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Spectropop - Digest Number 1029

               SPECTROPOP - Spectacular! Retro! Pop!

There are 7 messages in this issue.

Topics in this digest:

      1. Re: The T.A.M.I. show
           From: Jim Allio 
      2. Re: Keith Olsen
           From: Eddy Smit 
      3. Re: T.A.M.I. Show
           From: Andrew Jones 
      4. Dave Walton; Martin Roberts
           From: Michael Edwards 
      5. Tony Hatch on Garry Mills
           From: Mick Patrick 
           From: Norman 
      7. TNT and TAMI Show
           From: jerophonic 

Message: 1 Date: Fri, 19 Sep 2003 03:31:42 EDT From: Jim Allio Subject: Re: The T.A.M.I. show The version of "The TAMI Show" with the Chuck Berry intros is a truncated version of that classic rock concert film. The original opens with a music video of Jan and Dean's TAMI Show theme song, "From All Over the World," which shows Jan and Dean and Lesley Gore riding bikes, Diana Ross applying lipstick, Gerry Marsden clowning, etc. From that point on, it is two hours of non-stop music with Berry, Gore, Beach Boys, J&D, Supremes, Stones, James Brown, Marvin Gaye, Smokey all doing great work. My all time favorite concert film. Jim Allio -------------------[ archived by Spectropop ]-------------------
Message: 2 Date: Fri, 19 Sep 2003 09:24:05 +0200 From: Eddy Smit Subject: Re: Keith Olsen JB: > I always wondered if it was the same Keith Olsen > that played in Music Machine. Everything you want to know and more right here : Eddy -------------------[ archived by Spectropop ]-------------------
Message: 3 Date: Fri, 19 Sep 2003 10:08:21 -0400 (EDT) From: Andrew Jones Subject: Re: T.A.M.I. Show Kurt: The Internet Movie Database - - has a nice, informative entry on "The T.A.M.I. Show." At least they did the last time I looked. -------------------[ archived by Spectropop ]-------------------
Message: 4 Date: Fri, 19 Sep 2003 14:54:24 -0000 From: Michael Edwards Subject: Dave Walton; Martin Roberts Mark T writes: > Mike Edwards wrote: > Dave Walton's "Every Window In The City" is a fine record > with a big production sound. The sound quality is excellent. > Martin Robert's Irving Martin page is well up to his usual standard. Sorry Mark, I didn't write this but I hope that whoever did can respond to your request for some info on the Dave Walton record. I would be interested in reading Martin Roberts' Irving Martin write- up. I'd be grateful if somebody would tell me where to find it. Thanks, Mike Edwards Ed. - Dr. Roberts' elusive Irving Martin page can be found at: -------------------[ archived by Spectropop ]-------------------
Message: 5 Date: Fri, 19 Sep 2003 19:33:16 +0100 From: Mick Patrick Subject: Tony Hatch on Garry Mills Anyway, getting back to the Garry Mills / "Look For A Star" thread. I contacted Tony Hatch on this subject. See below for his reply. How refreshing that someone of the standing of Tony Hatch can be bothered to spend precious time answering questions about 40-year- old compositions. I, for one, appreciate it. Hey la, Mick Patrick -------------------------------------- Tony Hatch on Garry Mills / Look For A Star Dick Rowe and I - working at Top Rank - auditioned Garry Mills and Dick suggested I be principal producer with him in attendance. In addition, both Dick Rowe and Harold Shampan (sp?), MD of Filmusic, Rank's music publishing subsidiary, were terrifically supportive of my song-writing. It's a long but true story of how 'Look For A Star' came to be written and why Garry recorded it. Dick encouraged me to write songs for records. Harold encouraged me to write songs for films. My first film effort was a song called 'Stork Talk' commissioned for and used in a typically British comedy of the same name. It was sung over the main titles and recorded by the Mike Sammes Singers. Harold then suggested I write a song called 'Follow A Star' for a Norman Wisdom film of that title that was in pre-production. The song was written and everybody liked it. Norman, however, decided he wanted to write his own song so mine, effectively, was rejected without even being considered. Harold, though, really liked my song and, changing the title to 'Look For A Star', he pitched it to Anglo-Amalgamated Films for a horror film called "Circus of Horrors" starring Anton Diffring. Harold's timing was perfect. The producers wanted a theme song for the star girl on the high-wire - one of the principal characters. Everytime she was seen performing in the circus the song would be played. We recorded it with Garry Mills, the record was used in the film and TopRank released it at the same time as the film. The public demand for the record alleviated any necessity to promote it. It went to No 7 in the UK and, when the film also did well in America, an instrumental version by the Billy Vaughan Orchestra was a big hit in the USA. This was the first time I had made any money out of song writing and I was 19. Following that, I also wrote and produced 'Top Teen Baby' which was an attempt to get Garry back from MOR (although the word didn't exist then) and into 'teen-pop'. Regrettably, three things conspired to eventually send him to oblivion. (1) I don't think 'Top Teen Baby' was Top Ten material and that was my fault. (2) Garry had the voice but not the personality to compete with Craig Douglas, Cliff Richard, Tommy Steele and Adam Faith. (3) 'Top Teen Baby' also suffered because it was released about the same time as Top Rank began pulling down the shutters. EMI took over the catalogue and promotion but eventually decided they didn't want Garry Mills. I went to Pye Records and took the Brook Brothers and Josh McRae with me. Dick Rowe returned to Decca and took Craig and Garry with him. I probably wrote other songs for Garry whilst at Top Rank but can't identify any of them. I wasn't involved in his Decca recordings. His only chart entry for Decca was 'I'll step down' - and shortly after that he did or, more likely, he was dropped. Tony -------------------[ archived by Spectropop ]-------------------
Message: 6 Date: Sat, 20 Sep 2003 06:34:46 +0930 From: Norman Subject: VALE SLIM DUSTY FRIDAY, SEPTEMBER 19, 2003 AUSTRALIA MOURNS THE LOSS OF SLIM DUSTY Australia, and particularly the Australian music industry, is mourning the loss of its greatest name, Slim Dusty, ­ the King of Australian country music. Slim died at home in Sydney at 9.10am today in the company of his wife and soulmate Joy McKean and his two children, Anne and David, after a lengthy battle with cancer. For all his life, Slimšs passion for Australia was reflected in the songs he sang about people and places all over the continent. With his wife, Joy McKean, Slim travelled millions of kilometres with his country music show, taking their music to every corner of the nation from major cities to remote Aboriginal communities. Born David Gordon Kirkpatrick on June 13, 1927, at Kempsey, NSW, the superstar-to-be called himself 'Slim Dusty' for the first time at just 11 years of age in 1938. He wrote his first song The Way The Cowboy Dies ­ the year before that and made his first, self-funded, recording just four years later in 1942... Song For The Aussies and My Final Song... little could he have known what was to be his destiny over the next 60 years as he became one of the nation's best known personalities and one of the most awarded Australians ever. Slim was the first Australian to receive a Gold Record (still the only 78 rpm gold record in existence in this country), the first Australian to have an international record hit, and the first singer in the world to have his voice beamed to earth from space in 1983. In his amazing career, Slim won 36 Golden Guitars (an achievement unlikely ever to be equalled), more Gold and Platinum Record Awards than any other Australian artist, Australian Record Industry Association (ARIA) Awards, including induction into the ARIA Hall of Fame, video sales Platinum and Gold Awards, an MBE and Order of Australia for his services to entertainment, and he was one of the earliest inducted to the Country Music Roll of Renown. Slim achieved national and international success in 1957 with his worldwide hit single A Pub With No Beer which became the first official Gold record achieved in Australia. And many famous songs and recordings followed right up to 2000 when he released his landmark 100th album Looking Forward Looking Back. This year Slim celebrated his 60th anniversary as a recording artist, all of them with EMI, amassing an amazing catalogue of 106 albums with estimated career sales of some six million, more than any other Australian in this country. Slim Dusty played an active role in the Australian country music industry. In 1992 he was one of a small group who formed the Country Music Association of Australia becoming its founding President, serving in that position until his retirement in 2001. In a special tribute, CMAA President John Williamson said Slim Dusty was a true Australian legend, a pioneer and would be sorely missed by Australiašs country music family and his mountain of fans. See detailed statement following. Australia salutes Slim Dusty ­ an outstanding Australian ­ a man who has helped shape the face and character of our nation. SLIM Slim Dusty was a true Australian legend. He was a pioneer and will be sorely missed by Australia's country music family and his mountain of fans. With Buddy Williams, Stan Coster and now the King of Country Music gone it is nearing the end of an era in Australian folklore. Smoky Dawson is still with us, and so is Chad Morgan and Shorty Ranger. Men who have been known as much for their hats as their music, and their hillbilly tags. Slim was the voice that kept the link with "Banjo" and Henry Lawson. He was the star that our bush ballad writers could sing through. He was "the keeper of the flame" that crackled on a gidgee campfire. He sailed through the rock 'n' roll era that nearly stole our identity. And when we sing Waltzing Matilda we will think of Slim around the campfire, outside the caravan that brought country music over gravel and dirt roads to all bush Australians. He was God to itinerant workers and truck drivers. He was God in aboriginal settlements. What kept him going? I guess it was his love of recording another song and travelling with it around a wonderful land; the addiction I know only too well. Slim's intensely competitive nature I'm sure came from the old days. >From the in-the-face battle between tents at the showgrounds, where success was measured by drawing a bigger crowd than the bloke down the line. Slim showed me the strength of a simple Aussie ballad. No frills. As pure and as straight to the point as the characters he sang about. And in my opinion we must make sure we never lose the essence of how we describe true blue Aussies. And to Joy McKean, the woman behind him; she will always be the tower that supported the icon. I hope she continues to write great songs like "Lights on the Hill". For she too, is an icon to be recognised. My heart is most heavy for her and the family. I know Slim would love me to say, on his behalf, Happy Campfires. We'll miss you mate. John Williamson President Country Music Association of Australia 19/9/03 -------------------[ archived by Spectropop ]-------------------
Message: 7 Date: Fri, 19 Sep 2003 18:11:57 -0000 From: jerophonic Subject: TNT and TAMI Show I'm sure most Spectroppers know that a highlight of the TNT Show is Phil conducting the orchestra in a a rendition of "You've Lost That Lovin' Feeling" sung by Joan Baez (!) I've heard the James Brown segment (actually from the TAMI Show) has been edited for the VHS release. This is a crime. It's one of JB's most incredible recorded performances: "Night Train"; a ballad ("Try Me"?); all the classic dance moves (solo and with the Famous Flames); testifying 3 or 4 feet from the mike; and milking his exit for all it's worth. A must see. -------------------[ archived by Spectropop ]-------------------

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