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SPECTROPOP - Spectacular! Retro! Pop!
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There are 25 messages in this issue.
Topics in this digest:
1. Gillian Hills
From: Ian Slater
2. Re: The Kingsmen's "Louie Louie"
From: Billy G. Spradlin
3. Re: The Kingsmen's "Louie Louie"
From: Eric Predoehl.
4. Re: Boom Records
From: Austin Roberts
5. Bob Lind website
From: Rob
6. Re: The Frank Guida Sound
From: Austin Roberts
7. Chuck Alaimo; Ersel Hickey aka Mickey Evans; Chevrons; Kenny Rankin
From: Country Paul
8. Julie Driscoll & Brian Auger
From: Mike Page
9. Re: Steve Alaimo, Latimore and Al Kooper
From: Paul Underwood
10. Re: Steve Duboff
From: Jeff Lemlich
11. Re: songwriting within groups
From: Phil X Milstein
12. Montanas & P.F. Sloan to Musica
From: Clark Besch
13. Re: Robin Ward's "Wonderful Summer"
From: Billy G. Spradlin
14. Welcome Ron Dante
From: Mick Patrick
15. Re: Billy Davis, R.I.P.
From: Bob Rashkow
16. Back To Mono
From: Chris King
17. Dutch pop in the sixties - online encyclopaedia
From: Davie Gordon
18. Evie Sands
From: Mike McKay
19. Re: David Anderle
From: Bob Hanes
20. Re: The Cowsills
From: Mike McKay
21. Re: The Frank Guida Sound; John Lennon's Jukebox
From: Phil X Milstein
22. Re: The Kingsmen's "Louie Louie"
From: Eric Predoehl
23. Re: "Every Little Bit Hurts".
From: Julio Niño
24. Kenny Rankin sings Dion at musica
From: Country Paul
25. Re: Billy Davis, R.I.P.
From: M. G. Still
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Message: 1
Date: Thu, 09 Sep 2004 20:19:21 +0100
From: Ian Slater
Subject: Gillian Hills
Will Stos said:
> 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?
I thought the same and hunted around on the web for other records.
On Amazon France I found two CD albums "Twistin' the Rock vol. 9"
(a double CD album on Barclay 549 905-2) and the imaginatively
titled "Gillian Hills" (Barclay 076 071-2). There were other records
too. Accompanied by Paul Mauriat and his orchestra. The CDs were
issued in 2002 and 2003 respectively but the (rather tasty) cover
pictures and her voice make it clear these are 60s recordings. They
are all sung in French, of course. However, they are in the French
"Yeh Yeh girl" style rather than the US "girl group" sound, so I was
disappointed. But that's just my opinion. Gillian was more well
known as an actress. Her most relevant appearance from our point of
view was in "Beat Girl" with Adam Faith, but there were others like
the children's mystery series "the Owl Service", of blessed distant
memory, and her well known short raunchy appearance in Antonioni's
"Blow Up".
Ian Slater
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Message: 2
Date: Thu, 09 Sep 2004 21:03:19 -0000
From: Billy G. Spradlin
Subject: Re: The Kingsmen's "Louie Louie"
Mikey wrote:
> 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.
Is the stereo synch-up of Louie Louie available on CD anywhere?
Billy
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Message: 3
Date: Thu, 09 Sep 2004 13:33:55 -0700
From: Eric Predoehl.
Subject: Re: The Kingsmen'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.
Here's some specific information on the session from someone that was
there- Jack Ely, original vocalist of the Kingsmen:
* * * * * * * * * * * * * *
Hi Eric:
Tell Joe Nelson that the Kingsmen's version was primarily recorded
using one overhead telephunkin (?) mike, with a ribbon mike on the bass
drum, a shure directional under the snare drum and some sure 58's in
front of the guitar and bass amps for definition. However, Mike Korgan
could have told him that.
Jack Ely
Crooked River Ranch, OR
* * * * * * * * * * * * * *
I can also tell you that this recording was not over-dubbed. While
it may have been multi-tracked, the performance was a live take,
featuring all the instruments playing along in real-time as you hear
it. ..... otherwise they would have probably taken care of that
"mistake" where Jack starts to sing over the little drum solo.
to be continued....
Eric Predoehl
of LouieLouie.net
(somewhere between Los Angeles and Seattle)
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Message: 4
Date: Thu, 09 Sep 2004 17:09:31 EDT
From: Austin Roberts
Subject: Re: Boom Records
Mikey:
> 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.
Do you know what year that was?
Austin R.
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Message: 5
Date: Fri, 10 Sep 2004 02:30:31 -0000
From: Rob
Subject: Bob Lind website
Since the original message was grouped in with other postings, I'd just
like to remind everyone that there is now an official Bob Lind website.
http://www.boblind.com features info AND message board postings by Mr.
Bob himself. This has made my WEEK, as I've always considered Bob a
terribly underrated artist. He's so much more than just Elusive
Butterfly. Check it out!
Rob
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Message: 6
Date: Thu, 09 Sep 2004 16:29:41 EDT
From: Austin Roberts
Subject: Re: The Frank Guida Sound
Country Paul:
> 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."
Guida's ego and lawsuits against numerous labels, producers, artists and
songwriters (including Runaround Sue as I remember) is legendary,
especially around the Va. Beach area where there seems to be an awful
lot of Guida talk between musicians and radio folks. Frank did, and
possibly still does, well with a couple of record shops called Frankie's
Got It in Norfolk. As far as mere overdriving recording equipment, think
what you want, but I'm inclined to think there was more method than
lucky madness to his productions.
Austin Roberts
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Message: 7
Date: Fri, 10 Sep 2004 01:02:29 -0400
From: Country Paul
Subject: Chuck Alaimo; Ersel Hickey aka Mickey Evans; Chevrons; Kenny Rankin
Al Kooper at al, re: Steve Alaimo: There was a Chuck Alaimo who recorded
on MGM in the 50's - "How I Love You" (MGM 12508) was as close to a hit
as he got in 1957, but it was a decent doo-woppy swamp-rock ballad as I
remember it. Were Steve and Chuck brothers, or otherwise related?
I got the label and year info from the "Whole Lotta Shakin'" website,
http://home.rochester.rr.com/wls1/wls.htm . On the page where I got the
info, http://home.rochester.rr.com/wls1/HOF1950s.html , is the following
note, regarding another record from 1957:
"You're No Good !!" b/w "I Want To Know Where You'll Go (Then I'll Be
Happy)" Mickey Evans (aka Ersel Hickey) Fine 45-4M2657 (both sides
available on:Rebel Rockabilly Rock, Vol. 10-Jim Jam LP, Netherlands, 1996;
A-side also available on Grand Daddy's Rockin', Vol. 5-Lenox LP (France)
1995)
Anyone heard this track? Is it anywhere near the magic of "Bluebirds Over
The Mountain" (Epic 54-9263, 1958)?
Mikey, I had no idea Terry Cashman was in the Chevrons. Their "Lullaby"
(Brent) is one of the great forgotten doo-wop tracks. In fact, there was a
lot of great stuff on that label, including Bertha Tillman ("Oh My Angel")
and Skip & Flip, among others.
Country Paul
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Message: 8
Date: Fri, 10 Sep 2004 08:30:41 +0100
From: Mike Page
Subject: Julie Driscoll & Brian Auger
> ... the famous Brian Auger-Julie Driscoll album ...
> But ... which one? Open? Streetnoise? Jools and Brian (later
> retitled If Your Memory Serves You Well -- one of the tracks was
> Dylan's Wheels on Fire)? There's a world of difference -- they
> cover the gamut from sublime to awful.
> When I was in England buying those LPs, every shop on Carnaby Street
> and every boutique on Kings Road was playing that record. It had
> Season Of The Witch on it (that's where I got it from) and Wheels On
> Fire. It was 1968.
The album in the UK was 'Open', which I still have. One side of the
album was Julie Driscoll with Brian Auger, and the other side was the
Brian Auger Trinity. Wheels on Fire was out as a single, but was not on
the album. A pretty good album in my opinion.
Mike P
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Message: 9
Date: Fri, 10 Sep 2004 15:25:01 +0200
From: Paul Underwood
Subject: Re: Steve Alaimo, Latimore and Al Kooper
Al Kooper wrote:
> I'm so glad somebody else mentioned Steve Alaimo. 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, I've long wondered how you came to produce (with Steve Alaimo) and
write two very fine tracks on Latimore's first UK album, "Jolie" and "Be
real". Forgive my ignorance, but were they released as a single at the
time (around 1973) and is there a story behind them? The album itself is
a strange collection of differing styles, as if they weren't sure in
which direction to go, in marked contrast to what was to follow.
Paul
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Message: 10
Date: Fri, 10 Sep 2004 11:47:12 -0000
From: Jeff Lemlich
Subject: Re: Steve Duboff
Andy wrote:
> 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.
I had no idea Duboff had been married to Janet Oseroff. She was the
promotions person for TK Records back in the 70s.
Jeff Lemlich
http://www.limestonerecords.com
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Message: 11
Date: Fri, 10 Sep 2004 10:22:41 +0000
From: Phil X Milstein
Subject: Re: songwriting within groups
Stu Phillips wrote:
> ... It is not unusual for groups to put everyone's name on a song
> so that peace and harmony can reign within the group.
That idea begins with good intentions, but the peace and harmony rarely
lasts through the group's first flush of success. As soon as they've had
that first hit, whichever member actually wrote it tends to starts
thinking that he's been cheated out of his fair share.
On the other hand, successful groups based around one primary songwriter
suffer from an imbalance of income, provoking resentment anyway. (As
wealthy as Roger Daltrey must be, for instance, imagine how much richer
Pete Townshend is.) In other words, ya can't win for trying. No wonder
artists tend to romanticize the "good old days" when they were broke
and struggling, and loved making music for its own sake so much they
"would've even done it for free."
--Phil M.
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Message: 12
Date: Fri, 10 Sep 2004 16:42:21 -0000
From: Clark Besch
Subject: Montanas & P.F. Sloan to Musica
I about fell over when I saw John Kirby post that he was road manager
for the Montanas! He says he's a SPop "lurker", but I hope he sees
this message. John, the Montanas are in the top 10 groups of all
time in my book. Ever since I first heard "You've Got to be Loved"
on WLS in Chicago, I was hooked. The big Tony Hatch production made
their sound great. I next listened as "Run to me" went top 10 also
in Chicago. After that, it was sparce hearings such as "Heaven Help
You" charting in Omaha on KOIL and "Let's Get a Little Sentimental"
on KRAV Tulsa. I was soon searching for their 45s and found an
incredible amount of great 45s in Britain releases and US both.
Finally, "Loved" appeared on a Dick Bartley Cd in stereo after I'd
had it on tape from a Brit "Best of 68" Marble Arch Lp for decades.
It has since appeared on many Cds in mono and stereo and is soon
about to make another various artists Cd I am involved with (I
think).
I was shocked when the UK "Best of" Cd came out a few years ago. I
was disappointed at the mono, but BONUS CUTS of unreleased stuff was
terrific! Some of those songs are as good as some of their 45s.
What a range of sounds the Montanas had. Seemed like they were
either trying all directions to see what caught on, or they just
wanted to do all these styles. I was surprised when the Cd left off
some releases, tho. If I remember correctly "Heaven Help You" was
not on it, despite being a US release on Independence. The song was
an Everlies cover that they had on a Warner Brothers 45 in 67 or so
titled "Devil's Child". Both versions are terrific. By coincidence,
the Barry Lee Show had "I Don't Want to Love You" on Independence
too, which I think was an Everlies release too (written by Addrisi's,
no?).
Back to the Montanas. There is alot more stuff they had that could
be on Cd. John, is there more unreleased? Is there stereo tapes
that can be licensed on all their great stuff? Did they ever play
with big artists in the UK? Did they ever come to US and perform?
Any stories you can tell would be terrific! Thanks for posting that
you were the road manager for the group. On Musica, you'll hear them
as YOU heard them--sans the big production and still sounding great!
They did a few other songs on that BBC show too that day in early
1968. Were you there, by chance? How did the BBC show happen? In
other words, did all these artists come in and sit and perform "live"
or did they come in and record it and post-produce the show?
Also to Musica is another unreleased P.F. Sloan acetate, "Cry Over
You". This time, it is much more the mid-60's sound he had as the
Grassroots. To me, it has a lot of the things found in his great
acetate of "I Know That You'll Be There" from the Varese Cd as well
as a little bit of "Hushabye" thrown in. Jay and the Americans
coulda done this quite well, but I'll take Flip's. Classic Sloan,
fer sure.
Take care, Clark
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Message: 13
Date: Fri, 10 Sep 2004 07:18:05 -0000
From: Billy G. Spradlin
Subject: Re: Robin Ward's "Wonderful Summer"
I found my Dot 45 of "Wonderful Summer" and it thuds like Godzilla
compared to the stereo mix.
The main differnce is the beginning, the ocean sound effects arent
faded in until :03 and the background vocalists and strings are
buried until Robin (Jackie) sings "It Was So Heavenly" at :26. On the
stereo version everything is mixed equally at the beginning.
The mix has more reverb and the low end BASS on this 45 is
monsterous. I wonder who played bass on this record, Carol Kaye? Joe
Osborne?
Billy
http://listen.to/jangleradio
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Message: 14
Date: Fri, 10 Sep 2004 20:00:14 +0100
From: Mick Patrick
Subject: Welcome Ron Dante
Ron Dante on Pat Benatar:
> Bob, I didn't get to work on Battlefield for Pat but I did
> like working with her. Really good singer and person.
Hey Ron, welcome to S'pop! Expect to be bombarded, in a good
way. :-)
I had a question for you the other week. In case you didn't
get to see it, here it is again:
When I like an old record, I find myself wanting to know as
much as I can about it. I can't help it; it's just the kind of
guy I am. Occasionally, it's possible to get a behind the
scenes story direct from those involved; the artists,
songwriters, producers, etc. I devour that stuff.
A platter that I've been returning to a lot recently is an
in-yer-face little girl group number by the What Four entitled
"I'm Gonna Destroy That Boy", released on Columbia 43843 in
1966.
The group was the subject of an article in Record Collector
magazine a few years back, so I know all about them, thank you
very much.
I just noticed that the song is written by Artie Resnick,
Kristin Resnick and Ronnie Dante. I'm hoping Mr Dante gets to
see this message and can remember the song.
How did the three scribes share their songwriting duties? Does
Ron like the song? What does he think of the record? Was he at
the session? Where was it recorded. What relation was Kristin
Resnick to Artie? These are some of the things I'd like to know,
plus whatever else Ron can remember and would like to share.
Hey la,
Mick Patrick
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Message: 15
Date: Fri, 10 Sep 2004 17:53:45 EDT
From: Bob Rashkow
Subject: Re: Billy Davis, R.I.P.
Billy Davis gave us The Dells and Minnie Riperton (once she broke
free of the incredibly brilliant Rotary Connection). This in itself
would have been enough! I tip my nonexistent hat to a great
producer and Chicago legend.
The If Only It Had Been department: Austin R, I bet you would not
only have SUNG a great Coke commercial but would have written a great
one too!
My life goes better with Spectropop,
Bobster
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Message: 16
Date: Fri, 10 Sep 2004 18:10:09 +0100
From: Chris King
Subject: Back To Mono
60s GIRLY SOUNDS A-GO-GO! DA DOO RON RON @ The SUSSEX ARTS CLUB, BRIGHTON -
SAT 18th SEPTEMBER
"A summer-flavoured selection of class female acts from the Ronettes to the
Flirtations, the Supremes to Shirley Bassey and more besides. Time to get
with the girls and frug". The Guardian - Clubs 'Pick Of The Week' - June
2004
Da Doo Ron Ron - the one & only 60s girl group club - return for their
monthly sashay through the femme-centric side of the swingin' Sixties on
SATURDAY18th SEPTEMBER @ the Sussex Arts Club, 07 , Ship St, Brighton, East
Sussex, BN1. Tel:-01273-778020 / 727371.
9pm to 2am. Pay a fiver before 11pm. £6 after.
E-mail:-me or info@sussexarts.com
Web-site:-http://dadooronronclub.com
Established in October 1998 (in North London), Da Doo Ron Ron is a 60s
orientated club night with a unique slant. In a tribute to original 'girl
power', DDRR DJ Chris 'Da Doo' King only spins female-fronted tracks from
the swingin' sixties and (occasionally) early seventies. You will never
hear a male lead vocal at DDRR! The club's musical menu is a femme-centric
celebration of 60s girl groups such as The Supremes, Ronettes, Marvelettes,
Shangri-Las, Chiffons, Crystals etc, sassy soul sisters like Aretha, Dusty,
Maxine Brown, Brenda Holloway and playful popstrels in the vein of Petula
Clark, Lesley Gore, Lulu, Cilla and Helen Shapiro.
"A 'femme-centric' selection of back-combed harmonizing". The Guardian -
Number 1 Clubs 'Pick Of The Week' November 2003
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Message: 17
Date: Fri, 10 Sep 2004 20:08:57 -0000
From: Davie Gordon
Subject: Dutch pop in the sixties - online encyclopaedia
While trying to track down a photo of Artie Kornfeld and Steve Duboff
as The Changing Times I came across this site which may be of interest
to more than a few of you
http://home.wanadoo.nl/dutchpophistory/introduction.htm
I'm no expert on Nederbeat but this looks very thorough and well worth
bookmarking.
Davie
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Message: 18
Date: Fri, 10 Sep 2004 16:13:38 EDT
From: Mike McKay
Subject: Evie Sands
Julio wrote:
> I'm enjoying the first signs of autumn, playing with my cats and
> listening to Evie Sands' "Picture Me Gone" , which I've just discovered.
> I like very much Madeline Bell's version , but Evie's is unsurpassable,
> she has a rare intensity in her voice, listening to her almost leaves
> me breathless.
And speaking of Evie, by coincidence I received an Email today from Adam
Marsland, late of the power pop band Cockeyed Ghost. Adam is now recording
and touring with his Chaos Band, one of whose members is...Evie Sands!
Details here: http://www.adammarsland.com
(P.S. -- I really liked her almost-hit of the 70s, "You Brought the Woman
Out in Me.")
Mike
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Message: 19
Date: Fri, 10 Sep 2004 13:15:18 -0700
From: Bob Hanes
Subject: Re: David Anderle
You will hear from him. David Leaf interviewed Mr. A for the SMiLE
doc. It should be quite good. Buy the DVD, I'm sure you won't be
disappointed. Leaf talked to everybody that could still talk. As
usual, with these things Wilsonian, it is not that there is too
little, there is so very much. Never say too much when speaking of
Brian!
The Right Reverend Bob, dumb angel chapel,
Church of the Harmonic Overdub
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Message: 20
Date: Fri, 10 Sep 2004 16:18:53 EDT
From: Mike McKay
Subject: Re: The Cowsills
Peter Lerner wrote:
> Most of the Cowsill talk has been about John, and I don't think
> anyone has mentioned the superb vocal contributions of Susan Cowsill
> to the work of the Continental Drifters, particularly their lovely
> album of Fairport Convention / Sandy Denny covers. A great and
> distinctive voice.
Indeed. "The Rain Song" from the Vermilion album is an all-time classic!
I'm also surprised that with all this Cowsills talk, no one has
mentioned their fine "Global" album from just a few years ago. Superb
power pop with great vocals, and most importantly, great songs.
Talk about a classic conflict. They call themselves "The Cowsills"
because it has name recognition (and because, after all, they ARE The
Cowsills). But then they get a whole bunch of (inaccurate) associations
with what they must be like now. I believe I recall reading that they
had a hard time getting gigs on the L.A. club scene for that very
reason, despite the fact that they're a truly dynamic band with no
nostalgia underpinnings whatsoever.
Mike
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Message: 21
Date: Fri, 10 Sep 2004 15:45:27 +0000
From: Phil X Milstein
Subject: Re: The Frank Guida Sound; John Lennon's Jukebox
Mike Rashkow wrote:
> Maybe it wasn't intentional. I did stuff that sounded that way
> because I was incompetent.
The Guida/Norfolk Sound is even cited in "Mashed Potato Time," out of
Philly, where Dee Dee Sharpe, who knew a good thing when she heard it,
wails, "They even do it to 'Dear Lady Twist'." Hellfire, if I didn't
know that the chronology doesn't quite back me up on this, I'd swear
that "One For My Baby" was Frankie Sin's take on Gary Bonds's "Quarter
To Three," instead of the other way around.
Bonds, by the way, makes a present-day appearance in the "John Lennon's
Jukebox" documentary that debuted on PBS earlier this week. The premise
of the show is that the producers drag around (what I assume is a
replica of) Lennon's lovely portable jukebox to some of the artists
whose records were still on it when the machine was taken over by its
next owner*. These people, who also include such long-time-no-hear-from
luminaries as Bobby Parker, Fontella Bass, Bruce Channel with Delbert
McClinton, Steve Cropper and Ritchie Barrett, then listen to their
respective records and ruminate on its specific influence on Lennon and
The Beatles. (Also speaking, despite having less than nothing to say, is
Sting, who is to "John Lennon's Jukebox" what Adam Ant was to the Motown
25th Anniversary special.)
Interview audio, some of which seem to have been taken from one or more
guest DJ slots he did on radio, of Lennon discussing his favorite
records helps frame these pieces. Despite a few patches of corny
filmmaking, the show is riveting, and I hope all those who would like to
see it will be able to find a way to do so. It's still got a few runs
left in its rotation on my local station, so perhaps it will on your's,
as well; see http://www.pbs.org/previews/gp_lennons_jukebox/ for
scheduling information.
It was fortuitous that all of The Beatles were raised well enough that
they were able to be such great and open fans of the music they loved.
Less secure performers than they might've taken pains to disguise just
how much they drew from their predecessors (most of whom, of course,
were still active at the time), but The Beatles, along with certain
other superstars (Elvis, for one, comes to mind), were never less than
gracious and supportive to those whose work influenced and affected
them. That sensibility forms a strong presence in this show, and is a
breath of fresh air in contrast to all the stories we hear of celebrity
haughtiness and hissyfits.
Yeah yeah yeah,
--Phil M.
*I haven't seen the show all the way through yet, so don't yet know some
of the particulars, such as the machine's make and model, ownership
history, etc.
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Message: 22
Date: Fri, 10 Sep 2004 13:36:57 -0700
From: Eric Predoehl
Subject: Re: The Kingsmen's "Louie Louie"
Mikey, With all due respect, I don't see any inconsistencies of what
I've reported. The original recording was released in mono, and this
was the source for all future re-releases and re-mixes. The tape master
supplied by Mike Korgan to Jerry Dennon was a mono recording. As far
as I know, Jerry Dennon never even saw the original multi-track
recording, which remained in the possession of Mike Korgan until the
early 1990s. The fact that Mike Kogan had a falling out with both
the Kingsmen and Jerry Dennon might have complicated things a bit.
In terms of overdubs, everything I've heard from producer Mike Korgan,
recording engineer Robert Lindahl, and members of the Kingsmen (Jack
Ely, Mike Mitchell, Lynn Easton, Don Gallucci, Bob Nordby) seems to
confirm that this was a live recording without any over-dubs. I
wasn't there, but all my information is direct from those that were.
I don't know Tom Moulton, but I'd love to hear what he's got. I can't
comment on something I haven't heard.
sincerely,
ERIC PREDOEHL
http://www.louielouie.net
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Message: 23
Date: Fri, 10 Sep 2004 21:05:17 -0000
From: Julio Niño
Subject: Re: "Every Little Bit Hurts".
Hola Everybody.
I´ve just read Mick Patrick´s post about "Every Little Bit Hurts",
with Ed Cobb comments about the song (and listened to the version
in musica, which is great). There is another version( with a
different backing track) of the song by Brenda Holloway included
in a Del- Fi Girl Groups compilation. I can´t consult the liner
notes of the CD right now, but I think I remember the notes
indicate that that version was previous to the Motown recording.
Am I mistaken?.
Chao.
Julio Niño.
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Message: 24
Date: Fri, 10 Sep 2004 18:49:51 -0400
From: Country Paul
Subject: Kenny Rankin sings Dion at musica
Now playing at musica, the beautiful "Knowing I Won't Go Back There"
Columbia 4-43201 (recorded November 6, 1964, released January 18, 1965),
written by Dion DiMucci, prod./arr./cond. by Robert Mersey, and sung by
Kenny Rankin, who possessed what a fellow DJ once called "the most beautiful
voice ever put into a male." (Dion also recorded the song himself with The
Wanderers on September 26, 1965, produced by Tom Wilson; it eventually came
out on the 2 CD anthology "The Road I'm On: A Retrospective"
(Columbia/Legacy C2K 64889.)
This Rankin performance is one of my all-time favorite records; upon
discovering it when new I remember putting the record changer on "repeat"
and letting it play about 20 times or so. Why this was never a hit still
defies logic, in my opinion. (The "B" side, "There'll Be No Other Love For
Me," is a lush jazz/pop arrangement with a vocal that indicated the jazz
direction Rankin headed in later in his career.)
By the way, this wasn't the first time the pair joined forces. In 1963,
Kenny Rankin recorded "Baby Goodbye" b/w "Soft Guitar," Columbia 4-42881,
both sides produced but not written by Dion (and arranged and conducted by
Mersey). On March 24, 1964, Rankin recorded "Where Did My Little Girl Go"
(Columbia 4-43036, released May 16, 1964), which the pair co-wrote. I've
never heard any of these.
Sources for the facts quoted above: Andrew Sandoval,
http://members.lycos.co.uk/steveislip/d-folk-60s-list.html and Steve Islip,
http://members.lycos.co.uk/steveislip/coversongs.html; also
http://www.bsnpubs.com/dion.html
Country Paul
-------------------[ archived by Spectropop ]-------------------
Message: 25
Date: Sat, 11 Sep 2004 01:14:58 -0000
From: M. G. Still
Subject: Re: Billy Davis, R.I.P.
> Billy Davis produced and wrote many of the Coke commercials.
Looking at a 45 of The New Seekers' 1971 Coke ads, I see that
"Becker, Davis, Cook and Greenwawy" are credited on "Buy the
World A Coke" and "Little Bit of Sunshine" - and that Bill Backer
is the only one credited with "It's the Real Thing" - would you
know what the story is here?
M. G. Still
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