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SPECTROPOP - Spectacular! Retro! Pop!
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There are 25 messages in this issue.
Topics in this digest:
1. Welcome Bill Mulvy
From: Clark Besch
2. Re: American Dreams is back
From: Austin Roberts
3. Re: The Virginia Wolves
From: Austin Roberts
4. Billy Meshel
From: Austin Roberts
5. Re: Earl or Hal?
From: Clark Besch <"hawkeyes95" >
6. Re: surf's up
From: Austin Roberts
7. Re: David Pomeranz
From: Patrick Beckers
8. Re: US/UK Decca
From: Austin Powell
9. Re: "I Can Hear Music"
From: Tom K. White
10. Re: Dave Diamond / Susan Cowsill
From: Orion
11. Re: Defining genius
From: Mark Witz
12. Re: Gary or Jerry Lewis?
From: Unsteady Freddie
13. Re: Where The Girl Are #6
From: David Bell
14. Re: L. David Sloane
From: Philip Hopson
15. Where The Girls Are Vol.6 / New Kenny Lynch comp
From: Julio Niño
16. Re: Herb Alpert as a vocalist
From: Frank Young
17. Re: Zombies / Love concert at Park West
From: Bill Mulvy
18. Re: Herb Alpert as vocalist
From: Austin Roberts
19. Lou Reizner
From: Doug Richard
20. Razors Edge - "Let's Call It A Day Girl"
From: Bill Mulvy
21. Re: L. David Sloane
From: Austin Roberts
22. Re: days of Steam
From: Austin Roberts
23. Re: Brian Wilson songs
From: Dave O'Gara
24. Re: Where The Girls Are #6
From: Joe Nelson
25. Re: Herb Alpert as vocalist
From: Randy Kosht
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Message: 1
Date: Thu, 07 Oct 2004 05:30:17 -0000
From: Clark Besch
Subject: Welcome Bill Mulvy
Bill, welcome to another 60's Chicago bands fan (saw your posts on a
Zombies site!)! I think you'll enjoy the company here!! Clark
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Message: 2
Date: Wed, 6 Oct 2004 23:39:57 EDT
From: Austin Roberts
Subject: Re: American Dreams is back
Previously:
> I know it's just revisionism, but the original Bandstand usually had
> newcomers on his show doing their current hit, not groups that were
> supposed "has-beens" by the time period of the show presented on
> American Dreams. Altho it certainly is different now, back in 1966 as
> a kid, I wanted to hear the new and current hits and seldom wanted to
> hear songs 2 years old.
Thank God for Oldies Radio, which seems to be a mainstay everywhere,
even for a lot of young people looking for melody and lyrics they can
understand. No, I don't have gray hair.
Austin 'love them '50s, '60s and some '70s' Roberts
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Message: 3
Date: Thu, 7 Oct 2004 00:29:16 EDT
From: Austin Roberts
Subject: Re: The Virginia Wolves
Phil M:
> My explanation is "sheer ignorance." Let's pretend I called it a
> "standard," instead.
Well Phil, If it makes you feel better, our version did nothing to
augment it's reputation as a standard, which it certainly is, in spite
of the Virginia Wolves.
Austin (never heard of the group) Roberts
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Message: 4
Date: Thu, 7 Oct 2004 01:00:30 EDT
From: Austin Roberts
Subject: Billy Meshel
Joe Nelson mentioned:
> ... Billy Meshel ...
I think Billy had an album out called LOVE SONG OF H. WILBUR MESHEL.
When I was a staff writer for Famous Music (1970, 1971 and part of
1972 when Screen Gems offered more money and TV), Billy M. was the
proffessional manager and chief cut-up there (Famous). I lived at his
house until I found a place of my own.
Now Mike Gately (with Robert John), who were in the office next to
mine on the 17th. floor (I think), was probably the funniest human
being, in a dry, eye twinkling way, than anyone I've ever known. He
and Al Kooper were great friends, as Al will tell you.
We used to watch the trees in Central Park when the wind was blowing
because the Gulf and Western Bldg. where we `worked' would sway with
the wind (probably designed by an inebriated architect). Mike would
sometimes strap himself to a desk, just in case. We lost a great man
when Mike died.
Anyway, back to Billy Meshel; in a two year period he must've gotten
me 30 cuts, including Sonny and Cher, The Osmond Brothers (pre Marie),
Chris Montez and several other hot artists at the time. He knew
everybody! The only reason I cite these artists is that I wanted you
all to know I could still remember them; but as for any of the other
cuts Billy got me, well, I've forgotten.
Sorry, but when I get going on something, especially the good stuff,
I sometimes can't stop. Plus I'm up all night writing and need to talk
to someone. OK?
Austin 'the silent Monk' Roberts
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Message: 5
Date: Thu, 07 Oct 2004 05:19:27 -0000
From: Clark Besch <"hawkeyes95" >
Subject: Re: Earl or Hal?
Bob Celli wrote:
> I was reading some old posts from a few years ago and came across a
> question that was never definitively answered in regards to who
> drummed on Bobby Vee's hit, "The Night Has A Thousand Eyes". The
> answer is Earl Palmer. Hal Blaine did session work on the "Live On
> Tour" LP, which included a version of "The Night Has a Thousand Eyes",
> but not the hit version. This may be where the confusion comes from.
The version of "Night Has..." that is used on the Scopitone of the
song is a different version and likely recorded 64 or 65, as I don't
think there were Scopitones when the song was a hit. Maybe Hal
played on this version. Clark
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Message: 6
Date: Thu, 7 Oct 2004 01:13:20 EDT
From: Austin Roberts
Subject: Re: surf's up
Unsteady Freddie wrote:
> Right now I am promoting SURF MUSIC wherever I can
> ... I love that genre,
I loved the Astronauts recording of Baja (or is it BaHa?). Surf music
on either coast was different but both very cool.
AR
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Message: 7
Date: Thu, 7 Oct 2004 10:05:20 +0200
From: Patrick Beckers
Subject: Re: David Pomeranz
Mark Wirtz wrote:
> Artie, I'm still curious to know what happened to David Pomeranz.
> Weren't you and David connected back at Warner Music, Artie? Did
> you keep track of him? I used to think David was a great writer
> and awesome vocalist, even if his repelling, EST-infested, attitude
> back then lost him a lot of friends and support in the biz...
I am a fan of David Pomeranz' first few albums. I especially love New Blues
from 1971, with a mix of pop, a little blues and some jazz. A couple of years
ago I tried to get hold of David because of an article I was planning to do on
him. I did trace him down, but only after the article had been written. He is
doing very well in Asia, and especially in the Philippines. He has released a
few albums there that sold over 500,000 copies. He is also still active in music
in the States; has been writing material with others for movies for instance.
For more details check out his website at: http://www.davidpomeranz.com .
Patrick Beckers
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Message: 8
Date: Thu, 7 Oct 2004 09:20:05 +0100
From: Austin Powell
Subject: Re: US/UK Decca
Joe Nelson wrote:
> Apparently Decca began as a single entity, then split off into two very
> different labels. Once UK Decca tried to establish a presence stateside
> the name was already taken, thus was born London Records. But then
> there was a London UK -- what was that?
US Decca was set up in 1934 as a subsidiary of UK Decca with Jack Kapp
in charge. Financial problems led UK Decca to sell US Decca to the Music
Corporation of America just after the second World War, but it retained the
UK rights. Davie Gordon's earlier piece fills out the rest of the story.
As a further twist to the story, UK Decca held the UK rights to Capitol
Records before EMI bought the company, and although EMI was always
more dominant in the UK market than Decca, the latter held the rights to
RCA for many years, as well as to Atlantic.
The US London label was formed in 1947 to give British Decca a second
chance in the American market. It then became the legendary British label
and home to literally hundreds of US hits from 1949 onwards. At one time
London issued material from Liberty, Dolton, Atlantic, Atco, UA, Imperial, Dot,
Jubilee, Cadence, Kapp, Fabor, ABC-Paramount, Specialty, Herald, Chess,
Gone, Paris, Sun, Cameo, Jamie, Carlton, and dozens of indie operations --
hence its legendary status for lovers of rock 'n' roll.
Somebody should write a book!
Austin P.
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Message: 9
Date: Thu, 07 Oct 2004 13:17:26 -0000
From: Tom K. White
Subject: Re: "I Can Hear Music"
Phil Chapman wrote:
> Similarly, the Larry Lurex (aka Freddy Mercury) recording is a
> powerhouse production.
No kidding, Phil, and it totally belies it's release date of 1973. I only
discovered the track recently, but it's one of my favourites now. It was
featured on a BBC TV program here in the UK recently about how Queen
earned their money (or basically didn't, in the case of this record!), but
sadly they only played about 10 seconds of the chorus and then spent
longer trying to impress how bad they thought it was. Annoying. (That
said, the B-side, Goin' Back, is not half as good as Dusty's version).
Tom K
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Message: 10
Date: Thu, 7 Oct 2004 10:02:09 -0400
From: Orion
Subject: Re: Dave Diamond / Susan Cowsill
Do you know if possibly this Dave Diamond could have worked at WHB in
Kansas City in the late '60s under the name Dan Diamond? I DJ'd there
part-time in '68 and '69, during the summer. It is probably not the same
guy, but Dan Diamond also called his show the "Diamond Mine of Solid
Hits".
Orion
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Message: 11
Date: Thu, 7 Oct 2004 11:20:04 -0400
From: Mark Witz
Subject: Re: Defining genius
Boy, did I start something there!
I had quite a number of off-board mails, some very nice and polite,
some furious and ready to kill, all suggesting that my comments
regarding "art" and "genius" were arrogant and condescending. I
highly respect differences of opinions and find debates quite
stimulating - more often than not, I learn from then. And so, I thank
all of you that took the time and effort to write to me. I respect your
opinion.
I do not wish to drag this thread out and milk the cow dry (the udders
are beginning to squeak), but, in what appears to have become a severe
misunderstanding, I do wish to clarify my position and belief:
1) I have conceded that any artist's inspirational creation is indeed
art.
2) Creative art is *not* science or mere craft; it cannot be measured
or contrived or dictated, or wilfully manipulated (other than in its
honing). It is an impulsive, non-intellectual act, in which the artist
is entirely and unpredictably at the mercy of supernatural inspiration.
At its most successful, when it touches deeply to make possibly life-
or consciousness altering impression upon beholders, it transcends
the fences of logic and reason, and becomes magic and miracles.
3) An artist's talent is a birth gift for which s/he cannot take personal
credit. It is a delicate gift that can be nurtured, or squandered and
rendered impotent, by the artist's treatment of it. Art, after all, is living
and telling about it.
4) I in no way meant to belittle or denigrated anybody's talent or
brilliance, far from it. I questioned terminology and labels, not the
degree of talent, or the artists themselves. To be sure, I am in awe
of the Brian Wilsons and the Spectors and the Beatles of this world.
Because, to me, they are in fact wondrous magicians and miracle
makers. But, I insist stubbornly that they are not geniuses. because
genius, as I said before, is superhuman - and it is in fact the frail,
sensitive, and vulnerable humanity of these brilliant artists' that drives
the beauty of their work. How else would we even be able to identify
with it and embrace their work?
If my comments appeared condescending, I can only assume that it
was the tone of my writing that caused that impression, not the points
I tried to make. Fair enough. After all, it is the tone that makes the
music. And so, I apologise if I bruised any sensibilities. Alas, this
is the only honest way I know to express myself - so, I'm screwed,
I guess.
I can only assure you, however, that, in truth, I couldn't feel more
humble regarding the phenomenon of art and profound creativity.
Besides, it would be either ludicrous, or masochistic, for me to
condescend in the fashion that has been suggested. Remember?
I am an artist myself, and my condescension would in fact be a
condescension upon, and rejection of, myself.
I may be mad, but I'm not crazy.
Kiss and make up?
>From the heart,
Mark
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Message: 12
Date: Thu, 07 Oct 2004 18:08:13 -0000
From: Unsteady Freddie
Subject: Re: Gary or Jerry Lewis?
I see that Gary Lewis and the Playboys are playing with Peter Noone and
Hermans Hermits at Westbury Music Fair later this month.
Until recently I was under the impression that it was Jerry Lewis singing
on The Playboys' "Time Stands Still" but was recently advised otherwise
that it was in fact Gary imitating his father. Can anyone confirm this either
way? Just curious
Thanks,
Unsteady Freddie
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Message: 13
Date: Thu, 7 Oct 2004 15:49:12 EDT
From: David Bell
Subject: Re: Where The Girl Are #6
Well, this album has certainly wetted my appetite and I'm so looking forward
to its imminent release.
An unreleased Little Eva, another by Reparata and the Delrons AND a real
"piece of resistence" in the form of a Chiffons song taken from their ultra-rare
BT Puppy album. Is this the first legit release for a track from the latter album?
Now I'm also hoping for some fab pictures to illustrate the booklet -- but then
I've always been a greedy so-and-so for girl groups.
I'm also looking forward to a new (to me) Goodees song. Can anything be
as good as "Condition Red"?
David
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Message: 14
Date: Thu, 7 Oct 2004 20:44:32 +0100 (BST)
From: Philip Hopson
Subject: Re: L. David Sloane
Orion wrote:
> L. David Sloan sure doesn't sound like anything Doris Day would sing.
> I have it on a 45rpm that is by an relatively unknown singer. Now I
> will have to pull it out and see who it was.
And who might the relatively unknown singer be, (possibly on Pye Records
from 1968?)
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Message: 15
Date: Thu, 07 Oct 2004 20:31:46 -0000
From: Julio Niño
Subject: Where The Girls Are Vol.6 / New Kenny Lynch comp
Hola Everybody.
Mick, Thanks a lot for the track list of the upcoming "Where The
Girls Are" Vol.6. It sounds terrific. I´m waiting to receive the
new RPM Kenny Lynch´s compilation: "Nothing But The Real Thing".
I´m always waiting for the postman. He´s very cruel, he always
seems to delay too much delivering the packets. Sometimes I feel
like a junkie waiting anxiously for his dealer. I´m going to play
(with my cats) to relax.
Chao.
Julio Niño.
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Message: 16
Date: Thu, 07 Oct 2004 20:50:02 -0000
From: Frank Young
Subject: Re: Herb Alpert as a vocalist
Hey, here's a Herb Alpert vocal no one's mentioned so far. It's on
the RPM CD "Sharon Sheeley: Songwriter," a moderately interesting
disc of song demos from the '60s. Sounding eerily like Burl Ives,
Herb Alpert delivers the Sheeley/DeShannon composition "It's A Good
Thing," which sounds like it was penned as a follow-up to the robust
one's hit "Funny Way Of Laughing." It's certainly one of the odd
highlights of this disc. There's also some boss P. J. Proby sides...
Best, Frank
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Message: 17
Date: Thu, 7 Oct 2004 17:26:43 -0500
From: Bill Mulvy
Subject: Re: Zombies / Love concert at Park West
Kurt, I saw that same Love show awhile back. I have been told that
this time there is not a string quartet with them. I'll let you
know how it was sans quartet tomorrow night.
Bill Mulvy
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Message: 18
Date: Thu, 7 Oct 2004 19:24:26 EDT
From: Austin Roberts
Subject: Re: Herb Alpert as vocalist
Previously:
> You might listen to "Come What May", where he sings a really laid
> back duet with his wife Lani Hall. I think it's on her "Blush" LP.
I think I had one of Lani's singles, but I can't remember which song.
It may have made the AC charts. Somebody out there help me. It's
possible it was Can You Make It or I'll Fall In Love Again but old
butter brain can't remember.
Austin Roberts
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Message: 19
Date: Thu, 07 Oct 2004 21:14:46 -0000
From: Doug Richard
Subject: Lou Reizner
Artie Wayne wrote:
> I'm curious, did you have any dealings with my late partner Lou
> Reizner, who discovered and recorded Rod Stewart, The Singing Nun,
> and produced the A+M "Tommy" album.
Artie, I've always been curious about this Lou Reizner. In the 60's,
the best teen band in the area were The Rumbles, out of Omaha. They
recorded on several labels, moving to Mercury in 1966 where they
eventually released five 45's. Their first two records were produced
(according to the label) by Lou Reizner. The last three were "Dunwich
Productions" produced by Skeet Bushor and Jim Koss from the Indy group
The Boys Next Door. Was Lou a Mercury staff producer or did the group
find him somewhere else? Did he produce any other 60's records?
Doug
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Message: 20
Date: Thu, 7 Oct 2004 17:36:21 -0500
From: Bill Mulvy
Subject: Razors Edge - "Let's Call It A Day Girl"
Can anyone tell me where I can find the song "Let's Call It A Day Girl"
by the Razors Edge, (preferably on CD). I heard it on a XM radio
rarities show for the first time in over 30 years. It seems to have the
same uplifting qualities found in songs such as "My Baby Loves Love" by
White Plains and "Love Grows" by Edison Lighthouse.
Bill Mulvy
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Message: 21
Date: Thu, 7 Oct 2004 19:36:09 EDT
From: Austin Roberts
Subject: Re: L. David Sloane
Orion writes:
> L. David Sloan sure doesn't sound like anything Doris Day would sing.
> I have it on a 45rpm that is by an relatively unknown singer. Now I
> will have to pull it out and see who it was.
Hiya, L. David Sloan was co-written by Billy Meshel and was a semi hit
for Michelle Lee.
Best, Austin Roberts
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Message: 22
Date: Thu, 7 Oct 2004 20:03:53 EDT
From: Austin Roberts
Subject: Re: days of Steam
Previously:
> I remember Rolling Stone doing a "Where Are They Now?"
> issue and talked with Gary DeCarlo talking about how
> much he hated the tune "Kiss Him Goodbye". "Piece of
> shit" were the exact words. Amazing considering how
> much airplay that tune gets even in the 21st century.
I think I put this in an earlier email but Gary DeCarlo was a terrific
singer and Na Na Hey Hey hardly showed it. Plus it was done as a B
side that Gary was sure would never see the light of day. I'm sure he
appreciates the writer royalties, but the song may have kept Gary from
becoming a meaningful artist, which is our loss. Great voice!
Austin Roberts
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Message: 23
Date: Thu, 07 Oct 2004 23:49:54 -0000
From: Dave O'Gara
Subject: Re: Brian Wilson songs
Previously:
> Brian Wilson tunes from the Spectropop era (roughly pre-1968)
> certainly have longevity, no matter who the co-writer was. Many
> were the subjects of terrific cover versions both contemporaneously
> and later. As well as the aforementioned "California Girls" (David
> Lee Roth, 1985) and "Little Honda", we have "Surfin USA" (Bobby
> Rydell, 1963; Leif Garrett, 1977), "Help Me Rhonda" (Johnny Rivers,
> 1975), "Don't Worry Baby" (Tokens, 1970) and "Girl Don't Tell Me"
> (Tony Rivers & The Castaways, 1966). I cannot recall any of Brian's
> later works being picked up by other artists.
In the interest of mentioning a successful Beach Boys cover, in 1977,
BJ Thomas took his version of "Don't Worry Baby" to number 17 on
Billboard. The 1970 version by the Tokens, while enjoyable, was not
as successful, only hitting number 95. As a point of reference, The
Beach Boys version, on the flip of "I Get Around", reached number 24
in 1964.
Dave 0'
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Message: 24
Date: Fri, 08 Oct 2004 01:24:16 -0400
From: Joe Nelson
Subject: Re: Where The Girls Are #6
from the track list:
> 9. The 2 Of Clubs 'Walk Tall (Like A Man)'
> (Paul Vance, Lee Pockriss) Fraternity 975 1966
> Produced by Carl Edmondson.
And there it is at last. I wonder if they used the stereo mix. Tom
Diehl says he had an MP3 taken from a compilation album before his
hard drive crashed and he lost all of his music. Interestingly, the
LP had a serious tape dropout which may or may not be repaired/
correct on a safety copy somewhere.
Joe Nelson
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Message: 25
Date: Fri, 08 Oct 2004 02:48:02 -0000
From: Randy Kosht
Subject: Re: Herb Alpert as vocalist
Nick A:
> You might listen to "Come What May", where he sings a really laid
> back duet with his wife Lani Hall. I think it's on her "Blush" LP.
That's correct, it is on "Blush." He gets label credit on the single
too. I've seen that one done in concert and have always loved the
song. It's also on her "25th Anniversary Classics" CD.
Phil, what kind of list were you thinking of, in regard to Herb's
vocals? The singles, of which there were a few, or album tracks? I
could probably assemble a list from what I have here.
The last couple of times I saw Herb in concert, he included "This
Guy..." in the encore part of the show, and the audience sang along
both times. It was very well received.
Randy Kosht
A&Mania
(the first published A&M discographer)
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SPECTROPOP - Spectacular! Retro! Pop!
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