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SPECTROPOP - Spectacular! Retro! Pop!
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There are 15 messages in this issue.
Topics in this digest:
1. Re: Brenda Holloway &/Or The Blossoms
From: Tony Leong
2. Girl Group Comps, Freddy Weller,
From: Ken Silverwood
3. Al On The Radio
From: Al Kooper
4. Ron Dante's "Rockin' Christmas Party"
From: Laura Pinto
5. Re: Kurt Edelhagen plays Jimmy Webb
From: Mark Wirtz aka, Michael Sinclair
6. Jaynetts
From: S'pop Team
7. Tales Of Jonathan?
From: Billy G Spradlin
8. Re: Jaynetts
From: John Fox
9. Sealed with a quip
From: Al Kooper
10. Re: Blossoms
From: John Fox
11. The Raiders
From: Various
12. The Jaynetts Butler
From: Al Kooper
13. now at musica: We Wrote 'Em #3
From: Phil X Milstein
14. Re: Girl Group Comps, Freddy Weller,
From: Austin Roberts
15. Brian Hyland
From: Mark Wirtz aka, Michael Sinclair
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Message: 1
Date: Fri, 05 Nov 2004 14:41:17 -0000
From: Tony Leong
Subject: Re: Brenda Holloway &/Or The Blossoms
Richard wrote:
> Does anyone know how to reach Brenda Holloway and/or the Blossoms?
> Trying to find/interview them about some recordings done in June-
> July 1968 with Cass Elliot.
Richard: Try and reach Darlene via. her website. If you live
on the East Coast (esp. the NY area, she often does shows) and
she seems to grant interviews gladly. Fanita is out on the West
Coast and does occasional shows in the LA area with the original
members of the Blossoms. Brenda Holloway is also in LA. Jeannie,
the other Blossom, had passed away about 20 years ago.
I've often wondered who was backing Cass on "It's Getting Better",
and I guess it was the Blossoms with Edna Wright joining in as usual!!
Tony Leong
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Message: 2
Date: Fri, 5 Nov 2004 10:53:35 -0000
From: Ken Silverwood
Subject: Girl Group Comps, Freddy Weller,
>From John H.
> Does anyone know if there will be a new "Dream Babes" or
> "Where the Girls Are" collection sometime soon?
For myself I was sad when I learnt there would be no more
"Girls Will Be Girls" on Westside.
Austin R:
>Lonely Women Make Good Lovers for Bob Luman (I think was
> the original hit),
Written along with Spooner Oldham, if you like this song seek
out the album "Moments From This Theatre" where Dan Penn along
with Spooner do a wonderful version (along with other gems)
Ken On The West Coast.
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Message: 3
Date: Sat, 6 Nov 2004 02:39:25 EST
From: Al Kooper
Subject: Al On The Radio
My monthly radio show on Radio Caroline will commence again on
Thursday, November 11th at 10:30 PM UK time - 5:30 PM EST US
time. The show, Obscurativa, contains choice, obscure cuts from
my collection.
Select your connection type at http://www.listen.to/radiocaroline
This month's playlist:
Broken Heart - Moonlighters
Rain From The Skies - Adam Wade
Joey - Little Beaver
Memphis - Don Covay
Ring Of Fire - Ray Charles
Thats How Long I'll B Loving You - Bunny Sigler
The Double Cross - David Ruffin
Pimp - The Tubes
He Hit Me - The Raw Nuts (feat. George Harrison)
I Wonder - Adrian Belew
Grey Streak - Angels of Montenegro
Hollywood - TinyTown
I think S'poppers will quite enjoy. It is NOT archived, so when ya
hear is when ya get. And now back to your regularly scheduled post:
DJ Al Kooper
http://www.alkooper.com
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Message: 4
Date: Fri, 05 Nov 2004 16:16:07 -0000
From: Laura Pinto
Subject: Ron Dante's "Rockin' Christmas Party"
Hi S'poppers,
A big THANK-YOU to Mick Patrick and Phil Chapman for putting my
writeup on Ron Dante's '60s work, "Ron Dante Remembers the Sixties,"
on the Spectropop site. It looks great up there - thanks, guys!
Speaking of Ron, he's recently finished production on a new CD you
all might be interested in, just in time for the holiday season.
"Rockin' Christmas Party" will feature songs by Tommy Roe, Lou
Christie, Gary Lewis, Chris Montez, Bobby Vee and of course Mr.
Dante himself!
To sneak a peek at the CD cover, click here:
http://www.geocities.com/oldiesconnection/rondante1.html
"Rockin' Christmas Party" is tentatively scheduled to be released
around Thanksgiving. Once it's hit the streets, I'll let everyone
know the complete track listing, and where the CD can be purchased.
Thanks,
Laura
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Message: 5
Date: Fri, 05 Nov 2004 16:40:42 -0000
From: Mark Wirtz aka, Michael Sinclair
Subject: Re: Kurt Edelhagen plays Jimmy Webb
JED:
> Please I will be most grateful if somebody can provide me with
> info on this record & any kind of info on Kurt Edelhagen, how
> come he did decide to cover a whole album of Jimmy Webb material?
> Was Webb popular in Germany??
Kurt, a Jazzer at heart, was an American/Brit music aficionado,
whose work was not only heavily influenced by US/UK composers
and arrangers, but he typically employed distinguished US and
UK musicians and singers as regular members of his band. The
UK's brilliant rock/jazz guitarist Joe Moretti comes to mind.
It is therefore easy to understand why Kurt would pick
Jimmy Webb's ingenious material to celebrate.
Best,
Mark W.
http://www.markwirtz.com
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Message: 6
Date: Sat, 6 Nov 2004 12:51:50 -0000
From: S'pop Team
Subject: Jaynetts
Artie Butler's own words on the making of "Sally, Go 'Round The
Roses" (from S'pop Digest 1229).
For more info, Spectrosearch 'Jaynetts', http://tinyurl.com/42cjl
" Since I made the record, I have heard so many strange tales about it.
Everything from secret messages from Saturn in the lyric, ghosts etc.
There was nothing wrong with the equipment in the studio. I was going
for a very different sound.
I recorded in mono one instrument at a time. I played all of the
instruments except the guitars. Each time I added another layer,
I went to another tape machine. I kept going from one machine to
the other and changed the EQ and the reverb (echo .. as we called
it back then in the Jurassic recording period) on each layer to give
it the strange sound. There was not much of a song to begin with, so
I felt I had to create something that would make it it's own thing.
I had this sound in my mind before I started. I remember the guy who
asked me to do it for him hated it and screamed that I wasted his
money. He said I would never work again and all of that kind of crap
that everyone new has to hear at least once. I told him I felt he was
wrong, and that he should listen to it for a few days. I tried to tell
him that it was a different kind of sounding record, and that the unique
quality was what made it work. He thought I was a moron.
I brought the record to Leiber & Stoller. They went crazy over it and
offered to buy it from him and give him back all of his money. When I
told him that, he had different thoughts about it. Soon after the record
became a hit, I started getting calls to work for other people. The guy
never paid me any money for making the record, but he did give me an
arrangers credit. In retrospect, I did get paid. I have been working ever
since.
He asked me to complete the "Sally" album for him, but I told him he
would have to pay me for the record which was already a hit, before
I would work for him again. He decided not to give me any money and
actually laughed in my face. I have not heard about anything that he
has done after that record. He actually had people calling me to work
for him using a different name.
I guess everyone who starts out in the business gets screwed once or
twice in the beginning of their career. In all of my years of being
in the music business, that was the only time I took a hit and never
got paid. I have been asked to make another updated version of it a
few times. However I never tried. I did not want to piss off the
ghosts on Saturn.
I hope this explains the record to you. If you have any question,
please feel free to contact me. Thanks.
Regards,
Artie Butler "
PS - I left out the fact that I recorded it at 7˝ips on 2 Ampex 350
tape machines. Each time I added another layer, the sound kept getting
more distant sounding due to the tape hiss. That is why I changed the
EQ and the reverb on each layer. It let the new layer "speak" over the
previous layer. The studio was called Broadway Recording Studios. It
was located in the Ed Sullivan Theater building. The same building that
David Letterman does his show in. The address was 1697 Broadway, located
between 53rd and 54th street. How could I forget that stuff. To be real
honest when I go to New York and drive or walk past the building, I do
get a little sentimental. How could I not?
______________________________________________________________________
>From S'pop Digest 365 (Jan '02)
Mick Patrick:
I thought I should bring to the attention of everyone the
*stereo* mix of The Jaynetts' "Sally, Go 'Round The Roses"
contained on the CD "The All-Time Greatest Girl Groups"
(Varese Sarabande 302 066 110 2, 2000). According to the
annotation, this newly assembled stereo version contains
the organ overdub from the 45 (presumably absent from
other reissues).
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Message: 7
Date: Fri, 05 Nov 2004 10:22:17 -0000
From: Billy G Spradlin
Subject: Tales Of Jonathan?
A mystery single for the experts.
Tales Of Jonathan
Wild Strange Girls b/w She Ups and Changes Her Mind
MGM K13727 (black label)
Prod. By Paul Tannan
A Lamridge Production
A-Side kicks off in vaudevillian-pop in the style of "Lady Godiva",
duo vocal reminding me a lot of Boyce-Hart. Discovered it at a Tyler
TX used bookstore last week, anyone know anything about this 45?
Thanks
Billy
http://listen.to/jangleradio
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Message: 8
Date: Fri, 5 Nov 2004 12:13:03 EST
From: John Fox
Subject: Re: Jaynetts
Max Weiner asks:
> And exactly who were the Jaynetts?
The Jaynetts and their hit "Sally Go 'Round The Roses" are both
really mysterious. And I'll add one more question to the mix,
in case any S-Poppers were there for the recording (how about it,
George?):
While many oldies have surfaced in recent years on CDs and oldies
stations with alternate versions (e.g., "My Boyfriend's Back" with
the instrumental solo and truncated last verse, and the aforementioned
over-produced versions of Neil Diamond's first 2 hits), "Sally Go
'Round The Roses" always seemed to have 2 versions--one with and
one without an organ. Can someone shed some light on this?
John Fox
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Message: 9
Date: Sat, 6 Nov 2004 02:51:36 EST
From: Al Kooper
Subject: Sealed with a quip
Previously:
> Gary Lewis: While he still isn't much of a singer, he kept
> the place entertained. He was hoarse, but the deepness of
> his voice now gave him the ability to pull off "Sealed With
> A Kiss" unlike his performance on record. I was amazed!
Austin:
> Wasn't that Brian Hyland? My friend Peter Udell (written with
> Gary Geld) always liked Brian's vocal on it.
Awwwww Austin.....Gary covered it.. but yeah, Brian was the orig.
Reminds me of a great Brian Hyland story. I was touring the UK in
the late 60's, and had a limo' driver courtesy of the promoter. So
we're drivin along and I took out a ciggie and put it in me mouth,
and the driver reached around with a lighter without looking back.
"Thanks mate", I said "But it doesn't seem to be working...." He
said proudly "Brian Hyland gave this lighter to me......" I said
"No wonder - he doesn't seem to be working either!!"
Ya had to be there
Al "quips r us" Kooper
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Message: 10
Date: Fri, 5 Nov 2004 12:18:28 EST
From: John Fox
Subject: Re: Blossoms
Previously:
> Does anyone know how to reach Brenda Holloway and/or the Blossoms?
At http://www.DarleneLove.com there is a way to contact head Blossom
Darlene's fan club and agents. Hope it helps!
John Fox
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Message: 11
Date: Thu, 4 Nov 2004 20:22:24 -0000
From: Various
Subject: The Raiders
There follows a batch of recent posts on the topic of the Raiders.
This outfit have had their moment in the S'pop sun. Your moderators
would now like to consider this discussion thread closed, so please
do not reply to this message. Thank you.
------------------------------------------------------------------
Yes, you are right about the "classic '64-'76 Raiders lineup" doing a
one-off gig in Portland a few years ago. It was organized and promoted
by my friend, with full knowledge of manager Roger Hart, who ensured
that his client Paul Revere and his current lot of "Raiders" would be
playing several thousand miles away -- I think in the Caribbean -- lest
they get wind of the occasion and try to put a legal stop to use of the
name "the Raiders" (as Paul is known to do.) Due to prior work
commitments I was not able to travel to Portland for the show, but I've
seen my friend's video and still photos of the gig -- it actually began
with Drake's own band playing a set, then the Raiders appeared doing
all the hits they were known for on TV and radio back then. They
sounded and looked great. Lindsay's touring band also did a set, which
had its high (and low) points. He is still a great singer, but his
choice of material is sometimes a bit suspect. Alas not too long after
the Portland show, Smitty succumbed to the long term effects of his
lifetime of bad habits, while Drake has battled cancer -- though he
still plays fairly regularly with his own R&B review in the Oakland
area (in fact I hope to catch his show this coming weekend when I'm
down there on a business trip.)
John Berg
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Billy G. Spradlin:
> Didn't the classic '64-'67 lineup reform several years ago (sans
> Paul) for a one-off reunion show in Portland?
>
> It's been Paul Revere and another group of Raiders for decades now.
> Several go back with him to when he reformed the group in the mid-
> '70s after Lindsey left. The man is a true showman, and puts on a fun
> oldies show. Expect the Raiders' biggest hits and lots of '60s covers.
> The last time I saw them, about four years ago at a Shreveport casino,
> they did a lenghty Beatles medley.
Pardon the pun, but Paul Revere's act these days is "Too Much Talk" and
not enough action, for my taste.
Bill Mulvy
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Austin Roberts wrote:
> I don't think Freddy sang lead on that, but I'll ask him.
Joe Nelson:
> It's definitely him: in particular the way he inflects "so proud to
> live" couldn't be anyone else. I wasn't even aware he was in the
> group until someone pointed out to me he was the singer on that.
No no no no NO!!! If it WUZ Freddy Weller, then I don't have no kinda
musical ear a'talllll. Could be he sang harmony, but no one but Freddy
himself could tell me that isn't Mark Lindsay's trademark semi-raunchy
YOWL on "so proud to di-i-i-ahhh!!!"
Respectfully,
ModGirl (who will eat her RAIDER HAT if she's wrong!!!)
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Keith was already a Texas rockabilly artist well before he made the
American Bandstand and Raiders scenes. It is a myth that he was somehow
lifted out of the audience due to his "McCartney look-alikeness" -- he
had records out well before that period.
I checked with my buddy Neal Skok about the Raiders "rock family tree"
-- he said that it is way too complicated to describe over the phone, as
Paul "Revere" Dick had bands in Idaho from the mid-'50s onwards, and
apart from Lindsay, many many musicians make their way through Revere's
bands well before "Like Long Hair". That album was cut at a radio
station in Idaho, then Revere shopped it to various labels in the LA
area and Gardena Records picked it up. The song became a national hit,
the band toured and appeared on American Bandstand, and they enjoyed
some national reknown. They relocated to LA for a couple years, broke up,
then later regrouped in Portland -- with a whole new set of musos other
than Revere and Lindsay. It was at this stage that Charley Coe came in
on bass for a while, replaced by Mike Holliday, replaced by Phil "Fang"
Volk, who along with "Smitty" (drums) and Drake Levin (guitars) became
the band most known across America via being the houseband for Clark's
Where The Action Is, national hits like "Just Like Me", etc. Drake got
drafted and the band recruited Jim "Harpo" Valley (already well known in
Seattle/Portland band circles, and pinched by Revere from Don & The
Goodtimes) who was a member for one year exactly before exiting to try a
solo career ("Try Me" being his best known song from that effort.) Drake
came back in for a few months, then he along with Fand and Smitty left
to form "Brotherhood" in an effort to get away from Revere's regimented
"hit parade" style and get into the psychedelic moves of the era.
Charley Coe replaced Fang, Freddy Weller replaced Drake on guitar, and
the band had a few more hits as the '60s wore out.
Neal told me that Lindsay originally was going to release "Indian
Reservation" under his own name, but became convinced that it stood a
bigger chance of becoming a hit if released as by the Raiders and so it
was. Neal says that Lindsay and nobody else is the singer on that record
-- he explained that an article in a Billboard book wrongly claimed that
Weller was the voice heard and that became "gospel truth" for many
people, despite not being true at all. As I noted in earlier postings,
Neal remains in touch with most of the band members of that era and
there is no doubting his statement about Lindsay being the voice we hear
on "Indian...".
John Berg
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Patty wrote:
> I guess u guys heard about Freddy Weller's son. So sad.
Forgive my ignorance here, I was a big fan of the Raiders myself. But
please tell me, what did happen to Freddy Wellers son?
Mac Joseph
-------------------------------------------------------------------
What can I say. Freddy said also that he left the band right after
Indian Reservation to pursue his country career, which was very
successful as we all know. Sorry to have to give you the bad news
about who the singer was but you probably should tell your friend
to change the info.
Austin Roberts
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Has the Raider's "Collage" ever been released on CD? It seems like
this is the only Raider's album not released on CD yet. I wonder why?
Bill Mulvy
-------------------------------------------------------------------
Joe, the book you mention is exactly the source of the false story
about Freddy Weller being the voice on Indian Reservation. As I have
noted in earlier comments, my friend Neal Skok is a major fan of all
things concerning Paul Revere & The Raiders, and tells me categorically
that Mark Lindsay and nobody else was the voice heard on this song.
John Berg
-------------------------------------------------------------------
Mark Lindsay told me that his lead vocal on "Indian Reservation" was
his favorite of his entire career and the one he is most proud of.
Correspondingly, the widespread misinformation that Freddy Weller
sang that vocal has been one of Lindsay's greatest sources of pain
and frustration.
Musical historians trace the mix-up to Freddy Weller having recorded
a solo version of "Indian Lake" at about the same time -- he was
still a member the newly-named "Raiders" but was also pursuing a solo
career.
The false story has been printed in musical history books, including
one by the esteemed Fred Bronson called "The Billboard Book of Number
Ones". Bronson corrected the story in a subsequent edition and gave
Lindsay his due.
Mark Lindsay was also the producer of "Indian Reservation" and the
album of the same name. His work is extraordinary and he deserves
recognition for his talents in that area, too. And that album - the
biggest-selling of the group's career - has never come out on CD. It
contains a great update of P.F. Sloan's "Eve of Destruction" that
alone makes the album a treasure.
Glenn
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Message: 12
Date: Sat, 6 Nov 2004 06:01:22 EST
From: Al Kooper
Subject: The Jaynetts Butler
Mac Joseph:
> I was listening to XM Radio this morning with the "'60s on 6"
> when they played "Sally Go 'Round the Roses"...........
> Can anyone shed a light on this for me? And exactly who were
> the Jaynetts? And did they do anything other than "Sally?" I
> never hear their names on any revival shows or concerts.
I believe this was the record that launched current S'popper
Artie Butler. Perhaps he can fill us in on what must be quite
a memorable session for him. As for me, who's playin' organ on
that session, Artie?
Al "now organ-ized" Kooper
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Message: 13
Date: Fri, 05 Nov 2004 12:55:07 +0000
From: Phil X Milstein
Subject: now at musica: We Wrote 'Em #3
This week's musica entry from the "We Wrote 'Em And We Sing 'Em" album
is "Hot Biscuits And Sweet Marie," by Lincoln Chase. It took a while
from the 1961 release of that songwriter's showcase, but the song was
finally cut in 1979, on NRBQ's "Kick Me Hard" album. (Or were there any
earlier cuts on it?)
Michael Greenberg has gone and sent me all the remaining tracks from
this fascinating album, so I'll be playing them to musica on a regular
basis until we've played out all twelve songs. For those wishing to
recreate the album's running order, it goes:
1 Otis Blackwell -- All Shook Up
2 Eddie Cooley -- Fever
3 Winfield Scott -- Tweedle-Dee
4 Ollie Jones -- Send For Me
5 Lincoln Chase -- Jim Dandy
6 Billy Dawn -- The Angels Listened In
7 Billy Dawn -- When I Saw You
8 Lincoln Chase -- Hot Biscuits And Sweet Marie
9 Ollie Jones -- Come On, Come On
10 Otis Blackwell -- Music And Fire
11 Winfield Scott -- Some Cold Night Now (That's All Right Now)
12 Eddie Cooley -- Lay It On
Not that that'll help you much until the remaining tracks have been
posted, especially since I haven't exactly been putting them up in
order, but I'll reiterate the sequence list upon the posting of the last
track (though if I forget, someone please remind me).
Also added to the Photos section, in the folder titled "WeWroteEm" (or
something like that) are two more segments from the cover, including
photos of Winfield Scott, Ollie Jones and Billy Dawn Smith, and a very
cute 'n' colorful title bar. I'm not quite sure how all these segments
are positioned on the actual front/back cover, but those wishing to
formulate their own cover to accompany the eventual CD should be able to
do so from these pieces, and have a little fun in the process.
Between the devil and the deep blue sea,
--Phil M.
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Message: 14
Date: Fri, 5 Nov 2004 23:31:14 EST
From: Austin Roberts
Subject: Re: Girl Group Comps, Freddy Weller,
Ken Silverwood:
> Written along with Spooner Oldham, if you like this song seek
> out the album "Moments From This Theatre" where Dan Penn along
> with Spooner do a wonderful version (along with other gems)
Spooner and Dan are both great talents, plus Penn always has at
least one car in the front yard of his home, be it a tent or a
mansion. Now you can't help but like a guy like that.
Austin R.
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Message: 15
Date: Fri, 05 Nov 2004 17:12:05 -0000
From: Mark Wirtz aka, Michael Sinclair
Subject: Brian Hyland
I keep up with S'pop postings and threads quite regularly, but
may have missed a previous thread on Brian Hyland. Even if there
has been one, I think a reminder might be appropriate, even at
the risk of repetition.
You see, when I listen to "Greatest Hits" comps by the various
legends of the early 60's, Brian's stuff always seems to stand
out. Whereas other comps contain music that may be brilliant,
the material nevertheless seems somewhat samey. In contrast,
the diversity, creativity and originality of Brian's material,
production, and notably arrangements, never cease to amaze me.
When we think of Brian Hyland, we think of polka-dot bikinis and
pre-bubble gum ditties. How erroneous that impression is! Listen
to some of his more obscure tracks, and you will be amazed by the
adventurous creativity involved! And remember, those producers and
writers and arrangers didn't have the vast palette of precedence
to listen to, emulate, and be inspired by, as producers, arrangers
and writers, including me, have had since (including me) BECAUSE
of them as pioneers, having paved the way for the rest of us.
I hope enough of you share my enthusiasm to shine a bit of a tribute
limelight on Brian Hyland, producers Geld & Udell and Del Shannon,
and arrangers Al Capps and Leon Russell (Stan Applebaum, one of my
idols, doesn't need extra attention as he is regularly mentioned on
S'pop, as is BH producer Snuff Garrett - and what a Maverick HE was!).
I think I'm gonna play me some of that stuff right now :)
Best,
Mark W.
http://www.markwirtz.com
-------------------[ archived by Spectropop ]-------------------
SPECTROPOP - Spectacular! Retro! Pop!
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