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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: Ellie Greenwich's wimowehs
From: Mike Rashkow
2. Re: Mike Nesmith
From: Mark
3. My Boomerang; singers solo
From: Bob Rashkow
4. Re: more on Mark
From: Bill Mulvy
5. Re: Mark Lindsay
From: John Berg
6. Re: Zuma's Beach
From: Bryan
7. Re: Rick & The Legends
From: Joe Nelson
8. Re: Goffin-King anthology
From: George Schowerer
9. Re: Mike Nesmith songs
From: Austin Roberts
10. Zombies "Odessey & Oracle" review
From: Bill Mulvy
11. More Melba Moore
From: Bob Rashkow
12. Gregmark
From: Country Paul
13. Mark IV
From: Gary Myers
14. Diamonds founder & bass extroadinaire Bill Reed passes on
From: Michael Coxe
15. The Albert Hotel, New York City
From: Margaret Still
16. Freddy Weller and Keith Allison of the Raiders
From: Austin Roberts
17. Third Booth, D-Men, Fifth Estate
From: Bill Mulvy
18. Re: Mark Lindsay
From: Gary Myers
19. Jim Dandy
From: Phil X Milstein
20. Chiffons Stereo
From: Donny H.
21. Chiffons Stereo
From: Mikey
22. Duane Eddy on Gregmark
From: Dave Heasman
23. B sides
From: Rich
24. Dean Reed, Comrade Rock Star
From: Norm D. Plume
25. Greg Shaw memorial gathering
From: Kim Cooper
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Message: 1
Date: Thu, 28 Oct 2004 13:40:22 EDT
From: Mike Rashkow
Subject: Re: Ellie Greenwich's wimowehs
Joe Nelson asked:
> I remember reading somewhere that Ellie was the bass singer
> (yes) on Robert John's 1972 remake of "The Lion Sleeps Tonight".
> Can anyone confirm this?
Confirmed.
Joe again:
> Ellie Greenwich also did some tunes with Bob Crewe and
> Hutch Davie at Mirasound which I photographed between
> takes...and yes, you'd be surprised who sang background
> for many artists at that time.
As far as I know those would be "Want You To Be My Baby" and
"Goodnight Goodnight."
Rashkovsky
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Message: 2
Date: Thu, 28 Oct 2004 16:22:49 -0400
From: Mark
Subject: Re: Mike Nesmith
Good points on Nesmith, but it had always occurred to me that he was
one of the forefathers of country rock. From "Sweet Young Thing" on, he
had a very defined "sound," which was immediately identifiable as Mike
Nesmith. Even his work producing The Penny Arkade has his trademark
"sound" on it. The sound is perhaps more from his own early Texas
influences than Nashiville.
-Mark
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Message: 3
Date: Thu, 28 Oct 2004 13:56:30 EDT
From: Bob Rashkow
Subject: My Boomerang; singers solo
I've got the original Charlie Drake "My Boomerang Won't Come Back" with
"practiced till I was black in the face" and the rant at the end: "Uh, do you
know first aid?," etc. It's an Eric repressing (back to back with Frank Ifield's
version of "I Remember You-ooh"), but great!
Mama Cass' and Mike Nesmith's solo careers impress me far more than Raider
Mark's. I never get tired of playing "Joanne", or, for that matter, the late Cass'
wonderful Make Your Own Kind Of Music LP. "Welcome To The World" is a
"happy" pleasant song. Someone recently mentioned the penners on here,
I think.
--Bobster
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Message: 4
Date: Thu, 28 Oct 2004 18:02:40 -0500
From: Bill Mulvy
Subject: Re: more on Mark
Clark Besch wrote:
> I'll stand by my comments. Someone else posted that it is hard to
> listen to "Miss America" today, and I thought it was hard to listen to
> it THEN. But, for the most part, the others were quite good.
I saw Mark Lindsay perform at the Holiday Star Theatre in Merriville, Indiana
a while back. He was backed up by Gary Lewis's Playboys. I am a big Raider
fan who also likes "Arizona" and "Silverbird". Unfortunately I didn't care much
for his performance, relative to a lot of other sixties performers that I have seen.
After his performance he was signing autographs in the lobby for an endless
line of mostly female admirers. I think he signed autographs longer than he
played!
But I didn't care, because I then saw Mike Smith of Dave Clark Five fame give
one of the best concerts I have ever witnessed, including a standing version of
"Anyway You Want It" with all the glorious echo found in the original recording.
Bill Mulvy
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Message: 5
Date: Thu, 28 Oct 2004 19:41:55 -0400
From: John Berg
Subject: Re: Mark Lindsay
I was chatting yesterday with my buddy Neal Skok, who is a huge fan of
Paul Revere & The Raiders and has personal contact with most of the
members. He told me that in the late '60s the band members, Columbia
Records and their manager Roger Hart came up with a very intentional
plan to market the individual members to specific audiences, apart from
their continuing efforts as "the Raiders". Freddy Weller was to be marketed
to the country crowd, Keith Allison more as a rockabilly type artist, and
Mark Lindsay to those who like slick, "MOR" or "AOR" type music. Hence
the distinctly different sounds that accompanied each of their records
marketed under their own names. The most successful was Freddie
Weller, who soon was led to leave the band once he started having so
many big country hits that he no longer had time to also be one of The
Raiders.
Last Monday night I was in LA and went to The Joint to catch the weekly
"Big Monday" show that features the same core band, comprised of Waddy
Wachtel on lead guitar, Rick The Bass Player Rojas, Phil Jones on drums,
plus Terry Reid, Bernard Fowler and Blondie Chaplin on vocals (each takes
turns, depending on the song.) Keith Allison was also listed in the LA
Times blurb as one of those who has been part of the more recent "Big
Monday" sets at The Joint, though he was not there last week. So Allison
must still be hanging out in music circles.
John Berg
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Message: 6
Date: Thu, 28 Oct 2004 18:36:52 -0700
From: Bryan
Subject: Re: Zuma's Beach
Weber Alves asked:
> I like a lot the soundtrack of a film called "Zuma's Beach," with Suzanne
> Sommers. The music are in Beach Boys' style. Could anybody tell me,
> please, which band sings the music and if these songs was released in
> some album.
This was a NBC made-for-TV movie called "Zuma Beach," from 1978. Carol
Connors and Dick Halligan (of Blood Sweat & Tears) worked on the music.
Bryan
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Message: 7
Date: Thu, 28 Oct 2004 20:53:32 -0400
From: Joe Nelson
Subject: Re: Rick & The Legends
Mike Kopka wrote:
> I ripped myself a couple of tracks from somewhere by a band called
> Rick & The Legends, "Leave Me Alone" and "All of Your Love." ...
> I noticed that I had labeled them 1963. This led me to want to know
> more about how they pulled off these pretty cool pop tunes in 1963
> without being better known for them.
http://recordmaster.com lists "All Of Your Love" as from 1965.
Joe Nelson
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Message: 8
Date: Thu, 28 Oct 2004 19:15:46 -0700 (PDT)
From: George Schowerer
Subject: Re: Goffin-King anthology
Rob Pingel wrote:
> Below are the tracks of a three-volume anthology I put together
> on Goffin-King. I'd appreciate it if any of the experts out there
> would note any obvious omissions, or make suggestions of more
> definitive versions that should be included/substituted.
I was the engineer on Chiffons "He's So Fine," which was produced by
Hank Medress and The Tokens at Allegro Studios, 1650 Broadway. The
tracks done at Allegro are in monaural only as we didn't have a stereo
machine at that time, only two mono Ampex units, and a Gates Dualux
console (modified).
Hope this info is of use to you.
Regards,
George Schowerer
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Message: 9
Date: Thu, 28 Oct 2004 17:05:16 EDT
From: Austin Roberts
Subject: Re: Mike Nesmith songs
Country Paul:
> Also, Mike Nesmith's post-Monkees solo work contains some of the best
> ("Joanne," "Tumbing Tumbleweeds," "The Partisan" at the time) and some
> of the most unlistenable stuff he ever recorded, IMO.
Don't forget Different Drum and Some Of Shelly's Blues!
Austin R.
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Message: 10
Date: Thu, 28 Oct 2004 18:58:20 -0500
From: Bill Mulvy
Subject: Zombies "Odessey & Oracle" review
To the Spectropop crowd,
I have read quite a lot about the Smile tour, but I wanted to bring up
that the Zombies are also currently on tour singing a lot of songs from
their classic album "Odessey and Oracle". Many consider this album to
be in the same league as "Sgt Pepper", "Forever Changes" and "Pet
Sounds". I suggest those that have never heard of, or forgot about this
album check it out. It's one of the best of the sixties era. See the
review I have posted to the S'pop Files Section:
http://groups.yahoo.com/group/spectropop/files/articles/ZOMBIES%20Odessey.doc
By the way, wasn't it Al Kooper, frequent contributor to this group,
the person instrumental in getting "Odessey and Oracle" released in the
States?
Thank you Al, from all those at zombieheaven!
Zombies admirer,
Bill Mulvy
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Message: 11
Date: Thu, 28 Oct 2004 14:00:36 EDT
From: Bob Rashkow
Subject: More Melba Moore
Rashkovsky:
> OK, (Melba Moore) sang at my wedding, now what.
And what a voice! She was just fabulous in HAIR. Now someone refresh
my memory, was she just in Forman's flick or was she part of the off-
Broadway "Tribe" too?
Bobster
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Message: 12
Date: Fri, 29 Oct 2004 01:10:35 -0400
From: Country Paul
Subject: Gregmark
In prowling around the net tonight, I came upon a website,
http://web.inter.nl.net/users/wilkens/Lh10.html (part of the "worldwide
Lee Hazlewood fansite," with discographies of Lee Hazlewood-owned (or
co-owned) labels, including East-West, Eden, and of course LHI. Of
course, there's Gregmark:
Year # Artist(s) - Titles
1961 1 S & H Scamps - Sassy/Swampin'
1961 2 Paris Sisters - Be my boy/I'll be crying tomorrow
1961 3 S & H Scamps - Punjab/The lonely crowd
1961 4 Don Owens - If I didn't know any better/I don't want to lose her
1961 5 Duane Eddy - Caravan part 1/Caravan part 2
1961 6 Paris Sisters - I love how you love me/All through the night
1961 7 Other Five - Talk that talk/Tuesday night and Wednesday morning
1961 8 Tony Gunner - You gotta go home/I've been traveling the rough road
1961 9 Billy Storm - 3000 tears/Who'll keep an eye on Jane
1961 10 Paris Sisters - He knows I love him too much/Lonely girl's prayer
1961 11 Gary Crosby - Who/That's alright baby
1961 12 Paris Sisters - Let me be the one/What am I to do
1962 13 Paris Sisters - Yes I love you/Once upon a while ago
1963 14 Ray Sharpe - (The new) Linda Lu/The bus song
I had no idea that three Jamie/Guyden artists migrated to this label:
Duane Eddy, Don(nie) Owens and Ray Sharpe. Except for the Paris Sisters,
I've never heard anything else on Gregmark. Have any of you? And is it
worth hearing? (I'm especially curious about Eddy and Owens.
Also, are there any other unissued Gregmark-era Paris Sisters recordings?
I would think there might be, but have never heard of any.
Country Paul
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Message: 13
Date: Fri, 29 Oct 2004 00:07:08 -0700
From: Gary Myers
Subject: Mark IV
Country Paul:
> ...the Mark IV had a hit inexplicable, to my ears) called "I Got A
> Wife" on Mercury in the second half of the 50s.
There were at least a few "Mark IV's". I believe that one was a Chicago
band. In fact, I'm seeking info on yet another one that had a 1968-9
release on Wisconsin's Tee Pee label.
gem
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Message: 14
Date: Fri, 29 Oct 2004 00:10:46 -0700
From: Michael Coxe
Subject: Diamonds founder & bass extroadinaire Bill Reed passes on
Diamonds founder & bass extroadinaire Bill Reed passes on. A bit out of
the Spectropop range, but certainly a precusor worthy of note and
remembrance. I think he already knew the Sox were gonna win this time.
To me, great bass pop singers are like great rhythm guitarists; I never
tire of the sound & effect.
Michael
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The Diamonds bass singer, Bill Reed, dies October 26, 2004
PORT ST. LUCIE — The bass lines of 1950s pop songs such as "Little
Darling" and "The Stroll" will never be the same.
Singer Bill Reed died Friday at the Hospice of Martin and St. Lucie
after a series of illnesses. He was an original member of The Diamonds,
a quartet that specialized in covers of rhythm and blues songs. He was
68. Reed and the other founders of The Diamonds grew up in Toronto. His
father, Harry, sang on the radio and taught Reed to sing spirituals and
blend harmonies, wife Gloria Reed said. After coming to America, The
Diamonds began the rounds of mid-century pop venues, singing on the Ed
Sullivan Show and American Bandstand. Their original song, "The Stroll"
became a Bandstand staple dance and was featured in the movie "American
Graffiti." Reed's contributions to The Diamonds might best be heard on
the group's hit, "Little Darling," where he performed a spoken part
between verses. "He had probably the best bass voice, certainly in the
'50s and still," Gloria Reed said. The couple met in Coral Gables in
1974, after Reed moved from Boston to be closer to his sisters. By that
time, The Diamonds only performed occasionally, but Reed's singing won
Gloria over. "We danced and sang to each other until 6 o'clock in the
morning," she said. "We were married a year later." Nine years ago, the
Reeds moved to Port St. Lucie. Reed spent his days working on their house
and rooting for his sports teams — the Boston Red Sox and New England
Patriots. Sometimes, The Diamonds still got together for award
presentations and small performances. "He had a tremendous talent that
not everyone knew about," Gloria Reed said. "He was just a good person,
a loving father and, certainly, a very loving husband."
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Message: 15
Date: Fri, 29 Oct 2004 11:41:56 -0000
From: Margaret Still
Subject: The Albert Hotel, New York City
Could anyone give me a music history or just some good stories about
the Albert Hotel in New York City? The only one I'm familiar with is
in the liners of a Lovin' Spoonful LP, but supposedly there's much
more, and internet searches haven't turned up anything.
M. G. Still
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Message: 16
Date: Fri, 29 Oct 2004 13:36:21 EDT
From: Austin Roberts
Subject: Freddy Weller and Keith Allison of the Raiders
Previously:
> I was chatting yesterday with my buddy Neal Skok, who is a huge fan
> of Paul Revere &The Raiders and has personal contact with most of the
> members. He told me that in the late '60s the band members, Columbia
> Records and their manager Roger Hart came up with a very intentional
> plan to market the individual members to specific audiences, apart
> from their continuing efforts as "the Raiders". Freddy Weller was to
> be marketed to the country crowd, Keith Allison more as a rockabilly
> type artist, and Mark Lindsay to those who like slick, "MOR" or "AOR"
> type music.
Hi, I am very close to both Freddy and Keith. Besides writng Dizzy and
Jam Up And Jelly Tight with and for Tommy Roe,and Lonely Women Make Good
Lovers for Bob Luman (I think was the the original hit),Freddy had big
country hits with Promised Land,Roadmaster, and a couple of Joe South
tunes. He lives here in Nashville and is a frequent co-writer and best
friend. Keith lives in LA but comes here to write with Freddy and myself
a couple of times a year.He's a trip! Good friend. It's people like
those two that make me glad I'm in this business (37 years). I'm old, but
still kicking.
Best, Austin Roberts
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Message: 17
Date: Thu, 28 Oct 2004 19:33:59 -0500
From: Bill Mulvy
Subject: Third Booth, D-Men, Fifth Estate
Mike Dugo or our group,
Does a clean copy of the "The Third Booth's classic "I Need Love"
exist? I bought an import compilation CD that contained a very
scratchy version of the song. I also bought a Pebbles CD that
showed it as a track, but it was not on the CD. Any help would be
appreciated!
The D-Men/Fifth Estate CD is excellent. There are a few female-sung
tracks that are really outstanding.
Bill Mulvy
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Message: 18
Date: Fri, 29 Oct 2004 11:17:15 -0700
From: Gary Myers
Subject: Re: Mark Lindsay
Our band worked opposite the Raiders at Harrah's Tahoe in '75. At that
time it was not common knowledge that they were the same band that had
done "Like Long Hair" in '61, so I asked Paul about that. He said,
"Yeah, that was us. Congratulations for remembering!" On their last
night in town I went in to see the show and I requested that song. He
knew it was me who had asked for it, so they played the intro and then
went into another song.
On a previous night, our guitar player had made arrangements to use
their guitar man's amp for one show. Their guy forgot and took if off
the stage after their show, so Mark Lindsay brought it back down for us.
I said, "Hey we're doing pretty good - we've got Mark Lindsay for a
roadie!"
gem
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Message: 19
Date: Fri, 29 Oct 2004 10:38:29 +0000
From: Phil X Milstein
Subject: Jim Dandy
Now playing at musica, courtesy of Michael Greenberg, is a version of
"Jim Dandy" performed by its writer, Lincoln Chase. This entry from the
"We Wrote 'Em And We Sing 'Em" LP provides quite a different take on the
song from, say, LaVerne Baker's, or Black Oak Arkansas' for that matter.
Methinks you will like.
To the rescue,
--Phil M.
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Message: 20
Date: Fri, 29 Oct 2004 20:11:50 -0000
From: Donny H.
Subject: Chiffons Stereo
George Schowerer wrote:
> I was the engineer on Chiffons "He's So Fine," which was produced
> by Hank Medress and The Tokens at Allegro Studios, 1650 Broadway.
> The tracks done at Allegro are in monaural only as we didn't have a
> stereo machine at that time, only two mono Ampex units, and a Gates
> Dualux console (modified).
I'm ignorant when it comes to the technical end of these things, but
I was wondering how the "true stereo" version of "He's So Fine" came
about which has been popping up in some compilations in the last few
years?
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Message: 21
Date: Fri, 29 Oct 2004 13:52:12 -0400
From: Mikey
Subject: Chiffons Stereo
George Schowerer:
> I was the engineer on Chiffons "He's So Fine," which was produced by
> Hank Medress and The Tokens at Allegro Studios, 1650 Broadway. The
> tracks done at Allegro are in monaural only as we didn't have a stereo
> machine at that time, only two mono Ampex units, and a Gates Dualux
> console (modified).
But George......there exists a stereo backing track for He's So Fine.
I have a copy of it!!
Mikey
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Message: 22
Date: Fri, 29 Oct 2004 20:39:09 +0100
From: Dave Heasman
Subject: Duane Eddy on Gregmark
Country Paul:
> 1961 Gregmark 5 Duane Eddy - Caravan part 1/Caravan part 2
> I had no idea that three Jamie/Guyden artists migrated to this label
I don't think Duane Eddy migrated to Gregmark exactly. "Caravan" came
out in England about then, on HMV I think, and we thought at the time
it was a pre-Jamie recording. Certainly sounded like it.
Dave, an old DE fan.
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Message: 23
Date: Fri, 29 Oct 2004 18:29:06 -0000
From: Rich
Subject: B sides
B sides of 45's intrigue me. Some are throw aways for sure. Others
become hits of some sort in varying degrees on their own. Others
made it to be a B side on more than one release by the same artist
but with different A sides. Many never even appear on albums. With
that said, my question is - Since royalties are based on record
sales, did B side artist, songwriter, etc. make as much as the A side
release.
Also just for the "by the ways", Chubby Checker was here in town
(Lincoln, NE)to promote his Chubby brand snacks at local grocery
chain. No further comment on that.
sixtiesoldiesguy
Rich
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Message: 24
Date: Fri, 29 Oct 2004 12:05:13 -0700 (PDT)
From: Norm D. Plume
Subject: Dean Reed, Comrade Rock Star
There was a flurry of interest in Dean Reed a few weeks ago on S'Pop.
There's more on him in a newspaper review of a forthcoming book - The
Guardian, 29/10/04:
http://www.guardian.co.uk/arts/fridayreview/story/0,,1337866,00.html
Regards
Norm D.
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Message: 25
Date: Fri, 29 Oct 2004 14:09:52 -0700
From: Kim Cooper
Subject: Greg Shaw memorial gathering
While it's been lovely reading the tributes on the Bomp List and
elsewhere, Lee Joseph and I wanted a chance to celebrate Greg off the
digital map. So we've organized a little get together next week, very
casual, and hope that some of y'all can join us.
Thursday, November 4, at 7pm, folks who were touched by Greg Shaw as a
person, a writer, a label head and a phenomenon are invited to convene
to share memories and toast him into the next Bomp-worthy adventure.
Location: Upstairs at The Red Lion Tavern, 2366 Glendale Blvd. LA 90039,
opposite Rockaway Records where Silverlake Blvd hits Glendale, phone
(323) 662-5337
Please spread the word to Greg's friends and fans. Everyone is welcome.
thanks,
Kim Cooper
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SPECTROPOP - Spectacular! Retro! Pop!
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