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Spectropop - Digest Number 651
- From: Spectropop Group
- Date: Thu, 31 Oct 2002
________________________________________________________________________
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______________ S P E C T R O P O P ______________
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Jamie LePage (1953-2002)
http://www.spectropop.com/Jamie.htm
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There are 25 messages in this issue.
Topics in this digest:
1. Re: Changin' the Subject
From: Ron
2. Re: Knockin' the Hermits
From: Phil Chapman
3. Re: You Know My Name / Gamma Goochie
From: Phil Milstein
4. Re: You Know My Name / Gamma Goochie
From: Bill Craig
5. Tom Dowd RIP
From: Country Paul
6. Gregmark and Trey label discographies
From: Mike Edwards
7. RE: Gregmark
From: Phil Chapman
8. Dave Clark Five's Greatest Hits
From: Mike Edwards
9. Re: You Know My Name / Gamma Goochie
From: Eddy Smit
10. AMERICA AND THE BRITISH INVASION.... a more serious view...
From: Louise Posnick
11. RE: Gregmark
From: Guy Lawrence
12. RE: Gregmark
From: Vincent Degiorgio
13. RE: Gregmark
From: Phil Milstein
14. Re: Dave Clark Five's Greatest Hits
From: Mikey
15. Re: Johnny Cymbal
From: Marc Miller
16. Re: Bob Lind etc
From: Norman
17. Re: Lounge Legends Series
From: Mike Edwards
18. Re: Johnny Cymbal
From: James Botticelli
19. Jack Nitzsche At Spectropop
From: Martin Roberts
20. Seekers for sale
From: Matthew Kaplan
21. Re: AMERICA AND THE BRITISH INVASION.... a more serious view...
From: Neil Hever
22. Re: Knockin' the Hermits
From: Richard Tearle
23. Re: Dave Clark Five's Greatest Hits
From: Richard Tearle
24. Re: Johnny Cymbal
From: Mike Rashkow
25. Music and emotion
From: Peter Lerner
________________________________________________________________________
________________________________________________________________________
Message: 1
Date: Thu, 31 Oct 2002 12:26:29 -0000
From: Ron
Subject: Re: Changin' the Subject
Lynn wrote:
> And the Two of Clubs! I have a copy of "Walk Tall". They had
> another hit, too, called "Heart". I had forgotten that they
> were a local group from the Cincinnati area. The fab Teardrops
> don't ring a bell. What songs did they did and about what year?
The two Cincinnati hits I remember by the Teardrops were "Tonight I'm
Gonna Fall in Love Again", and my favorite, "Tears Come Tumbling".
Very Shirelles like. This was about '64 or '65. Morton Downey Jr.
was a DJ on WCPO radio in Cincinnati at that time and made a big deal
about "Tears" being picked up by Musicor to go national. I believe it
flirted with the national charts but never made it. I do remember
hearing it on WBZ in Boston on a late night AM dial search. Check out
the great Spectropop page on the Teardrops. My Teardrops question-
Was the Teardrops on Laurie the same group?
Ron
-------------------[ archived by Spectropop ]-------------------
Message: 2
Date: Thu, 31 Oct 2002 15:26:25 -0000
From: Phil Chapman
Subject: Re: Knockin' the Hermits
Richard Tearle:
> My belief, for what its worth is that there is no such thing as
> BAD music: its just whether you like it...
I share a slightly different viewpoint; that there is 'bad' music,
*and* you can still like it, rather like fast food is quite fun
sometimes, even though you know it's not much good for you.
It can get a bit wearing being repeatedly beaten with the cosh of
absolute taste. I don't believe success in pop music is (or should
be) directly proportional to talent, it is more a reflection of
consumer preference. How we are exposed to the 'choices', however,
is a much more contentious debate.
From the numerous accounts of the so-called British Invasion, I go
along with the view that it was the result of mass identification
with a bunch of 'kids from down the street', an antidote to
'manufactured' pop music. Of course, the music industry was quick
to catch on, and set about manufacturing 'real' bands.
Going back in the annals of time when I was a DJ at a local 'youth
club' in Manchester, I vaguely remember "Herman and His Hermits"
appearing there once (or maybe twice) - and these relatively ordinary
lads dreamed of "going down to London to make a record...". When they
released their well-chosen cover of the more subtle Earl Jean Goffin-King record, which I'd already heard and liked, it was not difficult to predict
which version of an obvious hit song the general public would 'identify'
with. I think the whole cute, clean, British-lad image was a response to
the wave of (mainly) American hysteria for the genre. I think they became
what the public wanted. I doubt very much that they would have otherwise
considered donning Pearly King outfits and recording Music Hall-type
material. I mean, they were from Lancashire, the response may have been
quite different had they got weilded a ukelele and dipped into the
not-so-clean, innuendo-laden George Formby catalogue!
-------------------[ archived by Spectropop ]-------------------
Message: 3
Date: Thu, 31 Oct 2002 08:49:44 +0000
From: Phil Milstein
Subject: Re: You Know My Name / Gamma Goochie
Stewart Mason wrote:
> Does anyone know of any comnnection between "The Gamma Goochee Himself"
> and the single "The Gamma Goochie" by the east Texas/Louisiana group
> called the Persian Market? (It's on the Cicadelic Records comp CICADELIC
> 60s VOLUME 2: NEVER EXISTED!) Their single is great.
"(You Got) The Gamma Goochee" (as recorded by "The Gamma Goochee
Himself") was a big enough hit to have inspired several cover
versions, including by The Kingsmen and by The Tribe, on Shel Talmy's
Planet label. The Persian Market, though, is a new one on me. Is there
any way I could hear it?
Eddy Smit wrote:
> Gregmark # 1 was Sassy by a S & H Stamps
S&H for Sill & Hazlewood?
--Phil M.
-------------------[ archived by Spectropop ]-------------------
Message: 4
Date: Thu, 31 Oct 2002 13:10:56 -0000
From: Bill Craig
Subject: Re: You Know My Name / Gamma Goochie
Stewart writes:
> To be fair, I don't think this is in the same league as
> the "deliberately bad" flips, as it's clearly the boys
> having a bit of Goons-inspired fun.
It has a similar feel to fan club Christmas messages that the
Fabs did for many years and clearly was fun for both the band
and listeners. I enjoyed it very much, but put on the back of
a single it wasn't likely to get turned over and get top 40
airplay, which was something that happened a lot with The Beatles.
Regards,
Bill
-------------------[ archived by Spectropop ]-------------------
Message: 5
Date: Thu, 31 Oct 2002 10:24:30 -0500
From: Country Paul
Subject: Tom Dowd RIP
Legendary engineer-producer Tom Dowd passed away last Sunday
at age 77. Yesterday's (10/30/02) New York Times carried a
major story on the obit page [log in required].
http://www.nytimes.com/2002/10/30/obituaries/30DOWD.html
There is also a very interesting obit/article at Rhino Records,
http://www.rhino.com/new/articles/tomdowd.html
A few highlights:
Legendary producer and engineer Tom Dowd passed away on Sunday,
October 27th at the age of 77. When Rhino signed a distribution
deal with Atlantic Records in the early 1990s, we had occasion
to speak with Tom, who was one of the men most responsible for
the label's rise to success....
"...I [later] got a great helper -- Arif Mardin. His first job
with me was to work as my aide. The first thing we did together
was The Rascals. I taught him how to do the down and dirty rhythm
tracks and Arif would come up with additional composing and charts.
It was Arif, Jerry [Wexler] and I, and we were a hell of a team.
We were all together and it was natural to work together. When
one of us came up with an idea we would go and do it...."
"On Wilson [Pickett) I did 'Mustang Sally', 'I'm In Love',
'Stag-O-Lee', 'I'm A Midnight Mover', and 'Funky Broadway
(Live In Ghana)'. I did that in Ghana for the film Soul To
Soul; that's where that version came from. For 'Midnight Mover'
I helped Wilson write that song -- I wrote a verse of it. But
we didn't take the writing credit."
"'I'm In Love' was a Bobby Womack song that nobody could figure
out what to do with. When I first played it for Pickett he said
it was as naked as a jaybird 'till I added in the rest of the
music and mixed it. Then when I played it for him he had tears
in his eyes."
On Pop Vs. Soul: "...about '634-5789 (Soulsville, U.S.A.).'
This was a Jerry Wexler production done with the Stax rhythm
section. Steve Cropper was talking to me one day wondering why
Motown songs went pop but our records only went on the soul
charts and didn't cross over. I said that our songs were more
soulful. Their songs were basically nursery rhymes because every
word was accounted for -- our songs left space for the singers
to improvise and that is what added the soul and the feeling to
our songs. When Motown put out a song every syllable was on a beat.
A couple weeks later Jerry came back and said I had a hit, and
Cropper laughed, 'All right cousin, how do you like it -- we got
a hit!' Everything was on the beat and that's how we got our pop
hit with Wilson. Steve put every syllable on the beat, and that
was the difference between a pop hit and a soul hit!"
The rest is worth the read, too.
Country Paul
-------------------[ archived by Spectropop ]-------------------
Message: 6
Date: Thu, 31 Oct 2002 15:59:32 -0000
From: Mike Edwards
Subject: Gregmark and Trey label discographies
Country Paul asks:
> "Paris Sisters were Gregmark #2. What was #1? Is there a
> label discography anywhere? How about a Trey discography? "
Label discographies are available at:
http://www.recordmaster.com/
Set up a search under 7" and the name of the label you are looking
for. The Gregmark search revealed that Sassy by the S&H Stamps was
Gregmark 1. The Trey search found 24 singles, including one of my
favorites, Bob Wilson's Ain't No Freckles On My Fish (Trey 3008).
I see Kell Osbourne is on the Trey listing with Bells Of St Mary's
(Trey 3006). His Quicksand on Titanic from 1963 was a great record,
wasn't it?
I urge all Spectropop members to bookmark Recordmaster.com.
Mike Edwards
-------------------[ archived by Spectropop ]-------------------
Message: 7
Date: Thu, 31 Oct 2002 18:51:41 -0000
From: Phil Chapman
Subject: RE: Gregmark
Eddy Smit wrote:
> Gregmark # 1 was Sassy by a S & H Stamps
Phil M:
> S&H for Sill & Hazlewood?
Who (if any) were Greg & Mark?
Phil
-------------------[ archived by Spectropop ]-------------------
Message: 8
Date: Thu, 31 Oct 2002 16:02:38 -0000
From: Mike Edwards
Subject: Dave Clark Five's Greatest Hits
Thanks to Steve Harvey for some interesting notes about the early
years of the DC5. I was pleased to read that all the group members
made out financially: I knew Dave did but was never sure about the
others.
One of the very best albums of the 60s was the DC5's Greatest Hits
(US Epic, mono version). You drop the needle on side 1 and the whole
thing just cooks through 10 solid pop tracks. Do You Love Me, Over
And Over, Everybody Knows (1st version) – they are all here and there
is nothing "thin" about any of the cuts. Yes, I have the group's
double CD, but I keep going back to this album as the collection of
songs catches the group at its absolute peak.
Mike Edwards
-------------------[ archived by Spectropop ]-------------------
Message: 9
Date: Thu, 31 Oct 2002 17:09:00 +0100
From: Eddy Smit
Subject: Re: You Know My Name / Gamma Goochie
> Gregmark # 1 was Sassy by a S & H Stamps
Phil M:
> S&H for Sill & Hazlewood?
No idea, although I did find their name on a Lee Hazlewood
site listed as L & H Scamps
Eddy
-------------------[ archived by Spectropop ]-------------------
Message: 10
Date: Thu, 31 Oct 2002 07:34:14 -0800
From: Louise Posnick
Subject: AMERICA AND THE BRITISH INVASION.... a more serious view...
Reading so much about the British invasion in America and who was worth
listening to and who wasn't...I wish to remind some of you folks that
the British invasion, as it was called then, did an outrageous amount of
damage to the, finally, recognized black artists of the times like
Marvin Gaye...there was a great American, politcal push to get black
artists off the top of the American teens' minds at this time...there
were a number of specials on about the history of rock and roll over the
past two years...and the reality was devastating to the black
artists...many of us resented the money put into some talented and some
not so talented British entertainers.....although many stating that if
it wasn't for the black Americans music, they would have had no musical
role models...they were pawns in the American machine to get rid of the
black artist...and successful they were for awhile... survival is
different than success.....so to some of us, the conversation about HH
and DC5s' redeeming qualities seems beyond frivolous when we know the
damage it all caused..talk to any black artist who remembers, even if
they worked for Motown, and they will tell you what we were about and
how we went about it....talent has nothing to do with the British
invasion...it was political and for teenagers just fun...caught in the
crossfire without even knowing it......but some of us did......
Louise
-------------------[ archived by Spectropop ]-------------------
Message: 11
Date: Thu, 17 Oct 2002 22:52:11 -0700
From: Guy Lawrence
Subject: RE: Gregmark
Phil C wrote:
> Who (if any) were Greg & Mark?
Aren't they Lee's sons?
Talking of Lee, Ace records have a double CD of the complete
MGM recordings scheduled for release in Britain on Monday
(I'll check to see if it's shipped). EMI also released a
single disc of the MGM stuff recently as part of their
"Lounge Legends" series.
It's great that at last there are plenty of Lee Hazlewood
CDs around but someone really ought to reissue "Love and
Other Crimes" - surely his best album.
Oh yeah - "Nancy & Lee Again" too!
Regards,
Guy Lawrence.
-------------------[ archived by Spectropop ]-------------------
Message: 12
Date: Thu, 31 Oct 2002 11:27:44 -0800
From: Vincent Degiorgio
Subject: RE: Gregmark
Guy:
> Talking of Lee, Ace records have a double CD of the complete
> MGM recordings scheduled for release in Britain on Monday
> (I'll check to see if it's shipped). EMI also released a
> single disc of the MGM stuff recently as part of their
> "Lounge Legends" series.
Any idea where a complete list of the Lounge Legends series can
be found ?
Thanks, Vince
-------------------[ archived by Spectropop ]-------------------
Message: 13
Date: Thu, 31 Oct 2002 14:34:39 +0000
From: Phil Milstein
Subject: RE: Gregmark
> Phil C wrote:
> > Who (if any) were Greg & Mark?
Guy Lawrence wrote:
> Aren't they Lee's sons?
Greg was Sill's son; Mark, Hazlewood's.
> It's great that at last there are plenty of Lee Hazlewood
> CDs around but someone really ought to reissue "Love and
> Other Crimes" - surely his best album.
"Poet Fool Or Bum" gets my vote, with "Forty" not far behind.
--Phil M.
-------------------[ archived by Spectropop ]-------------------
Message: 14
Date: Thu, 31 Oct 2002 14:35:41 -0500
From: Mikey
Subject: Re: Dave Clark Five's Greatest Hits
Mike Edwards:
> One of the very best albums of the 60s was the DC5's Greatest Hits
> (US Epic, mono version). You drop the needle on side 1 and the whole
> thing just cooks through 10 solid pop tracks.
Yes, that was a good decision on Len Levy's part, because "Over and Over"
had just hit #1. They had 9 previous hits, so that made one great LP!!
And you're right, that LP just cooks. Any Way You Want It is just an
AMAZING record. How they even got that on vinyl without the cutting
needle exploding is beyond me. The limiter must have been in overdrive
on that one!!
Your Friend,
Mikey
-------------------[ archived by Spectropop ]-------------------
Message: 15
Date: Thu, 31 Oct 2002 15:11:06 -0500
From: Marc Miller
Subject: Re: Johnny Cymbal
Mike Rashkow:
> I used to write with John Cymbal.
Was he Derek (of Cinnamon fame)?
Marc
-------------------[ archived by Spectropop ]-------------------
Message: 16
Date: Fri, 01 Nov 2002 06:53:26 +1030
From: Norman
Subject: Re: Bob Lind etc
Country Paul evokes memories of my early teen years.
I was with my brother when he bought that Verve LP way
back when. I think it was entitled "The Elusive Bob Lind".
I remember the department store we got it from....today
it is a Law Court Complex!
When we got home I remember my brother and I searching high
and low for "Elusive Butterfly" and being disappointed on it
not being included. It was a very good lesson for us that we
have carried with us into the new century. That is, read the
bloody cover or label before buying anything.
Oh, fond memories.
(we still have that LP somewhere so I will endeavour to dig
it up)
Norman
-------------------[ archived by Spectropop ]-------------------
Message: 17
Date: Thu, 31 Oct 2002 15:24:06 -0500
From: Mike Edwards
Subject: Re: Lounge Legends Series
Vincent Degiorgio asks:
> Any idea where a complete list of the Lounge Legends series can
> be found?
Try http://www.Amazon.com and/or http://www.Amazon.co.uk. Search under
Lounge Legends and a number of the titles in this series come up.
Don't forget, if you live in the US and order from Amazon.co.uk, they lop
off that big 17.5% sales tax (I think that's the rate) before they bill
you. My Castle Pulse "Chapel Of Love" triple CD girl group set was billed
to me at less than 6 UK pounds! Alright, I had to pick up the shipping,
but what a phenomenal deal for a top quality set.
Mike Edwards
-------------------[ archived by Spectropop ]-------------------
Message: 18
Date: Thu, 31 Oct 2002 15:43:20 -0500
From: James Botticelli
Subject: Re: Johnny Cymbal
Marc Miller wrote:
> Was he Derek (of Cinnamon fame)?
Which makes me think of Drafi, "Marble Breaks & Iron Bends"
-------------------[ archived by Spectropop ]-------------------
Message: 19
Date: Wed, 30 Oct 2002 22:33:37 -0000
From: Martin Roberts
Subject: Jack Nitzsche At Spectropop
I'm working well at the moment. P.J. Proby is featured on
Record Of The Week with an obscure UK B side, "Sweet Summer Wine".
The KHJ Boss radio jingle has also been updated. Phil C. has kindly
found the time amongst his heavy press, radio and TV interviews to
'clean & process' the recording:-)
Martin
http://www.spectropop.com/JackNitzsche/index.htm
-------------------[ archived by Spectropop ]-------------------
Message: 20
Date: Thu, 31 Oct 2002 09:33:42 EST
From: Matthew Kaplan
Subject: Seekers for sale
An interesting item from the Herald and Weekly Times, 31oct02:
Seekers For Sale - By NUI TE KOHA
FAMED pop group the Seekers are up for sale. The group that
endured for 40 years will sell its catalogue of classic songs,
vintage film footage and band trademark to the highest bidder
in a historic tender. The Seekers, led by Judith Durham, were
a revolutionary force in folk pop, and were the first Australian
band to succeed overseas with major hits including Georgy Girl
and The Carnival Is Over.
Music industry sources say their catalogue is worth a fortune.
Prospective buyers have been told to expect to pay between $1
million and $10 million. "They have decided to sell the family
farm", Seekers manager John Kovacs told the Herald Sun yesterday.
"We are talking 40 years of heritage. We are talking about one
of the most blue-chip catalogues in the world."
It is understood the Seekers -- Durham, Bruce Woodley, Keith
Potger and Athol Guy -- are selling up because they want to
close that chapter forever. But sources say the band members
have disliked each other for years and probably want to sever
all ties, personal and professional. "We are talking about four
very different individuals," Mr Kovacs said. "It's come to a
point where they have decided they all want to go their separate
ways, do other things, and not have the responsibility of a
business all the time." Woodley lives in Bali, Durham divides
her time between Melbourne and London, Potger is based in Perth,
and Guy in Woodend. Mr Kovacs said Durham was emotional about the
sale. "The fact is, someone is going to buy her voice, and she
is very emotional about that aspect. We are talking about the
sale of something that is so unique, that only four special people
are able to create," he said. Mr Kovacs said the Seekers' music
had passed the test of time. "Music is so disposable. What is a
hit today, is gone tomorrow, and forgotten about the next day.
But the Seekers are different.
"Their music stood the test of time. They have been going strong
for 40 years. And now, all of that -- the history and the legacy
-- is up for sale." Lawyer Paul O'Gorman, who is handling the
sale, said the tender marked the first time an Australian music
legend has sold its music, visuals and trademark. "They are at
a point where they think: 'We've worked hard, we want to take it
easy and cash in on the repertoire we have developed and the
copyrights we own'," he said.
The rights to Seekers' albums up for sale include Morningtown Ride,
BBC Farewell Spectacular and Silver Jubilee.The successful tender
will have entitlement to income from every Seekers' recording,
including A World Of Our Own, Georgy Girl and The Carnival Is Over.
"There are houses and stocks on the market, but when do you ever get
the opportunity to own Australians of the Year, and music that stood
the test of time for 40 years and will go one forever?" said Mr Kovacs.
Rock historian Glenn A. Baker said the sale was intriguing. "They are
virtually selling their assets and their trade and that is unheard of",
he said. "If you are asking me whether the Seekers are a bankable
investment, then yes, they certainly are. This is almost a story for
the financial pages." The Seekers will play their final shows in March.
The tender closes on December 2.
privacy © Herald and Weekly Times
-------------------[ archived by Spectropop ]-------------------
Message: 21
Date: Thu, 31 Oct 2002 20:48:22 -0000
From: Neil Hever
Subject: Re: AMERICA AND THE BRITISH INVASION.... a more serious view...
Louise Posnick wrote:
> Reading so much about the British invasion in America and
> who was worth listening to and who wasn't...I wish to remind
> some of you folks that the British invasion, as it was called
> then, did an outrageous amount of damage...
Louise, I read your post and was truly puzzled. You wrote about
some vague "political" effort to rid the airwaves of black music
in America during the 60s. What specifically are you talking about?
The British Invasion was simply a concerted effort to import the
successful English acts to America and capitalize on sales of a
(so called) new form rock and roll. I don't subscribe to this
kind of conspiracy theory business so please enlighten us with the
details.
I recall enjoying tons of black music back in the 60s right
alongside the British Invasion material. The Shirelles, The
Supremes, The Four Tops, James Brown, Otis Redding, Sam Cooke,
The Temptations, Chubby Checker, Martha and the Vandellas,
Aretha Franklin, The Chambers Brothers, Smokey Robinson and the
Miracles and dozens of others graced the airwaves and turntables
of my youth. One might say with little reference to any scientific
study that popular black music in America experienced its greatest
growth both artistically and economically during the 1960s.
While it is true British versions of songs like "House Of The Rising
Sun" eclipsed the popularity of their predecessors there was still a
great explosion of black music creativity in America. I'm truly
puzzled by your observation to the contrary.
Neil Hever
-------------------[ archived by Spectropop ]-------------------
Message: 22
Date: Thu, 31 Oct 2002 21:53:30 -0000
From: Richard Tearle
Subject: Re: Knockin' the Hermits
Phil Chapman wrote:
> I share a slightly different viewpoint; that there is 'bad' music,
> *and* you can still like it, rather like fast food is quite fun
> sometimes, even though you know it's not much good for you.
> .... I doubt very much that they would have otherwise
> considered donning Pearly King outfits
Phil, I respect your opinion; I think perhaps what I was trying to
say that too many people hear a piece of music (whatever genre) and
say blithely 'oh that's rubbish.' Their only criteria is that THEY
don't like it. I'm not, for example, a great lover of jazz - but by
God I wish I could play like that!! I do tend to agree with your
analysis of why the British groups were so successful - some more so
in the States than they were over here! However, I must take you to
task on one point...I knew a group called The Cockneys! They were
originally the Falcons and released a record called Stampede (the
obligatory instrrumental) and actually appeared on TV's 5 o'Clock
Club with Mu Young and Pussy Cat Willum - such is fame! However
discovering another group called the Falcons they called themselves
The New Falcons - no that's something else! They became The Cockneys,
signed to Fontana under Tom Sporingfield and had two records out.
Roger Hart, the rhythm guitarist was my neighbour and he told me that
those Pearly King outfits were the devil to clean! Sad to say they
disappeared without trace after that...Cheers
Richard
-------------------[ archived by Spectropop ]-------------------
Message: 23
Date: Thu, 31 Oct 2002 22:01:43 -0000
From: Richard Tearle
Subject: Re: Dave Clark Five's Greatest Hits
Talk of the DC5 reminds me so much of cuban heels stomping at
Tottenham Royal however, I wanna tell you a story....around 1967/8 (I
can't remember exactly) I was a-courtin' a young lady from the typing
pool, as you do, but things were not working out too well. We decided
to meet to talk things over - on a bench in Whetstone High Road would
you believe. We talked a bit and then she gave me a present: Yup, a
Dave Clark 5 record. Everybody Knows, the first, slow, weepy
version...how could we part after that? The story has a happy ending:
that girl was to become my future ex-wife!!! Cheers,
Richard
-------------------[ archived by Spectropop ]-------------------
Message: 24
Date: Thu, 31 Oct 2002 17:44:09 EST
From: Mike Rashkow
Subject: Re: Johnny Cymbal
Question:
> Was (Johnny Cymbal) Derek, of Cinnamon fame?
Indeed he was. Though his brother went on the road as Derek. He
did that stuff with George Tobin I think. It was on Bang, no?
-------------------[ archived by Spectropop ]-------------------
Message: 25
Date: Thu, 31 Oct 2002 22:48:10 -0000
From: Peter Lerner
Subject: Music and emotion
I know that many of us are musical experts - people who have produced and
engineered great records, and people who can write coherently and articulately
about it.
So what I would like to explore is what music does to our emotions, and how it
achieves this effect. I'm not talking about why I find Jackie DeShannon's voice
irresistable, while Dusty Springfield's does nothing for me at all (Dusty fans
please do not rise to that one, it's just an example). Nor about the thread I
started last year about the music that makes us get up and dance. I think I
want to know why some music brings tears to my eyes - is it the lyrics,
something about the shape of the music and tonal sequences, or some production
trick. Not a good example for Spectropop possibly is Kate and Anna
McGarrigle's "Matapedia", but this brings the water welling without fail. And
the Tim Rose song "Come away Melinda" - OK it's a sad song, but so is Rolf
Harris' "Two little boys" which just has the effect of making me head for the
OFF button. And what brought this topic to mind was listening in my car, on my
journey to work, to Hot Chocolate and "It started with a kiss". You might say
it's a maudlin song and OK you're entitled to your view, but for me it is a
compelling and very emotional mix of lyrics, a great voice and something about
the actual music, too. That voice singing those words to the tune of "All you
need is love" wouldn't have the same effect. And is it perhaps a lot to do with
voices. The very under-rated Wanda Jackson, in her early-ish 60s country
period, can have a remarkable effect on my tear ducts - try her versions of the
Hank Williams classics "I'm so lonesome I could cry" or "Weary blues from
waiting".
So what I'd appreciate some help on is why - and how - music can have this effect.
Peter
-------------------[ archived by Spectropop ]-------------------
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