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SPECTROPOP - Spectacular! Retro! Pop!
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There are 25 messages in this issue.
Topics in this digest:
1. Rude Rod and Dirty Maggie May
From: Phil X Milstein
2. Re: The Teddy Boys
From: Einar Einarsson Kvaran
3. The Cameo Parkway Story (1957-1967)
From: Matt Spero
4. Re: Ohio Expresses / Rare Breed
From: Barry Margolis
5. Re: WWKB/WKBW - from the source
From: Robert R. Radil
6. Chris Curtis - published obituary
From: Norm D Plume
7. Re: Chris Curtis 45
From: Phil X Milstein
8. Cameo Parkway fans check this out
From: Frank Murphy
9. Central Park West
From: Mike Rashkow
10. Re: Basil Swift / Farmer's Daughter
From: Phil X Milstein
11. Demo-A-Go-Go
From: Jeff Lemlich
12. Viceroys / Sidewalk Skipper Band
From: Gary Myers
13. Re: Canadian R&R
From: Javed Jafri
14. Correction; road bands; Cameo Parkway CDs; airchecks
From: Country Paul
15. Re: Rare Breed
From: Orion
16. Re: Buddy Harman on drums
From: Kees van der Hoeven
17. Scopitones.com has moved
From: Nick Archer
18. Chris Curtis & the Flowerpot Men
From: Eddy
19. Re: Rare Breed
From: Barry Margolis
20. Re: Sidewalk Skipper Band
From: Barry Myers
21. Canada / Mandala
From: Frank Murphy
22. Searching for that Searchers CD
From: Steve Harvey
23. Sidewalk Skipper Band
From: Andres
24. Re: Chris Curtis 45
From: Eddy
25. Re: The Teddy Boys
From: Barry Margolis
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Message: 1
Date: Thu, 03 Mar 2005 23:23:39 -0500
From: Phil X Milstein
Subject: Rude Rod and Dirty Maggie May
Why the hell would Rod Stewart wake Maggie May out of a sound slumber if
he's not absolutely SURE he has something to say to her? I mean, could a
guy be any ruder to a snoozing lady? No wonder he goes through women
like some guys go through tissue paper. Then again, if she really is as
dirty, no-good lovin' a woman as The Beatles suggest, maybe ol' Rod had
good reason to be so rude to her after all.
--Phil M.
--
Cover Art Gallery:
http://www.aspma.com/temp/gallery
lotsa new posts:
http://www.aspma.com/probe
-------------------[ archived by Spectropop ]-------------------
Message: 2
Date: Fri, 4 Mar 2005 08:45:08 -0800 (PST)
From: Einar Einarsson Kvaran
Subject: Re: The Teddy Boys
Barry Margolis wrote:
> Do you mean these Teddy Boys?: Where Have All The Good Times Gone/
> La La (Cameo 433, 1966)
I wonder?? Is this the same "Where Have All The Good Times Gone" as
the Kinks did [and probably wrote]?
Einar
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Message: 3
Date: Fri, 4 Mar 2005 14:47:05 EST
From: Matt Spero
Subject: The Cameo Parkway Story (1957-1967)
THIS IS A MAJOR MUSICAL EVENT. As far as I know this is the first
ever official release of any of this material on CD. And it is
waaaaaaaaaaaaaaaay overdue. I only hope that the stuff recorded in
stereo is in stereo on this release. ABKCO is notorious for not caring
about such things and using whatever is at hand. For years the only
Chubbby Checker and Bobby Rydell stuff available have been re-recordings.
Matt Spero
Cameo Parkway Story (1957-1967) 4 CD Box Set by Cameo Parkway Story
(Various Artists) Retail Price: $59.98 Coming May 3, 2005
Format: Box Set Number of Discs: 4 Genre: Pop / Rock Label: ABKCO
Release Date: May 3, 2005 Item Number: ABK 9223 Item UPC: 018771922322
Description by Oldies.com:
If you want to find Cameo-Parkway, don't bother looking at a street map.
Instead, time warp yourself back to the late 1950s and the '60s and take
a peek at the record collection of any American teenager. There you'll
see them, those dazzling, ultra cool logos adorning hundreds of hits by
the likes of Chubby Checker, Bobby Rydell, Dee Dee Sharp, the Orlons,
the Tymes, the Dovells, Charlie Gracie and, of course, ? and the
Mysterians.
Cameo-Parkway was the name collectively bestowed upon a pair of record
labels that dominated the independent music market for several years
during that golden era of pop music. For more than a decade, a constant
stream of exciting hit singles and albums emanated from the Philadelphia-
based company. Cameo and Parkway recordings were ubiquitous, and
treasured, wherever the latest sounds were heard. The reign of Cameo-
Parkway - which ultimately became the leading independent record company
in America of its time - began in 1956 when Bernie Lowe, a talented
musician and songwriter, launched Cameo Records. Bernie and his writing
partner, Kal Mann, had already enjoyed some measure of success, having
placed their tunes with Nat "King" Cole and others. Their composition
"Teddy Bear" would later become a smash for Elvis Presley.
But Bernie wasn't content to work for others so he set out to make his
mark as an entrepreneur. It didn't take long - one of the first releases
on Cameo, "Butterfly," by the whiz-kid guitarist/singer Charlie Gracie,
vaulted all the way to the top of the charts. After that, there was no
stopping the Cameo-Parkway team. Lowe and Mann, along with the arranger,
songwriter and bandleader/musician Dave Appell, unleashed a barrage of
inventive recordings that clicked with teens over the next several years.
With the invaluable promotional assistance of Dick Clark, whose
Philadelphia-based American Bandstand TV dance program often booked
local acts, Cameo and, before long, Parkway artists became national
sensations. But it took Bobby Rydell and Chubby Checker to truly put
Cameo-Parkway on the music industry map. Both were ambitious South
Philly kids looking for a break; they found their dreams realized when
they hooked up with Lowe, Mann and Appell. Rydell was a multitalented
musician who had started out as a drummer before putting his rich vocal
skills to work for him. The squeaky-clean Rydell's string of hit singles
- "Kissin' Time," "We Got Love," "Wild One," "Wildwood Days," "Swingin'
School" and "Volare" among them - established him as one of the most
beloved teen idols in the country.
Chubby Checker, meanwhile, had been a poultry shop employee with a knack
for impersonations when he was called upon by Lowe and Mann to cut a
musical Christmas card for Dick Clark. It was Clark's wife who gave young
Ernie Evans his new name, and Clark himself who suggested that Bernie
Lowe have the singer re-record an obscure dance tune called "The Twist."
History was made when Chubby's recording of the song rose to number one
in the nation on two different occasions, first in 1960 and then again in
'62, sparking a cultural phenomenon that permanently rewrote the rules of
dancing. Chubby continued to assault the charts with such Parkway hits as
"Pony Time," "Let's Twist Again," "The Fly," "Limbo Rock" and "Slow
Twistin'," the latter a duet with the lovely Dee Dee Sharp.
Dee Dee was Cameo-Parkway's most successful female solo artist. Only 16
at the time of her first recording, she quickly rose to national
prominence when she placed two records in the top 5 simultaneously in
1962. First was the collaboration with Chubby; the second was the song
that would forever be associated with her name, the good-time dance
smash "Mashed Potato Time." Dee Dee visited the upper reaches of the
charts three subsequent times in 1962-63 alone, with "Gravy (For My
Mashed Potatoes),""Ride!" and "Do The Bird."
Cameo-Parkway was home to many fabulous singing groups, but three Philly
based groups in particular have remained among the all-time favorites of
oldies fans. The Orlons were the quartet that contributed such raucously
rockin' hits as "The Wah Watusi," "South Street" and "Don't Hang Up" to
the popular music lexicon. Their three wailing, soulful female voices,
led by the dynamic Rosetta Hightower, were met by the deep throat of
"frog-voiced" Steve Caldwell to create of the most distinctive vocal
mixes around.
The Dovells were a dance floor monster. The quintet was responsible for
such timeless, foot-flapping jukebox favorites as "Bristol Stomp," "Hully
Gully Baby" and "You Can't Sit Down." Lead singer Len Barry took his
inspiration from the great R&B shouters and together with the others in
the group gave Cameo-Parkway a run of riotous showpiece releases.
Then there was the Tymes. The smooth ballad style of this quintet
resulted in one of the most fondly remembered classics of the era, the
stunning "So Much In Love. "With its minimal instrumentation, authentic
seashore sound effects and the silky lead vocal of George Williams, this
1963 chart-topper has remained one of the most oft-played songs on oldies
radio stations for decades.
In addition to its stable of regular hitmakers, Cameo-Parkway was also
the label behind a tremendous number of one-hit wonders and novelty tunes.
The TV horror-show host John Zacherle, for example, frightened the heck
out of the populace with his "Dinner With Drac," and the Rays' memorable
doo-wop ballad "Silhouettes" was a Cameo side in the late '50s. Several
years later, Candy and the Kisses' single "The 81" provided an "in" for
the young producers/songwriters Kenny Gamble and Leon Huff, who would go
on to revolutionize black music in the '70s. Cameo-Parkway was the first
home to future giants like Patti Labelle, the Kinks and Bob Seger as well.
By 1964, Bernie Lowe had begun to tire of running a record company and
sold the outfit. Cameo-Parkway shifted its operations away from
Philadelphia at that point but continued to make its presence felt, most
notably with the 1966 number one garage-band landmark "96 Tears," by the
eye-poppingly hip Michigan-based group called ? and the Mysterians.
Remarkably, none of these recordings have been available in their
original form for many years. But that is all about to end. ABKCO Records
has mined the C-P vaults and painstakingly compiled a stunning, historical
4-CD collection that places back into circulation all of the original
legendary - and never forgotten - Cameo-Parkway hits and dozens more. It
would not be a stretch to say that this is one of the most eagerly awaited
record label anthologies in a very long time. The Cameo-Parkway Story fills
one of the most sizable gaps in many a collection and restores this
innovative label to its rightful place.
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Message: 4
Date: Fri, 4 Mar 2005 13:16:07 -0600
From: Barry Margolis
Subject: Re: Ohio Expresses / Rare Breed
Max:
> I have heard this particular debate before concerning the Rare
> Breed vs The Ohio Express. However, the one thing that I have
> never found out is exactly who the Rare Breed were. I have heard
> that they were originally from New York, but little else. I would
> be curious to find out who these gents really were.
Actually...both versions are exactly the same recording. I own the
Attack single and it's exactly the same as the Cameo single...except
the Attack single is bit clearer sounding.
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Message: 5
Date: Fri, 04 Mar 2005 21:02:45 -0000
From: Robert R. Radil
Subject: Re: WWKB/WKBW - from the source
Country Paul wrote:
> I passed the message along to Don Berns, and here's his reply:
> "The person in your group is almost completely correct. The station
> doesn't actually call itself WKBW - everything is KB Radio except the
> old jingles, which are "WKBW". Channel 7 has no control over anyone
> calling themselves "KB", but they are definitely money hungry. They
> almost lost the Jim Carrey movie "Bruce Almighty" because they were
> asking for some ridiculous amount just for the production to use
> their call letters (the actual film was done on a set in L.A.). But
> Jim Carrey grew up watching channel 7 and used his clout to get the
> producers to negotiate, otherwise it would have ended up being set at
> channel 2 (WGR). Otherwise your guy is on target. The only time KB
> uses it's actual call letters is in the top hour IDs. We have a
> [WKBW] reunion coming up this weekend. Joey's [Joey Reynolds] show is
> live from KB Friday night and I should be on with him (again)."
I attempted to ask Hank Nevins(KB PD) about this but both email
attempts bounced. Perhaps an email server problem. At one point
earlier today their official web site(http://www.kb1520.com) didn't
seem to be working either. We'll see if my latest email effort gets
through. Also, I don't recall Don Berns being on at the same time as
Joey Reynolds. Joey was long gone by the time Don started there.
Bob Radil
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Message: 6
Date: Fri, 4 Mar 2005 10:48:16 -0800 (PST)
From: Norm D Plume
Subject: Chris Curtis - published obituary
There was a decent obituary of Chris Curtis in The Guardian yesterday:
http://www.guardian.co.uk/obituaries/story/0,,1428911,00.html
And here's a link to the obit for Tony Jackson from a couple of years
ago: http://www.guardian.co.uk/obituaries/story/0,,1022031,00.html
Norm D.
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Message: 7
Date: Fri, 04 Mar 2005 17:30:55 -0500
From: Phil X Milstein
Subject: Re: Chris Curtis 45
Eddy Smit wrote:
> The Chris Curtis solo single was:
> Aggravation / Have I done something wrong (Pye 7N 17132) and has Jimmy
> Page, Joe Moretti, John Paul Jones and Vick Flick.
Eddy, if this one out on CD? If not, and you are able to play it to
musica, I think a lot of us would love to hear it.
Dig,
--Phil M.
--
Cover Art Gallery:
http://www.aspma.com/temp/gallery
lotsa new posts:
http://www.aspma.com/probe
-------------------[ archived by Spectropop ]-------------------
Message: 8
Date: Fri, 04 Mar 2005 17:52:54 -0000
From: Frank Murphy
Subject: Cameo Parkway fans check this out
For some momentous Cameo/Parkway news click here:
http://www.oldies.com/product/view.cfm/id_192232.html
FrankM
"what a swimmer is dracula's daughter"
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Message: 9
Date: Fri, 4 Mar 2005 16:12:29 EST
From: Mike Rashkow
Subject: Central Park West
Bill Mulvy:
> What type of sound did Central Park West have?
My guess is that it was very similar to Cashman, Pistilli and West--but
that's just a guess.
Apropos of nothing, I caught the Grammy & Juno Award winning, Cape
Breton superfiddler, Natalie MacMaster live the other night with a band
that will knock your knee socks off. Highly recommended, great players,
great performer. For a schedule at a venue near you, go to:
http://www.nataliemacmaster.com
Di la,
Rashkovksy
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Message: 10
Date: Fri, 04 Mar 2005 17:55:52 -0500
From: Phil X Milstein
Subject: Re: Basil Swift / Farmer's Daughter
Bgas wrote:
> I'm not sure from whence those comments from Brad Elliott came, but
> at some later point in time he must have amended them; Danny Hutton
> did the vocals on that record with no contributions from Brian Wilson
> at all (no matter what it sounds like).
The plot thickens! Does that mean that it might not have been meant as a
parody, either?
Javed Jafri wrote:
> I have to agree with you on this one Paul. What a let down when I first
> heard this record. Basil Swift & The Seegrams was such a cool name for
> a group.
Does anyone know the significance of the name, either the "Basil Swift"
part or "The Seegrams"? Perhaps the latter is meant in honor of the
Canadian whisky company, which, coincidentally, went on to own Warner
Brothers Records for a while, before selling out to Vivendi (or however
that went).
Those unfamiliar with the Basil Swift record can hear both "Farmer's
Daughter" as well as its flipside instro "Shambles," at my Probe site
(URL below).
--Phil M.
--
Cover Art Gallery:
http://www.aspma.com/temp/gallery
lotsa new posts:
http://www.aspma.com/probe
-------------------[ archived by Spectropop ]-------------------
Message: 11
Date: Sat, 5 Mar 2005 00:36:09 -0500
From: Jeff Lemlich
Subject: Demo-A-Go-Go
Time for another unreleased demo from Bradley Recording Studio in
Nashville. Now playing in Musica: "He's A Run-A-Round". There are
no names on the label, but the accompanying sheet music shows this to
be yet another Joy Byers composition.
Some of Byers' other songs that should be of interest to S'poppers:
Several Elvis Presley tracks, including "C'mon Everybody", "Please
Don't Stop Loving Me", "Let Yourself Go", and "It Hurts Me"
"Low Grades" (Linda Lane, plus the demo in Musica)
"Them Terrible Boots" (The Orlons)
"Of Hopes & Dreams & Tombstones" (Jimmy Fraser, The Purple Hearts)
"If You Try To Steal My Baby" (Sue Winford)
"The Hurt" (Freddie North)
"Ring Dang Doo" (Sam The Sham & The Pharaohs)
"They Say You Found A New Baby" (Susan Rewis)
"When You Loved Me" (Brenda Lee)
Jeff Lemlich
http://www.limestonerecords.com
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Message: 12
Date: Fri, 4 Mar 2005 22:19:00 -0800
From: Gary Myers
Subject: Viceroys / Sidewalk Skipper Band
Andres mentioned:
> Vice-Roys - LIVERPOOL, 1964
Chicago band. I spoke with the leader several years ago.
> The Sidewalk Skipper Band - STRAWBERRY TUESDAY, 1968
Milwaukee band, covered in my book, "Do You Hear That Beat".
gem
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Message: 13
Date: Fri, 4 Mar 2005 17:40:14 -0800
From: Javed Jafri
Subject: Re: Canadian R&R
Denis Gagnon:
> I did some research (in fact, just a few minutes) and came up with
> the following. Between 1959-1961, the CRTC (Canadian Radio-Televison
> & Tecommunications Commission) created a regulation about Canadian
> contents: "a least 45% of broadcast hours to be devoted to Canadian
> programs". In 1962, the regulation was revised up to 55%. In 1972,
> it was revised again to 60% (50% during primetime). No significant
> changes since then.
I think your research must have pulled up the rules for Canadian
Television. There is no way radio stations were required to play 55 %
Canadian content from 1962 onwards. I do believe what I sent
previously is a close approximation of the truth. The "prime-time"
mentioned above is the giveaway that these are TV rules. The radio
regulation was based on day time hours which run from 6 am to midnight.
The prime time in radio has changed over the years to include the
morning and afternoon drive slots. That sadly is the main role for
radio today.
Javed
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Message: 14
Date: Fri, 04 Mar 2005 22:19:14 -0500
From: Country Paul
Subject: Correction; road bands; Cameo Parkway CDs; airchecks
First, a correction: in googling "Sittin' In The Balcony," a website
identified the co-composer as Jerry Capehart, saying he co-wrote it
with singer Eddie Cochran. However, I appear to have been misinformed
(and if I can find it again, I'll pass along the URL). That team did
write "Summertime Blues," but John D. Loudermilk properly gets the
credit for "Balcony." Thus, I sit corrected, under the dunce cap, in
the very last row.
Stew Epstein on "Road Bands":
> [B]ack in 1969, I was told by many rock band managers/agents that
> the artists, at least on a group's first hit and sometimes on all
> hof their its, were studio musicians who craked all out kinds of
> songs, and that if a song become a hit, then they looked for
> people to become the band...sometimes this put-together band was
> also called "the road band"...that is, there was a recording
> studio group, and then another group that was the band "on the
> road" ( during tours)....
One one of Duane Eddy's early albums, two groups of Rebels are identified:
one, the studio band, and the other, the "Travelling Rebels." I seem to
remember a couple of names overlapped.
Ray wrote:
> Cameo Parkway Story (1957-1967) 4 CD Box Set Coming May 3, 2005.
> Full details and tracklistings can be found at
> http://www.oldies.com/product/view.cfm/id_192232.html
Be still, my beating heart. Really this time? I wonder what these
tracks will sound like without C/P's notorious surface noise!
Finally, I found another source of radio airchecks, some going pretty
far back: http://www.northeastairchecks.com/ . Primarily for the
radioheads in our midst.
Country Paul
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Message: 15
Date: Fri, 04 Mar 2005 22:17:08 -0600
From: Orion
Subject: Re: Rare Breed
Max:
> I have heard this particular debate before concerning the Rare Breed
> vs The Ohio Express. However, the one thing that I have never found
> out is exactly who the Rare Breed were. I have heard that they were
> originally from New York, but little else. I would be curious to find
> out who these gents really were.
If you do a search of the S'pop archives I think you will find many
messages about them.
Orion
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Message: 16
Date: Sat, 05 Mar 2005 10:21:39 -0000
From: Kees van der Hoeven
Subject: Re: Buddy Harman on drums
Anthony Parsons wrote:
> Yes, that would be a correct assumption. The Three Bells was recorded
> on the same day (6/1/59) in the three-hour block of time previous to
> the session that produced "Heaven Fell Last Night." John D. Loudermilk
> did not play in that session, but otherwise the musical personnel is
> the same, with the addition of the Anita Kerr Singers. Also recorded
> at the "Three Bells" session was a song called "Wake Up Jonah," which
> was unreleased prior to the Bear Family box set. Bear Family liner
> notes can be SO informative!
An addition: Loudermilk recently told me that The Browns got The Three
Bells from him. "I used to do The Three Bells as well as the Old
Lamplighter as an artist. When I just started working with Chet at Victor,
I taught them my version of those songs. Chet produced and I co-produced,
helpin' him in A & R".
Kees
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Message: 17
Date: Sat, 5 Mar 2005 12:54:13 -0600
From: Nick Archer
Subject: Scopitones.com has moved
The Scopitones website has moved to http://bedazzled.blogs.com/bedazzled/
Lots of interesting new videos from France Gall, Michael Polnareff, and
lots of music.
Nick Archer
Check out Nashville's classic pop and soft rock radio station SM95, now
streaming at http://www.live365.com/stations/nikarcher
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Message: 18
Date: Sat, 5 Mar 2005 12:10:15 +0100
From: Eddy
Subject: Chris Curtis & the Flowerpot Men
The Guardian has in common with the BBC obituary that they both
attribute the Flowerpot Men's "Let's Go To San Francisco" to Chris.
What has Chris got to do with this record, if anything at all?!
Drums perhaps?
Eddy
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Message: 19
Date: Sat, 5 Mar 2005 07:38:45 -0600
From: Barry Margolis
Subject: Re: Rare Breed
Here's what I've found about The Rare Breed: CD: THE RARE BREED SUPER
"K" COLLECTION (Collectables Col-0580) 1994. 45: Beg, Borrow And Steal/
Jeri's Theme (Attack AR-1401) 1966. Still somewhat of a mystery group,
this New York or New Jersey band, discovered by producers Jeffrey Katz
and Jerry Kasenetz. The Kasenetz Katz Singing Orchestral Circus - later
to be acknowledged as two of the originator's of "bubblegum" music -
was presented as an Ohio group since it was beleived at the time easier
to break a record out of the Midwest. After recording the instantly
likeable Louie Louie ripoff Beg, Borrow and Steal, the band supposedly
grew reluctant in giving any more control to Katz and Kasenetz, and
were shortly thereafter dismissed by the producers - but not before
leaving behind at least nine additional songs, all included on the
Collectables release. Aside from Beg, Borrow and Steal (reportedly,
Katz and Kasenetz would later take a true Ohio group, Sir Timothy and
the Royals, and re-release the exact same single under the band's new
moniker, The Ohio Express, the CD includes a cover of The Grodes' I
Won't Be There, the garage-y Where Are You Going To, and two Monkees
songs: Bad Girl and City Girl. Beg, Borrow and Steal has been comped
on Rhino Record's 1998 Nuggets CD box set.
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Message: 20
Date: Sat, 5 Mar 2005 07:41:17 -0600
From: Barry Myers
Subject: Re: Sidewalk Skipper Band
Andres:
> The Sidewalk Skipper Band - STRAWBERRY TUESDAY, 1968
Gary Myers:
> Milwaukee band, covered in my book, "Do You Hear That Beat".
Sidewalk Skipper Band single is a really amazing single. They
recorded more songs for Capitol and there's a 12" acetate of (I
think) 6 songs.....
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Message: 21
Date: Sat, 05 Mar 2005 12:58:46 +0000
From: Frank Murphy
Subject: Canada / Mandala
from http://www.broadcasting-history.ca/personalities/personalities.php?id=341:
> After intense music industry lobbying in Ottawa, fanned by
> continuing support by RPM. the CRTC's radio regulations were revised
> in 1971 to mandate 30 percent domestic quotas on radio airplay. The
> package also gave rise to the adoption of Stan's MAPL coding to
> identify Music, Artist, Production and Lyrics - any two of which in a
> record qualified it as "Canadian".
Scots band Nazareth owe their Canadian success to the above. Well that
and their own performing talents and Joni Mitchell's "This Flight
Tonight". I believe they are still a reasonable draw in certainmn patrts
of Canada.
A school chum became one of the many Scots emigrees to Canada and he sent
me couple of records back in including Opportunity by the Mandala which
according to a recent e mail form Airchex was in the Vancouver chart for
this week in 1967. I don't know what happenned to the rest of the band but
I have a solo single by Domenic Troiano which I believe was played on the
modern side of the Northern soul scene. I think he joined the James Gang
at some point.
FrankM
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Message: 22
Date: Sat, 5 Mar 2005 08:09:20 -0800 (PST)
From: Steve Harvey
Subject: Searching for that Searchers CD
Eddy Smit wrote:
> The Chris Curtis solo single was: Aggravation / Have I done
> something wrong (Pye 7N 17132)
Phil M:
> ... if this one out on CD? If not, and you are able to play
> it to musica, I think a lot of us would love to hear it.
It was on an import CD called German, French and Rare Recordings
on Repertoire Records (with the Pye label on the CD). It also has
the Chris vocal version of "I'll Be Doggone".
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Message: 23
Date: Sat, 05 Mar 2005 21:35:53 +0300
From: Andres
Subject: Sidewalk Skipper Band
Hi Gary, I'm doing a radio show here in Moscow (Russia). Could you
pls tell us a bit more about this group Sidewalk Skipper Band so that
I will be able to say a few words about them to our local listehers
(other than they are from Milwaukee). Thanks in advance!
Andres
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Message: 24
Date: Sat, 5 Mar 2005 12:15:06 +0100
From: Eddy
Subject: Re: Chris Curtis 45
Phil X Milstein:
> (Is "Aggravation") out on CD? If not, and you are able to
> play it to musica, I think a lot of us would love to hear it.
"Aggravation" is available on the Searchers 30th Anniversary
Collection CD set, but you can hear a snippet of it here: http://www.mp3.com/albums/141863/summary.html
Eddy
-------------------[ archived by Spectropop ]-------------------
Message: 25
Date: Sat, 5 Mar 2005 07:39:54 -0600
From: Barry Margolis
Subject: Re: The Teddy Boys
I wrote:
> Do you mean these Teddy Boys?: Where Have All The Good Times Gone/
> La La (Cameo 433, 1966)
Einar:
> I wonder?? Is this the same "Where Have All The Good Times Gone" as
> the Kinks did [and probably wrote]?
Yes...same song. I have this single...the B side "La La" is an amazing
psych mid-tempo tune...ending with a real heart beat!
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