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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: Ronnie's Riverside Dr apt. in NYC
From: Shawn Baldwin
2. Re: Organs R Us
From: James Botticelli
3. Re: Stoned
From: Peter McDonnell
4. Re: A question for Mike Rashkow
From: Mike Rashkow
5. Brenda K. Starr
From: Larry Lapka
6. My Name Is Michael
From: Mike Rashkow
7. Re: RIP Adam Faith
From: TD
8. Deeper meanings; bass lines; Double Shot-Brenton Wood; more
From: Country Paul
9. Re: The Letter
From: Andrew Jones
10. Re: 4 Seasons (Alanna) in musica
From: Billy G Spradlin
11. Re: Nanker Phelge/Macca slap
From: Richard Havers
12. Murray OR Callander
From: Andrew Jones
13. Re: Thomas Fritsch
From: Andres Jurak
14. Re: Ann Sidney; Ellie Janov; Lincoln Chase; Gene Pitney
From: Artie Wayne
15. Re: A Message From the Lovelites
From: Jimmy Crescitelli
16. The Blossoms
From: Simon White
17. three stars will shine tonight
From: Justin McDevitt
18. Re: wayne newton
From: Mary
19. Re: Ronnie's Riverside Dr apt. in NYC
From: Mary S.
20. Brian Wilson Productions
From: Watson Macblue
21. Re: Smith, Hooven and Winn
From: Claus
22. Canada and British Rock
From: David Coyle
23. Re: Little Richard Commercial
From: David Coyle
24. Re: What Was The First...?
From: David Coyle
25. Re: Stoned
From: Phil Milstein
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Message: 1
Date: Sun, 09 Mar 2003 18:51:02 -0600
From: Shawn Baldwin
Subject: Re: Ronnie's Riverside Dr apt. in NYC
Rob:
> Does everyone know that there was a gold single for
> "Be My Baby" at this apt? I visited numerous times there...
I think it's cool you know Ronnie Spector! I wished she and
the other Ronettes could get their money from Phil!
Shawn
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Message: 2
Date: Sun, 09 Mar 2003 19:52:12 -0500
From: James Botticelli
Subject: Re: Organs R Us
Artie Wayne wrote:
> the instrument used on "Runaway" is called the Ondiolene
> [not sure of the spelling] I loved the sound and tried to
> use it several times whenever I used Allegro studios in
> the basement of 1650 B'way .......
I believe its spelled Ondioline but I'm not sure either.
Kai Winding used it frequently. It gives off a pretty groovy
sound, sorta halfway between a theremin and a moog.
-- James Botticelli
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Message: 3
Date: Sun, 09 Mar 2003 17:26:29 -0800
From: Peter McDonnell
Subject: Re: Stoned
> Good Golly Miss Molly, what if I said I didn't own a Beatles
> record--a stoning?
Yeah--and if you said you didn't own a Stones record you'd get
a beatling! : -)
I've read reams of stuff on the Lennon-McCartney songwriting
partnership, and which of them was responsible for which song,
etc. and obviously they sang lead on the compositions that were
mainly theirs, but I've not read much on how Mick & Keith divide
up the task, and with only Mick singing lead, one can't tell by
that yardstick. Jagger/Richards have had what seems to be a more
seamless writing identity...harder to tell where one guy's
contribution ended and the other's began.
friscopedro
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Message: 4
Date: Sun, 09 Mar 2003 21:05:37 EST
From: Mike Rashkow
Subject: Re: A question for Mike Rashkow
Jim Cassidy:
> My apologies to all if this question has been posed to you
> before in this forum, Mike, but could you share with us your
> recollections of working with Ellie Greenwich and Dusty
> Springfield on "What Good Is I Love You?"
Dear Jim,
Thanks for your interest. It has been asked before - and I
think I posted a long detailed (and likely boring) answer.
I dont't want to make the group suffer through it again -
though it is a little strange.
Checkout Digest number 365 from January 2002
http://www.spectropop.com/archive/digest/m833.html
Rashkovsky
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Message: 5
Date: Mon, 10 Mar 2003 02:22:18 -0000
From: Larry Lapka
Subject: Brenda K. Starr
OOPS! My mistake. Brenda K. Starr is the result of a mixed
marriage involving a Spiral Starecase member, but not Pat Upton.
It's actually Harvey Kaplan, who was their organist.
Her biggest hit was "I Still Believe", which hit #13 in 1988.
Larry Lapka
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Message: 6
Date: Sun, 09 Mar 2003 21:14:35 EST
From: Mike Rashkow
Subject: My Name Is Michael
A few days ago there was a post about Paul Vance that
mentioned "My Name Is Michael". I think that post mentioned
that it was done by Michael Vance, Paul's son.
My memory is that it was a major hit for Clint Holmes.
I saw Clint Holmes in Atlantic City about 10 years ago where he
was a full-time headliner - had a show room dedicated to his
performances. Let me tell you, he was some kind of performer.
Major. As good as it gets. AND he gets the big bucks!
Anyone else ever seen him live?
Rashkovsky
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Message: 7
Date: Sun, 09 Mar 2003 22:04:19 -0500
From: TD
Subject: Re: RIP Adam Faith
I can't remember if I saw Adam Faith on Shindig or Hulabaloo,
but he sang "If You Want Me, It's Alright". Next time I saw
him, he was in the Monty Python sketch about "Hell's Grannies".
--- TD
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Message: 8
Date: Sun, 09 Mar 2003 23:10:24 -0500
From: Country Paul
Subject: Deeper meanings; bass lines; Double Shot-Brenton Wood; more
David Coyle:
> Someone ought to write a book about all these classic songs
> with hidden meanings. It didn't just start in the bubblegum
> era with the Ohio Express singing about having love in their
> tummy..."
This was the point I was making about "Mr. Custer" awhile back -
here's this guy unaware of but anticipating the awaiting massacre,
doing his duty fearfully. Many levels on this one. Same with
Gloria Balsam's "Fluffy" - funny and consciously horrible to
listen to, but if the lyrics grab you, watch out. While I think
George's explication of "He'll Have to Go" got a bit academic, I
found it fascinating. I love stuff that works on multiple levels.
Stuffed Animal and Guy Lawrence, "Can You Waddle?" by The Spartans
[Jeff Barry] may not have been a big hit, but it lasted for a
couple of weeks of airplay in New York, and actually sold a few
copies - one of them to me.
Phil Milstein:
> Stewart Copeland did an early turn under the name of Klark Kent,
> for one of his brother's labels. I think I may still have one or
> both of those records.
...one of which was a 10" LP.
My quick 2 cents on McCartney's bass playing: Unlike the other
Beatles, McCartney started as a schooled musician. His inversions,
suspensions, and sense of voice leading - plus his judicious
wisdom in applying them at the right time - is what made the magic.
Interesting to note that many of Brian Wilson's best compositions
had unusual chord inversions and bass lines, too, although Wilson
was self-taught. The contrast in approaches makes each fascinating
in their own way. No wonder these guys felt as though they were
competing with each other!
Steve Harvey:
> Weren't Brenton Wood and the Count Five on the same label?
Double Shot. Probably not big enough to have a studio of their
own. The label was owned by Irwin Zucker, an old-line west coast
record guy. Apparently the label came back to life in the 80s to
reissue their hits. There's a phone number and address posted:
213-461-3921, 6464 W Sunset Blvd, Los Angeles, CA,90028. If I
remember, the writers, Smith, Hooven and Winn, had something to
do with label ownership.
As far as the organ goes, I found an interview with one Mighty Mo
at http://www.jacksbluesshack.com/html/mighty_mo.html
From it:
"I put an ad in the Free Press that said, "Iconoclastic musician
looking to join band." Ken and the Candidates' organ player got
homesick and went back to Illinois. He played a Farfisa like I had.
That was the only portable organ I could bring back on the train.
The next thing up was a B-3. I jumped into a band with uniforms
and everything that was playing six nights a week all over L.A.
Then we were playing in a little club in South Central, it was a
strip club matter of fact. We were the house band. This guy by the
name of Brenton Wood had a big hit record called "Oogum Boogum".
Huge record. And he needed a band. He said, "You guys want to be
the house band at Double Shot Records?" My organ became featured
on "Gimme Some Kind of Sign." The record went Gold. I played
Farfisa on all his hits. I quit the band because I came out to
produce anyway. They hired me and said, "Why don't you work for
us as a producer? We'll pay you and give you a salary." I moved
to the beach and started producing and writing for Double Shot
Records. I did Bobby Freeman, I did Shirley and Lee, and I did
War before they were War. And then I did Sonny Terry and Brownie
McGhee on A&M Records."
There's also an official website at www.brentonwood.com, and a
Count Five history at
http://entertainment.msn.com/Artist/?artist=113508
Quick stuff:
Re: Tracey Dey: go to
http://www.metastrategies.com/resources/index.cfm?sec=4
and scroll down about 1/3 of the way. That's as close as I could
get. Same person?
Ian Chapman, could you please play the Betty Barnes track to
musica? It sounds too weird to be true!
TD, thanks for mentioning "Maybe" by the Chantels in your 10-best.
Definitely not a hint of jazz, but drenched in both gospel and
teenage heartbreak. Anyone have any comments on Dave Edmunds'
Spectorian remake from the 70s?
More to come,
Country Paul
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Message: 9
Date: Sun, 09 Mar 2003 23:26:53 -0500 (EST)
From: Andrew Jones
Subject: Re: The Letter
Okay, now that "The Letter" has been brought up, I'm gonna
ask a question that I have asked many times, of many people,
and never gotten a definite answer for: Is that sound effect
at the end of "The Letter" actually a jet plane, or a vocal
imitation?
-------------------[ archived by Spectropop ]-------------------
Message: 10
Date: Mon, 10 Mar 2003 06:40:03 -0000
From: Billy G Spradlin
Subject: Re: 4 Seasons (Alanna) in musica
Mike Edwards:
> Alanna was a small label founded by local record man,
> Bill Lawrence who was one of the people behind the
> Skyliners' "Since I Don't Have You". The 4 Seasons who
> recorded for Alanna had only two releases, the second
> of which was a pretty decent up-tempo novelty item,
> "Hot Water Bottle" (1960).
Thanks for the info and mp3 - didn't some of these tracks
wind up on budget albums like Spin-O-Rama and Design to fool
people into thinking they were buying Frankie & the boys?
Billy
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Message: 11
Date: Mon, 10 Mar 2003 07:16:53 +0000
From: Richard Havers
Subject: Re: Nanker Phelge/Macca slap
Steve Harvey wrote:
> So Richard,
> Who showed Macca how to slap? Maybe Nanker Phelge?
> Seriously, given that slapbass is not something one
> can easily pick up on your own I'm curious as to how
> Paul learned it. There are a couple of videos out,
> but they are fairly recent issues.
I detect a note of disbelief! I have absolutely no idea
who taught Paul; how to play slap bass. I just said that
he fooled around apeing Bill Black. I was making no great
claims for his slap bass style. His 'thing' was that he
loved the idea of having Black's bass. Not doubt he found
it 'brought' him closer to some of the recordings by Elvis
that so inspired him.
Richard
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Message: 12
Date: Sun, 09 Mar 2003 23:34:14 -0500 (EST)
From: Andrew Jones
Subject: Murray OR Callander
During the early 1970s, one of my favorite writing/producing
teams was Mitch Murray and Peter Callander (even if they were
sometimes a guilty pleasure). In my collecting, I've sometimes
happened upon tunes that Murray or Callander wrote in the years
before they came together (prime example: Murray's "How Do You
Do It?"). When there's room, how about a list of songs written
by Murray or Callander before their partnership?
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Message: 13
Date: Mon, 10 Mar 2003 16:16:55 +0300
From: Andres Jurak
Subject: Re: Thomas Fritsch
Patrick Rands wrote:
> Raimonds Pauls - didn't know much about the guy but
> apparently he is Latvia's best known composer
Not only Latvia's, he was one of the mos prolific and respected
pop song writers in the USSR! Pauls took part in any official
pop concert, devoted to communist celebration of any kind. As
soon as the Empire of Evil collapsed he became the Minister of
Culture in Latvia (briefly). It's good to know the old man is
still alive and kicking (this time independently).
Andres
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Message: 14
Date: Mon, 10 Mar 2003 06:12:13 -0800 (PST)
From: Artie Wayne
Subject: Re: Ann Sidney; Ellie Janov; Lincoln Chase; Gene Pitney
Country Paul,
When I left the Nevins/ Kirshner stable in 1962, I was invited
by Hal Fein to work with some of the writers at Roosevelt music
that included Otis Blackwell, Charlie Singleton, Don Covay,
Ollie Jones and Lincoln Chase. I learned more about writing R&B
during that 3 month period then I had before or since.
Although I had a chance to work with some of my heroes, it was
Lincoln Chase to be the most innovative. Although he'd use common
phrases like "Jim Dandy to the rescue", "Get right down to the
real Nitty Gritty" it was his music that made it come to life.
He would always try something different. "The Name Game" I've
always considered to be the harbinger of Rap.
Regards,
Artie Wayne
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Message: 15
Date: Mon, 10 Mar 2003 09:25:30 EST
From: Jimmy Crescitelli
Subject: Re: A Message From the Lovelites
Ladies! Welcome home : )
Will wonders never cease? Posts like yours suddenly telescope
the past 40 years into perspective. It's so great to know that
you all are so interested and available to help archive musical
history. Thanks so much!
Jim Crescitelli
PS - And Mick, a belated thanks to YOU for your exhaustive
research, intrepid doggedness, and utter devotion to the
sounds we love.
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Message: 16
Date: Mon, 10 Mar 2003 10:03:58 +0000
From: Simon White
Subject: The Blossoms
I have a friend who made a record with the Blossoms. I've
finally got to hear it. It's rock n' rollish and admittedly,
not the greatest record ever made, but the Blossoms are really
working away and doing their thing, especially on the 'A' side.
Anyway, the story is that my friend, Aleko, had an agent called
Vy Barry who had offices on Hollywood and Vine. One day she
called him up and said that she and a friend of hers, Doc Shockey,
had written a couple of songs they would like him to try out.
They liked the way he did them and arranged a recording date.
When the date arrived, to quote Aleko "I was taken to a room
in the same building and there was Johnny Otis and his band and
three really cute black girls who called themselves the Blossoms
and were just starting out".
The record "Relax, Relax"/"Lovely One" came out on Cavalier 884
and was billed as Aleko Korallis Sings with Doc Shockey and his
Rhythm Pills!!! Aleko is uncertain of the date of the recording
but has it written down somewhere. He assumes Johnny Otis never
got a mention as he was under contract to someone else at the
time although he does get a writer credit. The Blossoms came
along as a favour to Johnny.
Aleko was born in Los Angeles, but obviously, has Greek roots
and has now gone to live in Skiathos, a Greek island, where he
is involved in the local radio station.
I wonder if anyone has ever attempted to put together a list of
the Blossoms back up work. Quite a task.
If you go to http://electricearl.com/dws/ you'll find yourself
at the Doo Wop Society of Southern California's web site. Scroll
down awhile and after you get to a drawing of a guy at a mike
keep going until you see The Dreamers/Blossoms and click on for
some nice pics of the Blossoms including one with Johnny Otis.
-------------------[ archived by Spectropop ]-------------------
Message: 17
Date: Mon, 10 Mar 2003 09:05:44 -0600
From: Justin McDevitt
Subject: three stars will shine tonight
Hello Spectropop,
Allan warner wrote:
> Hal Winn wrote the lyric THREE STARS WILL SHINE TONIGHT to
> Jerry Goldsmith & Pete Rugolo's THEME FROM DR. KILDARE which
> became a Top Ten hit in '62 for the star of that TV show,
> the crooning Richard Chamerlain".
Although I have a 45 of this song, performed fervently, though
a little off-key by Chamberlain, I would really like to get a
hold of the instrumental version that was used as the theme
for Dr. Kildare.
I know that there have been a number of Tv theme song comps
that have been put out over the last number of years. Has this
version ever been included on one of these collections? If so,
let me know.
Justin McDevitt
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Message: 18
Date: Mon, 10 Mar 2003 16:52:14 -0000
From: Mary
Subject: Re: wayne newton
Wow! For some reason, I had forgotten all about Wayne's
"Comin' On Too Strong" record, one of the few Wayne Newton
songs I could ever stand. The song took advantage of his
high-pitched voice (much too high-pitched for my taste,
ordinarily). It's too bad he didn't make more records of
that ilk. Most of his songs are the blandest of the bland,
and he actually sounds like a woman in many of them. I think
my own vocal range is about three octaves lower than his (okay,
maybe a little bit of an exaggeration). He must have fans
somewhere, though, or he wouldn't be making the megabucks in
Vegas. I must admit that I am completely mystified by his
continuing popularity.
Mary S.
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Message: 19
Date: Mon, 10 Mar 2003 16:56:54 -0000
From: Mary S.
Subject: Re: Ronnie's Riverside Dr apt. in NYC
Rob wrote:
> Does everyone know that there was a gold single for
> "Be My Baby" at this apt?
Hi, Roberto!
What interesting info! Tell us more about Estelle, pretty
please! I liked all of the Ronettes very much. I am sorry
that they didn't last longer as an intact group, but Phil
Spector had singled Ronnie out for his special attention,
as we all know. Apparently, he considered Estelle and Nedra
as little more than background singers for Ronnie.
Mary S.
P.S.: I just re-read Ronnie's book, "Be My Baby". It is
quite interesting, though I don't take every world of it for
gospel truth. There aren't really very many photos in the book,
something which I found quite surprising.
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Message: 20
Date: Mon, 10 Mar 2003 09:21:00 -0800 (PST)
From: Watson Macblue
Subject: Brian Wilson Productions
First off, huge congratulations to Rob Finnis and Ace Records
for getting this CD out; good sound (somebody has bothered to
master the thing properly, unlike some Beach Boys CDs one could
mention) and detailed, literate (no D. Leaf) and informative
(ditto) notes. The only remotely sensible criticism might be
that, at 52 minutes, it's a little on the short side; I'm sure
most of us could think of a handful of other tracks to make up
the available 70 minutes.
Stratton pointed out earlier that there seemed to be something
of a quality drop from Brian's songs for the BBs and his work
elsewhere, to which Country Paul replied:
> While agreeing with that comment, I disagree with your
> following one that Brian put the _best_ outside production
> work into American Spring.
As I mentioned in an earlier posting, engineer Steve Desper
(and, under pressure, Marilyn Wilson) admitted that Brian
was in no state to produce anything during the Spring period,
leaving all the work to David (whatever happened to?) Sandler.
Remember that this was roughly the same period as the Surf's
Up vocal session horror, which led to Carl being pitchforked
into singing lead as Brian stomped upstairs for a 20-year nap.
There are other problems. The girls are allowed to wander
off-pitch (and I mean *way* off-pitch) more often than a
healthy Brian would ever have tolerated: Sweet Mountain,
in particular, is made almost unlistenable by this. Also,
am I the only person who wants to scream as the chorus of
Shyin' Away makes its 35th redundant appearance? Even at
his craziest, Brian always knew when to *stop* ...
The material on most of the outside productions is, for sure,
way below the startospheric standards set by Brian's BBs songs,
with a few tracks being downright embarrassing (the brainless
arrangement of Summertime is rapidly becoming a party disc
here at Chateau Macblue) - but I see another ghost at the
feast. Listen to that irritating dotted thing the girls
sing at the end of every line of the verse of "Tonight You
Belong to Me"; come to that, listen to the track arrangement.
Every time I hear this song, I want to shout "Hello, Murry!".
Many of the Honeys tracks sound, in fact, like Brian trying to
placate the paternal demon. And Murry even got to produce a
whole Honeys track himself, remember. This music belongs in
a very dark place in the Wilson canon.
> I wish he'd spent more time on the Survivors' instrumental,
> "After The Game"
Serious question: is that chord change at the end of the middle-
eight the weirdest harmonic transition this side of Messiaen, or
a mistake by the guitarist? I've always wondered. Oh, and shoot
that woodpecker, somebody ...
Watson
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Message: 21
Date: Mon, 10 Mar 2003 18:02:20 -0000
From: Claus
Subject: Re: Smith, Hooven and Winn
Guy Lawrence:
> Anybody got any other credits on the writers -
> Smith, Hooven and Winn?
Hooven/Winn/(Lester)Sill also produced The Kustom Kings
album on the Smash label in 1964. It was an instrumental
drag/surf combo and featured legendary Bruce Johnson and
Steve Douglas as session cats.
Best, Claus
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Message: 22
Date: Mon, 10 Mar 2003 11:34:26 -0800 (PST)
From: David Coyle
Subject: Canada and British Rock
I think Canada had a lot more access to British rock
before the British Invasion than record buyers in the
US did. The fact that the Guess Who's first hit from
1965 was a cover of a relatively obscure Johnny Kidd
and the Pirates song is a tip of the iceberg. The same
group also did Johnny Kidd's followup, "Baby Feeling",
"You Know He Did" by the Hollies and "Alright" by the
Searchers (both obscure tunes by British groups that
were known in the US only for a couple of hits by that
time).
"Shy Guy", from their first album, is almost a copy of
"I'm A Moody Guy" by Shane Fenton (in the US, "Shane
who?"). And I recently picked up a Joe Meek comp on
which I discovered another track the Guess Who
covered, Mike Berry and the Outlaws' "It's Just A
Matter Of Time". The Guess Who also dipped further
into the repertoire of Gerry and the Pacemakers than
most fans did, covering their versions of "A Shot Of
Rhythm And Blues" and "Where Have You Been All My
Life" (both covers of Arthur Alexander, with the
latter retitled "Til We Kissed").
In 1965, Cliff Richard was known in America, barely,
as the guy who did a version of "It's All In The Game"
in 1963, and reached the lower rungs of the pop chart.
The Guess Who, on the other hand, thought enough of
Cliff and the Shads to cover the obscure "Tough
Enough" (itself a Johnny Otis cover), and to record
their own tribute to the Shadows and the phenomenal
Hank Marvin, "Made In England".
And that's just the Guess Who. They were just one of
many Brit-inspired groups to pop up in those years,
but they just had a more varied repertoire to choose
from. I'm sure there are countless Canadian combos
that also did songs by British rockers that US
musicians never did or maybe still haven't ever heard
of.
David
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Message: 23
Date: Mon, 10 Mar 2003 11:50:30 -0800 (PST)
From: David Coyle
Subject: Re: Little Richard Commercial
Hey, I just think it's great to see Little Richard on
TV at all. I really hated missing his cameo on "The
Simpsons." Did I miss much?
I got the privilege to see Little Richard in concert
on the 4th of July a couple years ago. His set was way
too short for all the anticipation I put into it, but
it was still the man himself. It was just great seeing
one of my favorite R&R pioneers in person. I couldn't
have cared less about the fireworks that caused his
set to be rushed.
As for the commercial itself, I still don't know what
he's supposed to be going on about. The only thing I
really understand is "These aren't Little Richard
shoes!" and "Who took the picture of Little Richard??"
Otherwise, I guess the whole point is that this woman
went to the bowling alley, Little Richard was there,
and she just had to tell somebody (probably her
mother?). So the Sprint guy gives her the camera
phone. Pretty self explanatory, but still a bit
cryptic.
David
-------------------[ archived by Spectropop ]-------------------
Message: 24
Date: Mon, 10 Mar 2003 11:58:57 -0800 (PST)
From: David Coyle
Subject: Re: What Was The First...?
Look around Sam Goody or Media Play. That's where I
got my copy of "What Was The First Rock And Roll
Record?" for less than 10 bucks on a clearance table.
Saw it again at another store, so it may be findable
in those circumstances.
David
-------------------[ archived by Spectropop ]-------------------
Message: 25
Date: Mon, 10 Mar 2003 16:24:55 +0000
From: Phil Milstein
Subject: Re: Stoned
Peter McDonnell wrote:
> mainly theirs, but I've not read much on how Mick & Keith divide
> up the task, and with only Mick singing lead, one can't tell by
> that yardstick. Jagger/Richards have had what seems to be a more
> seamless writing identity...harder to tell where one guy's
> contribution ended and the other's began.
Interesting question. I've always assumed that Mick was primarily
responsible for the words and Keith for the music, and that the
songs Keith would occasionally sing were those he wrote by himself.
If it's not exactly the case, it still looks pretty neat on "paper"
that way.
--Phil M.
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End
