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Spectropop - Digest Number 1771
- From: Spectropop Group
- Date: Sat, 25 Dec 2004
________________________________________________________________________
SPECTROPOP - Spectacular! Retro! Pop!
________________________________________________________________________
There are 23 messages in this issue.
Topics in this digest:
1. Seasonal Cher
From: Phil Chapman
2. Re: Happy Together
From: Deena J Canale
3. Jack Nitzsche at Spectropop update
From: Martin Roberts
4. U.S. Copyright Law
From: Dave Monroe
5. Re: The Cinnamons
From: Will Stos
6. Re: What's your fave Xmas tune?
From: Dave Monroe
7. Re: Darlene Love on Letterman
From: Dave O'Gara
8. Re: U.S. Copyright Law
From: Andrew Hickey
9. Re: What's your fave Xmas tune?
From: Sally G Waters
10. Re: "Happy Together"
From: James Botticelli
11. Re: Tommy James
From: Michael Thom
12. Re: Tigher, Tighter
From: Country Paul
13. Re: Joey Heatherton
From: Country Paul
14. Re: Happy Together
From: That Alan Gordon
15. Re: Obscure Trini Lopez 45, Shel Talmy connection?
From: Steve Propes
16. Re: Darlene Love on Letterman
From: Herbert Maton
17. Re: SSS Records - Silver Fox
From: Stephane Rebeschini
18. Re: Ivanhoe Records
From: Stephen C. Propes
19. Re: Tommy James
From: Michael Thom
20. "Sisyphus Rocks"
From: Mark Wirtz aka, Michael Sinclair
21. Re: What's your fave Xmas tune?
From: Country Paul
22. Re: The Braillettes
From: Country Paul
23. Julius Dixon, R.I.P.
From: Mick Patrick
________________________________________________________________________
________________________________________________________________________
Message: 1
Date: Sat, 25 Dec 2004 12:27:06 -0000
From: Phil Chapman
Subject: Seasonal Cher
Rick H:
> The results were good enough (fantastic, actually) to justify
> an album, and "A Woman's Story" and "Baby I Love You" were then
> cut. Those tracks were the debut Warner-Spector 45 (WS 0400
> November '74, in stereo)....When Warner-Spector ceased business
> in '77 Phil took every centimeter of tape with him.
I too would like to see these cuts reach CD. Until then, I've
cleaned both sides of the 45 to mp3. To avoid taking up too much
valuable space in musica, for the holiday period only, they can
be found at http://www.amajor.com/cher
Enjoy.
PC
-------------------[ archived by Spectropop ]-------------------
Message: 2
Date: Sat, 25 Dec 2004 06:40:37 -0500
From: Deena J Canale
Subject: Re: Happy Together
Since we're on the subject of "Happy Together"...I'm currently
(happily) afflicted with a major bout of Left Banke obsession,
and I recently read in Dawn Eden's '85 Goldmine article that
the song was actually offered to the LB before it was shopped
to the Turtles. How true is this, and wouldn't Steve Martin's
voice have handled it divoonly??? (Supposedly "Sunday Will
Never Be the Same" was similarly nixed...)
If someone's got their mitts on that Christopher & the Chaps 45
(early Mike Brown effort), a musica post would be in order...
Signed D.C.
-------------------[ archived by Spectropop ]-------------------
Message: 3
Date: Sat, 25 Dec 2004 12:34:01 -0000
From: Martin Roberts
Subject: Jack Nitzsche at Spectropop update
Happy Christmas to all S'poppers,
Apologies for delay in updating the site, but in the spirit of
the season, a repeat. Last played two years ago, Terry Day's
"I Waited Too Long" is the Christmas ROTW. Hear it playing on
the home page: http://www.spectropop.com/JackNitzsche/index.htm
The final episode of Karel Beer's interview with Jack Nitzsche
is broadcast on:
http://www.spectropop.com/JackNitzsche/radio.htm
Following numerous requests the jingles from KHJ/Boss Radio
will be replayed over the following weeks.
Martin
-------------------[ archived by Spectropop ]-------------------
Message: 4
Date: Sat, 25 Dec 2004 07:33:01 -0800 (PST)
From: Dave Monroe
Subject: U.S. Copyright Law
That Alan Gordon wrote:
> Glen, I think the publishers of the song will allow
> ANYONE to do it as long as they pay....
See Sec. 115 of the current U.S. Copyright Law here,
on the "compulsory license for making and distributing
phonorecords" ...
http://www.copyright.gov/title17/92chap1.html#115
http://www.copyright.gov/title17/chapter01.pdf
"Circular 73" is helpful ...
http://www.copyright.gov/circs/circ73.pdf
I don't think they can stop anyone from doing so, so
long as the recording doesn't "change the basic melody
or fundamental character of the work." Which I assume
is how, say, Michael Jackson kept The Beastie Boys
from releasing their version of The Beatles' "I'm
Down," or provided the ground by which whoever owns
(owned?) Roy Orbison's songs attempted to prevent 2
Live Crew from releasing their take on "Pretty Woman."
But I'm no lawyer, nor do I play one on teevee, so ...
Dave M.
-------------------[ archived by Spectropop ]-------------------
Message: 5
Date: Sat, 25 Dec 2004 16:15:07 -0000
From: Will Stos
Subject: Re: The Cinnamons
Mick Patrick wrote:
> The Cinnamons released two 45s: Further tracks by the
> group sneaked out in 1970 on "Mixed Soul", an impossibly rare
> B.T. Puppy LP credited to the Satans 4 and the Cinnamon Angels.
Are the masters still available? I really enjoyed hearing the
Cinnamons cut and the track by Beverly Warren on the Ace comp.
Is there any word on more releases from the BT Puppy vaults?
Will : )
ps thanks for the musica track!
-------------------[ archived by Spectropop ]-------------------
Message: 6
Date: Sat, 25 Dec 2004 08:24:27 -0800 (PST)
From: Dave Monroe
Subject: Re: What's your fave Xmas tune?
"Father Christmas" by The Kinks, "Santa Claus Go Straight to The
Ghetto" by James Brown, "Blue Xmas" by Miles Davis and Bob Dorough.
Me, I'm holding out for Boxing Day ...
-------------------[ archived by Spectropop ]-------------------
Message: 7
Date: Sat, 25 Dec 2004 16:08:42 -0000
From: Dave O'Gara
Subject: Re: Darlene Love on Letterman
Darlene Love on the Letterman Show by Phil X Milstein:
> For those that missed it, the appearance was another good one by
> the forever young Miss Love. Surprises were a gift-wrapped bari
> solo, and an uncredited (save for an early-in-the-show mention
> by Paul Schaeffer) Ellie Greenwich among the chorus of back-up
> singers.
Phil,
Thanks for confirming what I thought was an Ellie sighting in the
chorus. I didn't catch the earlier reference to her. To your, or
anyone's knowledge, were there any other notables in the group of
backup musicians and singers? One quick camera shot showed a
gentleman I thought at first may have been Al Kooper but since I
didn't tape it, I couldn't go back and check. The whole production
was fantastic and left me wanting more.
Dave 0'
-------------------[ archived by Spectropop ]-------------------
Message: 8
Date: Sat, 25 Dec 2004 16:45:16 +0000
From: Andrew Hickey
Subject: Re: U.S. Copyright Law
That Alan Gordon wrote:
> Glen, I think the publishers of the song will allow ANYONE to
> do it as long as they pay...
Dave Monroe:
> See Sec. 115 of the current U.S. Copyright Law here, on the
> "compulsory license for making and distributing phonorecords"...
That only applies to actually making the records themselves.
Advertising (like films, TV and so on) is covered by synchronisation
licences, to which any condition you like can be attached (which is
why some artists, like Tom Waits, will never have their music used
in commercials).
--
http://dumbangel.keenspace.com
A webcomic about Smile.
On temporary hiatus while I'm lacking internet access, but back soon.
-------------------[ archived by Spectropop ]-------------------
Message: 9
Date: Sat, 25 Dec 2004 14:01:39 -0500
From: Sally G Waters
Subject: Re: What's your fave Xmas tune?
"Santa Bring My Baby Back to Me", by Elvis, written by Leiber and
Stoller.
I think "Happy Christmas (War is Over)" is a lovely song, but I can
barely listen to it without crying - I remember it playing on the
radio so often back in 1980, after Lennon was killed, and always
associate it with that.
--Sally (going 'round the roses...)
-------------------[ archived by Spectropop ]-------------------
Message: 10
Date: Sat, 25 Dec 2004 12:09:41 -0500
From: James Botticelli
Subject: Re: "Happy Together"
That Alan Gordon wrote:
> Mikey, I have never heard the Ventures' version of "Happy Together".
> I would like to hear that version as well as your group's version.
Perhaps Mikey can give us his band's website or schedule so we New
York frequent fliers can see them sometime.
JB/loves instros
-------------------[ archived by Spectropop ]-------------------
Message: 11
Date: Sat, 25 Dec 2004 20:25:03 -0600
From: Michael Thom
Subject: Re: Tommy James
Phil X. Milstein wrote:
> Thanks for all the fascinating Tommy James and related information,
> Michael. I'm not familiar with the collection you worked on -- is it
> a straight reissue of those two LPs? Who put it out, and do you know
> if it's still in print?
You're welcome. Rhino did the reissue, and as far as I know, it is
still in print. It is a straight reissue of the two LPs, except that
the minor pitch variation that occurred when the tapes were spliced for
the long version of "Crimson and Clover" was corrected. I think the
long version of "C&C" may be the only example of a "short version" that
was later extended, as opposed to a longer version being shortened for
a 45.
> "Ball Of Fire" is one of my favorite Tommy James recordings. The
> writing credit is interesting, as it is, given your explanation, the
> only example I know of where two separate groups in essence swapped
> hit songs. Sure enough Brian Wilson wrote some of Jan & Dean's hit
> material, but the Tommy James/Alive & Kicking situation would be the
> equivalent of Jan & Dean also having written for The Beach Boys; and,
> beyond that, that song having been a chart hit.
I don't know of another example like that, either. One correction:
"Sparkle and Shine" was not the final Clique single, but the final
single by the Clique to chart. I also meant to note that the song
shares something with "Tighter, Tighter" besides their both being TJ
productions for other artists. The "Sparkle and Shine" chorus is
constructed around the same chords used in the verses of "Tighter,
Tighter." You can easily sing the "Tighter, Tighter" verse over the
"Sparkle and Shine" chorus. This may have been Cordell's idea. If you
play "I Think We're Alone Now" backwards, you'll hear "Mirage"
materialize before your very ears. Backwards tapes were used in both
songs, and when Cordell inadvertently played all of "Alone Now"
backwards, the follow-up was born. Btw, the high backing vocals during
the end of the single version of "Mirage" are not in the stereo version
on the various TJ compilations, because they were added in the mono
mixdown. Dick Bartley did a synch-up version to add the missing backing
vocals to the stereo mix for his "On the Radio, Vol. 3" CD, but the
backing vocals are still not quite as prominent as they are on the
original single, and the mix loses most of its separation during the
final section.
> Just heard a short excerpt from "Crystal Blue Persuasion," done in a
> soft-pop style with a female vocalist, used behind a new commercial.
> For a perfume, I believe, but don't hold me to that. The briefness of
> the snatch (if you'll pardon the expression) caused me to wonder if
> songwriting royalties in such cases are pro rated depending on how
> large a percentage of the song is used. Any of our professional
> songwriters or music industry insiders know the answer to that?
That one I can't answer! "CBP" was on the "Crimson and Clover" LP but
was not the follow-up to "C&C." That honor went to "Sweet Cherry Wine,"
which would be included on the forthcoming "Cellophane Symphony" album.
TJ and the Shondells were actually working on both LPs at the same time.
When "CBP" began to get airplay as an LP track, Roulette decided to issue
it as a single, and added horns over the end section. That version
appeared only on the 45 until Rhino constructed a stereo version with the
horns for the "Anthology" CD, but it was not quite identical to the 45.
There are actually five released versions of "CBP." For those interested
in such things, here are the details:
Version 1: Roulette "Crimson and Clover" LP and Rhino's reissue of that
LP (on the two-fer CD), and compilations prior to the Rhino "Anthology"
release. This version is 4:01 and does not have horns. It contains
whispered words at the end of the four bars which appear just before the
tempo changes during the end fade. (TJ explained the words were not a
subliminal message, but a cue to the band members doing the backing
vocals to "come in now," with the cue inadvertently picked up on tape.)
Version 2: Roulette single 7039. Horns were added over the last verse and
the end fade. The single shows the version to be 3:45, but it is actually
3:55. For the single, the last four bars before the tempo changes during
the fade were deleted, so the whispered words do not appear on the single.
This version appears only on the Roulette single and its reissue on
Roulette single GG-73.
Version 3: Rhino's "Anthology" compilation. This is the single version,
with the horns overdubbed, but which also leaves in the four bars
(including the whispered words) deleted from the single. This version runs
4:01, as does version 1.
Version 4: This 4:06 version, issued only in mono, appears on the UK Pye
single release of the song (UK Pye 7N-25678). It is the same as version 2
(horns added, the four bars omitted) but has an end fade longer (by 0:11)
than the US single.
Version 5: From the quad "TJ and the Shondells' Greatest Hits" 8-track.
The quad version of the collection was only issued on 8-track. This
version contains the horns and the four extra bars, but just fades early,
probably because the engineer doing the mix was trying to keep the song to
the supposed 3:45 length of the single and just faded the mix to end at
3:45. The master tape contained eight tracks, so the engineer was able to
make a good quad mix, and over the final section, the horns rotate around
the quad spectrum. (You can only imagine what was done to make "quad"
versions of "Hanky Panky" and "I Think We're Alone Now," which only existed
in mono. While "Alone Now" was recorded on four-track, changes were made in
the mono mixdown. The stereo mix that later appeared on the Rhino "TJ and
the Shondells Special Collection" CD has piano omitted from the single mix
and is missing overdubbed lead guitar.)
I had all of this information included in my detailed song list and
discography at TJ's website that was there for quite a while until his son
took over as webmaster and decided not to retain it. I will put similar
info about variations in released versions of TJ's hits in another message!
Michael
-------------------[ archived by Spectropop ]-------------------
Message: 12
Date: Sun, 26 Dec 2004 06:46:47 -0000
From: Country Paul
Subject: Re: Tigher, Tighter
Phil M.:
> I've been hearing a recent cover version of "Tighter, Tighter" around
> lately. This has got me wondering about the original, specifically
> whether Alive & Kicking was a real group discovered by Tommy James, or
> a studio ensemble he put together for the primary purpose of recording
> that song. Did they make any other decent records?
They were a real group, Phil; Ron Pell, the bassist, was a salesman
at WDRC in Hartford when I was there, and may still be with the
station. If I can contact him, I'll ask him for a little history.
I'm away from my regular computer, and have sporadic and rare
internet access (no listening to musica) till 12/30; so if i'm
covering what has already been covered, my apologies. (As usual I'm
way behind, and becoming moreso by the minute!)
I hope everyone had a happy Christmas and is looking forward to a
great New Year. More soon (I hope).
Country Paul
("Sitiing in a corner in Prescott, Arizona....")
-------------------[ archived by Spectropop ]-------------------
Message: 13
Date: Sun, 26 Dec 2004 07:27:59 -0000
From: Country Paul
Subject: Re: Joey Heatherton
That Alan Gordon:
> In the 1950`s there was a children's television show called 'The Merry
> Mailman' which was hosted by a man named Ray Heatherton. He was, if I`m
> not mistaken, Joey`s fatherton. I betcha Al Kooper and I still remember
> his theme song!!!
That's three of us who do, Alan. (And I remember Roootie Kazootie's,
too!)
Country Paul
-------------------[ archived by Spectropop ]-------------------
Message: 14
Date: Sat, 25 Dec 2004 17:58:57 -0700
From: That Alan Gordon
Subject: Re: Happy Together
Deena C, to respond to your question regarding the Left Banke, I never
heard of "Happy Together" being pitched to them. I love the Left Banke
and Garry and I did have several meetings with the Jerome Brothers who
recorded several of our songs. "Walk Away Renee" and "Pretty Ballerina"
are two of my favorite songs to this day. "Your name and mine inside a
heart upon the wall, still finds a way to haunt me, though their so
small". It doesn`t get better than that.
Best, That Alan
-------------------[ archived by Spectropop ]-------------------
Message: 15
Date: Sat, 25 Dec 2004 21:06:35 -0000
From: Steve Propes
Subject: Re: Obscure Trini Lopez 45, Shel Talmy connection?
Previously:
> I've been searching for ages for a 45 by Trini Lopez on the
> United Modern label entitled "Sinner Not A Saint". I finally
> managed to get ahold of a copy and it arrived today. The
> writing credits go to "Talmy" and it's published by "Time
> Music Pub.". The track appear over at BMI as written by
> Shel/Sheldon Talmy (work# 1349187). Is this really correct?
I have the same 45. I'm pretty sure the label is part of the
Modern/RPM/Crown/Kent family of labels owned by the Bihari
family as they also had a United LP series.
Steve
-------------------[ archived by Spectropop ]-------------------
Message: 16
Date: Sat, 25 Dec 2004 14:56:41 -0500 (EST)
From: Herbert Maton
Subject: Re: Darlene Love on Letterman
I saw the show as well and Ms Darlene Love still has the voice to belt
out a tune! For my money, she can out sing a majority of today's chart
toppers.
Merry Christmas Darlene and all those who consider themselves fans.
Herb
Toronto, Canada
-------------------[ archived by Spectropop ]-------------------
Message: 17
Date: Sun, 26 Dec 2004 02:21:46 +0100
From: Stephane Rebeschini
Subject: Re: SSS Records - Silver Fox
Dan Hughes a écrit:
> I read somewhere that Silver Fox was a Leland Rogers label, so perhaps
> there were two Silver Fox labels...
I have three Silver Fox singles. There was only one label with this name
in the late 60's, based in Nashville, Tennessee. It was owned/distributed
by Singleton (with his other labels : SSS, Amazon, Sun...all were "a
division of The Shelby Singleton Corp.) but Leland Rogers produced some
artists, notably Bettye Lavette. Her singles mention "produced by Leland
Rodgers for Shelby Singleton Productions".
I hope that helps
Stephane Rebeschini
----------------
http://octopusmusic.free.fr
-------------------[ archived by Spectropop ]-------------------
Message: 18
Date: Sat, 25 Dec 2004 21:40:44 -0000
From: Stephen C. Propes
Subject: Re: Ivanhoe Records
Davie Gordon wrote:
> It's prety sketchy but here's what inf. I have on Ivanhoe releases
> in my database. Additions / corrections / comments welcomed...
Ivanhoe 5018 is by Walter Scott & the Kapers - "I Want To Thank You"
b/w "Brand New Girl" from 1967 Writers are E. Scott/W. Scott,
arranged by James Carmichael, which means it's definitely L.A.
Pretty sure it's no connection to the Walter Scott of Bob Kuban fame.
Steve
-------------------[ archived by Spectropop ]-------------------
Message: 19
Date: Sat, 25 Dec 2004 21:30:37 -0600
From: Michael Thom
Subject: Re: Tommy James
More information on variations in released versions of various Tommy James
hits, both with the Shondells and as a solo artist:
"Hanky Panky":
The song was recorded at a radio station in 1963 in mono. Roulette may have
had a copy of the master tape, but Rhino did not acquire it when it
purchased the TJ catalogue from Roulette. Rhino created a digital master
from the 45, but to avoid surface noise at the end of the fade, Rhino faded
the song a few seconds early. The 45 is 2:51, though the label states it is
2:59. The complete fade appears on the Sequel reissue CD which combines the
"Hanky Panky" and "Mony Mony" LPs. For the "quad mix" on the "Greatest
Hits" quad 8-track, the song was sped up by almost a full pitch, and a
number of reverb and echo effects were added to attempt to create four
channels--with the expected results.
"I Think We're Alone Now" and "Mirage": discussed in my previous message.
Addendum: The quad mix of "Mirage" for the "Greatest Hits" quad 8-track is
just the original stereo mix (without the high end backing vocals) with
echo, delay and reverb added to "create" two additional channels.
"Out of the Blue": The stereo mix is almost binaural, with the vocals
sounding much louder than they do on the mono single mix.
"Mony Mony":
Version 1: Roulette single 7008 (mono only). Time is shown as 2:45 (2:52 on
some copies) but is actually 2:56. See comments below regarding the edit in
this version. It also appears on the 45 rpm reissues on Roulette and ABC.
Version 2: Roulette "Mony Mony" LP (stereo only) and all subsequent issues
of this song on LP, cassette and CD. See comments below regarding the edit
in this version, which runs 2:51.
Version 3: Stereo, unedited recording (3:18), issued for the first time on
Rhino's "Son of Frat Rock!" compilation (songs by TJ & the Shondells and
other artists; Rhino CD 75772). Its only other appearance is on one of the
78 rpm records included in one of Rhino's limited edition boxed sets of 78s
made for jukebox owners, "78 rpm Jukebox Classics: The Sixties"
(RNJB-78001), record 5, side B. (Side A is the Seeds' "Pushin' Too Hard."
Record 6 contains "Hanky Panky" and "I Think We're Alone Now.") At the time,
ABZ Music Corporation owned the Roulette catalogue, as Rhino had not yet
acquired it, so this version may have been licensed to Rhino in error.
Version 4: Quad mix for the "Greatest Hits" quad 8-track. This is actually
superior to the stereo mix, since the two drum tracks are not separated as
they are in the stereo mix. The engineer who made the quad mix, from
version 3, obviously had no idea that several bars were omitted for the
single edit. To keep the song to the 45's supposed 2:45 length, the
engineer just let the tape play and fades the song to end it at 2:45, so
this version has the section edited out for the single but fades much
earlier.
"Do Something to Me":
Version 1: Roulette single (7024) and all LP appearances prior to the Rhino
"Anthology" release. It also appears on Rhino's reissue of "Crimson and
Clover" and on the WestSide "Anthology" CD.
Version 2: Rhino's "Anthology." This is not just a different mix, but an
alternate take, and the one TJ preferred to have issued as a single. The
second bridge, beginning at about 1:04 into the song, is completely
different than in version 1. In version 1, this bridge begins, "So let's get
together," while in version 2, it begins, "It should be so easy." The
remaining lyrics in the bridge in version 2 are TJ's own, as they do not
appear in the original version of the song by ? and the Mysterians
"Crimson and Clover":
Version 1: The original Roulete single, which exists only in mon, is
structured as follows:
Verse, verse, instrumental part ("IP1"),
verse, instrumental part ("IP2"), ending (fade)
The two instrumental parts are almost identical. The difference is that IP1
ends with one bar of guitar playing eighth notes and then a sustained chord
for one bar, while IP2 ends with two bars of guitar playing eighth notes,
and there are some slight differences in the drum part. This version also
appears on the reissue singles on Roulette, ABC and MCA (all in mono).
For the "Crimson and Clover" LP, a long version of the song was constructed
by deleting IP2 and inserting a longer instrumental part (IP2A) with guitar
solos based on the verse chords. IP2 was removed from the multitrack master
tape and IP2A was spliced in. (The splice actually occurs after the first
eight notes played solo on the bass after the verse.) This long version is
Version 2. There is a noticeable difference in pitch where the splice
occurs, due to a slight difference in tape speeds.
When the "Crimson and Clover" LP was reissued by Rhino (combined with
"Cellophane Symphony"), the tape speed error was corrected. This corrected
long version is Version 3.
No stereo mix of version 1 could be made, since the deleted IP2 had been
removed from the master tape. Years later, Rhino constructed a stereo
version of version 1 by starting with version 2, removing IP2A, and then
patching in IP1 in its place. The reinstated IP1 was then further "fixed" by
removing the sustained chord at the end and replacing it with another bar of
the guitar playing eighth notes, so this second instrumental passage would
be virtually identical to that of the original version (version 1). It is
almost identical to but not the actual single version itself, so this stereo
mix is Version 4.
Version 5 is the quad mix made for the "Greatest Hits" quad 8-track. For
some unknown reason, the engineer sped up the song by a half-pitch. The
original recording is in C, and here it is C-sharp. The last 25 seconds or
so of the ending, where the instruments continue after the vocals fade, is
chopped off. The "crimson and clover, over and over" lines rotate around
the quad spectrum. The single-note "ahhh" sung during the fade is much
clearer in this mix than in the stereo mix, because it stays in place while
the tremelo vocals rotate.
A re-cut version of the song with the vocals sung in Italian appears on the
CD "Rock Around the World, Vol. 1."
"Sweet Cherry Wine":
Version 1: Roulette single 7039 (mono only). Time is 4:25, shown on some
pressings as 4:09 and on some promo copies as 3:59 (no doubt to make program
directors think the song was not over four minutes long). This version also
appears on Roulette's reissue 45.
Version 2: Stereo version, first issued on the "Cellophane Symphony" LP and
then on all later stereo issues of the song prior to the Rhino "Anthology"
CD. This original stereo version, running 4:17, is sped up about a
half-pitch from the single version but is otherwise identical. It also
appears on the Rhino reissue of the "Cellophane Symphony" LP.
Version 3: This unedited version (4:35), also sped up but issued only in
mono, appears on the single release of the song in Spain (not sung in
Spanish), Spanish Columbia MO-659. It shows that eight bars were edited out
of the end fade on the Roulette releases (the deleted bars begin just after
"People, don't you know the cup is running over"), but they appear here.
Also, the end fade is longer, as the backing instruments continue to play
behind the flute longer than on the Roulette versions, and the flute then is
heard solo at the end. Also, this version includes a backing vocal "ah"
after the line "Oh, Lord" in the second verse that was edited out of every
other version.
Version 4: Revised stereo version, first appearing on the Rhino "Anthology"
CD and on subsequent compilations, including the WestSide "Anthology" CD.
This version is sped up but has the eight bars after "running over"
restored. It times out at 4:25, just as Version 1, as the time difference is
made up by adding the eight bars back to the sped-up version. The fade is
the same as version 2, and the backing vocal "ah" included in version 3 is
not present.
Version 5: Quad mix for the "Greatest Hits" quad 8-track. While versions
1-4 all fade in, here, the opening organ part is intact from the beginning,
and rotates around the quad spectrum. This version is also slightly sped-up
and leaves in the eight omitted bars, with the engineer again just fading
the mix early to stick to the length of the single. Also, the gradual fade
of the instruments at the end until only the flute remains is absent, as
here the entire mix fades. The mix does reveal some underlying
instrumentation that is not heard clearly, if at all, in the mono or stereo
mixes.
"Sugar on Sunday": The quad mix is balanced quite differently from the
stereo version, with some parts mixed so low as to be nearly inaudible.
"Crystal Blue Persuasion"-discussed in my earlier message. Addendum: The
single version issued on a promotional 5-inch flexi-disc (Roulette 7050P)
fades at 3:30.
"Ball of Fire":
Version 1: Roulette single 7060 (2:51). During the end section, all
instruments behind the vocals fade out except the drums.
Version 2: For the Rhino compilations, beginning with "Anthology," the song
was properly remixed into stereo with the correct fade, and the fade was
extended so the song runs 3:05. The extended version also appears on the
WestSide "Anthology" CD.
Version 3: All Roulette releases after the single, including the "Best of"
LP (Roulette 42040), and compilations up to the release of the Rhino
"Anthology." During the fade, all the backing instrumentation (not just the
drums) remains under the vocals.
Version 4: Quad mix for the "Greatest Hits" quad 8-track. There is much
more separation than the stereo mix, but the fade takes out everything at
once, as did the original stereo mix.
"Come to Me": While credited to TJ and the Shondells, this was actually
TJ's first solo single. The single and all other releases prior to Rhino's
"Tommy James:The Solo Years" CD (now out of print), run 2:31. For the "Solo
Years" CD, Rhino created an excellent new stereo mix with a much longer
fade, timing out at 3:11.
"Ball and Chain": The first single credited to TJ solo. The stereo version
on the Roulette promo single (7084) features noticeabely different reverb
effects on the lead guitar lines, which echo from the right channel into the
left. This stereo mix is unique to the promo single. The stereo mix was
redone without the erver effects for the song's inclusion on the "Tommy
James" LP, and that stereo mix was used on all later reissues. Rhino
remixed the song for the "Solo Years" CD, extending it from its original
2:51 length to 3:05, but without the reverb effects.
"Church Street Soul Revival": Rhino also remixed this for the "Solo Years"
CD. The single and all previous releases are 2:38, while the "Solo Years"
mix is 3:23. (TJ and Bob King first gave the song to the Exiles, and TJ and
Ritchie Cordell produced their version, issued as a single on Columbia
4-44972 in October, 1969.)
"Draggin' the Line": This first appeared as the B-side of "Church Street
Soul Revival" (Roulette 7093) in mono, without the horns. The horns were
added for the song's subsequent release as an A-side. The horns are mixed
with an echo effect on the stereo version which is not present in the
original mono single mix. The cleaner mono mix of the horns appears on
Roulette single 7103 (stock copies and the mono side of promo copies) and on
Roulette reissue single GG-100.
"Love Song": While stock copies of the single (Roulette 7130) are mono, a
stereo mix was used on the promo copies and also appeared on the Adam VIII
compilation issued in 1976 (double US LP, single LP with fewer tracks in
Canada), which was the first appearance of the song on an LP. Both versions
are 3:33. For the "Solo Years" CD, Rhino remixed it, with the piano
sounding much louder than on the previous mono and stereo mixes and with a
shorter fade (3:26).
Additional comments are most welcome!
Michael
-------------------[ archived by Spectropop ]-------------------
Message: 20
Date: Sat, 25 Dec 2004 22:27:39 -0000
From: Mark Wirtz aka, Michael Sinclair
Subject: "Sisyphus Rocks"
Publish America, the original publisher of my Rock'n'Roll novel
"Sisyphus Rocks," written under my Michael Sinclair name, has kindly
agreed to release the rights to the book back to me (they continue
publication of my current book "Love Is Eggshaped").
My intention is to revise the book and re-publish it at some future
date under a different title, and under the Mark Wirtz name.
While new copies of SR will not be printed, the publisher, as well as
land- and on-line booksellers (including Amazon and B&N) are entitled
to selling off their remaining, or pre-ordered, stock. There will,
however, be no future copies available once supply is depleted.
For more info on the book, as well as reviews, check out:
http://www.amazon.com/exec/obidos/search-handle-form/103-1547554-4494219
also, on the books page at www.markwirtz.com (info only, no sales).
The reason for my posting this notice on this group site (HarmonyHigh,
Cherry Smash and S'Pop only), is to give the many friends that I have
there the opportunity to obtain copies before they are likely to,
sooner or later, appear on e-bay, or such, as collector items at
severely inflated prices.
By the same token, those of you who might wish to have a chance to read
the book (and follow the crazy - fictitious, ahem - misadventures of
"thinly veiled" characters like "Biff King" (many swear it's Kim Fowley;)
and a number of music business luminaries whose identity I shall not
reveal), but cannot buy it, I invite you to a group-member-only free
reading at Yahoo's HarmonyHigh group, where the book's text is posted
under the books file.
But hurry - I shall ask HarmonyHigh "master" Rob Stride to discontinue
that posting as of February 1st, '05.
Rock on!
Best,
Mark Wirtz
http://www.markwirtz.com
-------------------[ archived by Spectropop ]-------------------
Message: 21
Date: Sun, 26 Dec 2004 08:06:37 -0000
From: Country Paul
Subject: Re: What's your fave Xmas tune?
Previously
> My favorite Christmas song is "Xmas Time is Here Again" by the
> Flirtations! Woohoo! Second favorite are all of the Spector girl-
> group Christmas songs!
Seconding the Spector album, I need to add a couple of "phantoms":
- Carnegy [sic] Hall, "The Bells of San Francisco" (Atco, 1967,
mentioned here in previous holiday dispatches) - obscure, satirical,
and actually pretty fine; and
- Pure Gold, "Chase These Christmas Blues" (don't remember the label,
probably early 90s) - a neo-doo-wop song which would have been right
at home in the early 60s; a great Pittsburgh release about a guy
missin' his lady at Christmas. Rare as hen's teeth, but well worth
finding. Trust me. (I have it on a 45; anyone closer to the Pgh scene
know if it made it to a CD?)
Happy Second Day of Christmas, and thanks to everyone here who has
enlightened us, made us smile, been there and told about it, played
great music to musica, and plans to be around for another year - and
another, and another....
Country Paul
-------------------[ archived by Spectropop ]-------------------
Message: 22
Date: Sun, 26 Dec 2004 07:39:00 -0000
From: Country Paul
Subject: Re: The Braillettes
Will Stos:
> I'm not sure if this is even real or not, but on a list of worst
> record covers ever, a girl group (whose members are apparently blind)
> showed up. Anyone ever heard their record?
>
> http://porktornado.diaryland.com/covers2.html
They are female and a group, and considering the kind of heart-
wrenching gospel stuff on the Heart Warming label, my guess is that
they are real.
But continue to scroll down - The Playmates come in for some heat,
but the fun is with Jim Post, a late 60s-early 70s folkie type. After
you read Porktornado's comments, be sure to click on and check out
the reply. (It's a wonderful waste of a few minutes....)
Country Paul
(up too late on Christmas night)
-------------------[ archived by Spectropop ]-------------------
Message: 23
Date: Sun, 26 Dec 2004 11:38:18 -0000
From: Mick Patrick
Subject: Julius Dixon, R.I.P.
While researching the fab R&B songstress Annie Laurie, I was
saddened to discover that Julius Dixon - co-writer with
Beverly Ross of "It Hurts To Be In Love" (nah, not the Pitney
chune!), "Lollipop" and other hit songs - died on January 30,
2004, in Manhattan. He was 90 years old.
Obituary by Jason Ankeny is from http://www.allmusic.com
Songwriter Julius Dixon was born in Barnwell, SC, in 1913.
After serving in the U.S. Army during World War II, he was
assigned to Special Services in Germany, hosting his own
weekly radio show, Variety Jive, before returning stateside
and settling in New York City.
The origins of Dixon's career as songwriter roughly coincided
with the birth of rock & roll -- he often partnered with
singer/composer Beverly Ross, and their collaboration was
almost certainly one of the few musical pairings of an African-
American male and a white female in the pre-civil rights era.
Dixon and Ross scored their first hit in 1955 when Bill Haley
& His Comets recorded their "Dim, Dim The Lights (I Want Some
Atmosphere)" -- the song not only fell just shy of the pop Top
Ten, but also proved Haley's first R&B chart hit.
Dixon and Ross wrote "Lollipop" for the latter's singing duo
Ronald & Ruby -- their original version reached the Top 20 in
1958, but the Chordettes' rendition reached the number two
spot the following year, becoming the definitive version.
Dixon never again reached the same commercial heights, but he
notched a series of subsequent hits, including Annie Laurie's
"It Hurts to Be in Love", James Brown's "Begging, Begging",
Kitty Wells' "Three Ways (To Love You)", and the Spacemen's
"The Clouds".
Also of interest:
http://store.yahoo.com/jukejoint/judicooflob2.html
R.I.P.
Mick Patrick
-------------------[ archived by Spectropop ]-------------------
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