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SPECTROPOP - Spectacular! Retro! Pop!
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There are 25 messages in this issue.
Topics in this digest:
1. Jack Nitzsche at Spectropop Update
From: Martin Roberts
2. Hippies and hipsters
From: Richard Williams
3. Re: Ritchie Cordell
From: Bob Rashkow
4. Eight Feet
From: Al Kooper
5. Re: Al Gorgoni
From: Al Kooper
6. Re: Back to mono
From: Mike McKay
7. Manipulated playlists; the co$t of records; Jimmy Bowen productions
From: Country Paul
8. Re: A Thumbs-up for Al Gorgoni
From: Art Longmire
9. Bee Gees degrees
From: Country Paul
10. Paul Evans on NJN; Allen Toussaint Arr.HOF?; Carson Parks
From: Country Paul
11. Donovan
From: Frank Murphy
12. Barney Kessel
From: Michael Fishberg
13. Re: Al Gorgoni
From: Mike Rashkow
14. Beach Boy Meets 'Duck' on Cartoon Network
From: Neb Rodgers
15. Re: Mamas & Papas musicians
From: Al Kooper
16. Re: Arrangers On Spector Atlantic Tracks
From: bonnieb22002
17. Re: Four Freshmen
From: Frank Jastfelder
18. Moogfest
From: Neb Rodgers
19. Re: The Penthouse
From: Frank Jastfelder
20. Fenderman Denny Gudim
From: Gary Myers
21. Re: Murray the K
From: Hal Muskat
22. Gary Zekley / Don Grady - Visions 45
From: Warren
23. Re: where did all the Hippies meet?
From: Bill Craig
24. Re: TAMI & TNT
From: Neb
25. P.J. Proby PS
From: Pres
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Message: 1
Date: Sun, 09 May 2004 08:35:21 +0100
From: Martin Roberts
Subject: Jack Nitzsche at Spectropop Update
Share Phil Milstein's walk through the mean streets of San Francisco
as he reviews the Paris Sisters' "Why Do I Take It From You" (Mercury)
for the ROTW on the home page:
http://www.spectropop.com/JackNitzsche/index.htm
For the low-down on why this Mike Curb credited arrangement and
production is on Jack Nitzsche's site check out the Paris Sisters
feature on the Record Reviews page:
http://www.spectropop.com/JackNitzsche/recordreviews.htm#parissisters
Martin
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Message: 2
Date: Mon, 10 May 2004 18:26:42 +0100
From: Richard Williams
Subject: Hippies and hipsters
S.J.Dibai asks about the meaning of "hippie" in 1963. It's simple,
and will surprise those who associate the term only with its late-
'60s usage. In the jazz world slang of the time, a "hipster" was
an authentically cool person, i.e. someone who understood the
meaning of Charlie Parker and John Coltrane; a "hippie" was someone
who tried, but would never get it -- in other words, more or less
the opposite of the later definition (altho us mods didn't consider
summer-of-love hippies to be that cool, actually...).
Richard Williams
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Message: 3
Date: Mon, 10 May 2004 13:23:41 EDT
From: Bob Rashkow
Subject: Re: Ritchie Cordell
Brent Cash (welcome):
> I've always been knocked out by Tommy James/Shondells' "Out of
> the Blue." Anyone else like that one?
Yes, Brent, very much, and I like the B side "Love's Closin' In On
Me" even better: super dance cut! Bobster
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Message: 4
Date: Mon, 10 May 2004 15:35:56 EDT
From: Al Kooper
Subject: Eight Feet
> (Eight Feet's "Bobby's Come A Long, Long Way") It's good (I know
> Al Kooper is involved with this), but the flip side, "What Am I
> Without You," is a gorgeous folkie-influenced track and a personal
> fave.
My involvement was co-writing, arranging and co-producing. I love the
B-side myself - should I clean both sides up and post 'em?
AK
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Message: 5
Date: Mon, 10 May 2004 15:24:29 EDT
From: Al Kooper
Subject: Re: Al Gorgoni
Paul Evans:
> A thumbs-up for Al .................. Along with Charlie Macey, Al
> Gorgoni was one of the first guitarists that I ever worked with in
> the New York studios. Not only has he always been a terrific
> picker, he's always had a great studio attitude and was always fun
> to have on a session.
Whatever he said, that Paul guy.
Al played on the first BS&T album Child Is Father To The Man. We
needed gutstring bossa nova guitar on our arrangemnent of Without Her.
Al got it in one take. Steve Katz would still be sitting there today...
He's also a great guy to just hang with (Al Gorgoni, that is).
Al Kooper
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Message: 6
Date: Mon, 10 May 2004 18:11:05 EDT
From: Mike McKay
Subject: Re: Back to mono
Bob Celli wrote:
> I've been sitting back and reading all the posts in regards to the
> stereo-mono controversy. I agree that mixing has everything to do
> with how good a song sounds in the end. The idea that some things
> sound better in mono on record may be true but I would venture to
> say that the only reason for that is that the stereo mix (if
> available) was poorly done.
And I would argue that, depending on the nature of the record, there
may be many instances when it would be virtually impossible to do a
stereo mix that sounds better than a mono one.
As with the examples I gave earlier, if the overall sound of the
instruments is thin or trebly to begin with, then it makes no sense
to separate them from each other. This only further reveals their
inherent weakness. Another example: more than one classic rockabilly
record has consisted of one guitar, an acoustic bass and drums. What
on earth would we gain by separating these from each other?
This is just me, but I have a hard time listening to most contemporary
blues or rockabilly. There may be great songs and great performances,
but what's missing is the ambiance of the Chess or Sun studios. It's
like another instrument: take it away and replace it with crisp
digital recording, and you've missed the whole point.
> In reality when I go to a "live"
> performance by a solo artist or a group, that performance is in
> stereo, is it not? If you closed your eyes, you would certainly
> hear music and vocals coming from different sources thus creating
> a panorama of sound.
>
Actually, what you would mostly hear is ambient sound -- the sounds
emanating from the stage while bouncing off of the sides and back of
the auditorium a few milliseconds later.
Unless there have been major changes in live sound in recent years,
I'm betting that all but the biggest-name bands still mix in mono --
that is, both the instruments and vocals are mic'd, then brought
through the mixing board/PA system and sent out to the main speakers
equally in both channels. (If I'm wrong about this, I hope someone
will bring me into the 21st century!)
So the only time you would notice any significant "right to left"
stereo of the sort that's common on records would be if a band were
putting only their microphones through the PA, and were getting all
of their instrument sounds directly from their amplifiers (i.e. not
miking them). This would normally only be the case in small clubs.
Under these circumstances, you might be cognizant of the rhythm
guitarist or keyboards coming from the left and the lead guitarist
from the right, for example (most bands wisely put their drummer in
the middle with the bass player close by).
This brings up the dirty little secret of "stereo" records: unless
two or more mics have been hung live in a studio to capture the
ambient sound of a band's live performance, then a stereo record is
nothing more than a combination of mono signals -- often recorded one
at a time -- artificially arranged at various points across the sound
stage, with perhaps some reverb to simulate ambient sound.
I'm not saying that the result of this can't be pleasing. But this
kind of stereo is a different animal from the natural "ambient" stereo
you experience in a concert hall -- where left to right placement of
instruments only rarely comes into play.
Recall that in the early 80s, a record label was actually founded upon
this very premise, Ambient Sound. And from these efforts came a classic
doo-wop performance, The Capris' "Morse Code of Love."
Mike
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Message: 7
Date: Mon, 10 May 2004 17:12:14 -0400
From: Country Paul
Subject: Manipulated playlists; the co$t of records; Jimmy Bowen productions
Jim Shannon:
> I'm sure these playlists could have been manipulated by zealous
> music directors with one eye on Cashbox and the other on Arbitron.
Ed Salamon:
> Right you are Jim. If anything, playlists were better indicators
> of what was played, rather than what was sold. Sales "research"
> was pretty unreliable until Soundscan. Most stores spent little
> time keeping accurate track of single sales for the benefit of
> stations who called them....You will note that most charts add
> "and the opinion of the station", which in itself was enough to
> negate all of the above. That said, playlists were such an
> unreliable indicator of even what was actually played, because of
> "paper adds"....
Ed and Jim, my playlists were always accurate, too, but our surveys were
reality-based creativity at best. Getting reliable info from stores was like
pulling teeth, especially for "the second" top 40 in town or for an album
rock station. Phone requests were actually more reliable as an indicator,
although listeners also tended to ask for what they knew (HOW many requests
was that for Alice's Restaurant?!? Free Bird???!!? other warhorses????) and,
on the other end of the spectrum, discerning jocks who paid attention to the
phones could usually smell a hype. I remember WABC in NYC in the early 60's
listing a Top 77 plus 10 extras and a pick hit. You KNOW the actual playlist
wasn't that big - although it was certainly larger than the 17 current
records they rotated at the end of their Music Radio days.
Gregg Lopez:
> Other famous L.I. acts: Blue Oyster Cult, Foghat and Public Enemy.
Pre-BOC, they were the Soft White Underbelly, if I remember correctly. And
wasn't Foghat a UK operation that migrated to LI? They're still in business
there now.
Kingsley Abbott re: budget-label 45's:
> Can some kind US member of a certain age give US equivalents of
> the time??
The Hit label was usually 39 cents vs. 89 and then 99 cents for "real"
records in the late 50's-early 60's. Cut-outs were usually 39 cents or
3/$1.00. I still kick myself for passing up on The Edsels' "Lama Rama Ding
Dong" on Dub and the original Dewlta label Devotions release of "Rip Van
Winkle," each for 39 cents. However, I was smart enough to pick up some Gee
78's when our local mom-and-pop (Frank's Music, New Rochelle, NY) had a 78
"dump" when the format collapsed - several by Frankie Lymon & The Teenagers
and the Cleftones, plus Richard Lanham & The Tempotones ("On Your Radio,"
Acme) and a Sun Elvis (!), all for a dime apiece!!! (Still got 'em, too.)
By the late 60s, I was in Providence, RI, where 45's ranged from 69 to 99
cents; LP's started the 60s at $2.99 mono/$3.00 stereo; each added a dollar
before mono went away int he late 60s.
Karen Andrew wrote:
> It's funny that Frank Sinatra did not like "Strangers in the Night".
Clark Besch:
> "That's Life" does it for me! Depending on what month it is, y'know?
Joe Nelson:
> Jimmy Bowen, who produced both songs, once told an interviewer that
> the only song he produced on Frank that he'd ever seen the Chairman of
> the Board perform live was "That's Life". Bowen singled out SITN as a
> specific example that Frank DIDN'T sing.
Forgive me, those are two of my LEAST favorite Sinatra songs, and add to the
list the leaden Bowen-produced Dean Martin performance of "Everybody Loves
Somebody Sometime." I liked Bowen as a rockabilly - oddly enough, I was
listening earlier today to "Ever Lovin' Fingers" (the flip of his big hit
"I'm Stickin' With You") and a later follow-up "Wish I Were Tied To You."
Both are still lots of fun to my ears, but I found Bowen's productions of
the big stars to be dive-for-the-dial material the moment it came on the
radio. Obviously, millions didn't. So sue me! :-)
(I confess that my favorite Sinatra periods were his ballads on Columbia
arranged by Axel Stordahl and the Nelson Riddle-arranged ring-a-ding period
on Capitol.)
Country Paul
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Message: 8
Date: Tue, 11 May 2004 01:18:02 -0000
From: Art Longmire
Subject: Re: A Thumbs-up for Al Gorgoni
Paul Evans:
> A thumbs-up for Al ..................
> Along with Charlie Macey, Al Gorgoni was one of the first guitarists
> that I ever worked with in the New York studios. Not only has he
> always been a terrific picker, he's always had a great studio
> attitude and was always fun to have on a session.
Hi Paul,
I have a fascinating picture of Al playing acoustic guitar on a
studio session, in a copy of "Hit Parader" from 1966-unfortunately
the caption on the photo doesn't identify the name of the singer he's
backing. Still, it was this photo that got me to thinking that it
might be Al playing the beautiful acoustic guitar lead on "Elevators,
Escalators" by The Faculty.
Art Longmire
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Message: 9
Date: Mon, 10 May 2004 22:47:37 -0400
From: Country Paul
Subject: Bee Gees degrees
>From the Associated Press, Monday, May 10, 2004
[headline] Bee Gees to Receive Honorary Degrees
MANCHESTER, England (AP) - The University of Manchester said
Monday it was awarding honorary degrees to Robin and Barry Gibb of
the Bee Gees, as well as a posthumous honor for their brother
Maurice.
The awards will be presented to the two Gibb brothers during a
ceremony at the university on Wednesday. They will also accept a
degree for their brother, who died in January 2003, from Chancellor
Anna Ford.
Born on the Isle of Man, the Gibb brothers moved to the
northwestern English city of Manchester in the 1950s.
In the 1970s, they sang the soundtrack for the disco scene with
hits such as ``Stayin' Alive'' and ``Night Fever,'' and have now
sold more than 110 million copies of their 28 albums.
Maurice died in a Miami hospital at the age of 53 on Jan. 12,
2003. He had suffered a heart attack during emergency surgery for
an intestinal blockage.
------
Country Paul
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Message: 10
Date: Tue, 11 May 2004 00:10:11 -0400
From: Country Paul
Subject: Paul Evans on NJN; Allen Toussaint Arr.HOF?; Carson Parks
> Paul [Evans] and his vocal group, Group 5ive, backed up the
> original starson PBS's "MAGIC MOMENTS - THE BEST OF THE 50s
> POP"....The show was a fund raiser for PBS's New Jersey station,
> NJN. It will be televised on that station in June and is
> scheduled to go national in August.
NJN does a great job on music shows - among their best is a show with Harvey
Holliday, legendary Philadelphia DJ, hosting some great doowop artists,
including Lee Andrews (of The Hearts)("Tear Drop," "Try The Impossible,"
"Tick Tick Tock")> I've always thought "Try The Impossible" would be a great
song to remake.
Re: spelling of "Shlaks," I've seen both ways, but without the "c" is more
common to me.
alanl22000 wrote:
> What about arrangers!!
Jack Nitzsche would certainly have to be there. Haven't seen anyone mention
Allen Toussaint yet (do "head arrangements" count?).
Phil M., interesting collection of websites you posted on 4/24/04. The
Carson Parks site, http://www.ccarsonparks.com certainly has some
interesting goodies within. I confess I always liked Carson & Gaile's
version of "Something Stupid" better than the Sinatras'. Of course, how do
you compete against a legend and a legend-in-the-making?
Got a major thundersorm brewing outside my window, so I'll send this before
I lose power....
Country Paul
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Message: 11
Date: Tue, 11 May 2004 08:07:21 +0100
From: Frank Murphy
Subject: Donovan
There's an excellent interview with Donovan at
http://www.bbc.co.uk/scotland/radioscotland/view/show.shtml?listen_again
scroll down the page and click on "stark talk"
He talks about his early days and songwriters may be amused to note he
can recall exactly when and who was there he decided not to sign away
his pubishing. In the presence of Donovan's father, his accountant
presented him with a paper and then advised him not to sign it. As he
now states he shares his publishing with a company and the intrerview
is being conducted from his country home in Cork.
FrankM
reflections on northern soul Saturdays at 14:30 or listen now
www.radiomagnetic.com/archive/rnb.php
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Message: 12
Date: Mon, 10 May 2004 01:40:58 -0700 (PDT)
From: Michael Fishberg
Subject: Barney Kessel
I have an album on US Stereo Records (part of Contemporary) entitled
"Music To Listen To Barney Kessell By" which, i am told was one of
THE first ever stereo LP records ever released. In the light of all
the talk about wide-separation stereo recently, it's interesting to
note how well-balanced this recording is by today's standards, almost
50 years on!
Spector is mentioned in the obit on Kessell in the Saturday (9th May)
edition of the London "Daily Telegraph".
Kessell arranged and played on one of young Rick(y) Nelson's first
outing on Verve records "Honey Rock".
Michael Fishberg
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Message: 13
Date: Fri, 07 May 2004 23:13:58 EDT
From: Mike Rashkow
Subject: Re: Al Gorgoni
I remember asking Al (on some session) if he could give me a little more
"classical" kind of sound/approach. His response was, "sorry I haven't had
that lesson yet". I've never forgotten it or forgiven it. Not that I hold a
grudge, mind you.
Di la,
Rashkovsky
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Message: 14
Date: Fri, 07 May 2004 22:36:11 -0700 (PDT)
From: Neb Rodgers
Subject: Beach Boy Meets 'Duck' on Cartoon Network
Does this mean that Disney girls are coming back, too?
-Neb
----------------------------------
Beach Boy Meets 'Duck' on Cartoon Network
By Jim Bessman
NEW YORK (Billboard) - It seems only fitting for Brian Wilson to become a
cartoon character.
An animated representation of the legendary Beach Boy will star in a midsummer
episode of the Cartoon Network's hit series "Duck Dodgers."
Sensing a need, Spirit Music president Mark Fried, who administers Wilson's New
Executive Music publishing, joined forces with Warner Brothers Film Music exec
Suzi Civita to find a high-profile toon project to feature his esteemed
client's music and likeness.
The pair approached the "Duck Dodgers" directors, who turned out to be huge
Wilson fans desirous of creating an episode around him.
Written within weeks, the script features Wilson playing himself as a spiritual
adviser to Dodgers.
"He said that reading his lines and getting into his role was the best time he
had in years," Fried says.
So energized was Wilson, in fact, that he wrote and produced a new song,
"Believe in Yourself," which will be featured several times in the episode.
Fried adds that Wilson is in the midst of a particularly prolific period.
Earlier this year, he debuted a symphonic version of the classic Beach Boys
"Smile" album sessions to sellout crowds in England.
He releases "Gettin' in Over My Head" -- his first CD of new material in six
years -- June 22, a month after receiving BMI's prestigious Icon Award at the
music publisher society's annual Pop Awards dinner.
-Reuters
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Message: 15
Date: Sat, 08 May 2004 06:47:29 EDT
From: Al Kooper
Subject: Re: Mamas & Papas musicians
previously:
> The Mamas & Papas producer Lou Adler always trusted the usual
> suspects in the studio: Hal Blaine on drums, Larry Knechtel on
> keys, Joe Osborn on bass and labelmate P.F. Sloan on guitar. On
> their third album Jim Horn is credited with flute and sax playing.
I thought at some point they recorded with their road band, of which I know
"fast" Eddie Hoh was the excellent drummer. Maybe Elliott Ingber on guitar?
"Slow" Al Kooper
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Message: 16
Date: Sat, 08 May 2004 10:48:03 -0000
From: bonnieb22002
Subject: Re: Arrangers On Spector Atlantic Tracks
what's the titles and artists on the CD and name of CD
monophonius wrote:
> I have the CD of 12 Atlantic Tracks Produced by Phil Spector.
> Do any of you in this Group who were working professionally
> in the early 1960s in the New York studios have any insights
> into who the arrangers were on these tracks. The only one I
> have nailed down for sure is Teddy Randazzo who is listed as
> arranger for "Twist And Shout" by the Top Notes. At that time
> in his career (1960-61) Spector was using Robert Mersey, Alan
> Lorber and Arnold Goland as his main NYC arrangers. He used
> Hank Levine during that period, too, but at Gold Star in LA.
> But, I would like to know the specific arranger on each track
> of this CD.
> IMHO, this is a very good CD compilation. The music is soulful,
> laid-back, and reveals Spector's r&b leanings. I've heard that
> some of these tracks were Jerry Wexler co-productions, and that
> would explain the r&b feel.
> My personal faves on the CD are "Dear One" by Billy Storm, the
> Fred Parris song from his pre-Five Satins group, the Scarlets.
> "Hearts Of Stone" by the Top Notes, a Ray Charles sound-a-like,
> and "Tired Of Trying" by Jean Du Shon, with a Bo Diddley beat.
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Message: 17
Date: Sat, 08 May 2004 15:12:52 +0200
From: Frank Jastfelder
Subject: Re: Four Freshmen
Gary Myers wrote:
> Did you ever hear any of the stuff that the 4 Freshmen did on
> Liberty in the late 60's? LP's included "Memphis", "Everyday
> People", "It's Not Unusual", "Will You Love Me Tomorrow",
> etc. One LP was arranged by Mike Melvoin, IIRC.
I really love their late '60s LPs. They were totally "now". Interestingly Mike
Melvoin made not only The Four Freshman record Sly Stone's "Everyday
People", he also urged Peggy Lee for an infamous version.
Frank
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Message: 18
Date: Sat, 08 May 2004 08:16:25 -0700 (PDT)
From: Neb Rodgers
Subject: Moogfest
All Moog, all night!
-Neb
---------------------------------
MOOGFEST
B.B. King's, New York
May 18
To honor Robert Moog and commemorate his groundbreaking achievements,
several renowned keyboardists and longstanding Moog users will perform in
this gala Moogfest.
Keith Emerson
Rick Wakeman
Suzanne Ciani
Eumir Deodato
Pamelia Kurstin
NYC Reggae Collective
Bernie Worrell
DJ Logic
Stanley Jordan
Jason Miles
Steve Molitz (of Particle)
Graham Haynes
Joe Gallivan
for more information, see
http://www.bbkingblues.com/schedule/moreinfo.cgi?id=1751
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Message: 19
Date: Sat, 08 May 2004 15:55:36 +0200
From: Frank Jastfelder
Subject: Re: The Penthouse
Al Kooper wrote:
> Isn't there a 'popper alive who knows where there's a copy of the
> actual FILM????? DAMN!!!!!
Al, here youŽll find comments on the film:
http://www.imdb.com/title/tt0062112/usercomments
Maybe it would be better to keep the imaginary film in your head.
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Message: 20
Date: Sat, 08 May 2004 10:07:46 -0700
From: Gary Myers
Subject: Fenderman Denny Gudim
Denny Gudim, original bassist of the Fendermen, has cancer. He is
undergoing chemotherapy, his tumor is shrinking and he is doing well,
but I encourage anyone so inclined to send a prayer his way.
Denny was not on "Muleskinner Blues," as that record was made by just
the two guitarists, Jim Sundquist and Phil Humprhey, but Denny was on
the LP and toured with them for about a year. He has been active in music
in the Twin Cities area ever since, had several solo releases (as Denny
Dale), and is a really nice guy.
gem
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Message: 21
Date: Sat, 08 May 2004 08:19:11 -0700
From: Hal Muskat
Subject: Re: Murray the K
Ted T. wrote:
> Very nice to see the discussion and remembrances of Murray the K.
> The 'Swingin' Soiree', with its resolute R&B slant, was a life-saver to
> many (including me) between 1959 and 1963.
Thanks, Ted. I've shared this with siblings and cousins who remember
Murray fondly. Yeah, he had an ear for us kids! Hey, he was an "adult"
who dug rock n roll! That made him rather strange anyway.
Then there was Cousin Brucie.
g'morn,
Hal
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Message: 22
Date: Sun, 09 May 2004 00:08:34 -0000
From: Warren
Subject: Gary Zekley / Don Grady - Visions 45
I just came across a 45 for which I can find no group info:
The Vision: Threshold Of Love (promo; same song on both sides)
Uni 55301; wr. D. Grady/G.Zekley; pr. "Yodar Critch"
I thought I'd pass this info along.
Thanks!
Warren
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Message: 23
Date: Sun, 09 May 2004 13:21:17 -0000
From: Bill Craig
Subject: Re: where did all the Hippies meet?
S.J. Dibai wrote:
> What DID the term "hippies" mean in the early '60s? The only records
> from that era that I recall hearing it in are Cameo-Parkway hits by
> Philly artists: The Orlons' "South Street," The Dovells' "You Can't
> Sit Down," Chubby Checker's "Birdland," etc. Was it a regionalism?
> And how did its meaning evolve from whatever it meant in 1963 to the
> late '60s, and indeed current, connotation of the term?
Having been 12 years old in 1963, I don't think I could claim to have had a
handle on all the then-current usages, but I can't recall the term "hippie"
having a widspread specific meaning at that time. When I heard it in The
Orlons record I just assumed that it meant people who were particularly
hip.
Also, as I'm sure many people will point out, Dobie Gillis was not a beatnik.
That was Maynard G. Krebs, his good-buddy.
Bill "I'm getting all misty" Craig
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Message: 24
Date: Sun, 09 May 2004 14:08:36 -0000
From: Neb
Subject: Re: TAMI & TNT
Martin Jensen wrote:
> Well, I guess I have to keep my eyes open for the TAMI Show in case
> it surfaces at an upcoming fair
You might be able to find a copy at http://www.thevideobeat.com/
-Neb
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Message: 25
Date: Sun, 09 May 2004 01:53:54 -0400
From: Pres
Subject: P.J. Proby PS
Does anyone have the picture sleeve for "I Can't Make It Alone"? I'm trying
to locate a full-size scan of this, and would appreciate any help.
Thanks,
pres
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SPECTROPOP - Spectacular! Retro! Pop!
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