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SPECTROPOP - Spectacular! Retro! Pop!
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There are 23 messages in this issue.
Topics in this digest:
1. Re: recordin' in America
From: Eddy Smit
2. NY studio bass players
From: Niels
3. Re: J.B. Great
From: Phil X Milstein
4. Re: comparing notes
From: Gary Myers
5. Re: back in the U.K.
From: Andrew Hickey
6. Re: Stevie Wright
From: Mike McKay
7. Re: Bert Berns' British productions
From: Mick Patrick
8. Re: Who in America
From: Al Kooper
9. Re: The Neighborhood
From: Gary Myers
10. Re: today's Rascals
From: Leslie Fradkin
11. Re: The New Rascals
From: Mikey
12. Spelling lesson
From: Al Kooper
13. Re: The Neighborhood
From: Frank Jastfelder
14. "4,003,221 Tears From Now"
From: Tony Baylis
15. Re: RCA's NYC Studios
From: Brian
16. Re: what is Northern Soul?
From: Frank Murphy
17. Re: French Scopitone "Zizi la Twisteuse"
From: Frank
18. Ten Years After cover of an Al Kooper song?
From: Scott
19. Re: Northern Soul & Beach Music
From: Andy
20. Re: NY studio bass players
From: Artie Butler
21. Re: NY studio bass players
From: Leslie Fradkin
22. Re: Spring Fever / Cherry Cherry
From: David Walker
23. Re: Stevie Wright - Easybeats
From: Lex Cody
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Message: 1
Date: Tue, 03 Aug 2004 12:08:39 +0200
From: Eddy Smit
Subject: Re: recordin' in America
Phil M. wrote
> I never knew The Who recorded in the U.S. I know that the Stones did,
> extensively and from early on, and this new (to me) information on The
> Who ...
Lewisohn's book gives you the exact details on where The Beatles recorded.
Off the top of my head, I'd say they never recorded outside of the UK, the lone
exception being the German vocals of Sie Liebt Dich & Komm gibt mir deine
Hand, which were taped in France.
As for The Who, they also recorded at the Record Plant East in March 1971 for
Lifehouse. Although nothing of these sessions was used for Who's Next, one
track turned up on Odds & Sodds and as bonus material on the expanded
Who's Next CD.
Btw, Call Me Lightning was recorded at Gold Star!
Eddy
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Message: 2
Date: Tue, 03 Aug 2004 11:22:42 +0200
From: Niels
Subject: NY studio bass players
To follow up on my succesful enquiry about NY studio musicians, I'd like
to know if anyone knows where Russ Savakus (session bass player,
mainly on the folk-rock-blues scene in the fifties and sixties) has been
since the early seventies. Likewise with Bob Bushnell, who developed
a certain bass technique. Does anybody know more about these great
musicians? Maybe somebody who worked with them back then can tell
about playing with them.
Niels.
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Message: 3
Date: Tue, 03 Aug 2004 10:18:05 +0000
From: Phil X Milstein
Subject: Re: J.B. Great
Neils Chr Junker-Poulsen wrote:
> ... but please, please, PLEASE tell me more about Johnny B. Great
> and Brenda & Johnny, Elaine & Derek. And when were they done?
I wouldn't mind hearing a little about Johnny B. Great in general. One
of my favorite Scopitones is of him playing a rockin' version of "If I
Had A Hammer" to the writhing enjoyment of a gaggle of discotheque
dancers of various races and genders (and quite possibly religions, as
well). Apart from that one clip, though, I've never even heard his name.
--Phil M.
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Message: 4
Date: Tue, 03 Aug 2004 10:11:11 -0700
From: Gary Myers
Subject: Re: comparing notes
previously:
> "Oh! Pretty Woman" ... The song's biggest "hook" was obviously
> all those guitars banging out that eight-note E7 riff in unison ...
Tom Taber wrote:
> I have tried to "think" how those guitars sound - and everytime I do,
> what I come up with is the guitars from Simon and Garfunkel's
> "Hazy Shade of Winter"! Are they quite similar, or just in my addled
> mind?
I'd have to listen to be sure, but I think the first few notes might be the
same. However, the same notes as "Pretty Woman" (outlining an E9
chord) were also used by Jose Feliciano on the E7 chord at the end of
the verse on "Light My Fire". And, that run is somewhat similar to the
line on "Day Tripper", which adds a G note chromatically approaching
the G#.
gem
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Message: 5
Date: Tue, 03 Aug 2004 17:02:58 +0100
From: Andrew Hickey
Subject: Re: back in the U.K.
Phil M. wrote
> I never knew The Who recorded in the U.S. I know that the Stones did,
> extensively and from early on, and this new (to me) information on The
> Who leads me to wonder if The Beatles ever did as well.
Not unless you count the various live recordings (Live At The Hollywood
Bowl). Almost all the Beatles' recordings were at Abbey Road. They
recorded Hey Jude at another studio (I *think* called Trident, but I can't
be sure -- don't have my Lewisohn nearby), recorded a couple of tracks
in Paris in 1964, and recorded some tracks during the Let It Be era at
Apple, but other than that everything was at Abbey Road.
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Message: 6
Date: Tue, 03 Aug 2004 15:01:54 EDT
From: Mike McKay
Subject: Re: Stevie Wright
Lex Cody wrote:
> Also, this Thursday Stevie Wright is launching a new Bio. Stevie
> has been involved with this project and it's fully approved! One
> came out a few years ago which I believe he wasnt too happy with.
> He will be performing 4 songs I believe at the book launch here
> in Melbourne.
Does this mean that Stevie's fortunes have improved recently? I recall
reading a lengthy article not too many years ago that painted a horrific
picture of his life, replete with chronic drug addiction and a host of other
woes.
Mike
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Message: 7
Date: Tue, 03 Aug 2004 20:15:50 +0100
From: Mick Patrick
Subject: Re: Bert Berns' British productions
Neils Chr Junker-Poulsen wrote:
> ...It really was a shame about that CD of Bert Berns' British
> singles. We could without the Them tracks. Everybody knows them
> anyway, and I got the Lulu ones, and Moses K as well. I know
> about Redcaps and The Orchids, ... but please, please, PLEASE
> tell me more about Johnny B Great and Brenda & Johnny, Elaine &
> Derek. And when were they done?
Sure. The following tracks were all produced by Bert Berns at
Decca Studios, London:
JOHNNY B. GREAT - YOU’LL NEVER LEAVE HIM (UK Decca 11804)
(aka Johnny Goodison)
BRENDA AND JOHNNY - THIS CAN’T BE LOVE (UK Decca 11837)
(Brenda Boswell and Johnny B. Great)
ELAINE & DEREK - TEDDY BEARS AND HOBBY HORSES/JOSE HE SAY
(US Parrot 9718)
(Derek became a famous TV actor)
Neils:
> Also, The Orchids themselves tell, that their session with Bert
> Berns took place in 1963, which seems highly unlikely to me. I
> think, the first time he went to England was that October in
> 1964.
Actually, Bert Berns made three trips to the UK: in October 1963,
October '64 and March '65. On his first visit he produced tracks
by acts from the Larry Page stable, all from Coventry, including
the Orchids.
Hey la,
Mick Patrick
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Message: 8
Date: Tue, 03 Aug 2004 15:22:52 EDT
From: Al Kooper
Subject: Re: Who in America
Phil M. wrote
> I never knew The Who recorded in the U.S. I know that the Stones did,
> extensively and from early on, and this new (to me) information on The
> Who ...
Chroniceled in the liner notes to the expanded edition of "The Who Sell
Out," from about four years ago, if I recall correctly.
Al K
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Message: 9
Date: Tue, 03 Aug 2004 12:13:40 -0700
From: Gary Myers
Subject: Re: The Neighborhood
Paul Richards wrote:
> If I remember correctly the B-side to the Neighbourhood's Big Yellow
> Taxi was a disappointing cover of The Free Design's 'You Could be
> Born Again'.
Although I'm not familiar with that song, I checked to see that you are correct.
Neighborhood was produced by James Bryant, a guy from Wisconsin, hence
my interest.
gem
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Message: 10
Date: Tue, 03 Aug 2004 13:25:59 -0600
From: Leslie Fradkin
Subject: Re: today's Rascals
Kurt Benbenek wrote:
> Felix Caveliere and his band were excellent. All of the Rascals
> hits (and many, many covers) were done superbly and with much
> enthusiasm.
Phil M. asked:
> So this lineup includes Felix, Dino and Gene? Someone had previously
> mentioned only the latter two.
There are two Rascals groups -- one with Felix and one with Gene and Dino.
Les
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Message: 11
Date: Tue, 03 Aug 2004 14:49:53 -0400
From: Mikey
Subject: Re: The New Rascals
Phil M. asked:
> So this lineup includes Felix, Dino and Gene? Someone had previously
> mentioned only the latter two.
Can't be Felix, Dino and Gene together ... impossible. It's gotta be Gene and
Dino in one band, and Felix in the other. Gene and Dino don't care for Felix,
because Felix had his lawyers try to claim the name "The Rascals" out from
under the other three, who own it collectively. Now, if Dino, Gene and Eddie
played, I'd go see them. That's a very close version of the band.
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Message: 12
Date: Tue, 03 Aug 2004 15:31:06 EDT
From: Al Kooper
Subject: Spelling lesson
When one works with Bill Szymczyk (somebody buy this guy a vowel!),
as I have in the past, one is taught by the master himself that it's S, zy,
mc, zy, k. The memory trick is the mc surrounded by zy(s). Hope this helps.
Al Kooper
Olympic Polish Spelling Trainer
Athens, Grease
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Message: 13
Date: Tue, 03 Aug 2004 21:35:49 +0200
From: Frank Jastfelder
Subject: Re: The Neighborhood
Paul Richards wrote:
> If I remember correctly the B-side to the Neighbourhood's Big Yellow
> Taxi was a disappointing cover of The Free Design's 'You Could Be
> Born Again'. Not an easy task to set oneself though. Good on them for
> trying.
As far as I know, they were the only ones to dabble in this great tune. Like
you said it was a tough one to follow the Free Design.
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Message: 14
Date: Tue, 03 Aug 2004 19:35:38 -0000
From: Tony Baylis
Subject: "4,003,221 Tears From Now"
Artie Wayne wrote:
> I started writing and working for publishers during the early
> sixties and learned the value of recordings from countries
> other than the United States early on. I had my first
> international hit in Austrailia with "4,003,221 Tears From
> Now" [Raleigh/Wayne], by Judy Stone.
I have a US red vinyl promo of "4,003,221" by Kerri Downs (Epic
JZSP 76387), arranged by Ray Stevens. The flip, "Don't Cross
Over (To My Side Of The Street)," is by another artist, Linda
Brannon, and was written by D. Hess and C. Monte. Both sides
shoulda been hits!
Tony Baylis
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Message: 15
Date: Tue, 03 Aug 2004 15:38:34 EDT
From: Brian
Subject: Re: RCA's NYC Studios
Mikey wrote:
> Sad ending -- Baruch college tore the building down in 2000.
I work at Baruch College and am sitting in the replacement building as
I'm writing. This monstrosity is easy to spot -- it has unaffectionately been
dubbed "The Silver Armadillo" by neighbors. I'll spare you the details on
what's wrong with this structure. Nearly an entire square block was razed
to make room for it. So much for progress.
The RCA studio was at 155 E. 24th St., between Lexington and 3rd Aves.
It was built in 1907 as a seven-story stable by the Fiss, Doerr & Carroll
Horse Company. On the wall of my office, I have a framed architect's
rendering of the old building, which I rescued when we were relocated.
Brian
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Message: 16
Date: Tue, 03 Aug 2004 20:24:46 +0000
From: Frank Murphy
Subject: Re: what is Northern Soul?
Margaret G Still wrote:
> But what is considered Northern Soul doesn't seem to include Muscle
> Shoals or Stax or Malaco or deep soul, or most Southern U.S. soul.
It does include stuff from Muscle Shoals, for instance "Tell Mama" by
Etta James. Stax The Spoiler "Eddie Purrell" and Malaco like Clarence
Carter's "Messin Up My Mind."
> I've read that this difference was just something that developed
> from regional differences in taste, but the collector told me that
> what came to be called "Northern Soul" was from a huge batch of
> obscure R&B/Soul records that a British collector & club owner
> scored on a U.S. trip, and then played in his club. It does seem
> to be true that "Northern Soul" focuses on soul music from the more
> obscure labels, though I'm pretty sure Okeh Records is considered
> Northern Soul."
Northern Soul is a dance scene that developed out of the early sixties club
scene in the UK, and certainly it developed into a rare records scene. People
had been bringing over records from the States for years. American record
companies and stores would sell records to UK fans, and Ian Levine and
others went on buying trips and many still do. There are a number of books
outlining the history of the scene, and it is a scene of many variants rather
than a single sound. And whilst most of the records are soul records the
latest hot hit "Heartaches Is All You Got" comes from the north of Sweden
actually, and is to my ears a very Malaco-sounding piece of soulful blues by
Sven Zetterberg. S'poppers may know Bob Kuban and The Cheater, another
"northern Soul" classic of the scene's early days.
Whilst we may go out and catch the occasional band, thousands of Northern
Soul fans still go out each weekend to dance to records from the sixties and
seventies.
Rather than read about it head for www.radiomagnetic.com/archive/rnb.php
and click on any of the seven shows listed under "reflections". Do not be
surprised to hear some Latin grooves, as Bugalu is also regarded as a
"northern soul" source of good dance records. And you may catch the
occasional record from the Okeh vaults, such as Sandie Sheldon, Billy Butler
and usually Major Lance.
FrankM
reflections on northern soul Saturday's two thirty pm www.radiomagnetic.com
or listen to an archive show www.radiomagnetic.com/archive/rnb.php
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Message: 17
Date: Tue, 03 Aug 2004 04:36:44 +0200
From: Frank
Subject: Re: French Scopitone "Zizi la Twisteuse"
This Scopitone was one of the most popular of the many French-produced
ones, even though the song remained unknown it became a sort of cult classic
because of its heavily erotic content and also because it was one of the
first, if not the first, directed by Claude Lelouch.
Frank
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Message: 18
Date: Mon, 02 Aug 2004 23:11:25 EDT
From: Scott
Subject: Ten Years After cover of an Al Kooper song?
I just bought a copy of Ten Years After's 1967 debut and
the album includes a track credited to "Kooper": "I Can't
Keep From Crying, Sometimes." Just curious if our Al Kooper
wrote it and if he's ever heard it.
Scott
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Message: 19
Date: Tue, 03 Aug 2004 21:12:06 -0000
From: Andy
Subject: Re: Northern Soul & Beach Music
Myrtle Beach, SC is still a "HUGE" beach music spot. They live
and breathe this stuff.
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Message: 20
Date: Tue, 03 Aug 2004 17:05:05 EDT
From: Artie Butler
Subject: Re: NY studio bass players
Regarding the bass players Russ Savakus & Bob Bushnell,
sadly they are both gone. I used them both in my early
days in the business. Bob Bushnell was the sweetest and
most classy guy you ever could want to meet. I remember
he was always dressed in a suit and tie. A class act
and a very soft-spoken guy. He also always drove a
Thunderbird. As a young guy, you remember things like
that. Russ Savakus was one of the busier players as well.
Artie Butler
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Message: 21
Date: Tue, 03 Aug 2004 15:35:53 -0600
From: Leslie Fradkin
Subject: Re: NY studio bass players
Niels:
> To follow up on my succesful enquiry about NY studio musicians, I'd
> like to know if anyone knows where Russ Savakus (session bass player,
> mainly on the folk-rock-blues scene in the fifties and sixties) has
> been since the early seventies. Likewise with Bob Bushnell, who developed
> a certain bass technique. Does anybody know more about these great
> musicians? Maybe somebody who worked with them back then can tell
> about playing with them.
I knew Russ well. He played bass on the B-Side ("You Can Cry If You
Want To") (1970) of my MGM single. He, of course, played on "Like A
Rolling Stone" which was one of the reasons I wanted him on my date
that day. I can't be positive, but I heard he died several years back.
He lived in the rural area of Pennsylvania when I knew him. A very nice
man and a great bassist. He played a Fender Jazz Bass as I recall. Don
Thomas played on this session for me as well. I never knew Bob Bushnell.
Regards,
Les Fradkin
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Message: 22
Date: Wed, 04 Aug 2004 08:04:37 +1000
From: David Walker
Subject: Re: Spring Fever / Cherry Cherry
Re: Clark Besch
> As I look back now, I hear the sound heard in Barry/Greenwich/
> Diamond's hit production, "Cherry, Cherry" at that time also.
I was listening to this only last night. Great song, great sound
and a great album, "Shilo". I will have to give it another listen
and catch the sound.
> Anyone remember "Spring Fever" on the radio then?
According to Gavin Ryan's Australian Chart Book series, Tony Pass
hit #5 in Adelaide for 10 weeks in 1966 leaving the charts in
October 1966.
I remember how listeners would ring into the top forty stations
and request Spring Fever by Tommy Roe and how the announcers would
have to try and convince them it was Tony Pass, without knowing a
thing about the guy. (Tommy Roe was very popular down under. 18
chart entries from 1962 - 1971).
Even today, apart from the most hardened quiz buffs, if the question
was posed who sang "Spring Fever" most who remember the song would
say Tommy Roe.
Regards,
David Walker
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Message: 23
Date: Tue, 03 Aug 2004 17:41:18 -0700 (PDT)
From: Lex Cody
Subject: Re: Stevie Wright - Easybeats
I wrote:
> Also, this Thursday Stevie Wright is launching a new bio. Stevie
> has been involved with this project and it's fully approved! One
> came out a few years ago which I believe he wasnt too happy with.
> He will be performing 4 songs I believe at the book launch here
> in Melbourne.
Mike McKay replied:
>> Does this mean that Stevie's fortunes have improved recently?
>> I recall reading a lengthy article not too many years ago that
>> painted a horrific picture of his life, replete with chronic
>> drug addiction and a host of other woes.
Im not sure. I know that the bio was written from hundreds of hours
of recorded interviews that Glen Goldsmith made and then compiled;
Stevies totally approved it. He's done the odd gig here 'n' there,
and will be performing at the launch. I read the horrid tale too of
drugs etc., but I don't know how bad it was. I did hear that it was
over-sensationalised, but not to what extent.
A bio came out a few years ago that I understand Stevie wasn't happy
about; he had some participation in that one, but my understanding
is it too went too far in certain details that were apparently hyped.
Will let you know how the launch goes and how he performs.
Lex
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