________________________________________________________________________
SPECTROPOP - Spectacular! Retro! Pop!
________________________________________________________________________
There are 25 messages in this issue.
Topics in this digest:
1. Re: basslessness
From: Steve Harvey
2. The Everys (& Garfunkel & Simon)
From: Steve Harvey
3. Alice in Beatleland
From: Steve Harvey
4. Ventures vs. Shadows
From: Steve Harvey
5. Re: The Everlys (Garfunkel & Simon)
From: Al Kooper
6. Re: basslessness
From: Mike McKay
7. Re: basslessness
From: Al Kooper
8. Re: passing Rascals
From: Mike McKay
9. Robert Nix
From: Al Kooper
10. Now playing: "Dina" at musica
From: Country Paul
11. Re: basslessness / Pete records
From: Andy
12. Re: Garfunkel & Simon
From: Gary Myers
13. Re: organic music
From: Joe Nelson
14. "Get Rid Of Him"
From: Mick Patrick
15. Re: So Goes Carole / basslessness
From: Phil X Milstein
16. Re: lead singers who didn't always sing lead
From: Joe Nelson
17. Re: basslessness
From: Artie Wayne
18. Re: basslessness / Cozy speaks / Beach Boys covers
From: Dennis Diken
19. Re: Sick Manny's Gym
From: Al Kooper
20. Re: basslessness
From: Gary Myers
21. Re: basslessness
From: Gary Myers
22. backstage with Brother Ray
From: Steve Harvey
23. Hank Marvin radio interview
From: Norm D. Plume
24. Terry Rice-Milton
From: Rob Stride
25. Re: fading Nuggets
From: Steve Harvey
________________________________________________________________________
________________________________________________________________________
Message: 1
Date: Tue, 22 Jun 2004 12:07:58 -0700 (PDT)
From: Steve Harvey
Subject: Re: basslessness
I still find it strange that certain bands got by with no bass
onstage. The Doors and Young Rascals are two more bassless groups
(Hey Eddie, dump the tambourine and yourself a bass!) The thing
is that both bands did use bassists on their records. I know the
bassist for Clear Light (another Elektra group) played on some of
the Doors stuff. I think studio ace, Chuck Rainey, played on some
Rascals material.
-------------------[ archived by Spectropop ]-------------------
Message: 2
Date: Tue, 22 Jun 2004 11:58:40 -0700 (PDT)
From: Steve Harvey
Subject: The Everys (& Garfunkel & Simon)
Robert wrote:
> As for the Everlys, why are they only doing four songs? Is this by
> choice? My mouth has remained permanently agape since recently
> discovering their '60s Warner Bros. catalog. This is some of the
> most amazing music ever made! I can't believe they had so few hits
> during this time.
They seemed to have hits throughout the 60s in Europe, but America
dropped them for the newest flavor (which, oddly enough, owed more
than a little to the brothers). What happened with the 2-for series
that was coming out on Warner Bros? Glad I didn't send any money to
that Kentucky site that had pictures of their future two-fors. I think
they started with the wrong lps. In Our Own Image, Two Yanks would
have been far stronger releases to start with than the ones they chose.
I had to burn CDs from vinyl. Scratchy, but I can listen to them in the
car. I agree, only 4 songs by Don and Phil?! What were they thinking?
-------------------[ archived by Spectropop ]-------------------
Message: 3
Date: Tue, 22 Jun 2004 12:16:01 -0700 (PDT)
From: Steve Harvey
Subject: Alice in Beatleland
Just got done watching the DVD of Alice In Wonderland,
a 1966 BBC production. I'm sure the Beatles must have
watched this version too. There are alot of Beatle
connections.
The soundtrack is by Ravi Shankar. Both Wilfrid
Brambell (Paul's granddad in A Heard Day's Night) and
Leo McKern (the high priest in Help) both appear in
it. Other Beatle associates like Peter Sellers (Goons
star and Ringo's costar) and Peter Cook (LS Bumble
Bee) pop up as well.
It's filmed in b&w, like alot of British films from
that decade (including HD'sN), which gives it the
dreamy quality the director wanted. I know Lennon was
fascinated with the book as a child. Not surprising
given all the wordplay in it (Spaniard In the Works).
A surreal portrayal of Victorian society (no animals
head on the actors) which probably influences the
direction Sgt. Pepper's took shortly after this was
broadcast.
At times it drags a little, but it's definately a
time capulse from the swingin' 60s.
=====
Flip, flop and fly,
Steve Harvey
-------------------[ archived by Spectropop ]-------------------
Message: 4
Date: Tue, 22 Jun 2004 12:24:12 -0700 (PDT)
From: Steve Harvey
Subject: Ventures vs. Shadows
Mikey wrote:
> Since it's the last word on the second greatest
> Instrumental Group in the world (after The Ventures,
> of course) I hope they did it right.
I don't know about that, Mikey. As much as I love the
Ventures I think the Shadows had the edge over them.
Their material was generally stronger (thanks to Jerry
Lordan) that alot of the Ventures' stuff. I will
always love the Ventures for putting out those
instructional records (Why don't more bands do this?
DVDs for heaven's sake!), but they seemed content to
copy the hits of the moment. Their original material
wasn't as strong as the Shadows.
When I met the Ventures a few years back I asked Bob
Boggle about the Shadows and the Ventures recording
together. He said the closest they ever got was
meeting Bruce Welch in Japan once. It would have been
interesting to hear them together. What a live show
that could have been!
-------------------[ archived by Spectropop ]-------------------
Message: 5
Date: Tue, 22 Jun 2004 15:43:32 EDT
From: Al Kooper
Subject: Re: The Everlys (Garfunkel & Simon)
Previously:
> As for the Everlys, why are they only doing four songs? Is this by
> choice? My mouth has remained permanently agape since recently
> discovering their '60s Warner Bros. catalog. This is some of the
> most amazing music ever made! I can't believe they had so few hits
> during this time. Much love and respect to the Everlys for all their
> astoundingly timeless music.
The Eagles, early on in their headlining tours, took Roy Orbison out
as an opener. He hadn't been heard live in many a year and they gave
him a full set. It was INCREDIBLE!!! This makes S&G's slight of the
Everlys even more embarassing. To me it's an ego thing at the Everly's
expense. I do imagine they are being well compensated, however. With
no disrespect to Phil, Don's voice gets better every year.
Al Kooper
-------------------[ archived by Spectropop ]-------------------
Message: 6
Date: Tue, 22 Jun 2004 16:58:01 EDT
From: Mike McKay
Subject: Re: basslessness
Interesting discussion on the subject of bands who eschewed bass guitar.
When it comes down to recordings in the 60s, it's even more rare.
Not counting songs that were folk-based to begin with and thus only made
to be played on only an acoustic guitar or two, there are two full-band
recordings that come to mind that are bassless. One was a big Top 40 hit:
Daydream -- The Lovin' Spoonful
Sister Ray -- The Velvet Underground
Others?
Mike
-------------------[ archived by Spectropop ]-------------------
Message: 7
Date: Tue, 22 Jun 2004 16:42:39 EDT
From: Al Kooper
Subject: Re: basslessness
> The Doors at least had a bass player on the records. Does anyone
> know why bands thought they didn't need bass players?
One less guy to pay?
-------------------[ archived by Spectropop ]-------------------
Message: 8
Date: Tue, 22 Jun 2004 17:07:04 EDT
From: Mike McKay
Subject: Re: passing Rascals
A. Zweig wrote:
> 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.
Others in this same category -- i.e., bands with a member who played
percussion only (or less) and yet was not the primary lead singer:
The Cryan' Shames (J.C. Hooke -- who would have had a hard time playing
much else as he really did have a hook!)
The Turtles (Mark Volman)
The Byrds (Gene Clark...though he did sing some leads and occasionally
played acoustic guitar on stage)
The Hollies (Graham Nash held an unplugged acoustic guitar on stage,
so that doesn't count in my book!)
Skylark (their guitarist sang the lead on "Wildflower" -- meanwhile
the girl and the black guy sang backups but didn't play anything)
Mike
-------------------[ archived by Spectropop ]-------------------
Message: 9
Date: Tue, 22 Jun 2004 16:50:00 EDT
From: Al Kooper
Subject: Robert Nix
Nick Archer:
> So the guy I thought was Buddy Buie was probably Robert Nix, who
> was in ARS. Now I feel 30 years retroactively stupid.
Robert Nix recently relocated to Gnashville. You may even bump into
your Buddy in the Pancake Pantry some A.M.
-------------------[ archived by Spectropop ]-------------------
Message: 10
Date: Tue, 22 Jun 2004 17:14:52 -0400
From: Country Paul
Subject: Now playing: "Dina" at musica
I've just played "Dina" by Dore Alpert (A&M 714, 1963) to musica. If
pressed to name one, I'd call this my favorite 45. I personally feel
this haunting performance shows the most genuine depth of emotion
Herb Alpert ever recorded of all his songs that I've heard; plus the
composition and arrangement are to my ear brilliant and truly
progressive popular music. I don't know if this exists in stereo, so
here it is in magnificent mono. I hope I haven't oversold it to you,
and hope that you like it at least half as much as I do.
Country Paul
-------------------[ archived by Spectropop ]-------------------
Message: 11
Date: Tue, 22 Jun 2004 21:22:18 -0000
From: Andy
Subject: Re: basslessness / Pete records
John Berg wrote:
> 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.... but maybe that's the best gear he could afford
> at that early stage.
I can tell you from experience that "kickin" bass is not so simple.
I've been doing it for 35+ years now. I would think that Ray hasn't
learned the art and now-a-days you'll find only a handful able to
do so.
Just to fill in 2 of the 3 opening on your "Pete" discography:
S-1105 "But I Am Somebody - The Boice of the People" Narrated by
Steve Allen
S-1108 "The Warm & Groovy Sounds of" The Group
I've never know anything about S-1107 and thanks Stephane for the
info on S-1106 (I've been looking to fill-in that hole for over 2
years now).
Andy
-------------------[ archived by Spectropop ]-------------------
Message: 12
Date: Mon, 21 Jun 2004 21:19:01 -0700
From: Gary Myers
Subject: Re: Garfunkel & Simon
John Fox wrote:
> I have a new appreciation for Art Garfunkel ... hits all the high
> notes in the original keys of the songs ...
How can you be sure they were in the original keys?
gem
-------------------[ archived by Spectropop ]-------------------
Message: 13
Date: Mon, 21 Jun 2004 18:13:26 -0400
From: Joe Nelson
Subject: Re: organic music
John Berg wrote:
> 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?
Or just the fact he was never into Hammonds. The sixties were very much
the heyday of the organ as a rock instrument. Because organs were more
*portable* than pianos, they lent themselves perfectly to the stage. As the
seventies and eighties progressed and the synths took over it became easier
to fit more sound/sounds into a small space and the music became more
varied, but you could really identify a group by their organ sounds -- the
Rascals' trademark Hammond, Manzarek's Farfisa, etc. All the more reason
we miss those days and showed up here (sigh) ...
Joe Nelson
(more of a guitar player himself, but the great strange axes of the sixties
will wait for yet another thread ...)
-------------------[ archived by Spectropop ]-------------------
Message: 14
Date: Tue, 22 Jun 2004 19:41:38 +0100
From: Mick Patrick
Subject: "Get Rid Of Him"
For reasons too convoluted to explain (suffice it to say, it
would make S'pop's favourite go-go-ists the Actionettes very
happy ladies) I am in urgent need of the song "Get Rid Of Him"
in STEREO. It doesn't matter which version - the Shirelles,
Dionne Warwick or (fat chance) Bernadette Castro - as long as
it is in stereo. Is such a thing available on CD? If so, details
please. If not, maybe some kind soul could post the track to
musica, or whatever. On behalf of Tourette, Crepe Suzette,
Dansette, Balconette et al, I thank you.
By the way, the highlight of my Sunday evening was witnessing
an over-excited Miss Balconette dancing with the one and only
Nancy Sinatra at the Royal Festival Hall in London. Not only
that, Nancy's keyboard player was S'pop hero Don Randi. Alas,
my invite to the apres gig lig must have got lost in the post.
Anyway, I've a pile of Mike Clifford, Myrna March and Azie
Mortimer 45s waiting to be digitized, a pan of chicken thighs
sizzling away and tennis to watch on TV. And I'm out of Zantac.
Hey la,
Mick Patrick
-------------------[ archived by Spectropop ]-------------------
Message: 15
Date: Tue, 22 Jun 2004 16:32:55 +0000
From: Phil X Milstein
Subject: Re: So Goes Carole / basslessness
Country Paul wrote:
> Wow, gentlemen, what took you so long to play these to musica?!? I've
> never heard "So Goes Love" by anybody (I know that I should know who
> Shirley Abicair is by now, but I don't). What a beauty this song is!
> Even in its underproduced form, it's a gem.
I too had never heard "So Goes Love" before, and was thrilled to finally
discover it! What a gorgeous number, with a one-listen-memorable refrain
and, in this version, Carole's ever-soulful vocals. Eager to hear The Monkees'
version, I've ordered the Missing Links volume it's on and, while I was at
it, ordered the other two as well. I realize I should've had these all along,
but a little instigation can go a long way.
Mike McKay wrote:
> The Cryan' Shames (J.C. Hooke -- who would have had a hard time playing
> much else as he really did have a hook!)
That never stopped Moulty!
--Phil M.
-------------------[ archived by Spectropop ]-------------------
Message: 16
Date: Tue, 22 Jun 2004 18:20:16 -0400
From: Joe Nelson
Subject: Re: lead singers who didn't always sing lead
Mike McKay wrote:
> Others in this same category -- i.e., bands with a member who played
> percussion only (or less) and yet was not the primary lead singer:
> The Cryan' Shames (J.C. Hooke -- who would have had a hard time playing
> much else as he really did have a hook!)
ISTR a certain Brit Inv band whose drummer had no hands, only hooks.
The name escapes me.
> The Turtles (Mark Volman)
Played saxophone as well as percussion.
> The Byrds (Gene Clark...though he did sing some leads and occasionally
> played acoustic guitar on stage)
I was surprised he didn't play guitar more often. Must have been a sound
concept.
> The Hollies (Graham Nash held an unplugged acoustic guitar on stage,
> so that doesn't count in my book!)
Holding a guitar and playing are two different things -- although if you think
about it Ray Davies of the Kinks (who WAS plugged in) didn't play most of
the time either.
> Skylark (their guitarist sang the lead on "Wildflower" -- meanwhile
> the girl and the black guy sang backups but didn't play anything)
Very common in R&B oriented groups. How many can you think of where
there was a distinct lead singer but the other members didn't play anything?
A couple other examples come to mind:
People: Larry Norman came into the group knowing enough piano and
guitar to hold his own on stage, yet ended up just singing -- and at that
sharing leads with the guitarist (often within the same song).
Elton John's band featured percussionist Ray Cooper much of the time.
>From incarnations of the group where he was absent altogether to a couple
of lineups that were just him and Elton, the boss obviously thought of him
as more than a guy who stood there and shook a tambourine.
The search continues ...
Joe Nelson
-------------------[ archived by Spectropop ]-------------------
Message: 17
Date: Tue, 22 Jun 2004 18:16:46 -0700 (PDT)
From: Artie Wayne
Subject: Re: basslessness
As much as I hate to admit it, I've only learned recently (in the
seventies) how important a bass is in recordings. I produced
many records in the early sixties without having a clue ... much less
a bass.
I remember that when Larry Uttal bought my "Midnight Mary"master
for Amy Records, he asked me if I could bring up the bass. I just
looked at him and said, "What bass?" Larry smiled and handed me
$15 to add one and do a new mix. Fortunately I had a few friends who
helped me out and we had enough change left over for a couple of
hot dogs and some coconut champagne from the store across the
street from the Brill Building.
Regards,
Artie Wayne
-------------------[ archived by Spectropop ]-------------------
Message: 18
Date: Tue, 22 Jun 2004 18:00:45 -0400
From: Dennis Diken
Subject: Re: basslessness / Cozy speaks / Beach Boys covers
Mike McKay wrote:
> Interesting discussion on the subject of bands who eschewed bass guitar.
> When it comes down to recordings in the 60s, it's even more rare.
I've always thought there was no discernable bass guitar on "Let's Dance On,"
from the first Monkees LP.
re: recent discussion of "Topsy Pt 2":
Are any of you familiar with Hal Blaine's "Topsy '65" on the fabulous Sloan/
Barri-produced "Drums! Drums! A Go Go" album? Very cool (check my
e-mail address)!
re: Cozy Cole's version:
I always assumed it was Cozy himself on the slate (ditto "Topsy Pt. 1" and
"Bad," also by CC). Don't know for sure, though.
Going back aways, here are a couple more Beach Boys covers:
"You're So Good To Me" by The Kit Kats
"Aren't You Glad" by Peggy March
Best,
Dennis Diken
-------------------[ archived by Spectropop ]-------------------
Message: 19
Date: Tue, 22 Jun 2004 22:31:26 EDT
From: Al Kooper
Subject: Re: Sick Manny's Gym
Dan Nowicki wrote:
> 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.
I knew sooner or later one of youse guys would pull this item out. I wrote
this in math class in high school. It's a takeoff on Vic Tanny's gym chain from
the early '60s. It was the very first release on Musicor (!), and is pretty rare.
My first band, The AristoCats, does the backing. We're from Queens, y'all.
Young Al Kooper
-------------------[ archived by Spectropop ]-------------------
Message: 20
Date: Tue, 22 Jun 2004 20:51:17 -0700
From: Gary Myers
Subject: Re: basslessness
The Teddy Bears' "To Know Him Is To Love Him" has no bass.
gem
-------------------[ archived by Spectropop ]-------------------
Message: 21
Date: Tue, 22 Jun 2004 20:59:13 -0700
From: Gary Myers
Subject: Re: basslessness
John Berg wrote:
> 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.
Capably I guess, but there's nothing like a real bass. Even staying with the
keyboards (whether organ or whatever), in my experience (44 years of gigs),
those who play a good left-hand bass outshine (and vastly outnumber) those
who play good pedals. Probably the majority of gigs I've done for the past
22 years have used keyboards with left-hand bass, but it's always a treat to
actually have a (good) bass player besides the keyboards.
gem
-------------------[ archived by Spectropop ]-------------------
Message: 22
Date: Tue, 22 Jun 2004 21:10:18 -0700 (PDT)
From: Steve Harvey
Subject: backstage with Brother Ray
A forward from Bill Turner:
As for Ray Charles, in 1970 I was playing with a Brooklyn-based
band The Ox-Bow Incident. One night we all jumped in the bass
player's Volkswagen van and headed to Central Park, where
Ray Charles was performing that night at the Wollman Skating
Rink Summer Concert Series. During the intermission we all
decided to wander around, and I somehow wound up in the
backstage area. Lo and behold--there was Ray Charles standing
all by himself, alone! I walked up to him and said hello, introducing
myself. He smiled, and put his arms around my head in a semi-
headlock, and we proceeded to talk about his albums "Modern
Sounds In Country & Western Music, Volumes 1 and 2." He told
me about how he grew up listening to the Grand Ole Opry every
week, and how he always loved country music. He told me his
favorite artists were Hank Williams, Don Gibson, and Grandpa
Jones!
Just for the record, Ray's biggest hit records of his entire career
were written by Nashville writers: "I'm Busted" was written by
Harlan Howard, "Take These Chains from My Heart" was written
by Hank Williams, and his biggest hit, "I Can't Stop Loving You",
by Don Gibson. It was these recordings that put him over the top
in the early 1960s and allowed him to cross over into the mainstream.
Anyhow, we'd been speaking for about 10 minutes when these two
guys came out of the dressing room trailer and called out to him,
"C'mon man, let's get back in here." Ray answered, "Wait a minute,
man, I'm talkin' to this cat here." We hugged and I walked him back
to his two band members at the trailer, and he completed the second
half of his concert. When I met up with the other Ox-Bow Incident
members after the show, I told them about my conversation with Ray
Charles ... and they didn't believe me!
Correct me if I'm wrong, but all these years later I think that these
two albums still remain Ray's biggest sellers. They were an artistic
'crossover triumph', have stood the test of time, and still sound
every bit as good today.
-------------------[ archived by Spectropop ]-------------------
Message: 23
Date: Tue, 22 Jun 2004 23:38:13 -0700 (PDT)
From: Norm D. Plume
Subject: Hank Marvin radio interview
For those interested in The Shadows, the website of BBC London's
"Breakfast With Danny Baker" show offers a short but highly entertaining
radio interview with Hank Marvin (from 23/04/04), archived (in RA format)
at:
http://tinyurl.com/yu5cc
At the same page you'll find many other interviews you might also enjoy,
including Joe Brown, Marty Wilde, Kenny Lynch, Gary Brooker, Carolyn
Hester, Lamont Dozier, Les Reed & Roger Cook, The Zombies, Linda
Gail Lewis, Charlie Watts, Sparks, Geno Washington, Chris Rea, Merril
Osmond, Peter Frampton and Richie Havens.
Norm D. Plume
-------------------[ archived by Spectropop ]-------------------
Message: 24
Date: Wed, 23 Jun 2004 09:44:04 -0000
From: Rob Stride
Subject: Terry Rice-Milton
I need to get in touch with Terry Rice-Milton, from Cupids Inspiration,
for a project that I'm working on. The phone number I have for him is
out of date. Has anybody got any current contact details for him?
Thanks,
Rob Stride
-------------------[ archived by Spectropop ]-------------------
Message: 25
Date: Tue, 22 Jun 2004 12:18:56 -0700 (PDT)
From: Steve Harvey
Subject: Re: fading Nuggets
Shawn wrote:
> 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.
Death must be stalking the "Nuggets" crowd, as Howard "Richard"
Tepp, lead singer for Richard & The Young Lions, just died.
-------------------[ archived by Spectropop ]-------------------
SPECTROPOP - Spectacular! Retro! Pop!
End
