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SPECTROPOP - Spectacular! Retro! Pop!
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There are 9 messages in this issue.
Topics in this digest:
1. Re: The Pleasure Seekers
From: Bob Rashkow
2. Re: Anne-Marie Moss
From: Bill
3. Spector band pre-Teddy Bears
From: Chris Peake
4. Re: Anne-Marie on MGM in 1966
From: Mick Patrick
5. The Gamblers of "Moon Dawg" fame
From: Gary Myers
6. Robert Moog, RIP
From: Country Paul
7. Cellarful of Motown vol.2, Ann Marie and Barcelonaīs Wildlife.
From: Julio Niņo
8. Re: The Gamblers
From: Phil X Milstein
9. Re: to ponder at your leisure
From: Phil Milstein
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Message: 1
Date: Mon, 22 Aug 2005 11:06:57 EDT
From: Bob Rashkow
Subject: Re: The Pleasure Seekers
Mick Patrick wrote:
> I have a question, or several, about the following record: The
> Pleasure Seekers "If You Climb On The Tiger's Back" b/w "Theme From
> The Valley Of The Dolls", released on Capitol 2050 in 1967. Are
> either of these tracks out on CD? If so, info please. If not, if
> anyone has the 45, maybe they could post it to musica please. I'd
> love, indeed NEED, to hear it. Are these Pleasure Seekers the same
> group that recorded for Hideout and Mercury? If not, does anyone
> know anything about them? Thanks in advance.
Mick, isn't that a great tune??!! If I'm not mistaken this is the
same group as on Hideout and eventually Mercury with the unbelievably
gifted Suzi Quatro fronting. It's certainly made me hungry for more
of this delightful girl group psychedelia sound from them.
Bobster
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Message: 2
Date: Sun, 21 Aug 2005 16:51:31 -0700
From: Bill
Subject: Re: Anne-Marie Moss
Harold Shackelford wrote:
> Is there anyone out there that can tell me if the Anne-Marie (no
> last name given) on my MGM K13534 45 rpm record is also the Anne-
> Marie Moss who was married to singer-guitarist Jackie Paris? ...
> Any info on her would be greatly appreciated.
Moss, Anne Marie. Singer, teacher, b Toronto 6 Feb 1935. Except for
lessons in breath control from Portia White in 1955, she did not
study formally. She began performing as a child and sang jazz first
in the early 1950s with the groups of Joey Masters and Calvin
Jackson, two US pianists then living in Toronto. She also sang with
the dance bands of Ferde Mowry and Benny Louis and throughout the
1950s appeared on CBC TV variety shows. She performed occasionally
with the jazz groups of Norman Symonds and Ron Collier and toured
1956-8 in Canada and the USA with the saxophonist Don Thompson. In
1959 she joined Maynard Ferguson's big band in the USA, where she
also sang with the Count Basie Orchestra and replaced Annie Ross
briefly in the jazz vocal trio Lambert, Hendricks & Ross. In 1961 she
married, and began singing with, the US singer-guitarist Jackie
Paris. The two appeared together until 1980 in nightclubs across the
USA and made the LP Live at the Maisonette (Different Drummer 1004).
When they made a rare Canadian appearance at the Toronto nightclub
Bourbon Street in 1976, Jack Batten wrote: 'Miss Moss' voice and
attack... have grown more middle-of-the-road than they were in her
earlier Toronto days. She seems to go in less for lofty flights and
improvisations and concentrates more on plain old projection and
communication. She's got all the equipment for that job - excellent
diction, an intelligent awareness of lyrics, and a voice that's pure,
professional and very assured' (Toronto Globe and Mail, 13 Oct 1976).
Moss resumed her solo career in 1980, recording the album Don't You
Know Me? (Stash ST-211, issued in 1981) and appearing in concert, in
nightclubs, and at colleges. She performed on several occasions in
Toronto during the 1980s. Moss has taught voice privately and,
beginning in 1987, at the Manhattan School of Music, New York.
Bill
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Message: 3
Date: Mon, 22 Aug 2005 19:31:20 +0100
From: Chris Peake
Subject: Spector band pre-Teddy Bears
I was friends for years with guitarist Elliot Ingber (Gamblers of
"Moon Dawg" fame, later with Frank Zappa and others), who was in the
mysterious Spector Fairfax high school era band. He informed me the
band lasted about one month, with no recordings (tape or otherwise)
or photos.
Christopher Peake
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Message: 4
Date: Mon, 22 Aug 2005 20:11:10 +0100
From: Mick Patrick
Subject: Re: Anne-Marie on MGM in 1966
Re Anne-Marie on MGM, the following is from Harry Young's notes to
Lou Christie's "Original Sinner" RPM CD:
> Next MGM released Anne-Marie's Calello-produced version of the
> Christie/Herbert composition "Diary" (MGM single K 13534, release
> number immediately following Lou's "Painter" 45, Billboard review
> 2 July 1966). Not coincidentally, Robert P. Marcucci managed Anne-
> Marie (Ann Anello).
Waddya know? She has her own website:
http://www.consultfirst.com/annanello.html
Good old Harry.
Hey la,
Mick Patrick
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Message: 5
Date: Mon, 22 Aug 2005 12:30:59 -0700
From: Gary Myers
Subject: The Gamblers of "Moon Dawg" fame
Chirs Peake:
> I was friends for years with guitarist Elliot Ingber (Gamblers of
> "Moon Dawg" fame ...
Was that before, after or at the same time as Derry Weaver? Wasn't
Weaver the lead player on the record? A long-time friend was in a
later version or splinter (or something) of the Gamblers.
gem
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Message: 6
Date: Mon, 22 Aug 2005 17:09:25 -0400
From: Country Paul
Subject: Robert Moog, RIP
Excerpted from the Associated Press news release today (August 22,
2005).
Country Paul
-------------------------------
Synthesizer Innovator Robert A. Moog Dies
By NATALIE GOTT, Associated Press Writer
RALEIGH, N.C. - Robert A. Moog, whose self-named synthesizers turned
electric currents into sound, revolutionizing music in the 1960s and
opening the wave that became electronica, has died. He was 71. Moog
died Sunday [8/21/05] at his home in Asheville, according to his
company's Web site. An inoperable brain tumor had been detected in
April. A childhood interest in the theremin, one of the first
electronic musical instruments, would lead Moog to a create a career
and business that tied the name Moog as tightly to synthesizers as
the name Les Paul is to electric guitars. Despite traveling in
circles that included jet-setting rockers, he always considered
himself a technician. "I'm an engineer. I see myself as a toolmaker
and the musicians are my customers," he said in 2000. "They use the
tools." As a Ph.D. student in engineering physics at Cornell
University, Moog - rhymes with vogue - in 1964 developed his first
voltage-controlled synthesizer modules with composer Herb Deutsch. By
the end of that year, R.A. Moog Co. marketed the first commercial
modular synthesizer. The instrument allowed musicians, first in a
studio and later on stage, to generate a range of sounds that could
mimic nature or seem otherworldly by flipping a switch, twisting a
dial, or sliding a knob. Other synthesizers were already on the
market in 1964, but Moog's stood out for being small, light and
versatile. The arrival of the synthesizer came as just as the Beatles
and other musicians started seeking ways to fuse psychedelic-drug
experiences with their art. The Beatles used a Moog synthesizer on
their 1969 album "Abbey Road"; a Moog was used to create an eerie
sound on the soundtrack to the 1971 film "A Clockwork Orange."
Keyboardist Walter (later Wendy) Carlos demonstrated the range of
Moog's synthesizer by recording the hit album "Switched-On Bach" in
1968 using only the new instrument instead of an orchestra. Among the
other classics using a Moog: the Who's "Won't Get Fooled Again,"
and Stevie Wonder's urban epic "Living for the City." "Suddenly,
there was a whole group of people in the world looking for a new
sound in music, and it picked up very quickly," said Deutsch, the
Hofstra University emeritus music professor who helped develop the
Moog prototype. "The Moog came at the right time," he said Monday.
The popularity of the synthesizer and the success of the company
named for Moog took off in rock as extended keyboard solos in songs
by Manfred Mann, Yes and Pink Floyd became part of the progressive
sound of the 1970s. "The sound defined progressive music as we know
it," said Keith Emerson, keyboardist for the rock band Emerson, Lake
and Palmer. Along with rock, synthesizers developed since Moog's
breakthrough helped inspire elements of 1970s funk, hip-hop, and
techno.... A deliberate man with brushed-back white hair and a breast
pocket packed with pens, Moog drove an aging Toyota painted with a
snail, vines and a fish blowing bubbles. "When I drive that thing
around, people smile at me," he said. "I really feel I'm enhancing
the environment." He spent the early 1990s as a research professor of
music at the University of North Carolina at Asheville before turning
full-time to running his new instrument business, which was renamed
Moog Music in 2002. The roster of customers includes Nine Inch Nails,
Pearl Jam, Beck, Phish, Sonic Youth and Widespread Panic. Moog is
survived by his wife, Ileana; two daughters, a son, a stepdaughter,
and his former wife, Shireleigh Moog. A public memorial is scheduled
for Wednesday in Asheville.
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Message: 7
Date: Mon, 22 Aug 2005 21:53:37 -0000
From: Julio Niņo
Subject: Cellarful of Motown vol.2, Ann Marie and Barcelonaīs Wildlife.
Hola Everybody.
This Summer wildlife is invading Barcelona. Hordes of very agressive
mosquitoes are devouring me every night (curiously they donīt bite
my boyfriend, maybe it because he elbalms himself with Scotch, I
suppose I should follow his example). In addition to that the other
night when I was swimming in the sea an incosiderate jellyfish stung
me. I guess that tomorrow Iīll be attacked by a rabid rat or
something like that.
Anyway, These days Iīm fascinated with the second volume of "A
CellarFul Of Motown", a wonderful compilation of previously
unreleased Motown tracks. I like it even more that the first volume.
I find very interesting most of the tracks, but some of my favorites
are "I Canīt Get Along Without You" by The Monitors (I love Richard
Streetīs exciting voice); Hattie Littlesī"Love, Trouble, Heartache
And Misery", and the superb "Crying Time" by Brenda Holloway. I also
like very much Little Lisaīs childish "Choo Choo Train".
And talking about child-sounding songs, Mick Patrick wrote about Ann
Marie:
> ... I seem to recall reading somewhere that the Ann Marie on
> Jubilee was aged 12 at the time. She sounds it - in a good way.
So, she must have been only 8 when she recorded "Dream Boy" on
Warwick and just 9 and 10 when she recorded her singles on Epic and
Reprise. Maybe someone nice could play some Ann Marie tracks in
musica to relieve a little my itching (courtesy of Barcelona's
wildlife).
Chao.
Julio Niņo.
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Message: 8
Date: Mon, 22 Aug 2005 21:57:27 -0400
From: Phil X Milstein
Subject: Re: The Gamblers
Chirs Peake:
> I was friends for years with guitarist Elliot Ingber (Gamblers of
> "Moon Dawg" fame ...
Gary Myers wrote:
> Was that before, after or at the same time as Derry Weaver? Wasn't
> Weaver the lead player on the record? A long-time friend was in a
> later version or splinter (or something) of the Gamblers.
Was that the same Gamblers as of "LSD-25" fame? And, is that track
available anywhere?
Trip on out,
--Phil M.
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Message: 9
Date: Fri, 19 Aug 2005 15:12:34 -0700 (PDT)
From: Phil Milstein
Subject: Re: to ponder at your leisure
I had asked what these records all had in common:
Crows: Gee / Penguins: Earth Angel / Crests: Sixteen Candles /
Silhouettes: Get A Job / Rays: Silhouettes / Hank Ballard &
Midnighters: The Twist / Richard Berry: Louie Louie / Sam
Cooke: You Send Me / Lavern Baker: Tweedle Dee / Bobby Day:
Rockin' Robin / Mystics: Hushabye / Brenda Lee: I'm Sorry / Dion:
The Wanderer / Tokens: The Lion Sleeps Tonight / Don & Juan:
What's Your Name / Drifters: Save The Last Dance For Me / Little
Anthony & Imperials: Tears On My Pillow / Beach Boys: Surfin'
Safari / Lulu: To Sir With Love / Strawberry Alarm Clock: Incense
And Peppermints / Five Man Electrical Band: Signs / Steam: Na
Na Hey Hey Kiss Him Goodbye
Correct answers, that all those hits started life as mere flip-sides,
were submitted by Messrs. Pingel, Myers and Roberts.
Thanks to Steve Propes and Jim Dawson, whose A+ book "45 RPM: The
History, Heroes And Villains Of A Pop Music Revolution" prompted
this prizeless (if not priceless) quiz. And, especially, thanks
to all who played along!
--Phil M.
-----
Rob Pingel:
Just a guess ... they were all released as B-sides?
-----
M. Rashkow:
All produced by white boys?
-----
Steve Harvey:
They were all originally released on these round, black vinyl discs
known as 45 rpm singles! Ha!
-----
Gary Myers:
Were they all intended as B-sides?
-----
Steve Bonilla:
I'm probably way off, but I was singing these in my head and,
incredibly, they are all in the same key.
-----
Austin Roberts:
Started as B sides? My other guess would be that these were the first
recordings (and releases) of said songs.
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SPECTROPOP - Spectacular! Retro! Pop!
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