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Spectropop - Digest Number 1137

               SPECTROPOP - Spectacular! Retro! Pop!

There are 26 messages in this issue.

Topics in this digest:

      1. Re: Production teams and artists
           From: Paul Bryant 
      2. Re: Cameo-Parkway & ABKCO
           From: Mark T 
      3. Re: Priscilla Paris
           From: Joe Nelson 
      4. Re: Beatles Born to Late
           From: Richard Hattersley 
      5. Unreleased Partridge Family
           From: Mark T 
      6. Re: Another Bob Gaudio Production / Seagulls
           From: Art Longmire 
      7. Re: Shortest track of all time
           From: Mike McKay 
      8. Re: Priscilla Paris
           From: Jeffery Kennedy 
      9. Canadian Re-issues
           From: Mark T 
     10. Re: White Soul
           From: Richard Havers 
     11. Re: Looking for Mob cd or songs for dad?
           From: Chris 
     12. Be Thankful / for when you were born
           From: Phil Milstein 
     13. Re: Bob Seger
           From: Phil Milstein 
     14. Liz Damon and the  Orient Express
           From: Art Longmire 
     15. Re: The first Disco record
           From: Richard Havers 
     16. Re: 4 Seasons' "Gazette"
           From: Art Longmire 
     17. Warner Music Sale
           From: Mark T 
     18. Re: Gay, lesbian and trans-gender lyrics
           From: Bill George 
     19. Disco As I Knew It
           From: Susan Hilton 
     20. Re: Bee Gees
           From: Patrick Rands 
     21. Watching Bobby grow/The very last day
           From: Steve Harvey 
     22. Disco
           From: Susan Hilton 
     23. Re: Shortest Track of all time
           From: Gary Spector 
     24. Ronny and the Daytonas
           From: Stefan Wriedt 
     25. Re: Japanese Bubblegum CDs
           From: Billy G. Spradlin 
     26. Happy Holidays!
           From: Rosemarie 

Message: 1 Date: Wed, 26 Nov 2003 11:30:09 -0800 (PST) From: Paul Bryant Subject: Re: 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? Mike Edwards wrote: > 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.Such artists were definitely more > than the "product of the studio production teams". I'll stick my head into this hornet's nest. There's clearly a collaborative aspect to pre-Beatles pop going right back to the 1920s. You had to have the songwriters, the singers, the instrumentalists, the arranger, the producer - all different people with differing talents. The Beatles tore this model down, and after them rock music had to be written by the performers, and often arranged and produced by them too. This led to a sometimes unhappy situation where you get great songs being sung by a bad singer (e.g. Elvis Costello) or bad songs being sung by a great singer (can't think of an example off hand but there are hundreds!) - and this is because you have to write your own material these days. EXCEPT for the continuing stream of producer-led music. Disco carried on the Brill Building/Spector tradition, and modern dance music has also. The producer is the creative force. So there are two quite different conceptions of popular music. I may be wrong here but I think you could find three or four singers just as good as anyone from the Crystals, Ronettes, the Marvelettes, the Supremes etc etc in any black church in any part of the USA or Britain for that matter. Both Spector and Motown pushed their singers around like pawns on a chessboard - this one can go on tour, these ones can do the recording, and it doesn't really matter which one is in which group at any one time (except the very few who were singled out for stardom, like Diana Ross). So I think Simon was right here. There were many huge hit records which the public loved without ever finding out or being at all interested in who was actually performing them. pb -------------------[ archived by Spectropop ]-------------------
Message: 2 Date: Wed, 26 Nov 2003 22:52:28 -0000 From: Mark T 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. Joe Nelson: > 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.... > The same line they've been spouting since 1989! Here's something else to consider - the majority of the population, i.e. not the posters on this forum, couldn't care less about legit or bootleg. They buy what's available. I have a friend with a CD store. He says he must have sold close to 100 Dave Clark Five bootlegs before the legit double came out. He hardly sold any of them as everyone who wanted the music had already purchased the boot. If they ever do release Cameo-Parkway material they'll find likewise. -------------------[ archived by Spectropop ]-------------------
Message: 3 Date: Wed, 26 Nov 2003 13:02:57 -0500 From: Joe Nelson Subject: Re: 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. Seeing as how at least two Happy Tiger artists (Paul Kelly and Mason Profitt) ended up on Warner Brothers after HT bit the dust and had their HT output reissued thereon, is it possible Time-Warner has the catalog today? Joe Nelson -------------------[ archived by Spectropop ]-------------------
Message: 4 Date: Wed, 26 Nov 2003 20:17:32 +0000 From: Richard Hattersley Subject: Re: Beatles Born to Late 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. I was born in 1974. I first got started with 60s music at the age of 5! I was given a dansette and my mums old 45's to entertain myself with while Mum was sewing. By The Time I was eleven I had devoured those 50 singles and discovered a second-hand record shop and started building my own collection. Looking back, the thing that is the greatest is that it was purely the MUSIC that mesmorized me. My mum had a stack of Del Shannon 45s and I thought they were amazing. I didn't know what he looked like, and none of my friends knew of him so it was not a question of is it cool or not. Also like another poster mentioned, it's great how you progress on to other artists just by the vaguest connection. I remember picking up a copy of Cher's album "All I Really wanna Do" just because the sleeve said it was cut at Goldstar and featured some of Spector's musicians. On the other side, I find it sad that I find it more entertaining spending my money of old records rather than new ones. I really try hard to support modern music so if something takes my fancy I'll buy it. Sadly that is happening less and less. Richard -------------------[ archived by Spectropop ]-------------------
Message: 5 Date: Wed, 26 Nov 2003 23:41:32 -0000 From: Mark T Subject: Unreleased Partridge Family Has anyone heard anything about a possible box set of all of the unreleased songs used on the The Partridge Family show but never put out commercially? I've heard rumors for a long time but nothing definitive. I'd especially like the 2 tracks from the pilot which, IMO are the 2 best songs they did! -------------------[ archived by Spectropop ]-------------------
Message: 6 Date: Wed, 26 Nov 2003 20:26:00 -0000 From: Art Longmire Subject: Re: Another Bob Gaudio Production / Seagulls Me: > 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? Jeff Lemlich: > Kenny Young was MR. SEAGULL! We have a short thread on the > Seagulls (including a picture) over at the Limestone Lounge: > Thanks Jeff, for the Seagulls link - that's the most info I've ever gotten on the group. I know that I have a 45 by Kenny Young on United Artists records. I haven't listened to it in years but recall it being pretty good. Interesting that they got airplay in Florida-the two singles I have by them are both great examples of late 60's pop- rock (one being a cover of Dave Davies' "Death of a Clown" which is my favorite version of that tune). Art -------------------[ archived by Spectropop ]-------------------
Message: 7 Date: Wed, 26 Nov 2003 16:15:17 EST From: Mike McKay Subject: Re: Shortest track of all time Dan Hughes wrote: > Even a silent track lasts a particular amount of time, so > one silent track could be shorter than another. I know of > two silent tracks: > 1. The album WCPAEB 3 (West Coast Pop Art Experimental Band), > from about 1968, had a silent track that ran several minutes > entitled "Anniversary of World War III." Get it? Bingo!! But there's a special reason why this track is my favorite answer to this question. I have a promo copy of the WCPAEB 3 album, complete with a DJ timing strip pasted at the bottom. The time given for "Anniversary of World War III" is "0:00"! If we're talking about the shortest track that actually has music (as opposed to just sound effects or something) on it, seems to me The Blues Magoos' "That's All Folks" from Electric Comic Book weighs in at :09, though I'm going from memory here. But in the back of my mind something tells me there's an :02 track floating around somewhere. But it's not coming to me what it is. As for the shortest track to appear on a 45, unless someone has another candidate, I nominate "Beside," which appropriately is the flip side of "Bears" by The Fastest Group Alive. It clocks in, IIRC, at :35. -------------------[ archived by Spectropop ]-------------------
Message: 8 Date: Wed, 26 Nov 2003 21:13:32 -0000 From: Jeffery Kennedy Subject: Re: Priscilla Paris Bill Reed wrote: > 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. Erm, Universal Music DID NOT acquire WEA. It was bought by a group of independent investors (one of which used to run Universal Music). Universal Music, by the way, still belongs to Vivendi and was not sold to NBC, as lots of folks on the Web seem to think. Anyway, while on the subject of Priscilla Paris reissues.... It is my understanding that Sundazed (?) recently acquired Mala's masters, right? And Mala, York and Bell were sister labels, right? So, did they get the York masters to? Specifically, did they get the masters for the "Priscilla Sings Herself" LP? Now, THAT'S an LP that should be reissued, especially considering its Spector-ish production and Paris's fascinating lyrics. Remember, stone is very, very cold... Jeffery -------------------[ archived by Spectropop ]-------------------
Message: 9 Date: Wed, 26 Nov 2003 23:49:28 -0000 From: Mark T Subject: Canadian Re-issues re: Canadian Reissues Just asking but does anyone know anything about what they are thinking of up there? A company put out the 2 Terry Black albums which have 9 similar tracks, none of the many non-LP singles and off of vinyl to boot. I know where the tapes are, why couldn't the label find them? Then EMI with their Northern Heritage series puts out the Staccatos LP, again not bothering to include the half dozen or so 45s. This stuff really irks me as it then kills the market for anyone to do a competent reissue of the material. Is it that difficult to do a little research and figure out where tapes are, and to compile non-LP songs ON THE SAME LABEL? Its just amazing to me. Convicts picking up trash on the highways have more pride in their work than some of these CD compilers do. -------------------[ archived by Spectropop ]-------------------
Message: 10 Date: Wed, 26 Nov 2003 22:52:26 +0000 From: Richard Havers Subject: Re: White Soul Phil Milstein wrote: > Has there ever been a song written and originally recorded by white > artists that was more accepted as authentically black than "To Love > Somebody"? The acceptance of this song among the soul elite has to > have been one of the great thrills of the Bee Gees' career. James Botticelli wrote: > The Magnificent Men on Capitol were very soulful. "Peace of Mind" > ranks right up there with the great group ballads of the late 6T's. > Both vocally and instrumentally, arrangement-wise. Then there are The > Righteous Brothers who sound like The Knight Brothers. More later if > the thread has legs. As a suggestion what about the Average White Band? Songs like 'Queen of My Soul', 'Cut The Cake' and 'You Got It' pass muster for me. The latter song, especially, has a genuinely uplifting chorus and while I admit I have no idea who the 'soul elite' are I would think they might agree. Other names that come to mind, Bobby Caldwell (especially 'What You Won't Do For Love), some of Boz Scaggs early work, Gino Vanelli's 'I Just Wanna Stop', Michael McDonald, Simply Red ('Holding Back The Years' & 'You've Got It') and George Michael (Jesus To a Child) Hall & Oates and 'She's Gone'.........for me the greatest ever white soul record. I can sense some of you recoiling in horror as you read this. But it would be a dull old world without peaceful controversy now wouldn't it? Richard -------------------[ archived by Spectropop ]-------------------
Message: 11 Date: Wed, 26 Nov 2003 21:40:39 -0000 From: Chris Subject: Re: Looking for Mob cd or songs for dad? Chris: > So basically I'm trying to find a cd/record with The Mob > songs on it. The important ones, "I Dig everything about you" > and "Give it to me"! So if anyone knows a place where I could > order this cd or any info at all would be very helpful. Thanks. Clark Besch wrote: > Chris, If our own James Holvay is listening (Reading?), he was > a leading member of the Mob! He co-wrote essentially all their > original material including the 2 hits you mentioned. If James > doesn't answer you, email me off line and maybe I can help you out. Thanks for the reply. Hope he'll respond and help me out. If not I'll e-mail you! Once again thanks, and what luck for me that he's on this board! -------------------[ archived by Spectropop ]-------------------
Message: 12 Date: Wed, 26 Nov 2003 17:49:59 +0000 From: Phil Milstein Subject: Be Thankful / for when you were born Michael Edwards wrote: > I recall that when Tim Rice used to broadcast on London's > Capital Radio in the 70s, he once stated that disco started > with two records: George McCrae's "Rock Your Baby" and William > DeVaughan's "Be Thankful For What You Got". "Rock Your Baby" > has already received a nod on this site but it's the full-length > version you want with the keyboard playing of Harry Casey (of KC > & The Sunshine Band fame) taking up the last two or three minutes. > I wasn't sure about "Be Thankful For What You Got" as I thought > it was too slow. It did reach number 1 R&B and number 4 pop in 1974. I sure don't hear Be Thankful as disco. I had the pleasure of interviewing Wm. DeVaughan a few years back (by phone), as his recording had a quasi-song-poem origin. An extremely nice man, and one with a fairly unique story. He both couldn't and wasn't able to do much touring on his hit, because through that period and even up to the time I talked to him he had retained his day job as an engineer for the city of Washington D.C. Based on the quality of Be Thankful as well as a few other tracks of his I've heard, I believe he had a chance to've had at least a mid-line career had he turned to music full-time, but (and this I didn't ask him about) perhaps he'd just been raised to appreciate the security of that regular gig, in favor of the travails of a showbiz career. He still makes the occasional "oldies" appearance, however, and I hope I get to see him perform sometime. (I think he should wear a slide rule in his belt when he does, as his stage signature.) Alan Zweig wrote: > I know that none of you youngsters are exactly saying "I wish I'd been > alive back then" but people do say things like that and though I > understand it, it also seems counterintuitive to me. There's times I wish I'd been born in the 14th century, or virtually any other era up to (and including) the one I did happen to be come along in. But every time I lapse into that sort of reverie, I soon remember that it would put me that much closer to death, and the thought quickly subsides. On the whole I am happy to be the exact age that I am, as otherwise I would've missed out on some of the amazing things I've done and seen -- and, of course, heard! -- in my life. By the way, Alan, are you the cat responsible for the wonderful documentary "Vinyl"? Which, whether it was you or someone else who made it, every single person on this list would benefit from seeing. --Phil M. -------------------[ archived by Spectropop ]-------------------
Message: 13 Date: Wed, 26 Nov 2003 14:45:08 +0000 From: Phil Milstein Subject: Re: Bob Seger We were speaking recently of Bob Seger. My two favorite cuts by him are "Ramblin' Gamblin' Man," an exhilirating slice of pure rocknroll, and a left-field selection, "Still The Same", his last masterpiece before morphing finally into Kenny Rogers' poor relation. Seger is among the recently-announced 2004 class for the blasted Rock Hall of Fame. His fellow inductees, from the performer category at least (and I'm not sure if the "pioneer" and other behind-the-scenes categories have been named yet), are Jackson Browne, The Dells, George Harrison, Prince, Traffic and ZZ Top. In my opinion the closest Jackson Browne ever came to rocknroll was losing his virginity to Nico, but that's more than you can say about (previous inductee) James Taylor. --Phil M. -------------------[ archived by Spectropop ]-------------------
Message: 14 Date: Wed, 26 Nov 2003 21:41:04 -0000 From: Art Longmire Subject: Liz Damon and the Orient Express I heard or read somewhere that Liz Damon and the Orient Express' 1970 LP may be released on CD. This group has long been a sort of cult favorite of mine mainly because of their great double-sided 45 "1900 Yesterday/You're Falling in Love" which is one of the great easy listening classics. One of the mysteries of the "1900 Yesterday" tune is that it was written by a key figure of Chicago soul fame, Johnny Cameron, and recorded first by Betty Everett on the UNI label. I have the Betty Everett version on a 45 but have never found it on any of her CDs, unfortunately. I've always wondered how the song came to cover "1900 Yesterday" in the first place-it seems to be a rather obscure tune...but the Liz Damon/Express version is definitely an example of a cover being at least as good as the original. Speaking of easy listening, I can recall a time when it was probably as bitterly reviled as disco ever was. Yet I remember fondly when I first seriously listened to the local easy listening radio stations back in 1975 and heard many superb tunes, including Jackie DeShannon's "Let The Sailors Dance" - a tune I like every bit as much as "1900 Yesterday". Art -------------------[ archived by Spectropop ]-------------------
Message: 15 Date: Wed, 26 Nov 2003 23:04:49 +0000 From: Richard Havers Subject: Re: The first Disco record Justin McDevitt wrote: > For me, disco will always be linked with the mid to late 70s, > as a definitive sound which incorporated elements of pop and > "soulmusic", yet had its own distinct sound and rhythm/beat. > Disco was also a cultural phenomenon, defined by the venues > in which it was played and danced to, the clothes, the lighting, > the whole 70s, pre-Aids singles scene. > > A further defining component of the Disco sound was the > instrumentation which blended strings, horns and the requisite > bass and background guitar, along with various types of > synthesizers whose integration into rock and progressive music, > (though fairly recent) was fairly well established. Nice description Justin, I think that about has it down. Slightly earlier in April '74 is 'TSOP' by MFSB, which seemed to move the O'Jays 'Backstabbers and 'Love Train along into a more recognizable Disco sound.....although this may be splitting hairs just a bit! Similarly the Isley's 'That Lady' (1973) shouts Disco to me........and what a guitar solo. Richard -------------------[ archived by Spectropop ]-------------------
Message: 16 Date: Wed, 26 Nov 2003 23:07:59 -0000 From: Art Longmire Subject: Re: 4 Seasons' "Gazette" Richard Hattersley wrote: > Why do you think "American Crucifixion" is an embarrassment > by the way? To me it stands out as being as musically > inventive as the rest of the album. Paul Bryant: > It's because it has a really REALLY horrible main tune > which is like nails scraped along a blackboard, sung > in a particularly unconvincing way; it also seems to > be a lame addition to the operatic pop attempts of the > time - Macarthur Park and its follow-ups being the big > daddies, then things like Eloise by Paul & Barry Ryan, > Excerpt from a Teenage Opera and many album tracks > too. And finally, the whole album is straining > mightily to be "relevant" like Bob Gaudio said to > himself - uh oh, the Seasons are beginning to sound > old hat, better get hip with this protest stuff. So he > went to see The Graduate and heard Pleasant Valley > Sunday and created an album whose main target seems to > be the hypocrisy of middle-class American parents, > which is a soft target if ever there was one. There > are some cracking songs on the album but my goodness > there's some bad ones too! > By the way - I managed to get myself a CD of this > by trading with a guy in Australia. So if anyone's > interested drop me a line off list. Your post reminds me of a tune I have on Laurie records by an act called Think, called "Once You Understand" - it's from the early 70s and recounts in unintentionally hilarious detail the acrimonious relationships between teenagers and their parents -I think at the end of the record the teenage son dies of a drug overdose, caused by his unfeeling and unsympathetic parents. I remember this tune getting a ton of airplay in the 70s-they just don't make 'em like that anymore! Art -------------------[ archived by Spectropop ]-------------------
Message: 17 Date: Wed, 26 Nov 2003 23:53:15 -0000 From: Mark T Subject: Warner Music Sale Do you think this may help in terms of licensing? WB wouldn't license material without outrageous guarantees which no small esoteric title could meet. Is it possible they may become like Sony and BMG and let things out so that Taragon and the other little labels can put things out. -------------------[ archived by Spectropop ]-------------------
Message: 18 Date: Wed, 26 Nov 2003 19:39:25 EST From: Bill George Subject: Re: Gay, lesbian and trans-gender lyrics Another song in this vein is "Woman or a Man" by Michel Doucet and Cajun Brew. It's cajun pop, and is about a guy who is dancing with a "woman" and he notices "she" has a beard, but doesn't care since "she" kisses so good. He takes her home and she robs him, and her wig falls off. But still the guy didn't care. Pretty funny song, in the vein of the Kinks' Lola. Oh yeh, one more. From the 80s again, Quarterflash recorded a song called "Valerie" on their debut album. It's about a girl in art school who was taken under the wing of a lesbian and got in over her head, so to speak. -------------------[ archived by Spectropop ]-------------------
Message: 19 Date: Thu, 27 Nov 2003 01:35:17 +0000 From: Susan Hilton Subject: Disco As I Knew It Jimmy: > Most of us were in polyester Nik Nik and Huckapoo shirts, so > plasticized that you were wrecked for the night if you dropped a > Newport down the front of your shirt. (Don't smoke on the subway, > darling.) Wide belts with offensive brass buckles... too-tight shoes... > and drape-y slacks which often looked like fiberglass curtain material. > What were we thinking? More importantly: what did we care? Sounds like the crowd seen in the background of the video of Taste of Honey's "Boogie Oogie Oogie," which I saw on an MTV 70s video show recently. Obviously I knew the singer was a woman but didn't realize that same (beautiful) woman was playing bass while another woman played guitar. Her guitar solos were pretty fuzz laden, too -- almost psychedelic! A guy played congas behind them. Disco/funk singles were some of the first records I bought as a pre teen - stuff like "Disco Inferno", "Brick House", "Fire", "Love Rollercoaster", K.C. and the Sunshine Band, etc., all the popular songs. At the time I didn't "get" punk, which I only saw on brief news clips on TV. Maybe I wasn't quite old enough to relate to the rebellion of it. -------------------[ archived by Spectropop ]-------------------
Message: 20 Date: Thu, 27 Nov 2003 02:26:14 -0000 From: Patrick Rands Subject: Re: Bee Gees Speaking of The Bee Gees and "To Love Somebody", does anyone know why the Soundtrack (and the movie on VHS/DVD, for that matter) for Melody is so darn hard to find. The movie (from 1971) stars the delightful Tracy Hyde, along with Mark Lester and Jack Wild and from what I've gathered from various websites is a delighful coming of age British comedy. >From An excellent musical score by the Bee Gees adds appeal to this curious little movie about two ten-year olds, Daniel and Melody (Mark Lester and Tracy Hyde) who are completely taken with each other and announce to their parents, in all seriousness, that they plan to get married. This marriage is not planned for the distant future, but as soon as possible. The uproar that is caused when their seriousness becomes clear is not too surprising. Their best friend Ornshaw (Jack Wild) is not too thrilled with their plan either. What makes the film work is that the entire story is told from the children's point of view in which the grownups' objections, since they have no relation to the truth of what the children are feeling, come across as silly or inconsequential. Reminds me of a girl group record put to film. The soundtrack and the film sound great, and yet both, impossible to find. :Patrick -------------------[ archived by Spectropop ]-------------------
Message: 21 Date: Wed, 26 Nov 2003 18:52:01 -0800 (PST) From: Steve Harvey Subject: Watching Bobby grow/The very last day I can remember the local Top 40 station, WAMS, playing Rainy Day Women and asking listeners to vote as to whether or not they should keep playing it. It won by a measly 6 to something vote. re: The very last day Wasn't the original by Peter, Paul, and Ringo. -------------------[ archived by Spectropop ]-------------------
Message: 22 Date: Thu, 27 Nov 2003 01:53:19 +0000 From: Susan Hilton Subject: Disco Phil Milstein wrote: >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. James Botticelli: > I think what you're referring to is the hi hat cymbal being tapped > slightly opened for a short tap then shut quickly on the upbeat of each > bass drum kick creating the fabled boom tssss boom tssss boom tssss boom > tssss sound that DID annoy many, even those who like disco. The first > discernible one of these I believe occured in M.F.S.B.'s "TSOP" which > became the theme for Soul Train, thereby catching the ears of people all > across the spectrum every week. Really? When I think of disco trademarks, I always hear a certain bass line (as in "Boogie Oogie Oogie"), which functions well enough, I mean it's dance music after all, but it becomes annoying in the way it pops up in so many songs. I was surprised to hear Carlos D. of Interpol play it on a couple songs when I saw that band (yes, I'm admitting I saw Interpol! More than once!), and wondered if he was consciously quoting disco bass lines or more likely, if it had just filtered into his consciousness via Depeche Mode, bad Brit pop or who knows what. I don't know about you all, but I watched Soul Train religiously! Don't remember much... Apropos of nothing, there's some tricky, annoyingly repetitive hi hat pattern common to a lot of current jungle music, or whatever it's called .. that bugs me, too. -------------------[ archived by Spectropop ]-------------------
Message: 23 Date: Thu, 27 Nov 2003 01:10:40 -0700 From: Gary Spector Subject: Re: Shortest Track of all time Hello. I am not sure of the shortest track but if I am not mistaken, the shortest song (with words) was "I Scream for Ice Cream" The lyrics: "I scream, you scream, we all scream for ice cream." I believe I found this in the "Book Of List's" in the 70s. I don't think it counts for a track recording but an interesting tidbit non-the-less. Specter -------------------[ archived by Spectropop ]-------------------
Message: 24 Date: Thu, 27 Nov 2003 12:52:29 +0100 From: Stefan Wriedt Subject: Ronny and the Daytonas Paul Bryant: > I have an old tape of a single by Ronny and the Daytonas - > Winter Weather and the flipside is Young - both great little > songs. Any chance this material has ever been rereleased? Both are from RCA 47-9022 (Nov. 1966). It's on one R&D CD, but not on the one from Sundazed that only had Mala material. I can look it up if anybody needs this info. Best, Stefan -------------------[ archived by Spectropop ]-------------------
Message: 25 Date: Thu, 27 Nov 2003 02:06:06 -0000 From: Billy G. Spradlin Subject: Re: Japanese Bubblegum CDs It's always been the nature of Bootleggers to steal from other bootleg LPs and CDs, redone with a new cover or rejumbled track listing to fool buyers that they are getting a "new" CD. Anything can be up for grabs, and its worse now that anyone with a home computer can become a bedroom bootleg operation. Theres tons of bootlegs on E-bay and (my guess) most are CDRs copies of copies done in someones home to make a cheap buck. With the Bubblegum MF comps there is enough rare goodies to keep me happy, but I'd prefer to get them via trading than shelling out $15-20 for each one. I hate to hear you got ripped-off, but hopefully someone will hear one of Mark's productions and seek out more of his music. Billy -------------------[ archived by Spectropop ]-------------------
Message: 26 Date: Thu, 27 Nov 2003 01:53:33 -0800 (PST) From: Rosemarie Subject: Happy Holidays! Check out the Eddie Rambeau Site - for great Christmas CDs and a Thanksgiving message from Ed! Lots of Love to Everyone Rosemarie -------------------[ archived by Spectropop ]-------------------

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