wrote the
Buckinghams hit of same name after asking Art if he cared if he wrote
a song with that title. (Correct, James?). However, Art's theme
song of his show with the same title was a groovy pop r&b by Maurice
McAlister! Clark
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Message: 2
Date: Thu, 29 Jan 2004 02:15:55 -0500
From: Country Paul
Subject: Dwight Twilley; Al Hibbler; Elvis Spector; quickies & a personal note; endings
As the Tulsa scene has come up in the discussion, I'd like to throw in a
salute to Dwight Twilley and the late Phil Seymour. Although their work
began in the 70s, after our arbitrary timeline, I think they exemplify the
best in creative power pop, progressively conceived, excellently played and
recorded, and consistent in style from the first ("I'm On Fire") to the most
recent CDs on Not Lame. "Oh Carrie," my favorite recent Twilley track, found
on "The Luck" (Not Lame, 2001) and "Between The Cracks, Volume 1," an
odds-and-ends collection (Not Lame, 1999). For a good but by no means
complete overview of Twilley's career from "I'm on Fire" to 1998, Check out
"XXI" (The Right Stuff, 1998).
Paul Bryant wrote, re: Unchained Melody:
> And originally in 1955 it was a No 2 hit for some guy called Al
> Hibbler (!)
This "some guy" had the original hit. The title of the song, as you may
know, comes from the movie "Unchained," now largely forgotten, about a
then-novel minimum-security prison in Chino, California. It was the love
theme. From the Artist Direct website biography:
"Not just a distinctive singer but a true vocal wonder, Al Hibbler featured
with Duke Ellington's Orchestra throughout the 1940s and recorded a few hits
("Unchained Melody," "After the Lights Go Down Low," "He") on his own for
Decca and Atlantic during the 1950s and '60s. His frequent use of a Cockney
accent and non-subtle growling techniques kept listeners on their toes
though, far from a novelty act, Hibbler's voice was strong, emotive and
masculine, with a steady vibrato that carried every record he made.
"Born blind in Mississippi, he began singing early on and sang soprano in
the choir of a school for the blind after moving to Little Rock at the age
of 12...." He spent 8 years with the Duke Ellington Orchestra, then in 1955
"he signed a big contract with Decca and hit the pop charts in a big way
with two million-selling singles, "Unchained Melody" and "He," spotlighting
his idiosyncratic (to say the least) delivery, which veered from growling
vocals to a carefully studied, almost Cockney accent only occasionally
enforced. In 1956, Hibbler hit the Top Ten again with "After the Lights Go
Down Low," but it proved to be his last hit." He was active in the civil
rights movement, cuts several jazz albums, and passed on just recently.
Quite some guy, indeed.
If I haven't yet mentioned it, special thanks to J. D. Doyle for posting
Phil "Elvis" Spector's "Well, I Mean" to musica. Just when I thought I'd
heard it all! I've been privileged to hear all of PS's Atlantic productions
from the ame period, and with the exception of the Top Notes' "Twist &
Shout," in my opinion this equals or beats 'em all. This should've been a
real release; glad to have it now.
And thanks to Stewart Mason and Bryan, thanks for the Monkees info, and to
Phil M for the music. The Rhino Handmade collection Bryan mentions sounds
like it'll be a treat - Warner Brothers had so many really cool one-offs in
the 60's, both albums and singles. I don't see it yet on the Rhino Handmade
website, but there are now reissues of past-discussion-subject Judee Sill's
two albums with extra demos, etc. (Missing is my favorite demo by her, "Till
Dreams Come True," which was on Bob Brainen's WFMU premium CD from their
2002 fund-raising marathon. It is also available as a free download
(provided by her music publisher) at http://www.webnoir.com/bob/music/. I
strongly recommend this song; she was a unique talent, and rediscovering her
work has been one of my great recent musical pleasures.
Short stuff:
Kim Cooper:
> thought you folks might be interested in the cover story on Emitt Rhodes
that ran in yesterday's CityBeat out here in LA.
http://www.lacitybeat.com/article.php?id=583&IssueNum=33
Yes, very much interested. What a tragic tale.
Austin Roberts, re: spine-shivers:
> Back to center on this thread: how about the great vocal 'bong' at the
> end of Thomas Wayne's "Tragedy"?
Yes indeed; always loved that song. Incidentally, beware the later
"sweetened" version with violins overdubbed.
Paul Bryant:
> "Whatever happened to the Brill Building?....by - say - 1966/7 there
> wasn't a Brill School of Hits any more. Something had happened.
Singer-songwriters and bands with their own internal writer(s) happened.
A personal note:
Thanks to the S'pop Team (a bit late) for the nice herald for, and to
S'pop correspondents for the warm reception to, my review of the two Phantom
Jukebox albums - and of course to Steve Stanley for assembling them. You
guys make these labors of love worth it! Congrats also to Phil Milstein on
his excellent review of the Kim Fowley collection; I can tell he had a good
time too!
And in closing, this from John Sellards:
> Maybe this is a new thread - great endings????
Maybe....
Harvey & The Moonglows, "Ten Commandments of Love" (30 seconds of divine
doo-wop vocal calisthenics)
Lyme & Cybelle, "Follow Me" (a coda building to an ending in a different
key, but it works)
Nazz, "Open My Eyes" (the fade defines pop-psychedelic, even in mono)
Sandy Salisbury, "Come Softly" (the fade is an aural trip down a dark rainy
street with Fellini-esque Spectorian sounds haunting the scene - Sandy walks
away, singing, as the "audio camera" remains)
And so I too fade for the evening....
Country Paul
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Message: 3
Date: Thu, 29 Jan 2004 08:31:29 -0000
From: Glenn
Subject: Re: Becoming a Writer
Rex Strother wrote:
> I think Al makes a great point - nobody here (or probably anywhere)
> could possibly disparage George Martin's contribution or Carol
> Kaye's playing (who wants a brick to the noggin, after all?). But
> if thosefolks wanted to be songwriters - then they would have to
> write a lyric down, sing a melody over it, and hire some of their
> session musician and arranger friends to make it into a recording.
> Maybe Ringo did deserve 10% writing credit for coming up with a
> title - but that's a battle he would have had to fight.
Sometimes people that don't write lyrics or melody DO fight that
battle for songwriting credit - and WIN.
Case in point: "Go All the Way" by Raspberries.
The song was written by Eric Carmen. The group's lead guitarist,
Wally Bryson, came up with the amazing guitar riff that opens the
song and is repeated in the middle. He felt that his contribution was
significant enough (I don't think anyone would deny that it's one of
the record's major hooks) for him to get co-writer credit, and asked
for it. Carmen said that that was ridiculous, that you couldn't
copyright a guitar riff, and refused to give co-writing credit to
Bryson. According to Bryson, "That was the beginning of the end."
Be that as it may, Raspberries still managed to put out four albums
after that incident, with both Carmen and Bryson remaining as steady,
in fact the ONLY steady, members.
I don't know how it went down (maybe someone here does?) - whether
there was a court battle, or Carmen just eventually conceded out of
the kindness of his heart, but recent re-issues of Raspberries
material now list the writing credits of "Go All the Way" as Carmen-
Bryson.
It would be interesting if there WAS a court battle, because a
verdict in Bryson's favor would set a legal precedent against Al
Kooper's assertion that only melody and lyrics count for songwriting
credits, and could trigger a whole wave of lawsuits by session
musicians, producers, and people that just happened to walk through
the room when the song was being written.
Now, I've read this over very carefully, and I'm fairly certain that
I haven't taken a position on the issue, one way or the other, in
this post - and thus haven't stepped on anyone's toes. So PLEASE
don't hurt me.
Glenn
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Message: 4
Date: Thu, 29 Jan 2004 13:07:46 +0100
From: Sebastian Fonzeus
Subject: Re: Lou Johnson on the Bacharach box
Martin wrote:
> Some time ago, I became aware of Lou Johnson via the Bacharach box.
> Lou's reading of 'Reach Out for Me' and 'Always Something There to
> Remind Me' just blows my mind! Incredible voice. According to
> allmusic.com, Collectables issued a CD of his Big Hill '60s recordings
> in the '90s, but it seems to be out of print. I can't find it
> anywhere online. Does anyone here have this disc? Is it any good,
> or, more to the point, do the other recordings he did for Big Hill
> stand up in comparison with the ones on the abovementioned box?
> I'd be interested in any info you might be able to share on this
> great singer.
Martin, I've dug around a bit on the net and here in Malmoe but can't find
the CD anywhere. I suppose it is well out of print. :( As you write, Lou
is a fantastic singer. I love his voice and wouldn't mind a career-spanning
double CD. As for now, the fine "Big Top Soul Cellar" various artists CD on
Goldmine Soul Supply which includes six of his recordings (plus an
instrumental) will have to do. The CD also has got some fantastic male
group harmony tunes by The Volumes and great Don & Juan, Dynamics, Azie
Mortimer and Bobbie Smith tracks that might appeal to many of you.
Here's a Lou Johnson discography. Might be missing some stuff, but this is
what I know:
Big Top 3115 (1962) - Thank You Anyway, Mister D.J. / If I Never Get To
Love You
Big Top 3127 (1962) - You Better Let Him Go / Wouldn't That Be Something
Big Top 3153 (1963) - Reach Out For Me / Magic Potion
Hill Top 551 (1964) - It Ain't No Use / This Night
Big Hill 552 (1964) - Always Something There To Remind Me / Magic Potion
(instr.)
Big Hill 553 (1964) - Message To Martha / Last One To Be Loved
Big Hill 554 (1965) - Please Stop The Wedding / Park Avenue
Big Top 101 (1966) - A Time To Love, A Time To Cry / Unsatisfied
Big Top 103 (1966) - What Am I Crying For / Any Time
Big Top 104 (1966) - Little Girl / Walk On By
Cotillion 44011 (1968) - Rock Me, Baby / It's In The Wind
Cotillion 44026 (1969) - People In Love / Don't Play That Song
Cotillion 44035 (1969) - Gypsy Woman / Please Stay
Volt 4055 (1971) - Frisco, Here I Come / Who Am I
SWEET SOUTHERN SOUL (Cotillion SD-9008 LP) 1969
Rock Me Baby
It's In The Wind
This Magic Moment
She Thinks I Still Care
Move & Groove Together
Please Stay
I Can't Change
Tears, Tears, Tears
People In Love
Don't Play That Song (You Lied)
Gypsy Woman
WITH YOU IN MY MIND (Volt VOS-6017 LP) 1972
There Were Times
Transition
The Loving Way
Nearer
The Beat
Who Am I
Frisco Here I Come
Wrong Number
Crazy About You
Living Without You
That's it.
Take care!
/Sebastian
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Message: 5
Date: Thu, 29 Jan 2004 08:51:37 +0100
From: Paul Underwood
Subject: Re: Roy Hamilton
Peter Richmond and Howard wrote:
> He was idolised by Elvis Presle,y who copied much of his vocal
> style. He was held in such high esteem that Presley gave Roy
> Hamilton the Mann/Weil song "Angelica" that he was about to
> record with Chips Moman.
> Roy Hamilton recorded "Angelica", written by Mann/Weil, in
> January 1969, with Elvis present at Chips Moman's American
> Sound Studio in Memphis, and what is really interesting is
> that the other song recorded at the session, also written by
> Mann/Weil, "Hang Ups" (originally recorded by Bobby Hatfield
> the previous year) features at the end of the track a guitar
> riff by Reggie Young that would, later that evening, be played
> by the same musician as the intro on to Elvis Presley's
> "Suspicious Minds".
Hi,
According to the notes on the Elvis Presley 60's box set, the
(unnamed) song that Elvis gave to Roy Hamilton was written by
Dickie Lee who was apparently disappointed not to have his song
recorded by Elvis. In any case, "Angelica" had already been
recorded and released by many people, including Barry Mann
and Scott Walker, and didn't need to be given by Elvis to
anyone.
But in that case, what was the title of the Dickie
Lee song?
Paul
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Message: 6
Date: Thu, 29 Jan 2004 09:20:30 -0000
From: Glenn
Subject: Re: cigarette commercial music
Ed Salamon wrote:
> Another great one is Paul Evans' "Happiness Is", a hit by Ray
> Conniff, which became the first of many commercial jingles Paul
> wrote when it was used as "To a smoker it's a Kent"
Oh, how cool to finally know who wrote that Kent jingle! Thanks. That
was my very favorite of all the cigarette commercial tunes - I still
remember most of the words.
Always loved that Marlboro theme, too.
Winchester miniature cigars used "Winchester's something else" to the
tune of "Evil Ways", the Santana hit. That campaign introduced
Winchester, which still exists to this day.
Anybody remember "A silly millimeter longer" for a cigarette
called "101"? Apparently, that extra millimeter wasn't enough to sell
the cigarette, but the jingle was very catchy.
And one of the most famous - I don't know if this was based on a pop
song or was purely written as a jingle:
"You can take Salem out of the country but *
Glenn
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Message: 7
Date: Thu, 29 Jan 2004 11:35:00 -0000
From: Peter Lerner
Subject: Re: The earliest fake-skipper?
ACJ recalled:
> I just remembered - I have on tape a track from the early 1950s
> called "Get Out Those Old Records," by Broadway legend Mary Martin
> and her son Larry Hagman (then still in his twenties). At the
> beginning and near the end, Mary and Larry sing, "The ones (clap)
> the ones (clap) the ones we heard so long ago." This might make
> this track the earliest "fake-skipping" record."
This certainly stirs some memories for me. As a little lad, aged perhaps 7
or 8, I can remember well sitting at home in front of the fire with my
parents, listening to a 30 minute programme of nostalgic old records on the
BBC Home Service (radio) whose weekly theme music was "Get out those old
records". My parents loved it, and so did I. The joy of sharing memories via
music. I'm certain this started my own record collecting bug, which has
never left me. And although I've thought of that song a few times and can
still hear it inside my head, I never thought that I'd ever be able to trace
it to an actual record. Does any other UK popper remember this radio show?
ACJ, if you could contact me off-Spectropop, I'd love to negotiate for a
tape of this!
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Message: 8
Date: Thu, 29 Jan 2004 04:12:48 -0800 (PST)
From: Paul Bryant
Subject: Re: Italian Roots
Julio Nino wrote:
> You may think that I´m a pervert and a neurotic, but
> I don´t like Cilla Black´s singing very much. In fact
> her songs always make me nervous.
> She sounds often too vigorous for my taste.
Hi Julio, I can well understand your reaction to the
former Cavern cloakroom attendant. She starts softly,
and quite prettily, then like a car which has no
second, third or fourth gear, suddenly without warning
she YELLS LOUDLY and the effect can be alarming. Her
loud voice could be used to strip paint off the walls
of factories, it's not pretty.
However in her early days she was given a few
excellent songs to make into hits - all of which would
have been better coming from Dusty Springfield of
course, but Dusty was busy at the same time with her
own hits. I give Cilla a Classy Pop Award for being
the first person to get Randy Newman into the British
charts (I've been wrong before, 1965).
pb
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Message: 9
Date: Thu, 29 Jan 2004 04:23:21 -0800 (PST)
From: Paul Bryant
Subject: Re: Beatle Myth Pt.2
TD wrote:
> Quite frankly, the Beatles
> version of "Twist and Shout" isn't anything that a
> competent wedding band from Ofay, New Jersey wasn't
> already doing. In 1963, the woods were full of
> competent wedding bands.
Funny how none of them competent NJ wedding bands were
huge hit groups then.
pb
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Message: 10
Date: Thu, 29 Jan 2004 09:23:22 EST
From: John Fox
Subject: Re: Sock it to me
Sock it to me!
Speaking of which - who first used that phrase on a recording?
I believe it was Mitch Ryder and the Detroit Wheels, spoken at
the end of Devil With The Blue Dress On/Good Golly Miss Molly
(charted in the fall of 1966).
John Fox
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Message: 11
Date: Thu, 29 Jan 2004 04:20:55 -0800 (PST)
From: Paul Bryant
Subject: Re: Payola
Dan Hughes wrote:
> Personally, I don't think payola ever made a bad
> song a hit. First, the
> politicians who fought payola hated rock and roll.
> They could not
> believe that people would buy that garbage unless
> they were paid to buy
> it. But as we kids knew, they were out to lunch on
> that one. I bought
> records because I loved them, not because I heard
> them over and over.
I think Dan is exactly right about this. Many songs
have been given immense airplay and not become hits.
In the days of pirate radio (this will only make sense
to other British persons) I remember 1967 being
largely made up of David McWilliams' "Days of Pearly
Spencer" and it still wasn't a hit. Meanwhile at the
BBC big name djs loved The Idle Race (as I do) and
played them incessantly (as I do) and still their
records weren't hits. The kids buy what they like.
Durn those pesky kids.
pb
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Message: 12
Date: Thu, 29 Jan 2004 09:41:32 EST
From: Al Kooper
Subject: Re: Questions for Paul Evans
Paul Evans wrote:
> I'll be more than happy to answer questions posted here regarding my
> experiences in the "biz" in the 50s, 60s and beyond.
All my life I have wanted to know who played that GREAT lead guitar on
Midnight Special. And was it Gary Chester playing drums???
Al Kooper
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Message: 13
Date: Thu, 29 Jan 2004 13:59:21 -0000
From: Glenn
Subject: Re: Songwriter Credits, General Question
Al Kooper wrote:
> A song is distilled down to a chord pattern with melody and
> lyrics riding above it.
Al,
What about intros, turnarounds, and other instrumental portions that
are as much (and as crucial) a part of the creation of the song as
are the melody and lyrics? As a songwriter, I know that *I* wouldn't
consider my song finished if it didn't have these elements in place.
Same with many other songwriters I know. These are elements that are
composed by the songwriter(s) during the songwriting process as
surely as the melody and lyrics. I'm not saying that these aren't
elements that can't be changed during the cutting of the actual
track, but so can melody and lyrics.
When you write songs, don't you generally write intros for them?
Don't these intros sometimes come back in later portions of the song,
such as when you're getting back from the chorus to the verse? And if
not, don't you usually write SOMETHING besides a rest to get you back
to your verse?
If you wrote an original intro for your song and someone else copied
it note for note and used it on their song (without sampling), but
their song was different in every other way, couldn't you still sue
the heck out of them? And what I mean by an "original intro" is one
that is not simply a copy of a part of the song's melody, but an
original piece of music in itself that catches the ear and leads
nicely into the song.
I don't know about you, but if they *couldn't* be sued for stealing
my intro, I'd be P.O.'d.
Now I know that the intros for many Holland-Dozier-Holland songs,
such as the telegraph dit-dit-dits on "You Keep Me Hangin' On", and
most frequently, the rolling, building intro for the Four Tops' "I
Can't Help Myself (Sugar Pie, Honey Bunch)", have been copied
countless times on other records trying to do their take on the
Motown sound, (not to mention the countless times H-D-H copied
THEMSELVES.) No one ever seems to sue anyone for those things, so Los
Bravos get away with "Black Is Black", the Grass Roots get away
with "Wait A Million Years", Ben Findon gets away with "Love Really
Hurts Without You", Tony Macaulay gets away with "In the Bad, Bad
Old Days" and "Love Grows (Where My Rosemary Goes)", etc., etc. But I
think in these specific instances, the "intro" actually continued
work as the background on the Motown originals, and thus would
probably be considered as accompaniment, and not copyrightable.
But it just seems to me that reducing the definition of a song to a
chord pattern with melody and lyrics over it, while very possibly a
legitimate legal definition, is not the whole of the songwriting
process in my experience. And I seriously doubt that it is in yours,
either. Although, thinking about it, most of the songs I know by you
DO tend to have intros that are simply parts of the melody played
instrumentally. But take a song like "Knock Three Times", co-written
by your old partner Irwin Levine. The intro on that song is an
original piece of music, not an echo of either the verse or the
chorus, and there's no doubt in my mind that that was in place before
it ever left Levine & Brown's hands. Of course, I don't KNOW that for
a fact. But it seems pretty integral to the song's structure and flow.
In some cases the introduction is the best part of the song, and the
listener can't WAIT to get back to it.
All I know is, I work very hard on my introductions and turnarounds,
and they will be absolutely in place before I ever consider the song
a finished piece and create a demo for it. Well, usually. Sometimes I
can't even think of an intro and just start the song from the first
line! I admit it.
Please understand that this is a DIFFERENT issue than the original
contributions of session musicians, etc. I'm just asking you - with
the greatest amount of respect for your opinion - whether your
definition of what constitutes a song might be a little too
restrictive, even from your own experience.
Glenn
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Message: 14
Date: Thu, 29 Jan 2004 08:54:05 EST
From: Al Kooper
Subject: Re: My Mistakes
Previously:
> "Child" is my brother's fave album and it IS a
> true classic.
I dont know how Dante, Austin or Rambeau feels, but when I hear my old
records, all I hear are the mistakes !!!! Weird, huh ?
Al Kooper
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Message: 15
Date: Thu, 29 Jan 2004 13:33:40 -0000
From: Craig Davison
Subject: Re: Beatle Myth Pt.2/Twist & Shout
TD wrote:
> I liked the Isley Brothers "Twist And Shout", with their vocal
> trills and cookin' rhythm section.
I so looked forward to finally hearing the Isley Brother's original
version! As mentioned above, it was, indeed, "cookin'" and then...
then...
those danged trumpets with the toilet-plunger mutes came in at the
instrumental break. WHAT WERE THEY THINKING?
****Fwaaa Fwa Fwa Fwa Fwaa Fwa Fwa Fwa****
I've since gotten used to it and accept it as part of a classic
recording, but that initial shock...
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Message: 16
Date: Thu, 29 Jan 2004 08:50:16 EST
From: Al Kooper
Subject: Re: Clapton Solos
Previously:
> Speaking of lifting Yardbirds solos, the punk classic "Last Time Around"
> by The Del-vettes on Dunwhich nicks the solo to "Mr. You're a Better Man
> Than I" virtually note-for-note. A great song nonetheless.
Speaking of Ex-Yardbirds lifting solos, Claptons solo on "Strange Brew" on
Disraeli Gears is almost note-4-note Albert Kings Crosscut Saw. But who's
counting....
Al Kooper
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Message: 17
Date: Wed, 28 Jan 2004 20:46:08 EST
From: Mike Rashkow
Subject: Re: Songwriter credits
RE: Writer/Arranger credits recentl much discussed on site.
I agree totally with Koop in concept but would offer this contrarian
view for certain situations:
I wrote a song called "You Can't Take The Country Out Of The Boy".
Since I was married to Mikie Harris at the time and we were signed at
Pamco together, I naturally put her name on it, BUT, here's the real
issue:
I could sing the melody I had in my head, I had all the lyrics, but I
didn't have the chops to play the feel I was looking for on the piano
--or on a pile of dishes for that matter--kind of a parody Yakety Sax
/Hoe Down thing (no, not today's Ho Down--that's different).
Something like might be used for a dance scene in Oklahoma.
So I asked our arranger friend Pete Dino to help me and he did. He
was able to play what I was looking for and set it in the right
character. Without him I would not have been able to go in and make a
demo.
I chose to put him on the song as the third writer. In my opinion he
deserved it and earned it. That is a special situation. There are
times when giving a piece to someone is called for--that's my opinion.
PS, Louis Prima recorded it with Charlie Calello producing and
arranging. A travesty. A parody of a parody and they made me change
the words in one section from something that related to "country" to
something that placed it in Las Vegas and used the words pizza pie.
Jesus I hate the music business.
Di la,
Rashkovsky
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Message: 18
Date: Thu, 29 Jan 2004 8:00:27 -0500
From: Orion
Subject: Re: Ray Hildebrand Question
Cleber, It has been a long time since I heard it, maybe 1968 or
1969. So whenever you can would be great. If you want to RENT the
45 to me I will do it and return it to you. I have a very good
record on eBay if you want to check out hemroid.
Orion
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Message: 19
Date: Thu, 29 Jan 2004 08:13:23 +0100
From: Eddy
Subject: Re: Songs that quote others
Mike:
> Speaking of lifting Yardbirds solos, the punk classic "Last Time
> Around" by The Del-vettes on Dunwhich nicks the solo to "Mr.
> You're a Better Man Than I" virtually note-for-note. A great song
> nonetheless.
And still on "Mr you're a better man than I"... Aerosmith quote the
lyrics in "Living on the edge".
Eddy
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Message: 20
Date: Thu, 29 Jan 2004 08:56:22 EST
From: Al Kooper
Subject: Orchestra Wives
> I think it was first heard/seen in the (great) movie "Orchestra Wives."
I've had a few of those - AK
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Message: 21
Date: Thu, 29 Jan 2004 09:49:59 EST
From: Bill George
Subject: Louis Phillipe
Is the Louis Phillipe being mentioned here recently the same one that
recorded "Jackie Girl", a tribute to jackie DeShannon? (She is even
on the cover of his album.) If so, I don't hear any Brian Wilson
influence, but that is the only song of his I've heard.
Bill
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Message: 22
Date: Thu, 29 Jan 2004 07:01:07 -0800 (PST)
From: Tom Taber
Subject: Patty Duke celebrates Arbor Day
Having listened to Patty's tree planting on Musica, I
can only say she must have woke up one day and decided
she was Elaine Stritch!
Tom Taber
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Message: 23
Date: Thu, 29 Jan 2004 09:52:58 EST
From: Bill George
Subject: Re: Angel Baby
All this talk about this "inept" track has me very curious. I've
never heard this song to my knowlege. Since it seems most everyone
else has, and the track is out on CD, I won't request it be played
to musica. But perhaps someone would be kind enough to let me hear
it. :)
Bill
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Message: 24
Date: Thu, 29 Jan 2004 15:58:30 -0000
From: Andres Jurak
Subject: Re: Beatles-inspired girls
Patrick wrote:
> Is there anyway somebody could shed some light on this inspired
> time period and cull down the list of the Beatles tributes to the
> Beatles-inspired - and what I mean here is a GG song *with* a
> Beatles guitar *or* melody sound......
Ian Chapman wrote:
> These two you definitely need to hear:
> Oma Heard's Great "Lifetime Man" on Motown's VIP label....
> The Bootles "I'll Let You Hold My Hand" on Crescendo......
Here is the photo of the Bootles
http://community.webshots.com/photo/78628806/114699531JMLgto
Andres
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Message: 25
Date: Thu, 29 Jan 2004 15:45:36 -0000
From: Robert R. Radil
Subject: "The 60s Show" will be streaming tonight
"The 60s Show" will be streaming tonight, starting just before 8PM,
Eastern.
You'll need to use Windows Media Player version 7 or newer. Go
to "File", "Open URL", and in the blank enter:
http://67.163.130.32:8080
and click "OK".
Bob Luyckx (Loyx) will be the guest host tonight. Regular host, Jim
Abbott, should be in around 9:30. As usual, I should also be around.
Bob Radil
-------------------[ archived by Spectropop ]-------------------
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