________________________________________________________________________
SPECTROPOP - Spectacular! Retro! Pop!
________________________________________________________________________
There are 11 messages in this issue.
Topics in this digest:
1. Re: Righteous Brothers
From: Gary Myers
2. sniff, sniff... is that a tape in the oven?
From: Joseph R. Nelson Sr.
3. Re: The train from "The Train From Kansas City"
From: Ray
4. Re: James Ray, Hutch Davie and "I've Got My Mind Set On You"
From: Phil X Milstein
5. "Standed In The Jungle"
From: Mick Patrick
6. Re: Howard Boggess > Willy Cole
From: Jeff Lemlich
7. Ronnie Spector's new CD
From: Peter Andreasen
8. Re: American Bandstand Original Dancers
From: Ray
9. Deano - Cover Girl
From: S'pop Projects
10. Re: Willy Cole
From: Artie Wayne
11. Alicia Granados
From: Mick Patrick
________________________________________________________________________
________________________________________________________________________
Message: 1
Date: Sat, 21 Jan 2006 12:20:02 -0800
From: Gary Myers
Subject: Re: Righteous Brothers
Anthony Reichardt:
> I live in Santa Ana, California which is where Bill Medley
> and his family lived ... In 1999, Bill gave an interview
> in a small city neighborhood newspaper here ... the
> Paramores began playing at 'John's BLACK DERBY' on the
> south west corner of Main Street at Chestnut in Santa Ana
> ... One night a local guy from Garden Grove California by
> the name of Ray Maxwell, who had a small record company
> called Moonglow Records came in and heard the guys perform.
> One of the tunes that they sang that night 'Little Latin
> Lupe Lu' was a song that Bill had written about a girl
> whom he had met at hairdressing school... "So that's how
> it all started" recalls Bill, "That was the summer of '62.
Thanks for the great story, Anthony. I first came to SoCal
in May '63, which was the same month that "Little Latin Lupe
Lu" first bubbled under in BB. We played at the Firehouse on
17th St. in Costa Mesa, where LLLL got much play on the
jukebox, and, of course, we were quite surprised that it was
by two white guys. After the first couple of weeks at a
Newport Bch motel, we stayed in Santa Ana the rest of the
summer, first in a house, then an apartment. I'm sure I
drove past the Black Derby many times.
We returned to Milwaukee in Sept and added "My Babe" to our
repertoire. Two years later I was back out here with another
band and got to be good friends with a guy named Bobby Barnes
(and helped him with a song on which we did a demo session at
Moonglow). Bobby was a good, fun guy, but it was sometimes
difficult to tell where the exaggeration began. He used to
say he taught Bill Medley how to sing. We took much of it
with a grain of salt, but one night we were playing the Red
Velvet in Holloywood (the Knickerbockers off-night) and
Medley came in. On of our guys asked him if he knew Bobby
and, with a smile, he said, "Yeah, but he lies a lot". :- )
gem
-------------------[ archived by Spectropop ]-------------------
Message: 2
Date: Sat, 21 Jan 2006 12:21:06 -0500
From: Joseph R. Nelson Sr.
Subject: sniff, sniff... is that a tape in the oven?
Randy Poe:
> My understanding of the tape baking process is that they're
> heated up to make them go through the tape machine. In the
> case of the Daisy/Tiger Story, it definitely worked.
Sort of. Certain tape stocks (80's to mid 90's vintage Ampex
456 comes to mind) were prone to "stick shed" issues, meaning
that the binding that holds the oxide to the tape base breaks
down and the oxide flakes off. (If your tapes squeal, this is
what you're hearing.) The tapes are heated on a convection
oven at 125 degrees Fahrenheit for four hours per quarter
inch of tape width to re-bind the oxide.
I'm told that sticky shed issues really only became a problem
in the mid to late 70's although there are earlier examples.
Frank Zappa found it was a problem when he remastered his old
MGM catalogue for CD. (That's no typo folks, you just saw
Frank Zappa mentioned in Spectropop! The chaos and
destruction now happening around you is the consequence of
violating the natural order of the world.) Apparently he'd
never heard of tape baking or the tapes weren't bankable for
some reason. I know acetate stocks aren't bankable but it's
hard to picture a label of MGM's stature using them.
Joe Nelson
-------------------[ archived by Spectropop ]-------------------
Message: 3
Date: Sun, 22 Jan 2006 03:37:09 -0000
From: Ray
Subject: Re: The train from "The Train From Kansas City"
Tony Leong:
> Does anyone have any idea how the train sounds were done
> on "Train From Kansas City"???
Jeff Barry, via Laura Pinto:
> I made the train sounds myself - it's a cupped hands, blow
> between the thumbs thing I learned as a kid. It came in handy
> - more mournful and 'human' like than the usual sound effects.
It's interesting to hear how certain sounds were created. I
can still remember how surprised I was to hear that the high
flute sound used in James Darren's Goodbye Cruel World was
actually a human voice..(presumably female).
I also read on this board that the operator voice on Reparata's
Weather Forecast was actually created by a pay phone booth on
the street outside the studio. When I asked Reparata about this,
she laughed and said, "No, I think it was just a flip of a
switch on the control board". So much for authenticity.
I find it more amazing how expertly they managed to blend the
sounds into the songs. The seagulls in the Shangri-Las'
Remember, the motor cycle sounds in Leader of the Pack, the
whistling in Darin D'anna's We were Lovers, the siren sounds
in Reparata's Your Life has Gone, and especially the thunder
claps in the Ronettes' Walking in the Rain,,,all seem to blend
so well into the recordings that they almost become another
instrument.
-------------------[ archived by Spectropop ]-------------------
Message: 4
Date: Sat, 21 Jan 2006 15:44:21 -0500
From: Phil X Milstein
Subject: Re: James Ray, Hutch Davie and "I've Got My Mind Set On You"
Austin Powell wrote:
> Norm D. asked whose idea the tuba and banjo on James Ray's
> work was. The arranger for the sessions was Hutch Davie,
> so probably his, but with music you never can be sure.....
> The sessions were done at NY's Regent Sound Studios.
I've got a 1983 Charly collection (on LP, of course) of Ray's
work, titled "Itty Bitty Pieces," with liner notes by Cliff
White. White seems to have been assigned the task somewhat
against his will, as, although complimentary in places, it's
clear that he's underwhelmed by most of Ray's output. On top
of that, all he knows of Ray has been drawn from Ray's only
original album (which was released on Caprice c.1962 or '63),
which by way of facts (as opposed to hyperbole) adds only
that Hutch Davie was also Ray's piano player, and that Ray
himself was "diminutive."
Somehow or other, the Charly album overlooks Ray's
masterpiece, "I've Got My Mind Set On You." I am amazed
every time I listen to this song, largely by the audacity of
its arrangement. The thing is like seven songs in one, and
the fact that it includes tuba and banjo is less notable
that the instruments it DOESN'T include, such as Indian
harmonium and didgeridoo (and I'm not entirely sure about
the didgeridoo). One could treat the result as a bizarre
example of neo-Rococco excess, or as a singular piece of
music that is utterly unlike anything else of its time. And
while it was similarly ballsy of George Harrison to decide
to cover it, his version is quite tame -- perhaps so as not
to scare off the audience -- compared to the Ray/Davie
original.
Didge,
--Phil M.
-------------------[ archived by Spectropop ]-------------------
Message: 5
Date: Sat, 21 Jan 2006 20:26:46 -0000
From: Mick Patrick
Subject: "Standed In The Jungle"
Paul Oliverio:
> Along with Richard "Louie Louie" Berry, Obie "Mary Lou"
> Jessie, Arthur Lee Maye (who was also a major league baseball
> player) Pete Fox was an original member of the revered
> singing LA group, THE FLAIRS. He was also in the Cadets for
> the original version of "Stranded In The Jungle".
Classic record, "Stranded In The Jungle", but the original was
by the Jayhawks, not the Cadets. Mind you, I have nothing
against the Cadets (aka the Jacks) http://tinyurl.com/9tyme or
the Flairs http://tinyurl.com/e3zeq , both of which were great
groups.
Hey la,
Mick Patrick
-------------------[ archived by Spectropop ]-------------------
Message: 6
Date: Sat, 21 Jan 2006 22:47:19 -0500
From: Jeff Lemlich
Subject: Re: Howard Boggess > Willy Cole
Davie Gordon mentioned in his Howard Boggess discography:
> 06/70 THE WILLY COLE (Phil LA of Soul 340)
> Right On
> A Pretty Good B-Side
> Prod : Bill Coleman for Boggess - Wayne Productions
Now here's one I'd like to know a lot more about. I take it
"Wayne" is Artie Wayne. Artie (or anyone else), what can you
tell us about (The) Willy Cole?
Thanks,
Jeff Lemlich
http://www.limestonerecords.com
-------------------[ archived by Spectropop ]-------------------
Message: 7
Date: Sun, 22 Jan 2006 10:18:37 -0000
From: Peter Andreasen
Subject: Ronnie Spector's new CD
I am sure a lot of guys here at Spectropop have waited a
long time, but now it seams that Ronnie Spector's new
album will be out in March. (Yes, this year.) It´s called
"The last of the rock stars".
-------------------[ archived by Spectropop ]-------------------
Message: 8
Date: Sun, 22 Jan 2006 04:11:21 -0000
From: Ray
Subject: Re: American Bandstand Original Dancers
Ray:
> An hour-long PBS pledge special celebrating the experiences
> of the original Bandstand dancers during Philadelphia's
> golden days of rock'n'roll. Remember Bob and Justine? Arlene
> Sullivan? Eddie Kelly and Bunny Gibson?
> http://www.teleduction.com/order/bandstand.htm
Yes, I remember them well. I couldn't wait to get home from
school to watch American Bandstand and the regular dancers.
It is interesting to note that there are still fan clubs and
message boards in existence that discuss the original bandstand
dancers. Arlene and Kenny, Bob and Justine, Pat Moliterri,
Eddie and Bunny, Barbara Levick, the Jimminez sisters...they
all became true celebrities in the late fifties. Kenny Rossi
and Pat Moliterri had recording contracts. I remember hearing
their songs on the radio in nyc. A reunion took place last
summer in Atlantic City hosted by Jerry Blavet. It was well
received. Many of the original dancers showed up. It's over
Forty years and they can still draw a crowd. Amazing.
Ray (the other Ray)
-------------------[ archived by Spectropop ]-------------------
Message: 9
Date: Sun, 22 Jan 2006 16:27:56 -0000
From: S'pop Projects
Subject: Deano - Cover Girl
John Frederick Brown wrote:
> Just when I think I've sent "Deano" the correct info
> on "Please, Don't Talk To The Lifequard" ...
A shot of Deano Wilson gracing the cover of Pop Weekly
magazine has been uploaded to the S'pop Photos section.
The scan was supplied by David Bell and can be viewed
here: http://tinyurl.com/cufzw Click on the image for
larger version.
Enjoy,
The S'pop Team
-------------------[ archived by Spectropop ]-------------------
Message: 10
Date: Sun, 22 Jan 2006 06:11:12 -0800 (PST)
From: Artie Wayne
Subject: Re: Willy Cole
Davie Gordon mentioned in his Howard Boggess discography:
> 06/70 THE WILLY COLE (Phil LA of Soul 340)
> Right On
> A Pretty Good B-Side
> Prod : Bill Coleman for Boggess - Wayne Productions
Jeff Lemlich:
> Now here's one I'd like to know a lot more about. I take it
> "Wayne" is Artie Wayne. Artie (or anyone else), what can you
> tell us about (The) Willy Cole?
Jeff...Willie Cole a/k/a Bill Coleman, was Beatles press
officer Bess Coleman's brother. This was the second master I
placed in the U.S. for his group, the first being "Go To Him"
by the London Knights on Laurie records.
Regards, Artie Wayne http://artiewayne.com
-------------------[ archived by Spectropop ]-------------------
Message: 11
Date: Sun, 22 Jan 2006 16:36:21 -0000
From: Mick Patrick
Subject: Alicia Granados
Julio Niño wrote:
> And talking about pre-teen stars, one of my favorites
> is Alicia Granados. Alicia's career as a ye-ye child
> is very brief, just four EPs (she later transformed in
> a kind of folk singer, losing most of her charm in the
> mutation), but she had a very special perkiness. For
> some reason Deano's track reminded me of a track by
> Alicia, "Alicia es así" (that's the way Alicia is). I
> would like to share this track with you to thank you
> for all the fun I have in this group. The song was
> included in Alicia´s first EP on the label Regal in
> 1964. Although Alicia was only ten when she recorded
> it, she sounded (and looked) rather malicious.
Great - time for S'pop's regular dose of Spanish ye-ye!
On Julio's behalf I've uploaded "Alicia Es Asi" to musica:
http://groups.yahoo.com/group/spectropop/files/musica/
Hey la,
Mick Patrick
-------------------[ archived by Spectropop ]-------------------
SPECTROPOP features: http://www.spectropop.com
End
