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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: Where The Girls Are, Vol 6 / Barbara Mills @ Musica
From: Mick Patrick
2. Greg Shaw Joe Meek Shadows Flamin' Groovies
From: Greg O.
3. Re: Kenny Young
From: Phil X Milstein
4. Re: Chiffons stereo
From: Al Kooper
5. Re:Andrew Loog Oldham Productions
From: JK
6. Re: stereo mixing in the '60s
From: Clark Besch
7. Re: Someone To Talk To - The Breakaways & "Darling"
From: Greg O.
8. Re: Zombie Jamboree
From: Al Kooper
9. Re: Claire Francis back @ musica
From: Claire Francis
10. Pet Sounds Stereo
From: Al Kooper
11. Re: stereo mixing in the '60s
From: George S.
12. Re: The Mark IV
From: Al Kooper
13. Re: Andrew Loog Oldham productions
From: Bill Craig
14. Re: Caravan
From: Gary Myers
15. Rock Critics tribute to Greg Shaw
From: Mark
16. "Wonder Where The Boys Go (When They Want To Cry)"
From: Mick Patrick
17. Re: Andrew Loog Oldham Productions
From: Al Kooper
18. The Eligibles
From: Various
19. Re: S'pop in New York
From: Claire Francis
20. Re: S'pop in New York
From: George Schowerer
21. B-side Royalties
From: Al Kooper
22. Bill Reed RIP; Sandie Shaw and other catch-up items
From: Country Paul
23. Paul Evans
From: Ed Salamon
24. Merseybeats USA release
From: Don
25. Re: Columbia - closed shop
From: Al Kooper
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Message: 1
Date: Mon, 1 Nov 2004 22:33:13 -0000
From: Mick Patrick
Subject: Re: Where The Girls Are, Vol 6 / Barbara Mills @ Musica
Vlaovic B:
> I'm so used to getting my import copies of these things so
> late, I was shocked when I got a call from my vintage vinyl
> /CD store telling me they had a copy of ("Where The Girls Are,
> Vol 6") on hold for me....3 days into listening and already a
> number of the songs are repeating in my head! Marvellous stuff.
> Nice to have a clean copy of The Darlettes 'Lost' (what about
> the lovely B-side 'Sweet Kind of Loneliness'?)
We can thank my lovely pal Samski for that. She located the
mastertape in the President warehouse and made it available
to Ace. Bless. Ace Records are now the owners of the Mirwood
/Mira catalogue. I hear they have some soul compilations in
the pipeline. With any luck, the Darlettes' flip will be on
one of those. I'll put a word in, shall I?
> I'd never heard of Barbara Mills but now I'm intrigued,
> t'rrific vox!
I agree, Barbara was a terrific singer. "(Make It Last) Take
Your Time" is by far the best of her records. (Hark, is that
a chorus of disapproval I hear from irate Northern soul fans?)
Her other five Hickory decks weren't bad, either. I've posted
one to musica. Lend a shell-like to
http://groups.yahoo.com/group/spectropop/files/musica/
Details are: Barbara Mills "Little Things Like That" (Hickory
1347, 1965) Written by Russ Titelman and Larry Kolber. Some
members might be familiar with versions of this excellent song
by Suzy Wallis, Linda Lloyd and Little Pattie. They're all good.
> Good to have another Goodees track; tell me is the LP worth
> searching out?
Well, I do currently have the hots for their rendition of "He's
A Rebel", but (not counting the amazing singles "Condition Red"
and "Jilted") the best track on the album is their great version
of the Swingin' Medallions' "Double Shot (Of My Baby's Love)".
To hear those lyrics sung by girls is utterly jaw-dropping.
Read more about "Where The Girls Are 6" at the Ace website. It's
updated monthly and well worth checking regularly. Also featured
this month is a tribute to Dave Godin:
http://www.acerecords.co.uk/gotrt/nov04/CDCHD1032.html
Glad you liked the booklet. We try our best.
Hey la,
Mick Patrick
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Message: 2
Date: Mon, 01 Nov 2004 00:54:20 -0000
From: Greg O.
Subject: Greg Shaw Joe Meek Shadows Flamin' Groovies
I closed my weekly email missive about London's Rapiers with
this note in remembrance of Greg Shaw, who helped cross-linked
all my consuming rock 'n' roll passions. RIP Greg.
[*] CHOPPIN' & CHANGIN': Finally, it's a safe bet I wouldn't be
composing Rapiers email newsletters were it not in part for Greg
Shaw, who passed away suddenly last week at the age of 55. Editor
of "Bomp!" magazine, the finest, smartest and liveliest pop music
fanzine I ever read, founder of Bomp! Records, which almost single
-handedly kick started the '60s music revival in the States during
the dark ages of the mid-'70s, and rock 'n' roll historian ahead of
his time -- imagine flying the flag for Johnny Kidd & The Pirates,
Joe Meek and The Shadows for us clueless Yanks way back in 1975 in
his extraordinary liners to Sire Records' "The Roots of British Rock"
-- Greg taught me it was OK to wear passion on your sleeve, buck off
naysayers and champion daddy-o-cool stuff (like San Francisco's Flamin' Groovies, who had the audacity to re-do Cliff's "Move It" in 1978) no
matter if it was 180 degrees out of whack with the pop charts. Mentor,
writer, producer and visionary, Greg will be sorely missed.
Greg O.
http://www.bomp.com/
Full newsletter is linked off http://www.rapiers.net or at:
http://tinyurl.com/65x3s
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Message: 3
Date: Mon, 01 Nov 2004 01:46:28 -0500
From: Phil X Milstein
Subject: Re: Kenny Young
Barry Margolis wrote:
> Here's the Kenny Young items I've got:
> DEATH OF A CLOWN (Date 2-1573)
Was this a cover of the Dave Davies song?
--Phil M.
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Message: 4
Date: Mon, 1 Nov 2004 06:11:11 EST
From: Al Kooper
Subject: Re: Chiffons stereo
George Schowerer:
> I was the engineer on Chiffons "He's So Fine,"...........
> The tracks done at Allegro are in monaural only as we didn't
> have a stereo machine at that time............
Mikey:
> But George......there exists a stereo backing track for
> "He's So Fine". I have a copy of it!!
George,
You've backed into a room of bloodthirsty music fans here
Choose your words carefully or you'll be walkin the plank!!!!
But seriously, George, if you're as old as me, we confuse some
tracks with other tracks occasionally and that is so FORGIVEABLE
on these premises. So relax, while we adjust the gallows......
Long John Kooper
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Message: 5
Date: Mon, 1 Nov 2004 07:06:12 EST
From: JK
Subject: Re:Andrew Loog Oldham Productions
Andrew was responsible for Tony Rivers and the Castaways'
wonderful version of Brian Wilson's "Girl Don't Tell Me"
on Immediate....
JK
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Message: 6
Date: Mon, 01 Nov 2004 14:06:43 -0000
From: Clark Besch
Subject: Re: stereo mixing in the '60s
Joe Nelson:
> I've been trading messages offlist all day between Mike Rashkow
> and Bob Celli (acting as courier for Bobby Vee), both claiming
> what I should have figured out earlier: not only were the singers
> and orchestra performing at the same time, but more often than not
> the whole session was a single live take and overdubbing was quite
> rare beyond doubletracking.
I found it interesting and disappointing when I listened to the
Bobby Vee legendary masters Cd for the first time. It was great
to hear all those Vee songs in great sound quality and even tho
it seems a slight problem, I was surprised to hear on one of my
fave Vee songs, "Look at me Girl", that the song was sounding
perfect until the end fade when the vocal overdubs were GONE!
There may not have been much overdubbing later, but in this case,
there was a little. It's like hearing the alternate of "Cherry
Cherry" or "Solitary Man" or "Catch Us if You Can" with the wrong
incidental vocal overdubs. Just bugs me, y'know? Yet, "Look at
me Girl" is great with or without the overdubs.
Clark
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Message: 7
Date: Mon, 01 Nov 2004 16:24:49 -0000
From: Greg O.
Subject: Re: Someone To Talk To - The Breakaways & "Darling"
Steve Crump:
> I picked up a record the other day: Epic album (USA pressing)
> - Triple Feature. It contains soundtrack music from "important
> European films"; sveral tracks from Casanova 70 by Armando
> Trovaioli; several tracks from Divorce Italian Style by the
> same chap; a couple of tracks from the film Darling, one of which
> is a song "Someone To Talk To" sung by a bunch of girls. I'm
> pretty sure it's the Breakaways, does anyone else know about this?
Steve, I looked for that record for 10 years and finally found
it this year, too. Yes, it's the Breakaways, but either it's a
remix or a slower take than what's used in the film, a bit more
sultry on vinyl, whereas the film take is louder, faster -- after
all, it's background to a party scene with Julie Christie and
Laurence Harvey. I was sad the track wasn't included on the recent
Breakaways compilation.
Greg O.
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Message: 8
Date: Mon, 1 Nov 2004 05:53:17 EST
From: Al Kooper
Subject: Re: Zombie Jamboree
Previously:
> 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?
Being a fan, when I heard that album, I surely swooned. Fortunately,
I was in a position at the time, where I could professionally further
the reach of that album. Any of us would've done the same thing given
the chance. It just happened to fall into my lap that time.
Al "Care of Cell 44" Kooper
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Message: 9
Date: Mon, 1 Nov 2004 11:44:53 EST
From: Claire Francis
Subject: Re: Claire Francis back @ musica
Thanks for playing "If You Don't Know". I enjoyed producing that
record. It certainly did bring back memories and yes, I wrote
that song because that was a time in my life that was painful -
but hey, that's show biz. Was that an "A" side or a "B" side?
What was on the other side. Please let me know.
I found the track to be very muddy. I am sure it was the way it
was produced. I probably was not in the best of moods when I was
working on it. I can hear the chicks in the background, but not
very clearly. I think this was on two tracks? I am not sure. Oh,
what I would do to remix that one now. Or, could it be the fact
that I am playing it from my computer? Anyway, thanks for playing
it in musica, I listen to it hoping it will jog my memory even more.
What a Blessing to have my mind go back in time and hear what I did.
Love & Light
Claire Francis
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Message: 10
Date: Mon, 1 Nov 2004 09:33:05 EST
From: Al Kooper
Subject: Pet Sounds Stereo
Previously:
> ...I guess this is why the stereo remix of Pet Sounds surprised
> me so much - since Brian Wilson obviously wasn't concerned with
> stereo in 1966 I figured he'd lead my follow and use a similar
> layout, which turned out not to be the case - his stereo turned
> out to be not unlike most stereo at the time...
>From the brief discussion I had with him, Mark Linett, who mixed
Pet Sounds in stereo & 5.1 Surround, claims there was mucho synching
of mono tracks involved and that it took centuries to do it.
Mark, BTW, would be a GREAT interview...........
Al Kooper
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Message: 11
Date: Mon, 1 Nov 2004 08:59:16 -0800 (PST)
From: George S.
Subject: Re: stereo mixing in the '60s
Joe,
16 Candles was all done live, no o/d. On the other hand Bob Crewe
NEVER recorded everything live. There were always zillions of
overdubs (at times, just the tambourine). Streisand was live, with
an occasional return for vocal redo. Most Columbia stuff done three
tracks was so well recorded, that you literally could throw up a
three to two mix and let it go by itself...this goes for classical
as well as pop. All of us doing sessions in those days had to know
what you would expect on the final product and mix accordingly.
Most of what I did was not all in one take. The demos for Artie Butler,
Carol King, Neil Sedaka, etc. were all overdub upon overdub and, in
Carol's tapes, she played all the instruments herself, while Goffin
broke her chops during the sessions.
Regards,
George S.
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Message: 12
Date: Mon, 1 Nov 2004 05:58:11 EST
From: Al Kooper
Subject: Re: The Mark IV
Gary Myers:
> 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.
I believe there was a Mark IV that had a late 50's single called
"(Make With) The Shake". If the 60 year old memory's gone, I stand
busted.
Old Al Kooper
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Message: 13
Date: Mon, 01 Nov 2004 19:12:21 -0000
From: Bill Craig
Subject: Re: Andrew Loog Oldham productions
Mick Patrick:
> Oldham's autobiographies, Stoned and 2Stoned, are very highly
> recommended, especially the latter. He's a brilliant writer,
> with a very original style. Both tomes are now readily
> available in remainder stores. Mine cost less than three
> quid each. Bargains, or what?
In August while on vacation(holiday?) in London I bought 2Stoned
at that bargain price at the HMV store in Covent Garden. I agree
it was a great read. ALO is a gifted story teller, and most of the
people and eras that he writes about are the people and eras I've
always been most fascinated by. As soon as I finished his second
volume I bought a copy of the first and devoured that also.
While in London I dragged my family out to Holloway Road to see
the site of Joe Meeks'legendary digs.(This for some reason is not
on any of the rock & roll walking tours of the city.) There were
apts. for rent in the building, the sign for them being right next
to the plaque commemorating Joe's Studio.I noticed the cycle shop
on the ground level is now Holloway Cycle as opposed to Cycle Logical
as it was at the time of the John Repsch book. My wife took a picture
of me that managed to get the plaque in it, but my digital camera
somehow malfunctioned and it got lost. Ghost in the machine? What
would Joe have said?
Cheers,
Bill Craig
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Message: 14
Date: Mon, 1 Nov 2004 11:27:06 -0800
From: Gary Myers
Subject: Re: Caravan
Phil Milstein:
> I just came across a vocal version of Caravan, by Sy Oliver
> & Orch., from mid-'40s. Writing credit there is to Ellington
> & Tizol, so I assume the latter, whoever he was, was the cat
> responsible for the so-called special material.
The latter is Juan Tizol, who, IIRC, was one of Ellington's
trombonists.
I've heard two different melodies for the bridge of Caravan
(same chords, however). I believe Billy Eckstine sang a melody
different from the common instrumental one.
gem
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Message: 15
Date: Mon, 01 Nov 2004 20:09:56 -0000
From: Mark
Subject: Rock Critics tribute to Greg Shaw
Just to let everybody know that Scott Wood over at Rock Critics
(http://www.rockcritics.com) has put together an excellent
tribute to the late great Greg Shaw in words and pictures.
Mark
http://www.rockandrollreport.com
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Message: 16
Date: Mon, 1 Nov 2004 20:22:31 -0000
From: Mick Patrick
Subject: "Wonder Where The Boys Go (When They Want To Cry)"
Gary Myers:
> I don't that it's on any CD, but "Wonder Where The Boys Go
> (When They Want To Cry)" is, IMHO, an excellent 60's girl
> record on Milwaukee's Raynard label, but produced in Nashville.
By Rose Du Bats, yes? I've never heard it, but would snap it up
on your recommendation. Maybe you could make it available for
hearing via musica?
Hey la,
Mick Patrick
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Message: 17
Date: Mon, 1 Nov 2004 16:38:53 EST
From: Al Kooper
Subject: Re: Andrew Loog Oldham Productions
Mick Patrick:
> Oldham's autobiographies, Stoned and 2Stoned, are very
> highly recommended, especially the latter. He's a brilliant
> writer, with a very original style. Both tomes are now readily
> available in remainder stores. Mine cost less than three quid
> each. Bargains, or what? I've never seen an Andrew Loog Oldham
> discography, but I'd like to. Anyone?
First off, one of my favorite ALO stories is from Peter Riegert,
the actor. Until I corrected him recently, he had thought for all
these years that his name was Andrew Lou Goldman. I told this to
Andrew and now I have nicknamed him "Lou". Enclosed is his his
reply to your request for a discography which I copied to him:
al;
Gene Pitney;
Andrew Oldham Orchestra;
Estus < Epic >;
Sunday Funnies < Rare Earth >;
Repairs < Rare Earth >;
Peter James < Reprise >;
Jimmy Cliff "live - the best of";
Donovan "Essence To Essence";
Francesco di Gregori < RCA Italia >;
Anna Oxa < RCA Italia >;
Compania Ilimitada < CBS Colombia >;
Ratones Paranoicos < Sony Argentina >;
Charly Garcia < Sony Argentina >;
are some Mick Patrick might be unaware of. saludos, a-lo.
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Message: 18
Date: Mon, 1 Nov 2004 22:38:37 -0000
From: Various
Subject: The Eligibles
The Eligibles - a compendium of new posts:
Mikey:
> ...The Eligibles were a well known three man harmony group that did
> TONs of sessions in LA as backing singers. Ron Hinclin was their lead
> singer. In 1965/66 they were signed to appear every week on Shindig
> as regulars. This is where America really saw them. They sang on,
> literally, hundreds of songs that came out of California in the 1960s.
> If you listen VERY closely to "This Diamond Ring" by Gary Lewis, you
> will hear Ron's voice alongside Gary's to keep him on pitch. They also
> had some hits of their own, "Car Touble" and, under the name "The In
> Crowd", a great lost track called "Questions and Answers", which
> sounds like, if Gary Lewis had recorded it, it would have been a hit.
Thanks for the info! Just one question before I go...was Ron one of
the short guys or the tall one? Thanks again.
Sean
-------------------------------------------------------------------
The Eligibles also sang the "Gilligan's Island" theme song for one of
the seasons (I think the Black and White one (64))!!). They were
usually on Shindig if the Wellingtons were not there, but not EVERY
week. I think I may have read somewhere that one of them may have
gone on to do session work as the Partridge Family along with Robin
Ward.
Tony Leong
------------------------------------------------------------------
I have to say that in my LA period 74-89 (approx) I never did a bg
session w/o Ron Hicklin being involved. Either he sang or he contracted
the session. He NEVER failed me. I always got whatever I was looking for
...from Temptation singing to Beach Boy emulation, Ron could do anything
I needed. He was also a great person and I truly miss not working with
him anymore due to geography, although I'm sure he's retired and living
the good life.
Al Kooper
-------------------------------------------------------------------
In Pittsburgh, we had an oldies dance scene comparable to Beach Music
or Northern Soul. The only Bobby Vee record in that canon was "Where
Is She" with the Eligibles. I highly recommend it.
Ed Salamon
-------------------------------------------------------------------
Gary Myers:
> Did they also do "Save Your Heart For Me"? I love that 4 Freshmen
> sounding line in the last chorus.
I believe so, yes. Actually, only Ron Hinclin represented The Eligibles
on "This Diamond Ring". The backround vocals were first done by the
Johnny Mann singers, then after a year or so, The Eligibles took over
the job.
Mikey
-------------------------------------------------------------------
I always thought The Eligibles' main claim to fame was singing the
first version of the GILLIGAN'S ISLAND theme...before the lyrics
"Professor and Mary Ann" were added. That later version - for the
color episodes - was sung by The Wellingtons - another band that
appeared regularly on SHINDIG.
Mike Dugo
------------------------------------------------------------------
Ron Hicklin was a "member" of the PARTRIDGE FAMILY- credited with, "vocal
arrangements". Sang with PF SLOAN, GRAHAM PARSONS (1973 LP), JOHNNY CASH,
DONOVAN (1976 Epic LP), GRIN (w. The Ron Hicklin singers/Cry Tough 1976),
ELTON JOHN Blue Moves (1976 LP), KEITH MOON 1975 LP, contributed to THE
BRADY BUNCH LPs (Paramount label).
Also:
SQUIDDLEY DIDDLEY'S SURFIN' SAFARI (Hanna Barbera label) with studio
singer and ex-Eligibles Singer, Stan Farber.
Mark R. Hill
------------------------------------------------------------------
Bob Celli:
> Also, Ron Hicklin was the guy that Gary Lewis sang along with on most
> of his records to keep Gary on key. That's info directly from one of
> many conversations I've had with Snuffy (Garrett).
>From Liberty Records:
Hal Blaine: “I was Snuff Garrett’s drummer. I did Gary Lewis and the
Playboys, I worked on his father’s things, so it was like a family thing.
And I did Bobby Vee, Johnny Burnette, Dick and Deedee, the Rivingtons,
the Ventures – I know that I did every record Gary Lewis ever did. Ron
Hincklin did the vocal arrangements and sang background and lead along
with Gary. I don’t think anyone ever knew that, or even know it today.
“Ron Hincklin was one of the great studio singers. He could sing higher
than anybody. And he could match anybody’s voice. For years, whenever
we’d go into a Beach Boys’ session, I mean a sound-a-like, Orange Crush
or some product where they wanted a Beach Boys’ sound, they always hired
Ron Hincklin. Ron and Tom and John Baylor, the Baylor Brothers, very big
producers in LA. today, they could match anything vocally. It was
beautiful.
Gary Lewis: “The Playboys played on all of the basic tracks. Snuff would
call in session musicians to do overdubbing, but yeah, the Playboys did
the basic tracks on all this hits, they were definitely on the records.
Leon may have mixed it down a little bit, but they were on them. Good
people were called in to do overdubs, like Hal Blaine on percussion,
Tommy Tedesco would do guitar things, real good people. Ron Hincklin sang
harmony or shared the lead with me on everything. He was great. Sloan and
Barri sang background on some album things.”
Doc Rock
------------------------------------------------------------------
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Message: 19
Date: Mon, 1 Nov 2004 18:37:33 EST
From: Claire Francis
Subject: Re: S'pop in New York
Mikey wrote:
> Guys, if we have the get together in Manhattan, I would like to
> have my band "Mr Action and The Boss Guitars" play. We are a guitar
> instrumental band and play instro versions of 60s Pop classics.
Can I sing? (I'm only joking!)
Claire Francis
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Message: 20
Date: Mon, 1 Nov 2004 14:29:54 -0800 (PST)
From: George Schowerer
Subject: Re: S'pop in New York
Mikey:
> Guys, if we have the get together in Manhattan, I
> would like to have my band "Mr Action and The Boss
> Guitars" play. We are a guitar instrumental band
> and play instro versions of 60s Pop classics.
Mikey: Joe Venneri of the original Tokens gave me his
guitar (Barney Kessel Custom 1959 with PAF pickups)
if you would like make the occasion really authentic.
Regards, George Schowerer
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Message: 21
Date: Mon, 1 Nov 2004 06:14:53 EST
From: Al Kooper
Subject: B-side Royalties
Previously:
> Since royalties are based on record sales, did B side artist,
> songwriter, etc. make as much as the A side release.
Not really. The airplay money was the deciding factor that B side
guys & gals did not really share in. But record sales generated a
free ride for B side surfers. Lets go Surfin......NOW
Al (I co-wrote the B side of It Hurts To Be In Love) Kooper
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Message: 22
Date: Tue, 2 Nov 2004 00:45:02 -0500
From: Country Paul
Subject: Bill Reed RIP; Sandie Shaw and other catch-up items
Michael Coxe:
> Diamonds founder & bass extroadinaire Bill Reed passes on.
> A bit out of the Spectropop range, but certainly a precusor
> worthy of note and remembrance....[G]great bass pop singers
> are like great rhythm guitarists; I never tire of the sound
> & effect.
Listening back to their hit output, they had a remarkable sense of
humor and true musicality, yet were able to rock out when allowed.
(The rest of the time they seemed forced to cover some stuff not
worthy of their talent, IMO.) The lyrics to "The Stroll" may be
a bit on the stoopid side, but they delivered the track with true
doo-wop soul. "She Say" - again saddled with limp lyrics - is
brought to life by Reed's amazing bass and by the commitment the
group gave the song (great falsetto work, too). And to my ears
"Little Darlin'" is one of the rare covers that totally eclipses
the original - they're serious about both doing a good job musically
and having a good lauigh at the song - a laugh we're all in on.
(Listen to it with "fresh ears" if you can.) RIP, Bill.
Norm D.:
> There's a full-length story about Sandie Shaw in The Guardian
> newspaper today (28 Oct. '04)....
> http://www.guardian.co.uk/arts/features/story/0,,1337736,00.html
Knowing only her hits ("Girl Don't Come" has always been a favorite)
it was interesting to see more of her story. Thank you.
Just as a postscript to the Beach Boys/Brian Wilson posts of late,
one of my favorite Dennis Wilson songs is "Cuddle Up." The depth,
sensitivity and intense musicality make it truly a standout. With
Brian's newly-roughened voice, this could be a great asset to their
next tour; no doubt his current band would make it soar.
Fascinating to hear Lincoln Chase's original author's version of
"Jim Dandy". It's much "cuter" than I would have expected both from
Laverne Baker's original and from Chase's bass work on Shirley Ellis'
"Nitty Gritty", but yes, I do like it. This and Eddie Cooley's "Fever"
have been revelations; I wonder how much of the arrangement of each
came from the author and how much from the producer, whoever it was.
More from this album, please!
Me:
> 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.
Austin Roberts:
> Don't forget Different Drum and Some Of Shelly's Blues!
Two great songs, to be sure, but weren't they written pre-Monkees?
Bill Mulvy re: Zombies "Odessey & Oracle" review
> ...It's one of the best [albums] 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
Some of my friends from my radio days have seen the tour and raved
as you do. Sorry I missed it.
Thanks to the folks who have contacted me off-list about the Gregmark
material.
Norm again:
> 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
Totally fascinating - he seems to have occupied an entirely
parallel universe. Go to www.deanreed.com to see pictures and
further illustrative detail.
The Angelettes' story is very interesting; they really could sing
beautifully. But what were Jonathan King and Johnny Arthey thinking
with the inappropriate rhythm? It undermines the entire recording!
The full string section is very nice, though. Thanks to all involved
with putting this together.
Country Paul
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Message: 23
Date: Mon, 01 Nov 2004 16:44:22 -0000
From: Ed Salamon
Subject: Paul Evans
Occassional S'popper Paul Evans wrote and recorded a couple of
novelty records that went to #1 on WHN in the 70s; "Happy Birthday
America" and "Hello This Is Joanie".
He just wrote and recorded another, "The Curse Of The Bambino",
which you can hear on his website @ http://www.paulevans.com/
Ed Salamon
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Message: 24
Date: Mon, 01 Nov 2004 20:25:26 -0000
From: Don
Subject: Merseybeats USA release
I just found a compilation CD called "Fuzz Flaykes and Shakes
Volume 3" that has "Nobody Loves Me That Way" by the Merseybeats
USA.
Has anyone heard the CD and know the quality of the recording?
I still have the original 45 but it is very scratchy. I listened
to the version on musica and it is fairly distorted. Just curious
as to where they got their copy for the CD.
Also in this series are several tunes by a Louisville group called
"Soul Inc.", which recorded in the same studio as we did. Just
wonder if somehow they got hold of some of the mixed tapes.
thanks
Don
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Message: 25
Date: Mon, 1 Nov 2004 16:49:44 EST
From: Al Kooper
Subject: Re: Columbia - closed shop
Frank Murphy:
> I always understood that Columbia artists had to use Columnia
> Studios and could only work with Columbia producers. Is this
> correct? I recall the Byrds recording "Eight Miles High" at RCA
> and then having to re-record.
It was a union shop for many years and the above was true. Then
at the tail end of the 60's, they let us (artists) work in other
studios, but a Columbia engineer had to be present. He didn't have
to engineer; mind you - just be present. Columbia producers were
NOT allowed to touch the console. That was the most annoying part.
I used to pay off the engineers so I could mix the albums I produced.
The other great union rule was the engineers had to break for an hour
every three hours on the dot. If you had a forty piece session going
from 10-1 PM , no matter WHAT point the session was at, they'd pull
the plug at 1 PM AND you had to leave the studio. Boy did they piss
people off!
Al Kooper
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