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SPECTROPOP - Spectacular! Retro! Pop!
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There are 16 messages in this issue.
Topics in this digest:
1. The Carrie Nations
From: Mark Maldwyn
2. Zola Taylor of the Platters
From: Paul Oliverio
3. Re: Hash Brown & the Cupcakes
From: Will Stos
4. Re: Reparata & the Delrons > Producer & Arranger Credits
From: Mick Patrick
5. Re: Sue Lynne "You"
From: Mark Maldwyn
6. Re: Cameo-Parkway songwriters
From: Frank Young
7. Link Wray, R.I.P.
From: Austin Powell
8. Re: 'legal' Platters
From: Dennis Hoban
9. Re: The Carrie Nations
From: Dennis Hoban
10. Platter chatter
From: James Cassidy
11. Fritz Richmond RIP
From: Steve Harvey
12. Re: ars longa, vita brevis
From: Phil X Milstein
13. Re: Mashed Postman Time
From: Phil X Milstein
14. Re: LPs, CDs, MP3s ...
From: Frank
15. Re: The Carrie Nations
From: Steve
16. Re: Lynn Carey & The Carrie Nations
From: Dean Harris
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Message: 1
Date: Mon, 21 Nov 2005 20:12:48 -0000
From: Mark Maldwyn
Subject: The Carrie Nations
Dennis:
> Right on! (to use an oft-overused phrase from my childhood) The
> Carrie Nations were the almost the only reason to look for a ST
> album from that movie. Strawberrry Alarm Clock and the Sandpipers
> also contributed tunes to this classic. Rockin'and reelin' from
> carpet to ceilin'.
Who were The Carrie Nations, does anyone know? Look On Up From
the Bottom...
Mark Maldwyn
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Message: 2
Date: Mon, 21 Nov 2005 05:14:25 -0800 (PST)
From: Paul Oliverio
Subject: Zola Taylor of the Platters
Somewhere in the late 1980's, I had four phone conversations with
Zola Taylor. Two were coherent and two weren't. She had attended
Jefferson High School (in Los Angeles) as did other original
members of the group including Tony Williams and Alex Hodge. She
had told me that her case against the estate of her late husband,
Frankie Lymon, was still in litigation. Frankie had died in 1968.
Two other wives of the man who asked the question Why Do Fools
Fall in Love were involved in the case. Zola didn't know at the
time that Halle Berry was to portray her in the film named for
the song. Regarding the rights to use the name "The Platters,"
Zola told me she was physically dragged offstage by Buck Ram.
"He yanked me by the hair."
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Message: 3
Date: Mon, 21 Nov 2005 14:40:00 -0000
From: Will Stos
Subject: Re: Hash Brown & the Cupcakes
Mick Patrick:
> Given that the b-side is written by Dorothy Jones, one suspects
> that the vocalists on (the Hash Brown & the Cupcakes) record are
> really the Cookies.
David A. Young:
> ... The Cupcakes of "Pied Piper" fame (on Diamond) were The
> Cookies, and the Dorothy Jones writer credit on the Philips
> Cupcakes disc would seem to corroborate this.
Does anyone else hear Little Eva in the mix here - especially in
"The Nearness of You." Great tracks and so nice to hear them.
Many thanks to all the musica posters. There are some great
hidden gems that have yet to make it to CD.
On that matter, I wonder if I might ask the group's opinion on
the future of the CD medium. It seems as MP3 players become more
popular and legal downloading is a viable option, more and more
back catalogues will find their way onto these sites. I'm of two
minds on this prospoect. Although I love the idea that more tracks
might become more accessible, nothing for me compares to picking
up a new CD and devouring the liner notes while listening to songs
that are new-to-me.
I'm afraid having all these songs availble to me at once will
result in a few weeks of downloading fever followed by a long
period with the sad realization that I've heard virtually all
there is to hear. Part of the joy of this type of music is all
there is to discover. It seems under every rock you find another
great song that could have been a hit. Every time I think I've
heard all there is to hear I discover a wealth of new material.
With the MP3 format and legal downloading, however, it seems
possible eventually every song ever released will be a click away.
It's an exciting, but scary prospect. Any thoughts?
Will : )
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Message: 4
Date: Mon, 21 Nov 2005 21:29:25 -0000
From: Mick Patrick
Subject: Re: Reparata & the Delrons > Producer & Arranger Credits
While I was discussing with Ace Records’ Peter Gibbon their
(at the time forthcoming) “The Best of Reparata & the Delrons”
CD, he asked me if producer credits for each track should go
in the booklet. I replied something like, “Nah, they’d be
almost the same for each track. It would mean repeating the
same names over and over. Besides, I’ll cover all of that in
the essay.”
However, I have since been accused of writing Bill Jerome out
of history in preference of his brother Steve (sigh). Why
would I wanna do that? Bees, bonnets, and all that bollocks.
So, in the interest of historical accuracy, and of officially
awarding credit to whom it is due, I have decided to make that
information available here, meticulously copied from the
original singles. Gawd, the things I do for love! I didn’t
want to waste time eating dinner tonight anyway.
Pick the bones out of this lot, go on:
“The Best of Reparata & the Delrons” (Ace CDCHD 1066)
1. Reparata & the Delrons - Boys And Girls
Arranged by John Abbott
Conducted by Bill Jerome, Jr.
A World United Production
2. Reparata & the Delrons - Captain Of Your Ship
Arranged by John Abbott
Produced by Steve & Bill Jerome for Real Good Productions, Inc.
3. Reparata & the Delrons - Whenever A Teenager Cries *
With Hash Brown & his Orchestra
Arranged by John Abbott
4. Reparata & the Delrons – Tommy
With Hash Brown & his Orchestra
Arranged by John Abbott
A World United Production
5. Reparata & the Delrons - The Kind Of Trouble That I Love
Arranged by John Abbott
Conducted by Bill Jerome, Jr.
A World United Production
6. Reparata & the Delrons - It's Waiting There For You
Arranged by John Abbott
Produced by Steve & Bill Jerome for Real Good Productions, Inc.
7. Reparata & the Delrons – Panic
Arranged by John Abbott
Produced by Bill & Steve Jerome for Real Good Productions, Inc.
8. Reparata & the Delrons - Take A Look In My Diary
Not originally released, exact credits unknown
9. Reparata & the Delrons - Do Wah Diddy *
With Hash Brown & his Orchestra
Arranged by John Abbott
A World United Production
10. Reparata & the Delrons - I Have A Boyfriend *
With Hash Brown & his Orchestra
Arranged by John Abbott
A World United Production
11. Reparata & the Delrons - I'm Nobody's Baby Now
With Hash Brown & his Orchestra
Arranged by John Abbott
A World United Production
12. Reparata & the Delrons - Take A Look Around You
Arranged by John Abbott
A World United Production
13. Reparata & the Delrons - Mama's Little Girl
With Hash Brown & his Orchestra
Arranged by John Abbott
A World United Production
14. Reparata & the Delrons - I Can Hear The Rain
Arranged by John Abbott
Conducted by Bill Jerome, Jr.
A World United Production
15. Reparata - The Boy I Love
Arranged by John Abbott
A World United Production
16. Reparata & the Delrons - In My Diary *
With Hash Brown & his Orchestra
Arranged by John Abbott
A World United Production
17. Reparata & the Delrons - He's My Guy (And I Love Him So) *
With Hash Brown & his Orchestra
Arranged by John Abbott
18. Reparata & the Delrons - Bye Bye Baby *
With Hash Brown & his Orchestra
Arranged by John Abbott
A World United Production
19. Reparata - I Found My Place
Arranged by John Abbott
A World United Production
20. Reparata & the Delrons - Loneliest Girl In Town
With Hash Brown & his Orchestra
Arranged by John Abbott
A World United Production
21. Reparata & the Delrons - I Can Tell
Arranged by John Abbott
A World United Production
22. Reparata & the Delrons - (Do You) Remember When *
With Hash Brown & his Orchestra
Arranged by John Abbott
A World United Production
23. The Del-Rons - Leave Us Alone
Arranged by John Abbott
A United World Production
24. Reparata & the Delrons - He's The Greatest *
With Hash Brown & his Orchestra
Arranged by John Abbott
A World United Production
25. Reparata & the Delrons - He Don't Want You
With Hash Brown & his Orchestra
Arranged by John Abbott
A World United Production
26. Reparata & the Delrons - Weather Forecast
Arranged by John Abbott
Produced by Steve & Bill Jerome for Real Good Productions, Inc.
27. Reparata & the Delrons - (We're Gonna) Hold The Night
Arranged by John Abbott
Produced by Bill & Steve Jerome for Real Good Productions, Inc.
28. Reparata & the Delrons - Saturday Night Didn't Happen
Arranged by John Abbott
Produced by Bill & Steve Jerome for Real Good Productions, Inc.
29. Reparata - Why Do Lovers Break Each Other's Heart
Not originally released, exact credits unknown
30. Reparata – Shoes
Produced by Steve & Bill Jerome and Lou Guarino for Nami Records
NB: The group’s “Whenever A Teenager Cries” LP, on which the
tracks marked * are contained, carries the following credits:
Produced by: World United Productions
Arranger: John Abbott
Conductor: Hash Brown & the Hash Brown Orchestra
Engineer: Steve Jerome
Assistant Engineer: Pete Erikson
Music Supervisor: Bill Jerome, Jr.
Assistant Music Supervisor: Jerry Ciccone
Any questions?
Hey la,
Mick Patrick
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Message: 5
Date: Mon, 21 Nov 2005 20:29:05 -0000
From: Mark Maldwyn
Subject: Re: Sue Lynne "You"
Mick:
> Agreed, after "Reach For The Moon", I think "Don't Pity Me" is
> Sue Lynne's best record... "You" has a certain proto-Abba
> quality that I suspect some S'poppers will enjoy. I could post
> the track to musica if there's any interest.
Me:
> Great to hear "Don't Pity Me" in this context, as for Sue
> Lynne's "You" - I'd go for it.
Mick:
> It's there now: http://groups.yahoo.com/group/spectropop/files/musica
> Deets: Sue Lynne "You" (RCA 1822, 1969); written and produced by
> Chris Andrews; arranged by Kenny Woodman. Should sound good in a
> sandwich between Reparata's "Shoes" and Abba's "Fernando". Thanks
> to Clunkie.
Thank you lads! More manic than "Don't Pity Me" and an indication
where Chris Andrews wanted to go after the 'Oomp-Pah-Pah' period.
No wonder S.Shaw jumped ship. Yet a bloody great record! A bit
like Dahlia Lavi's non smoking sister meets a Silk Cut Yellow.
Mark Maldwyn
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Message: 6
Date: Mon, 21 Nov 2005 17:37:25 -0800 (PST)
From: Frank Young
Subject: Re: Cameo-Parkway songwriters
Sure, Cameo-Parkway tended towards wholesale theft of P.D. melodies, near-copies, etc., but they had some first-rate songwriterss. Take the team of Jackson and Wissner, who contributed some melodic and inventive material. Two prime examples are "Don't Throw Your Love Away" by the Orlons and "Willyum, Willyum" by Dee Dee Sharp. I love the use of the seldom-heard word "tarry" in the latter.
You're possibly familiar with the Searchers' chart-topping UK cover of "Don't Throw..." which was as high-profile as Jackson-Wissner ever got. The Orlons' original was that favorite of Liverpool bands, the obscure American B-side.
The Sheldon-Leon team turned out their share of great tunes, as well. The team's crown jewel is "Holiday Hill" by the Orlons, which is one of my top fave girl-group records. "Baby Cakes" and "Ride!" by Dee Dee Sharp are some other Sheldon-Leon delights.
Then you have the Motown runoff: fine songs by Barrett Strong ("It's a Funny Situation" by Dee Dee Sharp) and Lamont Dozier (e.g., the killer "Envy In Your Eyes" by the Orlons).
And let's not forget the Gamble-Huff and Gamble-Boone material ("I Ain't Coming Back" and "Don't You Want My Lovin'" by the Orlons, et al) that crops up later in the Cameo-Parkway run.
Cameo-Parkway is the most disparaged American record label of the Spectropop era. Sure, they put out their share of garbage, but so did Motown. Few labels were as quality-driven as Philles or Red Bird, but I think it's time to revise the official history of rock 'n' roll and face the fact that there are some stone-cold classics from C-P.
Even the recent crop of reissues tend to sidestep the really good, lesser-known material. I like the CamPark bootlegs from the mid-90s way more than these timid "official" releases.
End of soapbox sermonette.
Best, Frank
__________________________________
Yahoo! Mail - PC Magazine Editors' Choice 2005
http://mail.yahoo.com
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Message: 7
Date: Tue, 22 Nov 2005 07:49:26 +0000
From: Austin Powell
Subject: Link Wray, R.I.P.
Danish newspaper "Politiken" reported the death of Link Wray on
21st November. He'd lived in Copenhagen for much of the last 20
years the newspaper said. No cause of death was given.
Austin P.
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Message: 8
Date: Mon, 21 Nov 2005 17:43:26 -0800
From: Dennis Hoban
Subject: Re: 'legal' Platters
Paul writes:
> Their first gig is going to be Jan 15 in Mohegan Sun in CT."
RADICAL!!
Any chance for a date near Seattle? Or maybe a PBS "My Music "
reunion?
How can we the casual fan be kept abreast of these matters?
Rockin' and Reelin' from Carpet to Ceilin'
Dennis
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Message: 9
Date: Mon, 21 Nov 2005 17:34:44 -0800
From: Dennis Hoban
Subject: Re: The Carrie Nations
Mark Wrote:
> Who were the Carrie Nations? Does anyone know?
In Russ Meyer's "Beyond the Valley of the Dolls" Written by Roger
Ebert and Meyers, The Carrie Nations were a girl trio named by
a "Young, hip record producer" called "Z-Man Bartel".
If Memory serves The Strawberry Alarm Clock appeared at a party
scene, and the Sandpipers contributed a tune during the "pastoral
love scene".
It was just about the only "commercial" (i.e. released by a
distributor, not Meyer's own "Homemade"company, in this case,
20th Century Fox).
WAS there a REAL ST album for this movie?
Rockin' and Reelin' from carpet to ceilin'
Dennis
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Message: 10
Date: Mon, 21 Nov 2005 21:14:00 -0500
From: James Cassidy
Subject: Platter chatter
I don't know if this clarifies things further or not, but Herb Reed
lives here in the Boston area and performs regularly around New
England with his group and his nifty Afro wig as "Herb Reed and the
Platters." According to http://www.herbreedandtheplatters.com his
group is the only one that includes an original Platter. Sonny
Turner (who sports his own superfine removable 'doo) is an "original
replacement Platter" succeeding Tony Williams as lead tenor.
Jim Cassidy
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Message: 11
Date: Mon, 21 Nov 2005 17:57:33 -0800 (PST)
From: Steve Harvey
Subject: Fritz Richmond RIP
Dear all,
Fritz Richmond lost a year-long battle with lung cancer on November
20th, 2005. This was a truly sad and shocking news. I did not even
know that Fritz Richmond was ill, but now and then I have been
wondering why he disappeared from our list. My last memory of Fritz
is from after a concert here in Bergen, Norway where he was on stage
after the show talking to some young people from the audience about
the instruments he'd be playing. I think this was typical for his
character which has also come through in his participation in this
list. Must he R.I.P. and his music live.
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Message: 12
Date: Mon, 21 Nov 2005 22:04:28 -0500
From: Phil X Milstein
Subject: Re: ars longa, vita brevis
Will Stos wrote:
> ... Part of the joy of this type of music is all there is to discover.
> It seems under every rock you find another great song that could
> have been a hit. Every time I think I've heard all there is to hear
> I discover a wealth of new material. ...
I hear ya, Will, and I appreciate your dedication to the digging of the new.
But! ...
Given the stark facts that time is finite while musical discoveries, it is
starting to seem, are anything but, we all need to find our own way along
the confounding continuum between pursuing every new shiny nugget that
comes along, and putting in some good, quality ear-time with those nuggets
we've already mined. The former approach, however, seems to leave scarcely
any room for the pleasures of grooving over and over again to established
favorites, which -- and here (as with all of this) I don't mean to criticize,
but only to state what works for me -- is something I'm just not willing
to sacrifice.
I've known several music hounds over the years who've had the ability to
absorb virtually all they wanted or needed to from a record within one or
two plays, after which they would hungrily move on to the next platter on
their pile. While I've marveled at this unique talent, and appreciated the
fact that it offers the bearer the chance to pile up so much greater
quantity, I've never exactly envied it, either, as their listening always
struck me as more of a task than a joy.
My own preference, by contrast, has been to linger a bit longer on those
many records that mean something extra-special to me. And if that means
finding myself lagging behind, it also means I can proceed at a more
leisurely pace.
Respectfully,
--Phil Milstein
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Message: 13
Date: Mon, 21 Nov 2005 22:40:07 -0500
From: Phil X Milstein
Subject: Re: Mashed Postman Time
Will Stos wrote:
> I know that "Mashed Potato Time" borrowed liberally from "Please
> Mister Postman," but I was struck by how many other songs on the
> CD sounded so similar to other tunes I was familar with.
Mike Edwards replied:
> Wasn't it cool to see the Marvelettes' Georgina Dobbins with a
> writing credit in the accompanying notes? Your point about the
> Cameo Parkway songwriters borrowing the work of others is valid ...
The "Please Mister Postman" / "Mashed Potato Time" controversy is
covered at moderate length in Marc Taylor's excellent 2004 book
"The Original Marvelettes: Motown's Mystery Girl Group." According
to Taylor, Motown sued Cameo over the similarity between the two
songs. As a result,
"Today the five writers of 'Please Mister Postman' -- William
Garrett, Georgia Dobbins, Robert Bateman, Freddie Gorman and
Brian Holland -- are credited by BMI as the songwriters of 'Mashed
Potato Time' instead of the latter song's originally-credited
composers, Harry Land and Jon Sheldon."
The book also reveals some further ironic strands that surround
these two songs. Again according to Taylor, Dobbins was "Postman"'s
primary writer, and although most (if not all) of the other credited
writers did contribute to the final composition, their input hardly
squared with the cumulative 80% of royalties they've subsequently
received. Such "deals" are, of course, merely par for the course
in the music industry, but it underscores just how difficult it
must've been for Miss Dobbins (for whom "Postman" was apparently a
very first stab at songwriting) to swallow the further insult once
"Mashed Potato Time" appeared on the scene.
Adding to that was the fact that, according to Taylor (who
collaborated closely on the book with most if not all of the
surviving Marvelettes), when the group found themselves on a bill
with Dee Dee Sharp, she, the more experienced music professional,
muscled her way into the show's headlining slot, bumping The
Marvelettes down in the process. Nonetheless, according to Gladys
Horton, "We were lovey-dovey girls and that was that. The companies
sued, but as far as the artists, The Marvelettes and Dee Dee Sharp
have always been friends."
When the success of "Please Mister Postman"'s follow-up, "Twistin'
Postman," prompted a quickie album, "Smash Hits Of 1962" (retitled
"The Marveletts [sic] Sing" upon 1963 reissue), it "opened with a
remake of Dee Dee Sharp's 'Mashed Potato Time.' Perhaps this was a
ploy for Motown to bolster its claim that the original version was
a 'Please Mister Postman' rip-off. The arrangement of [The
Marvelettes' version of] 'Mashed Potato Time' was eerily similar
to 'Please Mister Postman,' particularly with the background vocals,
and it appeared that Gladys was simply singing a different set of
lyrics over the same 'Postman' production." Sounds to me like a
"love letter" from Berry to Bernie and Kal.
Dig,
--Phil M.
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Message: 14
Date: Tue, 22 Nov 2005 11:14:18 +0100
From: Frank
Subject: Re: LPs, CDs, MP3s ...
Will Stos wrote :
> On that matter, I wonder if I might ask the group's opinion on
> the future of the CD medium. It seems as MP3 players become more
> popular and legal downloading is a viable option, more and more
> back catalogues will find their way onto these sites. I'm of two
> minds on this prospoect. Although I love the idea that more tracks
> might become more accessible, nothing for me compares to picking
> up a new CD and devouring the liner notes while listening to songs
> that are new-to-me.
Interesting thought. I remember thinking exactly the same thing when CDs
came along. Nothing for me compared to picking up a new LP with its big
picture where the care and thoughts put in the making of that sleeve really
meant something, and was there for everybody to enjoy-- even the bad ones.
With CDs it feels as if you are only given a thumbnail.
But what's more frightening for me is the thought that someday MP3s
might replace CDs. The loss in quality is significant if you really care
about sound.
Frank
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Message: 15
Date: Tue, 22 Nov 2005 11:51:44 -0000
From: Steve
Subject: Re: The Carrie Nations
Dennis Hoban asked:
> Who were the Carrie Nations? Does anyone know?
> WAS there a REAL ST album for this movie?
There was a soundtrack LP, released on 20th Century Fox (TFS 4211). It has six tracks by The Carrie Nations, two by The Strawberry Alarm Clock, and some instrumentals.
Funnily enough, the LP was released here in Australia in 1970, though the film was banned (due to very strict censorship, pre-1971).
The character of Ronnie "Z-Man" Bartel could be viewed as a Spector type tycoon. Ronnie is certainly eccentric!
When the big Hollywood studios were floundering in the late 1960s, a lot of them jumped onto the hip "Easy Rider"-type bandwagon. None went as far as 20th Century Fox when they made "Beyond The Valley Of The Dolls" and "Myra Breckinridge," both in 1970.
I'm not sure who actually SANG for the Carrie Nations. It may have been the actresses who played the characters, but I'm not sure.
Cheers,
Steve in Australia
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Message: 16
Date: Tue, 22 Nov 2005 16:03:08 -0000
From: Dean Harris
Subject: Re: Lynn Carey & The Carrie Nations
At last, a topic I actually know a lot about: "Beyond The Valley Of The Dolls!"
BVD was the first of two films that Russ Meyer made for 20th Century Fox, the
other being the rarely-seen "The Seven Minutes." BVD made Fox a bundle,
while the other was an utter flop.
The fictional "Carrie Nations" featured the vocals of Lynn Carey, who at the time
was performing with a group called CK Strong. While Carey's vocals are heard
in the film, Ami Rushes was heard on the soundtrack album, mimicking the
vocal style of Carey but coming up a bit short, if you ask me. I've come across
two different explanations for this replacement: the first is that Carey's
management demanded too much money, the record label balked, and Rushes was
used on the cheap; the second has something to do with a contract dispute
between Barbra Streisand and Fox. BS and Carey were both with Columbia at the
time, so maybe there is something to this.
Recently, the Harkit label released a more-or-less complete soundtrack CD to
the film which includes both the Carey recordings and the Rushes ones. Missing
from this disc is the song "Once I Had Love," a ballad which was on the original
soundtrack album but replaced in the film itself with the Sandpipers' title track.
This tune originally played during a love scene between Erica Gavin and Cynthia
Myers.
Carey showed up again to sing one number in "The Seven Minutes," this time
appearing in the film as the singer. She later released a couple of albums
under the name Mama Lion.
-- Dean
-------------------[ archived by Spectropop ]-------------------
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