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Spectropop - Digest Number 1133

               SPECTROPOP - Spectacular! Retro! Pop!

There are 25 messages in this issue.

Topics in this digest:

      1. Re: 'appiness ?
           From: Simon White 
      2. The Roots of Disco
           From: Stuffed Animal 
      3. Re: Help please
           From: Joel Sanoff 
      4. the very last day
           From: Phil Milstein 
      5. Re: Another Bob Gaudio Production / Seagulls
           From: Frank 
      6. Re: Sonny Bono
           From: Phil Milstein 
      7. Priscilla Paris
           From: Bill Reed 
      8. Bee Gees
           From: Simon White 
      9. Re: Japanese Bubblegum CDs
           From: Mark Frumento 
     10. Re: Beatles - Born Too Late
           From: Martin Jensen 
     11. Re: Disco
           From: Phil Milstein 
     12. Re: Disco
           From: Phil Milstein 
     13. Re: Short albums
           From: Mike McKay 
     14. Re: Another Bob Gaudio Production / Seagulls
           From: Jeff Lemlich 
     15. Disco - the beat goes on
           From: Simon White 
     16. Calling Patrick Rands re: Cymbal/Clinger
           From: Rex Strother 
     17. Re: House Of The Rising Sun
           From: Peter Lerner 
     18. Re: Beatles - Born Too Late
           From: Clark Besch 
     19. Production teams and artists
           From: Mike Edwards 
     20. Re: Cameo-Parkway & ABKCO
           From: Joe Nelson 
     21. Buddy turned to "Shifty"
           From: Steve Harvey 
     22. Re: Cameo-Parkway & ABKCO
           From: Mark 
     23. Re: Japanese Bubblegum CDs
           From: Laura Pinto 
     24. Re: Karina
           From: Don 
     25. Re: Sonny Bono
           From: Martin Jensen 

Message: 1 Date: Tue, 25 Nov 2003 22:57:15 +0000 From: Simon White Subject: Re: 'appiness ? Dear Tom, could you please explain what this joke was about to a miserable foreigner for whom English isn't a mother tongue. Andres, the French do not pronounce the letter "h" at the beginning of a word. So "Happiness" becomes "A Penis" (Is A Warm Gun). 'Ope that 'elps! Simon -------------------[ archived by Spectropop ]-------------------
Message: 2 Date: Tue, 25 Nov 2003 14:55:05 +0000 From: Stuffed Animal Subject: The Roots of Disco No bout a dout it, but remember! Yew was Philly. Philly begat disco. Thank you. A record cannot truly be called "disco" unless there was some computer programming involved in the production. These two statements attest to the fact that disco music was like a tree with numerous roots. There was the Philly branch, growing out of Cameo-Parkway and the work of Kenny Gamble and Leon Huff, there was the Motown branch, growing out of Holland, Dozier and Holland's work, there was the European branch, "Eurodisco," influenced by Kraftwerk and pioneered by producers like Giorgio Moroder, there was the New York/Latin branch, which grew from soil fertilized by the likes of Leiber and Stoller (think the baion rhythm), Bob Crewe, Van McCoy and great Latin bandleaders like Tito Puente, Machito and Tito Rodriguez, and various other branches that connect to sources like James Brown, George Clinton, Gary Glitter and Curtis Mayfield. Disco was an interracial, intercultural, international music. It was black, Jewish, Italian, Cuban, American, European, urban, suburban, funky, uppity, wholesome, skanky, gay, heterosexual, unmistakably female and absolutely masculine, all at the same time. I rather suspect that all those different facets were a bit too much for some people to take. Don "Stuffed Animal" Charles -------------------[ archived by Spectropop ]-------------------
Message: 3 Date: Tue, 25 Nov 2003 14:59:29 +0000 From: Joel Sanoff Subject: Re: Help please Kingsley Abbott: Could any of the US members on the list recommend any US only CD or DVD collections that could EASILY be found by a non-expert neighbour of mine who is visiting the States before Christmas? Any collections of old TV shows like Bandstand/Hull./Sullivan generally accessible? Any suggestions gratefully received on/off list - Thanks! Kingsley, I just checked Tower Records online ( and on their website they have three Hullabaloo DVDS, each with four volumes of the show. They are listed at US$20.99 each and it is noted that supply is low. All dvds are NTSC. Hope that helps some. Also, there are Sullivan compilations out there, some specific to the musical performers. One, featuring all the Beatles appearances, has recently appeared. Joel -------------------[ archived by Spectropop ]-------------------
Message: 4 Date: Tue, 25 Nov 2003 11:11:45 +0000 From: Phil Milstein Subject: the very last day I heard a generic cover version the other day of a song I recognize, but cannot quite place who I know it by. It's called "The Very Last Day." A Google search shows a prominent version by The Hollies, but I don't know if that's the one I'm familiar with. Anyone else cut this one? I know I'll feel like a dope once the answers start coming in, but that's never stopped me before. --Phil M. -------------------[ archived by Spectropop ]-------------------
Message: 5 Date: Tue, 25 Nov 2003 17:24:51 -0000 From: Frank Subject: Re: Another Bob Gaudio Production / Seagulls Art Longmire wrote: I have a promo 45 by a group called Lock, Stock and Barrel on the Gazette label-the record is produced by Bob Gaudio and, I would guess, dates from 1968 or '69. The plug side is called "Happy People". Are any Bob Gaudio experts familiar with this one? This record is interesting in that it has a custom sleeve done up to resemble a newspaper-similar to Jethro Tull's "Thick as a Brick". Any info would be appreciated-I haven't been able to turn up any information on this tune so far. Also, thanks to Faux J.C. for the info on the Seagulls-you mentioned several titles by them I hadn't heard of, including "Don't Go Out Into the Rain"-which I have by Herman's Hermits, a nice tune usual it sets me to wondering which version was first. As I recall, that is a Kenny Young song-was he a member of the Seagulls? While I can't comment on the record you are referring to I can comment on the record sleeve. It is a take-off of the Four Seasons album "Genuine Imitation Life Gazette", also produced by Bob Gaudio, which predates "Thick As A Brick" by a couple of years. I know of another record released on this label, "Buena Vista" by a group/artist called Light, this too produced by Gaudio. The Gazette label was a Bob Gaudio venture to promote new artists. While I don't know just how many records were released on this label I feel safe in saying the number was small. Frank -------------------[ archived by Spectropop ]-------------------
Message: 6 Date: Tue, 25 Nov 2003 12:27:30 +0000 From: Phil Milstein Subject: Re: Sonny Bono Guy Lawrence wrote: What is it about Sonny Bono? He always seems to get such a hard time! I know he was no genius but all I ever hear is people doing him down! Sure, he made a dodgy psychedelic album but he did work with Don & Dewey! Give Sonny a break! Sonny was underestimated his entire life. But the disrespect only helped him, as he used it to drive him to prove them wrong, which he always did. How many times was he counted out, and how many times did he come back, each time to a greater success than the time before? Unfortunately the one area in which he failed to accurately assess his own abilities was in skiing. Do any of our California members know if his widow Mary Bono still holds his Congressional seat? If so, she should be impeached for the things she said about him being a drug addict, and high on pills on that fateful day on the slopes. Sonny Bono lives in my heart forever, and if I ever get another tattoo it will be of his smiling, moustachioed face. --Phil M. -------------------[ archived by Spectropop ]-------------------
Message: 7 Date: Tue, 25 Nov 2003 21:43:42 -0000 From: Bill Reed Subject: Priscilla Paris I am currently involved in a legit project to reissue Priscilla Paris' Billie Holiday tribute LP issued on Happy Tiger Records in 1969. The ownership of the masters is a bit hazy. Happy Tiger was distributed by Era Records, but did not go to K-Tel with the rest of the Era package. As best as I can determine, in the early 70s the Happy Tiger masters were picked up by Ampex Records, which did not have a very long life. I believe that the Ampex masters (except for the Bearsville product which went to Warners) is now owned by Universal. But, of course, getting an answer from them, what with their acquisition of WEA, is highly problematic. Multiple inquiries to what is now called UMusic have proved fruitless. A bit remindful of Terry Gilliam's "Brazil." I would also like to interview Paris for the reissue (when and if. . .). The last I heard she was responsible for the training of hotel employees. . .in Paris France. The producers of the LP, Don Peake and Clancy Grass, are both equally uncertain about the eventual fate of the masters for the Paris recording. Anyone with any clues, knowledge, or answers, please email me at Thanks in advance. Bill Reed -------------------[ archived by Spectropop ]-------------------
Message: 8 Date: Tue, 25 Nov 2003 23:05:08 +0000 From: Simon White Subject: Bee Gees humthefirst2bars wrote - The Bee Gees weren't too shabby. Try walking out of Saturday Night Fever without humming and strutting :-) Much as I'm not a Bee Gees fan I'm astounded how many wonderful songs they wrote. "To Love Somebody" is truly, truly great. I played another one I hadn't realised was one of theirs on Soul 24-7 on Sunday last - Samona Cooke "Subway". [Disco no less!] She was daughter [or a niece] of Sam Cooke, I think. -------------------[ archived by Spectropop ]-------------------
Message: 9 Date: Tue, 25 Nov 2003 23:29:48 -0000 From: Mark Frumento Subject: Re: Japanese Bubblegum CDs Just to clarify, Bubblegum MF is not Japanese. The packaging is a foil for the fact that they are made right here in the US. They are decent CDs as long as you are OK getting some rather common material. Anyone who has ever put out a CDR (like Mark Wirtz Pop Works) has had their CDRs bootlegged by the maker of Bubblegum MF too! Billy is right, they are readily available now on eBay. Search "Mark Wirtz" and you're sure to get a hit. -------------------[ archived by Spectropop ]-------------------
Message: 10 Date: Tue, 25 Nov 2003 23:52:57 -0000 From: Martin Jensen Subject: Re: Beatles - Born Too Late Paul Bryant wrote: I often wonder how young music fans regard the huge mass of great stuff from (let's say) the 60s and 70s. I myself had to catch up on the good 50s stuff, but I was only a decade behind - what if you were starting out today?! The mind boggles. Well, I can answer that. I was born in 1980 and began to pay serious interest to the 60s after going through the obligatory 'Beatles- phase' as a 14-year old. ('obligatory' meaning something that I guess EVERYONE during or since the hey-day of the fab four have gone through at some point in their life.) For me, the cool thing about investigating music of the 60s and 70s has been the way one thing leads to another: from the Beatles you eventually go on to other great Britsh groups like the Zombies and the Kinks, from the Beach Boys to the Association and Mark Eric, from Spector to Nitzsche, Bono or Tempo and so on. There's no better feeling than tracing the influence of a cool genre or group, and in the process discovering some great songs, artists or groups. I guess that's something everyone here still experiences, but it might be different for me, being young and all. Imagine how it felt hearing a fantastic song such as 'Home of the Brave' by Bonnie & the Treasures for the first time one month ago! :-D I may in fact be two decades behind, but I'll do my darned best to keep up.... Come to think of it, I guess I'd better run out to the mailbox and see if my copy of 'Phil's Spectre' has arrived. Can't wait... With regards Martin, Denmark PS: Regarding young people and music: I have never understood why many people at my age, who otherwise dig the Beatles, Stones, Hendrix, whatever 'well-known' 60s groups/artists, don't make musical research. With just some passing glances at All Music Guide, or this knowledgeable group for that matter, they could discover tons of great stuff, just waiting to be unearthed by them! But I guess that's just a matter of being a particular type of music lover - one that's constantly 'on the go', because he/she knows that there's bound to be a lot more to hear... -------------------[ archived by Spectropop ]-------------------
Message: 11 Date: Tue, 25 Nov 2003 15:43:31 +0000 From: Phil Milstein Subject: Re: Disco Art Longmire wrote: I can remember many of the Black artists of the '60s and early 70's bitterly criticizing disco's emergence-it killed off many a promising career ... Fair enough, Art, but by that standard The Beatles and the rest of the British Invasion would be subject to the same criticism, when all they did was come along when they did and make some good music. I notice in recent years I've heard more of the more obscure disco songs and many, to my surprise, are quite good...your point is well taken that the radio stations tended to play the worst of the disco songs (or the most commercial-same difference)? One of my rules of thumb is never to condemn whole categories of music, and I guess I should stick to that rule when it comes to disco as well. A great point. Which leads me to wonder if there aren't any CD comps of early/obscure disco -- really good collections, I mean (and, ideally, available ones). Underground/club genres can be so much harder to sort out than the more visible stuff, and so, lacking the fortitude to get it all and sort it out later that I had in my punk youth, I prefer to let someone else do the distilling for me. Any guidance along this line would be welcome -- and, similarly, with hip-hop, dub, etc. --Phil M. -------------------[ archived by Spectropop ]-------------------
Message: 12 Date: Tue, 25 Nov 2003 15:32:24 +0000 From: Phil Milstein Subject: Re: Disco James Botticelli wrote: Seconding this emotion as well. Disco was really just black vocal groups singing uptempo in the beginning. Trammps, Intruders, O'Jays, Blue Notes, and the thousands of others who didn't make it. In THAT sense it was the 70's version of uptempo doo wop. It was part of the tradition that was invaded by guitar bearing angry white guys. It's that music that really didn't join the continuum. I've always thought that the definition of disco had to do with a particular rhythm and style on the hi-hat, with which you have it and without which you do not. I wish I was savvy enough to describe those factors properly, but, as with pornography, I think most of us know it when we hear it. Bill Brown wrote: A record cannot truly be called "disco" unless there was some computer programming involved in the production. Right on. So did Bill Gates create disco, or did he steal it from IBM? --Phil M. -------------------[ archived by Spectropop ]-------------------
Message: 13 Date: Tue, 25 Nov 2003 13:25:44 EST From: Mike McKay Subject: Re: Short albums Sorry for the late you can tell, I've been all week catching up! Watson Macblue wrote: Shortest LP side I ever came across wasn't on a popular title at all, but on a classical LP - side 4 of Henze's Raft of the Medusa, issued in 1971. This came in at an insulting 3 mins 55 secs - shorter than many singles. Full-price LP, too. You can now get the whole of the same piece on a single CD with room to spare. There was just under an inch of playing surface, then a run-off groove you could hold a party on. If the Beatles had tried that, there would have been a riot, and quite right too. Well, there's one that's got that beat. Another one of my cut-out bin finds of the early 70s was "The Best of Marcel Marceao" (or something like was an intentional misspelling), which consisted of a line art white-face mime on the cover. The disc itself comprised a Side One with no grooves pressed into the wax whatsoever, and Side Two, which was similar save for about one minute of applause at the very end following all that silence. It's always been fascinating for me, with this and "real" albums that are only slightly less bizarre, to speculate on how these things ever got made in the first place. Now, would anyone like to make nominations for the shortest *track* of all time? (Warning: somewhat of a trick question!) -------------------[ archived by Spectropop ]-------------------
Message: 14 Date: Tue, 25 Nov 2003 23:05:03 -0000 From: Jeff Lemlich Subject: Re: Another Bob Gaudio Production / Seagulls Art Longmire: Also, thanks to Faux J.C. for the info on the Seagulls - you mentioned several titles by them I hadn't heard of, including "Don't Go Out Into the Rain" - which I have by Herman's Hermits, a nice usual it sets me to wondering which version was first. As I recall, that is a Kenny Young song - was he a member of the Seagulls? Kenny Young was MR. SEAGULL! We have a short thread on the Seagulls (including a picture) over at the Limestone Lounge: Jeff -------------------[ archived by Spectropop ]-------------------
Message: 15 Date: Tue, 25 Nov 2003 22:55:24 +0000 From: Simon White Subject: Disco - the beat goes on Steve Harvey wrote - Of course there have been lots of one hit wonders. My point is that disco rarely spawned acts that survived past a couple of hits. However, many soul and rock acts did have many hits and, some even evolving musically while continuing to hit the charts. Earth Wind And Fire? Barry White? Donna Summer? Sylvester? Narada Michael Walden? Patrick Adams? The Trammps? D Train? George McRae? The Whispers? Chic? The O'Jays? Harold Melvin and The Bluenotes? The Emotions? Gloria Gaynor? Diana Ross? Archie Bell and The Drells? Jean Carn? The Moments? C'mon! Of course there were disco one hit wonders - but under whose definition of a "hit"? White, rock radios? Art Longmire wrote - I can remember many of the Black artists of the '60s and early 70's bitterly criticizing disco's emergence-it killed off many a promising career, although some of the older artists were very successful at recording it - Johnny Taylor comes to mind, along with the Trammps, whose "Disco Inferno" is an excellent tune. I remember this too Art - but amongst the list of names above are artists that had recording careers stretching back into the 60s, under different names sometimes - and it can be said in a lot of cases that they did better - sometimes MUCH better - in the disco days of the 70s. I bet Leon Haywood, Edwin Starr, Gene Chandler, Marlena Shaw, Herbie Hancock etc., didn't complain about the royalties they got from recording disco tunes! -------------------[ archived by Spectropop ]-------------------
Message: 16 Date: Tue, 25 Nov 2003 15:52:19 -0700 From: Rex Strother Subject: Calling Patrick Rands re: Cymbal/Clinger If Patrick Rands is out there, will he/you please contact me off-list. I've seen in earlier posts, that you were doing research into Cymbal/Clinger and am looking for more info/complete discography. As Cymbal recorded under SO MANY names, I can use all the help I can get! Rex Strother -------------------[ archived by Spectropop ]-------------------
Message: 17 Date: Tue, 25 Nov 2003 22:34:27 -0000 From: Peter Lerner Subject: Re: House Of The Rising Sun Bill wrote: I always liked the Jody Miller version. I like the Be Good Tanyas version myself. Now there's a female group which hasn't previously been mentioned on Spectropop. Oops! Now they have....... Peter -------------------[ archived by Spectropop ]-------------------
Message: 18 Date: Tue, 25 Nov 2003 18:48:35 -0000 From: Clark Besch Subject: Re: Beatles - Born Too Late Michael wrote: I enjoyed reading the various accounts of when you first heard particular Beatles records. That's the main drawback I feel about being a later generation Beatles fan (I'm 34). Sure, I can still enjoy the recordings on their own merit, and I have my own nice memories of when I first heard certain songs and albums...But by not being around when they were first released, I'll never know what they really sounded like at the time. Michael, I truly understand. It was truly inspirational to hear not only new Beatles songs, but others as well. Judging by your email address, you like the Stones. That was always great too hearing their new ones - even tho' they didn't get as much fanfare usually as the Fab 4. I have a radio "medley" of first plays as my brothers and I recorded them in the 60s. I might play to musica in the future, but doesn't look good right now. Anyway, it was definitely fun listening in the 60s! Clark -------------------[ archived by Spectropop ]-------------------
Message: 19 Date: Wed, 26 Nov 2003 00:29:47 -0000 From: Mike Edwards Subject: Production teams and artists Simon writes: Not wanting to be toooooo contentious, but are we really saying that early '60s artists like the Crystals, Ronettes, Fabian, Chubby Checker, Dee Dee Sharp - you name 'em - were really any thing more than the product of the studio production teams? Sure, there's a degree of success after a certain period for some of them, but mainly not. Shangri-Las without Shadow Morton? Ronettes without Spector? Uh, no. Well I guess we are. Chancellor Records didn't manufacture Fabian's looks; they were his own and were probably a big factor in his selling records. Maybe their production team could have cut those records on anybody but they would have bombed, as did many fine records in the Chancellor catalog. Likewise not everyone at Cameo- Parkway and Motown had hits. Chubby Checker had a wonderful personality, sang well and turned in a likeable acting performance in "Don't Knock The Twist". Both he and Dee Dee worked in varied music styles. Chubby's "You Just Don't Know" and Dee Dee's "Deep Dark Secret" are more soulful than their dance oriented tunes from '62 and they were good. The Shangs without Morton? Try "Right Now And Not Later" for a superb Motown knock-off produced by ex-Motowner, Robert Bateman. Such artists were definitely more than the "product of the studio production teams". I asked Stu Phillips recently why he couldn't get a hit out of Jimmy Beaumont (ex  the Skyliners) in the early 60s. Stu was one of the most successful producers in the world at the time and laid on some great songs for Jimmy, whose voice was as good as any of the period. Stu shrugged his shoulders: "I just couldn't get it to happen" he said. Same could probably be said of Eddie Holland at Motown. Even the Motown artists stuggled after they'd left their main producers behind. Well Mary Wells and Florence Ballard certainly did but let's not forget Gladys Knight, the Isley Brothers, the 4 Seasons and the Jacksons, who all had bigger careers when they left Motown. Granted they had lives before Motown but their subsequent success shows that Motown's production team had its limitations, whereas the artists didn't. And I believe it was Marvin Gaye who forced Motown's production team to get up to date or he was going to leave. The team wasn't too enthusiastic about cutting "What's Going On". Groups like The Drifters, Platters etc, only existed in people's minds - they didn't know or care in the main who it was up there on stage - they just wanted to see a group doing those hits. I guess you could say that about any group whose members didn't come across as individuals and that's probably why we got Gary Puckett & The Union Gap, Dennis Yost & the Classics IV, Frankie Valli & The 4 Seasons, Diana Ross & The Supremes etc. Once the Platters scored with their distinctive sound on Mercury in the mid 50s, it's difficult to imagine how anyone other than Tony Williams and Zola Taylor could have been in that group. I think they were a fully-fledged unit. Also in the early 60s' their manager, Buck Ram, sued Mercury Records because they refused to release anymore Platters' material without Tony Williams' lead vocals  they clearly cared about who was in the group. Admittedly, the group on Musicor in the mid 60s was less distinctive as they went after the Motown record buyer. This is not to put any of those people down because they are and where all seriously talented individuals. Agreed, so let's hear it for Tony Williams, Nate Nelson, George Clinton (the Musicor Platters), Ben E King, Rudy Lewis and Clyde McPhatter! And of course, the guy who started all this, my man, Fabian. Mike -------------------[ archived by Spectropop ]-------------------
Message: 20 Date: Tue, 25 Nov 2003 16:04:43 -0500 From: Joe Nelson Subject: Re: Cameo-Parkway & ABKCO Billy Spradlin wrote: Thats great news, I HOPE Klein is telling the truth this time, and he will find someone or a reissue company who knows (and loves) the material to remaster and package it the right way. Abkco was supposed to release a Cameo-Parkway box set years ago but nothing hit the shelves. Found this item earlier today (wonder why nobody I knew mentioned it earlier). To hear Jody Klein talk about it you'd think the company's highest goal was to get this project "just right" and would wait as long as it took to see the technology match the vision. But would he have done it with the Stones' Decca material? Hmmmmm.... Joe Nelson -------------------[ archived by Spectropop ]-------------------
Message: 21 Date: Tue, 25 Nov 2003 15:05:06 -0800 (PST) From: Steve Harvey Subject: Buddy turned to "Shifty" "Jailhouse Rock" also mentioned "Shifty" Henri who is a real person who was one of the first Fender bass endorsees. -------------------[ archived by Spectropop ]-------------------
Message: 22 Date: Tue, 25 Nov 2003 22:12:49 -0000 From: Mark Subject: Re: Cameo-Parkway & ABKCO Herb wrote: Some of the Cameo Parkway material is available as released on Liberty Bell CDs Vol. 1 to 5..... These are all bootlegs from vinyl. What people are referring to are legitimate releases from the master tapes. It's not a big deal to me as I don't really care for much on the label save for the odd nice pop tune here and there which most likely wouldn't make any CD package anyway. But I don't think that it's ever been a rights issue. From everything I have heard it is just a matter of Klein not being interested in doing anything with the material. He has a ton of money and he just can't be bothered. Simple as that. I've also heard a similar story about the guy who owns the Sussex label (Gallery, Wadsworth Mansion, etc.) -------------------[ archived by Spectropop ]-------------------
Message: 23 Date: Tue, 25 Nov 2003 19:01:23 -0000 From: Laura Pinto Subject: Re: Japanese Bubblegum CDs Mark wrote: I've seen some reference to a Japanese bootleg series with the horrid title "Bubblegum MF", probably no doubt due to a language barrier and someone not knowing what a vile word that is. I believe there is also a Sunshine Pop series with the same vulgar title. Who can tell me some info on this series such as what's on them, where to order, etc. Hi, The CD series to which you refer often shows up on eBay. To check availability, go to the seller's list of items at: ViewSellersOtherItems&userid=hairlesspider&include=0&since=- 1&sort=3&rows=50 If Yahoo Groups cuts the link short (which it will), you may have to copy and paste this address into your browser. Or you can just head over to eBay and do a search. The seller's ID is hairlesspider. Laura -------------------[ archived by Spectropop ]-------------------
Message: 24 Date: Tue, 25 Nov 2003 20:59:47 -0000 From: Don Subject: Re: Karina Julio, Didn't Karina do a version of "Will You Love Me Tomorrow"? It was called either "Querras Amarme Maqana" or "Me Querras Maqana". If you have that, I would love it if you could play to musica. Don -------------------[ archived by Spectropop ]-------------------
Message: 25 Date: Wed, 26 Nov 2003 00:15:08 -0000 From: Martin Jensen Subject: Re: Sonny Bono Guy Lawrence wrote: What is it about Sonny Bono? He always seems to get such a hard time! I know he was no genius but all I ever hear is people doing him down! Sure, he made a dodgy psychedelic album but he did work with Don & Dewey! Give Sonny a break! I recently bought Sonny & Cher's first three albums, and was really surprised by the quality. OK, so Sonny's no Spector, but then again, who is? But a lot of his productions are IMHO really, really enjoyable and very well carried out. I fell instantly for 'The Revolution Kind' - GREAT song - like a kind of Spectorized Dylan. :-) I also don't agree with those who argue that Sonny was a horrible singer. His take on 'Misty Roses' on the third album for example... Now, to my ears, that's a guy giving a very emotional vocal... BTW, am I the only one here who thinks that Sonny & Cher's cover of 'Why Don't They Let Us Fall In Love' surpasses the original? I love it when Sonny steps up to the mike and wails "Gee, de moon is'a shinin' bright'"... With regards Martin, Denmark End

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