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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: Brian Hyland
From: James Holvay
2. Al Kooper/New Morning/Three Angels
From: Denis Gagnon
3. Re: unlikely concert pairings
From: Larry Lapka
4. Re: Ron Dante/Stones
From: Scott Swanson
5. Re: Mark Wirtz's White Bicycle
From: Mark Frumento
6. Re: Al Capps
From: Sean
7. Re: Blossoms
From: Sean
8. Re: Aliases, pseudonyms and nomes de plume
From: Mark Frumento
9. Re: Dan Penn and Buzz Cason
From: Mantanhattan
10. Anders and Poncia questions
From: Martin Jensen
11. Big Jim Sullivan
From: Eddy Smit
12. Re: more on Eddie Hodges
From: Rob Pingel
13. The Lemon Pipers
From: Gerry House
14. Re: Tomorrow
From: Bill Mulvy
15. Brian Smiles at the LA Weekly article
From: Steve Harvey
16. Re: Mark Wirtz's White Bicycle
From: Richard Hattersley
17. Re: Eve of Destruction
From: John Fox
18. SMiLE on UK TV
From: Martin Roberts
19. Re: Big Jim Sullivan
From: Mark Wirtz
20. Goldie Zelkowitz
From: David Bell
21. Re: Mark Wirtz's White Bicycle
From: Mark Wirtz
22. Re: Mark Wirtz's White Bicycle
From: Joe Nelson
23. The Box Tops
From: Don
24. Blossoms on Ode
From: Barry Margolis
25. Re: Eddie Hodges
From: Barry Margolis
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Message: 1
Date: Thu, 11 Nov 2004 08:47:11 -0800
From: James Holvay
Subject: Re: Brian Hyland
Mike Griffiths wrote:
> Three Brian Hyland album tracks that shoulda been hit singles:
> "One Night Jimmy"
> "Rainy April Morning"
> "On The East Side"
Ditto to all the Spectropop fans' positive comments about Brian Hyland. I
did numerous tours with Brian, and he's a very good singer, a good songwriter
and a funny guy; I only wish that cassette recorders had been invented in
those days! We wrote about 15 songs together on those Greyhound tour
buses and motel rooms, although forgotten most of them except for "Stay
Away From Her" and "One Night Jimmy". I'm pretty sure there some other
good tunes in that pile, and if I was smart I'd have them into more Buckingham
releases.
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Message: 2
Date: Thu, 11 Nov 2004 13:38:57 -0500
From: Denis Gagnon
Subject: Al Kooper/New Morning/Three Angels
I read on Al Kooper's website that he produced Bob Dylan's "New Morning"
album. One of my favorite songs of all time, "Three Angels," is on that
record, and I'm wondering if Al might please tell us how and where that
one came about.
Denis
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Message: 3
Date: Thu, 11 Nov 2004 10:20:28 -0800 (PST)
From: Larry Lapka
Subject: Re: unlikely concert pairings
Tony Baylis wrote:
> For reasons Ron still can't fathom, The Detergents were always the
> next-to-last act to go on, which effectively made them The Stones'
> opening act. Audiences anticipating the performance of Mick and
> the guys with their sexually charged repertoire were understandably
> not pleased at having to sit through the preceding groups, who were
> about as far removed from The Stones as the man on the moon.
Of course, the most unimaginable pairing was Jimi Hendrix opening for
The Monkees. I have heard so many stories about this, I wish someone
could tell me authoritatively who set this up (Chas Chandler?) and whether
it was intentionally created so that Hendrix would garner headlines once
he left (or was kicked off) the tour. How many shows did he actually play
with The Monkees? Was Forest Hills the last straw, and who made the
decision to remove him?
Anything on this subject would be appreciated.
Larry L.
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Message: 4
Date: Thu, 11 Nov 2004 14:18:25 -0800
From: Scott Swanson
Subject: Re: Ron Dante/Stones
Tony Baylis writes:
> ... Back in 1962/63, I toddled off to Southend to see the Everly Brothers
> on tour. Naturally they, as the stars, closed the show. However, their
> opening act was this absolutely 'orribly ghastly' group who by no stretch
> of the imagination were playing music that would appeal to Everly fans
> Yep, it was the Rolling Stones.
That must have been the 10/3/63 show at the Odeon Theatre, with Bo Diddley
and Little Richard as the co-headliners. Four days later the Stones recorded
"I Wanna Be Your Man".
It's amazing what info you can find on the 'net!
Regards,
Scott
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Message: 5
Date: Fri, 12 Nov 2004 01:14:19 -0000
From: Mark Frumento
Subject: Re: Mark Wirtz's White Bicycle
Mark Wirtz wrote:
> I had nothing to do with any of those fake stereo mixes.
I've looked into this issue of the the Tomorrow mixes but haven't
been able to confirm the real deal. As far as I can piece it together:
Stereo mixes of most of the LP were done after Mark finished his role
in the project. The two singles "My White Bicycle" and "Revolution"
must have been reduced to mono, leaving no option to make stereo
mixes later. Hence fake stereo mixes were done for those tracks when
the new stereo mixes were done. Somewhere along the line, some
bright spark figured phasing would help "Revolution" (Steve Howe
seems to have subscribed to this theory at some point, as well). Luckily
for most of the tracks, the stereo mixes are as good as the mono and
every bit as punchy, which I can only attribute to the way Mark
recorded the LP.
Unfortunately, it appears to me that the mono masters have
disappeared. If not, EMI has chosen to ignore them. The last reissue
of the Tomorrow LP was excellent, and the fact that no one bothered
to find the mono versions of the two singles seems odd to me. The
only way to get the mono versions is from the LP or the original
singles. Both are superior in every way to the reissued versions.
I've interviewed some of Mark's coworkers and one of them, Peter
Eden (Donovan's original producer), pointed out that when "My White
Bicycle" was finished the other producers took notice. Peter attributed
the competition among other EMI producers to make "strange
sounding records" to that track in particular. Of course, the story goes
that John Lennon was a big fan of the record as well.
Interesting, it's the stereo mixes of some of Mark's other "Tomorrow"
period recordings that are most commonly reissued. Tracks like
"10,000 Words In A Cardboard Box" are nowhere to be found in the
original mono. To share one opinion about that track: to me everything
that is special about Mr Wirtz's producing abilities is wrapped into that
track.
If anyone out there has contacts in the archive department of EMI, I'd
be very appreciative of help researching what tapes still exist.
Mark F.
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Message: 6
Date: Thu, 11 Nov 2004 21:54:35 -0000
From: Sean
Subject: Re: Al Capps
Thank you to everyone who gave me information on The Eligibles. I just
want to know when Al Capps came to the group, I don't think he was with
them in the early '60s. And was he the tall one in the group?
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Message: 7
Date: Thu, 11 Nov 2004 21:52:41 -0000
From: Sean
Subject: Re: Blossoms
"Our" Charlie Sheen wrote:
> I just talked to Fanita James a few weeks ago. I can send a message
> to her if you would like. Her nephew is doing a book on the Blossoms,
> and his father, who was a member of the Cadillacs.
Please ask Fanita if she was on "Be My Baby," and if she can offer us any
of her memories of doing "Shinding!".
Thanks!
Sean
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Message: 8
Date: Fri, 12 Nov 2004 01:21:50 -0000
From: Mark Frumento
Subject: Re: Aliases, pseudonyms and nomes de plume
Mark Wirtz enumerated:
> Mark Rogers
> J. Ferdy
> Philwit
> Mood Mosaic
> The Sweetshop
> Elmer Hockett's Hurdy Gurdy
> The Matchmakers
> Happy Confusion
> Fickle Finger
> Astronaut Allen & The Planets
> Marc Peters
> I bet Mark Frumento knows of even more.
Two more: Cellophane MOP and The Cab Drivers. John Carter sings both
sides of the single by The Cab Drivers, but side A is a Philwit & Pegasus
period track.
Mark F.
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Message: 9
Date: Fri, 12 Nov 2004 01:58:11 -0000
From: Mantanhattan
Subject: Re: Dan Penn and Buzz Cason
Mark wrote:
> Dan also told the story about the Box Tops and "The Letter": he
> mentioned that the original lead vocalist was the nephew of the
> group's manager or something like that, and that the guy was difficult
> to work with. He advised them to get another vocalist, they brought in
> Alex Chilton, and the rest is history.
According to Ron Hall's book "A History Of Garage & Frat Bands In
Memphis 1960-1975" (published, with accompanying CD, by Shangri-La
Projects), The Box Tops were originally known as Ronnie & The Devilles
("Oh Love" b/w "Tragedy" (Youngstown 605) and "Cindy's Carousel" b/w
"I'm Just Waiting" (Youngstown 607)). Lead vocalist was Ron Jordan.
The band lost and added additional members and changed their name to
The Box Tops. Jordan left the band and formed a terrific little quasi-Lovin'
Spoonful garage band, The Honey Jug ("Warm City Baby" b/w "Honey
Say So" (Hip 106)).
According to Hall's book, after Ron Jordan's departure the group decided
to find someone who could "sing black". Popular Memphis DJ (WMPS)
Roy Mack -- the group's manager and Ron Jordan's uncle -- introduced
them to 16 year old Alex Chilton.
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Message: 10
Date: Fri, 12 Nov 2004 12:23:08 -0000
From: Martin Jensen
Subject: Anders and Poncia questions
I recently came across a collection of Pete Anders and Vinnie Poncia's
'60s recordings as The Tradewinds and The Innocents, and was blown
away! Catchy songs, nice harmonies and of course beautiful vocals by
Anders.
I was so pleasantly surprised by the sheer quality of their output that I'd
like to look into what they may have produced for other artists. So far,
I've only heard The Lovelites' track "When I Get Scared", which was
played to musica a while back, and was really promising. So my question
is, have any of Anders and Poncia's post-Philles productions, such as the
stuff they did while on Buddah, ever been issued? (I believe some sort of
collection entitled "Mynd Excursions" or something similar was issued at
some point, but I don't know how many Anders and Poncia related songs
are on it.)
In my Anders and Poncia frenzy, I have also looked through the archives
and noticed that some Tradewinds songs apparently didn't end up on the
'Excursions' album, but only made it out on singles. Any thoughts on
those? Are they top-notch material like 'New York's a Lonely Town'?
OK, I'd better stop rambling and put "Small Town Bring Down" on the
stereo.
With regards,
Martin, Denmark
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Message: 11
Date: Fri, 12 Nov 2004 09:52:11 +0100
From: Eddy Smit
Subject: Big Jim Sullivan
I am trying to compile a listing of Big Jim Sullivan's session work. The list
I have uploaded to the Files section is what Jim has on his website, but
obviously there's much more! I have a few more titles myself already, but
info on any records that are not on the list would be appreciated. Off-list
replies only, please. Heap o' thanks!
Eddy
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Message: 12
Date: Fri, 12 Nov 2004 16:20:00 -0000
From: Rob Pingel
Subject: Re: more on Eddie Hodges
Eddie Hodges is the child actor who sang "High Hopes" with Frank Sinatra
in Hole In The Head. Sort of the Andrea McCardle of his day, only bigger.
(Younger S'poppers are probably saying, "who is Andrea McCardle?")
Hodges's early success as a kid may have gotten in the way of his rock
and roll career. Most teens at the time were aware of his ubiquitous
childhood presence. Fair or not, he was most closely associated with the
establishment's idea of the type of music that passed for entertainment.
Rob Pingel
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Message: 13
Date: Thu, 11 Nov 2004 21:10:50 -0000
From: Gerry House
Subject: The Lemon Pipers
I grew up in Cincinnati, Ohio. Now live in Nashville. I used to go to
the Round Table in Cincy in the '60s and see the Lemon Pipers. I've
been to the website, but it's been non-updated for quite a while.
Any word on where they are, anybody?
Also, I recently paid a fortune for the 2 CD set of The Left Banke. I
haven't been able to find out whatever happened to Michael Brown. As
a songwriter myself he always knocked me out. I'd appreciate any info
at all.. Especially if he has blended into another band or has a solo
work out.
thanks
Gerry House
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Message: 14
Date: Thu, 11 Nov 2004 19:34:35 -0600
From: Bill Mulvy
Subject: Re: Tomorrow
Mark,
I have the 1999 EMI CD reissue of the "Tomorrow" album. It has an
"impossible to listen to" version of "Revolution" which is such a shame
since the song is a psychedelic masterpiece. The contrived stereo
version, (I like that phrase), is about the worst case of sound
tweaking I have ever heard. It is so shrill, it makes the "Sgt Pepper
Inner Grove" sound pleasant, in comparison! Do they really expect
anyone to listen to this? Why couldn't they have included the mono
version as well?
"My White Bicycle" can be found on CD in it's "true mono" form on
"Nuggets Vol 2".
A live in-studio version of "Revolution" from a Top Gear radio session
can be found on "Tomorrow 50 Minutes Technicolor Dream". The quality
is very good.
This CD also has a live version of "Revolution", but the singer sounds
like he's singing into a megaphone.
My favorite song on the Tomorrow album is "Hallucinations" which sounds
as good as it is, if you know what I mean.
Bill Mulvy
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Message: 15
Date: Thu, 11 Nov 2004 18:59:22 -0800 (PST)
From: Steve Harvey
Subject: Brian Smiles at the LA Weekly article
LA Weekly
Child Is Father of the Man
by John Payne
Brian Wilson sees himself and Smiles:
http://www.laweekly.com/ink/04/51/features-payne.php
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Message: 16
Date: Thu, 11 Nov 2004 20:41:35 +0000
From: Richard Hattersley
Subject: Re: Mark Wirtz's White Bicycle
Thanks Mark for those interesting memories. I didn't realise Geoff
Emerick was the engineer on that record, did you use Geoff for the
T.O. tracks as well?
Amazed you got a real copper in on the session as well :-) Did he
provide the "Oi!" as well as the whistle?
Barry wrote:
> One question: why is My White Bicycle and Revolution in such annoying
> pseudo stereo? The rest of the Tomorrow recordings are such well
> mixed stereo.
That was another question I meant to ask, did you ever attempt a true
stero mix of MWB? If not, do the 4 track masters still exist to allow
a remix, should a retrospective re-issue label wish to attempt it?
cheers again
Richard
www.wiz.to/richardsnow
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Message: 17
Date: Fri, 12 Nov 2004 13:52:54 EST
From: John Fox
Subject: Re: Eve of Destruction
Joe Nelson writes:
> The "Eve of Destruction" stereo mix is very peculiar:
I wasn't there, and this has nothing to do with Barry's "grumbling",
but there are two things I've always noticed about the recording
(probably the mono version):
On the last chorus, there is clearly an overdub of one Barry McGuire
singing "Tell me..." followed quickly by another Barry McGuire singing
"...over and over and over and over again my friend." I always
figured that this was because the line was so long that he couldn't do
it in one breath, but who knows?
Also, the harmonica solos between the last few verses cannot be played
on one harmonica, given the way a typical chromatic harmonica is tuned.
I have played this song with my band, and to make is sound "just like
the record" you need a harmonica in G for the first measure and one in
D for the rest of it. I always wondered who played harmonica on this,
and wrote that two-harmonica solo. Probably not McGuire.
John Fox
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Message: 18
Date: Fri, 12 Nov 2004 18:16:50 -0000
From: Martin Roberts
Subject: SMiLE on UK TV
Harvey Kubernik dropped a line;
...On December 1st on the BBC a 75 minute version of "SMiLE" will
screen, and later in the year the longer version on another BBC
outlet. On December 10th, a theatrical showing will happen at the
ICA venue...
Thanks Harvey,
Martin
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Message: 19
Date: Fri, 12 Nov 2004 19:10:05 -0000
From: Mark Wirtz
Subject: Re: Big Jim Sullivan
Eddy Smit wrote:
> I am trying to compile a listing of Big Jim Sullivan's session work.
> The list I have uploaded to the Files section is what Jim has on his
> website, but obviously there's much more! I have a few more titles
> myself already, but info on any records that are not on the list would
> be appreciated.
Jim Sullivan played on virtually all of my productions (except for the
Tomorrow recordings) between 1965 and 1969. Except for very few key CDs
and current projects, I don't keep records or archives of any of my stuff,
but Mark Frumento will probably be able to give you a complete listing.
Jim was also a great arranger, and it might be of note to mention that he
arranged several tracks for me, including that awesome fiddle chart for
Zion De Gallier's "Dream, Dream, Dream."
Best,
Mark W.
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Message: 20
Date: Fri, 12 Nov 2004 15:51:39 EST
From: David Bell
Subject: Goldie Zelkowitz
My pal, Malcolm Maumgart, told me that Goldie Zelkowitz has had an
autobiography published but I can find no trace of it and amazon.com.
Can anybody help out with its title and/or its ISBN number, please?
David
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S'pop replies:
Lollipop Lounge: Memoirs Of A Rock'n'Roll Refugee
by Genya Ravan (Goldie's real name) is published by Billboard Books.
It's available at amazon.co.uk: http://tinyurl.com/5sycc
And at amazon.com: http://tinyurl.com/5ag4n
S'pop
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Message: 21
Date: Fri, 12 Nov 2004 22:26:03 -0800 (PST)
From: Mark Wirtz
Subject: Re: Mark Wirtz's White Bicycle
Richard Hattersley wrote:
> I didn't realise Geoff Emerick was the engineer on
> that record, did you use Geoff for the T.O. tracks
> as well?
Geoff and I worked together on most of my productions
from Jan '97 (including TO), until my departure from
EMI in '69. In 1973, Geoff and I recorded my "Balloon"
album for Capitol at Apple Studios in London. In 1974,
Geoff flew to Hollywood to record my follow-up Capitol
"Hothouse Smiles" LP with me there. We then mixed and
sweeteneed the album together at AIR London
> Amazed you got a real copper in on the session as
> well :-) Did he provide the "Oi!" as well as the
> whistle?
Yep :)
Barry wrote:
> That was another question I meant to ask, did you
> ever attempt a true stero mix of MWB?
I was never asked.
> If not, do the 4 track masters still exist to allow
> a remix, should a retrospective re-issue label wish
> to attempt it?
Yes.
Thanks for your interest,
Best,
Mark W :)
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Message: 22
Date: Fri, 12 Nov 2004 14:10:58 -0500
From: Joe Nelson
Subject: Re: Mark Wirtz's White Bicycle
Mark Wirtz:
> I had nothing to do with any of those fake stereo mixes. I think
> they suck, some more so than others...
This is fascinating. Generally, fake stereo mixes are created when
it's impossible or impractical to make a genuine stereo mix and
there's nothing workable to use but the mono mix. If one can make
"signals and performances that were added during the original (and
authentic) mono mixes" *missing*, is this the secret to turning mono
into stereo? Or are these mixes psuedo *true* stereo, made from the
original multi but mixed down to a single output with fake stereo
processing added to that single channel? Can anyone think of examples
where the fake sound was intentionally used? I always thought the
specific process used on "I Am The Walrus" contributed sound of the
finished record, but even that would have been true stereo if someone
had suggested to Lennon to start mixing it in stereo when he decided
to work in that BBC radio feed. I'm just wondering how the process
strips things naked and points out things not apparent in the true
mono, since to these ears at least it still sounds mono to me, just
muddier and more distorted.
Joe Nelson
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Message: 23
Date: Fri, 12 Nov 2004 19:52:34 +0000
From: Don
Subject: The Box Tops
The Boxtops played here in Louisvile in 1968. Our agent was the one
that booked the show and found out their drummer had been called to
service (can't remember if he was drafted or nat. guard). Anyway, the
agent was trying to arrange an audition for me. That week I got my
draft notice. Another missed opportunity.
Don
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Message: 24
Date: Fri, 12 Nov 2004 17:16:30 -0600
From: Barry Margolis
Subject: Blossoms on Ode
Is it just me?....or do other Blossom fans also consider the three
tracks recorded for ODE to be three of the all-time greatest girl
group records of all time?
Tracks:
"Wonderful"
"Cry Like A Baby"
"Stoney End"
Barry in Minneapolis
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Message: 25
Date: Wed, 10 Nov 2004 17:16:49 -0600
From: Barry Margolis
Subject: Re: Eddie Hodges
John Berg:
> Just a note to remind all that we had a fairly thorough discussion
> about Eddie Hodges on this very site within the last year, including
> mention of his superb "Shadows & Reflections" single, apparently his
> final 45.
Shadows & Reflections was covered by the wonderful UK mod band THE ACTION.
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