________________________________________________________________________
______________ ______________
______________ ______________
______________ S P E C T R O P O P ______________
______________ ______________
________________________________________________________________________
Jamie LePage (1953-2002)
http://www.spectropop.com/Jamie.htm
------------------------------------------------------------------------
------------------------------------------------------------------------
There are 25 messages in this issue.
Topics in this digest:
1. Re: Nanker Phelge
From: Richard Havers
2. What Was The First... the book
From: David Feldman
3. Re: Suzie Creamcheese' conscience call
From: Dan Hughes
4. Spiral Starecase
From: Larry Lapka
5. Re: Pat Upton
From: Stewart Mason
6. Spectropop Remembers
From: Marc Miller
7. Re: Spiral Starecase
From: Andrew
8. Art Webber aircheck
From: Justin McDevitt
9. The Metropolitan Soul Show on Soul 24-7.com
From: Simon White
10. Brenton Wood's organ
From: Phil Chapman
11. Re: Elvis
From: Peter McDonnell
12. The king is dead - long live the king.
From: Alan Gordon
13. Re:Nanker-Phelge
From: Peter McDonnell
14. Re: Elvis' SunDays
From: TD
15. Re: Nanker Phelge
From: Phil Milstein
16. Harris Performs Webb; advertising
From: Bob Rashkow
17. It Feels Like Rock & Roll; It Looks Like....
From: Bob Rashkow
18. Re: Spiral Starecase/Beatles DVD
From: Nick Archer
19. Re:Nanker-Phelge
From: Richard Havers
20. Ask the Count 5
From: Guy Lawrence
21. Harris Performs Webb
From: Richard Havers
22. 4 Seasons On E-Bay
From: Billy Spradlin
23. Re:Nanker-Phelge; Faithfull crediting
From: Phil Milstein
24. Re: Nanker Phelge
From: Richard Havers
25. big Macca, and my big mouth...
From: Alan Gordon
-------------------[ archived by Spectropop ]-------------------
Message: 1
Date: Fri, 07 Mar 2003 12:19:03 +0000
From: Richard Havers
Subject: Re: Nanker Phelge
Steve Harvey wrote:
> I thought that Nanker Phelge was the name adopted by
> Keith and Mick, nothing to do with the rest of the
> band. I highly doubt that they shared the royalties
> with the other guys on all the Nanker Phelge tunes.
Absolutely not. Why would there be a Nanker Phelge as well as
a Jagger/Richards credit? I can tell you quite categorically
that royalties for Nanker Phelge were shared between Mick, Keith,
Charlie, Brian and Bill.....and still are, except in the case of
Brian where it is his estate that benefits. There were no more
Nanker Phelge compositions after Brian left the band.
Interestingly now, I've Got A Witness on the first Stones album
is credited to Phelge. We can only assume that the nice people at
Decca credited N.Phelge in the same way as they credited C.Berry,
W.Dixon etc
Richard
-------------------[ archived by Spectropop ]-------------------
Message: 2
Date: Fri, 07 Mar 2003 12:31:52 -0000
From: David Feldman
Subject: What Was The First... the book
Mike Rashkow expressed interest in tracking this book down
[What Was The First Rock And Roll Record - Jim Dawson,
Steve Propes et al]. I looked at Amazon and half.com and,
grrrr, it's selling for north of $100 - bring your wallet!
-------------------[ archived by Spectropop ]-------------------
Message: 3
Date: Fri, 07 Mar 2003 07:26:07 -0600
From: Dan Hughes
Subject: Re: Suzie Creamcheese' conscience call
Eddy asks,
> Isn't that Suzie's conscience there, rather than a phone
> conversation: "Suzie, this is the voice of your conscience..."
Jeez, Eddy, you are right!
But I think her conscience is contacting her via telephone....
--Dan, just a bit red-faced
-------------------[ archived by Spectropop ]-------------------
Message: 4
Date: Fri, 07 Mar 2003 14:08:36 -0000
From: Larry Lapka
Subject: Spiral Starecase
I think the confusion with Pat Upton's race stems from the
fact that his daughter, Brenda K. Starr, is the result of a
mixed marriage. Upton is white - the mother, I believe, is
black (although she may be a darker-skinned Hispanic).
Larry Lapka
-------------------[ archived by Spectropop ]-------------------
Message: 5
Date: Fri, 07 Mar 2003 10:57:11 -0500
From: Stewart Mason
Subject: Re: Pat Upton
Xavier asks:
>Is Pat Upton of SS actually white?? I thought he was black
>for all these years (when I was a wee lad I thought he was
>Stevie Wonder actually) but the little info I've turned up on
>the web is making me think otherwise...just curious.
Indeed he is. There are more embarrassing confusions, though:
as previously reported on Spectropop, until last summer, I
thought Pat Upton was a woman!
S
-------------------[ archived by Spectropop ]-------------------
Message: 6
Date: Fri, 07 Mar 2003 11:12:49 -0500
From: Marc Miller
Subject: Spectropop Remembers
Hey -
I just had a look at Spectropop Remembers
(http://www.spectropop.com/remembers/)
It's one of the nicest tributes of any kind that I've seen.
Thanks, Spectropop Team!
Marc
-------------------[ archived by Spectropop ]-------------------
Message: 7
Date: Fri, 07 Mar 2003 11:20:06 -0500 (EST)
From: Andrew
Subject: Re: Spiral Starecase
About the Spiral Starecase: I remember seeing them on American
Bandstand at the time of their chart success, and the band had
no non-white members at all.
-------------------[ archived by Spectropop ]-------------------
Message: 8
Date: Fri, 07 Mar 2003 10:39:30 -0600
From: Justin McDevitt
Subject: Art Webber aircheck
Hello Spectropop,
I want to alert the group to a wonderful 55 minute aircheck
compliments of http://www.reelradio.com
one of this week's selections on their website.
This program features Art Webber, one of radio's best and a
key player on wls chicago's dJ lineup.
The aircheck is from aug 25, 1967 and includes, among other
treats, an Anita Kerr Singers weather jingle, a promo for
Bobbie Gentry's debut LP, a great ad for tackle, (the avenger
of men's acne), local and national news reports and a musical
visit from the godfather of soul himself. Unfortunately, the
play list does not include any telephone songs.
A memorable highlight is a poetic spoof, delivered flawlessly
in Art's resonant tones.
Ageing has its drawbacks, yet after listening to this aircheck,
I felt blessed to be old enough to remember what I consider to
be the best era of radio, the mid to late 60s.
Nostalgia is good for the soul.
Yours in peace,
Justin Mcdevitt
-------------------[ archived by Spectropop ]-------------------
Message: 9
Date: Fri, 07 Mar 2003 18:26:52 +0000
From: Simon White
Subject: The Metropolitan Soul Show on Soul 24-7.com
For your delight and delectation -
This Sunday 9th March 2003 on Soul 24-7 7pm-9pm GMT:
> http://www.soul24-7.com/index.htm
The METROPOLITAN SOUL SHOW.
2 solid hours of 60s, 70s but mainly Northern, Soul.
This week --
- - The Utterly Marvellous Simon White.
Under the new Marquis of Queensbury rules, two non-CD
tracks will be "played to musica" on Monday following the
show. I thank you.
-------------------[ archived by Spectropop ]-------------------
Message: 10
Date: Fri, 07 Mar 2003 18:44:54 -0000
From: Phil Chapman
Subject: Brenton Wood's organ
Xavier:
> Does anyone know what kind of organ is used on
> Brenton Wood's "Gimme Little Sign"?
According to his website, it was Maurice 'Mighty Mo'
Rodgers on a Farfisa. http://www.mightymorodgers.com/
Generically speaking, the Farfisa, along with the
Vox Continental, was a Combo-Organ; a portable electronic
organ typically with removeable or foldaway legs and
a bright-coloured casing.
Combo-Organs are characterised by a reedy electronic sound,
as used on "96 Tears", "Light My Fire", "House Of The Rising
Sun", although NOT "Telstar" or "Runaway", these were modified
Claviolines (monohonic).
Phil
...whatever happened to my blue Phillicorda?
-------------------[ archived by Spectropop ]-------------------
Message: 11
Date: Fri, 07 Mar 2003 12:29:07 -0800
From: Peter McDonnell
Subject: Re: Elvis
Phil Milstein wrote:
> I'm sure I'm way in the minority here, but as much as I love
> Elvis' early years, I sincerely believe that the music he made
> in his later years was some of the finest of his life.
I agree. He had one of the greatest voices in pop/rock n'roll,
and when he had good material he knocked it out of the park,
and "Suspicious Minds" is a prime example. His voice around that
time was powerful and fluid, as illustrated on "Guitar Man", for
example. And his most recent #1 (in England, wasn't it?), the
re-mix of that late-period tune (I'm forgetting the title of it..?)
is also a good example. And as for earlier stuff, I think "Little
Sister", and "Jailhouse Rock" are examples of how hard he could
sing when he chose to.
-------------------[ archived by Spectropop ]-------------------
Message: 12
Date: Fri, 07 Mar 2003 12:29:31 -0800
From: Alan Gordon
Subject: The king is dead - long live the king.
Rashkovsky on "Hound Dog":
> I must humbly disagree. Presley's version, in my most
> humble opinion, was very vanilla and the start of his walk
> down the road to perdition. My view is that Presley was cooked
> when he left Sun and never made a real good record after that
> ---maybe with one exception "Mary In The Morning".
Steve Harvey:
> Yeah, right! And the Beatles never did anything great after
> "My Bonnie" either. Elvis rocked on "Hound Dog". His version
> was as different from the original as much as his cover of
> "Mystery Train" was from Junior Parker's version. Love the Sun
> stuff, but Elvis never did anything like "Heartbreak Hotel"
> before or afterwards.
Yikes Mike? Are you serious? I haveta agree with Mr. Harvey.
"Hound Dog" was totally rockin'. I love the Sun stuff, but my
fave period of the King was just after Sun and through and into
a few movies; Don't Be Cruel; I Want You, I Need You, I Love You;
PARALYZED!!!; Mean Woman Blues; Old Shep (sniff); Rip It Up;
All Shook Up; Blue Christmas; Treat Me Nice; Wear My Ring Around
Your Neck; A Big Hunk O' Love; I GOT STUNG!!!; just to mention a
few.
And what is "Mary In The Morning"? Never heard of it.
albabe
-------------------[ archived by Spectropop ]-------------------
Message: 13
Date: Fri, 07 Mar 2003 12:48:46 -0800
From: Peter McDonnell
Subject: Re:Nanker-Phelge
Steve Harvey:
> I thought that Nanker Phelge was the name adopted by
> Keith and Mick, nothing to do with the rest of the
> band. I highly doubt that they shared the royalties
> with the other guys on all the Nanker Phelge tunes.
Did Mick & Keith ever share credit with the other band members?
Not to my knowledge. I always understood Nanker-Phelge to be a
pseudonym for Jagger-Richards compositions that they weren't
particularly proud of, (like "I'm All Right", "Under Assistant
West Coast Promo' Man", "Play With Fire"), and the Glimmer Twins'
only recently shared a writing credit, on "Anybody Seen My Baby",
with k.d.lang, once it was pointed out to them (by Keith's
daughter!) that the chorus shared a strong resemblance to her
"Constant Craving" melody... Bill Wyman gives himself credit
for the "Jumpin' Jack Flash" riff in his book, "Stone Alone"
(he also gave himself credit for having slept with more groupies
than either Mick or Keith...'though he doesn't mention Brian!),
but he's not mentioned as a co-writer. Bill also groused that
Keith bumped him out of the bass-playing spot for the "Rock n'Roll
Circus" super-group line-up alongside John Lennon, Eric Clapton
& Mitch Mitchell. He should have learned to stand up for himself!
friscopedro
-------------------[ archived by Spectropop ]-------------------
Message: 14
Date: Fri, 07 Mar 2003 16:25:50 -0500
From: TD
Subject: Re: Elvis' SunDays
Phil Milstein:
> I'm sure I'm way in the minority here, but as much as I love
> Elvis' early years (e.g. "Blue Moon", one of the sexiest records
> I've ever heard, and his version of "Mystery Train," which is
> absolutely iconic), I sincerely believe that the music he made
> in his later years was some of the finest of his life.
Hello Phil,
How can you be in a minority when Fifty Million Elvis Fans Can't
Be Wrong? Nobody enjoys Elvis playing the rockabilly "You're Right,
I'm Left She's Gone" more than I do, but when Elvis moved to RCA,
he proceeded to record "All Shook Up", "Don't Be Cruel", "Love Me"
- and "Blue Christmas" too!
-------------------[ archived by Spectropop ]-------------------
Message: 15
Date: Fri, 07 Mar 2003 16:46:34 +0000
From: Phil Milstein
Subject: Re: Nanker Phelge
Richard Havers wrote:
> that royalties for Nanker Phelge were shared between Mick, Keith,
> Charlie, Brian and Bill.....and still are, except in the case of
> Brian where it is his estate that benefits. There were no more
> Nanker Phelge compositions after Brian left the band.
Has anyone ever drawn up a list of all the Nanker Phelge titles?
--Phil M.
-------------------[ archived by Spectropop ]-------------------
Message: 16
Date: Fri, 07 Mar 2003 16:53:37 -0500
From: Bob Rashkow
Subject: Harris Performs Webb; advertising
Lewis, don't hate yourself for liking ANYTHING.
These days it's pretty simple to me. Jimmy Webb's beautiful
crystalline images as interpreted splendidly by the late
Richard Harris......or gangsta rap. You must choose.
The ad with Little Richard at the bowling alley does sound
enigmatic. For my part, I basically stopped trying to figure
out the point or the general contents of the script of any
television ads sometime around the late 1970s. I apologize to
any Spectropoppers who happen to work in the field.
I'll take Ral Donner over Presley any day, but I do appreciate
the bulk of Elvis' music over the entire span of his career.
Certainly "Surrender", "His Latest Flame" and "Viva Las Vegas"
are great examples of how "that voice" somehow got blended
with excellent arrangement to create a hit song. Wish they
were both still around!
Although it has nothing whatsoever to do with Superman's
"universe", there is a song by Love (on Forever Changes)
entitled "The Daily Planet".
Bobster
-------------------[ archived by Spectropop ]-------------------
Message: 17
Date: Fri, 07 Mar 2003 17:10:31 -0500
From: Bob Rashkow
Subject: It Feels Like Rock & Roll; It Looks Like....
Well, I came up with over forty titles but I'm paring
them down to another Top 10. These are among the recordings
(of those that I'm already familiar with) that I consider
crucial for an emotional and/or academic appreciation of the
fabulous far-out pop music of the 6Ts.
(These are not in a rank order)
1. The Letter - The Box Tops - Mala (1967). This is the one,
gang. This is the record nobody in 6th grade in Skokie could
possibly resist getting up and dancing to! Least of all yours
truly! (Has anyone heard the OTHER The Letter, the one by Sonny
& Cher, as by them or by Caesar & Cleo?
2. Strawberry Shortcake - Jay & The Techniques - Smash (1968).
This plus the above on a lonely desert island with only a
phonograph to keep me company.
3. Suspicion - Terry Stafford - (1964, Crusader) It's just
too tuneful and catchy; Terry outclassed Ral Donner if such a
thing were possible & I love those "ooh-ooh"'s!
4. It's Over - Roy Orbison - 1964 (Monument) Another great
male solo record from that incredible year.
5. Sun Ain't Gonna Shine- The Walker Brothers - 1966 (Smash).
They don't come too much more dramatic, do they. And I'm a
charter member of Drama Queens International.
6. Bend Me, Shape Me - The American Breed- 1968 (Acta)
Big hit for this hometown group, and terrific dance tune.
7. Walk On By - Dionne Warwick - Scepter - more of what made
'64 so brilliant.
8. I Want Candy - The Strangeloves - 1965 (Bang) The beat
goes back a long, long way--but boy is it catchy, and what a
relic. (Remade fairly nicely, if a bit unimaginatively, by
Bow Wow Wow.)
9. No Fair At All - The Association - 1966 (Valiant) One of
the most beautiful records by a group who specialized in
beauty-pop.
10. Reflections of Charles Brown - Rupert's People - 1967
(forgot original UK label) Joining The Walker Brothers to
represent Britain. Move over Bee Gees and The Move! They've
got melancholia and drowning-in-melodic-organ covered!
This list actually "goes on forever"
.....Ravin' on
Bobster
-------------------[ archived by Spectropop ]-------------------
Message: 18
Date: Fri, 07 Mar 2003 06:01:46 -0600
From: Nick Archer
Subject: Re: Spiral Starecase/Beatles DVD
Pat Upton is definitely white. I saw him sing here in
Nashville last year at a benefit to pay off Clifford Cutty's
medical bills.
BTW, I just received a my copy of the four Ed Sullivan shows
with the Beatles on DVD. I watched the first appearance last
night, and it's a real time warp. The four shows are shown in
their entirety, commercials and all. You can get it at
http://www.thefestforbeatlesfans.com/
or at http://www.edsullivan.com
Nick Archer
Check out Nashville's classic SM95 on the web at
http://www.live365.com/stations/nikarcher
-------------------[ archived by Spectropop ]-------------------
Message: 19
Date: Fri, 07 Mar 2003 22:25:11 +0000
From: Richard Havers
Subject: Re:Nanker-Phelge
Peter McDonnell wrote:
> Did Mick & Keith ever share credit with the other band members?
> Not to my knowledge. I always understood Nanker-Phelge to be a
> pseudonym for Jagger-Richards compositions that they weren't
> particularly proud of, (like "I'm All Right", "Under Assistant
> West Coast Promo' Man", "Play With Fire"), and the Glimmer Twins'
> only recently shared a writing credit, on "Anybody Seen My Baby",
> with k.d.lang, once it was pointed out to them (by Keith's
> daughter!) that the chorus shared a strong resemblance to her
> "Constant Craving" melody...
I guess my mail about Nanker Phelge crossed with yours Peter. As an
additional piece of info the origin of Nanker Phelge is interesting.
It was Brian Jones who suggested group compositions be credited to
Nanker-Phelge. His idea was that the entire band would share the
song-writing royalties. Phelge is taken from Jimmy Phelge (a former
flat mate of Brian/Keith/Mick who was rather revolting. He would
stand at the top of their stairs wearing just his underpants and
spit on people!). A ‘Nanker’ is a revolting face that Brian would
pull.
As for Mick and Keith sharing song writing credits they did,
occasionally. 'Sister Morphine' from Sticky Fingers is shared with
Marianne Faithfull. 'Ventilator Blues' on Exile on Main Street is
shared with Mick Taylor. There are a few later ones with Ronnie
Wood too.
Richard
-------------------[ archived by Spectropop ]-------------------
Message: 20
Date: Fri, 07 Mar 2003 21:00:53 -0000
From: Guy Lawrence
Subject: Ask the Count 5
Xavier wrote:
> > Does anyone know what kind of organ is used on
> > Brenton Wood's "Gimme Little Sign"?
Steve Harvey wrote:
> Weren't Brenton Wood and the Count Five on the same
> label. I seem to recall a story about them wiping a
> vocal track off one of the Count 5 songs and putting
> his vocals on it.
I've heard claims that the Count Five back Brenton on his
version of their "Psychotic Reaction" from his album but my
guess is that this is just wishful thinking. It certainly
isn't the same backing track though it's still a fascinating
listen! As for his keyboard sound, how about the Cordovox -
as featured on Tommy James & The Shondells hits? Actually,
listening to the record now it probably isn't that - perhaps
it's something more regular like a Farfisa? Whatever, "Gimme
Little Sign" and Wood's other hit "The Oogum Boogum Song"
were both beautiful summery soul records. Anybody got any
other credits on the writers - Smith, Hooven and Winn?
Guy.
-------------------[ archived by Spectropop ]-------------------
Message: 21
Date: Fri, 07 Mar 2003 22:28:19 +0000
From: Richard Havers
Subject: Harris Performs Webb
Bob Rashkow wrote:
> Jimmy Webb's beautiful crystalline images as interpreted
> splendidly by the late Richard Harris......
Wonderful stuff......some of the best Drama-Pop (is that a
new genre?)......EVER.
Richard
-------------------[ archived by Spectropop ]-------------------
Message: 22
Date: Fri, 07 Mar 2003 22:29:21 -0000
From: Billy Spradlin
Subject: 4 Seasons On E-Bay
I was looking at E-bay this afternoon and spotted an ad for
"I'm Still In Love With You" by the Four Seasons on Alanna:
http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=2513534054&category=22665
Is this one of the Seasons pre-"Sherry" recordings or a reissue?
Thanks!
Billy
-------------------[ archived by Spectropop ]-------------------
Message: 23
Date: Fri, 07 Mar 2003 17:37:20 +0000
From: Phil Milstein
Subject: Re:Nanker-Phelge; Faithfull crediting
Richard Havers wrote:
> song-writing royalties. Phelge is taken from Jimmy Phelge (a former
> flat mate of Brian/Keith/Mick who was rather revolting. He would
> stand at the top of their stairs wearing just his underpants and
> spit on people!). A ‘Nanker’ is a revolting face that Brian would
> pull.
Who wrote a book about his Stones' memories. Hey, get famous enough and
everyone YOU ever crossed paths will write a book about it, too.
> As for Mick and Keith sharing song writing credits they did,
> occasionally. 'Sister Morphine' from Sticky Fingers is shared with
> Marianne Faithfull.
I don't believe the credit appeared on the original release, however,
which would mean it emerged on later pressings only at the urging of
M.F., or her lawyers.
--Phil M.
-------------------[ archived by Spectropop ]-------------------
Message: 24
Date: Fri, 07 Mar 2003 22:51:44 +0000
From: Richard Havers
Subject: Re: Nanker Phelge
Phil Milstein wrote:
> Has anyone ever drawn up a list of all the Nanker Phelge titles?
'Stoned' - the b-side of come On (the song that Brian decided
should be credited to Nanker Phelge)
'Little by Little' - the b-side of Not Fade Away in the UK is
credited to Phelge/Spector
'Now I've got a Witness' - on the First Stones album.
'Empty Heart' and '2120 Michigan Avenue'- Cut at Chess studios in
June '64. Both are on the Five by Five EP and the 12x5 US album.
'Off The Hook' - b-side of 'Little Red Rooster'
'Play with Fire' - b-side of 'The Last Time'
'Under assistant West Coast Promotion Man' - b-side in the US of
'Satisfaction'.
'The Spider and The Fly' - b-side in the UK of 'Satisfaction'
'I'm Alright'. - on the EP Got Live If You Want It. Strangely the
chanting fans, officially the first track, shouting "We Want The
Stones" is credited to Nanker Phelge!
I'm Alright, The Under Assistant West Coast Promotion Man, Play With
Fire and The Spider and the Fly are all on the Out of Our Heads album
(US only). West Coast Promo Man is the only one to make the UK version
of that album.
I think that's it for Nanker Phelge (that were released). Don't ask me
to go through the bootlegs!
I just thought of another where Mick and Keith shared the writing
credit: 'As Tears Go By', with Andrew Loog Oldham.
Richard
-------------------[ archived by Spectropop ]-------------------
Message: 25
Date: Fri, 07 Mar 2003 15:50:32 -0800
From: Alan Gordon
Subject: big Macca, and my big mouth...
First off, please let me apologize for my outing into music
theory in my last "diatribe". Musicians are a strange group...
we tend to think every one knows what the heck we're talking
about when we spout musical jargon... like, do ya dig, daddy-o?
I hope I don't come off as "Chris, In The Morning."
Communication... what a concept.
Stratton Bearheart:
> In reply to Alan Gordon, I would agree that McCartney had some
> superb innovative moments, Rain is a perfect example, but I often
> think he lacked the consistency displayed by later players. I think
> this is also true of his songwriting capacities since The Beatles.
I, once again, respectably disagree... but only in part. I think
if we took all of the songs Paul played bass on ( and I'm not too
terribly partial to his post Beatles bass-playing) and compared them,
for instance, to a fantastic player like Ms. Kaye's body of work,
we would probably see a similar percentage of "terrific" to "tripe".
I'd bet that Ms. Kaye and Paul would both probably assert that if a
more pedestrian part served a song better than a more intricate or
complicated bass part... so be it. So with that said, I think it's
sometimes hard to judge a particular players' playing in a particular
song without getting into more abstract terms.
As for his songwriting capacities: I actually think his theory and
tonal constructional abilities have gotten significantly more
complicated... but they got more boring, as well. Although I do
like Paul's R&R album, "Run Devil Run," and "Driving Rain."
> As far as The Beatles harmonic adventurousness goes, they
> displayed a naivety in their use of sometimes complex modulations,
> and it's that that makes the songs so wide-eyed and wonderful.
I think that's what I said, albeit with a much less literate perspicacity.
> However, they do not contain the harmonic density and focus of
> great songwriters such as Cole Porter whom McCartney
> would have partially absorbed through his fathers influence.
As for "harmonic density," I would have to agree, but I think that
has a lot more to do with what is accepted as popular music in any
given time. Cole Porter, Harry Warren, Rogers and Hart and their
amazingly talented ilk, were playing to different bleachers. The
augmented 5ths, diminished chords, and 6th chords (She Loves You
notwithstanding), 7th, 9th, 11th, and 13th chords etc., are just
thought of as corny these days (though I adamantly disagree). That
music had much more complicated arrangements, mostly because the
popular pop sound of the 40s, for instance, was a Big Band sound.
Glen Miller, Harry James etc. had many more instruments to arrange
for with any given song, and the more creative arrangers took
advantage of that, building vast colorscapes with a foot definitely
nudged in the door of their classical recent past. The lesser
arrangers, like in any colloquiality, did lesser arrangements. I
personally think Nelson Riddle and Billy May are the cats pajamas.
IMHO, what the public responds to gets less complicated with each
subsequent generation. As much as some of the more recent Hip Hop
stuff has some very intricate counterpoint, it's in the percussion,
rather than the instrumentation.
> Lennon quite rightly said The Beatles created "20th century electric
> folk music" a modest but mostly true appraisal in my estimation.
I think I agree with you, depending, of course, on how you would
define terms like folk etc.... but that's just me.
Once again, language is an interesting thing to try to communicate
with. I prefer the music.
albabe
-------------------[ archived by Spectropop ]-------------------
End
