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SPECTROPOP - Spectacular! Retro! Pop!
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There are 25 messages in this issue.
Topics in this digest:
1. sampling royalty case
From: Phil X Milstein
2. Re: Claude McLin
From: Phil X Milstein
3. Re: The Frank Guida Sound
From: Austin Roberts
4. Re: Steve Duboff
From: Austin Roberts
5. Re: This year Christmas comes earlier
From: Phil X Milstein
6. Hide & Seek; Glen Campbell; Frank Guida
From: Country Paul
7. Re: the Frank Guida sound
From: Austin Roberts (georgerobertson@aol.com)
8. Re: Kingmen's "Louie Louie"
From: Eric Predoehl
9. Re: Laura's Dante's interview
From: Bob Rashkow
10. Re: Glen Campbell
From: Eric Van Rysdam
11. Re: Steve Duboff
From: Andy
12. Kooper On Air
From: Al Kooper
13. Re: JB Christmas CD
From: Frank Jastfelder
14. Re: Zombies Q.
From: Al Kooper
15. Re: Robin Ward's "Wonderful Summer"
From: Billy G Spradlin
16. Re: JB Christmas CD
From: John Marriott
17. Re: promo cats
From: Al Kooper
18. Re: Steve Alaimo
From: Al Kooper
19. Re: Glen Campbell
From: Jens Koch
20. Re: Steve Duboff
From: Frank Young
21. Re: Hide And Seek
From: Phil X Milstein
22. John Lennon's Jukebox
From: Phil X Milstein
23. Re: All I Wanta Be Is Me
From: James Cassidy
24. Gillian Hills
From: Will Stos
25. Re: Boom Records
From: Mikey
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Message: 1
Date: Wed, 08 Sep 2004 16:47:29 +0000
From: Phil X Milstein
Subject: sampling royalty case
The Boston Herald ran the following, which relates to our recent
discussion of royalty payments on the sampling of song excerpts, in
Wednesday's paper:
-----------------
Court: Pay to use song 'samples'
by Jennifer Rosinski
Boston Herald
Wednesday, September 8, 2004
Pay up or don't play it, that's what the federal appeals court ruled
yesterday in ordering performers to compensate artists whose work
they've sampled.
The ruling handed down in Cincinnati, Ohio, goes further than previous
lower court rulings that ordered performers to pay when they sample
another artists' work.
This decision by a three-judge panel of the 6th Circuit Court of Appeals
ruled that it is illegal even to rip off musical snippets that no one
would recognize. The court said federal laws aimed at stopping piracy of
recordings applies to digital sampling.
"If you cannot pirate the whole sound recording, can you 'lift' or
'sample' something less than the whole? Our answer to that question is
in the negative," the court said. "Get a license or do not sample. We do
not see this as stifling creativity in any significant way."
Some said the decision to outlaw sampling just one note or chord may be
too restrictive for rap and hip-hop artists who often rhyme over music
taken from older recordings.
"It seems a little extreme to me," James Van Hook, dean of Belmont
University's Mike Curb College of Entertainment and Music Business, told
the Associated Press. "When something is identifiable, that is the key."
The case, one of at least 800 lawsuits filed in Nashville over lifting
music snippets, centers on the NWA song "100 Miles and Runnin' " and its
use of a three-note guitar riff from "Get Off Your Ass and Jam" by '70s
funk-master George Clinton and Funkadelic.
In the two-second sample, the guitar pitch has been lowered, and the
copied piece was "looped" and extended to 16 beats. The sample appears
five times in the new song.
(The Associated Press contributed to this report.)
-------------------[ archived by Spectropop ]-------------------
Message: 2
Date: Wed, 08 Sep 2004 15:30:26 +0000
From: Phil X Milstein
Subject: Re: Claude McLin
Country Paul wrote:
> 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.)
Thanks for that link, Paul -- some fantastic photos, and the session
descriptions and release information are mouth-watering ... or, if you
will, "ear-watering"!
McLin's daughter, Marissa Monteilh, claims on her website (
http://www.marissamonteilh.com ) that she's working on a biography of
her father. She's an accomplished author (hence the website), and so it
may well come about.
Yeah,
--Phil M.
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Message: 3
Date: Wed, 08 Sep 2004 15:44:01 EDT
From: Austin Roberts
Subject: Re: The Frank Guida Sound
Previously:
> 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.
Don't worry about criticism, even though this wasn't, because I truly
enjoy the learning spectrum of speaking with you and all the members
of this great site.
I spoke with Bill Deal years ago and Gary Bonds (Anderson) quite
recently and we all concurred that none of us knew exactly how Guida
did it but we're all glad he did! They were in thye studio with him
all the time and were still perplexed.
Spector had a great wall of sound sound which I think Bill Medley
captured in his number one production of Soul And Inspiration.
Best, Austin Roberts
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Message: 4
Date: Wed, 08 Sep 2004 15:31:14 EDT
From: Austin Roberts
Subject: Re: Steve Duboff
Previously:
> 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.
Definitely 2 of my favorite song\records!
AR
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Message: 5
Date: Thu, 09 Sep 2004 00:43:48 -0400
From: Phil X Milstein
Subject: Re: This year Christmas comes earlier
> 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)
No arranger named. That space is reserved instead for the all-important
clarification, "Playable On STEREO Or MONO." By 1969 I think the only
other people concerned with mono besides J.B. were A.M. D.J.s.
Brown has put out a load of great XMas records in his career. Does
anyone know if these have been compiled to a "James Brown Christmas" CD yet?
--Phil M.
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Message: 6
Date: Thu, 09 Sep 2004 00:04:50 -0400
From: Country Paul
Subject: Hide & Seek; Glen Campbell; Frank Guida
Ed B wrote:
> 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.
There was also a somewhat more melodic version, but still really good, by
the Astro-Jets on Imperial. Well worth looking for.
Jens Koch:
> Apparently Glen has recorded a new version of Guess I'm Dumb
> http://www.towerrecords.com/product.aspx?pfid=3080184
I also see "Less of Me" on there, to my mind possibly the best of his
pre-"Gentle" country period. Wonderful lyrics: "Let me be a little kinder /
Let me be a little blinder / to the faults I find in others / Let me praise
a little more / Let me be a little meeker / to the brother that is weaker
/Think a little more of others / and a little less of me." I hope his new
version is worthy of his earlier one.
Joe Nelson:
> 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.
Frank Guida himself provides some insight from the liner notes of the album
with more titles than space for them, but most likely "Rock's World
Revolution: The Roots" (LeGrand 1000, 1979). Attempting to hide a
significant ego by writing in the third person, he nonetheless reveals a bit
about his recording technique. A general comment about Gary US Bonds' early
sessions: "...Guida's direction produced the first of the hot, dirty, action
recordings." "New Orleans" was "the first to feature the double bass drum
beat; first to feature over modulated sound, now known as 'hot
recording'...." About "Quarter to Three," he comments: "Building on the
innovations of 'New Orleans,' 'Quarter to Three' went beyond the chord
progressions, double bass drum beat and over modulated sound to feature live
sound with crowd noises and actions. The chord progressions and production
techniques make it as fresh today as it was when originally recorded."
Joe again:
> 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.
I respectfully disagree with your description about the mike placement. (And
Austin's comments point to serious care being taken with overhead drum mikes
in the session he saw.) To me it seems like plain old distortion "played" as
another instrument; the studio sounds of that era were almost as much a part
of the record as the players and singers. Whether accidentally or on
purpose, I think Guida turned the input "up to 11" and either consciously
discovered something, or else got increibly lucky - or both. And despite the
lo-fi output, if you turn it up, I'd bet any of those early tracks will
still rock the room and its inhabitants.
By the way, Guida ego really runs wild on his comment regarding 1959's "High
School USA" by Tommy Facenda: "The most versions of the same song released
simultaneously! With 28 initial releases, it should be included in the
Guinness Book of World Records. Writing uder the name of 'Leader,' Frank
dreamed this one up trying to make a million before he was 30."
Country Paul
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Message: 7
Date: Wed, 08 Sep 2004 16:02:19 EDT
From: Austin Roberts (georgerobertson@aol.com)
Subject: Re: the Frank Guida sound
> 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.
I am sure that that the first records on Gary were one track, but they also may
have been two 1-track machines, consequently the multiple ping-ponging
sound. Eugene Barge's (Daddy G) sax work (especially his solos) could be
heard well enuff and also accounted for a lot of this 'sound'. When Guida
went to 2-track, he may well have used two 2-track machines the same way
in order to still maintain that sound.
Joe again:
> 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.
Dated they may sound, but you know that sound when you hear it and I know
Quarter To Three is one of the most played songs on oldies stations today.
Spector and Brian Wilson and possibly John Phillips with Lou Adler can also
claim that fame. This could be a small thread to add to the Spectro mix: records
that are indigenous in their sound to certain producers. Add Quincy Jones'
earlier Lesley Gore records, K & K's bubblegum hits, etc., etc.
Austin Roberts
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Message: 8
Date: Wed, 08 Sep 2004 14:50:00 -0700
From: Eric Predoehl
Subject: Re: Kingmen's "Louie Louie"
Joe Nelson asked:
> 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 original "Louie Louie" recording by the Kingsmen was done on a
3-track Ampex 300 series recorder, operated by Robert Lindahl under
the supervision of Mike Korgan, aka "Ken Chase," the producer. The
recording was released as a mono recording, and the original multi-
track recording from the session, once owned by Mike Korgan, was
stolen from him in the 1990s, not long after the Dave Marsh book about
"Louie Louie" came out. Apparently, this tape included some alternative
takes of the song, which may be lost forever. (If anyone ever finds this
tape, call me immediately! 408-749-9757)
At the time, Ken Chase was the only person that liked the original
recording. He got into a big argument with engineer/ studio owner Bob
Lindahl over "proper recording techniques." All the Kingsmen hated the
recording, and didn't even want to pay the $50 that it cost for the
session. In the town of Portland, Oregon, local radio wasn't interested
in the Kingsmen's version, as locals were more interested in the new
version by Paul Revere & The Raiders, who cut the song in the same
studio in the same week. Of course, everyone in the Northwest looked
up to the version by Rockin' Robin Roberts & The Wailers, which was
considered the definitive version.
It was only when Boston disc jockey Arnie "Woo Woo" Ginsburg
decided to spotlight the Kingsmen's version as the "Worst Record of
the Week" that this song got any serious attention. By that time, lead
singer Jack Ely had left the band, and it was an entirely different group.
There have been some interesting re-mixes of the song. The first re-mix
involved using the sounds of a live audience for the first Kingsmen
album, a hastily recorded live album live at the Chase nightclub (run
by Ken Chase). I believe there was also a phony stereo re-mix of the
entire album created a few years later. In later years, there were re-
recordings of the song by original lead singer Jack Ely, including one
rendition credited to "The Kingsmen" during a period when the (other)
Kingsmen were not an active musical group. The current Kingsmen have
re-recorded the song a few times, including for a California Cooler ad
and for a new CD.
I've heard some versions of the song that legally sampled The Kingsmen
by such artists as Young MC and Three Amigos. There's a version floating
out in cyberspace that combines the Kingsmen's version with snippets
of Lynyrd Skynyrd and the David Letterman TV show. I wish I knew
who's taking credit for that one, as it's pretty darned catchy.
Me gotta go now,
Eric Predoehl
keeper of the LouieLouie.net
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Message: 9
Date: Wed, 08 Sep 2004 18:55:30 EDT
From: Bob Rashkow
Subject: Re: Laura's Dante's interview
Got a chance to check out Laura P's Ron Dante interview. Great!
Aren't we all so happy Ron is on the group. What's more he just
keeps on going. I didn't even know he produced some of Pat
Benatar's stuff. Did he work on "Love Is A Battlefield"? (About as
good as she gets IMHO)
By the way I believe Kornfeld & Duboff were responsible for The
Toy Factory (Jubilee)'s happy sunshine-popper "Sunny Sunny Feeling",
and they published a lot of good stuff with Akbestal-Luvlin and
Beechwood Music on Capitol, Jubilee and other subsidiaries of same.
Bobster
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Message: 10
Date: Wed, 08 Sep 2004 21:07:11 -0400
From: Eric Van Rysdam
Subject: Re: Glen Campbell
previously:
> Apparently Glen has recorded a new version of Guess I'm Dumb.
Buyer beware -- read this Amazon review carefully:
http://tinyurl.com/67q67
I'm betting Guess I'm Dumb is one of the 13 'missing' songs.
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Message: 11
Date: Thu, 09 Sep 2004 02:57:45 -0000
From: Andy
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.
The following info is from 4/04/04:
Steven W. Duboff, songwriter, record producer, singer, manager and
video game designer, died on February 28 in Los Angeles of cancer. He
was 62.
Duboff co-wrote the '60s hits "The Rain The Park and Other Things"
and "We Can Fly" by The Cowsills, and Crispian St. Peter's "The Pied
Piper" with Artie Kornfeld.
Duboff also wrote songs for Ringo Starr, The Turtles, Connie Francis,
Al Hirt, Wayne Newton, The Addrisi Brothers, The Monkees, The Bon
Aires and more, and worked with co-writers including Doug Morris,
Gerry Robinson, and Neil Levinson.
Duboff produced records for The Insect Trust (who he also managed),
Hugh McCracken, Guy Mitchell, Bit A Sweet, Lenny Williams and The
Cowsills.
He and Kornfeld were the recording and performing group The Changin'
Times, opening on tour for Sonny and Cher. He also worked as an A&R
executive at ABC Records.
In addition to songwriting, he designed video games for Commodore,
Antler, Intellicreations, Datasoft.
Originally from Miami, Duboff lived in New York City, and moved to
Malibu about 20 years ago, where he was involved with Malibu real
estate.
Duboff is survived by his mother, two nieces and ex-wives Janet Oseroff
and Maureen Stevens.
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Message: 12
Date: Thu, 09 Sep 2004 02:51:51 EDT
From: Al Kooper
Subject: Kooper On Air
Kooper On Air
That's talkin' not walkin'. Through some Internet yakkin' I have my own
show on Radio Caroline in the UK.
First show: Thursday Sept 16th at 5:30 PM EST in the USA. Go to
www.radiocaroline.co.uk and click on Listen Live. There's a broadband
stream as well as a good Abacast stream for dial-up. The show is called
Obscuritiva, and I play my obscure faves on each show. VERY
Spectropoppy.
Hope you enjoy it. All comments welcomed here. I apologize in advance
for my lack of DJ talent, but the music's great! The shows are recorded in
my basement studio in Somerville, MA. Is this a beautiful country or what?
Al Kooper
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Message: 13
Date: Thu, 09 Sep 2004 11:10:43 +0200
From: Frank Jastfelder
Subject: Re: JB Christmas CD
Phil M. asked:
> James Brown has put out a load of great XMas records in his career. Does
> anyone know if these have been compiled to a "James Brown Christmas"
> CD yet?
There's a 17-track Christmas collection at amazon.com. It's a repackaged
version of an older compilation.
Frank J.
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Message: 14
Date: Thu, 09 Sep 2004 02:31:30 EDT
From: Al Kooper
Subject: Re: Zombies Q.
Frank Uhle asked:
> 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?
Uhhhh, not on my radar BUT it coulda happened as a coincidence.
And Mr. Kooper was my father -- I'm Al.
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Message: 15
Date: Thu, 09 Sep 2004 09:54:01 -0000
From: Billy G Spradlin
Subject: Re: Robin Ward's "Wonderful Summer"
Paul Urbahns asked:
> 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 have the original Dot 45, and the surf sound effects are softer than the
stereo version. I believe the background vocals are also mixed differently.
I will have to dig it out, haven't played the mono version in years :)
Billy
http://listen.to/jangleradio
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Message: 16
Date: Wed, 08 Sep 2004 13:43:17 +0100
From: John Marriott
Subject: Re: JB Christmas CD
Phil M. asked:
> James Brown has put out a load of great XMas records in his career. Does
> anyone know if these have been compiled to a "James Brown Christmas"
> CD yet?
A nice handy 17-track (tracks from '66-'70) budget priced CD. "Funky Christmas"
(Polygram Spectrum 554 756-2), came out in the UK in 1998. with good notes
and references to the original album releases.
John
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Message: 17
Date: Thu, 09 Sep 2004 08:58:55 EDT
From: Al Kooper
Subject: Re: promo cats
When I was in The Blues Project, the guy who took me to the doctor for a
penicillin shot in LA was promo guy David Anderle, later with Brother Records,
Elektra and finally A&M. We're STILL friends.
Then the BS&T tour: Sal Ingeme and Chuck Thagard, were the standouts from
Columbia's staff.
All these guys were very nice to me, and made life on the road a lot easier. But
Julie London never sat on my lap -- damn! I did get Donna Summer to have my
son on her lap, but he was only ten.
Al Kooper
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Message: 18
Date: Thu, 09 Sep 2004 09:19:28 EDT
From: Al Kooper
Subject: Re: Steve Alaimo
previously:
> How about "Everyday I Have To Cry" by Steve Alaimo (Checker 2986)?
> ... Alaimo actually had several concept albums in the 60s, such as his all-
> twist album, his all-ska album, his all-Spanish-language album, his swing
> album, and his all-songs-heard-on-"Where The Action Is" album.
I'm so glad somebody else mentioned Steve. One of the greatest guys I've known
in the music biz. We're still yakkin it up today. He was way ahead of the white
people who embraced reggae and ska. His versions probably outdated all other
white covers. I just got an import best-of, and it's ska-heavy. He ran TK, Glades
and Clouds Records, outa Hollywood, Fla. in the '70s. KC was the coffee boy when
I first started hangin' there in '72. Went out and got coffee for everybody. Humble
beginnings. Anyway, he can still sing his ass off and his sense of humour is always
on 10.
Al Kooper
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Message: 19
Date: Thu, 09 Sep 2004 15:46:17 +0200
From: Jens Koch
Subject: Re: Glen Campbell
Country Paul wrote:
> I also see "Less of Me" on there, to my mind possibly the best of his
> pre-"Gentle" country period. Wonderful lyrics ...
That song points to another piece of Glen's artistry, which usually attracts
little attention. Glen wrote that song. And if that's anything to go by, he
should have written more songs!
Jens
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Message: 20
Date: Thu, 09 Sep 2004 15:47:55 -0000
From: Frank Young
Subject: Re: Steve Duboff
Another source of Kornfeld/Duboff tunes are the two LPs by The Hullaballoos,
on Roulette. Between the two LPs, there are six songs with Duboff's input,
plus another couple with Kornfeld and Ted Daryll. Add some Levenson/Klein
ditties and you've got a couple of very catchy discs.
Duboff's best moment on these LPs is the dramatic, surprising "If You Don't
Know By Now." Hugo & Luigi produced, although the results have a rather
rinky-dink sound. Repertoire had a two-fer CD out of these LPs in the '90s,
but it's long deleted.
Frank
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Message: 21
Date: Thu, 09 Sep 2004 10:26:44 +0000
From: Phil X Milstein
Subject: Re: Hide And Seek
Ed B wrote:
> While on the subject of Bunker Hill let's not forget the remake a
> few years later in 1966 by The Sheep (aka Strangeloves) on Boom
> Records, another muddy frantic recording of Hide And Seek.
Now playing at musica. Check it out.
--Phil M.
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Message: 22
Date: Thu, 09 Sep 2004 11:39:56 +0000
From: Phil X Milstein
Subject: John Lennon's Jukebox
Last night PBS aired an hourlong episode of "Great Performances" titled
"John Lennon's Jukebox," about the contents of a record machine owned
by the late Beatle. I found out about it too late to post info here in time
for the premiere (and taped without yet watching it myself), but, as PBS
stations often delay or replay programs after their network premieres,
there may still be time for some of y'all to catch it. The program's
website is at http://www.pbs.org/wnet/gperf/shows/lennon/index.html
Yeah,
--Phil M.
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Message: 23
Date: Thu, 09 Sep 2004 12:08:38 -0400
From: James Cassidy
Subject: Re: All I Wanta Be Is Me
Thanks to Billy G. Spradlin for playing the early Cowsills song to musica.
It brought back vivid memories from my childhood outside Worcester,
Mass. In the mid-sixties, our TV antenna could pull in seven stations. I
remember seeing the early, four-guy lineup of The Cowsills on a local teen
dance show from one of the Providence stations, doing "All I Really Wanta
Be Is Me." The reason it made such an impression on me was that Barry
(bass) was my age (11). I suddenly realized, "Hey, you don't have to be
an adult to be in a group. Maybe I could do that, too." Before long, I was
playing bass in a group I started with some friends in my town.
I don't think I've heard the song since then; thanks!
Jim Cassidy
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Message: 24
Date: Thu, 09 Sep 2004 16:08:32 -0000
From: Will Stos
Subject: Gillian Hills
I just got "Dream Babes, Vol. 5: Folk Rock and Faithfull," and I love it. But
"Tomorrow Is Another Day," by Gillian Hills, absolutely makes me melt! I
think she has such a beautiful voice. Is this track a good representation of
her other recordings, and can anyone recommend a collection of her songs
on CD or any other good comps with her songs?
Thanks,
Will Stos
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Message: 25
Date: Thu, 09 Sep 2004 10:13:29 -0400
From: Mikey
Subject: Re: Boom Records
Ed B wrote:
> 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.
I have been looking for a discography for Boom Records for many years --
anybody help?
I have what may be the rarest Boom 45, "Pretty Face" by Terry Cashman
& The Men, who were really The Chevrons, a very popular NYC doo-wop
group.
Mikey
-------------------[ archived by Spectropop ]-------------------
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