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Spectropop - Digest Number 1166



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               SPECTROPOP - Spectacular! Retro! Pop!
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There are 25 messages in this issue.

Topics in this digest:

      1. Re: Hey la, di la
           From: Mike Rashkow 
      2. Re: Telstar / He Hit Me (etc.)
           From: Max Weiner 
      3. Re: Viva
           From: Dan Hughes 
      4. Re: Telstar
           From: Stewart Mason 
      5. Re: Steve Tudanger
           From: John Clemente 
      6. Re: Steve Tudanger
           From: Mike Rashkow 
      7. Beatles chronology
           From: Mike McKay 
      8. Jack Nitzsche
           From: Paul Bryant 
      9. Crooners / Castle Pulse
           From: Country Paul 
     10. Re: Best line in a song
           From: John Fox 
     11. Re: Best line in a song
           From: Wes Smith 
     12. Re: Jeff Barry / Frankie Miller
           From: Eddy 
     13. Re: Teddy Randazzo & the Duprees
           From: George Robertson 
     14. Re: Mellotrons
           From: George Robertson 
     15. Re: Worst Rhyme In a Song?
           From: superoldies 
     16. Re: format lengths / He Hit Me / master licensing  plan / Run 4 Your Life / downloading etc.
           From: Phil Milstein 
     17. Re: Sid Bernstein
           From: Austin Powell 
     18. Re: Jim Doval and The Gauchos
           From: Andres 
     19. Re: Viva
           From: Austin Powell 
     20. Re: Rashkow's liver
           From: Mike Rashkow 
     21. A Christmas Gift to You: A Tribute to Phil Spector
           From: David A. Young 
     22. Casey Kasem
           From: Dan Hughes 
     23. Mark Wirtz
           From: Rosemarie 
     24. Hanukkah and Christmas music
           From: Mike Edwards 
     25. From Bootleg to Legitimate
           From: Rex Strother 


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Message: 1 Date: Tue, 09 Dec 2003 23:00:21 EST From: Mike Rashkow Subject: Re: Hey la, di la > OK, what was the song that went la di da, oh boy, let's go, cha > cha cha? C'mon In My Kitchen, by Robert Johnson? I hope to God if I heard the above line I would have thrown a boulder at the radio. Happens to be Lucky Ladybug I think, but that's not cause I ever listened to it. > Art and Dottie Todd Weren't they "Chanson D'Amour" yah da da dada? Di la, The Gentleman Rashkovsky -------------------[ archived by Spectropop ]-------------------
Message: 2 Date: Tue, 09 Dec 2003 19:32:01 -0800 (PST) From: Max Weiner Subject: Re: Telstar / He Hit Me (etc.) Albabe Gordon wrote: > Actually I think the sound in "Telstar" is just a funky organ > that's been filtered or compressed. And this and none of the > above qualify as a synth. Phil Milstein: > Now that we've nailed down the source of the keyboard sound in > "Telstar", who can tell us the source of the outer space sounds > at the beginning of the thing? Actually; believe it or not, some of the sounds actually were Joe Meek flushing the toilet; then running the tape backwards, that's what you heard at the beginning and at the very end of the song. -------------------[ archived by Spectropop ]-------------------
Message: 3 Date: Tue, 09 Dec 2003 22:09:35 -0600 From: Dan Hughes Subject: Re: Viva A couple of other Viva album releases--Themes Like Old Times and Themes Like Old Times II. Both had 50 or 75 opening themes of old-time radio shows. And when you listened to them all at once, many of them sounded very much alike: "Tom COR-bett, SPACE ca-DET!" "Nick CAR-ter, MAS-ter de-TEC-tive!" "Yours TRU-ly, Johnny DOL-lar!" et al. ---Dan -------------------[ archived by Spectropop ]-------------------
Message: 4 Date: Tue, 09 Dec 2003 18:58:30 -0800 (PST) From: Stewart Mason Subject: Re: Telstar Phil M. asks: > Now that we've nailed down the source of the keyboard sound in > "Telstar", who can tell us the source of the outer space sounds > at the beginning of the thing? I believe that's courtesy of our friends at the BBC Radiophonic Workshop. Joe Meek used the exact same opening on Glenda Collins' "It's Hard To Believe It" in 1964. S -------------------[ archived by Spectropop ]-------------------
Message: 5 Date: Tue, 09 Dec 2003 23:38:29 -0500 From: John Clemente Subject: Re: Steve Tudanger Hello All, After reading the interesting notes on Steve Tudanger, I thought I would add that his first group, The Vocal Lords, was the subject of an Off-Broadway play called "The Vocal Lords" by Eric Winick. Steve and fellow groupmate Marty Joltin provided the info on which the play was based. The Vocal Lords evolved into The Four Evers on Columbia and Smash (Be My Girl). Steve left the group in '65 to concentrate on songwriting and producing. He is the co-producer of Ellie Greenwich's "Let It Be Written-Let It Be Sung" LP on which he also sings back-up. This is all documented in an article by Deborah Young in Echoes of The Past magazine #56, Summer 2001. Regards, John Clemente -------------------[ archived by Spectropop ]-------------------
Message: 6 Date: Tue, 09 Dec 2003 23:39:33 EST From: Mike Rashkow Subject: Re: Steve Tudanger Mark on Steve Tudanger: > Who is this guy? I have 2 singles of his, one on Big Tree and > I don't remember the other label. Both songs are GREAT. Wasn't > he involved with Definitive Rock Chorale and Other Voices? If so, > this guy made some great music. The DRC was really good, especially > their singles on Bell (of course). Anybody know all of his groups/ > recordings they can post a listing of? From what I've found I don't > see any bad records. I need a few days to answer this intelligently. I'm working for a change. Start here: Tudanger and Steve Feldman produced Ellie's Let It Be Written Let It Be Sung LP -- if you read the liner notes it appears vague, but I know that they were the major movers and creators of that entire project. Mike Rashkow -------------------[ archived by Spectropop ]-------------------
Message: 7 Date: Wed, 10 Dec 2003 00:17:37 EST From: Mike McKay Subject: Beatles chronology Clark wrote: > Also, that is where we first heard and recorded the Beatles "Get > Back" LP played in its entirety with an occasional "KEYN exclusive" > spoken over the top of songs. The DJ said it would be released in > Jan '69. Something's wrong with this chronology. The Beatles had just begun recording the tracks that were to appear on "Get Back" (and ultimately did appear on "Let It Be") in January of 1969. So there's no way anyone could have even played them prior to that, and certainly no way a January 1969 release could be promised. -------------------[ archived by Spectropop ]-------------------
Message: 8 Date: Wed, 10 Dec 2003 05:01:03 -0800 (PST) From: Paul Bryant Subject: Jack Nitzsche Question - is there a list of the musicians featured on Jack Nitzsche's solo album anywhere? pb -------------------[ archived by Spectropop ]-------------------
Message: 9 Date: Tue, 09 Dec 2003 23:23:24 -0500 From: Country Paul Subject: Crooners / Castle Pulse Paul Bryant wrote: > Makes me wonder if all the crooners died, or if it was their audience > which all died, because I can't remember the same phenomenon in the > 80s or 90s. I have a couple of 45's from the late 50's by UK "crooners" - or are they? Both were released in the US: Monty Babson, "I Wish It Were You" (RCA Victor) is a pretty minor key ballad. Frankie Vaughan, "Judy, Judy" (Epic, I think) is a nice mminor key folkish song with overdone chorus and orchestra, if memory serves. Am I right that Vaugn was a major UK artist? Was Babson? Interesting discussion of current crooners; many mainstream pop-rock artists (not the fake white soul guys trying to be a male Mariah Carey) seem to be singing in their range rather than the screaming high- pitched types of a dozen to 20 or so years ago. So what constitutes a contemporary "crooner"? One Kathy McCord I contacted wrote back that she is not "the" Kathy McCord. One e-mail address was bad. Still trying on the third one - why the heck not?! Earlier - me: > ...but despite the interest in completeness, couldn't we do without > Tommy Leonetti's saccharine "Kumbaya"? Shawn: > I can't stand it either, but the fact that it charted is a feather in > the cap for Leonetti. For every song you don't like, there's going to > be someone out there that does, and how it charted...I don't know. If > being too complete is a downfall, we'll gladly take it! I could suggest Leonetti's "Soul Dance" (RCA, early 60's), which I believe also charted in the low ranges of the Top 100. Not real soulful, but a pretty waltz. Admin team: > Budget conscious S'poppers might already be aware of the great value > for money offered by the Castle Pulse logo's themed 3 CD sets. Their > latest release, subtitled "Teen Angst Classics From The Rock 'n' Roll > Era", is the latest addition to the S'pop Recommends section. Mike > Edwards is your reviewer: > http://www.spectropop.com/recommends/index2003.htm#MidnightCryinTime I had been totally unaware, actually. What is a good source for us Yanks to check out, please? Country Paul -------------------[ archived by Spectropop ]-------------------
Message: 10 Date: Tue, 09 Dec 2003 23:59:02 EST From: John Fox Subject: Re: Best line in a song Bill Brown wrote: > What does everyone consider the best line in a song? Elvis' "Too Much": "Love to hear you sighing even though I know you're lying..." John Fox -------------------[ archived by Spectropop ]-------------------
Message: 11 Date: Wed, 10 Dec 2003 05:41:04 -0000 From: Wes Smith Subject: Re: Best line in a song As a huge PIXIES THREE fan, after purchasing their "FORTY YEARS AND COUNTING" C.D.(2003), upon hearing the cut, "80'S LADIES", where at the end of the song, Bonnie, Kaye and Midge tell of their future plans in life, Bonnie (Long) Walker exclaims: "ME, MY NAME IS BONNIE, I'M GONNA MARRY WALKER, HE FELL IN LOVE WITH ME CAUSE I'M SUCH A TALKER". I just thought it to be one of the most brilliant lines I've ever heard! One more thing, the PIXIES THREE can still sing just as good as ever! -------------------[ archived by Spectropop ]-------------------
Message: 12 Date: Wed, 10 Dec 2003 08:00:40 +0100 From: Eddy Subject: Re: Jeff Barry / Frankie Miller Me: > I just bought the Frankie Miller CD "Dancing in the rain". > It has 6 out of 10 songs co-written by Jeff Barry. Unfortunately > it does not include any details on the musicians. Maybe the > original (vinyl) release has some more info. Anybody got the > scoop on this? Roger Kaye: > Eddy, Hard to believe this is on CD. Is it a reissue or the original > 1986 pressing? Worth picking up for the often covered "I'd Lie To > You For Your Love", which Frankie even put out a video for that got > a few (very few) spins on Empty-Vee back in the day. Anyway, I pulled > my copy of the lp........ Thanks for the info Roger. It's a German cd that even credits a re-issue producer. So apparently they did put some effort into this. In any case an impressive line-up ! Btw, the vinyl is from 1985 and the cd from 1993. Eddy -------------------[ archived by Spectropop ]-------------------
Message: 13 Date: Wed, 10 Dec 2003 04:06:50 EST From: George Robertson Subject: Re: Teddy Randazzo & the Duprees Jon: > Speaking of the late, great Teddy Randazzo, is there someone > out there who has a copy of the Duprees' "Around the Corner" > (Columbia 43336, from 7/65) co-written by Teddy? It was a great > single, very Jay & the Americans-like, which I haven't heard since > its release in '65. I'm sure every Spectropop person would dig > hearing it. If no one can play it to musica, I will start making > some serious inquiries and phone calls. Thanks. Though I no longer have a copy of Around The Corner, I was fortunate enough to be the guitar player in a group in Newport News, Va. when I was 19 and backed the Duprees in a concert there when the record was first released, so we learned it and their hits as well. It was a fun concert. -------------------[ archived by Spectropop ]-------------------
Message: 14 Date: Wed, 10 Dec 2003 02:24:03 EST From: George Robertson Subject: Re: Mellotrons Proteus (EMU) has a mellotron synth. -------------------[ archived by Spectropop ]-------------------
Message: 15 Date: Wed, 10 Dec 2003 08:26:38 -0000 From: superoldies Subject: Re: Worst Rhyme In a Song? Bobby Fuller ran out of ideas in "Guess We'll Fall In Love": "Kiss a-me baby - I'll take your heart squeeze a-me baby - I like your SART" (mumbled) At least that's an interview story I read, he was very insistant on rhyming things no matter what he had to make up... -------------------[ archived by Spectropop ]-------------------
Message: 16 Date: Tue, 09 Dec 2003 22:35:36 -0500 From: Phil Milstein Subject: Re: format lengths / He Hit Me / master licensing plan / Run 4 Your Life / downloading etc. Mark Wirtz wrote: > You make some darn good and intelligent points there, Paul, but don't > you think that, ultimately, the "length and duration" of any piece of > entertainment should be determined by how long it captivates the > audience's interest, rather than by "standard" and contrived measures?? I wonder much the same thing: did the 40-minute standard of LPs seem right simply because the music evolved to fill the time allotment (since artists, like nature itself, abhors a vacuum), or is there something inherently "right" about that time length for a full-length, in-home listening experience? Does the 70-minute standard of CDs seem TOO long simply because LPs had ruled the roost for so long, or at least we vinyl lovers retain a preference for it? I tend to think of these format lengths as arbitrary factors that came to seem suitable over time. On the other hand, I'm inclined to view the three-minute length of a pop song (and of course these times are very approximate) as more of a natural thing. While the cylinder and early record technologies apparently capped side lengths at three minutes, I wonder what the average length of songs was prior to the advent of recording technology. My guess is that it wasn't very different. In fact, I wonder if Edison, Berliner and the other early inventors of sound recording didn't start out AIMING to get three minutes onto a side because that was roughly the standard, rather than three minutes just happened to be the most they could fit on there at the time. The point I'm trying to get to is that somehow three minutes seems to satisfy an innate human standard for a singular piece of music-as-entertainment; whereas album lengths are simply more arbitrary than that. > Like, a 600 page book may keep us turning the pages, while we may never > make it through a 120 page "shortie," simply bored by the latter. > Similar with movies. Certainly so with today's "albums." Books are the only artform that are not meant to be consumed in one sitting. I have a friend who reviles them for that very reason, but then he doesn't have to commute to his job every day. Another He Hit Me type song: Mama He Treats Your Daughter Mean, by Ruth Brown. Rex Strother wrote: > The artist would be paid a contractual portion of any Master Use or > Synchronization License fee the label receives (today, usually 50% of > received fees), if the artist was wise enough include such a provision > in their contract. That sounds logical. As long as we're fantasizing aloud, however, I'd like to suggest one friendly amendment to this part of the plan: rather than entrusting the labels with dispersing the 50% cut to artists, how 'bout having some sort of nonprofit clearing agency, whose job it would be to send the labels their cut, and the artists their's. I just have my doubts that all of the artists would be receiving their shares otherwise. Scott wrote: > I'd argue that many 60-70 minute CDs have little more than 30 minutes > of listenable material on them. True enough for many albums of original music. But I find that anthologies tend to more consistently fill the time with quality music. Reissues of original albums, what with their bonus cuts and all, often do as well. Simon White wrote: > I've never been remotely interested in The Beatles and there's a > lot of stuff I don't know by them as a result. But is "Run For > Your Life" the song recorded by Nancy Sinatra then? Same song. In light of our thread re: how downloading and CD burning will impact future music formats, the new issue of Rolling Stone (Justin Timberschmuck cover) has an interesting interview with Steve Jobs, CEO of Apple Computers about many of the same facets of the issue. Sample quote, referring to the issue of copy-protection: "We have Ph.D.s here who know the stuff cold, and we don't believe it's possible to protect digital content." The chat starts on pg. 31, for those who prefer to skim it at a newsstand (before the vendor snaps "This ain't a library, ya know!"). By the way the same issue, in its News column (pg. 26), reports that "It's a first: during the second week of November, a digital [i.e. online] version of OutKast's 'Hey Ya! (Radio Mix)' outsold the top single available in stores, MercyMe's 'I Can Only Imagine'." And the tide continues to turn ... --Phil M. -------------------[ archived by Spectropop ]-------------------
Message: 17 Date: Wed, 10 Dec 2003 09:46:08 -0000 From: Austin Powell Subject: Re: Sid Bernstein Phil Milstein: > I don't really know much about him, other than that anecdote > and some of the background info on the Beatles' tours. Ruth's > story makes him sound like one of the good guys. Can Mike, or > anyone else, offer a word or two about Sid Bernstein? In the mid-eighties, a friend of mine who had a recording studio discovered a girl singer (Rozalla).....One day he told me he was getting a lot of unpaid help from a "big wheel" in America.... That wheel was Sid Bernstein......My friend, Chris Sargeant had nothing but good to say about the man......apparently SB's door was pretty much always open ..... Austin -------------------[ archived by Spectropop ]-------------------
Message: 18 Date: Wed, 10 Dec 2003 12:53:34 +0300 From: Andres Subject: Re: Jim Doval and The Gauchos John Fox: > The Gauchos: The only thing I remember about them was that they had > TWO drummers--not a drummer and a percussionist, but two drummers > playing full drum sets. Jim Doval and The Gauchos also had two Beatles related records in 1964, BEATTLE RULE (instrumental) and STRANDED IN THE POOL on Diplomacy X-6 label. -------------------[ archived by Spectropop ]-------------------
Message: 19 Date: Wed, 10 Dec 2003 09:26:44 -0000 From: Austin Powell Subject: Re: Viva Mikey wrote: > The VIVA label....."Questions and Answers"!! By The In Crowd, who > were The Eliglbles in disguise. And what a GREAT logo and label design eh? The UK Fontana label issued a few Viva records....The (California) In Crowd as they were re-named for the UK and The Shindogs for sure had a UK release each and I think Fontana issued a couple of the Midnight String Quartet albums too. Austin -------------------[ archived by Spectropop ]-------------------
Message: 20 Date: Tue, 09 Dec 2003 23:24:00 EST From: Mike Rashkow Subject: Re: Rashkow's liver Phil Milstein: > "Sound produced, edited, assembled and mixed by Mike Rashkow (P.S. I > also make very good chopped liver)". Care to share your recipe, Mr. R.? I have regretted asking for that line ever since I saw it in print. Whatever was I thinking--yes the record was all chopped up pieces, but saying that just was stupid. I actually do have a good recipe for sauteed calves liver. Even those people that hate liver love it: Di la, Emeril Rashkovsky -------------------[ archived by Spectropop ]-------------------
Message: 21 Date: Wed, 10 Dec 2003 08:30:35 -0000 From: David A. Young Subject: A Christmas Gift to You: A Tribute to Phil Spector Hi, gang, The subject line above is the title of a CD released on the Hallmark label in England (and possibly elsewhere) in the last couple of years and credited to The Delta Wall of Sound. I require the catalogue number, please, and if anyone can provide me with a label scan and/or a lead about where I can find a copy for myself, I'd greatly appreciate it. Please contact me privately if you can help. Thanks, David -------------------[ archived by Spectropop ]-------------------
Message: 22 Date: Wed, 10 Dec 2003 10:39:15 -0600 From: Dan Hughes Subject: Casey Kasem >From the New York Post: Casey Kasem is about to be dethroned as radio's countdown king. Kasem, 71, whose name has been synonymous with the weekly "American Top 40" radio show since he launched it on July 4, 1970, will be replaced next month by red-hot DJ Ryan Seacrest, 29, host of Fox's "American Idol," according to radio industry sources. The story spread like wildfire yesterday throughout the radio industry, although the syndicator of "American Top 40," Premiere Radio Networks, would not confirm or deny that a bombshell announcement was imminent. -------------------[ archived by Spectropop ]-------------------
Message: 23 Date: Wed, 10 Dec 2003 05:57:54 -0800 (PST) From: Rosemarie Subject: Mark Wirtz Just coming out of lurkdom to say how much I enjoyed looking at Mark Wirtz's website http://www.markwirtz.com ....interesting website, well done (Michael). Lots of Love and Merry Christmas to you all Rosemarie proud to be an Eddie Rambeau Fan! http://www.edrambeau.com -------------------[ archived by Spectropop ]-------------------
Message: 24 Date: Wed, 10 Dec 2003 15:56:14 -0000 From: Mike Edwards Subject: Hanukkah and Christmas music There have been a number of postings on this issue and Larry Lapka has attempted to summarize them or, at least, have the last word. Don't be bitter about the entertainment industry, Larry. Lighten up; there's something there for everyone. I am not going to dwell on the reasons why the industry puts out more Christmas music, films and TV shows than they do Hanukkah ones as it should be obvious. Let me comment on some of your points, though: > When I hear Barry Manilow say that the Christmas songs he sings are > simply "holiday" songs, my question to him would be, "And what > holiday are you talking about?" These have nothing to do with his > faith and certainly nothing to do with Hanukkah. Barry probably regards the "holidays" as comprising those events that fall between October 31 and end on January 31. Look what you've got in there: Halloween, Thanksgiving, Hanukkah, Christmas, Kwanzaa, the College Bowls, New Years and the Super Bowl. There's enough there to cover everyone's needs (religious, ethnic or otherwise) throughout the "holiday" season. > And again, Streisand could make a gold record out of a piece of > wood if she really wanted to. No argument there; every album she has made except for "Stoney End" falls into this category. > Of course, this is why such writers as Irving Berlin and Mel Torme > only had the perspective of the outsider looking in This is just too presumptuous on your part, Larry. > Why more modern and younger Jewish performers have not embraced > the "modern" Hanukkah that they grew up with is a mystery that only > they know the answer to. Do we know whether or not such performers have or have not embraced the modern (or traditional) Hanukkah? Now as to why they have not made Hanukkah CDs or films (and I don't know), like all performers, they are presumably faced with the music/film companies desire to have a saleable product on its completion. > I think you'll see that the modern Hanukkah can be celebrated, and > enjoyed in popular music as much as any other holiday. It sure can, but as with Easter, the 4th of July and Halloween, sales of CDs relating to it may have too limited a market to ever come close to those of Christmas CDs, although Bobby Boris Picket did make it to #1 for Halloween in 1962 with "Monster Mash". > When I get Christmas cards from Jewish relatives, I know that > something is amiss. I suggest you address this with them. It's another example of folks celebrating the holiday season rather than (specifically) the birth of Christ. Their motives shouldn't be questioned. Long may all of us continue to celebrate whatever parts of the holiday season we want to and in a way that we want to. For example, if the industry thinks I'm going to buy Celine Dion's Christmas CD, it is very much mistaken. I'm sure if I downloaded some of those Hanukkah tunes that you have posted to other sites, Larry, I would find them infinitely preferable. Mike -------------------[ archived by Spectropop ]-------------------
Message: 25 Date: Wed, 10 Dec 2003 08:56:31 -0700 From: Rex Strother Subject: From Bootleg to Legitimate Dan Hughes wrote: > Seems to me there must be cases (help me folks) where bootleg > releases brought forgotten artists back into the limelight and > gave them a second career? I can think of at least one instance where the popularity of a bootleg recording caused a legitimate release - the 11/17/70 radio broadcast concert by Elton John. The tape copies were getting around so well, they released it as an album (cleverly titled "11-17-70"). And I believe the Grateful Dead used fan-made bootleg tape popularity as an indicator which concert tapes to release commercially. These are - of course - established artists. What you need today, for renewed popularity, is a Gap commercial (Can you say "Jump Jive and Wail"?) -------------------[ archived by Spectropop ]-------------------
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