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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: arrangers
From: Alan Iris
2. Re: arrangers
From: Bonnie B.
3. Ricky Lancelotti & Banana Splits
From: Charles Ulrich
4. Re: Neil Sedaka
From: Bonnie B.
5. Re: The Big Hurt
From: Bonnie B, 06 . Re: track layering in reverse order
From: Joe Nelson
7. Re: Ray Pilgrim
From: Ken Silverwood
8. Re: Runaway and "that instrument"
From: Phil X. Milstein
9. Re: Girls With Guitars
From: Gary Myers
10. Re: C. Carson Parks & Somethin' Stupid
From: Art Longmire
11. Re: L.I. / Bronx / N.J. / Knickerbockers
From: Various
12. Re: Donnie Brooks
From: Gary Myers
13. Re: The Razor's Edge
From: Various
14. The Shaggy Boys
From: "markt439"
15. Re: Accuracy of Top 40 Playlists
From: Dan Hughes
16. Murray the K
From: Paul Levinson
17. 1910 Fruitgum Company (and a question for Austin)
From: Peter McCray
18. Re: Girls With Guitars - The 2 Of Clubs
From: Joe Nelson
19. Re: Kit Kats / New Hope
From: markt439
20. Re: the price of love
From: Joel Sanoff
21. New Old 45s Purchase Questions
From: David Coyle
22. Re: "Roses Are Red (My Love)"
From: John Fox
23. Re: "Roses Are Red (My Love)"
From: Ronnie Allen
24. Re: The Magicians Reunited
From: Gary Myers
25. Re: December's Children / Grass Roots
From: Billy G. Spradlin
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Message: 1
Date: Sun, 25 Apr 2004 13:28:41 -0700 (PDT)
From: Alan Iris
Subject: Re: arrangers
Bob Celli wrote:
> Hi, I agree wholeheartedly! Guys like Ernie Freeman, Dick Jacobs,
> Lincoln Mayorga, Artie Butler, et al. All major talents lending their
> genius to some of the best recordings ever made!
Let's not forget the leading arranger at the time, Alan Lorber.
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Message: 2
Date: Sun, 25 Apr 2004 21:27:15 -0000
From: Bonnie B.
Subject: Re: arrangers
Alanl22000 wrote:
> It makes no sense that thr Hall of Fame doesn't even approach
> the subject of arrangers.
Taking two from Al Kooper's list I'd nominate Don Costa, Alan Lorber,
and decide on three more.
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Message: 3
Date: Sun, 25 Apr 2004 14:38:44 -0700
From: Charles Ulrich
Subject: Ricky Lancelotti & Banana Splits
I'm a new member. Kim Cooper of Scram! magazine pointed me in this
direction.
My main obsession is Frank Zappa. But there are numerous connections
between his career and the subject matter of this group, starting with the
session musicians on the first Mothers Of Invention album (Carol Kaye et al).
I'm writing a book on FZ's recorded works. One of the things I'm trying
to do is to provide some background on the contributing musicians --
especially long-time band members, but also those who made more
limited appearances.
Ricky Lancelotti, who sang lead on several FZ songs in 1973, is said to have
sung for The Banana Splits. I'm not sure whether this was on the TV series
or the records. Perhaps the most likely is the The Banana Splits In Hocus
Pocus Park, which appeared on the ABC Saturday Superstar Movie in 1972.
Can anyone verify or refute that Lancelotti recorded with the Banana Splits?
Or provide any additional information about his (non-Zappa) recording credits?
--Charles
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Message: 4
Date: Sun, 25 Apr 2004 22:13:02 -0000
From: Bonnie B.
Subject: Re: Neil Sedaka
There's a new Beqar Family 8cd box set on Neil Sedaka. It lists Aaln
Lorber as arranger of the great hists of his Don Kirshner Al Nevins
day, including Breaking Up Is Hard To Do, Next Door To Angel,
Happy Brithday Sweet 16, let's Go Sye=tead Aagain and about 10
others. In neils bio he credits Aaln Lorber as his arranger.
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Message: 5
Date: Sun, 25 Apr 2004 22:25:42 -0000
From: Bonnie B,
Subject: Re: The Big Hurt
Peter Lerner wrote:
> Miss Toni's version of The Big Hurt an all time classic, but Del Shannon's
> Liberty version is also sensational.
Have you ever heard the Susan Rafey version on a verve album in the 60's
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Message: 6
Date: Sun, 25 Apr 2004 19:17:06 -0400
From: Joe Nelson
Subject: Re: track layering in reverse order
Phil M. wrote:
> Perhaps the producers among us can offer some thoughts on SOS
> having been done as voices and acoustic guitar first, with drums, bass
> and electric guitar added in a later session. Do they think it'd really be
> as difficult to pull off well as I imagine it would be?
I'm not a producer but I am a musician, and I can tell you it's as
nightmarish as it sounds. The hired musicians are following a drummer
who is used to setting time rather than following it, and since Paul
Simon played without a click track he's all over the place tempo-wise.
You hear the drummer trying to hold a tempo that shifts abruptly, then
overcorrects when he realizes something has changed, and the rest of
the group follows him. The end result is about as good as it was going
to get under the circumstances, but anyone doing the same thing today
would have time compressed the track to get everything more even.
Getting way out of the '60s here, but I can't touch on the subject without
mentioning the posthumous output of contemporary Christian legend
Keith Green. After Green was killed in the summer of 1983, his producer,
Bill Maxwell, created two new albums out of piano/vocal demos and live
recordings. This obviously presented the same difficulties as SOS, yet the
timing is flawless. (It should be noted that Maxwell was also the drummer
on Keith's albums, Keith preferring to tour solo with just his own piano
for accompaniment.)
It wasn't untill the release of the Ministry Years boxed set in 1987 that
Maxwell revealed the secret. Although Keith had been active in the music
industry for most of his life, he'd never achieved a meaningful notice
until he became a Christian and signed with Sparrow in 1977. Maxwell
quickly figured out what was wrong with Keith's earlier work -- you
couldn't record him the normal way, cutting basic tracks and overdubbing
vocals. He was a very emotional performer who played according to the
moment, and, chained to the feeling on the tape, he couldn't give you the
performance. So Maxwell took a gamble -- he cut Keith singing and
playing live, laid down the drums himself, and had the session players
follow him following Keith's lead. So when the usual suspects went to
create fresh recordings after the fact, they were already used to playing
that way.
BTW, one of the posthumous tracks, "When There's Love", was written
with Tommy Boyce.
Joe Nelson
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Message: 7
Date: Mon, 26 Apr 2004 00:19:58 +0100
From: Ken Silverwood
Subject: Re: Ray Pilgrim
Howard wrote:
> Would anybody be interested in hearing more on Woolies' Embassy
> label?
Howard, the only name I can recollect off of the labels was probably Ray
Pilgrim, usually with his Travellers. I think he also got onto Easybeat, or
some such radio programme. Come to think of it, I bet it was Workers'
Playtime, from a munitions factory just outside Crewe. He would have
been on right after Dorita Y Pepe, the flamenco dancer, just think of it
a dancer on the radio -- nearly as good as a ventriloquist, eh?
Ken On The West Coast.
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Message: 8
Date: Sun, 25 Apr 2004 21:11:10 -0400
From: Phil X. Milstein
Subject: Re: Runaway and "that instrument"
Al Kooper wrote:
> I never had the pleasure of working with DS but I sure was a
> fan - and I was always charmed/mystified by that solo instrument
> in "Runaway".
Lots of Musitron info, and some new CDs for sale, at http://www.maxcrook.com
--Phil M.
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Message: 9
Date: Sun, 25 Apr 2004 18:18:11 -0700
From: Gary Myers
Subject: Re: Girls With Guitars
Mick Patrick:
> CD is subtitled "All-Girl Bands, Axe-Backed Babes and the like . . ."
> Get the picture? Here's what's on it:
> Girls With Guitars (Ace CDCHD 989)
> 17. Lonnie Mack and the Charmaines - Sticks And Stones (Trip LP 9522) 1976
Apparently this is not the "Memphis" Lonnie Mack?
gem
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Message: 10
Date: Sun, 25 Apr 2004 20:19:37 -0000
From: Art Longmire
Subject: Re: C. Carson Parks & Somethin' Stupid
Wow, Phil-I just read your post and realized that I have the C.
Carson Parks-Gail Foote LP. I'd forgotten all about it and haven't
listened to it in at least four years. I've had it for about eight
years now and wasn't aware that C.Carson was related to Van Dyke.
I wish I could post their original "Something Stupid", I don't have
the technology...meanwhile I've got to dig this album out and give it
another listen. As you say, C.Carson's site is very informative-I
love the record scans.
Art Longmire
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Message: 11
Date: Mon, 26 Apr 2004 18:57:40 +0100
From: Various
Subject: Re: L.I. / Bronx / N.J. / Knickerbockers
A compendium of message regarding Long Island, The Bronx, New Jersey,
and The Knickerbockers:
---------------------------------------------
> Peter Grad:
I didn't realize there was Knickerbockers/Jersey connection, thanks
for that bit of info! Sure, Tenafly is in Bergen County, and I know
Knickerbocker Road, though never thought for a moment it was related
to, or may have influenced, the group. I lived in the Bronx most of
my life til just a few years ago, when I moved to Ridgewood, NJ, just
a couple towns away from Tenafly.
If there are any other Bronxites here, I probably don't have to
mention that barely a mile south of the Pelham Parkway/Allerton
Avenue/White Plains Road section of the Bronx is our borough's own
Little Italy, including Arthur Avenue (Dominic's Italian Restaurant may
be the best eatery in NYC) and Belmont Avenue, where a guy named
DiMucci used to sing on street corners.
---------------------------------------------
> Phil Milstein:
Peter Grad wrote:
> Actually, I once thought they named themselves after an old beer...
I thought they named themselves after an old basketball team.
---------------------------------------------
> Paul Levinson:
I went to Columbus High School, 1960-63 ("Hail the silver and the
blue!"), lived on Adee Avenue then. In the summer of 63 -- after
graduating Columbus, and before I starting going to City College in
Harlem -- I worked in Krum's, an ice-cream parlor on the Grand
Concourse. I met Stu Nitekman and Ira Margolis there, we formed The
Transits (along with a guy from Pelham Parkway, another guy from
Allerton Avenue, and a lead singer, Dave, from I can't remember
where). We played at Bronx House, too, and also at the Y on 167th
Street and the Grand Concourse. By 1965, it was just Stu, Ira, and
me, and we were The New Outlook. Mike Rashkow and Ellie Greenwich
discovered us singing in Central Park two years later, changed our
name to The Other Voices, and we recorded "Hung Up On Love" for
Atlantic -- released last month on Andrew Sandoval's Come To The
Sunshine compilation for Rhino Handmade. Amazing we never ran into
each other, Peter.
By the way, did you know that a few of The Excellents came from
Columbus High School, and recorded "Coney Island Baby" (a doo-wop
regional hit in the late 1950s)?
That Allerton Avenue area was sure cookin!
(As fate would have it, I'm now a Professor of Communication and
Media Studies at Fordham University -- just across the park from
Allerton.)
All best,
Paul
---------------------------------------------
> Peter Grad:
Paul,
I know exactly where you lived! I remember watching the coal trucks
pour coal into the basement through the ground floor windows into
those buildings on Olinville Ave. Also used to be an old Italian man
who sold fruit off a fruit truck, used to stand on Britton STreet and
Olinville Ave.! Did you go to PS 96, JHS 135, Columbus High?
And I know Adee well -- I witnessed the chimney toppling over during
construction of the huge towers from my 7th floor window during a
terrible storm... and we used to call that strreet Suicide Hill..
some daring souls used to go sleigh riding down there, but it fed
right into Bronx Park East, a heavily traveled road... I was crazy as
a kid, but not that crazy...
Peter
---------------------------------------------
> David Coyle:
Gene Simmons of Kiss started out in such Long Island bands as The
Missing Links and The Long Island Sounds, apparently unrelated to
any bands by those names that recorded. There are photos in his
autobiography of those bands, with Gene playing a Hofner violin bass
around 1964.
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Message: 12
Date: Sun, 25 Apr 2004 19:00:08 -0700
From: Gary Myers
Subject: Re: Donnie Brooks
Martin Roberts wrote about:
> Donnie Brooks' "If I Never Get To Love You" (Reprise)...
Did news of Donnie's car accident a few months ago get posted in here?
(I was not yet in the group at that time).
gem
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Message: 13
Date: Mon, 26 Apr 2004 19:08:19 +0100
From: Various
Subject: Re: The Razor's Edge
A compendium of messages on Ed B.'s request for information on
"Let's Call It A Day Girl" / "Avril (April)," by The Razor's Edge:
---------------------------------
> Gary Myers:
Always liked that one. It charted up to #77 during a seven-week run, and I'm
sure Jeff Lemlich can add more detail.
We (The Portraits) were told that our "Runaround Girl" was played briefly on
WBZ, but I've never been able to confirm that.
---------------------------------
> Jim Shannon:
Ed, "Let's call it a Day Girl" was a great one. We could probably add "Mrs.
Bluebird" and "Baby, You Come Rollin' Across My Mind" to that list.
---------------------------------
> Joe Nelson:
Not Top 40 nationally but a considerable hit, although I don't have the numbers
at hand.
---------------------------------
> Jeff Lemlich:
This was a band from West Palm Beach, Florida that had been together since
1959. They were originally The R-Dells (aka Ardells), with their name changed
to The American Beetles in '64, and then The Razor's Edge in '66. A complete
discography of the group (including their one-off single as The Tones) can be
found in my book "Savage Lost".
Jeff Lemlich
http://www.limestonerecords.com
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Message: 14
Date: Mon, 26 Apr 2004 02:29:59 -0000
From: "markt439"
Subject: The Shaggy Boys
Any info on this group with 1 single on Red Bird and 2 on UA,
all of them good.
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Message: 15
Date: Sun, 25 Apr 2004 21:28:13 -0500
From: Dan Hughes
Subject: Re: Accuracy of Top 40 Playlists
I grew up in Indianapolis, and the local top 40 station WISH (became WIFE
in late '63) printed a weekly survey that was 7 inches square. In other
words, the same size as a 45 jacket! So it fit right in with the singles
you bought each week (nobody bought albums yet--this was pre-Beatles).
One side of the survey had a picture of a 45 rpm record on it; the other
side had the chart, which consisted of, if I remember correctly, the
week's top 50, plus a couple of Picks to Click, plus the Album of the
Week (which for the longest time, I remember, was the Limeliters Tonight
In Person).
---Dan
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Message: 16
Date: Mon, 26 Apr 2004 05:09:38 -0000
From: Paul Levinson
Subject: Murray the K
Peter Grad wrote:
> ... It happens that I was a big Murray the K fan in 65-66, and was
> devastated when WINS, where he as at the time, switched from rock
> to all-news.
I was a big Murray the K fan, too -- started listening to him on WINS
right after Alan Freed's show, saw Murray at Freedomland, followed
him to WOR-FM. When Murray came back to New York for the July 4th
weekend show on WNBC Radio in 1972, I wrote an article about it for
the Village Voice ("Murray the K in Nostalgia's Noose" -- the article
was much more positive than that -- the editor plucked that phrase
out of context and a longer sentence, and made it the title). Murray
read the article, and invited me to work on his new NBC Radio show,
which he started doing in the Fall of 72. I did that for almost
year. One of the high points for me was writing, performing, and
recording a song celebrating Murray's return -- "Murray the K's Back
in Town" -- Murray played the song from time to time as his theme
song. I have an MP3 of the acetate, would be happy to e-mail to
anyone would like to hear it.
Murray's son Peter Altschuler contacted me a few years ago. He was
putting together an archive for his father, and we've been in contact
a few times since. (Hey, Peter G -- if you like, I can put you in
touch with him -- he might be interested in your tape of WINS' last
rock beat.)
All best,
Paul
www.sff.net/people/paullevinson
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Message: 17
Date: Mon, 26 Apr 2004 18:43:36 +1000
From: Peter McCray
Subject: 1910 Fruitgum Company (and a question for Austin)
Hi again to all
I came across a website for these guys recently - not sure how many
original members are still with the group, but good luck to them
anyway. This is the link to 1910 Fruitgum Company, 21st centruy
style: http://www.1910fruitgumcompany.com/
Could I ask a question of Austin Roberts on this topic as well?
Austin - did I read here a while back that you recorded one track
under the 1910 Frutigum Company 'banner' at one stage, back in the
late 60s/early 70s when the band was at their height of popularity?
Any reminisces of the track or the session? I'd be real interested
to hear more.
Thanks
Peter
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Message: 18
Date: Sun, 25 Apr 2004 23:05:51 -0400
From: Joe Nelson
Subject: Re: Girls With Guitars - The 2 Of Clubs
Mick Patrick:
> CD is subtitled "All-Girl Bands, Axe-Backed Babes and the like..."
> Get the picture? Here's what's on it:
> Girls With Guitars (Ace CDCHD 989)
> 12. The 2 Of Clubs - Heart (Fraternity) 1965
Interesting choice, since their biggest hit "Walk Tall" remains
unavailible on CD AFAIK. Nevertheless this is a WAY cool cover of the
Pet Clark track. Will be on the lookout.
Joe Nelson
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Message: 19
Date: Mon, 26 Apr 2004 02:29:14 -0000
From: markt439
Subject: Re: Kit Kats / New Hope
There's a New Hope single on MGM, around 1972 or 1973. Just
wondering if this is the same group. I know they had a record on
Paramount but I've never heard if this is them on MGM.
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Message: 20
Date: Mon, 26 Apr 2004 13:31:55 +0000
From: Joel Sanoff
Subject: Re: the price of love
Kingsley et al,
I was born in 1947, and started buying 45s around 1956, with the advent of
Elvis, Chuck Berry and Little Richard. Those first singles were purchased
at E. J. Korvettes, a discount chain, and if I remember correctly ran about 49
cents each. At the local record store in my home town, 45s went for 69
cents.
I bought my first album in 1963. It was by Dick Dale, whom I'd just seen on
the Ed Sullivan show. It was either $2.99 or $3.99 back then. For a
16-year-old kid, that was a lot of money, considering I'd only heard one song
of his, but Dick didn't have any singles out on the East Coast. My circle
really didn't buy many LPs because they were too expensive and we usually
only recognized a couple of songs on them since those were the only ones
we'd heard on the radio.
Of course, with the advent of The Beatles, all that changed. Here's a
factoid: according the the US recording industry, 1968 was the first year
that the sales of albums outpaced the sale of singles.
Hope that's of interest.
Joel
>From: Kingsley Abbot
>Reply-To: spectropop@yahoogroups.com
>To:
>Subject: Re: the price of love
>Date: Thu, 22 Apr 2004 17:49:19 +0100
>
>Ah!!! The memories of prices of British records! For what it's worth
>I'll put in my twopenneth ...
>
>In 1962 I'd say that singles were 6s 3d -- they went to 6s 8d (3 for a
>pound) circa late '63 ish. Full-price albums were 32s 6d, with budget
>ones (eg Ace of Glubs, etc.) at about 21s 6d, and imports (Transat in
>Lisle street -- oh happy days!) at 42s 6d. (For non-British members:
>20s = one pound then.)
>
>My memory is that Woolwoths' Embassy range was exactly half-price,
>at 3s 4d -- anyone confirm? This lower price was also roughly the price
>of deleted discs, if you could find them at the time, tho they could also
>be cheaper -- I recall finding a big batch of US singles in the Holloway
>Road for 2s 6d.
>
>Can some kind US member of a certain age give US equivalents of the
>time??
>
>Kingsley (happily pedantic) Abbott
>
>P.S. For obscure girl groups, I love the Inspirations' version of 'What
>Am I Gonna Do With You (Hey Baby)'.
>
_________________________________________________________________
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Message: 21
Date: Mon, 26 Apr 2004 06:36:06 -0700 (PDT)
From: David Coyle
Subject: New Old 45s Purchase Questions
Went to my first yard sale of the year the other day.
Scored a bunch of 45s including a stack of Hit Records
appropriately priced at what amounted to 12 cents
apiece (the others in the boxes were a quarter each).
The Hits include a number I didn't already have, a
couple of inferior duplicates, and probably the worst
version of a Stones song I've ever heard ("Have You
Seen Mother, Baby, Standing In The Shadow" by the
Chords).
Others included the Bruce and Terry single of "Summer
Means Fun," "Sophisticated Boom Boom" by the Goodies,
"Should I" by the Stringalongs, "Sleepwalk" by Santo
and Johnny and "You're The Love" by The Sixpence on
Impact.
"Sophisticated Boom Boom" is on the Blue Cat label,
and is a Shadow Morton production. What is the story
on this? It sounds like a Hit Records version (a good
one, at least) of The Shangri-Las song, on what I
understand to be a subsidiary label of Red Bird.
The real surprise to me was hearing "Should I" by the
Stringalongs, which taken by itself is pretty much a
"Wheels" rewrite. But the beginning of the melody
sounded awfully familiar! It's the "Itchy And Scratchy
Show" theme from "The Simpsons"! ("they fight, they
fight, they fight and fight and fight...") Is it
possible that the creators of the Simpsons got their
inspiration from a long-forgotten instrumental group
from the 50s?
Also got the "Deep Purple" LP on Atco by Nino Tempo
and April Stevens (including the all time great b-side
"I've Been Carrying A Torch For You So Long I Burned A
Great Big Hole In My Heart"), as well as a reissue LP
of Herb Alpert and the TJB's "Greatest Hits." Not a
bad haul for less than a tenner...
David
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Message: 22
Date: Mon, 26 Apr 2004 10:39:06 EDT
From: John Fox
Subject: Re: "Roses Are Red (My Love)"
Question for Paul Evans:
Is Floyd Cramer playing piano on "Roses Are Red"? The style is unmistakable.
Would that mean that the song was recorded in Nashville?
In my opinion, Floyd Cramer is the unsung hero of the country crossover era
of 1961-1963. He seems to be on every record of that genre from that era,
plus country-flavored records from pop singers that crossed over the other way
(Johnny Tillotson, Brenda Lee, even Walter Brennan!).
John Fox
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Message: 23
Date: Mon, 26 Apr 2004 11:16:42 EDT
From: Ronnie Allen
Subject: Re: "Roses Are Red (My Love)"
Paul Evans:
> By the way, the original demo of "Roses...." can be found on a
> couple of my CDs. You might find it interesting to compare the demo
> with the Vinton recording.
Joe Nelson:
>> Vinton has said numerous times how he found that demo in a stack of
>> rejects at Epic, but never mentioneed you were the singer. I wonder
>> if he ever knew...
I did a live-by-phone radio interview show 10 months ago with Paul that
was heard in my area and on the Internet. For that show I pre-recorded
an interview with Bobby Vinton and he told me that story about how he
found "Roses" in a "reject pile," as he called it.
When I mentioned this to Paul he was a bit "surprised."
I'm not sure whether Paul has subsequently discussed this with Bobby,
but if he has, I'd sure love to know the gist of that conversation.
On a personal note, let me say that "Roses Are Red" is one of the few
successful ballads from that period of time (specifically the year was
1962) which I have never gotten tired of.
I think it's a timeless song that deserves never to grow old.
As for Paul, I'd like to add here that he was an extremely interesting
interview subject (our allotted hour just FLEW by!) and anyone who
ONLY knows Paul through "Seven Little Girls (Sitting In The Back Seat)"
and/or "Roses Are Red" is missing a lot!
You can easily catch up and take the "Paul Evans 101" course material
(my terminology) at www.paulevans.com ... it's WELL WORTH a visit!
Ronnie Allen
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Message: 24
Date: Sun, 25 Apr 2004 18:58:19 -0700
From: Gary Myers
Subject: Re: The Magicians Reunited
Christian Gordon:
> I asked if they remembered an AG favorite (Once Upon A Time by
> Rochelle and The Candles) ...
I was in a doowop group for a short time around '89 and one of the
other guys knew Johnny Wyatt, the lead singer of that group. We
went to his house one day so my friend could introduce me, with
the possibility of doing a future story, but Wyatt didn't want to
have anything to do with any stories of the group, and he wouldn't
come out of the house or let us in.
gem
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Message: 25
Date: Mon, 26 Apr 2004 16:35:56 -0000
From: Billy G. Spradlin
Subject: Re: December's Children / Grass Roots
Never heard the Decembers Children's version of "Lovin Things",
please post it if you can.
I prefer the Maramade's excellent version, it has a different last
verse than the Grass Roots and should have been a hit in the USA. I
think its interesting while the Roots had a wealth of great material
from Sloan/Barri (and the band-written LP originals) they were always
on the lookout for overseas and non-hits they could cover.
The Roots version has a excellent backing track but it sounds like
Grill and company were half alseep or not "into it" when recording
the vocals. A bit too much "California Cool".
Billy
http://listen.to/jangleradio
-------------------[ archived by Spectropop ]-------------------
SPECTROPOP - Spectacular! Retro! Pop!
SPECTROPOP - Spectacular! Retro! Pop!
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