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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: New Kenny Lynch compilation
From: Martin Roberts
2. Nashville cats
From: Country Paul
3. John Peel and Greg Shaw RIP
From: Jon 'Mojo' Mills
4. Outta Coventry - Beverley Jones
From: Mick Patrick
5. Re: Kenny Young
From: Barry Margolis
6. Re: Gregmark
From: Mikey
7. Gregmark Records
From: Austin Powell
8. Duane Eddy
From: Frank Murphy
9. stereo mixing in the '60s
From: George Schowerer
10. More from George S. on the Chiffons in stereo
From: George Schowerer
11. re: Greg Shaw memorial gathering
From: Gary Myers
12. Re: The Albert Hotel, New York City
From: Richard Campbell
13. Deni Lynn
From: Brent Cash
14. Re: Hey Jughead, where are you?
From: Laura Pinto
15. S'pop in New York
From: Joe Nelson
16. Re: Third Booth, D-Men, Fifth Estate
From: Clark Besch
17. Keith Allison @ musica
From: Joe Nelson
18. Mark Lindsay Fansite
From: Patty
19. Freddy Weller of the Raiders
From: Joe Nelson
20. Jerry Fuller @ Columbia
From: Al Kooper
21. The Eligibles on Shindig
From: Sean
22. Touring Raiders
From: Mikey
23. Re: The Albert Hotel, New York City
From: Steve Harvey
24. Joe Tex riff
From: Brent Cash
25. Re: Duane Eddy on Gregmark
From: James Botticelli
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Message: 1
Date: Wed, 27 Oct 2004 22:20:18 +0100
From: Martin Roberts
Subject: Re: New Kenny Lynch compilation
Julio Niño he wrote:
> These days I´m exploring the Kenny Lynch compilation issued recently
> by RPM...
Thanks Julio, I'd fallen behind with the new releases. Good also to see
Harry Young's new Lou Christie MGM material CD, also on RPM. Two essential
purchases on one page.
I share Julio's appreciation of Kenny's vocal style, warm and rich with
an involving way with the lyrics. In my youth it seemed impossible not
to see Kenny on all the TV variety shows, sorta like a black Joe Brown.
Kenny was not only a fine interpreter of other writers' songs and a very
funny guy, he also wrote and produced.
I guess his biggest success as a writer was with 'Sha La La Lee' by the
Small Faces, co-written with Mort Shuman. He didn't only write with Mort.
As well as recording a number of tracks written by Giant-Baum-Kaye, he
also wrote with them. I only know the one record, but if you like jangly
guitars, surfy harmony vocals and a strong beat it's a good 'un: The
Trophies 'Leave My Girl Alone', Kapp 750, produced by Larry Weiss.
(My record deck is busted, so Mick has kindly agreed to put the track on
musica.)
As a producer and solo writer, you've got to hear Kenny's Shangri Las
pastiche, The Stockingtops' "I Don't Ever Wanna Be Kicked By You" on UK
CBS. I'll play it another day.
Martin
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Message: 2
Date: Fri, 29 Oct 2004 23:11:16 -0400
From: Country Paul
Subject: Nashville cats
Ed Salamon:
> Nashville S'poppers held another unofficial meeting on Sunday at
> my place. Austin Roberts, beach music/northern soul legend
> Clifford Curry, Steve Jarrell (Sons Of The Beach) and Nick Archer
> gathered to quiz Jack Keller about his days at Aldon music and the
> songs he wrote and or produced for the Monkees, Neil Sedaka, Connie
> Francis, Little Eva, etc. etc.. A photo of the group can be found
> at: http://photos.groups.yahoo.com/group/spectropop/lst
Thanks for the pic, Ed; it's pretty interesting to see who we are (and
have become). We ought to put something like that around here (NYC-
northern NJ). We'd probably get a decent crowd. Something to think
about when some of the busy-ness of the season eases back a bit.
Country Paul
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Message: 3
Date: Sat, 30 Oct 2004 14:15:30 +0100
From: Jon 'Mojo' Mills
Subject: John Peel and Greg Shaw RIP
JOHN PEEL
The sad news of John Peel's death reached us just after the deadline
for submissions at Shindig!. The press generally have and will give
overviews on Peel's career and musicians have and will testify to his
importance as a music broadcaster and launch pad for so many bands
who owe him their initial media exposure (not forgetting his earliest
and greatest deed, discovering The Misunderstood). Here however, with
our limited space and time, I want to focus on the man's humility and
everydayness. No other DJ of Peel's vintage has or could sustain his
commitment to the new and championing of the left-field. Other DJs
have been important, but none for so very long. Peel looked a decade
younger than his 65 years and at heart he was no doubt still a
teenager in love with rock 'n' roll. Whether you first encountered
Peel via a Perfumed Garden show on Radio Caroline or a Top Gear
session in the early '70s or his late night shows (as I did) in the
late '70s, he was the consummate understatement of what you expect a
DJ to be like and possessed none of the self-congratulatory
egocentricity of some of his contemporaries, no sir. Listening to a
John Peel show was like going round you mate's house and exploring
his latest finds together. There was an essential dourness about Peel
that almost disabled him from becoming overblown.
In recent years of course, his unique vocal style got him numerous
commercial voice-over work. On every interview I ever saw him give,
he came across with a sincerity and urbanity which would place him in
stark contrast to the self-obsessed celebrity cult of toady. For me,
Peel's late night shows in the '70s were the only mainstream radio
space I could hear new punk, new wave, or general out there sounds of
any kind. Luxembourg was only partially audible in the UK (as it had
always been) and along with perhaps Alan 'Fluff' Freeman's Saturday
afternoon shows, Peel was my mentor as he was to so many others, be
they music lovers in general or one-day will be musos. If ever the
title "Mr Music" deserved to be bestowed on an individual (a non-
player as it were), then Peel deserved it. As the estimable Andy
Kershaw noted, Peel was the single most important and influential
music broadcaster this country has ever had, period.
Thoughts turn also to the future of his renowned record collection.
It might be hoped with his family's endorsement, that it should
become a national archive of popular music. Lottery or other funding
should be found to enshrine it as such, making it an international
resource for music research; such is the arcane nature and sheer
rarity of some of it. Anyway God rest you Mr Peel, and I know that
somewhere out there, no doubt in tandem with your trusty producer
John Walters, you are broadcasting to the hipper spirits in the sky.
Paul Martin
----------------------------------------------------------
GREG SHAW
To those of us on the other side of the pond (the UK), Greg Shaw was
a name that cropped up a lot, but there was seldom a picture to put
it to. Although Lenny Kaye is rightly acknowledged with reviving
interest in obscure US '60s rock 'n' roll bands, it was Shaw who
picked up that baton and never stopped running with it. His record
labels Bomp and Voxx ensured that a wealth of US neo-garage and
psychedelic groups that weltered upwards in the '80s were recorded
for posterity where they may otherwise have remained vague memories
only for those who saw them live. He ran '60s based clubs and reissued
'60s recordings, published his own magazine and website. And for the
'60s garage revival Shaw was THEE man. With the sheer quantity of
output, it is not surprising that cock ups sometimes happened, and in
the early days, accurate info was intuitive as much as factual. None
of these barbs diminish one jot the material and aural legacy that
Shaw leaves behind him.
The Pebbles series was the way in or back to the hipper side of the
'60s for myself and numerous others. I discovered two odd looking CDs
in the otherwise ordinary racks of the local Virgin megastore back at
the end of the '80s. It was the groovy Rudy Protrudi artwork that
attracted me first. After humming and haring for a couple of weeks, I
found that these two CDs were still in the racks and such was my
curiosity by that point, I grabbed 'em. They were the Best of Pebbles
Vols. 1 & 2 on the short-lived UK Ubick label (ran by Cannibal and SD
friend Mike Spenser) that Shaw had tried to start in order to spread
the Pebbles word amongst the Limies. I never looked back. Within a few
weeks I had cleaned out all the vinyl volumes I had found at the local
HMV and was religiously playing these gems on rotation at the expense
of everything else. The musical universe has only expanded for me ever
since and it is too Greg Shaw that I am indebted for it having done so.
An everyday tale of course, but one that so many other '60s fans could
have told in much the same way, such was the importance of the Pebbles
series. If he's not in the R&R Hall of Fame, he bloody well ought to
be. Farewell then Mr Shaw and wherever you are keep on rockin' as I
know you surely must.
Like Paul I stumbled across the UBIK best ofs and then the rest of the
Pebbles series, and for me they were life changing. But more
importantly I will always remember my teenage garage band The Nuthins
(a product of Pebbles inspiration) contacting Mr Shaw by the "old-
fashioned" letter in 1990. We immediately received a reply and a wealth
of helpful info. In hooking us up with Charlene Coleman and Joss
Hutton's Merry-Go-Round records Greg landed us a deal for a single...
and for young lads in Hicksville that was a BIG deal. Without Greg's
guidance we'd have never rocked our way around Europe and released a
slew of records... I wouldn't have attempted to start writing about
garage and psych music... and I'd have most not been the person I am
today (who in the footsteps of Shaw busts a gut to publish a mag and
site and regularly lose my mind... all for the love of rock 'n' roll).
It takes a lot to truly inspire a young kid from Wiltshire... and for
me and countless others, Greg Shaw was the inspiration that made us
kick out the jams!
His memory and philosophy will live forever.
Paul Martin & Jon 'Mojo' Mills
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Message: 4
Date: Sat, 30 Oct 2004 16:21:14 +0100
From: Mick Patrick
Subject: Outta Coventry - Beverley Jones
Ian Slater:
> A great new book has just been published about the music scene
> in Coventry and surrounding areas of Warwickshire in England.
> "Godiva Rocks" is written and published by Pete Chambers and
> can be bought from him at: Pete Chambers, 110 Richmond St,
> Coventry, CV2 4HY, UK for £7 inc. P&P within the UK. For
> overseas rates, please contact Pete at: tencton@hotmail.com
> It's a great read with articles on familiar names to S'poppers
> such as Beverley Jones, Johnny B. Great and of course, my
> favourites, the Orchids...
Thanks for the tip, Ian. My seven quid's in the mail, so I I'll
have a copy before you can say "Mouldy Old Dough". (I lived in
Coventry for about a year. Unfortunately, it was at the time
that pesky local record was around. Maybe that's why I left.)
Newer S'pop members might not be aware of the S'pop page devoted
to Beverley Jones, Coventry's very own Little Miss Dynamite.
It's a good read, all in Beverley's own words. Find it right
here: http://www.spectropop.com/BeverleyJones/index.htm
It took me a while to get used to Beverley's version of Martha &
the Vandellas' "Heatwave". A carbon-copy cover-version it ain't.
One thing's for sure, though, she sings the hell out of the song.
Check here http://groups.yahoo.com/group/spectropop/files/musica/
to listen.
Hey la,
Mick Patrick
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Message: 5
Date: Fri, 29 Oct 2004 17:17:35 -0500
From: Barry Margolis
Subject: Re: Kenny Young
I wrote:
> Kenny Young, who worked for Bobby Darin's T.M. Music with Art Resnick,
> wrote "Under The Boardwalk", and actually recorded a ton of singles
> under his own and various other names. Of course, he went on to write
> such songs as "Just A Little Bit Better". They're all really cool teen
> pop singles. In 1972, he signed to Warner Brothers and recorded two of
> the best singer-songwriter albums, before forming the group Fox, which
> had a giant European hit called "Only You Can". If anyone's interested,
> I can post the singles I have by him. It's an interesting group of odd
> teen pop singles.
Here's the Kenny Young items I've got:
1963 THUMBLIN'/DON'T WASTE YOUR ARROWS (MGM K13136)
(as Kenny Young)
1964 JUST A LITTLE BIT BETTER/SHAGA-ZOOMA (Atco 45-6322)
(as Kenny Young)
1965 (Mrs. Green's) UGLY DAUGHTER/FREDDY'S STREET (Diamond D-183)
(as Kenneth Young & The English Muffins)
1966 LITTLE SISTER/MY AIM IS TO PLEASE YOU (United Artists UA-50032)
(as Kenny Young)
1967 WHO'S THE BIRD?/A GIRL'S IMAGINATION (RCA Victor 47-9127)
(as The Squirrels)
DON'T GO OUT INTO THE RAIN (You're Gonna Melt)/HITTING THE MOON WITH A
SLING SHOT (Date 2-1536)
DEATH OF A CLOWN/ANABEL (Date 2-1573)
1968? TWIGGS/CHARLIE NO ONE (Date 2-1551)
(all 3 above as The Seagulls)
FAIRY TALES CAN COME TRUE (Have You Heard About Lucy?)/SU SU (Smash
2-2157 (as San Francisco Earthquake)
LOOKY, LOOKY, MY COOKIE'S GONE/GOOD MORNING, BABY (Atco 45-6624)
(as The Rasberry Pirates)
1969 LOCK ME IN/THE GAME OF LOVE (UK CBS 4728)
(by Faith Brown; Produced & Written by Kenny Young)
BILJO/SPIDER (RCA Victor 47-9779)
(by Clodagh Rodgers, Produced & Written by Kenny Young)
WOLF/TANGERINES, TANGERINES (UK RCA 1966)
(by Clodagh Rodgers, Produced & Written by Kenny Young)
1970 JUST A LITTLE MORE LINE/I AM THE TAIL (UK RCA 1954)
(as Moonshine, issued in the US on A&M as Moonshyne)
ROCKING HORSE MAN/NAYLI, NAYLI, GET ME DOWN TO WASHINGTON (UK RCA 2022)
(as Moonshine)
1972 ROSALIS/SHAKE THE CITY (Warner Bros WB-7561)
(as Kenny Young)
1973 WAKE UP NAVAJO/SOLITARY SING SONG (UK Warner Bros K-16268)
(as Kenny Young)
Clodagh Rodgers and Faith Brown are female singers.
Kenny Young was prolific, wasn't he?
Barry
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Message: 6
Date: Sat, 30 Oct 2004 10:24:38 -0400
From: Mikey
Subject: Re: Gregmark
Phil M:
> Legend has it that an entire Paris Srs. album was lost
> in the shuffle of the Phil Spector-Lester Sill dispute....
The 'lost' Paris Sisters LP is truly lost. Lester Sills
assistant was told to clean out the out-takes shelf, and
mistakenly threw away the Paris Sisters tapes. They didn't
want to spend the money to re-record them.
Mikey
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Message: 7
Date: Sat, 30 Oct 2004 10:35:05 +0100
From: Austin Powell
Subject: Gregmark Records
Country Paul:
>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.
Duane Eddy played guitar on Donnie Owens' 1958 hit "Need You" on Guyden. Maybe Hazlewood produced this? He certainly produced Sharpe's "Linda Lu" on Jamie.
As to Duane Eddy's "Caravan": this may have been an Al Casey recording which had Eddy's name put on it. That way it was more likely to grab sales on the back of his continued success on Jamie. It certainly earned Hazlewood and Sill a few dollars, as EMI picked it up for some foreign territories including the U.K. where it was issued on Parlophone.
The only other Gregmark single to be released over here was The Paris Sisters "I Love How You Love Me" which came out on Top Rank.
Austin P.
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Message: 8
Date: Sat, 30 Oct 2004 19:46:04 +0000
From: Frank Murphy
Subject: Duane Eddy
Re: Duane Eddy's "Caravan" 45:
I have this single on Parlophone R 4826. Duane is not on it. It's Al
Casey who, of course, was one of Duane's Rebels along with Steve Douglas and
Larry Knechtel.
Frank Murphy
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Message: 9
Date: Sat, 30 Oct 2004 12:49:09 -0700 (PDT)
From: George Schowerer
Subject: stereo mixing in the '60s
Not having heard the redo of "He's So Fine" in stereo as of yet, I can only guess that [the engineer] had possession of all the overdub reels, which would have some instruments on one and not the other. To sync voice between the two would be easy enough, and the differences in the successive generations of mono overdubs would supply the feeling of stereo enough to please.
Most of the stuff we did at Allegro was on two mono Ampexes. Although we later got to stereo, it was used strictly for overdubbing (multiple overdubs...all mono). I don't recall using the stereo unit on the Chiffons session. All stuff done in that era was done without the thought of stereo release.
Later, even at Mirasound, I had a rough time convincing the producers to think in terms of stereo releasing material. Case in point, until Bob Crewe did "Music To Watch Girls By," I could never get to stereo, because there were soooo many overdub tracks, you couldn't keep them separated long enough to use as stereo. Even eight tracks on "Can't Take My Eyes Off You" (Frankie Valli)weren't enough and the mix, done at Bell, was not my idea of nice stereo. I did
make myself mixes of that date that I considered far superior to the released album.
Same with Mitch Ryder, on "What Now My Love." The closest take to stereo was
"My Mother's Eyes" by Valli, where I suspect Crewe used my mix for the stereo. It was frustrating, but reality was what it was...get the single out and make money. When 16 track recording came along, that all changed. They could do all the overdubs they wanted.
I still could keep a good stereo image... listen to "With This Ring" by the Platters, which was the very first 16 track session I did. It's my mix
there as well, thanks to producer Luther Dixon, who left it to the engineer to get the best take he could. He was great about letting you do your
work. He concentrated on the music, and let the engineer do whatever was needed.
Regards, George S.
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Message: 10
Date: Sat, 30 Oct 2004 12:52:33 -0700 (PDT)
From: George Schowerer
Subject: More from George S. on the Chiffons in stereo
--- Mikey wrote:
> But George......there exists a stereo backing track
> for He's So Fine.
> I have a copy of it!!
Mikey: See my reply to Donny. Short of that, someone redid the tracks on a multichannel machine and they may have had the score to augment...but the original wasn't stereo. We simply didn't have the capability.
This would be a good question to ask Hank Medress and the Tokens, since they produced the session at Allegro.
Regards, George S.
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Message: 11
Date: Sat, 30 Oct 2004 16:45:13 -0700
From: Gary Myers
Subject: re: Greg Shaw memorial gathering
Kim Cooper:
> ... a chance to celebrate Greg off the digital map ...
>Thursday, November 4, at 7pm ...
>Location: Upstairs at The Red Lion Tavern, 2366 Glendale Blvd. LA 90039, >opposite Rockaway Records where Silverlake Blvd hits Glendale, phone (323) 662-5337
I didn't know Greg, and we communicated only once or twice, but I would enjoy meeting some fellow S'poppers. It's possible I may try to stop in, but I probably wouldn't make it until about 8:30.
Gary Myers / MusicGem
http://home.earthlink.net/~gem777/
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Message: 12
Date: Sat, 30 Oct 2004 12:48:09 -0000
From: Richard Campbell
Subject: Re: The Albert Hotel, New York City
Before The Lovin' Spoonful appeared, The Mugwumps were conceived at the Albert Hotel. This group was Zal Yanovsky, Cass Elliot, Denny Doherty and Jim Hendricks. Felix Pappalardi was their conductor. The Mugwumps, born in the spring of 1964, are arguably the first American folk rock group. They practiced in the basement.
John Sebastian was around and played along with them some. So did a black drummer named Art Stokes who was Art Blakey's nephew.
Richard Campbell
Visit the Official Cass Elliot Website www.casselliot.com
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Message: 13
Date: Sat, 30 Oct 2004 14:54:45 -0000
From: Brent Cash
Subject: Deni Lynn
Hi everyone, I've been digging the single by Deni Lynn: "The Lights Of
Night"/"You Taught Me" on White Whale. What's the story on this lady?
Mitch Ryder apparently has a version on one of the Crewe labels. This
45 is very much in the "Dusty In Memphis" mold and looks like it too
may come from American Recording Studios.
Best to all,
Brent Cash
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Message: 14
Date: Sat, 30 Oct 2004 14:57:41 -0000
From: Laura Pinto
Subject: Re: Hey Jughead, where are you?
Phil X Milstein asks:
> Can someone please explain to me who the hell is drumming on
> "Everything's Archie (Archie's Theme)." The whole point of the
> song's lyric is to say that they can't find their drummer Jughead,
> yet drums still can be heard. Yes, I realize that he does finally
> show up before the song's end, yet there is drumming heard
> THROUGHOUT the song. I am confused.
What irritated me in 1968, and still does today, more than the
invisible drummer, is the sudden sound of the tambourine when the
'camera' pans over to Betty. This is distracting and throws off the
whole song. The tambourine should have either been present throughout
the track or not at all. Wisely, it was left off the longer version
of "Archie's Theme (Everything's Archie)" used on the debut Archies LP.
The tambourine suddenly becoming audible only when Betty was visible,
and not being heard at all when she wasn't, was a bit of an insult to
the intelligence of kids like me!
Laura Pinto :)
P.S. Reminds me of something I heard years ago about Elvis Presley -
I've forgotten most of the facts surrounding it, like the name of the
movie being filmed, but the point is still intact. Elvis was
lobbying for the Jordanaires to sing background vocals on a particular
song. The director was trying to convince him that it wouldn't work for the scene. When Elvis asked why not, he was told, "Elvis, this song is being sung by you while you're cruising down the highway on a motorcycle, alone. Where would the additional voices be coming from?"
Exasperated, Elvis snapped, "The same damn place the band is coming from!"
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Message: 15
Date: Sat, 30 Oct 2004 12:20:37 -0400
From: Joe Nelson
Subject: S'pop in New York
Country Paul:
> We ought to put something like that around here (NYC->northern NJ).
> We'd probably get a decent crowd. Something to think about when
> some of the busy-ness of the season eases back a bit.
You almost have to do it in NYC proper in order to be most central in
location. I live around the Poughkeepsie N.Y. area. I could probably drive into northern Jersey without too much problem, but it might be more difficult for some others. Renting a place in Jersey would be cheaper, though...
Joe Nelson
(whoever THAT may be...)
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Message: 16
Date: Sat, 30 Oct 2004 18:05:25 -0000
From: Clark Besch
Subject: Re: Third Booth, D-Men, Fifth Estate
--- In spectropop@yahoogroups.com, Bill Mulvy
wrote:
>
> 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... Any help would be
> appreciated!
Bill, November 7 holds the answer! That is the release date for Bob
Stroud's "Rock n Roll Roots Vol. 6" CD in the Chicago area with first
CD legit issue of "I Need Love!" The sound on that track, restored by Varese
wizard Steve Massie, is great! Now ya gotta find someone who shops at Borders in Chicago to get it!
Clark
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Message: 17
Date: Fri, 29 Oct 2004 23:16:44 -0400
From: Joe Nelson
Subject: Keith Allison @ musica
John Berg:
> ... Paul Revere & The Raiders ... 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 ...
Now playing at Musica: Keith Allison's vocal take on "Good Thing",
sliding into Mark Lindsay's vocal booth while the Raider's track plays
on. Enjoy!
Joe Nelson
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Message: 18
Date: Sat, 30 Oct 2004 11:47:48 -0000
From: Patty
Subject: Mark Lindsay Fansite
I'd just like to introduce myself... A good friend of mine informed
me that you guys had been discussing my favorite topic: Mark Lindsay.
I've known Mark for quite a while and also consider myself a "fan" of
his music, etc. So anytime you guys want to fill me in on ML, please
do! I still believe that The Raiders have been one of the most under-
rated groups of the 60's early 70's and they deserve their spot in
the Rock and Roll Hall of Fame. JMHO of course!
For those of you who get the chance, please check out my website for
Marcus and sign my guestbook. In the meantime, I'm going to enjoy
looking back at all the posts I haven't read yet!
I guess u guys heard about Freddy Weller's son. So sad.
My website: http://www.marklindsayfansite.net
I'm a fan of music, period!!! Love it!
Patty
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Message: 19
Date: Sat, 30 Oct 2004 08:50:34 -0400
From: Joe Nelson
Subject: Freddy Weller of the Raiders
John Berg:
> ... Paul Revere & The Raiders ... 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 ...
It's unfortunate that the last time I checked Weller's country hits
were all out of print. ISTR he was a substantial artist at the time,
and it seems a CD is long overdue. Anyone got any inside infop on
this?
Joe Nelson
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Message: 20
Date: Sat, 30 Oct 2004 01:30:17 EDT
From: Al Kooper
Subject: Jerry Fuller @ Columbia
Previously:
> ... Jerry Fuller, I am not sure if he was independent or a signed
> producer to Columbia Records.
Signed producer. At least while I was, 1968-1972.
Al Kooper
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Message: 21
Date: Sat, 30 Oct 2004 06:56:25 -0000
From: Sean
Subject: The Eligibles on Shindig
I was watching a Shindig tape that I have and I saw a group perform
called "The Eligibles". They only sang one song but they weren't
that bad of singers. Then they sang backup on the song "I Saw Her
Standing There". Does anyone know any info on them? Like what
were their names and which key did they all sing (like alto, 2nd
soprano, soprano)?
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Message: 22
Date: Sat, 30 Oct 2004 10:31:06 -0400
From: Mikey
Subject: Touring Raiders
Gary, is that true, that touring Raiders in 1975 were the original band
from 1961 before Revere hired Smitty, Drake, Fang, etc?
Mikey
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Message: 23
Date: Sat, 30 Oct 2004 06:47:58 -0700 (PDT)
From: Steve Harvey
Subject: Re: The Albert Hotel, New York City
As a big Spoonful fan I can remember being in 7th
heaven when my aunt and uncle moved to Greenwich
Village. Got to visit the Night Owl the first time.
Oddly enough the next time I visited it it was no
longer a nightclub, but a poster and button shop. Had
my uncle take me over to the Albert Hotel so I could
see where the Spoonful use to rehearse. Unforunately
it was just a dark, damp basement. No stories to be
found.
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Message: 24
Date: Sat, 30 Oct 2004 14:38:58 -0000
From: Brent Cash
Subject: Joe Tex riff
Hi everyone, First, with the Angelettes feature update being mentioned
again, I'd like to say great job on it, The Dickens, and (belatedly)
The Front Porch pieces by Julie, Phil Milstein and Country Paul
(repectively). And all the other (too many to list individually!)
features present here.
Now, Joe Tex's "Papa Was Too" (a companion piece to Lowell Fulsom's/
Otis & Carla's "Tramp") has a piano riff in the tune's opening that is
very similar to Cream's riff in "Politician". Not a direct lift, but I
think the DNA is there. I haven't actually heard Fulsom's original, is
it there as well?
Best wishes to all,
Brent Cash
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Message: 25
Date: Sat, 30 Oct 2004 10:43:22 -0400
From: James Botticelli
Subject: Re: Duane Eddy on Gregmark
Dave Heasman wrote:
> 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.
The only question remaining is when is the definitive "Caravan"
compilation comes out.....I love Bert Kaempfert's with that fuzz bass.
But hundreds have recorded it...
James Botticelli
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