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Spectropop - Digest Number 1531
- From: Spectropop Group
- Date: Sun, 20 Jun 2004
________________________________________________________________________
SPECTROPOP - Spectacular! Retro! Pop!
________________________________________________________________________
There are 25 messages in this issue.
Topics in this digest:
1. Re: "Words Of Love" versions / The Mamas and the Papas
From: Lloyd Davis
2. Re: passing Rascals
From: Jeff Lemlich
3. Re: passing Rascals
From: Al Kooper
4. Re: passing Rascals
From: A. Zweig
5. Glen Campbell's "World"; tinyurl fell down
From: Country Paul
6. Re: "Words Of Love" versions / The Mamas and the Papas
From: Ken Silverwood
7. Re: Oldies Radio
From: Various
8. Re: Buddy Buie
From: Nick Archer
9. Re: John Brahaney
From: Artie Wayne
10. Tia-Juana Blues
From: Rex Strother
11. Bobby Vee sings Goffin/King
From: Don
12. Bobby Vee's "I Can't Hear You" & Other Carole King Demos
From: Bob Celli
13. Goffin/King's "So Goes Love" --- two cool versions
From: Paul Tumey
14. Leo DeLyon and The Musclemen (Musicor)
From: Dan Nowicki
15. Re: Garfunkel & Simon
From: John Fox
16. Re: Pete Records
From: Stephane Rebeschini
17. Vince Everett
From: Simon White
18. Lloyd Thaxton revisted
From: Clark Besch
19. Re: passing Rascals
From: Mikey
20. Re: passing Rascals
From: John Berg
21. Re: Bobby Vee sings Goffin/King
From: Bob Celli
22. Re: no bass
From: Phil X Milstein
23. Re: passing Rascals / no bass
From: Joe Nelson
24. Re: passing Rascals / no bass
From: John Berg
25. Minn. rockers pass away
From: Shawn
________________________________________________________________________
________________________________________________________________________
Message: 1
Date: Sun, 20 Jun 2004 13:36:36 -0400
From: Lloyd Davis
Subject: Re: "Words Of Love" versions / The Mamas and the Papas
Rodney Rawlings wrote:
> Many thanks, Mike. It may in fact have been "Creeque Alley" that I
> was thinking of. I am no longer sure--it was long ago. Maybe "Words
> of Love" got the same treatment.
I'm just listening to the version of "Creeque Alley" with the extra
piano and horn bits on an aircheck of The Real Don Steele recorded on
June 17, 1970. I think this is the version available on "The Magic
Circle: Before They Were the Mamas and the Papas," which Varese
Sarabande released in 1999. It's out of print, but still appears on
the V.S. website.
There's a mono single mix of "Words of Love" on the "All the Leaves
Are Brown" reissue that MCA released in 2001 (it consists of the
first four albums, plus a few bonus tracks). That might be the one
you're thinking of.
-------------------[ archived by Spectropop ]-------------------
Message: 2
Date: Sun, 20 Jun 2004 17:47:01 -0000
From: Jeff Lemlich
Subject: Re: passing Rascals
Phil X Milstein:
> How could Musicor possibly have passed on The Rascals?!
Musicor didn't really know what to do with The Pigeons, either. After
one single, they let 'em go... only to have 'em cash in with Atco as
Vanilla Fudge.
Jeff Lemlich
http://www.limestonerecords.com
-------------------[ archived by Spectropop ]-------------------
Message: 3
Date: Sun, 20 Jun 2004 16:06:01 EDT
From: Al Kooper
Subject: Re: passing Rascals
Phil M;
> How could Musicor possibly have passed on The Rascals?!
Uhhhh...... they didn't. The Rascals passed on Musicor.
-------------------[ archived by Spectropop ]-------------------
Message: 4
Date: Sun, 20 Jun 2004 14:04:11 -0400
From: A. Zweig
Subject: Re: passing Rascals
Phil X Milstein:
> How could Musicor possibly have passed on The Rascals?!
Maybe they liked their bands to have bass players.
Seriously though, I was watching The Rascals on an episode of
Hullabaloo and I was reminded of how strange they seemed even back
when I had their records and loved them. No bass player. Plus a
guy who looked like the lead singer except he really wasn't the
lead singer. I always wondered about that. Not that it stopped me
from listening to them. But I always felt like there was something
missing, especially on that first record.
Ironically I also remember seeing other bands and not understanding
the role of the bass player. But with the Rascals I definitely
could hear the difference. I know Felix was supposedly playing bass
pedals on his organ but it didn't really sound like bass to me. When
I was watching the Rascals, I started to wonder about other bands
without bass players. The Doors at least had a bass player on the
records. Does anyone know why bands thought they didn't need bass
players?
AZ
-------------------[ archived by Spectropop ]-------------------
Message: 5
Date: Sun, 20 Jun 2004 22:05:57 -0400
From: Country Paul
Subject: Glen Campbell's "World"; tinyurl fell down
Richard Havers re: Glen Campbell singing on "My World Fell Down":
> I just asked Bruce Johnston and this was his answer.....
> No Terry Melcher.... Glen Campbell on lead...Curt Becher and Bruce
> filling out the other voices. I was standing right next to Glen
> when he was singing.
I truly had no idea. Amazing! Now, can they tell us what the "psychedelic
BS" section was supposed to represent?
Sean:
> There's a 1967 version of "Boys Cry" by UK band Particular People.
> See Here: http://tinyurl.com/39w5m
The "tiny" URL didn't open. Do you have the full one by any chance,
please?
Country Paul
-------------------[ archived by Spectropop ]-------------------
Message: 6
Date: Sun, 20 Jun 2004 23:56:48 +0100
From: Ken Silverwood
Subject: Re: "Words Of Love" versions / The Mamas and the Papas
Rodney Rawlings wrote:
> Many thanks, Mike. It may in fact have been "Creeque Alley" that I
> was thinking of. I am no longer sure--it was long ago. Maybe "Words
> of Love" got the same treatment.
I heard this version a couple of years ago & it took me completely
by surprise, as I was singing along to what I thought was the 45.
Arriving home I whacked on my 45 to check, but no it didn't have
the extended instrumental passage. Not heard it since!
Ken On The West Coast
-------------------[ archived by Spectropop ]-------------------
Message: 7
Date: Sun, 20 Jun 2004 12:41:20 +0100
From: Various
Subject: Re: Oldies Radio
Dear members,
For convenience, recent posts on the subject of Oldies Radio
have been compiled into a handy digest:
-----------------------------------------------------------
Alan, you're right. They won't be playing oldies rap twenty years
from now. It's been 20 years since "White Lines" came out and how
often do you hear that? It's actually better than most of today's
rap. The problem is the death of melodies which really started in
the 70s. Elton John is certainly capable of writing decent material,
but rarely does. He seems to get alot of airplay and puts out alot
of product, but most of it is forgettable.
I think the problem is that people writing from the 70s on weren't
exposed to other types of music as much as the songwriters of the
50s and 60s were. John Lennon was 15 before he heard his first rock
and roll tune. I think the exposure to other musical forms made
their own music more interesting. Everybody thinks they are
songwriters, but few of them truly are.
Steve Harvey
------------------------------------------------------------
I have to second That Alan--assuming there will still be radio airplay
20-40 years from now, the likes of Seal, Eminem, Celine Dion, and
Savage Garden will get MUCHO airplay. My mom would keep the MOR
station on during the early and mid-6Ts to hear songs that were on the
Hit Parade from 1920-1950. Louis Armstrong, Patti Page, Peggy Lee,
Nat "King" Cole, etc. Each generation, thus far, has its own special
time and its own special music, and, alas, it will probably be a lot
more difficult to hear Tommy James or the Strawberry Alarm Clock or
the Spoonful on the radio by that time. It's one of the main reasons
I collect vinyl as long as I have a decent phonograph and needle to
play it on.
Bob Rashkow
------------------------------------------------------------
Dave O'Gara:
> This is a touchy subject for me as my feelings about Oldies Radio are
> 180 degrees opposite my PD's opinion. We've clashed a bit over the
> format, (generic/bland 60's & 70's songs). He wins the argument with
> me for two reasons: 1) Reasearch and 2)well, he's the boss!
But research yields statistics....Not truth, statistics. Given an
opportunity for a quick response most people go for the familiar 'ear
candy' they have grown accustomed to hearing. Radio stations are
programmed. So are people. And as The Jam said "The public wants what
the public gets"
> Seriously, though, there's no question Oldies radios stations in most
> larger to medium markets have become cookie cutter within the format.
> Here in central Massachusetts, oldies listeners can easily tune in on
> the FM band my station, one in Boston and one in Providence. We are
> virtually all playing the same songs.
Radio is so not about music anymore....But was it really ever? Dave, I
grew up 13 years in Westboro listening to WORC ("ORC Instant News") and
loved it, but it was the only game in Westboro in the 50's. And I
remember distinctly waiting for my favorite songs to come on. And they
were few and far between even then. I recall vividly that WORC would
play the Number One Song every morning at 7:45. One or more weeks in '58
it was The Impala's "(Sorry) I Ran All The Way Home". I loved that song
...One of the first that really grabbed me. But I would turn the radio
on at 7:43 to hear it and turn it off when it was over, convinced I had
implanted the info to my internal floppy. Now the overall sound and
production of the entire era are appealing and a variety is more
desirable. I remember listening in the 1963-65 period specifically for
guitar/organ/garage sounds. The Phil Spector, Dionne Warwick stuff was
for girls.
> Apparently the "reasearch" indicates to Program Directors that
> constant repetition of the same "smash" oldies is the key to building
> and maintaining an audience.
As a mobile DJ since 1974 I can tell you that is true in public
situations. I hated learning it and I hate that it is a fact. But like
our buddy Ronald Reagan said, "Facts are stubborn things."
> The boss says I'm
> too close to the situation, that listeners come and go and need to
> hear a totally familiar song anytime/everytime they tune in. But,
> don't radio stations encourage long term listening with "listen at
> work" promotions?
That's just to get people to listen AT ALL. Most people at an event I
DJ indicate no physical or emotional familiarity with what is played.
America is largely a music-free society by sheer neglect. If music
wasn't practically force-fed to people they wouldn't give a rat's ass
about it.
> Listeners have got to be hearing the same old songs all the time.
> Yet, ratings seem to be strong for this format. With baby boomers
> getting older, and ad revenue harder to come by, sales departments
> don't seem to want the older audience. That's probably why 80's music
> is seeping into oldies formats. Playing music from earlier than, say,
> 1964, goes against this desire to pull in younger listeners.
None of us is gonna go out and buy a product or service because an ad
on the radio tells us to. We've been around too long to be sucked into
that B.S. Why should 30-something Ad-Copy-Writers try to convince 50-
somethings to buy something that most 50-somethings aren't going to be
convinced of because the ads can't sell them on it because the ad writers
are naiive even though they think they're hip because they're in the
'now' and maybe getting laid a lot....
James Botticelli
----------------------------------------------------------------
Doug Ohlemeier:
> On the demise of WCBS-FM...
> http://www.radio-info.com/mods/posts.php?Cat=&Board=nyc
Interesting exchange - and website. WCBS-FM isn't dead yet, but it is
flailing. Oldies radio is a tricky issue - how old is an "oldie"?
Obvously, WCBS-FM can't figure it out anymore, at least well enough to
be the #1-rated station they once were. I'll be curious to see when the
ratings books come out on WMTR in central and northern New Jersey - two
AM signals (same source) playing pre-Beatles oldies, roughly '55-'64.
We in the 50+ demographic are supposed to be no longer profitable to
radio, but I hear all kinds of local spots and a few national ones, and
the music selection is not awful and occasionally fun, so I guess
someone can make money off us old folks. (Gee - why don't I feel as old
as "they" want me to?) WMTR has a decent website at www.wmtram.com (no
streaming audio, though), and a reasonably interesting links page to
official and fan websites for some of their key artists (and a couple of
ours) at: http://www.wmtram.com/artistlinks.htm
Country Paul
----------------------------------------------------------------
Dave 0'Gara wrote:
> Apparently the "reasearch" indicates to Program Directors that
> constant repetition of the same "smash" oldies is the key to building
> and maintaining an audience. Personally, I just don't get it.
This debate about stale Oldies radio formats has raged for many years
now. The bottom line to it all is this: mass taste is mass taste, and
the majority of people on the planet have been conditioned to LIKE sh*t.
A look at the most popular TV programs and the most popular movies at
any given moment is all you need to realize the incontrovertible truth
of this statement. (Yes, every once in a while a quality piece of work
manages to filter through to mass popularity, but this is very much the
exception.)
The typical radio listener (to any format) is *nothing* like those of
us who frequent Spectropop or any other music-related newsgroup or mail
list. For us, music is a passion...for most, it's nothing more than a
pleasant diversion, background noise at most.
If you suddenly introduce something into the mix that's not familiar,
then you've no longer got background noise...you've created a
disturbance. Research has repeatedly borne out that people like the
tried and true and loathe the unfamiliar.
So for many years now, I've read the wails and moans of those of us who
love the rock 'n' roll music of the 50s and 60s and have had so much of
it ruined by endless repetition on Oldies radio. "If only they would go
a little deeper, past the Top 10 hits...if only they would throw in a
few more songs beyond the same 300...I'll bet people would really like
that."
BUZZ!!!!! You would like it, and God knows I would like it, and so would
everyone else here. But to paraphrase The Kinks, "We're Not Like
Everybody Else."
Five years ago, my local Oldies station actually went this route for a
few months. Let me assure you that every one of us here would have
salivated at the nature of their playlist during this time. Hell, I'll
prove it...I actually logged an hour's worth at random (on August 20,
1999):
Love Me Two Times -- Doors
People Are Strange -- Doors
What the World Needs Now -- Jackie DeShannon
Rainy Day Bells -- Globetrotters (!)
Why Can't I Touch You -- Ronnie Dyson
Speedo -- Cadillacs
Gloria -- Cadillacs
City of New Orleans -- Arlo Guthrie
Good Luck Charm -- Elvis Presley
18 Yellow Roses -- Bobby Darin
Blue Moon -- Marcels
Heartaches -- Marcels
I Say a Little Prayer -- Dionne Warwick
98.6 -- Keith
Baby Workout -- Jackie Wilson
My Heart Has a Mind of Its Own -- Connie Francis
Sugar and Spice -- Cryan' Shames
OK, except for DeShannon and maybe "Blue Moon," when's the last time
your Oldies station played any of these? And trust me when I say this
station played songs that were WAY more obscure than any of these
during this era.
Well, this little experiment in freedom lasted about nine months or so,
and then it was gone. From that day to this, our station has played
the same 300 Oldies as every other chain-owned station in the country.
The conclusion is obvious...if the freedom format had proved successful,
they would have kept on doing it. And radio being the most imitative
and unimaginative medium going, you can bet that if this format had ever
succeeded ANY time, anywhere in the past, every station in the country
would have jumped on the bandwagon.
Didn't happen, and it won't happen.
All we can do is hope that satellite and Internet radio continues to
elbow its way to the forefront.
Joe Nelson wrote:
> Hate to break the news to y'all, but (and I speak as one of the
> younger members - 40 if you're interested) most of us have more years
> to look back on than forward to. Most of the insiders on this list are
> hitting their own sixties, if they're not already there. Where does
> the format go when it's prinary demographic dies out?
Well, I've joked for years that it was only a matter of time before the
rock 'n' roll of my youth became "Music of Your Life" -- radio's
traditional designation for the format that features primarily big band
and schmaltzy singers of the 40s and 50s for the 65+ crowd.
And indeed, the local Music of Your Life station a few months ago began
playing what was actually a very good mix of post-1955 and 60s pop. No
rock 'n' roll per se, but some very good pop songs along the lines of
Dionne Warwick, Petula Clark, Sounds Orchestral, Sergio Mendez/Brasil
'66, etc. -- along with softer songs by The Beatles, et al. I found
myself pushing this button on the car radio every bit as much as those
of the traditional Oldies stations.
Regrettably, they didn't stick with this very long, and have now gone
back to the big band schmaltz. But it was kinda nice while it lasted.
I do fear that the days are numbered for those of us whose prime time
was The Beatles forward and who still love real rock 'n' roll (Kinks,
Stones, Who, etc.) from that era. The 70s are now on equal footing with
the 60s on Oldies stations, and there seems to be a great deal of Disco
being played (bleccchh! And sorry, no apologies to all the Disco fans
who reared their heads here awhile back!).
The Classic Rock stations still play these guys, but only rarely
anything of theirs older than 1970. And of course, when it comes to
variety they're no better than the Oldies stations (if all Led Zeppelin
and Pink Floyd recordings suddenly disintegrated, they'd all have to go
off the air!).
Mike McKay
----------------------------------------------------------------
-------------------[ archived by Spectropop ]-------------------
Message: 8
Date: Sun, 20 Jun 2004 21:57:24 -0500
From: Nick Archer
Subject: Re: Buddy Buie
previously:
> Buddy said, "I wrote Cherry Hill Park for this SOB".
Superoldies:
> The often boisterous Buddy did not write the song. Robert Nix & Bill
> Gilmore of The Candymen wrote it.
So the guy I thought was Buddy Buie was probably Robert Nix, who was
in ARS. Now I feel 30 years retroactively stupid.
Nick Archer
Nashville TN
-------------------[ archived by Spectropop ]-------------------
Message: 9
Date: Sun, 20 Jun 2004 16:36:24 -0700 (PDT)
From: Artie Wayne
Subject: Re: John Brahaney
When I moved to L.A. in 1969 to run Viva musics prof. dept., staff
writer and soon to be good friend, Alan O'Day ["Undercover Angel",
"Angie Baby"] took me to a little meeting of the L.A. Songwriters
showcase run by Len Chandler and John Brahaney. There were about
10 people there, but it was a loving, supportive envoiroment.......
a buffer for the hardships songwriters face in Hollywood. John
warmly welcomed me to their community and from time to time was I
able to reciprocate their kindness' ....by appearing on their panels,
giving a motivational speech or trying to help them find sponsers.
When I went into business for myself, after heading up Irving/Almo
music in the mid-seventies, John asked me to speak at their showcase
.......this time it was before a standing room only crowd at the
Comedy Store on the Sunset Strip. I told the eager writers that I
needed songs for my new company and gave them an address of a studio
where I would be listening the following day. I was expecting maybe
a few dozen to come....but over a hundred showed up!!
When I needed people for my songwriter motivational course.....or to
appear at one of my shows at Allan Rindes, now legendary "Genghis
Cohen" cantina in Hollywood......John would always be there for me.
This is my first chance to thank him in public.
It's really good to be in touch with you....after all these years.
regards, Artie Wayne
http://artiewayne.com/
I always considered John a true champion of the songwriter, he will
be able to give us a greater insight to many of the recent questions
that have been posted.
-------------------[ archived by Spectropop ]-------------------
Message: 10
Date: Sun, 20 Jun 2004 17:59:26 -0600
From: Rex Strother
Subject: Tia-Juana Blues
Michael C:
> After years of searching, a friend finally provided me with a copy
> of "Tijuana Blues" - credited to Tom and Jerry I believe (they used
> so many pseudonyms it's hard to keep track). Does anyone have any
> background on "Tijuana Blues"? It's a very sloppy blues instrumental
> ...in a burlesque mode. it was apparently written by P. Simon, but
> he all but disowns it and says it's the worst thing he ever did. Can
> a Spectropopper provide more info? Thanks.
This song and other "classics" of early Paul Simon songwriting are
available on the CD "Paul Simon & Art Garfunkel: Tom & Jerry" by
Superior Records - SU 29024. 19 tracks of completely forgettable
music, I hate to admit. Evidently Tia-Juana Blues is credited to
Simon/Prosen (the producer and owner of their first label) who
helped them get "Hey Schoolgirl" onto the charts (#43 I believe).
Sadly, all their follow-ups were flops, and Art went back to
architecture school and evidently Paul Simon took a few years to
sharpen his pencil, returning - of course - as Simon & Garfunkel.
The liner notes do indicate that Simon wrote with then Carole Klein
(soon to be King) a little ditty titled "Just to Be With You" -
which they convinced the Passions to record.
Rex Strother
-------------------[ archived by Spectropop ]-------------------
Message: 11
Date: Mon, 21 Jun 2004 03:57:18 -0000
From: Don
Subject: Bobby Vee sings Goffin/King
ob Celli wrote:
> I have the following Carole King demos: A Forever Kind of Love,
> Go Away Little Girl, Don't Ever Take Her For Granted, Sharing You
> and Ferguson Road...
I would love to hear "A Forever Kind Of Love" demo by Carole King.
I've always loved that song. I didn't know she even did a demo, as
it was written by Goffin & Keller, right. I also have it by Cliff
Richard.
I think I learned years ago, that Bobby Vee did more Goffin/King than
any other artist. Probably followed by Dusty Springfield, The
Cookies, The Righteous Brothers, The Monkees and BJ Thomas, though
many of his were somewhat obscure.
Besides the song I just mentioned, "Run To Him" was also
Goffin/Keller. I just posted a country version of that song to
musica, by Albert West. I don't know much about him but he also
did "Halfway To Paradise". Other Goffin/King songs by Bobby Vee
include:
Don't Ever Take Her For Granted
Go Away Little Girl
How Many Tears
I Can't Hear You (No More)
I Can't Say Goodbye
The Idol
If She Were My Girl
In My Baby's Eyes
It Might As Well Rain Until September
My Golden Chance
Sharing You
Sweet Sweetheart
Take Good Care Of My Baby
Walkin' With My Angel
What About Me
Will You Love Me Tomorrow
My Girl / Hey Girl
Do you know of any I left out?
Thanks,
Don
-------------------[ archived by Spectropop ]-------------------
Message: 12
Date: Mon, 21 Jun 2004 11:47:04 -0000
From: Bob Celli
Subject: Bobby Vee's "I Can't Hear You" & Other Carole King Demos
Previously:
> On the topic of Mr. Velline, his "I Can't Hear You" is interesting -
> I know it well by The Newbeats, who I thought did a superb job with
> it, but about halfway through, I "got" the Vee version, sped up as
> it is. Nice to have an alternate on this.
I haven't had the opportunity to hear another version of this song so
I don't know what Carole had in mind when she wrote it. I can tell you
that Lincoln Mayorga did the arrangement if that helps. As far as the
other demos I mentioned, I will eventually put them up, so keep an eye
out!
Bob Celli
-------------------[ archived by Spectropop ]-------------------
Message: 13
Date: Sun, 20 Jun 2004 14:50:12 -0700 (PDT)
From: Paul Tumey
Subject: Goffin/King's "So Goes Love" --- two cool versions
My two favorite versions of Goffin/King's "So Goes Love"...
1) Dave Berry, on his '66 LP The Special Sound Of... it features Big
Jim Sullivan's distinctive tone-pedal guitar, oh so '66, and Berry's
mournful vocal stylings are perfect for this song.
2) The Monkees, not originally issued but on Rhino's first Missing
Links volume. Another Monkees/Goffin-King gem. They were fortunate to
have so many fine Goffin/King songs at their disposal...
I like the Shirley Abacair version fine, but the Dave Berry cut is
the "official" one to my ears...well worth seeking out. The entire LP
is quite fine, save for the syrup-of-Ipecac "Mama," which was, of
course, a huge hit...
Anti-saccharine Frank
-------------------[ archived by Spectropop ]-------------------
Message: 14
Date: Sun, 20 Jun 2004 23:54:27 EDT
From: Dan Nowicki
Subject: Leo DeLyon and The Musclemen (Musicor)
Al Kooper wrote:
> The Rascals, who I actually scouted for Musicor, when they were playing
> at The Barge on Long Island, became friends and loved my song. Felix
> told me that it didnt make the final cut, but to this day I have never
> heard it.
Speaking of Al Kooper and Musicor, has this record ever come up on
Spectropop before?: "Sick Manny's Gym" (Alan Kooper) b/w "Plunkin'" (E.
Krackow - A. Kooper). Sorry if I missed any discussion, but this sounds
like a fun (bizarre) session. The novelty A-side is credited to Leo
DeLyon and The Musclemen and the instro flip is credited just to The
Musclemen. Another Aaron Schroeder and Wally Gold production.
Definitely bent genius at work.
Dan N.
Phoenix, Arizona, U.S.A.
-------------------[ archived by Spectropop ]-------------------
Message: 15
Date: Mon, 21 Jun 2004 12:42:06 EDT
From: John Fox
Subject: Re: Garfunkel & Simon
Went to the S&G/Everlys concert last night, and I have a new
appreciation for Art Garfunkel. I used to just think of him as a
guy who sings a third above Simon on all of Paul's great songs. But
for this concert series, Art carries the show. He has not lost any
of his voice, hits all the high notes in the original keys of the
songs, and looks great (okay, so he probably dies his hair). He is
truly happy up there, while Simon looks like he's just going
through the motions. Garfunkel has all of the charisma of the duo.
The concert itself was fantastic as I'm sure you all have heard.
Only complaint--only 4 Everly songs (and Don & Phil look as happy
as Garfunkel to be there).
John Fox
-------------------[ archived by Spectropop ]-------------------
Message: 16
Date: Mon, 21 Jun 2004 14:18:12 +0200
From: Stephane Rebeschini
Subject: Re: Pete Records
Country Paul:
> ... I also have a version of "Warm," also a Pete 45, by Carol Stromme
> - although I find her rendition a bit "overheated." Who is/was she,
> please? Also, noticing I own quite a few releases on Pete, could you
> pass along some more information on who Pete was/is, please? ...
Frank Jastfelder a écrit :
> I´d like to know more about Pete records too. I got an LP by Gogi Grant
> (ca. 1968) on it and just won a LP by Carol Stromme on ebay. All I know
> is that the label was owned by the Petersen Company, Hollywood CA. The
> labels adress was 8451 Melrose Avenue.
Here's a partial discography of Pete Records :
GRANT Gogi - Gogi Grant (Pete Records S1101)
(HALEN Michael - P. Michael P.Whalen (Pete Records S1102)
STROMME Carol - The Soft Sound Of (Pete Records S1103)
BRAHENY John - Some Kind Of Change (Pete Records S1104)
? (Pete Records S1105)
PASSING CLOUDS - Hawks And Doves (Pete Records S1106)
? (Pete Records S1107)
? (Pete Records S1108)
LESTER Ketty - Ketty (Pete Records S1109)
BECK Donald - The Banjo Revolution of (Pete Records S1110)
Carol Stromme was previously in THE NEW SOCIETY (ALBUM : THE BAROCK
SOUND OF (RCA LPM-3676) 1966)). Her Lp was produced by Lincoln Mayorga.
Three songs by Michael Whalen, one by John Braheny plus covers of the
Beatles' "In My Life" & Buffy Ste Marie "Until It's Time For You To Go".
Very mellow, very "soft pop".
Stephane
-------------------[ archived by Spectropop ]-------------------
Message: 17
Date: Mon, 21 Jun 2004 15:59:06 +0100
From: Simon White
Subject: Vince Everett
Talking, as we were recently, about Gene Pitney obscurities and how
some thought Los Bravos "Black Is Black" sounded somewhat Pitneyesque,
may I ask members for any information about Mr Vince Everett and in
particular his 1968 Martin/Coulter Fontana recording "Barbarella" which
seems to have no connection to the film of the same name but which has
a distinct Pitney feel about it in the vocal department, if not in its
instrumental arrangement and execution. I feel that certain
Spectropoppers might rather like it.
Simon White
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Message: 18
Date: Mon, 21 Jun 2004 17:06:39 -0000
From: Clark Besch
Subject: Lloyd Thaxton revisted
Hi, not sure if Lloyd is still a S'Popper, but here is an interesting
2 part article on his life. To get part 2, click on "more next week"
at bottom of article. I can guarantee that his show got to every
nook and cranny of the US, since I saw it on Garden City, Kansas
station out in western Kansas!! Pretty interesting about his
commercials success in his early years. He was like a record
promotion man, except doing live commercials. Clark
http://www.metnews.com/articles/reminiscing031303.htm
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Message: 19
Date: Mon, 21 Jun 2004 14:53:38 -0400
From: Mikey
Subject: Re: passing Rascals
My cousin's band opened up for the Rascals many times in Long
Island, and he tells me, with no hesitiation, that Live, The
Rascals had no peers. They were electrifying live. No TV
appearance could do them justice.
As far as the bass thing goes, "live", Felixs Hammond organ
was loud and no one missed the bass guitar. On TV, most of
the time they were lip syncing anyway, and the 3 inch TV
speaker wasnt much help. That may be why it sounds "wierd".
Gene Cornish also told me that when they were on Ed Sullivan,
Sullivan's son-in-law was the stage manager and he told them
all the things they COULDNT do. So, watching them play "Good
Lovin" on Ed Sullivan wasn't exactly the same as seeing them
do it live, with Eddie jumping off the amps and stuff...
Mikey
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Message: 20
Date: Mon, 21 Jun 2004 15:32:16 EDT
From: John Berg
Subject: Re: passing Rascals
AZ:
> Ironically I also remember seeing other bands and not understanding
> the role of the bass player. But with the Rascals I definitely
> could hear the difference. I know Felix was supposedly playing bass
> pedals on his organ but it didn't really sound like bass to me. When
> I was watching the Rascals, I started to wonder about other bands
> without bass players. The Doors at least had a bass player on the
> records. Does anyone know why bands thought they didn't need bass
> players?
Anyone with more than a passing familiarity with the genre of Hammond
B-3 players can tell you that a decent B-3 player can very adequately
handle the bass-note playing role in a band. I cannot vouch for
Felix's capability on his bass pedals, but that should not lead to
one thinking the Rascals were somehow deficient for not having a
separate ("Fender" or stand-up) bass player. Concerning the Doors,
one would have to ask Ray Manzarek or the other surviving musos about
why they opted to use Lonnie Mack, Doug Lubahn and others on bass on
some of their studio sessions. Most bass lines can be capably done by
a good organist.
John Berg
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Message: 21
Date: Mon, 21 Jun 2004 19:44:28 -0000
From: Bob Celli
Subject: Re: Bobby Vee sings Goffin/King
Don:
> I would love to hear "A Forever Kind Of Love" demo by Carole King.
> I've always loved that song. I didn't know she even did a demo, as
> it was written by Goffin & Keller, right... "Run To Him" was also
> Goffin/Keller... Other Goffin/King songs by Bobby Vee include:
> Don't Ever Take Her For Granted
> Go Away Little Girl
> How Many Tears
> I Can't Hear You (No More)
> I Can't Say Goodbye
> The Idol
> If She Were My Girl
> In My Baby's Eyes
> It Might As Well Rain Until September
> My Golden Chance
> Sharing You
> Sweet Sweetheart
> Take Good Care Of My Baby
> Walkin' With My Angel
> What About Me
> Will You Love Me Tomorrow
> My Girl / Hey Girl
>
> Do you know of any I left out?
The only ones you left out are three unreleased tracks, "Ferguson
Road", "One More Time" and "Tears Wash Her Away".
Bob Celli
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Message: 22
Date: Mon, 21 Jun 2004 16:08:12 +0000
From: Phil X Milstein
Subject: Re: no bass
Alan Zweig wrote:
> Ironically I also remember seeing other bands and not understanding
> the role of the bass player. But with the Rascals I definitely
> could hear the difference. I know Felix was supposedly playing bass
> pedals on his organ but it didn't really sound like bass to me...
> Does anyone know why bands thought they didn't need bass players?
The Cramps have never used one, instead keeping one of their guitars
buzzing around in the lower register, a la Duane Eddy. Other groups,
such as Patti Smith and Velvet Underground, never kept a dedicated
bassist, but did have their musicians switch instruments often enough
that they managed to include bass on many of their songs, and filled the
bottom in other ways (usually keyboards) most of the rest of the time.
Still other groups, most of them of a postmodernist (and thus more
recent) bend, have deliberately eschewed the lower register altogether
in favor of a nerve-scraping high-frequency aesthetic; this approach, in
fact, almost defines the entire "No Wave" movement of the late '70s. In
sum, while making use of most of the frequency range available to human
hearing is the standard in most musical conventions, it is far from the
only way to conceive of music.
--Phil M.
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Message: 23
Date: Mon, 21 Jun 2004 16:35:40 -0400
From: Joe Nelson
Subject: Re: passing Rascals / no bass
AZ:
> Ironically I also remember seeing other bands and not understanding
> the role of the bass player. But with the Rascals I definitely
> could hear the difference. I know Felix was supposedly playing bass
> pedals on his organ but it didn't really sound like bass to me...
John Berg:
> Anyone with more than a passing familiarity with the genre of Hammond
> B-3 players can tell you that a decent B-3 player can very adequately
> handle the bass-note playing role in a band... Most bass lines can be
> capably done by a good organist.
On old films of the Doors (and later the B-52's to use a more recent
example) you'll see Ray Manzarek (or whatever keysmith is relevant)
constantly playing a small, two octave organ with the left hand. This
is a bass organ. dedicated to allowing the sound tech to control the
bass line the same way he'd control a bass guitar. "Light My Fire"
contains a bass organ rather than a session bass guitarist. Felix
Cavalierie isn't sure which is used on "Good Lovin'", but there are
session bass guitarists used on other tracks, such as "Groovin'".
Joe Nelson
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Message: 24
Date: Mon, 21 Jun 2004 17:00:55 EDT
From: John Berg
Subject: Re: passing Rascals / no bass
Thanks, Joe, for your comments. Part of my point about B-3 players
is that by using bass foot pedals, this really frees them up to get
quite complex, as they have both hands free on the main keyboard
and can use both feet on the bass pedals, giving capacity for cool
bass rhythms (i.e. syncopation!) to accompany the melodic and
harmonic input on the keyboard.
I saw the Doors at the Whisky in May 1966 (opening for Them) and it
immediately struck me how Manzarek played the bass notes with his
left hand, as you note -- it kind of restricts what one can do
overall with melody, but maybe that's the best gear he could afford
at that early stage?
J Berg
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Message: 25
Date: Mon, 21 Jun 2004 21:24:45 -0000
From: Shawn
Subject: Minn. rockers pass away
This may be old news, but unreported here I believe. Gus Dewey of
The Gestures and Tom Nystrom of The Underbeats passed away within
the past few months. Anyone familiar with Soma Records will know of
these groups.
Shawn
www.superoldies.com
-------------------[ archived by Spectropop ]-------------------
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