________________________________________________________________________ SPECTROPOP - Spectacular! Retro! Pop! ________________________________________________________________________ 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 ________________________________________________________________________
________________________________________________________________________ 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 -------------------[ archived by Spectropop ]-------------------
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." -------------------[ archived by Spectropop ]-------------------
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 : ) -------------------[ archived by Spectropop ]-------------------
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 -------------------[ archived by Spectropop ]-------------------
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 -------------------[ archived by Spectropop ]-------------------
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 -------------------[ archived by Spectropop ]-------------------
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. -------------------[ archived by Spectropop ]-------------------
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 -------------------[ archived by Spectropop ]-------------------
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 -------------------[ archived by Spectropop ]-------------------
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 -------------------[ archived by Spectropop ]-------------------
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. -------------------[ archived by Spectropop ]-------------------
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 -------------------[ archived by Spectropop ]-------------------
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. -------------------[ archived by Spectropop ]-------------------
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 -------------------[ archived by Spectropop ]-------------------
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 -------------------[ archived by Spectropop ]-------------------
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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