________________________________________________________________________ SPECTROPOP - Spectacular! Retro! Pop! ________________________________________________________________________ There are 13 messages in this issue. Topics in this digest: 1. Re: Early Bob Seger on Cameo From: Clark Besch 2. Re: California Dreamin' TV Special From: Al Kooper 3. Eight Feet - "Bobby's Come a Long Way" (written by Al Kooper) From: thirteen_eagle 4. Re: Aretha From: Artie Wayne 5. Jack Nitzsche at Spectropop update From: Martin Roberts 6. Re: Aretha Franklin From: AlFonts@aol.com 7. Re: UK Oriole / Dream Babes 5 / etc From: Austin Powell 8. Re; "Take A Girl Like You" Soundtrack From: Dave Heasman 9. Broadway/Flip From: Simon White 10. Re: [that] Alan Gordon/"Happy Together" From: Alan Gordon 11. Re: P.F. Sloan songs From: Clark Besch 12. "I'll Love You For A While" From: Tony Leong 13. Spectropop Party, 2004; Ya should have been there... From: Martin Roberts ________________________________________________________________________
________________________________________________________________________ Message: 1 Date: Sun, 28 Mar 2004 05:16:37 -0000 From: Clark Besch Subject: Re: Early Bob Seger on Cameo Mike, Altho I like some post "Ramblin G" songs, it KILLS me to think that people think Bob Seger's late 70's and 80's songs are his prime songs. I have a Cd of his hits too and I imagine it has more than the Hideout Cd, since mine is all Seger (including the Beach Bums classic novelty) with 20 cuts or so and the Hideout Cd likley has many other artists. I gotta believe Abcko has the rights or Sundazed and every other label would be jumping on these masters like crazy!! None on "Nuggets" 1 or 2??? No way! Gotta be the Allan Klein thing. I'd have to choose "Heavy Music" as the best, but barely. Really love the stories in "Chain Smokin" and "Death Row". Hearing "Persecution Smith" on WKYC in the 60's was a great thing for me. Allan, give up the punk!!! Clark -------------------[ archived by Spectropop ]-------------------
Message: 2 Date: Sun, 28 Mar 2004 01:40:25 EST From: Al Kooper Subject: Re: California Dreamin' TV Special Re: California Dreamin' TV Special This show stopped me from ever doing interview shows again. It was a bad set-up. AND it WAS the BBC. They interviewed me about BS&T and The Blues Project at my home in Boston about 7 years ago. Than they went & interviewed Steve Katz. Now, Steve Katz, for one reason or another, really believes that he & Bobby Colomby came up with the concept, started BS&T, and asked me to be in it. So naturally, he poured all that out in his interview, and they edited the show in such a way, that I appear to be lying about EVERYTHING. Morally, it is the worst piece of journalism I've ever seen and it got to me BIGTIME, because, I don't lie and I actually did come up with the horn band idea and asked those two to join the band (biggest mistake I ever made in my entire career!) Leaving the band after Child Is Father To The Man was the best musical decision I ever made in my career. Bobby & Steve got what they wanted (money, success and forgettable music) The royalties for Child Is Father To The Man, paltry as they are by comparison to the next two albums, have always been sent directly to the existing band now owned by Bobby Colomby. I have never been paid a cent as an artist for that album, most of which I wrote, sang & arranged. Ironically, in the Rolling Stone 500 Best albums of all time, Child Is Father To The Man is the only BS&T album represented. I rest my case Soooo, if ant of you 'poppers watch that show, please keep all this in mind. Sorry for the rant, but that TV show is one of the few things that has ever got to me in a bad way....... Al Kooper Screwed by the music biz? Don't get me started..... -------------------[ archived by Spectropop ]-------------------
Message: 3 Date: Sun, 28 Mar 2004 06:44:42 -0000 From: thirteen_eagle Subject: Eight Feet - "Bobby's Come a Long Way" (written by Al Kooper) Eight Feet - "Bobby's Come a Long Way" (written by Al Kooper) First off, as a new member I'm sorry if this was discussed before, but is there anyplace I can find the lyrics for this song? It's one of my favorites but it's very difficult to decipher (example: "Using comic book intelligence/and a farmer's touch of arrogance"???) Thanks! -------------------[ archived by Spectropop ]-------------------
Message: 4 Date: Mon, 29 Mar 2004 08:35:04 -0800 (PST) From: Artie Wayne Subject: Re: Aretha Bob.......How ya'doin'? I first met Aretha Franklin in 1961 when she was 19 years old and freshly signed to Columbia records. Publisher "Goldie Goldmark" brought Ben Raleigh and me over to play a new song we just wrote, "Here's Where I Came in [and Here's Where I Walk Out]" for Aretha and her A+R Man Bob Mersey. They loved it.....and we were on her first recording date. We came out as the b-side on her second release. I think she didn't consider Motown because it would have put her in a narrow musical box. Although Columbia offered her the chance to show her versatility...from, "Running Out of Fools" to "Rockabye Your Baby" they didn't have the ability to get the solid R+B airplay. When Jerry Wexler brought her over to Atlantic, and put her together with the best Memphis and Muscle Shoals musicians.....the best songs .....the best producers.....and the Atlantic Record promotion machine ....all the elements for success were in place!! regards, Artie Wayne http://artiewayne.com/ -------------------[ archived by Spectropop ]-------------------
Message: 5 Date: Mon, 29 Mar 2004 07:50:50 +0100 From: Martin Roberts Subject: Jack Nitzsche at Spectropop update Despite the excitement of the S'pop party, (you may be able to tell that I don't get out much) normal service has been resumed with Jack's site. The ROTW is Jimmy Griffin, "A Little Like Lovin You", http://www.spectropop.com/JackNitzsche/index.htm Jack's radio interview focuses on his score for "One Flew Over The Cuckoo's Nest", http://www.spectropop.com/JackNitzsche/radio.htm And new items keep turning up...the discography is updated, http://www.spectropop.com/JackNitzsche/discography.htm Martin -------------------[ archived by Spectropop ]-------------------
Message: 6 Date: Sun, 28 Mar 2004 09:47:29 EST From: AlFonts@aol.com Subject: Re: Aretha Franklin Bobster: > I don't know the whole story about how Aretha Franklin broke > onto the R&B scene from first gospel and then pop, but most > likely Ahmet Ertegun or whoever was in charge at Atlantic around > '65 or so picked up on her amazing voice and offered her the > recording contract with them. At a certain point, if I'm not > mistaken, Aretha left her native Detroit and settled, as many > top recording artists eventually do, in Los Angeles (or NYC-- > or both!!??). I do agree with Phil that it was just as well if > not better that Motown didn't reach her first. Her style is very > distinctive and much of her soul from the late 6Ts and early 7Ts is > influenced by jazz, rock, blues, gospel, pop......and please pitch in > if I left any influences out! Aretha spent an excruciating amount of time being mis-produced/ recorded at Columbia Records. With the exception of her signing and first album, both by John Hammond, Sr. she was diabolically forced into singing 40s standards, film themes, etc. and kept away from playing the piano. Jerry Wexler saw the crime being committed, and as soon as her contract ran out, snapped her up, took her to Muscle Shoals, AL and stuck her behind a grand piano. The end result? "I Never Loved A Man", a string of hits and quality never heard before, and of course, the mantle, Queen Of Soul. Get well Baby !!!!!!! Al "also Never Loved A Man" Kooper -------------------[ archived by Spectropop ]-------------------
Message: 7 Date: Sun, 28 Mar 2004 16:07:34 +0100 From: Austin Powell Subject: Re: UK Oriole / Dream Babes 5 / etc Alan V. Karr: > For whatever reason, almost no Beat-era UK Oriole/CBS product > has been reissued by Sony. Some collectors have speculated that > Oriole wiped their pre-CBS master tapes. Also Oriole & UK > CBS made a lot of lease deals that might be hard to untangle > but a few items have come to light occasionally. Youd figure > since Sundazed has an "in" with Sony Legacy something might > turn up but nothing. Any thoughts? It's probably just a "legend", but years ago I heard that the owner of Oriole was "so tight" that frequently the multi-channel masters were wiped and re-used. Odd bits of Oriole have seen the light of day, most notably its "Merseybeat" LPs produced by John Schroeder. Maureen Evans's hit, "Like I Do" has been used on compilations a few times and the Zircon label used a couple of the label's instrumentals from The Players and The Ted Taylor Four. Arguably Oriole's biggest hit was "Freight Train" by Chas McDevitt & Nancy Whiskey in 1957 (it made about 40 in the U.S. as well), but collectors remember it most for its short-lived Oriole-American label which released some great "early" Motown material. Christine Quaite's US hit was from Oriole as well. It was also the label on which Tony Sheveton recorded "A Million Drums" which was a big hit in Australia, though meant nothing over here, just like most Oriole releases. Austin -------------------[ archived by Spectropop ]-------------------
Message: 8 Date: Sun, 28 Mar 2004 22:49:20 +0100 From: Dave Heasman Subject: Re; "Take A Girl Like You" Soundtrack Sean: > Does any know where I can find a copy of the 1970 > Soundtrack LP to the film "Take A Girl Like You"? Ray: > http://tinyurl.com/2y5pw Unfortunately this is a link to the soundtrack to the 2002 or 2003 TV series. Same story, different tunes. -------------------[ archived by Spectropop ]-------------------
Message: 9 Date: Sun, 28 Mar 2004 10:49:35 +0100 From: Simon White Subject: Broadway/Flip Thanks to those who replied on my Flip Cartridge/Gary Le Mel postings. I had no idea that Flip was part of Flip and Skip, but then I have no real idea who Flip & Skip where anyway. I suspect they are outside my immediate area of interest! But I still wonder if it was Skip or Shirley Bassey who had the original version of "Don't Take The Lovers From The World"? As for Gary Le Mel, I wonder what his Vee Jay album is like? The 45 "On Broadway" is a somewhat individual take on the song. And what a strange label Vee Jay was. Gary is sandwiched among Billy Preston, El Clod (?), The Rivingtons, Arthur Godfrey and Jerry Butler. The label didn't last long beyond these 1965 releases. Having said that, did people ever buy by label? Simon -------------------[ archived by Spectropop ]-------------------
Message: 10 Date: Sun, 28 Mar 2004 19:24:37 -0700 (MST) From: Alan Gordon Subject: Re: [that] Alan Gordon/"Happy Together" Hi Artie, glad you like the Applebees spot. Our own Ron Dante did the vocals. He did such a good job the Turtles were upset because it sounded TOO much like them! I did not rewrite the lyric, I do not like it when they mess with the song, especially that song. I'll let the publishers know about the casting ideas you have, as a matter of fact YOU should contact them and make some kind of arrangement with them, you always have such good casting ideas you should be an independent consultant. Be well your friend and fan. Alan -------------------[ archived by Spectropop ]-------------------
Message: 11 Date: Sun, 28 Mar 2004 05:05:46 -0000 From: Clark Besch Subject: Re: P.F. Sloan songs Jim Shannon: > One of my favorites of his (P.F. Sloan) was the Searchers' "Take > me for What I'm Worth". Only a marginally successful song that > barely charted into the top 20, it should have gotten more airplay. > And yes, I played it on my progressive rock shows in the early > seventies. Jim, Altho I love all the Searchers songs nowadays, "Take me for What I'm Worth" was my fave by them in the 60's and I didn't know who PF Sloan was then. The simplicity of the demo Cd is really great too! So many songs on there are shouldabeen classics. My fave (just barely) is "Spinning Wheel" (not the BST song, obviously), a beautiful song. So great to hear his version of "Another Day, Another Heartache" after knowing the 5th Dimension version so long. Other faves are "Cling to Me" (would love to have someone post our own Johnny Tillotson's version to Musica), "My First day Alone" (just got the Steve Alaimo cover if anyone wants to hear it), "See Ya Round on the Rebound" (a nice companion to the last song I listed (Shelley Fabares/Sandy Posey cut it), "I Know that you'll Be There" (Shelley Fabares and Turtles did this too), and "Baby I can't Help Myself" (which I might make people cring, but Barry Manilow could do this in the 70's and have a huge hit!). Funny, but to me, the worst song on the collection is his "Danger Man" version we've been talking about. Anyway, the Cd is a keeper! Unfortunately, sales weren't enough to get Varese to do a second volume, which apparently was a possiblity. Is any label listening???? Take care, Clark -------------------[ archived by Spectropop ]-------------------
Message: 12 Date: Mon, 29 Mar 2004 04:03:45 -0000 From: Tony Leong Subject: "I'll Love You For A While" HELP!!!!! One of my favorite Dusty Springfield songs is "I'll Love You For A While" (1965). Yesterday, my friend played me a version of the song (the original I understand) by a singer named Jill Jackson. Does anybody out there know if that original version is available on any CD compilation??????? And who originally sang "All Cried Out"???? What CD is that available on?? I have to admit, I am a huge fan of Dusty's early stuff, but I love to hear the original versions of those songs that she copied or the demos (like Ellie Greenwich's wonderful demo of "I'll Try Anything")!! PS The friend, Paul, that I wrote about at the beginning also had Vicki Carr's original version of "He's A Rebel". Well, I'll tell you, it was NO competition for the Crystals (ahem--Darlene-Fanita- Edna-Gloria-version) that we all know and love!!!! Tony Leong -------------------[ archived by Spectropop ]-------------------
Message: 13 Date: Mon, 29 Mar 2004 22:21:22 +0100 From: Martin Roberts Subject: Spectropop Party, 2004; Ya should have been there... Rashkovsky wrote; > To everyone who attended the big party in London this weekend, I > hope that it was a great affair and that a good time was had by > all. Sure sorry I could not be there. Oh what a shame, because the evening really was magical... Almost Tolkienesque, with guests including wise sages and giants, fun- loving Hobbits and elves, with only the Orcs conspicuous by their absence (I dare say put off by the prevailing good humour and laughter). The venue, Bush Hall (a turn-of-the-century music hall) was honoured by many of the throng donning bushy beards, flowing locks, wild ringlets and hair formed into strange and wonderful spikes and tufts. The guests were richly rewarded with meats cooked over open fires and cheeses, salads, 'tatoes and strange delights on sticks, ably prepared by Neil and Simon with full support from Gwen and Alan, whilst the inn-keeper (the only person present who levied a fee for his chattels) was the purveyor of the finest ales and wines. Many minstrels were present with enthralling tales of their triumphs and disappointments on the musical front line, including Mark Wirtz, Tony and Anthony Rivers, Kris Ife, Mike Ross, Billie Davis, Simon Bell and Kay Garner. New friends made, old friendships rekindled, including an unexpected treat with the arrival from the Shire across the pond, Mark Frumento. Some folk who would have come if they could and were missed: Ian C, Keith B, Peter L, Sheila B, Kingsley, Prof Bell, the lovely Delia and others. But a special mention must go to Keiko Kondo who has previously crossed two continents to cement the bond of friendship. Guarding the door with his usual courtesy was the fearsome puppy Eric Charge. Organising the piped music with a choice selection of musical treasures was the keeper of the hall of records, Mick Patrick. The wizard in control of the moving picture show was Dr Phil Chapman who had applied his patented Sound Replacement Therapy to a seemingly endless supply of images of pretty and exotic women and some strapping young bucks that, in the main, had performed before the world was filled with colour. If this entertainment was not enough, there was more, much more. Simon swapped his chef's blue and white checked trousers for his master of ceremonies garb and executed his new role with consummate ease. He introduced those Spectropop favourites, a travelling troupe of voluptuous maidens, the Actionettes, who danced synchronously with infectious abandon. No wonder they have built such a loyal following. Many of their routines were performed as support to two songbirds, Elisabeth and Emma. Elisabeth, well-known from previous parties sang four numbers in great voice, one of them being Samantha Jones' "Today Without You" which thrilled the writers, who happened to be in attendance. Later, she teamed with famed session singer Simon Bell to duet on another S'pop classic, Nino Tempo's "Boys Town". This was superb and brought the house down. Although I'd previously heard of Emma being a TV talent-contest winner, this was the first time I'd actually heard her sing. She delivered breathtaking first-time renditions of Dionne's "Another Night" and Dusty's "Willie And Laura Mae Jones". No show would be complete without audience participation which was spontaneously supplied by Tony Rivers and his son Anthony, with a flawless Everly's two-part a cappella rendition of "Let It Be Me". Tony first became known with his group, the Castaways, and later enjoyed hits as Harmony Grass. His excellent harmony work can be heard in the background of numerous recordings, including some by Cliff Richard and Brian Wilson. And his son Anthony is clearly continuing the tradition of excellence. After further listening, watching, talking and drinking (I hope to be sober by tomorrow) it was time to hit West London's brisk night air. The spell was broken. Let me extend grateful thanks to those good folk at Spectropop for putting on the best party yet and I'm looking forward eagerly to the next. Martin -------------------[ archived by Spectropop ]-------------------
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