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Proclaimed winners by viewers of with-it TV Music-Ins
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There are 12 messages in this issue of Spectropop.
Topics in this Digest Number 342:
1. Re: Fifth Avenue Band
From: "Robert Conway"
2. re: Brian Wilson
From: Bill Reed
3. The Brunswick Years
From: "David Feldman"
4. Roll Right Stones?
From: "Javed Jafri"
5. Re: Roll Right Stones?
From: Andrew Hickey
6. Re: Hair
From: Andrew Hickey
7. Re: Hair
From: Luis Suarez
8. Brian Wilson/Don't Mess With Bill
From: "Javed Jafri"
9. Just Like Longhair ?
From: "Javed Jafri"
10. Re: Charles Fox
From: "Mike Arcidiacono"
11. RE: Basslines
From: Michael Rashkow
12. Catch-up notes and more
From: "Paul Payton"
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Message: 1
Date: Tue, 08 Jan 2002 21:42:53 -0600
From: "Robert Conway"
Subject: Re: Fifth Avenue Band
Oftentimes I feel like a schoolboy in a class of
overachievers, where everyone in the front of the class
constantly throws their arms up and answers the teacher's
questions correctly and with much enthusiasm. Amazed and
numb my arm drops and I skulk to the back of the class to
sit back on my hands and wait for another Spectropopper
to quickly answer another question. Well I've found one
(courtesy of Kingsley Abbott) that must have been asked
during recess...it's two days on and the question still
begs to be answered: Dude, what's the deal with the
Fifth Avenue Band?
A college freshman in '69, I was home on break and bored
on a weekday afternoon so I turned on the telly and there
was David Frost hosting his show and touting his lineup
of guests that included the usual recycled, tired
politician; the current college radical of the month; the
latest William Buckley wannabe-type author, and
voila--the next supergroup. That last pitch was the one
that got my attention. So I watched for nearly 90
minutes until the final minutes approached and finally DF
introduced the Fifth Avenue Band. Who??? And then I
listened and was captivated. And to this day they still
are in my current rotation. Most of my 15,000+ LPs are
long gone, but I still own the Fifth Avenue Band's one
and only LP circa 1969 on the Reprise label. When I
started to convert to CDs the 5A Band topped my fantasy
CD want list. I never thought it would be reissued on CD,
but lo and behold (by pure dumb luck on the Internet
about two or three years ago) I found a site that offered
the usual menu of "rare and hard to find CDs." With too
much time on my hands I entered the usual names like Phil
Spector, Curt Boettcher, etc., and then for some
unexplainable reason I entered Fifth Avenue Band.
Amazingly the words "one match" appeared on my screen. I
trembled as I fumbled for my VISA card.
The LP was produced by Jerry Yester and Zal Yanovsky and
Erik Jacobsen. The "leader" of the band was Peter Gallway.
After the group broke up he issued a great solo LP that
was very similar to what the 5A Band was doing, albeit
with a bit folkier sound. I owned this LP as well so I
searched for it also LP that fateful day. Magically it
too was reissued by the Japanese.
It also is a wonderful LP/CD. Bassist on the LP is Ken
Altman from 5A. Danny Kortchmar plays congas. The great
part about this CD is that Gallway composed new liner
notes for its 1998 release. I know that Gallway
continued to perform and record and issued CDs into at
least the early nineties.
OK teacher, this is about all I know. Can I sit down now?
Thanks. And by the way, find that CD, no, find both of
those CDs--hopefully you'll enjoy them as much as I do.
Bob Conway
"Kingsley Abbott" wrote:
> does anyone have any info on The Fifth Avenue Band - I
> have one album I love on Reprise, and would love to
> know if there are any others to track down. They were
> vaguely in the Spoonful/Youngbloods vein, with some
> great NY urban pop songs.
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Message: 2
Date: Tue, 08 Jan 2002 10:15:05 -0800 (PST)
From: Bill Reed
Subject: re: Brian Wilson
"Peter Lerner" wrote:
> Did nobody else catch the article by Sean O'Hagan in
> yesterday's UK Observer newspaper about Brian Wilson,
xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx
The article makes no reference to Sean O'Hagan's other
life, which is as leader of the group High Llamas, a
cross between the Beach Boys, Van Dyke Parks, with a
soupcon of Steely Dan thrown in for good measure.
I used to write about the group for a number of mags
including Rolling Stone, Fusion and Zoo World. At the
height of their unfashionablity somewhere around 1972
I may have been just about the only writer around
giving them extended, respectful and serious coverage.
I thought of myself as a lone voice in the wilderness.
History has since absolved me. LOL
I interviewed Brian Wilson and his brothers in the
late 60s---the clipping I have is undated-- for the NY
mag ROCK, for which I wrote regularly. Here are a
couple of paras and a few cherce Brian quotes from
that article.
". . .so it goes, Brian began to obsess on the
possibility that Mr. Wall of Sound was out for
revenge, angered by the fact that some of his highly
original techniques had not only been copped but
improved upon by Brian. This distraction absorbed his
[Brian's] attention at a time when Spector was
involved in a production deal with Paramount Pictures.
That's the set-up.
Now picture Brian deciding to go to a movie, perhaps
to get his mind off the Spector spectre. The film is,
unfortunately for purposes of a well-intergrated
Brian, the Paramount film, "Seconds." Now, imagine
Brian walking into the theater just as the screen is
filled with a close-up of a character ; looking out
and saying (in the context of the film) 'Good
Afternoon, Mr. Wilson.' Rumors vary as to the the
degree of Brian's upset, but significantly the whole
affair was seen by him as the upshot of some carefully
timed, exquisitely wrought Goldfinger-like plot."
Here's part of the interview:
Brian: Bill?
Me: Yes, Brian?
Brian: Have you ever talked to Mick Jagger?
Me: No, I never have. Why?
Brian: Are you going to?
Me: I'd like to. Sure. But I don't foresee it in the
near future. Why?
Brian: I think you should.
Me: What do you mean?
Brian: I think he would be a really interesting rap.
He's in this movie 'Performance" where he's dressed
like a girl, and I think he'd make a good rap.
Me: Oooooooooookay. (beat) Are you tired of being
asked about 'Surf's Up"?
Brian: NO
Me: Do you think it might make it onto a future album?
Brian: No.
Me: Why?
Brian: We lost it.
Me: No dubs or anything?
Brian: Nope. It's gone.
Carl Wilson: I think we still have an eight track on
it.
Brian: I don't think so.
Me: Brian, do you ever listen to any classical music?
Brian: A little Beethoven, but that's about all.
. . .a bit later on:
Me: Wasn't there also some dissension in the group
about just how progressive your music should be.
Carl and Brian: No!
Brian: And I don't think the Beach Boys have ever
really been that far out.
Me: C'mon, now "Smiley Smile'?
Carl: Well, maybe that one.
Brian: There's a drug abuse clinic somewhere in Terxas
that uses 'Smiley Smile' to help people out of their
bad trips.
And so on. I loved the music of Brian Wilson thirty
years ago and still do just as much. I wrote articles
where I predicted exactly what would happen; that he
would break away from the Beach Boys and eventually be
recognized as the great genius that he is. I saw him a
year-or-so ago at the Hollywood Bowl. A wonderful
experience. Timelessly cuts across all demographic
sectors in much the same was as does another prime
examle of American popcult, "I Love Lucy." I wish him
well.
Still writing for the rock mags, only now exclusively
for Japan (in the past few months, Nick DeCaro, Alan
Livingston, Sam Phillips, Joel Dorn et al). This week
going to interview master recording engineer, Al
Schmitt. Anyone have any questions they'd like me ask
him?
Bill Reed
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Message: 3
Date: Tue, 08 Jan 2002 11:00:56 -0500
From: "David Feldman"
Subject: The Brunswick Years
This two cd-set is a fascinating document. Of course,
the acts you'd expect (Jackie Wilson, Young-Holt Trio,
Tyrone Davis) are highlighted, but there are also a few
acts I'm not familiar with. In particular, there is a
track by a singer who I am not familiar with -- Sidney
Joe Qualis ("How Can You Say Goodbye") which is a clear,
er, homage to Al Green. Anyone know anything about
Qualis?
Brunswick surely had wonderful talent within its artist
roster, but was missing the key producer to bring the
level of its second-tier stuff up to the likes of
Stax-Volt or Scepter or Motown. By listening to the box,
you can hear what was going on at the other labels. The
poor Chi-Lites were particular victims, making records in
the mold of whatever the Temptations were doing at the
time.
>
> > Perhaps it's time for a poll: The 20 Greatest Pop/Rock
> > Basslines of all time.
Influenced by the Brunswick Years, I'd have to include
Tyrone Davis's unforgettable "Can I Change My Mind?"
Dave
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Message: 4
Date: Tue, 08 Jan 2002 23:08:42 -0500
From: "Javed Jafri"
Subject: Roll Right Stones?
I found a cover version of the Beach Boy's "I Get Around"
on Audio Galaxy which is supposedly "The Rolling Stones
with Brian Jones". Sounds like a bit of studio noodling
( under two minutes in length) low fidelity but cool
nothing the less. Does anyone know if this is real thing
?
Javed
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Message: 5
Date: Tue, 08 Jan 2002 20:45:12 -0800 (PST)
From: Andrew Hickey
Subject: Re: Roll Right Stones?
> I found a cover version of the Beach Boy's "I Get
> Around" on Audio Galaxy which is supposedly "The
> Rolling Stones with Brian Jones". Sounds like a bit
> of studio noodling ( under two minutes in length)
> low fidelity but cool nothing the less. Does anyone
> know if this is real thing
I *think* the Andrew Oldham Orchestra did a version of
the track with Mick Jagger on vocals - Oldham had the
UK publishing for the Beach Boys' catalogue at the
time IIRC, hence the plethora of BB covers on
Immediate. This might be that track, or an outtake
>from those sessions.
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Message: 6
Date: Tue, 08 Jan 2002 06:47:07 -0800 (PST)
From: Andrew Hickey
Subject: Re: Hair
> Sounds odd, but the hair theory seems to hold up
> overall. The only caveat I'd offer is if the hair is
> long but the part is still on the side and there isn't
> any facial hair that can sometimes mean its soft not
> hard. But mustaches signify hard.
That's odd - my hair's right down my back and I have a
large bushy beard. My taste in music must be harder
than I thought ;)
np Cowsills - We Can Fly
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Message: 7
Date: Tue, 08 Jan 2002 22:02:41 -0000
From: Luis Suarez
Subject: Re: Hair
James Botticelli wrote:
> Sounds odd, but the hair theory seems to hold up overall.
> The only caveat I'd offer is if the hair is long but the
> part is still on the side and there isn't any facial
> hair that can sometimes mean its soft not hard. But
> mustaches signify hard.
Except, of course if mustaches are accompanied by short
hair, i.e. the Fun and Games or the American Breed.
Luis
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Message: 8
Date: Wed, 09 Jan 2002 00:37:00 -0500
From: "Javed Jafri"
Subject: Brian Wilson/Don't Mess With Bill
Hi Bill,
You really took me down memory lane with references to
all of those old Mags. I still have copies of all of them.
Fusion, Rock, Creem, RS, Crawdaddy and oh yes remember
Changes. Used to spend my paltry allowance on collecting
these. Zoo World was the one that featured album covers
on their cover. They had the BB's "Holland" and so I love
em forever for that. When I saw your posts to this group
I figured you were the same Bill Reed that I had read
years ago. I always remember all the Beach Boy/Pop-Rock
friendly writers. Greg Shaw, Ken Barnes and Gene Sculatti
are still writing. Wonder what happened to Toby Mamis,
Patrick Snider Scumpy, The Mad Peck, The Masked Marvel,
Robot A Hull and Ben Edmunds ??
You were the writers who championed much of the music we
discuss on this list now and which was somewhat out of
fashion in the early 70's.
BTW the Sean O'Hagan that wrote the Guardian article is
not the High Llama but a British music journalist.
Javed
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Message: 9
Date: Wed, 09 Jan 2002 01:32:31 -0500
From: "Javed Jafri"
Subject: Just Like Longhair ?
Alan Zweig wrote:
> the only thing you have to go on is hair length.
> JimmyB knows what I'm talking about. I find that if
> they have true hippie length hair, it's probably not
> for me. But if they look like they just decided a
> couple of weeks ago to let their hair grow over their
> ears, it might be great.
Alan,
Some notable exceptions to your rule. Even in 1966 both
the Critters and Left Banke had hair which I would say
was just as long as that of the Blues Magoos and by late
1967 you'd have a hard time guessing that the Strawberry
Alarmclock and Sunshine Company were not purverors of the
greasy long haired muse favoured by Big Brother and The
Holding Company.
Also the Knickerbockers had the soft-rock look down to a
tee but not neccessarily the sound. In fact a number of
garage bands pre 1967 were surprisingly conservative in
their appreance and dress.
Javed
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Message: 10
Date: Tue, 08 Jan 2002 10:15:59 -0500
From: "Mike Arcidiacono"
Subject: Re: Charles Fox
Let's not Forget the Theme to "Happy Days", which was a
top 20 hit for Charles Fox and (I think) John Maclain.
Mikey
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Message: 11
Date: Tue, 08 Jan 2002 20:27:37 EST
From: Michael Rashkow
Subject: RE: Basslines
Here's a few basslines for consideration:
"Cool Jerk" The Capitols
"I've Got You"
"Papa's Got a Brand New Bag"
and the long out of sight "Out Of Sight"...
all James Brown
Rashkovsky
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Message: 12
Date: Wed, 09 Jan 2002 01:30:18 -0500
From: "Paul Payton"
Subject: Catch-up notes and more
Boy - "real life" has intervened, and I'm way behind.
Jamie, thanks for the discography. Van Dyke Parks is
already on order, and a Paris Sisters CD is coming, for
which I'm extremely appreciative. More to come.
Ian, following your link to www.taragon.com, I spent a
while checking out their discography. They've cornered a
certain sound from the 50's and 60's, and obviously have
quite the access to the RCA material of the period (plus
more). They've also got two anthologies from Chancellor
(the "other" Philadelphia label)! Well worth a browse.
Re: Tandyn Almer - is his still alive? If so, what is he
doing?
Mick Patrick: Brian Hyland's "Make Me Belong To You" is a
guilty pleasure here, too. So to is the
exquisite-if-sappy "Ginny Come Lately" and an
off-the-wall 45 on Dot, "Come Away With Me" (I think I've
got the title right), which obviously took much
inspiration from the Rolling Stones' (!) "2000 Light
Years From Home." Seriously, hang someone else's name on
it and it "coulda been a contender." And in a similar
vein, there's the magnificent "It's Now Winter's Day" by
Tommy Roe - completely brilliant.
By the way, I saw "Vanilla Sky" this weekend. Sure, lots
of critics lambasted it, but my wife and I thought it was
actually quite good, with an exceptional soundtrack as
well. Two superb moments: The Monkees' "Porpoise Song"
(always my fave by them) and a slightly later but
wonderfully eerie song, "Doot Doot" by Freur ('70's Epic
Records - worth the search.)
Phil Chapman, Simon White: Re: Connie Francis - just
before she really hit it big there was a "bubbling under"
45 called "Eighteen" (also MGM); one-chord wonder, hammy
male chorus (they grow on you), and it rocks! Plus, her
voice just oozes sexuality in a way not heard after.
Re: rare soft pop, some out-of-the-ordinary songs jump to
mind;
The Status Cymbal, "In The Morning," RCA, late 60's; this
was a 45 and on an album - one female lead, two guys.
Mighthave come out of Nashville.
New Chatauquans, "It's Raining, It's Pouring," mid 60's,
a la Serendipity Singers; despite the terminal cuteness
of doing a nursery rhyme as a pop song, it works. This
was on an obscure 45; I don't remember the label at the
moment.
Chip Taylor, "You Should Be From Monterey" (Rainy Day),
east-coast surf music. Wonderful Beach Boys feeling from
this versatile musical chameleon.
Lyme & Cybelle, "Follow Me" (White Whale), c. '65. He
could write and sing; she couldn't carry a tune in a bag,
but the record is great! Should be - "Lyme" was Warren
Zevon.
Dee W. White, "What Would You Do If You Were In My Place"
(Columbia), spacy soft-psych-pop on a 45 out of Nashville!
(By the way, Dee is a guy.)
Billy Joe Royal, "Every Night" (Columbia), 1972 or so.
Great version of the McCartney song, produced by Joe
South. Slightly harder version of a soft song, and great.
Hard as hell to find, too. (Anyone have any clues?)
Cyrkle, "I Wish You Could Be Here" (Columbia), '66.
Mainstream, yeah, but immaculate. There's a Paul Simon
demo of this (he wrote it) floating around; a warbly dub
showed up on a WFMU premium tape a coupla years back.
(Now I'll be up all night thinking of stuff I should have
mentioned....)
Country Paul
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