________________________________________________________________________
SPECTROPOP - Spectacular! Retro! Pop!
________________________________________________________________________
There are 19 messages in this issue.
Topics in this digest:
1. Re: Cameo-Parkway
From: John Fox
2. Re: The Carrie Nations
From: Stu Phillips
3. Re: Cameo-Parkway
From: Mike Edwards
4. Re: Fritz Richmond RIP
From: C Ponti
5. Re: Carrie Nations/Mama Lion
From: Mark Maldwyn
6. Re: Cameo-Parkway songwriters
From: SJ Dibai
7. Re: LPs, CDs, MP3s ...
From: S.J. Dibai
8. Re: Reparata & the Delrons > Producer & Arranger Credits
From: Mick Patrick
9. Re: Stu Phillips and the Carrie Nations
From: (That) Alan Gordon
10. Toni Wine
From: S'pop Projects
11. Re: Carrie Nations/Mama Lion and Once I Had Love
From: Dean Harris
12. Re: Fritz Richmond RIP
From: Steve Harvey
13. Re: LPs, CDs, MP3s ...
From: Dave Monroe
14. Re: Lynn Carey & The Carrie Nations
From: Bryan
15. Re: Reparata & the Delrons > Producer & Arranger Credits
From: Phil X Milstein
16. Re: The Carrie Nations
From: John H
17. Jersey Boys: The Story of Frankie Valli & the Four Seasons
From: S'pop Projects
18. Re: LPs, CDs, MP3s ...
From: Tom Taber
19. Al Frazier, R.I.P.
From: Bill Swanke
________________________________________________________________________
________________________________________________________________________
Message: 1
Date: Tue, 22 Nov 2005 14:31:15 EST
From: John Fox
Subject: Re: Cameo-Parkway
Frank wrote:
> Cameo-Parkway is the most disparaged American record label of
> the Spectropop era. Sure, they put out their share of garbage...
In 1977, I spent a full day with Kal Mann at his home. All I
wanted to talk about was his label, his songs, his writing, his
acts, his success as a rock & roll mogul. All he wanted to talk
about was modern jazz, his work as a college drama professor,
his children, his farm, his golf game, etc. Every time I asked
him a question about the "old days", he ducked it and changed
the subject. He is gone now, but I think he genuinely considered
himself a legitimate (i.e. Broadway-type) songwriter, and was
deeply embarrassed by the sound-alike stuff produced by Cameo-
Parkway in the late 1950s and early 1960s.
John Fox
-------------------[ archived by Spectropop ]-------------------
Message: 2
Date: Tue, 22 Nov 2005 19:39:30 -0000
From: Stu Phillips
Subject: Re: The Carrie Nations
To complete the story behind "Beyond The Valley Of The Dolls,"
the only info I can add is that the second vocalist who sang
with Lynn Carey on the soundtrack was a girl named Barbara
Robison. At the time, she was the female lead in the Peanut
Butter Conspiracy (Alan Brackett/John Merrill, etc.) All of
the back-up harmonies were performed by Lynn and Barbara. Lynn
Carey has her own website, at http://www.mamalion.com . Barbara
unfortunately passed away not too long after performing on the
soundtrack.
Stu Phillips (composer of "BTVOTD")
-------------------[ archived by Spectropop ]-------------------
Message: 3
Date: Tue, 22 Nov 2005 20:38:56 -0000
From: Mike Edwards
Subject: Re: Cameo-Parkway
Frank writes:
> Sure, Cameo-Parkway tended towards wholesale theft of P.D.
> melodies, near-copies, etc., but they had some first-rate
> songwriterss.
No one disputes this, Frank. Even the songs with the borrowed
bits were tremendous. Just witness Len Barry leading the
Dovells through "Bristol Stomp" in the film, "Don't Knock The
Twist". (The fact that "Bristol Stomp" borrows heavily from
the Students' "Every Day Of The Week" doesn't dimish its
greatness.)
Among the Cameo-Parkway writers, Frank rightly points out some
high quality songs from Jackson-Wisner, Sheldon-Leon, Gamble-
Huff, Lamont Dozier and Barret Strong. I would like to add Bob
Crewe for the Orlons' "Goin' Places" (with Linzer-Randell) and
"Knock Knock (Who's There)" (with Larry Santos). Bob Crewe
also wrote "Deep Dark Secret" for Dee Dee Sharp with S'pop
member, Eddie Rambeau. This Cameo 45 goes for around $300 in
northern soul auctions/sale lists.
Sheldon was Kal Mann and I believe Leon must have been Dave
Appell. Frank mentions "Holiday Hill" as their best effort;
I'd go for "Slow Twistin'" by Chubby Checker & Dee Dee Sharp.
The late UK journalist/DJ James Hamilton cited this as one of
the first soul records with its call and response vocals and
distinctive riff (borrowed from Jesse Hill's "Ooh Poo Pah Doo").
Frank continues:
> 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.
I'm not sure how you conclude that C-P is the most disparaged
American record label. The soul records on Parkway and Fairmount
have a very strong following and are held in high regard by
northern soul fans. (Yvonne Baker's "You Didn't Say A Word", for
example). Similarly Cameo's garage band/punk material from such
as ? & The Mysterians and Bob Seeger are well regarded. And the
bigger hits? You couldn't really do 1961-3 without them and all
the artists (Chubby, Bobby Rydell etc) are working today. Their
audiences show up because they know the records. "There are some
stone-cold classics from C-P" you say. No that's more like it!
More Frank:
> 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.
I cannot fault the reissues; a 4 CD boxed set and 6 individual
artists' best ofs. The sound quality is excellent – and in some
cases completely upgrades the listening experience (Frankie
Beverly's "Because Of My Heart" being a wonderful example). The
sleeve notes have been well researched and the track notations
are very solid. It's simply terrific to see the Dreamlovers get
credit for all the tracks they sang back-up on. And wasn't it
cool to find out that the Artistics backed Dee Dee Sharp on a
track or two? You're right in that there is much more quality
(but not necessarily better) material in the Cameo-Parkway
vaults and hopefully much of it will get reissued. But right
here, right now, compared to where we were even last year, the
Abkco C-P reissues are an exceptional event in S'pop history.
Mike Edwards
-------------------[ archived by Spectropop ]-------------------
Message: 4
Date: Tue, 22 Nov 2005 20:17:46 -0000
From: C Ponti
Subject: Re: Fritz Richmond RIP
previously:
> 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 ...
The Bergen gig of which you speak must've been the one he did as part
of John Sebastian & The "J" Band. Fritz was one of the guys who was
there in folk music from its most nascent stage, in the coffeehouses
of Cambridge. His work with the Jim Kweskin band was so great. Those
albums influenced so many other artists of that time. I later knew
Fritz when he was engineering for Paul Rothchild at Elektra. He was at
the helm for the Janis LPs, the Doors and countless others. He was a
tireless worker. I worked sessions with him and it was wonderful, the
sense of continuity after having known him during the Jug Band phase.
In recent years he worked with John and really was the heart and soul
of the J Band. He was such a mythic figure that for the younger guys,
Jimmy Vivino and James Wormworth, one had the sense they were really
there to hang with John and him. We all were neighbors in Laurel
Canyon during the 70s. It was a small community and Fritz was always
a cheering soul to encounter in one's travels from house to house.
He is sorely missed in all our hearts.
C. Ponti
-------------------[ archived by Spectropop ]-------------------
Message: 5
Date: Tue, 22 Nov 2005 22:05:40 -0000
From: Mark Maldwyn
Subject: Re: Carrie Nations/Mama Lion
Dean Harris wrote:
> 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.
Amazing information, and what a shame "Once I Had Love" is missing
from the Hakit comp. If I recall Mama Lion was promoted heavily in
the music press at the time, with full page adverts in which Carey
glamourously 'breastfed' a lion cub. I think she was sponsored by
Bob Guccione of Penthouse fame.
Mark Maldwyn
-------------------[ archived by Spectropop ]-------------------
Message: 6
Date: Tue, 22 Nov 2005 23:38:43 -0000
From: SJ Dibai
Subject: Re: Cameo-Parkway songwriters
Frank Young wrote:
> The Sheldon-Leon team turned out their share of great tunes,
> as well.
Errr, I hate to disappoint, but Jon Sheldon and Dave Leon were
just pseudonyms for Kal Mann and Dave Appell.
> 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).
You're write -- I mean, right about Barrett Strong, but I'm afraid
the "Dozier" who wrote "Envy" is Ugene Dozier (sometimes spelled
"Eugene" and listed on BMI as "Gene Dozier.") He did a lot of work
for Cameo-Parkway; he arranged "Envy," which was an early Gamble-
Huff production.
> Cameo-Parkway is the most disparaged American record label of
> the Spectropop era.
Really?!?! Well, we'd better do something about that! Who's with
me?
S.J. Dibai
-------------------[ archived by Spectropop ]-------------------
Message: 7
Date: Tue, 22 Nov 2005 23:57:40 -0000
From: S.J. Dibai
Subject: Re: LPs, CDs, MP3s ...
Will Stos:
> 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.
Whoa, how the hell did this thread slip under my radar? This is
a topic that has been troubling me lately. I hate the way mp3s
are replacing everything. In fact, when I get mp3s I don't load
them onto an iPod (mostly 'cause I don't have one)--I burn them
onto a CD so I can play them on my stereo system! Okay, so
cassette tapes can go down the garbage disposal--I always found
them a pain--but I love that tactile sensation of holding a CD
or record and actually loading it into/onto a machine to play it.
In fact, I'm also crazy about going out to a store and buying
said CD or record. I order online if and when I have to. And
Will, aren't you a 20-something like me? Hmm--maybe you and I
can start a backlash against mp3s. The Young Spectropoppers'
Revolution or some such, LOL.
Frank:
> 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
Hmm. I think that applies to back covers mostly--you had to
sell the LP with fetching liner notes, while with CDs you don't
have room for that kind of stuff. Still, that's a minor setback
to me. What I lament the most is the loss of LABEL DESIGNS!
Even most of the new vinyl I see lacks a generic label design
to announce boldly and proudly that the record was released on
the (fill in the blank) label. I blame CDs for that. With a CD,
you usually don't see the actual disc until you've opened up
the packaging--so who needs a big, powerful label design there?
Heavy sighs. Label designs gave record companies and their
various imprints a sense of character, identity, and a
recognition factor. Now, you get a tiny logo in the corner of
the cover art. Sheesh.
still Frank:
> 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.
I don't agree there. An mp3, if the bitrate and processing
levels are right for the track in question, can sound fabulous.
I've taken oldies off of CDs that already had good sound
quality and made them sound even better in mp3 form. But the
issue with me is the loss of vinyl--vinyl has a different,
less sterilized sound than CDs and mp3s, and sometimes that
sound just works better.
S.J. Dibai
-------------------[ archived by Spectropop ]-------------------
Message: 8
Date: Wed, 23 Nov 2005 00:45:42 -0000
From: Mick Patrick
Subject: Re: Reparata & the Delrons > Producer & Arranger Credits
Me on Reparata & the Delrons producer and arranger credits:
> 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:
>
> 14. Reparata & the Delrons - I Can Hear The Rain
> Arranged by John Abbott
> Conducted by Bill Jerome, Jr.
> A World United Production
Martin has uploaded to the S'pop Photos Section a scan of
his UK copy of the above 45. Find it right here:
http://tinyurl.com/bjtoz
As you'll see, it carries an additional label credit not
present on US copies: Supervised by Danny Davis.
Interesting, that. Thanks, Martin.
Hey la,
Mick Patrick
-------------------[ archived by Spectropop ]-------------------
Message: 9
Date: Tue, 22 Nov 2005 18:00:28 -0700
From: (That) Alan Gordon
Subject: Re: Stu Phillips and the Carrie Nations
Interesting to find out that Stu Phillips composed "Beyond The
Valley Of The Dolls". He also is the force behind The Hollyridge
Strings. His arrangements for their versions of the songs we all
love, including, the Beach Boys, Beatles, and Four Seasons songs
are spectacular! I just heard "Candy Girl". I always wished he
had done one of my songs.
Wishing all of you a very safe and Happy Thanksgiving.
Best, Alan Gordon
-------------------[ archived by Spectropop ]-------------------
Message: 10
Date: Wed, 23 Nov 2005 01:06:31 -0000
From: S'pop Projects
Subject: Toni Wine
Question:
What was the first recorded Toni Wine composition?
Answer:
"Only To Other People", recorded by the Cookies in 1963,
when Toni was sweet 16.
A few weeks ago, a handful of lucky S'poppers were among
the throng that witnessed Toni perform the song live on
stage with Margaret Ross Williams, the lead vocalist on
that very record.
To mark that event, the Team have created a new S'pop
page devoted to Toni, available right here:
http://www.spectropop.com/ToniWine/index.htm
Don't forget to click on each image for larger versions.
Enjoy,
The S'pop Team
-------------------[ archived by Spectropop ]-------------------
Message: 11
Date: Tue, 22 Nov 2005 20:36:26 -0500
From: Dean Harris
Subject: Re: Carrie Nations/Mama Lion and Once I Had Love
Mark Maldwyn wrote:
> Amazing information, and what a shame "Once I Had Love" is
> missing from the Hakit comp. If I recall Mama Lion was
> promoted heavily in the music press at the time, with full
> page adverts in which Carey glamourously 'breastfed' a lion
> cub. I think she was sponsored by Bob Guccione of Penthouse
> fame.
It is indeed a shame that this track is missing from the new comp.
I would assume that the version on the original soundtrack album
and various boots in recent years was not sung by Carey but by
Rushes. I have no way of confirming this information, but since
the rest of the lp vocals weren't Carey's, it stands to reason.
Carey's vocals are so rich that it would have been nice to hear
what she did with this ballad. As this track is not available on
legit CD, if the interest is there I could upload it to musica.
I'd be glad to do so.
Incidentally, the end credits to BVD include Once I Had Love, so
the Sandpipers replacement must have been very last-minute.
-Dean
-------------------[ archived by Spectropop ]-------------------
Message: 12
Date: Tue, 22 Nov 2005 20:17:14 -0800 (PST)
From: Steve Harvey
Subject: Re: Fritz Richmond RIP
That was Fritz's car on the cover of Jackson Browne's Late For
the Sky album.
Steve Harvey
-------------------[ archived by Spectropop ]-------------------
Message: 13
Date: Tue, 22 Nov 2005 16:30:11 -0800 (PST)
From: Dave Monroe
Subject: Re: LPs, CDs, MP3s ...
Frank wrote:
> 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.
While I've been focused on 45s these past few years, I spent
the 90s, not to mention no small amount of money, building up a
CD collection which ahs now been in storge nearly two years.
I've nothing against CDs per se, they certainly are convenient,
we'll of course eventually see just how "permanent" they are (I
already had at least one disc going coppery around the
circumference, so ...), but my biggest misgiving was the
tendency towards "Greatest Hits" dics vs. original LP
tracklistings.
To some extent, the subsequent tendency towards "bonus" tracks,
box sets, et al. has since mitigated this, though we know have
the problem of the integrity of said OG tracklistings being
compromised by all those extra tracks (though that 3 CD The
Kinks are the Village Green Preservation Society is I'm sure
something other than else nonetheless), but, well, you can
always stop listening after that not-quite-anymore "last" track.
But what I worried about with CDs I worry even more about with
mp3s, that the ability to select ONLY the tracks one thinks at
last one wants, certain tracks will simply disappear, at least
from ready circulation. Beyond the art form that sequencing
the tracks on an LP can be (already compromised by the
continuous play of a CD), there's no small pleasure to be had
picking up an LP or a CD or whatver for its ostensible "hit"
and then finding all sorts of perfectly good, if not even
better, tracks.
Imagine if, say, "The White Album," or Pet Sounds, or The Who
Sell Out, or ... had been first released as, at best, swarms
or whatever of single track mp3s with, at best, a suggested
listening order. And then there's the endangered b-side ...
-------------------[ archived by Spectropop ]-------------------
Message: 14
Date: Tue, 22 Nov 2005 19:49:17 -0800
From: Bryan
Subject: Re: Lynn Carey & The Carrie Nations
Dean writes:
> 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.
Lynn Carey is my friend Rick's upstairs neighbor here in L.A. --
she has also had double hip replacement surgery, as I understand.
Bryan
-------------------[ archived by Spectropop ]-------------------
Message: 15
Date: Tue, 22 Nov 2005 21:00:23 -0500
From: Phil X Milstein
Subject: Re: Reparata & the Delrons > Producer & Arranger Credits
Mick Patrick wrote:
> Martin has uploaded to the S'pop Photos Section a scan of
> his UK copy of the above 45. Find it right here:
> http://tinyurl.com/bjtoz
> As you'll see, it carries an additional label credit not
> present on US copies: Supervised by Danny Davis.
Maybe he was the delivery boy who picked up the tapes at Heathrow
and brought them to the mastering lab. What I'd like to know is
why the upside-down matrix number on the label?
--Phil M.
-------------------[ archived by Spectropop ]-------------------
Message: 16
Date: Wed, 23 Nov 2005 01:34:26 -0000
From: John H
Subject: Re: The Carrie Nations
I love Beyond The Valley of the Dolls and The Carrie Nations.
Technically, I think their singles (which were actually released
to coincide with the film) would have fallen outside of Lost &
Found's criteria. They were released in 1970, one year too late.
Lynn Carey is credited as the main vocalist on most of the Nations
songs. A great, wonderful soundtrack cd was recently released. It
comprises the soundtrack versions and the film versions of all the
songs, which vary quite noticeably. Worth picking up. Essential,
in fact.
Someone mentioned recently that Honey Ltd. reminded them of The
Carrie Nations, and I totally agree. Silk N' Honey and Come Down
would have been lovely on that Rhino set.
-John H
-------------------[ archived by Spectropop ]-------------------
Message: 17
Date: Wed, 23 Nov 2005 01:38:29 -0000
From: S'pop Projects
Subject: Jersey Boys: The Story of Frankie Valli & the Four Seasons
New @ S'pop Recommends
Jersey Boys: The Story of Frankie Valli & the Four Seasons
Reviewed by Mike Edwards:
http://www.spectropop.com/recommends/index2005.htm#JerseyBoys
Don't forget to click on the link at the bottom for video
clips from the Broadway show and sound bites from the Bob
Gaudio-produced Original Cast CD.
Enjoy,
The S'pop Team
-------------------[ archived by Spectropop ]-------------------
Message: 18
Date: Tue, 22 Nov 2005 17:27:08 -0800 (PST)
From: Tom Taber
Subject: Re: LPs, CDs, MP3s ...
S.J. Dibai wrote:
> Okay, so cassette tapes can go down the garbage disposal--I
> always found them a pain--but I love that tactile sensation
> of holding a CD or record and actually loading it into/onto
> a machine to play it.
You know what I miss with most CD players? In addition to
liking holding a CD, 45, 78; I like WATCHING it go 'round, and
most CD players don't let you do that.
If you want to buy a jukebox for cheap, you will find the
cheapest are ones that don't let you watch the record.
Tom Taber
-------------------[ archived by Spectropop ]-------------------
Message: 19
Date: Wed, 23 Nov 2005 05:37:13 -0600 (Central Standard Time)
From: Bill Swanke
Subject: Al Frazier, R.I.P.
>From Times Staff and Wire Reports
November 20, 2005
Al Frazier, 75, a member of the West Coast-based vocal group
the Rivingtons, whose "Papa-Oom-Mow-Mow" and "The Bird's the
Word" were novelty hits in the early 1960s, died Nov. 13 in
Las Vegas, where he had lived since 1985, his wife, Pauline,
said.
The group's other members were Sonny Harris, Rocky Wilson Jr.
and Carl White, who died in 1980. Using other names, it had
previously backed up Paul Anka, Duane Eddy, Thurston Harris
and others.
According to the Encyclopedia of Popular Music, Wilson came up
with the phrase "Papa-Oom-Mow-Mow," and the other group
members loved it.
They wrote a song around it and recorded it on Liberty Records
in 1962. It reached No. 48 on the Billboard charts.
"Yes, it was a nonsense song, but the members sang it with
such spirit and elan that it wasn't a 'guilty pleasure' or
embarrassing novelty record," All Music Guide's Bruce Eder
wrote.
"Papa-Oom-Mow-Mow" and "The Bird's the Word," which made the
Billboard charts in 1963, were later used in the Trashmen's
popular "Surfin' Bird."
-------------------[ archived by Spectropop ]-------------------
SPECTROPOP features: http://www.spectropop.com
End
