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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: Cameo-Parkway & Stereo
From: Clark Besch
2. Re: Dual 45s, Eric Records
From: Joe Nelson
3. Re: commercially speaking / Happy Together
From: Mark A. Johnston
4. Breathless commercial to Musica
From: Clark Besch
5. Coke ad to Musica
From: Clark Besch
6. April Fools
From: Jim Shannon
7. Re: Flower Power @ EPCOT
From: Laura Pinto
8. Jack Nitzsche at Spectropop update
From: Martin Roberts
9. Re: Bobby Zimmerman, Victoria's Secret model?
From: Scott
10. information please
From: Michael
11. Re: Niki Sullivan
From: Dave Heasman
12. Dylan commercial
From: Paul Bryant
13. Re: April Fools
From: "Phil X. Milstein"
14. Pastiche and plagiarism
From: Paul Bryant
15. S'pop celebs pop up everywhere
From: Martin Roberts
16. Re: The Chartbusters
From: Gary Myers
17. Re: Stereo
From: Joe Nelson
18. Capers; fake and compatible stereo; Comfortable Chair; Chartbusters
From: Country Paul
19. Laryngospasms
From: Country Paul
20. Beach Boys Stereo
From: Joe Nelson
21. Patty Duke Question
From: markt439
22. Re: Pastiche and plagiarism
From: Gary Myers
23. Bacharach not Bach
From: Karen Andrew
24. "I Love You More Than You'll Ever Know"
From: Al Kooper
25. Re: The Sandpipers, Florida's answer to the Shangri-Las
From: Jeff Lemlich
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Message: 1
Date: Sun, 11 Apr 2004 13:57:09 -0000
From: Clark Besch
Subject: Re: Cameo-Parkway & Stereo
Joe, Cameo-Parkway was so screwed up stereo-wise, who knows what went
on there? C/P true stereo Lps started showing up mostly after all
the Chubby/Rydell hits had dried up. Despite "Slow Twistin'" and I
believe "That Old Black Magic" showing up in stereo on Lps, songs as
late as 1964's "Forget Him" did not. If these were recorded in
stereo, we'll find out if Abkco can do their job right.
Fake stereo's been around as long since labels started releasing
stereo Lps in the 50's. I personally feel that most songs did not
get recorded in stereo, thus they had to create stereo by
rechannelling or double-tracking the mono (Duophonic on Capitol).
Searching for the elusive 50's and 60's stereo 45 releases can also
have this problem. Finding Paul Anka's "Put Your Head on my
Shoulder" was the only stereo version you could get until 90's Cds.
It was rechannelled on Lps, yet fine stereo on the stereo 45. Same
with "Lonely Boy", I believe. Then, I was excited to get a stereo 45
of Johnny Preston's "Feel So Fine", a song which had always eluded us
on stereo Lps as being in stereo. The 45 was rechannelled. Aargh!
The Wyncott and other "cheapy" releases is wierd. I'm guessing you
and me and most of us have these albums by accident. We picked them
up to "complete" a major artist cheaply or just got them with a box
of garage sale Lps. I still think stereo on these budget Lps was a
rarity.
As I say, most of the time rechannelled stereo occurred because the
label had never recorded the song in stereo anyway. BUT, then you
have the Beatles and the Dave Clark 5.
The Beatles stuff was usually recorded in 2 or 3 track stereo early
(some mono only) and "Meet the Beatles" had mostly vocals/music in
one channel and one in the other. Not exciting to hear compared to
the mono we heard on radio more often. "The Beatles 2nd Album" came
filled with rechannelled stereo. Much of this was likely due to the
fact that most songs were from older songs released on various labels
over the past year, yet Capitol even added extra harmonica to "Thank
You Girl" while still doing it "Duophonically"! Anyway, many 2 and 3
track stereo was just not as good as the mono to listen to, thus
leading to some fake stereo in my opinion.
The DC5 was likely rechannelled due to Dave Clark feeling (as he
still does) that the stereo version missing the echoey overdub sound
of the 45s lost too much of the song's power. Mostly, that's true.
Yet, the rechannelling in the DC5's case just made it sound like it
was being played in a tunnel.
Duane Eddy was always rechannelled, yet an occasional stereo track
showed up, like "Dixie" which showed up on an early 60's stereo Jamie
Lp in stereo!! Coulda been the same story as DC5, as a few stereo
tracks have shown up by both in the years since.
The Beach Boys were a stereo to mono situation. The early stuff was
not produced by Brian Wilson and was stereo. When Brian quickly took
over, it changed to mono. Reason was Brian was almost deaf in one
ear and couldn't mix stereo properly. Since, most have been in
stereo and sound great.
Why fake stereo? So many reasons, so many lines.....Clark
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Message: 2
Date: Sun, 11 Apr 2004 10:16:40 -0400
From: Joe Nelson
Subject: Re: Dual 45s, Eric Records
Me:
> Always wondered what "Dual 45" meant, and I'm still not sure. May
> I beg for clarification?
Country Paul:
> Plays just fine in mono or stereo, I believe.
I've also heard "sounds like @#%$ in both formats", but thanks to
everyone for their input.
Intruding into 70's space here, but FWIBT Gladys Knight's "Midnight
Train to Georgia" single was mono. I don't have my copy anymore and
wasn't paying attention at the time. ISTR the Dual 45 inscription on
the label. Anybody able to confirm this either way?
TIA,
Joe Nelson
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Message: 3
Date: Sun, 11 Apr 2004 10:45:30 -0400
From: Mark A. Johnston
Subject: Re: commercially speaking / Happy Together
Phil Milstein:
> Court rulings, on cases in the 1980s involving both Bette
> Midler and Tom Waits, have already supported the fact that
> vocal artists, who make their living based on the
> identifiability of their voices, own the rights to those
> identifications... Ever since those judgments, most
> advertisers -- the smart ones, anyway -- have been tagging
> disclaimers onto any celebrity imitations they use in their
> ads....
I seem to understand this when it comes to endorsements using
celebrity impersonations, but I would think that is as close
as it gets. You will always hear the boiler-plate tag line:
celebrity voice impersonated to protect the advertising agency
that created the spot.
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Message: 4
Date: Sun, 11 Apr 2004 14:28:24 -0000
From: Clark Besch
Subject: Breathless commercial to Musica
Posted to Musica for a short time, a 1967 "Breathless" commercial
done to, of all things, Victor Lundberg's mega-spoken word-hit, "An
Open Letter To My Teenage Son". This hit 45 about a man's son
burning his draft card went top 10 in late summer 67 and spawned
followups by a group on Buddah (Every Father's Son, I believe) and
Dick Clark himself, on Dunhill. Yet, none of those were quite like
this novelty take off of the song. The attitude (while tongue-in-
cheek) of this commercial reinacts Victor's 45 and with the inclusion
of the hits finale, "I have no son", would be cause for the record's
writer to be asked for approval of the lyric change and some
royalties. If writer, Robert R. Thompson, Ok'd this version, then,
unlike Alan Gordon, he really didn't feel the way Alan did about
his "song"! Clark
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Message: 5
Date: Sun, 11 Apr 2004 15:06:15 -0000
From: Clark Besch
Subject: Coke ad to Musica
Hi, I know Mike Rashkow has posted some great Coke commercials on
Musica. I just posted one to Musica that I said was 1967, but might
have been 68 instead? Anyway, it's an odd one that didn't get much
play since it was a dated intro to summer. Just wondering if Mike
had any work on the odd short musical moments of this piece. Have
not heard this on Coke comps, so enjoy. Clark
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Message: 6
Date: Sun, 11 Apr 2004 16:02:31 -0000
From: Jim Shannon
Subject: April Fools
Following up on an earlier dispatch about a new Dionne
Warwick collection which includes "Windows of the World".
One of her lesser known songs "April Fools" was a beautiful
composition written for the film by the same name. Rarely
do you ever hear this song. The movie with Jack Lemmon was
a classic, too.
Jim Shannon
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Message: 7
Date: Sun, 11 Apr 2004 14:34:05 -0000
From: Laura Pinto
Subject: Re: Flower Power @ EPCOT
Roger Smith wrote:
> Anyone here planning a trip to Walt Disney World should consider
> visiting sometime from mid-April to early June during Epcot's
> "Flower and Garden Festival."...
Hi,
I went to Flower Power in 2002 to see Ron Dante and also caught The
Turtles. Flo & Eddie and Ron all put on great shows!
Here's this year's lineup:
Schedule of Perfomers:
April 16-19 -- Davy Jones
April 20-23 -- The Nelsons
April 24-27 -- B.J. Thomas
April 28-May 1 -- Gary Puckett
May 2-5 -- Dave Mason
May 6-9 -- The Grass Roots
May 10-13 -- Orleans
May 14-17 -- The Turtles
May 18-21 -- Eric Burdon & The Animals
May 22-25 -- Paul Revere & The Raiders
May 26-28 -- Arlo Guthrie
May 29-30 -- Felix Cavaliere's Rascals
May 31-June 3 -- The Buckinghams
June 4-6 -- The Lovin' Spoonful
Laura
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Message: 8
Date: Sun, 11 Apr 2004 20:26:49 +0100
From: Martin Roberts
Subject: Jack Nitzsche at Spectropop update
Christopher Monte "Giants Of Bombora" (Dolton) is the new
ROTW at http://www.spectropop.com/JackNitzsche/index.htm
It's a nice quick download. Perfect for the Easter break,
Martin
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Message: 9
Date: Fri, 09 Apr 2004 11:39:07 EDT
From: Scott
Subject: Re: Bobby Zimmerman, Victoria's Secret model?
Clark Besch:
> I saw the commercial today where you can get Bob's new CD if you buy
> anything at Victoria's. I guess I wonder how many customers who shop
> at Victoria's WANT a CD by Bob Dylan!
Good point - I can't picture myself trying to set a romantic mood with the
wife via candles, champagne, bubble bath and a little Bob Dylan ...
Scott
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Message: 10
Date: Sun, 11 Apr 2004 16:42:05 -0000
From: Michael
Subject: information please
Can anyone shed some light on these two groups?
The Blue Chips (RCA Victor 47 7923)
The Vonnair Sisters (Vista f 383)
Thanks in advance,
Michael
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Message: 11
Date: Sun, 11 Apr 2004 18:06:46 +0100
From: Dave Heasman
Subject: Re: Niki Sullivan
Previously, from the New York Times:
> Mr. Sullivan played on 27 of 32 songs Holly recorded before his
> death,
This is becoming a meme. In fact, Sullivan played on about 5 tracks in 1957.
He never claimed more while he was alive.
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Message: 12
Date: Sun, 11 Apr 2004 10:20:20 -0700 (PDT)
From: Paul Bryant
Subject: Dylan commercial
Dear all
In a December 1965 Dylan press conference, Allen Ginsburg
(from the audience) sneaks in one question with a
cheesy grin on his face (it's on the video): "If you
were going to sell out to a commercial concern, what
would it be?" Dylan retorts straightaway and
straight-faced, "Ladies' garments." Ginsburg alone
cracks up as the assembled journalists just sit there.
pb
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Message: 13
Date: Sun, 11 Apr 2004 13:36:24 -0400
From: "Phil X. Milstein"
Subject: Re: April Fools
Jim Shannon wrote:
> Following up on an earlier dispatch about a new Dionne
> Warwick collection which includes "Windows of the World".
> One of her lesser known songs "April Fools" was a beautiful
> composition written for the film by the same name. Rarely
> do you ever hear this song. The movie with Jack Lemmon was
> a classic, too.
Is this another April Fool's joke?
Jokingly,
--Phil M. (a bit of an April foole himself)
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Message: 14
Date: Sun, 11 Apr 2004 11:40:32 -0700 (PDT)
From: Paul Bryant
Subject: Pastiche and plagiarism
Dear all,
My 7-year-old daughter is watching Grease right now
and I couldn't help being struck by a song called
something like "Rock & Roll Is Here to Stay" - it's a
very very thin rewrite of "At the Hop." Now, all
Grease songs are pastiches of '50s pop - but when does
pastiche become plagiarism? Is there a formula? Does
the pasticher add the original writers to the pastiche
credits? Do they figure this out in advance?
Curiously
pb
=================================
Admin note:
"Rock and Roll Is Here to Stay" was Danny and the Juniors'
1958 follow-up to "At the Hop"; both were written or co-
written by founding member Dave White. "...Here to Stay"
isn't the only honest-to-God rock oldie on the mainly
"pastichy" soundtrack, which also features Sha Na Na
renditions of "Hound Dog," "Tears on My Pillow," and "Blue
Moon." All are properly credited.
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Message: 15
Date: Sun, 11 Apr 2004 19:38:57 +0100
From: Martin Roberts
Subject: S'pop celebs pop up everywhere
In the middle of a good read, "This Is Rebel Music - Harvey
Kubernik Innerviews", having read the two excellent Jack Nitzsche
interviews and acknowledgements, I thought, who next? Berry Gordy
Jr, Steven Van Zandt, Marianne Faithfull, or how about Grace Slick?
I decide to go with Andrew Loog Oldham, only a few pages in, and
which S'pop celebrity should pop up? Friend to the stars, our
very own Phil Chapman. Harvey is quizzing Andrew on the remastering
he did for ABKCO in the '80s:
"None of the work I did for Cameo Parkway ever came out. I did the
work with Phil Chapman, a great English engineer from the Olympic
days. I hope it does, it's an incredible period of naff America."
I'm pretty sure Phil has written a little about his work on Cameo
Parkway's back catalogue, but for the sake of new members and with
the continued, even heightened, interest in legitimate re-releases,
perhaps Phil can be persuaded to tell some more stories.
Martin
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Message: 16
Date: Sun, 11 Apr 2004 12:00:03 -0700
From: Gary Myers
Subject: Re: The Chartbusters
Rat Pfink:
> ... they were originally known as Bobby Poe & The Poe Kats,
> from Kansas. They relocated to Washington, DC, and eventually
> changed their name.
It sounds as if this is probably a different Bobby Poe from the
one in my earlier question, but I'd like to expand on that
question, just in case anyone has any related info:
Lenny LaCour had several small labels in Chicago in the '60s &
'70s, as well as two labels in Milwaukee (hence my Wisc interest).
I've compiled a lot of LaCour info, and one song by the Bossmen
(Chicago Latino band) was co-written by a Bobbie Poe, whom I was
told was LaCour's wife for a while, but I'm not sure of that, nor
if this Poe is male or female. Anyway, FWIW, I'm interested in
most any LaCour-related stuff.
gem
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Message: 17
Date: Sun, 11 Apr 2004 16:21:15 -0400
From: Joe Nelson
Subject: Re: Stereo
Clark Besch:
> The Beatles stuff was usually recorded in 2 or 3 track stereo early
> (some mono only) and "Meet the Beatles" had mostly vocals/music in
> one channel and one in the other. Not exciting to hear compared to
> the mono we heard on radio more often. "The Beatles 2nd Album" came
> filled with rechannelled stereo. Much of this was likely due to the
> fact that most songs were from older songs released on various labels
> over the past year, yet Capitol even added extra harmonica to "Thank
> You Girl" while still doing it "Duophonically"! Anyway, many 2 and 3
> track stereo was just not as good as the mono to listen to, thus
> leading to some fake stereo in my opinion.
The Second Album was all tracks recorded on two track, and only the
"With The Beatles" leftovers had been mixed in stereo at that point. I
could have sworn I'd read "Thank You Girl" was in true stereo on that
LP, probably the only place a stereo version could be found. (The
extra harmonica indicates an alternate mix: I highly doubt John Lennon
added those bits at Capitol's request.) "She Loves You" and "I'll Get
You" were mixed for mono only and the two-track tapes wiped,
apparently in ignorance of revised EMI policy that started saving
session tapes. Lewissohn claims the stereo mixes of "Long Tall Sally"
and "I Call Your Name" were experimental and were never used, but I'm
pretty sure they turned up here. My copy of the album was in mono so
I'm not sure of any of this.
Joe Nelson
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Message: 18
Date: Sun, 11 Apr 2004 16:38:36 -0400
From: Country Paul
Subject: Capers; fake and compatible stereo; Comfortable Chair; Chartbusters
Joe Nelson re: Caper Brothers @ Musica
> Try [listening] again.
I did and it worked. They sound a bit like Robert & Johnny ("We Belong
Together," "Hear My Heartbeat" on Old Town. Anyone have any info on this -
label, producers, writers, even the year of release?
Joe again:
> [W]hen did the fake stereo plague really take off, anyway?...
Probably in the early 60's, when companies were eager to cash in on the new
stereo technology and "refresh" their mono recordings. Some did it well -
and then there was the cavernous and unreal RCA fake stuff. There may have
been another bump in it when mono was discontinued in the late 60s.
Paul Urbahns, thanks for the full rundown on the "compatible" stereo
process - a word I was searching for but resolutely refused to come to mind.
(That age thing again...)
Al Kooper:
> I can't imagine [Jim Gribble] writing a song, unless he studied with
> Morris Levy or Alan Freed.
I'm sure there's a wickedly appropriate comment for this, but I can't come
up with it....
Gary Myers, re: Comfortable Chair now on musica:
> Comfortable Chair now on musica...
> An interesting, unusual and lush sounding record. One minor
> correction: this is Bernie Schwartz *after* his solo work,
> rather than before.
As it happens, I did make a mistake: the original 45rpm is Ode ZS7-109, not
105. However, its release date is 1968; the CoBurt album turns out to be
1970 or 71, and the single from it, "Peace on Earth" (from "The Magic Garden
of Stanley Sweetheart" is dated 1971, which I wrote on it when filing it.
But you're also partly right: I believe this release as Adrian Pride, "Her
Name Is Melody"/"I Go To Sleep," comes from 1966.
Clark Besch, re: the Chartbusters' "She's The One" on Mutual:
> ...[I]f you've ever heard Laurie Allen & Bobby Bright's
> Australian record, "I Belong with You" it's got a similar
> effect of having the stomping sound of the DC5 combined with the
> rural Everlies vocals making a very unique Brit invasion sounding
> record that is GREAT!
Any chance of playing it to musica, please?
Also, someone indicated that The Manchesters' version of "She's The One" is
the Chartbusters under a different name; but relistening to the mp3 I have
of it, it sounds like a different group.
Country Paul
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Message: 19
Date: Sun, 11 Apr 2004 17:29:47 -0400
From: Country Paul
Subject: Laryngospasms
Somehow, I surfed onto http://www.laryngospasms.com, the homepage of "a
group of five Certified Registered Nurse Anesthetists that take classic
songs and twist the lyrics to create parodies of the operating room,
anesthesia, and anything else we can get our hands on!" Sound samples are
posted. Relevant to our group: "The Little Old Lady With The Fractured
Femur," "Little HMO," and an acapella take-off on The Five Satins, "Your
Bill Isn't Right." They don't suck, and are probably worth a grimace.
And now back to your regularly scheduled life.
Country Paul
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Message: 20
Date: Sun, 11 Apr 2004 17:10:08 -0400
From: Joe Nelson
Subject: Beach Boys Stereo
Clark Besch:
> The Beach Boys were a stereo to mono situation. The early stuff was
> not produced by Brian Wilson and was stereo. When Brian quickly took
> over, it changed to mono. Reason was Brian was almost deaf in one
> ear and couldn't mix stereo properly. Since, most have been in
> stereo and sound great.
Neil Umphred's article in the 11-18-88 issue of Goldmine credits Brian
for those early mono mixes, with Chuck Britz doing the stereo. I have
reread this, but I remember a quote in which Brian intimated that even
if he DID have two good ears he'd still favor mono for artistic
reasons. (He felt stereo gave the listener a way to change the
artist's vision of the song by altering the balance between the stereo
channels, wheras the mono is what it is and can't be changed.)
Joe Nelson
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Message: 21
Date: Mon, 12 Apr 2004 00:50:27 -0000
From: markt439
Subject: Patty Duke Question
Can anyone confirm the existence of the following single by Patty Duke:
UA 50057 The Wall Came Tumbling Down
I know that there is no tape of the song in EMI's vault. However they
do have a copy of the label which leads me to believe the record may
have been pressed, at least as promo copies. But I've never seen it or
heard of anyone who has. I know we have some serious collectors in
this group so I'm wondering if anyone has any more info.
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Message: 22
Date: Sun, 11 Apr 2004 18:32:03 -0700
From: Gary Myers
Subject: Re: Pastiche and plagiarism
>From Paul Bryant:
> ... a song called something like "Rock & Roll Is Here to Stay" -
> it's a very very thin rewrite of "At the Hop."
In fact, the former was the follow-up to the latter, by Danny & the
Juniors in 1958. It charted up to #19.
gem
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Message: 23
Date: Sun, 11 Apr 2004 21:29:22 -0700 (PDT)
From: Karen Andrew
Subject: Bacharach not Bach
Re: Al Kooper's experience: "referring to a college music-theory class
assignment in which he was to fill in a music-minus-one part of a
four-part Bach chorale:"
I feel better now. I tried a university's Music 101 once and had to
drop because it was too much like math. I was dazed and disgusted! I
just wanted to learn the basics of music and learn a little
keyboarding. I'm too right brained for anything resembling math. I
love this: (Kooper)"I didn't need Bach -- I needed Bacharach."
Here, here!
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Message: 24
Date: Mon, 12 Apr 2004 07:12:45 EDT
From: Al Kooper
Subject: "I Love You More Than You'll Ever Know"
Dave O:
> Also, Al K, have you seen Paul Schaffer and the band do "I Love You
> More than You'll Ever Know" during the long break on the Late Show?
> It seems to have become a highlight for the studio audience,
> especially when a "celebrity" comes on stage with a James Brown
> type cape to drape over Paul's shoulders.
Not only have I seen it (going on 3 years now) but "I Love You More
Than You'll Ever Know" has become my "Happy Together." The body of the
song is strictly for the studio audience but the end bit goes out to
the millions in TV land.
If there are no reruns in a given week, it plays on a Friday night
only. It's always performed next-to-last in the show, just before the
musical guest. In Boston, they usually hit between 12:15 - 12:20, if
the show begins at 11:30.
Cameo (not Parkway) guests that somehow are only on the show to put a
cape around Paul's shoulders as he drops to the floor James Brown
style, have included: Donald Trump, Lou Reed, Whoopi Goldberg, Nathan
Lane, Bill Murray, Solomon Burke, Cyndi Lauper, and on one particular
sardonic Saturday a.m. - James Brown, hisself!!!
The royalties, ritually delayed by BMI, began pouring in about a year
ago. So far, we remodeled the master bath amd painted the living room,
dininmg room and hallways in my modest New England home. I dont know
if I said this before, but when I was a young lad, my slightly-
inebriated father-figure publisher took me aside one day, put his arm
around my shoulder and said: "Al, your songs are your children - they
come to take care of you when you're old!" Back then I laughed at him.
nowadays, I smile when I see the cavalry-like envelope arrive, and
then trot to the bank with a relieved grin on my face.
Sadly, without my "children" I would surely be dead or homeless by now.
I thank God that I was blessed by Him to be a songwriter - it has
saved my life on more than one ocaasion.
Thankful Al Kooper
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Message: 25
Date: Mon, 12 Apr 2004 03:40:34 -0000
From: Jeff Lemlich
Subject: Re: The Sandpipers, Florida's answer to the Shangri-Las
Howard wrote:
> ...Soul Up North #43 is now available. This issue includes
> a great article from 'Spectropopper' Jeff Lemlich on the
> Sandpipers...
Me:
> I should mention this is not the "Guantanamera" Sandpipers,
> but the group of 13 & 14-year-olds that appeared on Tru-
> Glo-Town. They were Florida's answer to the Shangri-Las...
Mick Patrick:
> OK, I'm sold. My two quid is in the mail. In the meantime,
> Jeff, any chance of a Sandpipers track appearing @ musica?
> Pleeeeeeeeeeeeeze. There's room at present.
Now playing in Musica is "Ballad To A Missing Lover" by the
Sandpipers, which includes an emotional recitation by 13-year-old
Debbie Kilpatrick: "You didn't leave cause you wanted to, and that
is why I pray and pray for you". In case anyone is wondering what
happened to Debbie's lover, the answer is in the article (and so is
the identity of her boyfriend at the time. He is someone you have
heard of.)
Jeff Lemlich
http://www.limestonerecords.com
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SPECTROPOP - Spectacular! Retro! Pop!
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