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Spectropop - Digest Number 1118

               SPECTROPOP - Spectacular! Retro! Pop!

There are 25 messages in this issue.

Topics in this digest:

      1. Phil's Spectre: A Wall of  Soundalikes CD
           From: Ray 
      2. Re: Kit Kats in Philly / Radio Radio
           From: Steve Harvey 
      3. Half tones
           From: Steve Harvey 
      4. Re: Short albums
           From: Orion 
      5. Righteous Brothers sing Clout ?
           From: Peter Richmond 
      6. Re: Jackie and Gayle
           From: sd45john 
      7. Re: Sinatra concept albums
           From: Richard Havers 
      8. Re: Gasolin'
           From: Martin Jensen 
      9. The Four Minute Single
           From: Paul Bryant 
     10. Butchers / Short Albums (but a long post)
           From: Michael 
     11. Nettie
           From: Simon White 
     12. When did rock & roll begin?
           From: Richard Havers 
     13. Re: Four Tops & Spector
           From: jerophonic 
     14. Re: Royalties
           From: Dan Hughes 
     15. Cathedral - Band in the upstate NY area - 1970s
           From: Steve Dickerson 
     16. Re: Sinatra concept albums / clowns
           From: Chris 
     17. early Folk Rock
           From: Hugo M 
     18. Re: Chicago / Madura / Pearlfishers
           From: Steven Prazak 
     19. Re: Jackie and Gayle
           From: Clark Besch 
     20. Re: Jackie & Gayle
           From: Ian Chapman 
     21. Re: Jackie and Gayle
           From: Mikey 
     22. Re: Cupid's Inspiration
           From: Richard Havers 
     23. Re: Sinatra concept albums
           From: Richard Havers 
     24. Re: Jackie and Gayle
           From: Mikey 
     25. More tooning, Beatles, Dead, and such
           From: Albabe Gordon 

Message: 1 Date: Tue, 18 Nov 2003 02:40:28 -0000 From: Ray Subject: Phil's Spectre: A Wall of Soundalikes CD I can hardly wait to get this CD!! Sometimes the "copy" turns out better than the original. I hope that this is just the start of many volumes. Although I haven't yet heard this CD, I, like so many other posters, have my favorite soundalikes. Some are obvious, some are not. So, my votes go to: 1. Stay Awhile - Dusty (sprinkling glockenspiels abound) 2. I'm Nobody's Baby Now - Reparata and the Delrons (So Spectorish it's scary) 3. When You Walk In The Room - Jackie DeShannon (everybody's choice) 4. Yesterday Has Gone - Cupid's Inspiration (has anyone heard of this one??...I know Mick probably has) 5. I Adore Him - The Angels (the hand clapping, and those muffled drums do it for me) 6. Hold my Hand, Hold my Heart - The Chantrellines (I know, they don't really exist...but it's still a great song) 7. Rag Doll - Melanie (well, not really the wall of sound, but it does have that 'Be My Baby' beat and those castanets.) 8. Soul and Inspiration - Righteous Bros..(obvious choice..they learned from the master) 9. Laugh At Me - Sonny Bono (not on many Spectorites' lists) 10. Just You - Sonny and Cher (I always thought this was one of their best). There are so many others, I could go on forever... What are your favorites? Ray -------------------[ archived by Spectropop ]-------------------
Message: 2 Date: Mon, 17 Nov 2003 19:29:46 -0800 (PST) From: Steve Harvey Subject: Re: Kit Kats in Philly / Radio Radio S.J. Dibai wrote: > I don't listen to much oldies radio anymore, but the big oldies > station here, WOGL Oldies 98, used to play plenty of national > hits by Philly artists. But if it wasn't a national hit, well... > they played local R&B hits but not local pop hits. I don't know > if that was an official policy, but I used to hear Billy Harner's > "Sally's Sayin' Somethin'" in regular rotation, not "Let's Get > Lost On A Country Road." Spanky did "Distance", but I think the Kats were first. You hear "Sally's Sayin' Something" because Hy Lit and Len Barry (wasn't that who sang it) are brothers-in-law or something like that. I am fed up with the Motown deluge on WOGL. You'd think they were the only label releasing soul tunes back in the 60s if you listen to WOGL. Sam and Dave and Otis are the rare exceptions to that rule. -------------------[ archived by Spectropop ]-------------------
Message: 3 Date: Mon, 17 Nov 2003 19:32:36 -0800 (PST) From: Steve Harvey Subject: Half tones Often to add some excitement musicians will raise a verse up a keep. Starting in the key of A they switch to the key of A#. Same chord progressions, but just raise a half tone each time. -------------------[ archived by Spectropop ]-------------------
Message: 4 Date: Mon, 17 Nov 2003 23:19:31 -0600 From: Orion Subject: Re: Short albums Previously; > And as for short albums: I haven't heard it, but I'm told the album > EXCURSIONS by the Tradewinds (Anders & Poncia), on Kama Sutra, is one > of the shortest LPs ever released. It indeed logged at right about 21 minutes, both sides combined.....but a good 21 minutes :) Orion -------------------[ archived by Spectropop ]-------------------
Message: 5 Date: Tue, 18 Nov 2003 07:53:14 -0000 From: Peter Richmond Subject: Righteous Brothers sing Clout ? Norman asked: > In 1978 South African group Clout (with a little help from their > friends Circus) had a world-wide hit with "Substitute". Among the > many cover versions at the time was one by Australian duo called > Peaches. Both versions reached #1 in Adelaide. I have heard > elsewhere that the song was originally recorded by the Righteous > Brothers. Does anyone have some further info for me on the Righteous > Brothers version. The Righteous Brothers recorded "Substitute" in 1975 while with Haven Records, it was released as a single on Haven 7014 and also included on the album "The Sons Of Mrs Righteous" on Haven 9203. It was written by Willie Harry Wilson who also wrote another Righteous Brothers Haven track, "High Blood Pressure". Another song from the "Sons Of Mrs Righteous" album that was later to become really big by another artist was "All You Get From Love Is A Love Song" which of course was best known by the Carpenters a couple of years later in 1977. Peter Righteous Brothers Discography: -------------------[ archived by Spectropop ]-------------------
Message: 6 Date: Tue, 18 Nov 2003 08:40:45 -0000 From: sd45john Subject: Re: Jackie and Gayle A footnote about Jackie and Gayle: They also appeared in the very first pilot show of the 1960s TV show, Where The Action Is. (The pilot, a Dick Clark production, was reportedly never aired). It was filmed in California and Jackie and Gayle appear on a beach singing a song that I think is called 'That Boy's Gonna Be Mine'. Other artists include - Jan and Dean, Dick and Dee Dee, and Paul Revere and The Raiders. The show is a wonderful trip down memory lane, but the video copies that are floating around are of very poor quality. SD45John -------------------[ archived by Spectropop ]-------------------
Message: 7 Date: Tue, 18 Nov 2003 09:25:01 +0000 From: Richard Havers Subject: Re: Sinatra concept albums Peter McDonnell wrote: > Richard, And don't forget 1958's 'Only the Lonely', a concept album > in the sense that it was organized around songs that had a similar > emotional somberness, on which the classics "One For My Baby", "Blues > In The Night" and his version of "Ebb Tide". appear. This also had one > of his best album covers, a chalk drawing of Frank's face, half in > shadow against a black background, with him made up in whiteface, a > slight tear shape drawn on his cheek. Absolutely Peter. i was just using those as examples, because there are others before Sgt Pepper. 'Only The lonely' won the award for the best album cover at the inaugural Grammy ceremony (May 1959). Frank was totally p****d that he didn't win anything else. With hindsight he probably should have as it is one of his very best albums. Sinatra had been nominated six times in four categories and indirectly in two other categories (two nominations in both the ‘Best Engineered’ and ‘Best Arrangement’ sections). It has been said that the Grammy’s were founded by a group of record company executives who were worried by the advances of rock 'n' roll and, by definition, the attack this new music was mounting on traditional popular music; a cause to which Frank was sympathetic. It was very obvious that the awards were skewed towards the established order. Despite having two No.1 records on the Hot 100 Elvis didn’t even receive a nomination. The Everly Brothers, who had had a great year, failed to win anything, despite having two records nominated in the ‘Best Country and Western’ category. Frank was beaten in the ‘Best Male Vocal’ category, in which ‘Witchcraft’ and ‘Come Fly With Me’ were nominated by Perry Como and ‘Catch A Falling Star’. Henry Mancini’s Music From Peter Gunn in the ‘Best Album’ category beat both Come Fly With Me and Only The Lonely. The winner of both the ‘Best Song’ and ‘Best Record of the Year’ was Domenico Modugeno. His ‘Nel Blu Dipinto Di Blu’, better known as ‘Volare’ cleaned up, having only managed third place in the Eurovision Song Contest. Have we ever had a thread about best album cover from 'our' period? Richard -------------------[ archived by Spectropop ]-------------------
Message: 8 Date: Tue, 18 Nov 2003 11:59:03 -0000 From: Martin Jensen Subject: Re: Gasolin' Bill Reed wrote: > By the way, that ersatz Spector track by the Dutch group Gasolin' > that Martin played is really nice. Is it typical of their "sound"? Hi Bill, Glad to hear you liked the song. Gasolin' was not a Dutch group, but Danish. As far as I know, 'Kvinde Min' was the only song they recorded that to some degree can be called Spectoresque. They mostly did glam-rock stuff and rock'n'roll... With regards Martin, Denmark -------------------[ archived by Spectropop ]-------------------
Message: 9 Date: Tue, 18 Nov 2003 05:10:41 -0800 (PST) From: Paul Bryant Subject: The Four Minute Single Hi all, Phil Spector deliberately put the wrong timing on the label of You've Lost that Lovin' Feelin' because the 3.45 timing would have frightened deejays (!). The single which broke the four minute barrier was always, in my mind, The House of the Rising Sun. Until, that is, I recently for the first time heard Marty Robbins' great cowboy ballad El Paso, an American No 1 from 1959 - this clocks in at four and a half minutes. And since it's a ballad, it would seem unlikely that an edited version could have been issued (I could be wrong there). So why did the Animals get the prize for the first single to break the 4 minute barrier? pb -------------------[ archived by Spectropop ]-------------------
Message: 10 Date: Tue, 18 Nov 2003 13:40:14 -0000 From: Michael Subject: Butchers / Short Albums (but a long post) This talk about short albums, and the butchering in America of British artists' UK releases, has inspired me to share with you an article I wrote two years ago on the very subject. I wrote this for the online 'zine FUFKIN. Hope you enjoy it: =============== Butchers' Tales There's nothing quite like stacking some of the great albums by British bands of the 1960's on the turntable and sitting back and enjoying the musical ride. From countless listens over the years, each sequence and stop has become permanently ingrained, with some of the classic hits serving as the indispensable cornerstones of the journey. After all, what would Rubber Soul be without the jubilant "I've Just Seen A Face?" What would Between The Buttons be without its driving kickstart "Let's Spend The Night Together?" And what would Are You Experienced be without "Purple Haze?" They would be the true versions of the albums, that's what. They would be the way the artists intended them. I'm sure most Fufkineers already know all about "Butchering," so I'll sum this up briefly for those who do not...In 1964 to about 1967, British recording artists had a better chance of winning a lottery than seeing their UK albums issued in identical form in America. The artwork was revamped, the album titles only occasionally matched, but most importantly, the albums were almost always several tracks shorter. British albums in 1964 usually consisted of fourteen tracks, while the American editions typically had only eleven. Any reason why? Well, the labels might have told you something about a fee owed the copyrighters for American distribution of English recordings, thereby making an eleven track album less expensive to assemble. The more popular theory of course was that by withholding a few tracks from various albums, it wouldn't be long before there would be enough stragglers to patch together an additional album. After all, three UK albums of fourteen tracks apiece equals forty-two tracks to play with. Forty-two divided by eleven comes pretty close to four...and there were always stray EP and singles sides to fill in the cracks when the math didn't result in even numbers. Nowadays fans of a top artist consider themselves lucky if the object of their musical affection throws a new album to the world on a yearly basis, and no label dares issuing a new collection while the previous one still lingers in the upper regions of the Billboard album chart. But in the mid 1960's it was quite the opposite. If a band had a smash-selling album, the label worked overtime to stitch together another one to ship as soon as possible, while the fever was high. In 1964 alone, Epic Records issued four different Dave Clark Five albums in America. From 1964 to 1967, an American Rolling Stones fan could count on a new album to buy about every four months. In today's world we have websites to let us know what tracks are only available in certain parts of certain continents, but back in the mid 1960's those who knew about such things simply stumbled onto the information. Perhaps they had a friend or relative who took a trip to Europe and found these 'odd' albums in the stores. Or they caught the occasional picture in 16 Magazine of an English release. Or their local radio station was one of the many across the country that sought the British Beatle albums so that they could play some of those tracks not yet available in America (WABC in New York, for example, was playing "Drive My Car" in December 1965, six whole months before Capitol Records finally issued it in America. The crafty station simply had gotten a hold of an English copy of Rubber Soul, which had that and three other songs not on the American pressing.) Some record stores, once it became apparent that Beatle fans wanted every single track they could get their hands on, even began stocking imported albums. But in those days, a Hollies fan in the States was most likely not aware that his group had a whole album's worth of selections that seemingly dreaded transatlantic travel. And what was the reaction on the artists' part? Well, confusion for one thing. One need only view a videotape of the Beatles playing their historic August 15, 1965 Shea Stadium concert and listen as John introduces "Baby's In Black," trying to speak to the American fans in terms they would understand: "This song is off our LP Beatles VI...or something. I don't really know what it's off. I haven't got it." John succeeded in not only identifying the wrong album, but also in proving that sometimes even the artists couldn't make sense of their own American output. Two weeks to the day after the Shea concert, the group gave a press conference at the Capitol Records Tower in Los Angeles, where, in response to a reporter's question about some additional songs on the British version of their latest album, Help! John, Paul and George, despite their locale, spoke freely about their disgust with Capitol's treatment of their albums. And yet some artists, like The Rolling Stones more or less adopted the American LP's as their own, as Mick Jagger was wont to casually refer to American-only titles like December's Children or Flowers in interviews. (Unlike most British bands, The Stones and their manager Andrew Loog Oldham actually had a fair deal of involvement in the preparation of some of the American LP's) Nonetheless, one would not be amiss for suspecting that in 1964, a manual circulated amongst American record companies, entitled How To Make An American Album Of British Music, as all of them seemed to employ the same tricks now and again: NOW AIN'T THAT JUST A LITTLE BIT BETTER? The most common maneuver was to make sure the latest hit single featured somewhere in the lineup. Most English groups purposely left the singles off the albums so that the less affluent British record buyers wouldn't end up spending money on repeats. The American label executives thought differently. Keen that albums weren't as usually as strong sellers as singles, the labels reasoned that the inclusion of the hit was their lure. So London Records squeezed "Not Fade Away" onto The Rolling Stones' debut album, Atco deleted "Spoonful" from Fresh Cream to fit "I Feel Free," and did likewise with The Bee Gees' Idea, tacking on "I've Gotta Get A Message To You" at the cost of "Such A Shame" (clouding Vince Melouney's only moment in the American sun.) And Epic Records decided that The Hollies' 1967 album Evolution would be a perfect home for a girl named "Carrie-Anne." These are but a few examples of this practice. Sometimes the lineup benefited. Few would disagree that "Let's Spend The Night Together," added to the American Between The Buttons, makes a much more logical opening track than "Yesterday's Papers." And "Happy Jack" bumping a so-so cover of "Heat Wave" on the second Who album did no serious damage. But having "I'm The Urban Spaceman" lead off the American parade that The Bonzo Dog Band entitled The Doughnut In Granny's Greenhouse (re-christened in America after the added hit single) kills the impact of "We Are Normal," a perfectly logical album opener, here relegated to track two. The inclusion of this hit eventually caused another problem for Liberty Records of America. The Bonzos' third British album Tadpoles decided to house this track as well. This meant Liberty had to find another track to use in its place, and found a ready-made substitute with a non-album flipside entitled... "Ready Mades." Simply swapping the tracks was one thing, but because the track that preceded "Spaceman" on Tadpoles has its ending overlapping the intro, Liberty decided to merely splice off the ending, causing the track to end jarringly abruptly. PLAY IT AGAIN, SAM One of the cheaper tactics of the day, if the American label just absolutely had to have another album out on the streets in the next five minutes, but didn't quite have enough material to fill it up (or did but was reluctant to take the time to get approval), was to repeat a song already issued on LP over here. No less than three selections from The Who's second and third U.S. albums were brought back for an encore on their fourth, despite the group having several orphan EP and singles tracks at the time. Similarly, Flowers by The Rolling Stones was kind enough to offer some English album cuts not yet issued in America, some single sides not yet housed on an album, and even a few songs not yet released anywhere in the world. But while London Records had several other tracks handy that fit those categories, the label, for a reason that fans still can't figure out thirty-four years later, iced this otherwise worthwhile cake with three repeats from the previous two American studio albums. The only one who could have benefited from that bright move was the Einstein who decided "Ruby Tuesday" made a good leadoff track, as his idiocy was overlooked. And what American Kinks fan loved their version of "Louie Louie" from the Kinks Size album so much that they were happy to see it once again on Kinks Kinkdom? (But it wasn't a total rip-off. After all, if you bought the stereo pressings of both albums, at least you had the song in two completely different fake stereo techniques.) But we shouldn't be too hard on Reprise Records. After all, they let The Kinks off relatively easy in the butchering game. As early as late 1965, starting with their album The Kink Kontraversy, the Muswell hillbillies saw their American label leaving their English album sequences intact. Laurie Records, American distributors of Gerry And The Pacemakers, apparently heard someone ask for a second helping of "Jambalaya," as they served it on both the group's first and second platter. But in fairness, some labels didn't grant the American bands diplomatic immunity either. One of the 1963 Beach Boys albums, Little Deuce Coupe, was stuffed with four repeats from previous albums...two of them from the album that preceded it. And grab any two Jan And Dean albums at random and it's about a sixty percent bet there will be a common track between them. ROLL OVER, BEETHOVEN Also filed under cheap would be the decision to mix The Beatles songs on the A Hard Day's Night and Help! albums with instrumental selections by The George Martin Orchestra, even though the UK versions simply filled the album with additional Beatles songs. Especially upsetting regarding this move was Capitol's raising the price of Help! by one dollar because of its gatefold package. Poor American Beatle fans, keen to hear some new songs by their heroes, were paying a little extra for a little bit less. It was this Capitol creation that Paul and George expressed particular disliking for in the aforementioned August 1965 press conference. CHEATING Another common thing was for the American label to take the British cover art and stick their own title on it by using banners and borders to cover up the existing one. The most popular example would be Capitol slapping a headline of Meet The Beatles over the British cover of With The Beatles. The front of The Rolling Stones' first British album had no verbiage whatsoever, making it quite easy for London Records to christen it England's Newest Hitmakers, The Rolling Stones to present as their first US long-player. Capitol transformed the sleeve of In Touch With Peter and Gordon into I Go To Pieces, Reprise did a cut and paste of The Kinks to make it You Really Got Me, and...try not to get confused by this one...London Records took the British cover of the Stones' Out Of Our Heads, which bore no resemblance to the American album of the same name which preceded it by two months, and altered it for the American release, December's Children. And while Them Again and Kinda Kinks retained their titles, a side by side glance at the English and American covers shows the craftiness of the Stateside art department staff. WE SET THE SCENE Sometimes the brains at the American labels decided "Ah, we can make a better cover than those Limeys did, can't we?" And so, gone was the alluring red-tinted photo of The Stones that graced the wordless cover of UK Aftermath and in came a blurry color shot, onto which was placed artist and group name (and even "Including "Paint It Black'.) The mod pose of Jimi and his mob from the UK Are You Experienced was rejected in favor of a fish-eyed, purple tinted shot of them in a garden, the photo surrounded by a shade of yellow-green that hasn't been used for anything else since 1967. And that ultra-cool overhead shot of The Who in their Mod fashion that graced their British debut album also ended up in the watsebasket of American Decca, who thought it better to remind American buyers of the group's country of origin by sticking on a shot of them near Big Ben. Kinks Kontraversy, Live Kinks, A Hard Day's Night, The Bee Gees' Idea, and The Animals' Animalisms are but a few of the other victims of their artwork being kidnapped upon arrival in the States. THE SONGS REMAIN THE SAME...ALMOST Also in the bag of tricks was the practice of creating semi- equivalent albums. That is to say, the American label would forgo the British artwork and even the album title, but still come pretty close to matching a particular UK album. For example, the cover of the American Hollies albums Hear Here and Dear Eloise/King Midas In Reverse didn't look anything like their UK albums Hollies or Butterfly, but they were, to a fair degree, the same album (after the label cleared room for "I'm Alive" and "King Midas In Reverse," that is). The same can be said for The Yardbirds' American album Over Under Sideways Down compared to its close relative in the UK, Roger The Engineer. And it didn't matter whether you, in America, called it The Moody Blues #1 or The Magnificent Moodies as they did in Merry Olde, because they were close enough in content. AFTERMATH And so it went. While the suggestion that resequencing a Freddie And The Dreamers album was tampering with the performers' artistic intentions can warrant an instant breathalyzer test, it's equally hard to argue a band's right to be upset with seeing outsiders rearrange their work. Finally, around about 1967/1968, labels on both sides of the pond became more sympathetic towards a group's ideals, since album-rock had become such a strong force. It didn't stop London Records from considering adding "Jumpin' Jack Flash" to the American Beggar's Banquet (an idea eventually nixed), nor did it stop Paul McCartney from being persuaded to add his current hit single "Helen Wheels" to the American pressings of Band On The Run. But for the most part, a much maligned but intriguing part of the history of recorded music was over, and the art of butchering became as rare as, oh, original copies of Yesterday And Today. -------------------[ archived by Spectropop ]-------------------
Message: 11 Date: Tue, 18 Nov 2003 09:14:01 +0000 From: Simon White Subject: Nettie All this Nettie talk reminded me of a question I wanted to pose to the group. Who are Nettie's Children on the Capitol 45 "Paint The Little Girl Blue"? It's a real "Sally Go Round The Roses" soundalike. --- Simon I must get a little hand for this watch. -------------------[ archived by Spectropop ]-------------------
Message: 12 Date: Tue, 18 Nov 2003 14:49:34 +0000 From: Richard Havers Subject: When did rock & roll begin? Paul Bryant wrote: > You can't push the origins of folk rock back before rock and roll > itself, and I would also respectfully argue that there are instrumental > components without which a song really can't be rock or folk rock. So I > don't think Leadbelly originated skiffle. He inspired the originators, > and provided the skifflers with most of their songs. But Paul, when did rock and roll begin? There is a good case to be made for its genesis in the late 40s, well before 'Rocket 88' (1951). Similarly if you listen to Western Swing you here some elements of skiffle and folk rock; and the blues are never too far away from all three. In truth I don't think it matters a whole hell of a lot. All these terms are just marketing men trying to pigeon hole things. It's a convenient way of establishing a new phenomenon. In a 1956 Melody Maker article by Alexis Korner, under the headline 'Skiffle or Piffle', he described the British Skiffle craze. “In 1952 shortly after Ken Colyer’s return from New Orleans the first regular British Skiffle group was formed to play in the intervals at the Bryanston Street Club. This group consisted of Ken Colyer, Lonnie Donegan and I playing guitars, Bill Colyer on washboard and Chris Barber or Jim Bray playing string bass.” Korner went on to criticize skiffle for introducing a vocal element, saying “a commercial success, but musically it rarely exceeds the mediocre.” But Skiffle, it could be argued, started out in the late 20s. "Hello Folks. We are gathered here to do the Hometown skiffle Everybody shake that thing." In 1929 Blind Lemon Jefferson and other stars of the Paramount label made what has been described as the first sampler record. It was entitled Hometown Skiffle by the Paramount All Stars. The label of the record credits Blind Lemon Jefferson, Blind Blake, Will Ezell, Charlie Spand, Papa Charlie Jackson and the Hokum Boys. The Hokum Boys were made up of the others plus Alex Hill and Georgia Tom Dorsey. The record has one or two choruses of a number of the artists best known records. It is the first known mention of the word Skiffle. Arguably Jug Band music is the first footings of rock ‘n’ roll, genuine ensemble playing that was made to dance to, listen to and generally inspire a good time feeling. The songs they sang were 30 years or more ahead of the sex and drugs revolution of the 60’s; lyrically they were far more outspoken in the 30’s. The Memphis Jug Band on sex "I woke up this mornin’, feelin sad and blue. Couldn’t find my yo yo, didn’t know what to do. Come home daddy, mamas got them Yo Yo Blues I hurried downtown, called my daddy on the phone He said don’t cry mama, daddy’ll bring your yo yo home. Go back, mama, your daddy’s got you, come right on." Memphis Yo Yo Blues 1929 ……..And on drugs………. "Since cocaine went out of style You can catch them shootin’ needles all the while Hey hey honey take a whiff on me Just takes a little coke to give me ease Strut your stuff long as you please Hey hey honey take a whiff on me" Cocaine Habit Blues 1930 31 years later, almost to the day. Lonnie Donegan entered the UK singles chart with 'Have a Drink on Me', the chorus of which goes Have a drink, have a drink on me Everybody have a drink on me Hey hey everybody drink on me It all goes to prove that there are no new ideas just old ones thought of again. I still like to think of Lead Belly as the father of Skiffle, and Lonnie as its Prodigal Son! Richard -------------------[ archived by Spectropop ]-------------------
Message: 13 Date: Tue, 18 Nov 2003 19:34:13 -0000 From: jerophonic Subject: Re: Four Tops & Spector I have a memory of Spector comparing the percussion over top of James Jamerson's bassline in the intro to "Reach Out" to the sound of someone tapping his fingers on a vinyl auto slipcover. Was this in print, on the radio, or what? Or am I dreaming? -------------------[ archived by Spectropop ]-------------------
Message: 14 Date: Tue, 18 Nov 2003 12:36:34 -0600 From: Dan Hughes Subject: Re: Royalties Steve asks: > In the '60s US royalties were $.02 per *song*; they were $.22 per > *album* in the UK. A UK album with, say, 14 songs that had originally > borne a royalty expense of 22 cents would cost six cents more to > license in the US -- unless, of course, it was cut. Can any list > members confirm or refute my hunch that this discrepancy has since been > eliminated? As of Jan 1, 2004, the ASCAP composers' royalties will be 8.5 cents per song, or 1.65 cents per minute, whichever is greater (so a song longer than five minutes will earn more money). This is for each song on a CD, so if a CD has 12 tracks (typical?) all composed by the artist, the artist earns $1.02 per CD sold for writing (this is in addition to the royalties the artist gets for being the performer). -------------------[ archived by Spectropop ]-------------------
Message: 15 Date: Tue, 18 Nov 2003 18:16:10 -0000 From: Steve Dickerson Subject: Cathedral - Band in the upstate NY area - 1970s I am new to the S'pop group, but was wondering if anyone knew about the whereabouts of the old upstate NY band called Cathedral. Usually a 10 piece group - more or less, playing a fair amount of R & B, with a few originals. Steve Dickerson NY ex - member of it. -------------------[ archived by Spectropop ]-------------------
Message: 16 Date: Tue, 18 Nov 2003 09:50:44 -0800 (PST) From: Chris Subject: Re: Sinatra concept albums / clowns And what about "Watertown," the 1969 Sinatra album made up of songs by Jake Holmes and Bob Gaudio? I haven't heard it, but ... sounds intriguing. Anyone have any experience of the album? How does it compare with, say, Lee Hazelwood's "Trouble Is A Lonesome Town"? Chris P.S. I guess that clown art is an acquired taste. I always found the cover of "Only the Lonely," like the cover of Sarah Vaughan's 1974 "Send In The Clowns," to be vaguely kitschy and embarrassing. Then again, I've also been known to giggle at the art for Jume Christy's otherwise exemplary "Ballads For Night People" (1959) ... -------------------[ archived by Spectropop ]-------------------
Message: 17 Date: Tue, 18 Nov 2003 16:13:56 -0000 From: Hugo M Subject: early Folk Rock Previously: > After Lonnie Donegan there was nothing until... No-one here remembers The Springfields? Shame, shame; how could y'all (y'all ESPECIALLY) forget the "Silver Threads And Golden Needles" lp? Terrific UK beat group versions of folk chestnuts like "The Old Gray Goose Is Dead", all rocked up with early-Beatles guitar lines and... and stuff. Hugo M. -------------------[ archived by Spectropop ]-------------------
Message: 18 Date: Tue, 18 Nov 2003 10:45:26 -0500 From: Steven Prazak Subject: Re: Chicago / Madura / Pearlfishers Re: Alan Gordon's inquiry about Chicago's Live in Japan 1972 disc. It's excellent. Especially powerful live takes of the then-new Chicago V tracks. Also of note, Peter Cetera sings both Questions 67 & 68 and Lowdown in Japanese. On a related Chicago front, Sony in Japan earlier this year re-ished the 1st Madura double elpee. Madura was a 3-piece (keyboards, guitar & drums) formed from the ashes of the Bangor Flying Circus, managed & produced, like labelmates Chicago, by Jimmy Guercio. Imagine a lean & jazzy early '70s Chicago (minus the horns) and you've got a good handle on these cats. On a completely unrelated note, I think heap plenty S'poppers will get a major charge out of the Pearlfishers new disc Sky Meadows. Unlike their previous glorious "Burt & Brian" inspired affairs, this new one seems to take a tip from early A&M soft pop & "Someday Man"-era Paul Williams. Rather a unique inspiration source for a modern-day Scottish band to take, but hey, no complaints from me! There are some audio snippets on their website, if anyone is so inclined: Steven Prazak Atlanta, GA -------------------[ archived by Spectropop ]-------------------
Message: 19 Date: Tue, 18 Nov 2003 15:45:14 -0000 From: Clark Besch Subject: Re: Jackie and Gayle Hi, I also enjoyed the small amount of material I have heard by Jackie & Gayle. Somewhere I have a pic of them with whoever it was that played "Mr. Novak" on Tv and was the subject of one of their 45s. They have a pic sleeve 45 on Capitol. Quite a good looking duo. I've seen them lipsynching on Shivaree to some song. Also, I think the best thing I've heard them sing is their lipsynch performance on the "Where the Action Is" pilot to the song "That Boy's Gonna be Mine". Great song. I have never seen it listed as a 45 tho. If space is created and there is interest, I would play it to Musica. Glad to hear they are still around! Take care, Clark -------------------[ archived by Spectropop ]-------------------
Message: 20 Date: Tue, 18 Nov 2003 20:28:02 -0000 From: Ian Chapman Subject: Re: Jackie & Gayle Mikey wrote: > Jackie and Gayle are an act that history has pretty much > forgotten, altho' they were very popular for a short time > in 1965/66. History may have forgotten, but Spectropop hasn't. Jackie & Gayle broke away from the New Christy Minstrels in '64 to go it alone. The debut 45, "Why Can't My Teacher Look Like Mr Novak" (..."instead of Mr Ed"....) was actually on Capitol, but I absolutely agree Mikey, their later output is top-notch stuff. For UA, they did "All The Good Times Are Gone", which some of you might know by Barbara English - but by far and away the best are the two Mainstream 45s. These included a cover of the Breakaways' "That's How It Goes (as sung on "Shindig!"), a lovely version of the Russ Teitelman tune "I Wanna Make You Happy" as done by Margaret Mandolph and Dusty; and as already pointed out by Mikey, a superb Sloan/Barri original in "It's The Thought That Counts". They don't come much better than that one. Clark added: > Also, I think the best thing I've heard them sing is their > lipsynch performance on the "Where the Action Is" pilot to > the song "That Boy's Gonna be Mine". Great song. I have never > seen it listed as a 45 tho. Yes, I've seen that clip too - you're right, they didn't cut the song themselves, it's a Diane Ray original on Mercury. Great song indeed. Ian -------------------[ archived by Spectropop ]-------------------
Message: 21 Date: Tue, 18 Nov 2003 15:14:33 -0500 From: Mikey Subject: Re: Jackie and Gayle Clark wrote: > Also, I think the best thing I've heard them sing is their > lipsynch performance on the "Where the Action Is" pilot to > the song "That Boy's Gonna be Mine". Great song. Clark, PLEASE play that Jackie and Gayle Song to musica!! thanks, Mikey -------------------[ archived by Spectropop ]-------------------
Message: 22 Date: Tue, 18 Nov 2003 20:28:33 +0000 From: Richard Havers Subject: Re: Cupid's Inspiration Ray wrote: > 4. Yesterday Has Gone - Cupid's Inspiration (has anyone heard > of this one??...I know Mick probably has) Cupids Inspiration were Laughton James (b.21.12.46 Stamford Lincolnshire) bass/drums; Terry Rice-Milton (b.5.6.46 Stamford) vocals and Wyndham George (b.20.2.47 Paddington) guitar. They played together as the Ends during '66 & '67. After a residency at Hamburg's Star Club, they reverted to a semiprofessional status. On their return to England, they sent Donovan's manager, Ashley Kozak, a series of photographs and tapes which interested him enough to take over their management and secure them a record deal. They added drummer Roger Gray, (b.29.5.49 Stamford) and it was this line up that recorded Teddy Randazzo's 'Yesterday Has Gone'. This timeless song climbed to No.4 in the UK, and gave the newly formed NEMS label their first ever single success. As soon as the song charted the group added pianist Garfield Tonkin, (b.28.9.46 Stamford), "to create added depth." Still under the guidance of recording manager Jimmy Duncan and musical director Johnny Arthey, their followup 'My World' did not fare as well, only reaching No.33 in the autumn of '68; although it still spent 8 weeks on the chart. Rice-Milton left to pursue a solo career, his manager claiming "He could be as big as Tom Jones"; given his voice it is somewhat surprising he did not achieve more. At the same time James was replaced by Gordon Haskell, who had been in League Of Gentlemen and The Fleur de Lys, on bass; he would later play with King Crimson. Bernie Lee replaced George. A '69 single on Bell and a couple on CBS in '70, failed to emulate their early success and the group broke up in '71. Richard -------------------[ archived by Spectropop ]-------------------
Message: 23 Date: Tue, 18 Nov 2003 20:45:08 +0000 From: Richard Havers Subject: Re: Sinatra concept albums Chris wrote: > And what about "Watertown," the 1969 Sinatra album made up of songs > by Jake Holmes and Bob Gaudio?  I haven't heard it, but ... sounds > intriguing.  Anyone have any experience of the album?  How does it > compare with, say, Lee Hazlewood's "Trouble Is A Lonesome Town"? Chris, a little something I had on file about Watertown. I have never heard the Lee Hazlewood so I'll leave a comparison to others Whereas Sinatra's classic Capitol albums were thematic this is a concept, in reality a song cycle, play, story about an imaginary New England town. Bob Gaudio and Jake Holmes created the tale of a man who has been left by his wife to look after their children. Each song adds to the imagery and at the same time conveys the sadness of a man without hope. Frank handles it brilliantly and conductor/arranger Charlie Calello creates a musical backdrop that is both retro and modern, a perfect counterpoint to Frank. It is a brilliant, underrated album that bombed at the time and amongst serious Sinatraphiles it causes tempers to fray in heated debate as to its true merits. The measure of its commercial failure is in the fact that over 400,000 were pressed at the time and it sold around 35,000, which was about 40% of A Man Alone; Sinatra's previous album. It became his third album in succession to do better in Britain than America. One aspect of Watertown’s failure was its lack of obvious single material. As a concept album it was very definitely the sum of its parts. Richard -------------------[ archived by Spectropop ]-------------------
Message: 24 Date: Tue, 18 Nov 2003 15:15:55 -0500 From: Mikey Subject: Re: Jackie and Gayle Ok, If Clark will play the Jackie and Gayle song to Musica, I'll make some other tracks available for Spectropop members to hear. Ive got everything else, I believe. Mikey -------------------[ archived by Spectropop ]-------------------
Message: 25 Date: Tue, 18 Nov 2003 13:02:56 -0800 From: Albabe Gordon Subject: More tooning, Beatles, Dead, and such From: Steve Harvey, Subject: Perfect Buck > However, if you tune your guitar to an electronic tuner you will > have to retune it to the record if you're trying to figure out > something on Buck's discs. I learned "Buck's Polka" last year. Just a similar aside. Miles Davis Kinda Blue had been "accidentally" mastered a bit slow/flat when it came out in '59. Probably around a quarter step. I remember it being a real bitz' brew to figure out those great toons. I understand the newest version is at the right speed. A vari-speed control on your turntable was a very helpful thing back then, if you were a musician. From: John Berg, Subject: Re: Tuning down a "half step" > ...Easy solution: Black Top simply slowed down the tape of tracks > -- in this case by a full note, so that Robert could hit the highs > -- then they "corrected" the pitch back to normal. Nobody was the > wiser. There are some Beatles tunes that were slowed down a pitch or two before the vocals were added, not so much so that Lennon or McCartney could hit the notes, but so that with the added compression on the voice when the track is played at the proper pitch, the lead voice sounded younger and snappier. Probably, mostly a puberty thing. From: Steve Harvey, Subject: Tuning down a "half step" > ...A car would make a corner too fast and the tires would squeal. > Because it was slightly offkey it would drive anybody with perfect > pitch up the wall. Kind of like chalk squeaking on the blackboard." Phil Lesh of the Dead has perfect pitch. I understand it was hell for him to play when, after retuning a few times during a gig (when they didn't have a piano or organ), the whole band would be a few cents sharp or flat. Firetrucks and ambulances musta made him twitchy. It probably helped to be a little stoned. -------------------[ archived by Spectropop ]-------------------

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