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SPECTROPOP - Spectacular! Retro! Pop!
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There are 25 messages in this issue.
Topics in this digest:
1. Re: Mickey Mouse copyright laws
From: nuzzster
2. RIP Joel "Bishop" O'Brien
From: Eddy Smit
3. Re: Dave Davies
From: Tom Taber
4. The Night Shift
From: Ed B
5. "Wide Awake In A Dream"
From: Julio Niño
6. Dusty at The Greek and Grand Finale
From: Birdie
7. drummer Kenny Buttrey Dead at 59
From: Bob Wallis
8. Ramona King
From: Lugee
9. Chicago session musicians
From: Richard Williams
10. Shangs mauled by Tiger
From: Guy Lawrence
11. TV series
From: Phil X Milstein
12. Re: "Wide Awake In A Dream"
From: Mike Miller
13. Re: The Star Spangled Banner
From: Joe Nelson
14. New @ S'pop: The Dickens, You Say
From: S'pop Projects
15. Re: Steve Alaimo / Horrell McGann
From: Dan Hughes
16. Re: "Wide Awake In A Dream"
From: Jeff Petschow
17. Al Kooper and Bobby Vee
From: Clark Besch
18. Re: The Association
From: Bob Rashkow
19. Re: Dusty at The Greek
From: Mary
20. Chiffons Discography
From: David
21. Ernie Ball
From: Phil X Milstein
22. Re: Shangs mauled by Tiger
From: Austin Roberts
23. What the Dickens....
From: Country Paul
24. Re: Ramona King
From: S'pop Projects
25. New @ S'pop: The Angelettes
From: S'pop Projects
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Message: 1
Date: Wed, 15 Sep 2004 00:55:44 -0700 (PDT)
From: nuzzster
Subject: Re: Mickey Mouse copyright laws
And isn't the world's most well-known song, "Happy Birthday To You", still
under copyright? Whenever it's featured in a movie, the writers are always
acknowledged in the end credits.
It was originally written as "Good Morning To All" by sisters Mildred Hill and
Patty Smith Hill in 1893. You can read some background at:
http://www.originals.be/eng/main.cfm?c=t_new_show&id=8900
Warner Communications bought the rights in 1988 for $25 million. So, next
time you sing it, make sure you pay up!
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Message: 2
Date: Wed, 15 Sep 2004 11:49:07 +0200
From: Eddy Smit
Subject: RIP Joel "Bishop" O'Brien
Regret to inform you about the death of Joel "Bishop" O'Brien, a drummer
for Carole King and James Taylor amongst many other things. Please
check out Moogy Klingman's site for his obituary on his friend and mentor,
at http://www.moogymusic.com/
Eddy
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Message: 3
Date: Wed, 15 Sep 2004 06:34:08 -0700 (PDT)
From: Tom Taber
Subject: Re: Dave Davies
Mike McKay wrote:
> "It's better to be first than to be better." The same phenomenon
> obtains with The Kinks' "You Really Got Me" vs. "All Day And All
> Of The Night."
I agree about the superiority of both "She Loves You" and "All Day..." (But
if Dave Davies could play that solo so well in the studio at 17, why did I never
hear him come close to it after 10, 20, or 30 years of practice?)
Dave was scheduled to play a date in Rochester in mid-October, but I read
yesterday that although "he is nearly completely recovered from his stroke"
the tour was being cancelled "just to be on the safe side."
Tom
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Message: 4
Date: Wed, 15 Sep 2004 15:28:55 -0000
From: Ed B
Subject: The Night Shift
I recently picked up a Jazz Dance album on Statler Records which includes
music by the "Night Shift," popular East Coast musicians with the "New
Sound", actually great instrumentals based on Gloria, Louie Louie, 96
Tears, etc., accompanied by voiceover with dance instructions, and one
instrumental without vocals.
Any info on The Night Shift? They might possibly be the same group with
a release on Bell Records in I believe 1966.
Ed B
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Message: 5
Date: Wed, 15 Sep 2004 14:38:48 -0000
From: Julio Niño
Subject: "Wide Awake In A Dream"
Hola everybody.
The mention of Steve Alaimo in some messages these last days has
brought to my mind the Jamaican duo The Blues Busters, that
recorded some nice tracks in the sixties, both in Ska and Soul style
(Steve Alaimo recorded several of his songs like " You
Don´t Know" and "Behold" among others).
I've been listening today to an old compilation of the Blues Busters
that included a song that I've always liked, "Wide Awake In A Dream"
(which I first heard in the version of the ultrasoulful Alton Ellis, also
Jamaican). In an interview with The B.B. included in the notes of the
record, they say that they found the tune on a record of someone called
Wallace, they liked it and recorded it, and thus the song is credited to
that Wallace.
Wanting to know more about the song and its composer I've been
looking for information on the Internet, but I haven't been able to find
anything. I searched finally in the BMI database, and there the song
appears credited to Lloyd Osbourne Campbell and Phillip James, aka
The Blues Busters).
You can never trust Jamaican credits, and the lyrics of the song seems to
me too sophisticated for Jamaican standards (it begins, "Even though you
touch my hand, I can't believe you are real...."), so I suspect it could be a
version of an American song. Maybe somebody can inform me about the
song and its composer.
Thanks,
Julio Niño.
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Message: 6
Date: Wed, 15 Sep 2004 16:13:31 -0000
From: Birdie
Subject: Dusty at The Greek and Grand Finale
I'm looking for recordings of Dusty Springfield at The Greek Theatre, 1980,
when she opened for Peter Allen, as well as of her show a few months
later at The Grand Finale in New York.
Cheers!
Birdie
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Message: 7
Date: Wed, 15 Sep 2004 16:32:15 -0000
From: Bob Wallis
Subject: drummer Kenny Buttrey Dead at 59
Another sad loss to the music world....
Influential drummer Kenny Buttrey dead
Kenny Buttrey who made a career of literally pounding down barriers
between country, pop, rock, R&B and folk music died late Sunday at
his Bellevue home after a long battle with cancer.
The drummer who played with Bob Dylan, Neil Young, Elvis, Simon &
Garfunkel and more was 59. His wife of 20 years, Cheri, and their two
daughters, Kenzie, 16, and Keri, 06 , were with him when he died.
Because he worked in Nashville, some might call him a country session
drummer. But that hardly tells his story. He was a member of
groundbreaking Nashville groups, including Barefoot Jerry among the
early ''Southern rock'' outfits and Area Code 615, a combination of
Music Row aces.
Both bands included guitarist Mac Gayden, who said he ''first met
Kenny when he was 14 and he was playing clubs.'' Gayden said
that ''the young genius'' grew to become ''probably, pound for pound,
the most talented contemporary drummer that I ever played with in
America. He could play any kind of music and he could take things to
a level that is transcendental. He was born to play drums.''
Mr. Buttrey's credits include Dylan's genre-busting Nashville albums:
Blonde on Blonde, John Wesley Harding and Nashville Skyline. Buttrey
also played on Young's Nashville-flavored Harvest.
His major R&B cuts included Robert Knight's Everlasting Love and
Arthur Alexander's Anna.
''He told me the other day that the two songs that were his favorites
were Lay Lady Lay with Bob Dylan and Heart of Gold with Neil Young,''
Cheri Buttrey said yesterday.
If he had to pick one ''it was Lay Lady Lay. That surprised me,
because I thought that it would be Rainy Day Women. You
know 'everybody must get stoned' sounds like such a party.''
''But he said Lay Lady Lay was the most fun because of what was
happening, because it was so tasty, with the bongos and cowbells.''
Legendary L.A.-based drummer Jim Keltner, who has played with members
of The Beatles, Rolling Stones, Randy Newman and more, said Mr.
Buttrey was a major influence on him: ''(Kenny) was a great musician
in that everything he ever played made such great sense. He wasn't
known for flashy chops. ... He just had the ability to self-arrange
what he played, such a way that made tremendous sense for a song.''
Aaron Kenneth Buttrey was born April 1, 1945, in Nashville, the son
of the late Clinton and Sadie Buttrey. In addition to his wife and
two younger children, he is survived by a son, Todd Buttrey, of White
House; daughter Tina Spelta of Hendersonville; four grandchildren,
two brothers and two sisters.
Arrangements are being handled by Crawford Mortuary and Crematory.
The remains will be cremated. A service will be held later in the
week at Redeemer Lutheran Church in Bellevue, with a musical memorial
planned.
http://tinyurl.com/5zx2r
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Message: 8
Date: Wed, 15 Sep 2004 17:41:01 -0000
From: Lugee
Subject: Ramona King
Does anyone have any information on Ramona King? Her version of "Oriental
Garden" (Eden 3) is one of the great unheralded singles of the '60s. She
also had a terrific record titled "What Have I Got To Cry About" that was
released on Amy 989.
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Message: 9
Date: Wed, 15 Sep 2004 20:02:46 +0100
From: Richard Williams
Subject: Chicago session musicians
James Holvay wrote: "I played guitar on a few sessions with Billy (Davis)
as the producer. He was a perfect gentleman and a "master" in the studio.
We were young musicians in Chicago, trying to make soul music and he was
God to us."
James, did you ever play a session with the drummer Al Duncan? If so, do
you have any memories you might share? I loved his very distinctive playing
on the early Impressions/Major Lance sessions. Maurice White, who succeeded
him as Chess's house drummer, told me he drank himself to a premature
death. Also I loved the playing of Floyd Morris, the pianist on that stuff.
But does anyone know who played bass on those records? Might it have been
Johnny Pate, who arranged most of them but was also a bass-player?
Richard Williams
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Message: 10
Date: Wed, 15 Sep 2004 22:15:47 +0100
From: Guy Lawrence
Subject: Shangs mauled by Tiger
Thumbing through the March '66 edition of Tiger Beat (as you do),
I came across this little nugget from Derek Taylor's Group Scoop
column:
"Every so often something awful happens to the charts -- a sick song
crawls in and slides, inexplicably, into the top position. It happened
twice in 1965, first with "Laurie" by Dickie Lee, about the youth who
found he'd been dancing with a girl who'd been dead for twelve months.
The second was The Shangri-Las' "I Can Never Go Home Anymore",
a heap of verbal rubbish. All about a spoiled brat who left home after
a row with her neurotic mother. The mother died -- of a broken heart.
The moral of the song is: don't leave home, because your mother may
not be there when you want to go home again. Actually, the song had
no moral or value -- it was simply a piece of commercial tripe."
Oh Derek! How wrong you were! The same issue features this little
snippet which is of topical interest here at Spectropop:
"Two more creative songwriters, Artie Kornfield and Steve Duboff,
have taken the familiar plunge and turned performers. The name they
chose, The Changin' Times, was derived from a Bob Dylan tune. Artie
has written many hits for such pop stars as Dusty Springfield, The
Shirelles, Jan & Dean and Jay and The Americans. Steve, newer to
the trade, has written for Teresa Brewer and The Exciters. After their
meeting at a music publishing office, Artie and Steve decided to team
up and collaborate on their writing. The results were hit records for
Freddie Cannon, The Hullabaloos, Jimmy Jones, Jerry Butler and Betty
Everett. When asked about his new career, Steve comments, 'Writing
is a groove but there isn't a songwriter I've ever met who wouldn't fall
down to be a hit recording artist'."
Guy
http://groups.yahoo/group/TweedleeDumsDriveIn
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Message: 11
Date: Wed, 15 Sep 2004 18:37:01 -0400
From: Phil X Milstein
Subject: TV series
I'd like to kick off a new series of postings to musica, of prerecorded
tracks lip-synced to on '60s TV music shows, but never (apparently)
released. I've collected and digitized a few of these, and while the
dubs are inevitably hissy (at best), until some better method comes
along (or until the audio tracks are properly released!), it seems
this'll have to do. Leading off the series is "Home Of The Brave,"
performed on Shindig by Linda Gayle in October of 1965.
Enjoy,
--Phil M.
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Message: 12
Date: Wed, 15 Sep 2004 21:15:37 EDT
From: Mike Miller
Subject: Re: "Wide Awake In A Dream"
Julio:
> I've been listening today to an old compilation of the Blues Busters
> that included a song that I've always liked, "Wide Awake In A Dream"
> (which I first heard in the version of the ultrasoulful Alton
> Ellis, also Jamaican). In an interview with The B.B. included in the
> notes of the record, they say that they found the tune on a record of
> someone called Wallace, they liked it and recorded it, and thus the
> song is credited to that Wallace.
This wonderful song, "Wide Awake In A Dream" was written in mid to
late 1962 by Bob Gaudio (of the 4 Seasons) and Bob Crewe. It was first
recorded by Jerry Jackson for Kapp records in October 1962. It was not
a big hit here in the States, but gained quite a bit of popularity in
some of the islands near the Bahamas.
Mike Miller, doowopdaddy
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Message: 13
Date: Wed, 15 Sep 2004 21:43:06 -0400
From: Joe Nelson
Subject: Re: The Star Spangled Banner
Phil X Milstein:
> Meaning today is its 200th anniversary, on the nose. Wish I liked the
> song more than I do! I've always sided with Ray Charles in his support
> of making "America" the national anthem, on the grounds that a) a
> celebration of our (once) beautiful landscape seems far more appropriate
> than a celebration of a tattered flag (especially when you consider for
> how long the country that tattered it has been our beloved ally), and b)
> it's far more singable.
Not so much a celebration of the flag as much as the author's
realization of what it meant as a symbol (and by extension, the
country as a whole. Take away the meter and the Key's intention
becomes clearer:
"Oh say, can you see by the dawn's early light (the thing that) so
proudly we hailed at the twilight's last gleaming?"
(A bit of historical perspective: Key was aboard a British war ship,
negotiating the release of an American prisoner of war. Unable to
leave due to the battle breaking out, Key was trapped in a holding
cell, unable to see out of the window. During the heat of the battle
the American flag flying over Ft. McHenry was clearly visible, but now
that the fighting had subsided it wasn't so obvious. If the British
had prevailed, they'd have taken down the flag and replaced it with a
Union Jack. Now that dawn had come, Key was asking those able to see
out of the window was the Stars and Stripes still flying,or had the
English army won the battle?)
"Whose broad stripes and bright stars through the perilous fight (that
we were watching through the security of this fortress) were so
gallantly streaming?" (Not really a question, but an extension of that
first line.)
"And the rockets red glare (and) the bombs bursting in air gave proof
through the night that our flag was still there." (Again, now that the
fighting had subsided one had to wait for dawn to see if the flag was
still flying. The wait, considering that a British victory meant that
the negotiarted prisoner release was most likely off and that Key
himself would probably be taken prisoner, must have been intolerable.)
leading to the climactic question:
"O (tell me), does that star spangled banner (still) wave over (this
great free nation)?"
It was indeed still flying as we all know, the American's prevailed
and all went ahead as set. In the following stanzas, Key celebrates
the flag and the nation for which it stands. Thus the song celebrates
not so much the flag as the nation it symbolizes, the unique freedoms
enjoyed there and the terrible price paid to secure them and preserve
them. It goes several steps beyond the "isn't this a swell place to
live" sentiment of most patriotic songs: thus its selection as our
national anthem.
Joe Nelson
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Message: 14
Date: Thu, 16 Sep 2004 00:46:20 +0100
From: S'pop Projects
Subject: New @ S'pop: The Dickens, You Say
New @ S'pop
The Dickens, You Say
by Phil Milstein
... In 1971 The Dickens whipped up Scepter Records #12322, 'Sho'
Need Love'/'Don't Talk About My Music', a single that appears in
both NRBQ-related and Scepter discographies, yet, except to those
willing to shell out three-figured sums on eBay, remains utterly
unavailable. Their one record was pressed only in a small quantity
of white-label promo copies, most of which were apparently
destroyed after its release was squelched, by executive fiat, at
the last minute. The episode is an apt metaphor for the story of
The Dickens, which is that of a spectral joke-band that bumbled
its way into existence, yet in so doing drafted plans for two or
three of the new rooms music was about to inhabit ...
For the story in full, lavishly illustrated, and told as only Phil
Milstein knows how, proceed directly to:
http://www.spectropop.com/Dickens/index.htm
Dig,
The S'pop Team
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Message: 15
Date: Wed, 15 Sep 2004 19:48:55 -0500
From: Dan Hughes
Subject: Re: Steve Alaimo / Horrell McGann
Al on Steve Alaimo:
> ...He ran TK, Glades and Clouds Records, outa Hollywood, Fla. in
> the '70s.
I have an album on Clouds by Horrell McGann, produced by Steve and
Michael Hurley. I used to play the cuts "Dem Bowling Blues" and "I
Miss Philadelphia (Like a Hole in the Head)" on my radio show in
Atlanta. Anybody know anything about Horrell?
---Dan
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Message: 16
Date: Wed, 15 Sep 2004 20:27:28 -0500
From: Jeff Petschow
Subject: Re: "Wide Awake In A Dream"
Julio:
> I've been listening today to an old compilation of the Blues Busters
> that included a song that I've always liked, "Wide Awake In A Dream"
> (which I first heard in the version of the ultrasoulful Alton
> Ellis, also Jamaican). In an interview with The B.B. included in the
> notes of the record, they say that they found the tune on a record of
> someone called Wallace, they liked it and recorded it, and thus the
> song is credited to that Wallace.
I've got the original Jamaican release of the Blues Busters album Behold
...How Sweet It Is. It is on Sunshine Records from 1964. The composer
credits are limited on this album. Five songs are credited to the two
Blues Busters, Phillip James and Lloyd Campbell. Six songs give no
songwriter credit but they do list publishing. Then there is "Wide Awake
In A Dream" credited to Wallace. There is no mention of this song in the
liner notes on the album. They do mention getting five songs on the Steve
Alaimo album. I listened to the song and it quite good. Sorry but I was
not able to find out who Wallace is.
Jeff
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Message: 17
Date: Wed, 15 Sep 2004 17:30:21 -0000
From: Clark Besch
Subject: Al Kooper and Bobby Vee
I was talking with a friend who thought "This Diamond Ring" was
turned down by Bobby Vee. I know Al and Co. wrote it for the
Drifters, but I don't remember it being offered to Vee and being
turned down before the Gary Lewis version was made. Al, can you
clear this up.
This conversation led to the story on "Come Back When You Grow Up".
When KOMA radio in Oklahoma City had their DJ reunion early this
year, my fave KOMA DJ, Dale Wehba, talked about hearing a local band
play the song live and he thought it would be good for Vee.
Apparently, he was in the studio when Vee cut it. It appears with an
intro on Vee's EMI Legendary Masters Cd and we wondered why they cut
that and made the 45 start cold vith vocal beginning instead of
having the original opening. I guessed it was to shorten the record
to a more "normal" 45 running time. Anyone know why it starts with
vocal? I'm guessing Vee and all thought it would be huge, since I
remember being totally surprised by how fast it followed "Maybe Just
Today" in being released. Seemed like "Today" had been out hardly a
month and here was this new song!
Thanks, Clark
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Message: 18
Date: Wed, 15 Sep 2004 19:06:39 EDT
From: Bob Rashkow
Subject: Re: The Association
Clark, I remember the All Time Request list from Super CFL and "Cherish"
selected as No. 1 of 1965-68. I know The Association were extremely
popular in Chicago, especially if you think in terms of senior proms
and dance parties, but why didn't "Everything That Touches You" hit the
top 10? Not a song most couples were smooching to, anyway! My personal
favorite of their hit ballads is "Never My Love" which I think only
clocked out of the WLS chart at #3 back in October (?) 67 if I'm not
mistaken.
Anyone remember a Chicago group called the North Syde ("Won't You Be
Friendly With Me?")? Harvey Daniels and a group of local yokels. Their
beautiful effort to emulate the Association, Cryan Shames, New Colony 6
et al (circa '68 I think) was picked by Musicor for a promo 45 but
apparently never released. I have a near-mint copy of it, thank heavens.
Bobster
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Message: 19
Date: Thu, 16 Sep 2004 04:22:50 -0000
From: Mary
Subject: Re: Dusty at The Greek
Birdie:
> I'm looking for recordings of Dusty Springfield at The Greek Theatre,
> 1980, when she opened for Peter Allen, as well as of her show a few
> months later at The Grand Finale in New York.
At last I hear from a Dusty fan. I was at that concert when she opened
for Peter Allen. As a matter of fact, my sis and I went to two concerts
at the Greek Theater to see her. And yes, Peter was great also. I hope
you find the music from that concert. I also saw her at Century City
here in Los Angeles, also back in '72, I believe it was.
Mary
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Message: 20
Date: Thu, 16 Sep 2004 08:10:59 -0000
From: David
Subject: Chiffons Discography
Does anyone have a "complete" Chiffons song discography. I understand
that at least one complete album and a few stray tracks are unreleased
on CD but I'd like to collect as much as is available.
Thanks !
David
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Message: 21
Date: Wed, 15 Sep 2004 20:24:52 -0400
From: Phil X Milstein
Subject: Ernie Ball
Following on the heels of Donald Leslie comes the death of another
innovator of the musical instrument industry whose name has become a
brand name, Ernie Ball of guitar strings fame. I don't, though, have
any details and the NY Times seems to be passing over this passing.
--Phil M.
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Message: 22
Date: Thu, 16 Sep 2004 00:15:10 EDT
From: Austin Roberts
Subject: Re: Shangs mauled by Tiger
Guy:
> Thumbing through the March '66 edition of Tiger Beat (as you do),
> I came across this little nugget from Derek Taylor's Group Scoop
> column:
>
> "Every so often something awful happens to the charts -- a sick song
> crawls in and slides, inexplicably, into the top position. It happened
> twice in 1965, first with "Laurie" by Dickie Lee, about the youth who
> found he'd been dancing with a girl who'd been dead for twelve months.
> The second was The Shangri-Las' "I Can Never Go Home Anymore",
> a heap of verbal rubbish. All about a spoiled brat who left home after
> a row with her neurotic mother. The mother died -- of a broken heart.
> The moral of the song is: don't leave home, because your mother may
> not be there when you want to go home again. Actually, the song had
> no moral or value -- it was simply a piece of commercial tripe."
If he didn't like Laurie or I can never go mome anymore, I'm sure he
would've loved Honey and a record I had a bit to do with, called Rocky.
He would've hated Dickie by then, since he did Patches, Laurie and the
country version of Rocky.
Best, Austin Roberts
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Message: 23
Date: Thu, 16 Sep 2004 00:06:41 -0400
From: Country Paul
Subject: What the Dickens....
Just discovered The Dickens article by the remarkable Phil Milstein
on the Spectropop front page. It's a goodie! Great story, great
writing. I never was "privileged" to see the group, or to hear the
45, but I did get NRBQ to play for my (first) wedding reception back
in 1976. The marriage didn't last, but the band did!
Country Paul
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Message: 24
Date: Thu, 16 Sep 2004 01:37:36 +0100
From: S'pop Projects
Subject: Re: Ramona King
Lugee:
> Does anyone have any information on Ramona King? Her version
> of "Oriental Garden" (Eden 3) is one of the great unheralded
> singles of the '60s. She also had a terrific record titled
> "What Have I Got To Cry About" that was released on Amy 989.
Hi Lugee,
Ramona King is much appreciated and has been discussed here at
S'pop many times before. If you haven't checked our archives,
that would be a good place to look for information about her.
Use the new search engine found at the top of the sidebar on the
S'pop home page: http://www.spectropop.com
Better yet, use this direct link: http://tinyurl.com/65wkl
Enjoy,
The S'pop Team
-------------------[ archived by Spectropop ]-------------------
Message: 25
Date: Thu, 16 Sep 2004 12:31:36 +0100
From: S'pop Projects
Subject: New @ S'pop: The Angelettes
New @ S'pop
The Angelettes
by Julie Abbott Hammersley
>From Ian Sleter's introduction...
The Angelettes were a young British quartet from the Manchester
area who played their own instruments. Too smooth, melodic and
professional to be regarded as a "band", their beautiful
harmonies were the most characteristic feature of their music.
These are well displayed in most of their records, notably their
first: "Don't Let Him Touch You", which should have been a big
hit. But for the fault on their Top Of The Pops TV outing, maybe
it would have been. This song, like much of their output, was
written and produced by Jonathan King, the multi-talented
extrovert who was behind so many British hits of the late '60s
and the '70s. Later, they worked with Bryan Ferry, doing the
vocal backings on his "These Foolish Things" LP. This is
Spectropop's tribute to this talented early 1970s group. We are
very grateful to original member Julie Hammersley (née Abbott)
for most of the material in the article.
Direct link: http://www.spectropop.com/Angelettes/index.htm
Enjoy,
The S'pop Team
-------------------[ archived by Spectropop ]-------------------
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