________________________________________________________________________
SPECTROPOP - Spectacular! Retro! Pop!
________________________________________________________________________
There are 27 messages in this issue.
Topics in this digest:
1. Re: Feldman, Goldstein & Gottehrer
From: Austin Roberts
2. Tell Patty's Mama
From: Doc
3. Jukebox Rambeau
From: Ed Rambeau
4. Re: Jim Fielder
From: Steve Harvey
5. Beach Movies and stuff... Hey Mikey
From: Alan albabe Gordon
6. 10cc nicking themselves
From: James Cassidy
7. Re: The earliest fake-skipper?
From: Phil Milstein
8. Re: ; quickies & a personal note; endings/Eric Records releases
From: Clark Besch
9. Re: Awesome group names
From: Howard
10. Re: My Mistakes
From: Austin Roberts
11. Re: David McWilliams
From: Eddy
12. I'm Mandy Fly Me
From: Harvey Williams
13. Re: Sock it to me!
From: Howard
14. Cilla Black
From: John Love
15. Sergio Mendes
From: Phil Milstein
16. Re: Payola
From: Various
17. Re: Dylan's bike crash
From: Various
18. Shake It Up Baby! Friday 6th Feb in Brighton
From: Chris King
19. Re: Ray Hildebrand
From: Mike McKay
20. Dylan
From: Al Kooper
21. "A Rose And A Baby Ruth"
From: Al Kooper
22. "Rain From The (Jamaican) Skies"
From: Al Kooper
23. Jim Fielder
From: Al Kooper
24. Re: Ready for those obscure questions !
From: Mike Rashkow
25. Re: Twist and Shout
From: Mike McKay
26. "Rain From The Skies"
From: Mike Edwards
27. Re: Fake skipping records
From: Kurt
________________________________________________________________________
________________________________________________________________________
Message: 1
Date: Thu, 29 Jan 2004 21:00:13 EST
From: Austin Roberts
Subject: Re: Feldman, Goldstein & Gottehrer
Steveo:
> 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".
They actually were the Strangeloves.
AR
-------------------[ archived by Spectropop ]-------------------
Message: 2
Date: Thu, 29 Jan 2004 20:46:29 -0500
From: Doc
Subject: Tell Patty's Mama
I have Patty doing "Tell Me mama" on audio tape.
Doc
-------------------[ archived by Spectropop ]-------------------
Message: 3
Date: Thu, 29 Jan 2004 23:50:24 -0000
From: Ed Rambeau
Subject: Jukebox Rambeau
Many Spectropoppers have been emailing me directly saying
they're having trouble finding JUKEBOX RAMBEAU. So I thought
I'd post the link here to make it easier for all those who
have the same problem. The link is:
http://groups.yahoo.com/group/rambeau_music
Every day a new song replaces one of the 5 existing songs and
all songs can be downloaded. So join and enjoy the music.
Ed Rambeau
-------------------[ archived by Spectropop ]-------------------
Message: 4
Date: Thu, 29 Jan 2004 16:20:56 -0800 (PST)
From: Steve Harvey
Subject: Re: Jim Fielder
While watching a bootleg video of Woodstock outtakes I
was impressed by Fielder's bass playing and BST in
general. They seemed to be better musicians than more
of the Woodstock acts and alot more professional.
-------------------[ archived by Spectropop ]-------------------
Message: 5
Date: Thu, 29 Jan 2004 16:24:56 -0800
From: Alan albabe Gordon
Subject: Beach Movies and stuff... Hey Mikey
Re: Mikey Mars' really cool Beach Party Movie music website.
Just in case you other S'Poppers didn't check out Mike's site,
you really should. Great stuff. And if you like this sorta stuff,
there are two more cool sites with similar groovy info:
http://www.encore4.net/livelyset/
http://www.briansdriveintheater.com/index.html
There's also a link at Brian's to a neato pic of the fab Donna
Loren and Mr. Left handed Guitar God, Dick Dale, that I found
at a local movie and paraphernalia shop... here's the link:
http://www.briansdriveintheater.com/beachparty/donnaloren4.jpg
And, Mikey, if you wanna better scan contact me off list and
I'll get you one from the original pic.
Shimmy, shimmy, ko ko bop,
~albabe
-------------------[ archived by Spectropop ]-------------------
Message: 6
Date: Thu, 29 Jan 2004 23:02:44 -0500
From: James Cassidy
Subject: 10cc nicking themselves
Bobster asked:
> 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?
Bobster, that's a snippet of 10cc's own "Clockwork Creep"
from their "Sheet Music" album, which predated "How Dare You?"
by 2 years.
Jim Cassidy
-------------------[ archived by Spectropop ]-------------------
Message: 7
Date: Fri, 30 Jan 2004 01:15:50 -0500
From: Phil Milstein
Subject: Re: The earliest fake-skipper?
ACJ wrote:
> 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).
And here I always thought that one was by Bob Seger!
--Phil M.
-------------------[ archived by Spectropop ]-------------------
Message: 8
Date: Fri, 30 Jan 2004 07:04:04 -0000
From: Clark Besch
Subject: Re: ; quickies & a personal note; endings/Eric Records releases
Country Paul wrote:
> Warner Brothers had so many really cool one-offs in
> the 60s, both albums and singles.
Paul, Talked with Eric Records' Bill Buster and Eric will be
releasing shortly, a new Cd series of pre-Beatles (mostly)
era teen songs titled "Teen Time". The first will be from
the Warner vaults and should be out in March. That would
include Warner, Roulette, and Colpix. Included should be
the Shepherd Sisters, Chicago Loop, Ikettes, Valerie Carr,
Ed Townsend, Ral Donner, the Essex, Marcells, Happenings,
Bobby Curtola and more. I think he said that eight are
non-CD domestically. The next will be mostly Dot stuff
with Tab Hunter, Dale Ward, Robin Luke, Bob Braun, the
Blue Diamonds, Mark Dinning ("Top 40, News Weather and Sports"
FINALLY! YIPPEE!), Bob Beckham, Johnny Nash, Arthur Alexander,
Eddie Holland and in first time CD stereo, Teddy Randazzo's
"Way of a Clown". In the coming months, a new Dick Bartley
collection is slated too, as well as a Tab Hunter set.
Seems Bill B has been busy! Watch for them at
http://www.ericrecords.com
Clark
-------------------[ archived by Spectropop ]-------------------
Message: 9
Date: Fri, 30 Jan 2004 02:37:30 -0500
From: Howard
Subject: Re: Awesome group names
Mike Edwards wrote:
> Brian Diamond & The Cutters (awesome name for a group!)
Which set me thinking, what other groups have names like
that? I'll start the ball rolling with an obscure British
(?)band.. Guy Rope & The Tent Pegs .. it's true!
Howard
-------------------[ archived by Spectropop ]-------------------
Message: 10
Date: Fri, 30 Jan 2004 01:42:13 EST
From: Austin Roberts
Subject: Re: My Mistakes
Al Kooper:
> 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, I always hear stuff I wish I'd done differently,like a
vocal lick or more interesting harmony. One of the few good
things about getting older in this business is you can be
more objective when you look back. It's been a great business
to be in (actually since I was a kid and I was lucky enough to
learn from some really good record men in New York City during
the sixties.But you're right, looking back you can see clearer
than when you were making the records. Some were hits, a lot
were misses. Songwriting, as I'm sure you know, is a constant
development of a craft and I've never been totally happy with
anything I've written. I'd really be interested to get your take
on the songwriting end of things.
AR
-------------------[ archived by Spectropop ]-------------------
Message: 11
Date: Fri, 30 Jan 2004 09:14:20 +0100
From: Eddy
Subject: Re: David McWilliams
Paul Bryant:
> 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.
Paul,
You're right about David McWilliams as far as the UK is concerned.
But his Days of Pearly Spencer was a huge hit in France/Belgium/
Holland... three countries very much in touch with UK pirate radio.
Not quite sure how it travelled that far, but he was also pretty
big in Italy. Also Can I get there by Candlelight still got some
attention, but that was very much the end of the ride for him.
Eddy
-------------------[ archived by Spectropop ]-------------------
Message: 12
Date: Thu, 29 Jan 2004 21:52:06 -0000
From: Harvey Williams
Subject: I'm Mandy Fly Me
Bobster asked:
> 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?
Older, but not *that* much older. It's "Clockwork Creep" from
10cc's 1974 LP, Sheet Music. I'm Mandy-Fly Me: what a song.
Harvey W.
-------------------[ archived by Spectropop ]-------------------
Message: 13
Date: Fri, 30 Jan 2004 05:01:24 -0500
From: Howard
Subject: Re: Sock it to me!
John Fox wrote:
> 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).
A while back I was listening to a radio prog. when they played
a record from the 50s where the phrase 'Sock It To Me' was used.
I sure some Spectropoppers will know!
Howard
-------------------[ archived by Spectropop ]-------------------
Message: 14
Date: Fri, 30 Jan 2004 11:25:44 -0000
From: John Love
Subject: Cilla Black
> 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.
Very amusing - and spot on! - description of Cilla's style pb.
Despite her TV activities of the last few decades, and even
though she was desperately uncool at the time, I still get a
lot of pleasure from listening to her recordings, particularly
I've Been Wrong Before, perhaps the best thing she did. Wonderful
song, terrific arrangement. But there are plenty of others too
that made the grade - McCartney's brilliant It's For You and
Step Inside Love, Bacharach's Alfie [a good example of the soft
-to-loud-in-a-single-bound approach!], the Italian ones that have
been mentioned, and dare I say it, even her version of You've Lost
That Lovin' Feelin'. She knew what to do with a lyric, and had a
lot of great material to work with.
John
-------------------[ archived by Spectropop ]-------------------
Message: 15
Date: Fri, 30 Jan 2004 08:49:24 -0500
From: Phil Milstein
Subject: Sergio Mendes
Can anyone recommend a good Sergio Mendes/Brasil '66
compilation -- preferably one still in print?
--Phil M.
-------------------[ archived by Spectropop ]-------------------
Message: 16
Date: Fri, 30 Jan 2004 14:34:37 -0000
From: Various
Subject: Re: Payola
Dan Hughes wrote:
> So - do any of you old-timers have payola stories?
Dan, Payola was only part of it. Graft was and still is a normal
way of doing business, but especially in 50's & 60's NY. Then there
was drugola, (see "disco" and a label named after a Bogart film),
and "hooker-ola" which always seemed to me the most fun. Anyway, yes,
some artists benefitted from having gangsters as record co. heads.
They were experienced and had contacts in place in radio and retail
who could reciprocate with airplay and orders. Cut-outs were also the
promotional copies on which artists were NOT paid royalties and they
were at the center of many payola investigations. To this day I can
listen to the radio and certain hits make me think of
the "characters"
at the label or in management who were tightening people up to play
or
stock that single. Doo wop was very full of "colourful characters".
England had some old hustlers behind many of the British Invasion
bands. See the book HIT MEN by Dannen.....
C Ponti
= = = = = = = = = = = = = = = = = = = = = = = = = = = = = =
My understanding of Payola is that it was payment or compensation for
airplay that went unreported. That's what caused the trouble. I would
think advertisers would have a heck of alot of explaining to do if
Payola means what is thought by most.
I'm sure pay-for-play still goes on even today. It's just that this
payment would go down in the book-keeping as reported income.
Regardless of what is transacted, legally or not, it will never make
a bad record good.
Fred Clemens
= = = = = = = = = = = = = = = = = = = = = = = = = = = = = =
From: "Trevor"
Date: Fri Jan 30, 2004 8:23am
Subject: Re: Payola
Geez, you hit a hot button here. Among the reasons I'm trying to
avoid working in radio any more after 25+ years is the corruption,
which plays along nicely with consolidation and centrailized
programmming (i.e. consultants)
> The kids buy what they like.
> Durn those pesky kids.
That's true for the most part, but for teens and preteens, they often
buy what's hyped and succeeds in getting into that category
of "hafta" like so you can be considered cool. That was Abercrombie
clothes and Doc Martins a few years ago for my teens along with
Nirvana, Hanson, and Marilyn Manson. A great deal of those trends
are the result of marketing money and promotion. Our age group wasn't
any different, even though the marketing wasn't as sophisticated.
American Bandstand created stars...some had talent, some didn't ("Tan
Shoes and Pink Shoelaces" comes to mind). Around the same time they
buried Alan Freed, Dick Clark walked away clean. Was he? Hard to
belieive he wasn't being greased somehow and/or he didn't have a
piece of Frankie Avalon and Connie Francis. It wasn't always 100%
profit-motivated, either. Some was "for our own good" Always thought
Pat Boone was shoved at us to distract us from what our parents (and
churches & politicians) thought were the horrors of the like of
Little Richard. Go back and listen to Pat's awful soulless "Tutti
Frutti" sometime. Why would anyone have bought that?
Jump to the 70s when my radio career began. Everyone on the air and
involved in music slection signed a yearly no-payola agreement. The
irony is after 1976, people on the air had little or no say in what
got aired. All I ever was offered, aside from promo copies and an
occasional t-shirt, was trips to the men's room for nose candy
courtesy of the Warner/Atlantic/Elektra rep. That was promo money
filtered from WEA's promotion budget to some dealers to be sure.
The interesting part is that at least by the early 80's, programming
consultants began to control playlists. They'd repeat in the trade
papers that they only are paid to "advise" stations. Then again,
Dick Cheney only advises that ignorant hick in the big office.
The intersting thing is that programming consultants AREN"T subject
to these non-payola agreements; they aren't on-air and they aren't
employed by FCC licensees. They're independent consultants on a
retainer. So much more efficient for labels to funnel cash, girls,
boys, drugs, whatever, to a handful of consultants in each format
than to have a whole promotion crew greasing hundreds of dj's.
I don't recall the name, but a Brit/American who manages Dixie Chicks
and others testified before John McCain's Commerce Committee a few
months ago and said payola as we knew it in the 50's and 60's isn't
around today, but that its very much alive with a different face. I
think what he was talking about is the consultant thing and the mega-
groups. McCain questioned him about being pressured and the guy
squirmed, wanting to tell the truth, but, knowing he still had to do
business with the monsters next day. Since Clear Channel owns
stations, concert facilites, even their own ticket outlets, artists
and management better play ball with them or the airplay can
disappear. Regardless of anyone's reaction to one of the Dixie
Chicks' anti war, anti Bush comments, airplay should be based on the
music. It wasn't and lots of stations pulled them off.
So the truth today is more complex. Airplay and promotion is
intertwined not only with "pay for play", its also influended by
politics and corporate control of all entertainment and media.
Example is "American Idol" where Fox creates stars with a hyped-up tv
show. The show is hyped by Fox News and affiliates. Even
the "losers" on the show get label deals, movie tie-ins, and constant
exposure. The meag-media corps have enough clout and own enough
divisions to create the star, promote him/her, own the label, a
network, and the movie studio etc, ad nauseum. How many teen pop
stars today were Disney kids? The corporation has had them as
a "property" for most of their lives. Coprporations by nature need
to reduce or eliminate risk. Payola will do it, but better to just
own every aspect of the process. The there's allmost no risk and the
cash goes to the execs and investment bankers. Just like everything
else in this country today. Art for arts sake? Where's the profit
in that?
Trevor Ley
-------------------[ archived by Spectropop ]-------------------
Message: 17
Date: Fri, 30 Jan 2004 14:45:23 -0000
From: Various
Subject: Re: Dylan's bike crash
Denis sez,
> 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.
Dan Hughes:
Agree wholeheartedly, except that I love his first album too,
especially Song To Woody and the long drawn-out note in Freight
Train Blues.
Hard to pick an all-time favorite album, but for me, most of
the time, I think it's Blonde On Blonde.
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.
Denis Gagnon:
> 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.
Paul Bryant:
I already elaborated the most plausible theory - that
Dylan's cracked neck vertebra was massively hyped in
order for him to get out from under many impossible
commitments. So, as for the voice-changing business,
I'd say that prior to the crash Dylan had two main
voices - the old-man-inside-a-young-man voice as so
beautifully exemplified in "Moonshiner" or "Chimes of
Freedom", and the Yogi Bear talking/singing thing he
does in such songs as "I Want You" and "Stuck inside
of Mobile".
The first thing recorded after the crash was "The Basement
Tapes", and his voice is rich and confident in the ballads
- "Tears of Rage" for instance. Next album later that year
(1967) was "John Wesley Harding", and there ain't too much
difference. After that came a year of silence (1968) which
Dylan apparently later referred to as his worst time ever.
Then he came back with "Nashville Skyline", and yes, the
voice had changed into a mellow croon, very unbelievable to
hear. Dylan was of course asked about that and he said that
he'd given up smoking when he recorded it. Hmmm.
But by "Pat Garrett & Billy the Kid" the Dylan whine was back,
and by 74 on "Blood on the Tracks" he sang his heart out -
listen to "You're a Big Girl Now" or "If you see her say hello"
if you don't believe me. Ain't no squeaky little sound.
-------------------[ archived by Spectropop ]-------------------
Message: 18
Date: Fri, 30 Jan 2004 14:55:43 -0000
From: Chris King
Subject: Shake It Up Baby! Friday 6th Feb in Brighton
Dear Brit-based (those located in the South really!)
Spectropoppers -
Friday 6th Feb sees Shake & Finger Pop! - the sister club of
60s girl group club Da Doo Ron Ron - return for its regular
monthly 60s beat 'n' soul 'n' ska shindig @ the Sussex Arts
Club, here in Brighton. DJs Chris 'Da Doo' King & Si Bridger
provide an utterly unpretensious night of 60s floor-fillers,
mixing celebrated classics from the likes of The Small Faces,
Four Tops, Who, Temptations, Sonics, Stevie Wonder, Beatles
et al with lesser known Northern soul, ska & pop tracks.
The ballroom doors should (previous event willing!) swing open
at 11.15pm & shut @ 2am.
If you reserve your names via:-shake.fingerpop@ntlworld.com
OR phone:-01273-778020 / 727371, you will pay just Ģ4 instead
of the usual fiver. For more info check out the DDRR web-site:- http://homepage.ntlworld.com/dadooronron/
Many thanks indeed for your indulgence.
Oodles,
Chris Da Doo
-------------------[ archived by Spectropop ]-------------------
Message: 19
Date: Fri, 30 Jan 2004 09:56:18 EST
From: Mike McKay
Subject: Re: Ray Hildebrand
Hugo M wrote:
> 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...
A story often told is that Ray once "stopped working" right
in the middle of an American Bandstand tour...forcing Dick
Clark himself to deputize as "Paul" for the remaining dates.
A propos of nothing, has anyone ever noticed that the composer
of the summer camp standard "Let There Be Peace on Earth, and
Let It Begin with Me" is one Jill Jackson?
I'm sure it's not the same "Paula", but it's always struck me
as curious.
Mike
-------------------[ archived by Spectropop ]-------------------
Message: 20
Date: Fri, 30 Jan 2004 10:48:09 EST
From: Al Kooper
Subject: Dylan
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, I should think the reward of correcting this person would be
enough for you. But you better move fast unless its the Dylan Dumbo
board/ AK
-------------------[ archived by Spectropop ]-------------------
Message: 21
Date: Fri, 30 Jan 2004 10:54:40 EST
From: Al Kooper
Subject: "A Rose And A Baby Ruth"
tdstout:
> 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.
We were just goofing between takes on the fact that David Bromberg
was playing pedal steel for one of the few times in his life. So,
growing up on that song by George Hamilton IV I started singing it
and we all chimed in. Later I overdubbed my voice a coupla times and
included it on a double album that had room for it. (Easy Does It)
Thanks for asking. No one ever has b4.
al kooper
-------------------[ archived by Spectropop ]-------------------
Message: 22
Date: Fri, 30 Jan 2004 10:40:29 EST
From: Al Kooper
Subject: "Rain From The (Jamaican) Skies"
Julio:
> I havenīt heard Adamīs Wadeīs "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 itīs always credited
> to him. But, considering that in Jamaica it is not uncommon that
> singers, and specially producers take credit of well known songs (Iīve
> seen blatant cases), and that the song has a certain "Bacharach"
> flavour, I suspect that maybe they could be the same song.
It is the same song and Famous Music is looking for Delroy Wilson's
address & phone number as we speak. Thats quite a Bacharach steal!!!!
-------------------[ archived by Spectropop ]-------------------
Message: 23
Date: Fri, 30 Jan 2004 11:04:29 EST
From: Al Kooper
Subject: 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?
Believe it or don't - Jim hooked up with Neil Sedaka and has been
accompanying Neil for the last 30 years. I believe Jim lives in Long
Island now - AK
-------------------[ archived by Spectropop ]-------------------
Message: 24
Date: Thu, 29 Jan 2004 17:39:54 EST
From: Mike Rashkow
Subject: Re: Ready for those obscure questions !
Paul Evans:
> Dan, Thanks for the introduction.
> Ready for those obscure questions. :-)
OK Paul, I'll go first.
Who threw the overalls in Mrs Murphy's chowder?
and.....who knows where or when.
Di la,
Rashkovksy
-------------------[ archived by Spectropop ]-------------------
Message: 25
Date: Thu, 29 Jan 2004 22:53:57 EST
From: Mike McKay
Subject: Re: Twist and Shout
Steveo:
> "Twist and Shout" was a great record by the Isleys,
> but John took it to new heights (this is my opinion).
TD's reply:
> Tell it to the marines (the sailors won't listen). You may
> like the Beatles "Twist and Shout" because it's the first
> version you've heard. I liked "Twist and Shout" in its
> earlier incarnation when Richie Valens sang it as "La Bamba"...
There are tons of songs besides "Twist and Shout" and
"La Bamba" that have the same I-IV-V chord progression. Because
they do doesn't make them all the same song.
> I liked the Isley Brothers "Twist And Shout", with their vocal
> trills and cookin' rhythm section. 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.
First, I'd love for you to show me evidence of a competent wedding
band from any era who had a vocalist of the caliber of John Lennon!
Secondly, there's a significant difference in the rhythm and feel
of The Beatles' "Twist and Shout" vs. The Isley Brothers'. The
latter had an almost calypso feel, whereas The Beatles played it
as fairly straight 4/4 rock 'n' roll.
Each approach is a valid one; however, I'll bet you a nickel that
"wedding bands" who have performed the song from early 1964 to the
present day do the Beatles arrangement...not the Isley Brothers one.
Of course, I have no way of knowing how many wedding bands in New
Jersey were doing "Twist and Shout" before The Beatles' version hit
the scene, or how they were doing it. But I'll bet you another
nickel that however they were doing it, it didn't have the impact
that the totality of The Beatles' performance has.
I'm not knocking The Isley Brothers' version at all...it's a lot
of fun. But to me it's just another in a long line of good dance
numbers...whereas The Beatles' version transcends these origins and
moves into the realm of something else altogether.
Mike
-------------------[ archived by Spectropop ]-------------------
Message: 26
Date: Fri, 30 Jan 2004 03:59:41 -0000
From: Mike Edwards
Subject: "Rain From The Skies"
Julio Niņo wrote:
> I havenīt heard Adam 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 especially 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 donīt know if itīs rain from the skies
> tears from my eyes falling down my face
> and rolling down my cheek.... "
Julio, thanks for posting the lyrics. This is the Burt Bacharach-Hal
David song. I see a lot of overlap between the vintage R&B sounds
that are popular in Jamaica and Belgian Popcorn (of which Adam
Wade's "Rain From the Skies" is a staple). It makes it difficult when
you're bidding for 45s as collectors from both genres bid very
aggressively. And if the title has some northern soul appeal as well,
such as Kurt Harris' "Emperor Of My Baby's Heart", then forget about
it.
Micky Blue Eyes
-------------------[ archived by Spectropop ]-------------------
Message: 27
Date: Wed, 31 Dec 1969 20:18:09 -0800
From: Kurt
Subject: Re: Fake skipping records
We musn't forget the noise of the tonearm
being yanked across the record, which interrupts
the gentle warbling of Alice Bowie on
Cheech and Chong's "Earache My Eye"
Kurt
-------------------[ archived by Spectropop ]-------------------
SPECTROPOP - Spectacular! Retro! Pop!
End
