http://www.spectropop.com
________________________________________________________________________
______________ ______________
______________ ______________
______________ S P E C T R O P O P ______________
______________ ______________
________________________________________________________________________
Here's the beat and the feel of today's young music
------------------------------------------------------------------------
There are 8 messages in this issue of Spectropop.
Topics in this Digest Number 158:
1. David and Jonathan
From: James Botticelli
2. Re; David & Jonathan.
From: Dean Scapolo
3. Greenaway/Cook
From: Tom Simon
4. Greenaway/Cook
From: Stewart Mason
5. SHIRLEY MATTHEWS
From: Mick Patrick
6. 60s radio airchecks
From: Freeman Carmack
7. Re: the real Soul & Inspiration
From: "Mike Arcidiacono"
8. Viva la musica!
From: LePageWeb
________________________________________________________________________
________________________________________________________________________
Message: 1
Date: Sat, 28 Apr 2001 14:54:18 EDT
From: James Botticelli
Subject: David and Jonathan
> But here's my question... aren't Roger Greenway and
> Roger Cook some kind of producing or writing team?
> Anyone?
David and Jonathan did an even softer version of --I
think-- "Michelle" ..Sort of a Silkie (re-doing "You've
Got To Hide Your Love Away") from that same era...the
softening of already soft Beatles Songs
--------------------[ archived by Spectropop ]--------------------
Message: 2
Date: Sat, 28 Apr 2001 21:47:41 +1200
From: Dean Scapolo
Subject: Re; David & Jonathan.
Hi,
David and Jonathan, the British duo who hit the US charts
with their version of Michelle, were certainly Roger Cook
and Roger Greenaway. As far as I am aware, the names
David and Jonathan had no connection to their actual
names.
While they were only slightly successful as a duo in the
USA, they had only slightly more success in the UK with 2
top 20 hits: Michelle & Lovers Of The World Unite. they
definitely released other singles though, including:
She's Leaving Home & Speak Her Name.
They went on to form Blue Mink with reasonable success,
as well as producing White Plains. Greenaway was also
with Tony Burrows, another UK session musician of the
time, in the Pipkins (Gimme Dat Ding!)
Dean.
--------------------[ archived by Spectropop ]--------------------
Message: 3
Date: Sat, 28 Apr 2001 10:15:51 -0500
From: Tom Simon
Subject: Greenaway/Cook
Alan Zweig wrote:
>aren't Roger Greenway and Roger Cook some kind of
>producing or writing team?
Roger Cook was a singer with the British pop group Blue
Mink when he began collaborating with Roger Greenaway
(not Greenway) on songwriting. From 1969 to 1973 the duo
wrote at least half a dozen songs that went to the top
thirty on the UK charts. They wrote mostly light, fluffy
songs such as the New Seekers' "I'd Like To Teach The
World To Sing (In Perfect Harmony)."
Tom Simon
--------------------[ archived by Spectropop ]--------------------
Message: 4
Date: Sat, 28 Apr 2001 10:22:42 -0600
From: Stewart Mason
Subject: Greenaway/Cook
Alan Zweig asked:
>I can't remember who they are exactly or where I know
>their names from but aren't Roger Greenway and Roger
> Cook some kind of producing or writing team?
Yes, Greenaway/Cook was an immensely popular
writing/producing team in the UK in the late 60s and
early 70s. Their biggest hits included "I'd Like To
Teach the World To Sing" for the New Seekers (they also
created the "It's the Real Thing" jingle), The Hollies'
"Long Cool Woman In A Black Dress," and the very first
pop song I ever loved and still an all-time favorite,
Edison Lighthouse's "Love Grows Where My Rosemary Goes."
They wrote a lot of Tony Burrows' other hits as well, and
the falsetto in the Pipkins' "Gimme Dat Ding" was sung by
Roger Greenaway. (Burrows was the bass voice.) Another
popular-at-the-time novelty hit they wrote was "I Was
Kaiser Bill's Batman" by Whistlin' Jack Smith.
So basically, they were kind of like the UK's answer to
Boyce and Hart.
Stewart
--------------------[ archived by Spectropop ]--------------------
Message: 5
Date: Sat, 28 Apr 2001 11:21:37 +0100 (BST)
From: Mick Patrick
Subject: SHIRLEY MATTHEWS
>Ian Chapman wrote:
>Just got "Where The Girls Are" Vol. 4 today. Good to get
>fab things like Shirley Matthews' "Big Town Boy" on CD.
Hi Ian,
Yeah, you're right, it's about time we got some of
those Bob Crewe gals in digital format. I just opened my
copy of the new DYNOVOICE STORY double CD this morning.
Diane Renay, Jeanne Thomas and the Beach Girls are all
featured. But what I want now is a Tracey Dey meets the
Rag Dolls compilation!
BTW (notice how quickly the old twit picks up the
shorthand), your old friend LORRAINE "Lost Summer Love"
SILVER phoned recently to say that she now has a website.
It contains a well-written biog, a discog and that
groovy 1965 photo that she showed us in her scrapbook.
She's still singing and had just got back from a
friend's wedding where she entertained the guests with
"Third Finger Left Hand". Spectropoppers should check it
out:
http://www.spectropop.com/go2/lorraine_silver.html
Thanks for the Marlene/Bacharach info. Must go, Rugrats
is on.
MICK
--------------------[ archived by Spectropop ]--------------------
Message: 6
Date: Sat, 28 Apr 2001 15:37:52 -0000
From: Freeman Carmack
Subject: 60s radio airchecks
Would any of you kind people mind re-posting, to me or
to the group,some of the wonderful archives of radio
airchecks that we were treated to back in February.It
has brought so many wonderful memories, as well as
reminded me of what a wonderful era in music it was.
My radio, from the early 60s until the mid 70s, was my
constant companion.
All the best,
Freeman Carmack
Worthington,Ohio
--------------------[ archived by Spectropop ]--------------------
Message: 7
Date: Sat, 28 Apr 2001 17:22:57 -0400
From: "Mike Arcidiacono"
Subject: Re: the real Soul & Inspiration
"Carol Kaye" wrote:
> (except that it was Earl Palmer on most of the hits that
> Phil cut I tho't, and this definitely had Hal Blaine on
> this one
Hmmm....that's interesting, as it contradicts most that
has been written, even by Hal himself. Hal says its HIM
on all those great Spector tracks, and that Earl was on
"Lovin Feeling" and only one or two others. Hal says its
himself on all the Spector pop stuff.
Mike
--------------------[ archived by Spectropop ]--------------------
Message: 8
Date: Sun, 29 Apr 2001 10:46:27 +0900
From: LePageWeb
Subject: Viva la musica!
Regarding recent files in "musica" - muy bueno!!
The Chantelles' tracks are charming - and isn't it easy to
trainspot the references? "More to Love (Than Moonlight)"
sounds quite a bit like" Concrete and Clay" (and "Here
Comes My Baby"). But "Out Of My Mind" is the really
interesting one. A near carbon copy arrangement of the
Animals' Don't Bring Me Down, the driving organ brings the
record to the brink of psychedelia, a delightful rarity
among girl group records ("Nobody Knows What's Goin' On In
My Mind But Me" by Chiffons is another). I really like
this side! Who produced their post EMI records? Surely
this is not an original Gene Norman Presents-related
production???
Ah, and then the Goodies. Or the Bunnies. Or both!
I agree this is one heckuva record by whatever title or
group name. After A/B-ing the three versions, a few rather
interesting things came to light.
As much as I adore this record, I always thought it had a
rather thin sounding intro. Turns out the two bar guitar
intro wasn't supposed to be there after all, judging from
the 45 version. Sure enough, without those two bars, the
record has a much stronger start. The second thing I
noticed was that at 1:36 on the 45 mix (1:41 on the
others) there is no "oh yeah" during the first line of
the chorus. The "oh yeah" doesn't enter until the second
half of that chorus. The vocalist obviously sang it
because it is on the remix version, so it stands to
reason the muted phrase was a "creative decision" during
the first mix. Makes sense, too, as it builds the track
more at the end by holding it back.
Finally, a bit difficult to qualify, but it seems the
backing track on the remix is much brighter, and while
the castanets are more prominent in the remix, the snare
is really thin and the reverb on the snare sounds shallow
compared to the 45 mix. Indeed, the 45 mix is much warmer
throughout. Ironically, although strings are usually
enhanced by a top heavy eq, here they are buried in the
remix. Listen to the way the strings enter at 0:49 on the
45 mix. The balance is just right. You have to strain to
hear them on the remix.
Geoff Mullins wrote:
> I have often wondered where the ownership of the Red
> Bird/Blue Cat material now lies. I read somewhere ages
> ago that when George Goldner sold the label, the deal was
> split between Shelby Singelton and Atlantic.
In the USA, Sun Entertainment/Shelby Singleton
Productions owns the Red-Bird catalog. Charly Records
International has the rights outside the USA. The
exception is the Shangri-Las' catalog, which is owned by
PolyGram/Universal Music worldwide.
Well, this was an amazing day for musica. Thanks
everyone.
Jamie
--------------------[ archived by Spectropop ]--------------------
End
Spectropop text contents © copyright Spectropop unless
stated otherwise.
All rights in and to the contents of these documents, including each element embodied therein, is subject to copyright
protection under international copyright law. Any use, reuse, reproduction and/or adaptation without written permission of the owners is a violation of copyright law and is strictly prohibited. All rights reserved.