________________________________________________________________________
______________ ______________
______________ ______________
______________ S P E C T R O P O P ______________
______________ ______________
________________________________________________________________________
Jamie LePage (1953-2002)
http://www.spectropop.com/Jamie.htm
------------------------------------------------------------------------
There are 19 messages in this issue.
Topics in this digest:
1. Darlene & the Pelicans
From: Jimmy Crescitelli
2. Kalin Twins; Orpheus and BossTown, Diane Renay
From: Paul Payton
3. Re: Kalin Twins
From: Frank
4. Re: MARK WIRTZ & THE BREAKAWAYS
From: Mick Patrick
5. Re: Motown bass players
From: Nick Archer
6. It's My Party (NOT the Lesley Gore hit)
From: Brett Wheadon
7. Re: Multiple Group Names
From: Stephane Rebeschini
8. Re: It's My Party (NOT the Lesley Gore hit)
From: Patrick Rands
9. The 45 Club @ The Knitting Factory
From: Leonardo FLores
10. The Liquid Room 5/19/02
From: David Ponak
11. jackie de s. demos
From: Phil Milstein
12. siesta time...
From: Kingsley Abbot
13. Re: Kalin Twins; Orpheus and BossTown, Diane Renay
From: james botticelli
14. Re: Dean's "The Blue Fox" T-Shirt
From: Jared Martine
15. Re: Motown bass players/Motown Magic
From: Mark Wirtz
16. Bedazzled
From: Bob Rashkow
17. Re: Kalin Twins
From: Mark Wirtz
18. Brians Wilson & Gari
From: Will George
19. Another Ricky Nelson Q, ++
From: Mark Wirtz
________________________________________________________________________
________________________________________________________________________
Message: 1
Date: Thu, 23 May 2002 22:28:15 EDT
From: Jimmy Crescitelli
Subject: Darlene & the Pelicans
This was a BIG Spectropop edition, so I hope I'm not repeating
anyone's info: apparently Moose & The Pelicans were Darlene Love,
some Blossoms... and I don't know who else.
Anyone know... ?
-------------------[ archived by Spectropop ]-------------------
Message: 2
Date: Fri, 24 May 2002 00:34:30 -0400
From: Paul Payton
Subject: Kalin Twins; Orpheus and BossTown, Diane Renay
Mark Wirtz asks:
> Also - any of you remember the Kalin Twins - "When"?
> Did they make any other records?
Herbie and Hal. I remember seeing them jumping around while lip-synching
"When" on a Dick Clark Saturday evening show. Definitely an exciting single!
There was at least one album I know of on Decca, and I seem to have another
single around somewhere (probably from the LP, and definitely not of the
quality of the hit). Thanks, Phil Milstein, for their song-poem info; I
never knew.
Mark continues:
> Finally, do any of you know the names of THE original Motown
> drummer/bass player?
Wasn't the bassist James Jamerson?
Phil Chapman, the MGM Orpheus and Red Bird Orpheus are entirely different; I
know nothing about the Red Bird artist, but also have the 45 floating around
somewhere. For those not up on the tale, the MGM group was the most
successful of the Bosstown Sound hypefest of the late 60's, where MGM
Records tried to shamelessly cash in on the "groovy hippie movement" by
"manufacturing" a Boston trend, which was supposed to be the "next big rock
scene" after San Francisco. All three bands involved - Orpheus, Ultimate
Spinach, and Beacon Street Union - were existing groups, but totally unripe.
(Another band, Phluph, on MGM's Verve subsidiary, wasn't "officially" a
Bosstown Sound band, nor was Ill Wind on ABC, although both were caught in
the debacle by association.) The most progressive and pompous of these
groups was Ultimate Spinach, and the least-ready-for-prime-time was the
Beacon Street Union. To their credit, Orpheus managed some decent pop hits,
but were quite obviously not the album rock group MGM had hoped for. For
several years after, unless you were a folkie, being a progressive artist
from Boston was somewhat of an embarrassment thanks to MGM's idiocy.
Interestingly, Atlantic/Atco had two Boston acts at about the same time. The
J. Geils Band was on the parent label and thus far removed from the MGM
quagmire. Also, unlike the MGM groups, they were musically ready, both in the
studio and live. Having their lead singer, Peter Wolf, on the air nightly on
pioneering freeform station WBCN didn't hurt either - he was a knowledgeable
and exciting on-air rapper and personality, plus he had some of the best
taste in blues, rock and r&b of anyone before or since. Over on Atco, Bo
Grumpus had an album regrettably overproduced by Felix Pappalardi. They were
much more like a Lovin' Spoonful in person - also a great live act, as I
remember.
Martin Roberts, I won the new Diane Renay CD from our friend Ronnie of the
great radio interviews. While I'm glad to have it, I'm afraid my opinion
differs from Patrick Rands and Mick Patrick. She handled a variety of
reworked standards beautifully, which were recorded in the "Navy Blue" era;
but I found the lo-fidelity sound of some of the transfers hard to listen
to. Sadly, except for the first few moments of the discofied "Navy Blue"
(she ultimately breaks into a talking section which "jumps the shark"
bigtime), I found most of the new stuff was a letdown.
Changing subjects, I haven't heard the Untouchables CD (I only have my original
45 which I bought new upon release), but I think "Raisin' Sugar Cane' is an
exceptional track. Do you have a link for the CD, or do you know the track
listing?
Off for a week - play nice!
Country Paul
-------------------[ archived by Spectropop ]-------------------
Message: 3
Date: Fri, 24 May 2002 06:54:07 +0200
From: Frank
Subject: Re: Kalin Twins
Mark Wirtz wrote:
> Also - any of you remember the Kalin Twins - "When"?
> Did they make any other records?
The Kalin Twins did indeed record more than this hit single. I have a
compilation CD of their songs.
Frank
-------------------[ archived by Spectropop ]-------------------
Message: 4
Date: Fri, 24 May 2002 07:56:56 +0100
From: Mick Patrick
Subject: Re: MARK WIRTZ & THE BREAKAWAYS
Hi,
Anyway, getting back to THE BREAKAWAYS. Thanks for letting us
know exactly who was singing on "I Can Hear Music", Mark.
Since then I've got myself a copy of "The Go Go Music Of Mark
Wirtz" CD on RPM and I'm itching to know who the vocalists are
on some of the other tracks. Am I correct in assuming that it's
the Breakaways on "Come Back And Shake Me" (from the German LP
of the same title) plus "Comin' Home Baby" and "Don't Do It
Baby" (from the US "Wirtz & Music" / UK "Latin A Go-Go" album)?
Or is it the Ladybirds? Or both? Who's on lead? Vicki? Margot?
Jean? Do tell.
By the way, Mojo magazine comes with a FREE "Movie Soundtrack"
CD this month. Contained on it is the theme song from the Peter
Cook & Dudley Moore flick "BEDAZZLED", one of the best records
the Breakaways ever made. It alone is worth the cost of admission.
And just wait until you hear "You Cut Up The Clothes In The
Closet Of My Dreams" by "Joshie" Jo Armstead from the film "Don't
Play Us Cheap", a deep soul treasure in the Jennifer Holliday
style. Only for those with nerves of molybdenum! :-)
MICK PATRICK
-------------------[ archived by Spectropop ]-------------------
Message: 5
Date: Fri, 24 May 2002 06:46:00 -0500
From: Nick Archer
Subject: Re: Motown bass players
Mark continues:
> Finally, do any of you know the names of THE original Motown
> drummer/bass player?
If I may quote from the book, "Standing In the Shadows of Motown
- the Life and Music of Legendary Bassist James Jamerson", by
Dr. Licks(?),
"Although James is the unquestioned "King of the Motown Bass", he
was definitely not the first to lay down a groove for Berry Gordy.
Clarence Isabell, Tweed Beard, Willie Green, and a high school
principal named Professor Joe Williams all preceded him.. In fact,
Professor Williams played on Marv Johnson's "Come to Me", which is
the record that is considered to be the birth of Motown. However,
Berry's thirst for perfection was apparently not satisfied by any
of these players, because they quickly become history when Jamerson
arrived on the scene."
This is an incredible book, and I've seen later editions that include
a CD with split music tracks of Jamerson songs that have been
re-recorded by famous present day bass players to allow you isolate
the original Jamerson bass line, or play along.
The book I have is ISBN 0-88188-852-4.
http://www.amazon.com/exec/obidos/ASIN/0881888826/qid=1022248077/sr=2-1/ref=sr_2_1/104-3016105-4507926
Nick Archer
Check out Nashville's classic SM95 on the web at
http://www.live365.com/stations/289419
-------------------[ archived by Spectropop ]-------------------
Message: 6
Date: Fri, 24 May 2002 13:25:42 -0000
From: Brett Wheadon
Subject: It's My Party (NOT the Lesley Gore hit)
Hi,
I've been over to an independent CD store http://www.cdbaby.com
which lists a group called "It's My Party." The tracks I've heard
on the site sound pretty swell, can anyone give me a review of
this disc, and more information about the writer/producer?
Bret W.
-------------------[ archived by Spectropop ]-------------------
Message: 7
Date: Fri, 24 May 2002 15:51:59 +0200
From: Stephane Rebeschini
Subject: Re: Multiple Group Names
Will Stos a écrit :
> Many thanks to Mick and Phil for solving the mystery of the
> Darlettes on "Lost". I wonder what kind of rules were in place
> when deciding on a name..................
> ........This week on the UK charts a group
> originally called Liberty had to rename themselves Liberty X
> because another Liberty complained, but I've never heard of
> anything similar happening during the 60s. Did it?
From what I know, that also happened with 60's/early 70's rock groups,
with various results.
- Circa 1969, Mountain Bus (a hippie group) was sued by Mountain
(Pappalardi/Leslie West) for stealing the name. In actual fact they had
the name first but never really recovered from the law suit which
required them to state on their album cover that they were in no way
connected with Mountain !!
- Circa 1970, an "Help" group changed their name to Azitis, due to a
conflict with the Decca band "Help" and released their album on Elco and
a single featuring two cuts from the album. When the Decca group broke
up they took the Help name back with its new more specific definition.
- And there are also several examples of US groups having to change
their name for the UK market (The US "Gypsy" became "American Gypsy" for
the British market, as there already was a UK "Gypsy"), or UK going to
the US (I think the Charlatans had to change to "The UK Charlatans" in
the 80's because of the 60's San Francisco group).
Regards
Stephane
-------------------[ archived by Spectropop ]-------------------
Message: 8
Date: Fri, 24 May 2002 10:32:16 -0400
From: Patrick Rands
Subject: Re: It's My Party (NOT the Lesley Gore hit)
Brett Wheadon wrote:
> Hi,
> I've been over to an independent CD store http://www.cdbaby.com
> which lists a group called "It's My Party." The tracks I've
> heard on the site sound pretty swell, can anyone give me a
> review of this disc, and more information about the
> writer/producer?
It's My Party - the band have an interesting history. You can
read about them at http://www.allmusic.com/ and also check out
their own website at http://www.itsmypartyonline.com/ - I
personally recommend them, they do a good job recreating that
sound we know and love. Interestingly, they don't do any LG
covers, though I've heard they do live. I bet they are fun
live!
:Patrick
-------------------[ archived by Spectropop ]-------------------
Message: 9
Date: Fri, 24 May 2002 17:46:12 -0000
From: Leonardo FLores
Subject: The 45 Club @ The Knitting Factory
Hello All,
Just want to remind you that Southern Califorina's newest
Soul Night, The 45 Club will be making it's debut at the
Knitting Factory tomorrow (Saturday, May 25th) for a full
night of SOUL, SOUL And More SOUL !
Dj's Uplandmod, Austin Martini, Mojo Justin and Special
Guest DJ Brian Waters from LA finest, The Flash Express,
will spinning an uninterupted set of both Rare and Known
Soul 45's for all. For more information or record requests
please visit our web site, http://www.the45club.com
Hope to see you all there,
Cheers,
Leonardo Flores
-------------------[ archived by Spectropop ]-------------------
Message: 10
Date: Fri, 24 May 2002 11:02:17 -0700
From: David Ponak
Subject: The Liquid Room 5/19/02
The Liquid Room, (usually) hosted by David Ponak (me), airs
every Saturday night from Midnight to 3AM (PDT) on 90.7FM KPFK
Los Angeles, as well as streaming at http://kpfk.org
Please join me this weekend!
The Liquid Room 5/19/02
1.The Association/Come On In
Birthday (WB)
2.Mansfield/Rally
Motor Popp E.P. (Readymade International-Japan)
3.Dudley Moore/Love Me
Bedazzled (soundtrack) (Harkit-UK)
4.Double Naught Spy Car/Danger High
Danger Hight (Pascal)
5.Pico/I Love You (It's A Man's Man's Mansfield Ultimate Yukari Mix)
ABC (Kitty-Japan)
6.Qypthone/Scooter
single (Happiness-Japan)
7.Piero Umiliani/Fotomodelle
Svezia, Inferno Y Paradiso (Right Tempo-Italy)
8.Eel/Ca Ne Va Pas Du Tout
Early Works (File Unique-Japan)
9.Johnny Jones And The King Casuals/Purple Haze
David Homes: Come Get It I Got It (13 Amp)
10.Francoiz Brut/L'Affair D'un Jour
Vingt A Trente Mille Jours
11.The Cyrkle/It Doesn't Matter Anymore
Neon (Sundazed)
12.Rajput & The Sepoy/Up Up And Away
Incredibly Strange Music Volume 1 (Caroline)
13.Phoenix/If I Ever Feel Better
United (Astralwerks)
14.The Love Generation/Groovy Summertime
Mondo For Flower Age (EMI-Japan)
15.R.E.M./I've Been Hgiht (Her Space Holiday/March Blanchi Mix)
R.E.M.ix (WB-Promo)
16.Kirinji/The Sunny Side Of The Street
Music And Words Of Pizzicato Five-A Tribute Album (Readymade
International-Japan)
17.Blossom Dearie/Quiet Nights (Corcovado)
May I Come In? (Capitol)
18.Daft Punk/Digital Love
Discovery (Virgin)
19.Paul Anka/She's A Lady
Live In Las Vegas (Varese Sarabande)
20.PuffyAmiYumi/Jet Police
An Illustrated History (Bar/None)
21.Peanuts/Ai No Fuuga
Best Of J-Pop Hit Parade
22.Mellow/Take Me Higher
C.Q. (soundtrack) (Emperor Norton)
23.Manfred Mann/My Little Red Book
What's New Pussycat? (soundtrack) (Rykodisc)
24.Eels/Fresh Feeling
Souljacker (Dreamworks)
25.Gary Zekley/Other Towns, Other Girls
The Melody Goes On (M&M-Japan)
26.Roland Shaw And His Orchestra/Let Love Come Through
In Flight Entertainment (Deram-UK)
27.Les Hommes/Intraspettro
Les Homme (Schema-Italy)
28.Mild Euphoria/Delicious Pie
Let's Dissolve (Siesta-France)
29.Takkyu Ishino/Stereo Nights
Japan For Sale Volume 2 (Sony Music Imports)
30.Synergy/Classical Gas
Release 2 (Polygram)
31.Ursuala 1000/Tigerbeat
Kinda Kinky (ESL)
32.The First Moog Quartet/Hey Hey
The Best Of Moog (Loud)
33.Lemon Jelly/Kneel Before Your God
Lemon Jelly (XL)
34.Lee Hazlewood/Leather And Lace
A Cowboy In Sweden (SLR)
35.Pink Martini/Song Of The Black Lizard
Lounge Story (Naive)
36.Julie Driscoll/I Know You Love Me Not
If Your Memory Serves You Well (Dressed to Kill-UK)
37.Craig Armstrong (featuring David McAlmont)/Snow
As If To Nothing (Astralwerks)
38.The Ray Makers/Contact High
Cook Book CD (Eenie Meenie)
39.Gary Wilson/6.4=Make Out
You Think You Really Know Me (Motel)
40.Luke Slater/I Can Complete You
Alright On Top (Mute)
41.Paul Weller/Wild Wood (Portishead Mix)
Boys (soundtrack) (A&M)
42.The J. Girls/The World Of Yellow
Good Night Tokyo (Readymade-Japan)
43.Paul Williams/Morning I'll Be Moving On
Someday Man (Reprise)
-------------------[ archived by Spectropop ]-------------------
Message: 11
Date: Fri, 24 May 2002 15:14:05 +0000
From: Phil Milstein
Subject: jackie de s. demos
I've been thoroughly enjoying volume 1 (or whichever vol. includes Jimmy
Baby and I Shook The World) of the demos collection put out by the
Jackie DeShannon Appreciation Society. Can anyone suggest whether or not
another $20 invested in the remaining volume would be equally well-spent?
Sharon Sheeley, RIP: the only person I know of to have co-written with
both DeShannon and Del Shannon.
--Phil Milstein
-------------------[ archived by Spectropop ]-------------------
Message: 12
Date: Fri, 24 May 2002 20:21:28 +0100
From: Kingsley Abbot
Subject: siesta time...
Nice to see the lovely Siesta label getting a mention.
This Spanish label have put out some very nice Free
Design compilations, and a smile-inducing series called
Reverie which includes a CD called "Simultaneous Ice
Cream" which features a variety of what are pretty well
'house' artists. Lead off track here is a splendid cover
of Eternity's Children's "Mrs Bluebird" (mainly organised
by the excellent Louis Philippe).
Whilst on the subject of Euro labels and indeed Mr Phillippe,
I must completely recommend his album "Azure" on XIII Bis
Records. It is an album of rare beauty, for anyone who
loves the romanticism of Pet Sounds. Put Louis into a
search engine and you'll be surprised how prolific he is.
Don't forget the Marina label as well - Caroline Now
collection, and albums by Scotland's Pearlfishers.
Lastly, the eclectic el label (Part of Cherry Red) where
again you'll find the lovely Louis and many sunshiney
collections like "Sunshine Pop 99" (El acme 28).
You'll find el records via http://www.cherryred.co.uk
You'll find Seista at http://www.siesta.es
Kingsley Abbott
-------------------[ archived by Spectropop ]-------------------
Message: 13
Date: Fri, 24 May 2002 15:48:27 -0400
From: james botticelli
Subject: Re: Kalin Twins; Orpheus and BossTown, Diane Renay
Paul Payton wrote:
> MGM group was the most
> successful of the Bosstown Sound hypefest of the late 60's, where MGM
> Records tried to shamelessly cash in on the "groovy hippie movement" by
> "manufacturing" a Boston trend, which was supposed to be the "next big rock
> scene" after San Francisco. All three bands involved - Orpheus, Ultimate
> Spinach, and Beacon Street Union - were existing groups, but totally unripe.
> (Another band, Phluph, on MGM's Verve subsidiary, wasn't "officially" a
> Bosstown Sound band, nor was Ill Wind on ABC, although both were caught in
> the debacle by association.) The most progressive and pompous of these
> groups was Ultimate Spinach, and the least-ready-for-prime-time was the
> Beacon Street Union. To their credit, Orpheus managed some decent pop hits,
> but were quite obviously not the album rock group MGM had hoped for. For
> several years after, unless you were a folkie, being a progressive artist
> from Boston was somewhat of an embarrassment thanks to MGM's idiocy.....
.....but like anything that happened over 20 years ago, it has become the
property of post ironists, Newspeak look-backs, and lastly, but not leastly,
CD Re-Issueists.
Country Paul IMHO correctly labels Orpheus as the best of
the bosstown bunch. There was an Orpheus reissue a few years back that
pretty well encapsulates their poppishly orchestrated and jazzily melodic
music, but as is the case with nearly all well-intentioned CD reissues,
managed to leave out some essential material. To own the Orpheus without
having the tune "Lesley's World" is to be essentially Orpheus-less. Again,
IMHO! I recommend the first Orpheus LP which starts with "Congress Alley"
and has their only hit, "Can't Find The Time To Tell You." The LP rarely
turns up and for some reason--hopefully local (Boston) only--is garishly
overpriced.
I will add that I was there when the Bosstown Sound hype began.
Its local shill was a cool AM DJ named Dick Summers who urged us all to take
a paper clip and fashion it into an "S" to "spread the sound". To his
credit, Dick started the "Subway" show in 1967 which only aired Sunday.
nights and played selections from the emerging underground (Fugs, CJFish,
Hendrix LP trax, etc). When Dick came to my high school to play my senior
prom in 68, I was crushed that he "sold out" by playing our pop faves...And
so it goes
--
Jimmy Botticelli
Taking The E-Z...Way Out!
-------------------[ archived by Spectropop ]-------------------
Message: 14
Date: Fri, 24 May 2002 13:14:29 -0700 (PDT)
From: Jared Martine
Subject: Re: Dean's "The Blue Fox" T-Shirt
Leonardo Flores:
> Where is the Blue Fox that Dean so proudly wears on
> his shirt
The Blue Fox was a bar in TJ, back in the 60s.
Supposedly the site of one of the "donkey shows".
I found it to be quite dark and populated with
hustlers.
Jake
-------------------[ archived by Spectropop ]-------------------
Message: 15
Date: Fri, 24 May 2002 18:13:50 EDT
From: Mark Wirtz
Subject: Re: Motown bass players/Motown Magic
Nick,
Thank you for that great info!! Now, do you by any chance know why Berry
Gordy didn't transplant James Jamerson (as well as the other key Motown
rhythm section players) to LA when Motown moved out there? After initially
still cutting rhythm tracks in Detroit with the original section, which were
then sent to LA for vocal recordings and "sweetening" by transplanted
arranger Gene Page at Poppy Studios (later taken over by Motown as their own
studio), Berry eventually used an LA rhythm section made up of local studio
musicians, including drummer Ed Green and female bassist Carol Kaye.
That brings two things to mind:
1) Is Gene Page recognized as the extraordinary arranger that he was, not
only responsible for so many unforgettable Motown arrangements, but later
also as Phil Spector's arranger for some awesome productions, incl. "Black
Pearl" ??
2) Having always been a Motown nut, I was thrilled to bits when I got invited
to an L.A, Motown session by ace sax player Jim Horn (whose album "Through
the Eyes of a Horn" I was producing and mixing at the time for Denny
Cordell's Shelter Records). Expecting to witness that "Motown Magic"
experience, I was deeply disappointed. There was no buzz, and no magic.
Everybody just "showed up" and "clocked in" factory-like to work, and then
"clocked out" when the session was over...
CONVERSELY--- A totally different experience, perhaps somewhat related at
least to the "Motown Magic," was a session I was hired for as
arranger/conducter by Lamont Dozier, who had split from the Hollands and
Motown to start his own record production company. The session took place in
South L.A.'s ghetto area and I must have been the only white guy in miles
when I showed up at the studio, scared to death, to be greeted by an all
black orchestra. As it turned out, it was one of the most joyful music
celebrations I ever attended, and the players were awesome, truly putting
their whole soul into their parts. No drugs, but I was high as a weather
balloon when I left the studio, just on the sheer jubilant energy and passion
that pervaded the whole session. How did I get hired for this in the first
place? That was in my "Marc Peters" days, when I had a #1 R&B record with
John Valenti's "Anything You want." John, though white, sounded like Stevie
Wonder, and everybody thought that he, as well as I, were black. But when I
showed up at Lamont's session, and once the musicians had run through the
parts I had written, I couldn't have felt more accepted. They played their
nuts off for me, and I felt like part of the family.
Thought you might be interested in knowing a bit about the "unknown"
sides of "Mark Wirtz" LOL
Best,
Mark
-------------------[ archived by Spectropop ]-------------------
Message: 16
Date: Fri, 24 May 2002 21:23:44 EDT
From: Bob Rashkow
Subject: Bedazzled
Is The Breakaways' Bedazzled the cool version heard in the flick, in the
sequence in which Cook appears to be stealing Moore's thunder as an idolized
popster (or is that popstar?!) ?? I understand that Peter & Dudley also have
their own recording of this.
Millenium of Molybdenum, 2002 AD
Bobster
-------------------[ archived by Spectropop ]-------------------
Message: 17
Date: Fri, 24 May 2002 18:22:36 EDT
From: Mark Wirtz
Subject: Re: Kalin Twins
Frank writes:
> The Kalin Twins did indeed record more than this hit single.
> I have a compilation CD of their songs.
Thank you for the info, Frank, and those of you who also responded
to me on that point. Do the other tracks on the CD measure up to
"When", Frank??
Mark
-------------------[ archived by Spectropop ]-------------------
Message: 18
Date: Fri, 24 May 2002 22:46:57 EDT
From: Will George
Subject: Brians Wilson & Gari
Some of you Brian Wilson fans may be interested in checking out
singer/songwriter Brian Gari's website http://www.briangari.com
He has recorded a CD of Brian Wilson tunes, and not the big hits.
I invited Brian to drop in as well, so maybe he'll show up around
these parts soon.
Bill
-------------------[ archived by Spectropop ]-------------------
Message: 19
Date: Fri, 24 May 2002 18:14:18 EDT
From: Mark Wirtz
Subject: Another Ricky Nelson Q, ++
While still curious to learn who the back-up vocalists on the early
Ricky Nelson recordings were, another (obvious) question comes to mind:
Who produced those early recordings? I am particularly curious as it
raises a technical issue: While Snuff Garrett is commonly credited as
the first producer to have a vocalist double-track/self-harmonize with
Bobby Vee (double tracking, essentially, was surely originated by
guitarist Les Paul), shouldn't that honor go to whoever produced "Hello
Mary Lou"?
As I ponder these kind of things, being able to come here for answers, it
occurs to me how wonderful the Spectropop living archive-in-progress truly
is, a veritable treasure. My salute and appreciation to the "heads" of it,
as well as all of you that contribute with such dedication - just for the
love of it. Makes me feel proud to be a member!
Best,
Mark
-------------------[ archived by Spectropop ]-------------------
End
