Spectropop - Digest Number 751

• From: Spectropop Group
• Date: Sun, 19 Jan 2003

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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 8 messages in this issue.

Topics in this digest:

      1. Full Treatment
           From: Bob Rashkow 
      2. Lee Hazlewood - The Complete MGM Recordings
           From: Team Spectropop 
      3. More Seasons, questions, RIP Maurice Gibb, 60's-70's artists
           From: Country Paul 
      4. Re: Renaissance
           From: Richard Havers 
      5. Re: Record Master dot com
           From: Eddy Smit 
      6. more on Lovey
           From: Phil Milstein 
      7. Re: The Stephen Crane Village / Paula Wayne
           From: Jeffrey Glenn 
      8. Re: Renaissance
           From: Javed Jafri 


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Message: 1
   Date: Fri, 17 Jan 2003 22:42:49 -0500
   From: Bob Rashkow 
Subject: Full Treatment

Let's hear it for David Ponak. "Just Can't Wait" is a true treasure from Buzz 
Clifford and this group on A&M which I'm lucky to own. A splendid mixture if I 
do say so myself of the California surf sound and the mystic sitars in the 
middle.....OOHHHHH!  What a record!  Thank you David for playing it. Wish I 
lived in L.A. so I could listen to The Liquid Room every week! 

Bobster



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Message: 2
   Date: Sat, 18 Jan 2003 10:30:58 -0000
   From: Team Spectropop 
Subject: Lee Hazlewood - The Complete MGM Recordings

At the tender age of 73, Lee Hazlewood has been enjoying a 
fairly spectacular cult renaissance, lauded by the likes of 
Primal Scream, Nick Cave, Pulp and Sonic Youth. His recent 
performance at London's Royal Festival Hall found him backed 
by members of Stereolab and the High Llamas and a recent tribute 
album had the indie fraternity falling over themselves to pay 
their respects. To long time devotees, the only surprise is that 
it took so long...

Ace Records have just released a double CD containing Hazlewood's 
complete MGM recordings. Robert McTaggart reviews it for Spectropop
here: http://www.spectropop.com/recommends/index.htm#LeeHazlewood

Enjoy,

The Spectropop Team



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Message: 3
   Date: Sat, 18 Jan 2003 01:07:46 -0500
   From: Country Paul 
Subject: More Seasons, questions, RIP Maurice Gibb, 60's-70's artists

Steve Harvey wrote:
> Interesting when you mention the rivalry between the Hawthorne Hotshots
> vs. the boyz from Joisy. Does anyone remember their collaboration single,
> East Meets West. It was was the one collaboration that the Beach Boys did
> that was a really great tune. Shame that every single I came across of it
> skipped.

One of the WFMU deejays put it on their listener-premium CD last year. Very
80's production - I frankly couldn't tell who was on it without prior
knowledge. Interesting for being what it is.

Simon White:
> Have we had the Newbeats as Four Seasons soundalikes?

Stuart Miller:
> If I could...ask [Larry Henley] one question, it would be, 'Why?'"

Meaning what, Stuart? That every male falsetto lead would be a Seasons
soundalike? I hear definite differences - I can't imagine the Seasons doing,
for example, "Bread and Butter." The Seasons were definitely "east coast."
The Newbeats had that "southern" thing; even my favorite and most obscure of
their hits, "Shake Hands and Come Out Crying" (their most Merseyish - and
Seasonsish) was written by Doug Kershaw. I can easily imagine Kershaw doing
a Cajun-fiddle version of that song. In fact, does anyone know if there's a
Doug Kershaw recording of it available?

I also agree with Monophonius that Bob Crewe and the Seasons provided a
whole greater than the sum of its parts. Each had hits separately, but to my
ears each worked at the top of their game qualitatively when working
together. And this is considering that some of Crewe's late 50's
productions, which Mono cites, are among my favorite records. Mono makes the
case more eloquently than I, so I'll leave it there, except to agree that
lesser figures than Bob Crewe are in the Hall of Fame. It's time for him to
be there too. Perhaps he's overlooked because, unlike Spector, Wilson or
others who came in with a style of their own and brought artists into it,
Crewe's productions varied widely in texture according to the artist and
era. Less-sensitive ears tend not to be kind to producers and musicians with
diversified interests.

I heard a version of Irma Thomas' exquisite "Anyone Who Knows What Love Is"
today that I hadn't heard before. The hit version, so rarely collected, is
on the 1992 EMI best-of; this version, with the same backing track but a
more soul-oriented lead vocal, is on a UK CD on Kent. Question: was this
alternate version previously released? Is it somehow identified differently
from the original to avoid confusion? (As some of you might know, the song
was co-written by Randy Newman - yep, him.)

Are the Fading Yellow comps available via a US outlet? And is there a
complete tracklist available? (Couldn't find 'em at Freak Emporium.)

Two further questions for Art Munson:
- Were the Fugitives he was in the band that recorded "Freeway" on Arvee?
It's one of my all-time favorite instrumentals.
- Where was Art from in Connecticut? (I lived there for 24 years; it's a
great state. Not a lot of surf on Long Island Sound, though.)

Three more answers to the Oldies Quiz Dan Hughes forwarded. If so, I agree -
it's tough, but fun.
#4 - "Oh, Willie was the rovin' kind...." / Jimmy Dean, "Deep Blue Sea"
(nice to be reminded of this)
#6 - "No other arms could satisfy me, baby, baby, don't deny me....: /
Everly Bros., "Love of My Life" (one of their best, IMO)
#23 - "Every word, every sigh..." / Conway Twitty, Eartha Kitt (originally)
and others, "C'est Ci Bon"

Nice to see Duncan Browne's "On The Bombsite" and the Shaggy Boys' "Behind
These Stained-Glass Windows" in the Liquid Room, as well as the extensive
Bee Gees selections. It's a damn shame about Maurice Gibb's early passing -
and a bit surprising there haven't been more comments here. WFMU did a
superb tribute midday Monday, with my fave forgotten track being "I-O-I-O"
from Cucumber Castle. Despite being the figureheads of disco, the Bee Gees
had a remarkable and diverse catalog worth rediscovering. Too bad it took a
premature death to do it.

Justin McDevitt, all the late 60's-early 70's artists you mention (except
Lori Lieberman) were "standards" at my late lamented WHCN in Hartford, CT in
the early 70's - as was Alzo, previously celebrated on this list. Perhaps
that's why I get so burned up at the "classic rock" stations that forget the
rest of the artists that surrounded the few warhorses whose music they now
beat to death as if that's all there was. By the way, Justin, I'm still in
touch with several of the on-air folks from that station who helped
establish those artists, and have taken the liberty of passing your post
along to them. And  thanks to all for the further illuminations regarding
those artists. It's gratifying to know that folks were listening to what we
were playing, even if lots of these artists didn't make the "classic" cut.

Country Paul



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Message: 4
   Date: Sat, 18 Jan 2003 11:59:34 +0000
   From: Richard Havers 
Subject: Re: Renaissance

Justin McDevitt wrote:
> And then there's Fairport Convension, Pentangle, Steeley Span, 
> Renaissance. Such an English sound, transforming old folk balads and 
> old-sounding songs penned by individual band members. Who is the lead 
> singer for Renaissance?

Justin,

I think it's stretching a  point to lump Renaissance in with the 
others. The Fairports et al were very much part of the folk rock scene 
where Renaissance were much closer to Caravan, King Crimson The Moodies 
and even Yes (art rock? prog rock? symphonic rock?......overblown self 
indulgent crap as some would say).

Vocals on the first two albums were mainly by Jane Relf, sister of 
Yardbird's founder member Keith Relf (who also handled vocals on most 
noteably Kings and Queens). From album three (1972), by which time 
there were no original members the delightful and talented Annie Haslem 
took over the vocal spot (this is probably who you are thinking of).
They finally split up in 1983, but reformed in 1995 with not even an 
original member from the second coming line-up. This time a lady named 
Stephanie Adlington was the singer.

Having seen both the first two versions of the band I can tell you they 
gave a good show........

Richard



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Message: 5
   Date: Sat, 18 Jan 2003 14:57:21 +0100
   From: Eddy Smit 
Subject: Re: Record Master dot com

Country Paul:
> Regarding http://www.recordmaster.com - has anyone figured out 
> the logic of their listing system?

Re: Record Master
Never paid any attention to this, but after trying a few things, 
they seem to be alphabetical by song title.

Eddy



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Message: 6
   Date: Sat, 18 Jan 2003 09:37:37 +0000
   From: Phil Milstein 
Subject: more on Lovey

Country Paul wrote:
> I remain amazed that a song as lame as "Lovey Kravezit" has had so 
> many lives.

Lame? We're all entitled to our own opinions. I find it a very pleasant 
example of cheeseball mid-'60s superupbeat semi-instrumental pop. So 
that anyone not already familiar with the original version of "L.K." 
can decide for themselves, I've posted it to musica. It's from "Dean 
Martin As Matt Helm Sings Songs From The Silencers," Reprise LP 6211, 
1966. The song is a Greenfield-Keller composition. The part of Miss 
Kravezit, by the way, was played by Beverly Adams.

--Phil M.



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Message: 7
   Date: Sat, 18 Jan 2003 06:39:46 -0800
   From: Jeffrey Glenn 
Subject: Re: The Stephen Crane Village / Paula Wayne

Previously:
> another great 4 Seasons soundalike that hasn't yet been mentioned is 
> "Hey Summer" by The Stephen Crane Village (Metromedia MM-132)...

> Jeff, Strong chance that the Stephen Crane Village was in fact Bobby
> Valli, Frankie's brother.

Great info, and now that I'm listening to it armed with that info, it's 
VERY possible that The 4 Seasons (with Frankie) are doing the backgrounds 
here. Billy S., is this the debate that was going on on that 4 Seasons 
list you were telling me about a couple of months ago?

Don Hertel:
> I also lost the auction for Paula Wayne doing "Yours Until Tomorrow". 
> If anyone here won those, I'd appreciate if you posted them in musica.
> As you can guess, I'm a big fan of Goffin/King.

Sorry you lost the auction, but "Yours Until Tomorrow is now playing at
musica.  Written, arranged & conducted by jazz great/former Stan Kenton
sideman Shorty Rogers (who did a fair amount of pop arranging in this
period).  This is actually the B-side of Paula's version of "It's A
Happening World" (better known of course from The Tokens' hit version).  
Not the cleanest record in my collection, but certainly listenable.

Jeff



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Message: 8
   Date: Sun, 19 Jan 2003 10:46:59 -0500
   From: Javed Jafri 
Subject: Re: Renaissance

Justin McDevitt:
> Who is the lead singer for Renaissance?

There were two almost distinct incarnations of Renaissance. The first
version  of the group was led by ex Yardbird Keith Relf. His sister 
Jane was the lead singer. The version of the group that achieved mid 
level success in North America was fronted by Annie Haslam and I think 
she was married to Roy Wood of the Move/ELO.

Javed (hoping he got all of the facts correct on this one).





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