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SPECTROPOP - Spectacular! Retro! Pop!
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There are 24 messages in this issue.
Topics in this digest:
1. Hide and Seek
From: Ed B
2. Re: Glen Campbell
From: Jens Koch
3. Steve Duboff
From: Glenn
4. Re: Dean and Jean and Ernie Maresca
From: Mick Patrick
5. Re: The Frank Guida Sound
From: Joe Nelson
6. Robin Ward's "Wonderful Summer"
From: Paul Urbahns
7. Brian Wilson show in NYC; Cowsills; LeGrand; more
From: Country Paul
8. Joel Hill; Bob Lind; Glen Campbell; Bunker Hill; Claude McLin
From: Country Paul
9. Re: Jerden label
From: Joe Nelson
10. Re: The Frank Guida Sound
From: Austin Roberts
11. Donald Leslie, R.I.P.
From: Gary Myers
12. This year Christmas comes earlier
From: Frank Jastfelder
13. Re: Joe Meek's Bold Techniques - any comments?
From: Kurt Benbenek
14. Re: Glen Campbell
From: Ken Silverwood
15. Re: Steve Duboff
From: Stephane Rebeschini
16. Lion Sleeps Tonight
From: Phil X Milstein
17. Re: Steve Duboff
From: Shawn
18. Re: Bunker Hill
From: Larry Shell
19. Re: Bunker Hill / Claude McLin
From: Davie Gordon
20. Re: Steve Duboff
From: Davie Gordon
21. Re: Robin Ward's "Wonderful Summer"
From: James Botticelli
22. Re: Jerden label
From: Mikey
23. Re: Robin Ward's "Wonderful Summer"
From: Mikey
24. Re: Glen Campbell
From: Jens Koch
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Message: 1
Date: Tue, 07 Sep 2004 22:52:11 -0000
From: Ed B
Subject: Hide and Seek
While on the subject of Bunker Hill let's not forget the remake a
few years later in 1966 by The Sheep (Strangeloves) on Boom
Records, another muddy frantic recording of Hide and Seek.
Ed B
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Message: 2
Date: Tue, 07 Sep 2004 23:27:30 +0200
From: Jens Koch
Subject: Re: Glen Campbell
Rob wrote:
> Guess I'm Dumb is about as perfect as '60s pop gets. With an amazing
> vocal by Glen, and production by Brian Wilson, this single should have
> been a huge hit.
Apparently Glen has recorded a new version of Guess I'm Dumb
http://www.towerrecords.com/product.aspx?pfid=3080184
- as to whether Brian Wilson's services were required again ... I doubt
it or we would have heard about it.
Jens
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Message: 3
Date: Tue, 07 Sep 2004 22:57:46 -0000
From: Glenn
Subject: Steve Duboff
While we're on the subject of The Cowsills, does anyone know, or know
anything about, the mysterious Steve Duboff? I have never been able
to find any information on this guy except the most basic stuff.
Duboff and Artie Kornfeld wrote The Cowsills' smash "The Rain, the
Park and Other Things." They also wrote the enchanting Crispian St.
Peters hit, "The Pied Piper". In addition, the duo recorded the
original version of that song (as "Pied Piper") under the name The
Changin' Times on Philips 40320 in 1965.
But that's all I know about Steve Duboff. Artie Kornfeld, on the
other hand, I know plenty about, and so, probably, do you. He was one
of the organizers and producers of the Woodstock Music Festival. If
you didn't know that just watch the movie - he's interviewed
frequently throughout the film.
I have the strong feeling that Kornfeld would be perfecly happy to
have Woodstock be his legacy, the strong mark he made on the history
of rock music.
It is my personal feeling that if Kornfeld had never had anything to
do with Woodstock, those two songs he and Duboff wrote would have
been quite sufficient to make a strong and lasting mark on the
history of rock music.
So, anyone know anything about Duboff? Does anyone know of any other
songs/productions by the Kornfeld/Duboff team? Did they ever record
an album as The Changin' Times or under any other name?
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Message: 4
Date: Wed, 08 Sep 2004 00:40:48 +0100
From: Mick Patrick
Subject: Re: Dean and Jean and Ernie Maresca
Austin Powell on Dean & Jean:
> ... Dean was Welton Young and Jean was Brenda Lee Jones.
> Apart from Tra La La La Suzy which they wrote they also
> did Hey Dean, Hey Jean (Let's Have A Party) (an Ernie
> Maresca song). I loved 'em both. I guess they recorded
> other stuff but these two are the only ones I ever got.
> Both were on Rust around 63/64 and both got a UK release
> on EMI's Stateside label.
Ernie Maresca wrote a few songs for Dean & Jean, "Please
Don't Tell Me Now" and "Seven Day Wonder" being particular
faves of mine. Ernie lives in Florida these days. I happened
to have the chance to speak to him on the phone last year.
He was just great to talk to - friendly, funny, modest, and
with an excellent memory. Here's what he said about Dean &
Jean:
'"Please Don't Tell Me Now" by Dean and Jean, what a great
record that was. Jean was a wonderful woman. She and Dean,
both of them were really good people, I'm telling you. They
were really down to earth people and I really, really liked
them a lot. I got along with them from day one. I'm sorry to
hear that Jean died. I wish she had called me because she
probably had royalties coming to her. I wrote "Seven Day
Wonder" with Lou Zerato and a good friend of mine named Andy
La Terra. Andy sang at my sister's wedding about 30 years
ago. These days he's a lounge singer at a club in New York.
He sounds just like Frank Sinatra. He's terrific, a nice guy."
Funnily enough, I was playing one of Jean's solo records
earlier - "You're The Love Of My Life" as Brenda Lee Jones.
What a thunderous wall of sound that is! Great backing vocals
by Valerie Simpson and pals. If it was up to me there'd be a
Dean & Jean CD available. They made a slew of strong records
and wrote some good songs for other artists too.
Hey (Dean, Hey Jean) la,
Mick Patrick
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Message: 5
Date: Tue, 07 Sep 2004 19:52:38 -0400
From: Joe Nelson
Subject: Re: The Frank Guida Sound
Steve Jarrell:
> I was told by so folks from Norfolk that did work for Frank Guida
> that Frank had his studio remodeled at one time. After the remodeling
> was complete, the sound was lost and no more hits came out of the
> studio. Austin, do you know or did you ever hear that story?
Austin Roberts:
> I did hear that story; it does sound like something most people end up
> doing though. Don't screw with what works!
Tom Diehl once told me (I'm not sure where he got his info) that the
Frank Guida sound was the side effect of excessive ping-ponging
between two monaural tape machines (by about the fifth generation you
had that legendary Norfolk mud). I just spoke with ping-pong champ Al
Kooper via AIM and he says it probably played a part.
I noted that the clearest thing on "Quarter To Three" is a microphone
bump several seconds into the record. I took this as possible evidence
that in ping-ponging the overdubs, Guida may have miced his machines'
speakers rather than wiring them into the board. It sounds far fetched
(and Al disputed it outright), but any attempt to upgrade the studio
would obviously rectify such a stuation.
That said, whatever the secret it sadly dated the recordings. Whether
it created the sound that made the hits or not, you don't get hits
today by making the record sound like the instruments were in one room
and the microphones in another when they were recorded.
Joe Nelson
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Message: 6
Date: Tue, 07 Sep 2004 20:44:56 EDT
From: Paul Urbahns
Subject: Robin Ward's "Wonderful Summer"
I have been told (but can't confirm it) that the mono versions of
Robin Ward's Wonderful Summer ( read that the hit single) start cold
and do not have any surf. But the stereo versions start with the
sound of the surf. Are they just different mixes or different
recordings? If this is true, have any of the stereo versions been
"corrected" to match the hit single? I haven't had the actual single
for many years.
Paul Urbahns
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Message: 7
Date: Wed, 08 Sep 2004 01:04:38 -0400
From: Country Paul
Subject: Brian Wilson show in NYC; Cowsills; LeGrand; more
My wife and I got tickets for the Wednesday October 13 Brian Wilson show at
Carnegie Hall in NYC. Anyone else planning on hitting that one? Thanks to
all who wrote and posted the tour schedule.
David Coyle wrote:
> Will there ever be a definitive compilation of the Cowsills? ...
Billy cited
http://www.robinrecords.com/cowsills/discography/music-millennium.html,
which contains my all-time favorite Cowsills song, "Most of All," which was
done withjust the four brothers. This track, a hit in Providence, RI, had
just the four brothers on it (Mom and Sis came later). I saw the group live
in this configuration at one of the Brown University frat parties they
mention elsewhere on their website, and I remember that they were amazing,
although the details have been obscured by time.
If I recall, there was a post-Cowsills 45, "In Between," by a group called
Lumbee (named after a North Carolina Indian tribe and released on a small
label whose name I forget) which may have featured one or two of the
brothers. Anyone with any info on this, please? And the first 45, "All I
Wanta Be Is Me," now playing at musica, is a real treat - what a period
piece, and a fare cry from their bubblegum period.
Thanks to Jens Koch for the Glen Campbell timeline.
Austin Roberts, re: LeGrand:
> I know what you're saying about sound quality, but in this case,
> the Frank Guida produced acts, Gary Bonds, Jimmy Soul, Tommy
> Facenda etc. were part of what came to be known internationally
> as the Norfolk (Va.) Sound. Though not clean, it was an exciting
> sound. I worked with Guida a couple of times and still have no
> idea how he managed to get this sound on one track and then two
> track machines. Magic room and mic placement I guess.
My comment was not a criticism, Austin, merely a description. I love it. It
was an absolutely electric and vibrant effect, probably overdriven and
compressed like crazy. You can't get things that wonderfully dirty in the
digital age without a lot of work.
And re: Mike Rashkow's mention of Cosimo Matassa's studio, it seems that
about half the Nawlins r&b/rock hits came out of there. The list of artists
he cites reads like a Big Easy Who's Who.
(That) Alan Gordon wrote:
> I would like to welcome Steve Meyer to Spectropop. Steve is a
> well known Promotion man, with a lot of experience in the music
> business. He also puts out a great newsletter called Disc and Dat.
...of which I've seen a couple of issues, and I strongly concur. Glad you're
aboard!
Country Paul
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Message: 8
Date: Wed, 08 Sep 2004 02:11:19 -0400
From: Country Paul
Subject: Joel Hill; Bob Lind; Glen Campbell; Bunker Hill; Claude McLin
Martin Roberts:
> The Record of the Week playing now on the Home page is the
> second outing for Joel Hill, with "I Ran" on Monogram.
> http://www.spectropop.com/JackNitzsche/index.htm
Dion should have sued for stylistic infringement! This should've been a hit,
but I think the hand claps on 1 and 3 instead of 2 and 4 hurt it.
Nonetheless, what a cool undiscovered gem.
And the Bob Lind comments at
http://www.spectropop.com/JackNitzsche/friends.htm#boblind are wonderful,
too. I was a big "Elusive Butterfly" fan well before it became a cliche. I'm
glad he's back. His new music can be heard at www.boblind.com. The writing
remains solid, but the production and arranging sure misses Nitzsche's
touch. Of course, I'm sure the sessions cost a lot less, too!
Steve, re: Glen Campbell's "Guess I'm Dumb":
> You should hear the B side, That's All Right. It's another great song,
> plus an earlier single called Same Old Places. They both knocked me
> out when I heard them. Same Old Places is a Pitneyesque ballad, but
> Glen's voice is deeper and darker on this one. Oddly enough one of his
> very early singles, Prima Donna, sounds exactly like a Johnny Crawford
> reject. Guess he was trying all kinds of things at the time.
If you could play "That's All Right" and "Same Old Places" to musica, it
would be a treat. I remember "Prima Donna" - nice cha cha. I think that
Campbell indeed was trying many styles at the time; what was amazing is how
well he did all of them.
Phil Milstein:
> For more on Bunker Hill have a look at:
> http://koti.mbnet.fi/wdd/bunkerhillbio.htm
Couldn't get it to open - darn! But thanks for the discography, Phil.
>From Mick Patrick's Brenda Melson obit:
> the pair were christened Dean & Jean by their manager, future
> congressman C J McLin.
This reference sent me on a research project to find if C. J. McLin was the
jazz and bop sax player Claude McLin (he wasn't) who did a record called
"Jambo" [Dootone 476, 1963], among many others. That was one wild track!
(If you're interested, there's a scholarly treatise, a musical biography
with label scans and much more, at
http://hubcap.clemson.edu/~campber/mclin.html; "Jambo" os scanned about 95%
of the way down the page. McLin was active from the 40s through the early
60s.)
Country Paul
(actually caught up!)
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Message: 9
Date: Tue, 07 Sep 2004 19:57:33 -0400
From: Joe Nelson
Subject: Re: Jerden label
John Berg:
> Shawn, Over the past few years there have been no less than three
> series of releases of Jerden masters -- by Ace Records (UK),
> Sundazed (USA) and Norton (USA). Ace's Alec Palao went right from
> the master tapes, having come here to Seattle to DAT everything in
> the Jerden vaults and thus unveil true stereo mixes on quite a few
> songs for the first time. All these series are worth buying, as
> each comes with slightly different song selections, and each has
> good liners.
Jerden stereo? Can anyone comment on the claim that the Kingsmen's
"Louie Louie" was recorded with a single microphone? It sounds too
clear to me to me anything but multimiced.
Joe Nelson
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Message: 10
Date: Tue, 07 Sep 2004 23:48:01 EDT
From: Austin Roberts
Subject: Re: The Frank Guida Sound
Phil M:
> In what capacity did you work with him, Austin? Your comment about
> not knowing how he got his sounds makes me wonder if, like Joe Meek,
> Guida was secretive about his working methods, or whether you were
> simply ensconced on the other side of the glass and didn't have
> access to watching him up close. Any good stories about him? And,
> anyone know if he's still around? I think the Norfolk Sound is one
> of the more underrated scenes in rocknroll history, and is sorely
> in need of further investigation.
Regarding Frank Guida; he had heard about this 17 year old kid across
the James River from Norfolk (Newpot news) who had had a couple of
songs published in NYC (Moi) and being the ear to the ground kind of
guy that he was, he got my number from Bill Deal, who was playing
organ on a lot of Guida's productions. He called and invited me over
to his studio to write for some of his acts. Well the first time was
strange because he wanted a song about Schwepps or something in their
commercial I was, as they say, bereft of any ideas. The next 2 or 3
times he asked me to write equally strange kind of songs that didn't
have much to do with the Norfolk Sound type of songs that I felt I
could write. I watched him in the studio a couple of times but he
didn't want anyone around when he began to set up mics etc. The
drummmer was in a corner of the studio as I remember, with a lot of
overheads that didn't mean much to me then, as I hadn't gotten into
the production end of things at that time. Anyway, bottom line,
whatever he was doing, he did it well, though as a motivator for
young writers, well you get my meaning.
Austin Roberts
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Message: 11
Date: Tue, 07 Sep 2004 22:48:03 -0700
From: Gary Myers
Subject: Donald Leslie, R.I.P.
Donald Leslie, the inventor of the Leslie speaker has died at age 93.
I think one of the most effective uses of the Leslie on record is on
the Rascals' "I've Been Lonely Too Long."
gem
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Message: 12
Date: Wed, 08 Sep 2004 12:44:17 +0200
From: Frank Jastfelder
Subject: This year Christmas comes earlier
Ho, ho, ho, all you Spectropoppers. Santa Frank needs your help. I'm
currently putting together a Christmas compilation for Universal Germany
with some heartwarmingly songs from the 60s and 70s. The CD is called
"Snow 2 - The Get Easy! Christmas Collection Volume II" (we did one
already two years ago) However I'm missing a few credits for some songs
of which I don't have the original vinyl and hope that you could help me
out on this. The following details are missing:
Smokey Robinson & The Miracles
I Can Tell When Christmas Is Near
(Morris / Wonder)
Arranged by ???
Produced by Stevie Wonder
(P) 1970 Motown Records
(this is from the Season for Miracles LP)
The Pixies Three
Cold Cold Winter
Composer:
Arranged by
Produced by
(P) 1963
( I'm sure someone has to have the single)
The Ventures
Sleigh Ride
(Parish/Anderson)
Arranged by ???
Produced by ???
(P) 1965 Dolton Records
(I'm really not sure if the Ventures used an arranger at all)
James Brown
It's Christmas Time (Part 1)
(Brown/Hobgood)
Arranged by ???
Produced by James Brown
(P) 1969 King Records
(this was only released as a single originally. I'm not sure if there´s
an arranger mentioned, since it's a very intimate ballad without
strings)
The Gems
Love For Christmas
(Davis)
Arranged by Phil Wright
Produced by ???
(P) 1964 Chess Records
(I have the original single and there's no producer credit given. but
maybe some of you guys knows more about it.)
The Emotions
What Do The Loney Do At Christmas?
(Banks/Hampton)
Arranged by ???
Produced by Al Bell
(P) 1973 Stax Records
(this was also only released as a single on Stax records)
I appreciate any contributions of yours.
Thanks
Frank J.
*************************************
Frank Jastfelder
Freier TV-Autor und Konzeptioner
Augustenstrasse 73
80333 München
Fon 089 / 523 007 13
Fax 089 / 523 007 14
Mobil 0173 / 610 11 55
*************************************
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Message: 13
Date: Wed, 08 Sep 2004 04:52:44 -0000
From: Kurt Benbenek
Subject: Re: Joe Meek's Bold Techniques - any comments?
M. G. Still wrote:
> Has anyone had a look at Barry Cleveland's new book, "Joe Meek's Bold
> Techniques"? How is the writing, and does it add much to the info in
> Repsch's book?
I read Barry Cleveland's book about 6 months ago. As the title suggests,
Cleveland focuses on the technical side of Meek's production work.
However, the book has a long biographical section which reveals Meek's
human side and tells his story simply and clearly and (thankfully)
without the usual psycho-babble found in most writings about Meek.
Cleveland investigates Meek's more well-known productions in great
detail. He also does an in-depth track-by-track analysis of Meek's pop
concept album "I Hear a New World" (a version of the album taken from
an acetate is included with the book!)
In his book, John Repsch seemed to revel in the more bizarre aspects of
Meek's life. Cleveland's book is more down-to-earth, and brings the
reader into the studio setting where Meek worked his magic. There has
been so much overblown, strange writing about Meek's life, that it's a
shame. Cleveland's book is very sensitive and fun to read.
Kurt Benbenek
PS - The best deal I found on the book was at BC's own site
Barry Cleveland's site
http://www.barrycleveland.com/
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Message: 14
Date: Wed, 08 Sep 2004 09:33:37 +0100
From: Ken Silverwood
Subject: Re: Glen Campbell
Don't forget Glen's version of "Universal Soldier", did he do his
before Donovan? Am I right in thinking it was composed by Buffy
St Marie as I don't have a 45 of it?
Ken On The West Coast
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Message: 15
Date: Wed, 08 Sep 2004 11:29:59 +0200
From: Stephane Rebeschini
Subject: Re: Steve Duboff
Glenn a écrit:
> While we're on the subject of The Cowsills, does anyone know, or know
> anything about, the mysterious Steve Duboff? I have never been able
> to find any information on this guy except the most basic stuff....
> But that's all I know about Steve Duboff. So, anyone know anything
> about Duboff? Does anyone know of any other songs/productions by the
> Kornfeld/Duboff team? Did they ever record an album as The Changin'
> Times or under any other name?
Some Steve Duboff productions:
1970 INSECT TRUST, HOBOKEN SATURDAY NIGHT, ATCO
1970 Bill MITCHELL, MIGHT BE HOPE, MERCURY
All the best
Stephane
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Message: 16
Date: Wed, 08 Sep 2004 13:23:21 +0000
From: Phil X Milstein
Subject: Lion Sleeps Tonight
DISNEY MAY SELL TRADEMARKS OVER SUIT
Associated Press
September 8, 2004
CAPE TOWN, South Africa (AP) -- Disney Enterprises may have to sell its
trademarks in South Africa to pay for damages if a poor family wins a
lawsuit claiming it lost millions in royalties from the hit song "The
Lion Sleeps Tonight."
The Pretoria High Court on Tuesday dismissed an application by Disney
Enterprises to prevent its trademarks from being sold off if the family
of the late musician Solomon Linda, who wrote the original song,
"Mbube," in 1939, wins its suit.
Lawyers for Linda's family obtained a court order in July attaching more
than 240 trademarks registered here to their $1.6 million lawsuit in
order to establish local jurisdiction.
The trademarks, which include well-known images such as Mickey Mouse and
Donald Duck, could be sold locally to pay Linda's heirs if they win
their lawsuit, according to Tuesday's ruling.
Linda's three surviving daughters and 10 grandchildren, living in
poverty in the Johannesburg township of Soweto, have received only a
one-time payment of $15,000, according to their lawyers.
"It means that Mickey Mouse is still in captivity," said Adri Malan,
spokesman for the family's legal team.
Joyce Lorigan, a London-based spokeswoman for Disney, said the judgment
Tuesday was disappointing, but had no impact on the substance of the
dispute.
"The real issue in this lawsuit is whether Linda's estate or Abilene
Music Publishing -- who bought the rights to the song from Linda's wife
-- owns the copyright to 'The Lion Sleeps Tonight,"' Lorigan said in a statement.
The action is based on laws in Commonwealth nations at the time the song
was first recorded. Under these provisions, the rights to a song revert
to the composer's heirs 25 years after his death.
No court date has been set.
Linda died penniless in 1962, having sold the rights to his original
song to the South African company Abilene Music Publishing. It went on
to generate an estimated $15 million in royalties after it was adapted
by other artists, including the American songwriter George Weiss, whose
version is featured in "The Lion King."
The song has been covered by at least 150 artists, including The Tokens,
George Michael, Miriam Makeba and The Spinners.
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Message: 17
Date: Wed, 08 Sep 2004 16:34:58 -0000
From: Shawn
Subject: Re: Steve Duboff
I could ask the guys about him & will post any info here...but in
the meantime, J.B. & The Playboys changed their name to the Carnival
Connection & recorded a Duboff/Kornfeld tune, their last charter in
Canada: "Poster Man" (flip was Alfred Appleby, Beautiful Beige went
unreleased).
Kornfeld offered them to play an outdoor concert we was going to
promote & the guys figured they should stick to their already
contracted club gigs, maybe the biggest mistake they made as the
concert became Woodstock (& they've forever kicked their own butts
since).
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Message: 18
Date: Wed, 08 Sep 2004 11:29:17 -0400
From: Larry Shell
Subject: Re: Bunker Hill
Sundazed released a 2-CD collection of Amy-Mala soul tracks called
"Looking For My Baby" so they must have an in with whoever owns the
rights to the Bunker Hill recordings. And if they can't do it, this
is right up the alley for Norton Records who has a good relationship
with Sundazed so perhaps they could license the tracks and do a CD!
Plus Norton is friendly with the Wray brothers so if there's
anything lying on the studio floors that Amy-Mala didn't get, they
could get those tracks as well! Wishful thinking perhaps but I think
I'll suggest it to my friends at Norton today!!! I wouldn't be
surprised if they hadn't been considering a Bunker Hill release
already. They released a 45 of his a while back.
Larry Shell
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Message: 19
Date: Wed, 08 Sep 2004 10:41:11 -0000
From: Davie Gordon
Subject: Re: Bunker Hill / Claude McLin
Phil Milstein:
> For more on Bunker Hill have a look at:
> http://koti.mbnet.fi/wdd/bunkerhillbio.htm
Country Paul:
> Couldn't get it to open - darn! But thanks for the discography, Phil.
Worked fine for me a minute ago - for a Bunker Hill discography showing
which comp CD's contain his tracks click on "Discographies" at that
site and scroll down until you find "Bunker Hill". I'll have to e-mail
them and ask them to put links in the biography pages to the equivalent
discography pages. It would make things so much simpler.
>From Mick Patrick's Brenda Melson obit:
> ... the pair were christened Dean & Jean by their manager, future
> congressman C J McLin.
Country Paul:
> This reference sent me on a research project to find if C. J. McLin
> was the jazz and bop sax player Claude McLin (he wasn't) who did a
> record called "Jambo" [Dootone 476, 1963], among many others. That
> was one wild track! (If you're interested, there's a scholarly
> treatise, a musical biography with label scans and much more, at
> http://hubcap.clemson.edu/~campber/mclin.html; "Jambo" is scanned
> about 95% of the way down the page. McLin was active from the 40s
> through the early 60s.)
That's a small part of an incredible site devoted to fifties R&B -
incredibly detailed stuff from some of the best researchers around.
Davie
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Message: 20
Date: Wed, 08 Sep 2004 10:31:42 -0000
From: Davie Gordon
Subject: Re: Steve Duboff
Glenn wrote:
> While we're on the subject of The Cowsills, does anyone know, or know
> anything about, the mysterious Steve Duboff? I have never been able
> to find any information on this guy except the most basic stuff.
I did some research on the Kornfeld - Duboff team last year - I could
post a listing of their stuff if you're interested. Quite a long list
but very interesting - most of the stuff I've yet to hear.
Isn't that the great thing about the sixties - after all these years
there's still tons of stuff I've never heard.
> So, anyone know anything about Duboff? Does anyone know of any other
> songs/productions by the Kornfeld/Duboff team? Did they ever record
> an album as The Changin' Times or under any other name?
There wasn't a Changin' Times album but Kornfeld had an album on
Dunhill as the Artie Kornfeld Tree and Duboff had some solo singles in
the late sixties.
Davie
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Message: 21
Date: Wed, 08 Sep 2004 14:05:14 -0400
From: James Botticelli
Subject: Re: Robin Ward's "Wonderful Summer"
Paul Urbahns wrote:
> I have been told (but can't confirm it) that the mono versions of
> Robin Ward's Wonderful Summer ( read that the hit single) start cold
> and do not have any surf. But the stereo versions start with the
> sound of the surf. Are they just different mixes or different
> recordings? If this is true, have any of the stereo versions been
> "corrected" to match the hit single? I haven't had the actual single
> for many years.
Got the single and it's got ocean.
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Message: 22
Date: Wed, 08 Sep 2004 14:14:43 -0400
From: Mikey
Subject: Re: Jerden label
Previously:
> Jerden stereo? Can anyone comment on the claim that the Kingsmen's
> "Louie Louie" was recorded with a single microphone? It sounds too
> clear to me to me anything but multimiced.
The story about Louie Louie is a an old wifes tale. It was done
insateges at a real recording studio, bounching mono to mono. The
organ riff and the crazy guitar solo were overdubs. Tom Moulton had
copies of all stages and he was able to sync it all up nicely in
stereo.
Mikey
-------------------[ archived by Spectropop ]-------------------
Message: 23
Date: Wed, 08 Sep 2004 14:15:31 -0400
From: Mikey
Subject: Re: Robin Ward's "Wonderful Summer"
Paul Urbahns wrote:
> I have been told (but can't confirm it) that the mono versions of
> Robin Ward's Wonderful Summer ( read that the hit single) start cold
> and do not have any surf. But the stereo versions start with the
> sound of the surf. Are they just different mixes or different
> recordings? If this is true, have any of the stereo versions been
> "corrected" to match the hit single? I haven't had the actual single
> for many years.
James Botticelli:
> Got the single and it's got ocean.
There is an alternate mix without the ocean, I have heard it.
Mikey
-------------------[ archived by Spectropop ]-------------------
Message: 24
Date: Wed, 08 Sep 2004 20:35:02 +0200
From: Jens Koch
Subject: Re: Glen Campbell
Ken wrote:
> Don't forget Glen's version of "Universal Soldier", did he do his
> before Donovan? Am I right in thinking it was composed by Buffy
> St Marie as I don't have a 45 of it?
You're definitely correct that Buffy wrote the song; but I don't know
which cover version was first.
Jens
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