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SPECTROPOP - Spectacular! Retro! Pop!
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There are 25 messages in this issue.
Topics in this digest:
1. Tricia, Tell Your Daddy
From: Phil X Milstein
2. Arrogance; All Night Workers; Jimmy Curtiss; Bag; Van Eatons
From: Country Paul
3. Re: Keith / 98.6 / T.B.S.
From: Artie Wayne
4. Re: Keith; Dickie Lee
From: Austin Roberts
5. www.DocRock.us up and running!
From: Dock Rock
6. another "Smile" sample
From: Jens Koch
7. Re: Scott McKenzie
From: Clark Besch
8. recently on musica
From: Clark Besch
9. Re: Odessey and Oracle and Al
From: Frank Uhle
10. Re: Dan Fogelberg
From: Gary Myers
11. Re: Jaynettes versions
From: Billy G Spradlin
12. Re: Odyssey and Oracle and Al
From: Al Kooper
13. Re: Benny Gordon discography
From: Jeff Lemlich
14. Re: All Night Workers
From: Frank Uhle
15. Re: more on Brian Wilson-Larry King interview
From: Mike Griffiths
16. Re: Elliot Kendall
From: James Botticelli
17. Re: Samples and steals, how do you feel?
From: Various
18. Re: Looking For Jaynetts
From: Al Kooper
19. Joy Dawn on Swan
From: Mick Patrick
20. Re: 98.6 / Eric Carmen
From: Bob Rashkow
21. Re: Benny Gordon discography
From: Gary Myers
22. Joe Barry, R.I.P.
From: superoldies
23. Jackie Lee Radio Show
From: Patrick Rands
24. Re: Unit 4 + 2 singles
From: Scott Charbonneau
25. Re: "98.6" and Keith
From: John DeAngelis
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Message: 1
Date: Mon, 30 Aug 2004 18:58:28 +0000
From: Phil X Milstein
Subject: Tricia, Tell Your Daddy
In honor of this week's big GOP lovefest in New York City, I have
played to musica one of my favorite Republican-themed records, Andy
Kim's 1969 opus "Tricia, Tell Your Daddy." In this Jeff Barry-M.
Sanders composition, Kim asks the eldest daughter of newly-inaugurated
President Nixon to consider dropping such words as "love" and "peace"
around the house every now and again, in the event the old man isn't
hearing them from the likes of Henry Kissinger or Spiro Agnew. He's
chosen Tricia to be his exclusive messenger because, after all, her
daddy is now "everybody's daddy for a while."
This hopeful gem, originally on Steed and then picked up by Dot, was
arranged by Ron Frangiape. The following year saw a cover version by
Jay & The Americans -- anyone have that one?
--Phil M.
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Message: 2
Date: Tue, 31 Aug 2004 01:11:42 -0400
From: Country Paul
Subject: Arrogance; All Night Workers; Jimmy Curtiss; Bag; Van Eatons
Matthew wrote:
> Can anybody tell me about a group called Arrogance that featured
> Don Dixon? I recently picked up sealed copies of their first two
> albums, "Give Us A Break" (Sugarbush Records SBS103, 1974) and
> "Prolepsis" (Sugarbush Records SBS112, 1975).
Davie answered:
> I might be wrong about this but years ago I had an album by a band
> called Arrogance (on Vanguard) -- it's from around 73-74. I'm not
> sure if it's the same group but I vaguely remember it as being
> sorta country-rockish -- like innumerable bands from that period.
> I may be doing it an injustice but it was one of those "play once,
> file away" albums that I never missed when it "got lost" in a move.
Although I agree with Davie that it wasn't a great album, the Arrogance LP
on Vanguard had a solid track in the song "Open Window." With all the
subsequent celebration of Don Dixon, I went back to listen to the LP a few
years ago, but don't remember anything about it except that there "wasn't
anything else" on it to my ears.
Davie again, re: All Night Workers:
> There may be two groups of that name. There's one on Round Sound,
> which is tied in with Pickwick/Design.
That group, a/k/a Otis & The All Night Workers, is the one with the pre-
Velvet Underground Lou Reed. RS-1, "Don't Put All Your Eggs In One
Basket," a great little soulful rocker, made it to #1 in Syracuse, NY. (I
notice the flip side is posted to musica as of this writing.)
Jeff Lemlich:
> The lead Hobbitt was Jimmy Curtiss, the guy who cut the cult classic
> 45 "Psychedelic Situation" on Laurie 3383. Curtiss, who goes back
> to a doo wop group called The Enjays, also recorded under such
> aliases as The Sweet Bippies (on A&M) and Changing Colours.
I think you mean The Emjays, who were discussed here recently, answering
my curiosity about them (great early stuff, waaaaay out of the early formulaic
sounds -- odd chord inversions, no bass on the first 45, 02 -male 2-female
line-up). Nice to know he kept recording. And good article on the
Sandpipers, Jeff; I enjoyed it!
Bobster:
> Jimmy Curtiss penned for and produced lots of great groups in the
> late 60s including the supergreat Bag....
Was this the same Bag that did "Incubatin' Middle-of-the-Night Gyratin'
Blues" on Jerden 769 (1965)? (It's credited as a Jerden Production, which
I always thought meant Jerry Dennon.) Or was there another Bag?
Les Fradkin:
> ... Lon Van Eaton (former Apple Recording Artist who George produced.
> Lon sang the backgrounds on "Photograph" BTW).
Lon & [brother] Derek Van Eaton had a good album on Apple; I believe the
lead track was "What You Want" or "Maybe There's Another" (don't remember
exactly). We played them a fair bit on WHCN -- thought they'd be bigger than
they were.
Country Paul
(striving to catch up yet again)
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Message: 3
Date: Mon, 30 Aug 2004 19:25:42 -0700 (PDT)
From: Artie Wayne
Subject: Re: Keith / 98.6 / T.B.S.
Carlo ... Lindsay/Lyn ... How ya' doin'? Thanks for all the nice things you
guys said about "The Teeny Bopper Song." It was one of the songs I
wrote with my friend Jerry Ross, who was Keith's producer. I also got
my friends The Tokens to sing background on the track, as well as on
98.6. If you listen closely you can hear me singing the high harmony part.
Regards,
Artie Wayne
http://artiewayne.com/
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Message: 4
Date: Mon, 30 Aug 2004 04:38:17 EDT
From: Austin Roberts
Subject: Re: Keith; Dickie Lee
C. Ponti wrote:
> Keith was one of the definitive one-hit wonders, a description
> which is not meant to demean, since it is no easy feat to achieve
> one hit. Does anyone have rememberances or info on Keith or
> this great cut?
Actually Keith's first single Ain't Gonna Lie was a killer, though only
Top 40.
Joe Nelson wrote:
> Listening to it now! Next up on the jukebox, Dickie's "9,999,999
> Tears", another WHN classic. Austin, if you ever need to pay tribute
> to Dickey live for his role in making "Rocky" a hit, try your hand at
> this. A masterpiece in Dickie's hands, bound to be a masterwork in
> yours.
Thanks for the kind words. Dickie and I are good friends, Recently I was
singing it on stage here in Nashville, and I called Dickie to come up and
sing Rocky with me. Unfortunately, we got into a little trouble in the chorus
because I cut the song a l higher, yet we'd forgotten about that, so the
chorus was a riot. We both had to squeeze body parts (not each others')
for him to sing the melody and for me to sing the 3rd.
Dickie is a great talent, believe me. We've been friends for 30 years.
Bobster wrote:
> Most of Dickie Lee's 1965-1969 output is on my want list. (I don't
> think I've heard any of it though.)
Check out Dickie Lee and Allen Reynolds' single called Impressions.
They used the name The Jones Boys and I think it was on MGM, circa
1966. Great record. Shoulda happened.
Best,
Austin R.
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Message: 5
Date: Mon, 30 Aug 2004 21:06:47 -0400
From: Dock Rock
Subject: www.DocRock.us up and running!
After months of planning and weeks of frustration, I am happy to announce
that the Doc Rock website is finally up and running. http://www.DocRock.us
includes a photo gallery (soon to grow) featuring Jan & Dean, Bobby Vee,
and The Pixies Three. There's also a series of articles about Bobby Vee,
Phil Spector, Bob Lind, Jan & Dean, and more. These articles feature
primary source original interview material, with many inside stories told
for the first time by Snuff Garrett, Gene Pitney, Lou Adler, Fanita
James, Bones Howe, and others.
Please visit me!
Doc
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Message: 6
Date: Tue, 31 Aug 2004 09:04:56 +0200
From: Jens Koch
Subject: another "Smile" sample
Another sample of the new Smile can be downloaded at
http://lepers_n_crooks.tripod.com/Wonderful2004.mp3
Jens
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Message: 7
Date: Tue, 31 Aug 2004 16:45:38 -0000
From: Clark Besch
Subject: Re: Scott McKenzie
Rob wrote:
> Yes, "NO, NO, NO, NO, NO" is on Stained Glass Reflections, a 2001
> Scott comp CD from Raven Records. This comp contains his entire
> 1970 LP, Stained Glass Morning, which is a true GEM! Scott was so
> much more than just "San Francisco".
The CD you speak of is nice because it ranges over 10 years, basically
the '60s. From 1960 Kingston Trio-sounding songs of his days with
The Smoothies and Journeymen to (as you said) his all self-written
1970 "Stained Glass Morning" LP tracks. Although I like his mid-'60s
covers best, his 1970 had at least three songs that could have been
Moody Blues songs in 1970 ("Dear Sister", "Illusion" and "Take A
Moment") thanks to the guitar and lead vocal being similar to a quiet
Moody's song of the day.
I still like "No, No, No, No, No" best of his records. I have the 45
and LP versions, and, if I remember correctly, one was shorter for
some reason. The 45 was on Epic, released before "San Francisco"
hit. Not sure if the B side was non-LP or not. Although I did not find
the early 1965 45 of "There Stands The Glass," with flip of "Look In
Your Eyes," I do have a Capitol "cash-in" release (issued when "San
Francisco" hit), "All I Want is You"/"Look In Your Eyes," if you need
it. On the Capitol 45, he's listed as "Scott Mac Kenzie"! Typical of
cash-ins, the idea was "don't worry about particulars, just get it out
fast"!
I think McKenzie's '60s versions of "What's The Difference" and
"Like An Old Time movie" sound much like a P.F. Sloan style, and
some of the CD songs remind me of Phil Ochs style too.
Clark
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Message: 8
Date: Tue, 31 Aug 2004 15:15:49 -0000
From: Clark Besch
Subject: recently on musica
I'd like to thank everyone who has posted to musica recently. Some
great music. "My Birthday Party" was a cool tribute to Jackie De!
"Honey And Wine" by The All Night Workers was cool -- kinda like
The Wildweeds. The Myddle Class records were excellent -- they
weren't ever released? What a shame! The "Love Child" demo was great,
too! Shelley Fabares' P.F. Sloan cover was not as good as I had hoped,
but I'm glad to hear it. Her vocals seemed quite buried, for some
reason. I plan on posting another Sloan demo when space permits.
Anyway, I thought all the songs were cool, and hope there are more
Carole King demos to come. And Al Kooper, your two demos were
great!
Thanks to all!
Clark
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Message: 9
Date: Tue, 31 Aug 2004 15:46:07 -0400 (EDT)
From: Frank Uhle
Subject: Re: Odessey and Oracle and Al
One other factor in getting the Zombies album, and single, released in the
U.S., at least according to local (Ann Arbor, Michigan) lore, was the cover
of "Time Of The Season" by a local band called The Thyme, on A-Square
records. The story local collectors like to tell (I don't know the original
source of this information) is that the 45 (I have a copy, so it definitely
exists) started getting airplay in Detroit, and possibly elsewhere, and CBS
noted that the cover of something they owned had become popular, and
rushed out the original to capitalize on its success. This may well have been
coincidental with Mr. Kooper's involvement in the release, but I wondered
if he had any recollection of hearing that CBS wanted to put the Zombies'
version out because of a cover that was getting airplay in the midwest?
Thanks,
Frank Uhle
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Message: 10
Date: Tue, 31 Aug 2004 10:06:43 -0700
From: Gary Myers
Subject: Re: Dan Fogelberg
Clark Besch wrote:
> I hope Dan Fogelberg can get thru. ... He certainly had '60s roots,
> remembered with his remake of Hollies/Keith's "Tell Me To My Face" ...
He also had a major A/C hit with his 1990 remake of "Rhythm Of The
Rain".
gem
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Message: 11
Date: Tue, 31 Aug 2004 22:19:19 -0000
From: Billy G Spradlin
Subject: Re: Jaynettes versions
Michael Cose wrote:
> I've heard a couple of the instrumental b-sides and they sound like
> the same recording with a poorly executed attempt to remove the
> vocals. I.e., you can hear faint vocals.
That's proably the fault of the tube-based recording deck (proably
an Ampex 300) reverb chamber/unit, or mixer that allowed tracks to
leak into one another. "Broadway Recording Studios" is listed on the
LP.
I have "Sally" on a MCA "Vintage Gold" CD, in a split-track stereo mix
(vocals on the left, backing track on the right) and you can hear the
vocals "leak" into the instrumental track, much as you can hear the
vocals leak into the instrumental beds on the Beach Boys "Stack Of
Tracks" LP.
> As for the alternatively named singles, I urge anyone possessing
> such sounds to please post to musica. The Jaynettes' "Pick Up
> My Marbles" is a slice of heaven.
One of my favorite tracks from that LP! It should have been issued as
a single.
BTW was there an alternate cover for the "Sally" LP? One website
mentions a picture of the group on the cover. My copy is a promo,
and only has a picture of Roses.
Here's what I have collected (and will be getting) so far:
The original "Sally Go Round The Roses" LP
bonus tracks:
Patty Cakes: I Understand Them (Beatles tribute) (vocals & instr.)
Clickettes: I Just Cant Help It (vocals -- looking for instr.)
Jaynettes: Keep An Eye On Her (instr.)
Jaynettes: Snowman, Snowman, Sweet Potato Nose (vocals and instr.)
...and four versions of Sally:
1) from K-Tel's "Girls Girls Girls" CD, which has the original six-
second intro and a louder, more compressed mix that sounds closest
to the original vinyl version.
2) Rhino's unedited mix from "Best of the Girl Groups Vol 1" CD,
which has a longer 13-second intro, fade and less compression.
3) Stereo remix from Versese Sarabande's "Collector's Essential:
Greatest Girl Groups" CD, with organ overdubs.
4) Stereo remix from MCA's "Vintage Music" CD, without the organ
overdubs but with a wider vocals/instrumental spread -- not sure if
I'm going to include this one.
Anal Retentive Billy
http://listen.to/jangleradio
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Message: 12
Date: Tue, 31 Aug 2004 18:51:54 EDT
From: Al Kooper
Subject: Re: Odyssey and Oracle and Al
S.J. Dibai asked:
> A question for Al Kooper: Al, you've said that you went to the UK,
> bought 40 LPs, and "Odessey" stood out "like a rose in a garden of
> weeds." Do you recall what some of those "weeds," er, other LPs
> were?
Edgar Broughton Band w/raw meat on the cover
the famous Brian Auger-Julie Driscoll album
coupla Downliners Sect LPs
a blues anthology
a soul anthology
Autumn by Spencer Davis Group
The Herd
This is all by current memory so I did the best I could.
AK
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Message: 13
Date: Tue, 31 Aug 2004 20:08:12 -0400
From: Jeff Lemlich
Subject: Re: Benny Gordon discography
Davie Gordon wrote:
> There's the album on Hot Biscuit to slot in here butI don't have details
> of that one -- maybe Jeff can help here if he has the time.
The album is "Tighten Up!" by Benny Gordon & The Soul Brothers, on The
Hot Biscuit Company ST-9100. Tracks are Tighten Up, Hold On I'm Comin',
Hang On Sloopy, Mercy Mercy Mercy, Soul At Sunrise, Ticket To Soulville,
Putnintan [sic], Down Home, Anything Goes, Fly Me To The Moon, Don't
Bother Me, and Soul Theme.
The producers on the Shadow label 45 are Kevin McManus & David Hieronymus,
both veterans of Florida bands. Hieronymus was formerly the drummer with
the R-Dells/American Beetles/Razor's Edge. A version of "Give A Damn" also
came out on Estill, but I don't have details. I have been told it was a different
version than the one on Shadow.
Jeff Lemlich
http://www.limestonerecords.com
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Message: 14
Date: Tue, 31 Aug 2004 15:40:05 -0400 (EDT)
From: Frank Uhle
Subject: Re: All Night Workers
Here is more precise info about the All Night Workers 45 on Round Sound,
from Olivier Landemaine's excellent Velvet Underground website (the best
one anywhere, I believe), at: http://tinyurl.com/6um64. There are photos of
the 45 label there, too.
I got my own copy of this 45 from a guy who knew members of the All Night
Workers, so they were definitely a real band.
Frank Uhle
----------------
This single produced by Lee Harridan Productions has a B-side track -
Why Don't You Smile - credited to Terry Philips, Jerry Vance (alias Jerry
Pellegrino), Lou Reed and John Cale. This is the first known collaboration
between Reed and Cale. Jerry Vance is credited as Music Director. Don't
Put All Your Eggs In One Basket was a bit of a regional hit in a few
regions.
The All Night Workers feature Otis Smith with Lloyd Baskin and Mike
Esposito - Syracuse-area mates of Lou Reed. Baskin went later on to
Seatrain, and Esposito went to the Blue Magoos. It has been said that
Peter Stampfel (from the Fugs, then Holy Modal Rounders, and a solo
career) was part of the line-up but he's clearly stated that he doesn't
play on the All Night Workers 45. Rumors persist that Lou and/or John
play on this single.
Why Don't You Smile was later covered by Donnie Burks on US Decca (Why
Don't You Smile b/w Satisfaction Guaranteed, Decca 32134), and The
Downliners Sect on their last UK Columbia album. The song finally
re-surfaced in 1987 on Maureen Tucker's MoeJadKateBarry 12 inch EP
(50 Skidillion Records MOE 1). It has also been covered by Spiritualized on
their November 1991 Smiles/Sway single (7inch SPIRT 003, also available as
12inch), and now appears on the 2003 Spiritualized - The Complete Works -
Volume One (2CD Spaceman/Arista OPM009CD).
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Message: 15
Date: Tue, 31 Aug 2004 05:47:31 -0000
From: Mike Griffiths
Subject: Re: more on Brian Wilson-Larry King interview
I've just read through all the posts commenting on the Brian Wilson
interview on Larry King and I feel I need to make a couple of points
here.
First off, I wholeheartedly agree with Bob Hanes. His observations
strike me as well informed and compassionate. Melinda comes across
as intelligent, knowledgeable and sensitive. She obviously loves
Brian. When she interjects and disagrees with him it's to make
important and relevant points - for example when they are discussing
Landy:
*****
KING: Have you sued him?
B. WILSON: Oh no. I never had to sue him.
M. WILSON: Oh yes, we did.
B. WILSON: Well, I don't remember suing him, but I guess we did. She
says so.
M. WILSON: Actually, when I married Brian, we were in the midst of
nine separate lawsuits.
*****
Also, Melinda's explanation of Brian's condition is the most clear
and concise I have heard and she really seems to have spent a lot of
time learning about depression and the various permutations thereof.
I ended up really liking Melinda and I feel a whole lot better now
knowing that Brian is with someone like her. It's just too bad that
the late great Del Shannon (also diagnosed with depression) didn't
have a similarly informed and caring someone around, as this could
have prevented his tragic suicide.
As for Larry King, the fact that he doesn't seem to know anything
beyond the most obvious facts about Brian and the Beach Boys (i. e.
what the general public knows) means that he asks questions that none
of us `experts' would even think of asking. Although I agree
that Larry failed to follow up on many of Brian's most interesting
asides, it is his so-called 'stupid' questions that bring out many
new bits of information. Knowing what we know, I can't imagine any
one of us pursuing this line of questioning:
*****
M. WILSON: Because all of the sudden -- I mean, you're normal and all
of the sudden you start hearing voices in your head and things start
happening to you that you don't know whether to tell people or -- I
think with Brian he went a long time without discussing it with...
KING: Why not?
B. WILSON: I was afraid to. I was afraid to.
KING: Yes, I would imagine. I can understand. When you say you heard
voices can you describe what that's like? Because we read stories
like that about people who -- what happens?
B. WILSON: Well, a voice is saying: "I'm going to hurt you, I'm going
to kill you." And I'd say: "Please don't kill me."
KING: It's an actual voice.
B. WILSON: Actual voice in my head. Yes.
KING: Not your voice?
B. WILSON: No. No.
M. WILSON: That's called auditory hallucinations and if somebody's
depression is deep enough that's what happens to them.
*****
O. K. let me interject - this is very specific and key information
about what is going on in Brian's head - none of which I had heard
before.
Back to the transcript where Larry immediately asks a very
interesting and relevant question (one I think we all hope we would
be smart enough to ask):
*****
KING: And at the same time you're still writing songs?
B. WILSON: Yes, I could still write songs, yes, during that period.
KING: Write hit songs?
B. WILSON: Yes.
*****
And later Larry wisely follows up on this line of questioning:
*****
KING: All right, back to the hearing things. You could hear them now?
B. WILSON: I can still hear things like, "I'm going to kill you," but
I don't hear very many other kind of thoughts. Just usually negative
thoughts or negative...
KING: Ever hear them while you're singing?
B. WILSON: No, not when I'm singing, no.
KING: When you're writing?
B. WILSON: No, not then, either.
*****
Then Brian pulls off a very dry and hilarious joke:
*****
KING: When, then, would you hear them?
B. WILSON: When I'm not singing or writing.
(Rim shot and cymbal crash!)
*****
Again, very informative. So, Brian hears voices but never when he's
singing and never when he's writing. This seems to explain a lot
about why Brian is still able to be so creative. By the way, Phil
Milstein, Melinda doesn't contradict Brian on this point. She
says: "...when he goes out on tour I can look at him and I say to
myself: "Oh my God, I can tell just by his face he's hearing
voices." She doesn't say when he's singing, she says when 'he goes
out on tour'. I assume she has gone out on the road with him and a
lot of stuff happens on the road besides the show. And still later
Larry asks more about the voices:
*****
KING: Do they ever issue commands, these voices?
B. WILSON: What?
KING: Do they ever tell you to do things?
B. WILSON: No.
KING: Just, "I'm going to kill you," or...
B. WILSON: Yeah, right.
KING: That's all they -- it ever says?
B. WILSON: Yeah.
KING: Is that some sort of self-wish?
M. WILSON: No. No. I don't think so. But -- they tell him other
things as well, like...
KING: Like?
B. WILSON: They'll say, like...
M. WILSON: You're no good, or...
B. WILSON: Or something like that, yeah.
M. WILSON: And then there are days that they might be good to him.
B. WILSON: That happens every few days, they'll have...
KING: Good to you by praising you, you mean?
B. WILSON: Right. They'll say, "We love you, we love you, we can't
live without you," stuff like that, yeah.
*****
I don't know enough about Larry King to intelligently defend his
credentials as a journalist or interviewer. However, maybe through
his ignorance, Larry brought a lot of new information to light
regarding Brian's mental condition. I am trying to think back to the
famous Nick Kent piece in Rolling Stone many years ago (for those who
don't know, Nick Kent was a 'gonzo' journalist who specialized in
getting inside the heads of damaged geniuses like Syd Barrett and
Brian Wilson) and I don't think Nick got anything close to this kind
of stuff out of Brian.
I know there are other examples during the interview of Larry's
approach uncovering more gems. I suggest giving the interview
another viewing/reading while keeping an open mind.
Cheers,
Mike
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Message: 16
Date: Tue, 31 Aug 2004 11:07:00 -0400
From: James Botticelli
Subject: Re: Elliot Kendall
John Kirby wrote:
> I have the great great pleasure of calling Elliot Kendall my friend...
> In the few years I have known him Elliot has astounded me as a
> consumate musician, an authority on 60's music, a raconteur and a very
> valid member of LA's music community who is always welcoming visiting
> musicians and introducing them to everyone he can. But more than
> anything else he is one of the best friends I have ever made in my
> life......A LURKER, you are not my friend you deserve to be up there
> with those artistes you constantly champion... Elliot you are one of
> those rare people in the music industry...100% GENUINE.
Elliot did for Del-Fi what Scamp did for Martin Denny.
JB
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Message: 17
Date: Wed, 01 Sep 2004 21:25:13 +0100
From: Various
Subject: Re: Samples and steals, how do you feel?
Multiple posts on the same subject:
I've been an admirer of samples for years. There is no pure and
clean version of really any chord, note, riff, bridge, or melody
that hasn't been influenced by someone anyway. Mose Allison once
said there is only one real song in most musicians. Not sure if
THAT'S true, but that being said, to hear something familiar in a
whole new context bridges the gap between nostalgia for the older
therefore 'better' daze and for today. The original question was
about the use of the chords in 'Sugar Sugar'. As I recall that
song was scorned by hipsters from the moment it was played. The
Archies were not only not a group, they were just a cartoon and if
this was good music, then the Monkees were as good as The Beatles.
Perhaps its dismissal by the hipouisie (sp) in the day and its use
today is a good example of post-irony. Maybe it was just an
innocent cop of an ez riff to use. But I sure don't mind hearing
it. But I haven't yet!
Speaking of which, anyone using Mac OSX's Garageband application
yet? I just got mine going and all I can tell you is that I'm
playing every riff in the key of C I can use. You create your own
baseline on the Midi, select the groove and tempo, and I'm wailing
away on the "pop organ" motif, already utilizing "Work Song",
"Comin' Home Baby", "Sunshine of Your Love", and "Mission
Impossible" intro riffs to the same bass line! So I guess I'm doing
a form of sampling too.
Thanks for the space.
James Botticelli
-----------------------------------------
I more than anyone feel "urban" music is a plague upon us. Bereft of
melody for the most part, governed by bass and drum frequencies, it
contradicts all the aesthetics that make me put on The Beach Boys'
FRIENDS late at night. Still, we writers DO get our names on the
records that sample our old songs. I have actually received awards
and some credibility from having my name on urban hits. I also see
my royalty statements swell from urban usages. Since radio playlists
have changed and there are less true "oldie" stations in every
market, I welcome that income. Ultimately guys like me make our
livings from radio play and when the radio isn't playing my original
hit, at least they're playing a present day sampling that helps pay
the rent....
C. Ponti
------------------------------------------
S.J. Dibai wrote:
> As a result, we have ended up with way too much sampling, way too
> many hits (in several genres) that borrow a main riff, rhythm
> track, or chorus from an oldie. It's sickening. It points to the
> lack of originality and creativity that pervades the entertainment
> industry today.
I couldnt agree with you more. The way Hip-Hoppers used samplers in
the 80's was far more creative - the Beastie Boys "Paul's Boutique"
was a masterpiece of using samples (over 100 samples) and they made
it fun picking out what songs they used. Now lazyass rappers and
producers take a basic hook and ram it into your head for 3 1/2-5
minutes and tack on a rap on top. Maybe they are too scared or
untalented to sit down in front of a piano or pick up a guitar and
come up with a original melody?
I just hope MTV and the teenage community will eventully get sick of
Hip Hop. I pray in 5-10 years today's gold-toothed "crunk" rappers
will be about as cool as 80's hair metal bands are now.
Billy
http://listen.to/jangleradio
--------------------------------------------
Regarding sampling of 6Ts pop in rap & hip-hop: as Chicago's own
Torkays once sang on the B-side of their local hit "Karate": I
Don't Like It (But What Can I Do?)
Bobster
--------------------------------------------
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Message: 18
Date: Tue, 31 Aug 2004 18:41:30 EDT
From: Al Kooper
Subject: Re: Looking For Jaynetts
Previously:
> I've heard a couple of the (Jaynetts') instrumental b-sides and
> they sound like the same recording with a poorly executed attempt
> to remove the vocals. i.e., you can hear faint vocals.
It's actually not poor execution. It's leakage from the vocals into
the instrument mics in the pre-overdubbing era of early multitrack
recording. Be kind to the Jaynett engineers!!
Al Kooper
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Message: 19
Date: Wed, 01 Sep 2004 21:40:28 +0100
From: Mick Patrick
Subject: Joy Dawn on Swan
By any chance does anyone out there possess a copy of "Hang
It Up" by Joy Dawn, released on the Swan label in 1963? If
so, I'd love to know if there are any arranger or producer
credits on the label. Joy Dawn was a pseudonym used by the
one and only Claudine Clark, but you all knew that.
Thanks in advance.
Hey la,
Mick Patrick
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Message: 20
Date: Tue, 31 Aug 2004 18:57:44 EDT
From: Bob Rashkow
Subject: Re: 98.6 / Eric Carmen
"98.6", undeniably a great moment in 6Ts pop sung by "the guy with the
toothpaste-ad grin", was probably Fischoff & Powers' biggest moneymaker.
The duo penned some really terrific songs for numerous artists. I may
just check out "Marathon Man". Eric Carmen has had a very lengthy
musical career and I don't know nearly enough about it.
Bobster
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Message: 21
Date: Tue, 31 Aug 2004 22:04:53 -0700
From: Gary Myers
Subject: Re: Benny Gordon discography
A little synchronicity here: I just received a sale list (from John's
Boy in TX) that includes 3 Benny Gordon 45's.
gem
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Message: 22
Date: Wed, 01 Sep 2004 06:20:50 -0000
From: superoldies
Subject: Joe Barry, R.I.P.
JOE BARRY ("I'm A Fool to Care") has passed away. He suffered from
rheumatoid arthritis, chronic asthma, bronchitis, emphysema,
cariomyopic disease, diabetes, and an infected immune system.
Born Joseph Barrios, July 13th, 1939, he released his last CD in
April of 2003, info at: http://www.pershingwells.com/joe_barry.htm
He lived in Cut Off, Louisiana.
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Message: 23
Date: Wed, 01 Sep 2004 13:49:37 -0000
From: Patrick Rands
Subject: Jackie Lee Radio Show
Be sure to tune in this friday night (9/3/04) between 6-7 pm (Eastern
Standard time) to hear my Jackie Lee radio show spotlight.
I'll be spotlighting the British girl singer's output from the 1960s.
She is best known for the songs The Town I Live In, White Horses and
Rupert but her career was much more extensive than that, so due tune
in for an hour of her best material solo, with her group, and her
session work.
You can tune in at 90.3 FM (Boston College radio in the Boston area,
or online at http://www.zbconline.com - and the radio shows are
usually archived at a later date on the same website.
Read all about her at The World of Jackie Lee website:
http://www.jackielee.freeserve.co.uk/
Has Jackie Lee been discussed here at Spectropop before?
Chirpy chirpy cheep cheep!
:Patrick
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Message: 24
Date: Wed, 01 Sep 2004 16:36:15 -0000
From: Scott Charbonneau
Subject: Re: Unit 4 + 2 singles
Previously:
> When they left for Fontana, they were starting to get way into MOR
> leanings, and while U4+2 were never gravel-voiced teddy boys, the
> Fontana material makes the earlier Decca singles seem positively
> rugged.
Granted, their Fontana label stuff may not be as consistent overall
as their Decca period but I count at least 4 killers from the 1967 to
1969 period which are well worth a listen:
Butterfly - Lovely cover of a pre-UK period Bee Gees track, loaded up
with wistful nostalgia for a younger, simpler time.
You Ain't Going Nowhere - Taken from Dylan's "basement tapes" that
were doing the rounds back then. To their credit they do not copy the
Byrds arrangement. Very good treatment of the song although
admittedly not as catchy or memorable as the Byrds' take on it.
I Will - Their last 45 from '69; great catchy pop with a use of the
acoustic guitar motif that reminds one of their brief mid 60s heyday.
3:30 - The other side to "I Will;" nice, slower paced offering. Both
sides of this final 45 were deemed good enough to be included in Bam
Caruso's "Rubble" series. "I Will" can be found on the Psychedelic
Snarl and "3:30" is on the 49 Minute Technicolour Dream.
As for the Repertoire singles comp: highly recommended as all of the
tracks are in mono bar the final two which come from a 1974 45 billed
as "Parker-Moeller Reunion."
Scott
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Message: 25
Date: Wed, 01 Sep 2004 17:47:43 -0000
From: John DeAngelis
Subject: Re: "98.6" and Keith
I'm enjoying the Keith compilation, but I have a beef with the CD's
notes. Peter Doggett writes that: "Keith became the lead singer in
Frank Zappa's band...to fill the hole left in the Mothers by the
departure of former Turtles singers Mark Volman and Howard Kaylan.
Sadly this...wasn't chronicled on any of Zappa's albums." On his
website, Keith claims to have been with Zappa for at least a year.
Keith did record at least one single for DiscReet, the label co-
owned by Zappa and Herb Cohen, and may have auditioned for the
Mothers or even sang with them for a gig or two (as Kin Vassey,
formerly of Kenny Rogers' First Edition, did at around the same
period). But the fact that there are no studio or live recordings
of Keith singing with the Mothers casts a dubious light on such a
claim. No one's career is more documented than FZ's so I gotta
think that Keith is padding his resume.
To make matters worse, in the Keith CD booklet, there's a picture
of the Mothers that's captioned: "Frank Zappa's band with Keith
singing lead." The picture shows Zappa, Volman, Kaylan, drummer
Aynsley Dunbar, keyboardists Ian Underwood and Bob Harris, and
bassist Jim Pons. No sign of Keith anywhere!
All this from a guy who sang "Ain't Gonna Lie"!
John DeAngelis
-------------------[ archived by Spectropop ]-------------------
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