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Spectropop - Digest Number 1180

               SPECTROPOP - Spectacular! Retro! Pop!

There are 25 messages in this issue.

Topics in this digest:

      1. Re: The 1958 murder of John Dolphin
           From: Mikey 
      2. Re: The 1958 murder of John Dolphin
           From: Bill Craig 
      3. Re: Jerry Yester
           From: Rat Pfink 
      4. Re: Folk-Rock Special
           From: Mikey 
      5. The Ventures
           From: Mikey 
      6. Ruby & the Romantics
           From: James Botticelli 
      7. Re: "Without you I'd be a little lost lamb..."
           From: C. Ponti 
      8. Re: Orpheus
           From: Tom 
      9. Darlene Love on Letterman
           From: John Fox 
     10. Spector / Spoonful connection
           From: C. Ponti 
     11. 3,000 Miles
           From: James Holvay 
     12. Re; The 1958 murder of John Dolphin
           From: Christopher Lalor 
     13. Re: "The Long Black Veil"
           From: Mike McKay 
     14. Re: The Hollies - Long Road Home Box Set
           From: Billy G. Spradlin 
     15. Re: The Ventures
           From: John Berg 
     16. Bobby Shafto discography
           From: Scott Swanson 
     17. Re: Bad Lines
           From: Paul Bryant 
     18. Re: Bad Lines
           From: pkmusic2001 
     19. Re: One night with you
           From: Paul Bryant 
     20. Re: Bad Lines The Beat Goes On
           From: Paul Bryant 
     21. Re: Bad Lines
           From: Steve Grant 
     22. Re: Crooners in US and  UK Charts
           From: Paul Bryant 
     23. Re: Wild man's rhymes
           From: Paul Bryant 
     24. Re: Aldon Music Staffers
           From: Artie Wayne 
     25. Re: Bad Lines
           From: Hugo M. 

Message: 1 Date: Wed, 17 Dec 2003 22:51:24 -0500 From: Mikey Subject: Re: The 1958 murder of John Dolphin > John Dolphin owned Dolphin's of Hollywood, a record store on > Central at Vernon Avenue down in the black section of L.A. He > was also the owner of a small label, Dolphin Records, among others. I've got a couple of Doo Wop 45s on Dolphin. They are pretty good, as I recall. -------------------[ archived by Spectropop ]-------------------
Message: 2 Date: Thu, 18 Dec 2003 03:59:44 -0000 From: Bill Craig Subject: Re: The 1958 murder of John Dolphin > Anyone have any details on the 1958 murder of John Dolphin? > John Dolphin owned Dolphin's of Hollywood, a record store on > Central at Vernon Avenue down in the black section of L.A. He > was also the owner of a small label, Dolphin Records, among > others. Were The Fleetwoods ever on Dolphin? Based on the history of its owner it seems unlikely, but I can picture the 45 "Come Softly To Me" as being on a label with a similar name. Maybe Doltone? They were on more than one label, were they not? I could Google The Fleetwoods and get this info but you S'Poppers are a better source. Bill Craig -------------------[ archived by Spectropop ]-------------------
Message: 3 Date: Wed, 17 Dec 2003 23:22:12 -0500 From: Rat Pfink Subject: Re: Jerry Yester Dave Heasman wrote: > "Farewell Aldebaran", a very good record. Recently played a bit > by Bob Brainen on WFMU, and searchable. I concur, unfortunately it's been out-of-print for 30 years and a copy of the original LP usually goes for $50-75 on eBay so most people have never heard it. Anyway, I just played "Snowblind" to Musica. Enjoy! -------------------[ archived by Spectropop ]-------------------
Message: 4 Date: Wed, 17 Dec 2003 22:52:20 -0500 From: Mikey Subject: Re: Folk-Rock Special > I haven't gotten around to watching all of that PBS folk-rock > special... Anybody have a video tape of this? Mikey -------------------[ archived by Spectropop ]-------------------
Message: 5 Date: Wed, 17 Dec 2003 23:01:23 -0500 From: Mikey Subject: The Ventures > Still, 80 million is a whole LOT of records to sell! Especially > for a group who only had 3 top ten hits. I too remember reading > huge sales figures for the Ventures and I disbelieved them then > - so what's the source for your information? Were they - what's > the phrase - big in Japan?? Paul, not really. What people forget is that The Ventures had a whopping 17 charted singles from 1960 to 1970...yet they are known in the business as album sellers. In Japan, The Ventures are Superstars. They command fees of over 20,000 a night, and sell zillions of Cds. 5 or 6 of The Ventures instrumental songs have been covered by Japanese artists as vocal tunes, and have gone top 10. They made a fortune from these ALONE. This is really why the USA doesn't hear a whole lot about The Ventures. Since the 70s, they have concentrated on Japan where they are the biggest act in the country. Mikey -------------------[ archived by Spectropop ]-------------------
Message: 6 Date: Wed, 17 Dec 2003 23:17:38 -0500 From: James Botticelli Subject: Ruby & the Romantics > ...The lead vocalist was female. Sounded kinda like Brenda & The > Tabulations or "Hey There Lonely Boy", (which I still think RULES > over the redo as "Hey There, Lonely Girl"). It was really esoteric > and I'm sure NO ONE knows this. except a few weenies...It was actually Ruby & The Romantics. They did the original. -------------------[ archived by Spectropop ]-------------------
Message: 7 Date: Thu, 18 Dec 2003 04:56:54 -0000 From: C. Ponti Subject: Re: "Without you I'd be a little lost lamb..." C Ponti: > Trying to find out the title of this old soul song I loved > from early 60s.. We in NY often could pick up a soul station > from far away. This song had a chorus lyric of "and I'm never > gonna leave you, never gonna leave you..." Phil Chapman: > This Gentile/Lambert song ("Never, Never Leave Me") is one of > Mary Wells' many delectable post-Motown recordings, and a favourite > of mine. Phil, YOU RULE! I recorded it onto a reel-to-reel back then, but the tape long since disappeared. Playing it back in my head, of course it was Mary Wells. I loved that glossy production which was one of the precursors to the Philly sound to come not long aft. -------------------[ archived by Spectropop ]-------------------
Message: 8 Date: Thu, 18 Dec 2003 05:06:15 -0000 From: Tom Subject: Re: Orpheus C Ponti wrote: > As rabid a fan as I am, their version is awful and self-indulgent. > They just do "ba da da" type scat during the verses, (never actually > singing the verses) and the the chorus they do sing. I love those > verse lyrics and miss them! I really have to disagree with your comments regarding Orpheus' outstanding cover of "Walk Away Renee". I just listened to it again and am as captivated as I was when I first heard it. I never liked the amateurish strings in the original Left Banke version and cringed at the lead singer's quivering voice. He always sounded like one of those "sensitive guys". The Orpheus treatment gives the song real power. Alan Lorber wisely did away with the high school string quartet sound of the original yet refrained from over orchestrating the track. As usual, the vocal harmonies are breathtaking - and I totally agree with the band's decision to trash the unimportant verses. It was as if they listened to the original, assessed its merit, and used only the best parts. Bold? Yes, but self-indulgent? No. C Ponti wrote: > I also dig the primitive production. There are out of tune guitars, > clams on the bg vocals, all stuff that these days would never see > final mix. Due to bouncing tracks and probably pretty basic mixing > techniques, it is kind of a soup of good and You sure you're talking about the same album? Primitive? I can't imagine a band that had a more sophisticated image and sound in the late-sixties. Not to mention the fact that Lorber admits to treating songwriter Martin and composer Arnold like a modern-day Satie and Debussy. Out of tune guitars? I've heard nothing of the kind on any of their four albums. Even their demos are pitch perfect. Mind you the first album is not without its faults. Since I purchased Akarma's "Complete Orpheus", I've found myself preferring the sound they created on the fourth album for Bell. Lorber's orchestration is more subtle and the new band featuring Bernard Purdie sounds much tighter. Tom -------------------[ archived by Spectropop ]-------------------
Message: 9 Date: Thu, 18 Dec 2003 00:34:42 EST From: John Fox Subject: Darlene Love on Letterman Subject: Darlene Love on Letterman This may be innaccurate, but I heard on the radio (an oldies station) today that Darlene's annual performance of "Christmas (Baby Please Come Home)" will be on Tuesday night, December 23. John Fox -------------------[ archived by Spectropop ]-------------------
Message: 10 Date: Thu, 18 Dec 2003 05:55:53 -0000 From: C. Ponti Subject: Spector / Spoonful connection How many of you don't know this? Astute as you are, probably few. When the Spoonful was gigging in the Village at venues like The Bizarre and most notably the Night Owl, Phil came to see what all the buzz was about. He was knocked out by their show at the Night Owl. They were still unsigned and Phil made overtures about producing them and putting them on his label. He also went public about having seen an amazing band in the Village. The odd part here was that Sebastian was a pretty rabid fan of Phil's work, even more, perhaps, of Ronnie and the Ronettes. John wanted his band to not be the puppets that Phil's acts were. He had been in alot of studios in East Coast folk sessions, many with Paul Rothchild, and hoped for a studio environment where there would be at least a little input as far as his vision of how the band should sound. Erik Jacobsen was also already on the scene and poised to produce them. The band cut "You Baby" on DO YOU BELIEVE IN MAGIC, with Joe Butler doing the lead vocal. It was their "thank you" and homage to Phil and the Ronettes, whose records were on constantly at the Spoonful members' apartments. When the Spoonful was inducted into the R&R Hall Of Fame, Phil threw them a party. Spector held court until around 2:30 am, and was a joy. He was telling stories, opining on esoteric stuff some people brought up as far as Rock references and producers. Zal was in top form. He and Phil's main pal, Robert Shapiro, the lawyer, were talking about being Canadian and making arcane Canadian inside jokes. Phil was relaxed and totally non-confrontational, except for a rant about some producer. -------------------[ archived by Spectropop ]-------------------
Message: 11 Date: Wed, 17 Dec 2003 22:40:19 -0800 From: James Holvay Subject: 3,000 Miles Artie Wayne: > And speaking of Snuff Garrett.......I'm going to ask him to > verify where "3000 Miles" by Brian Hyland [which he produced > and I wrote] was cut. I played guitar on the date in N.Y..... > though many Spectro-doubters argue that it was cut in L.A. Artie: I never knew you wrote "3000 Miles" by Brian Hyland. Wow! I did many a tour w/Brian as his back-up guitarist (Dick Clark Caravan Of Stars). At the end of one of the tours, Brian gave me the promo 45 of "Miles". The flip side sounded similar to a Buck Owens tune, titled "Sometimes They Will, Sometimes They Won't". I loved "3000 Miles". I'm going to pull it out of my collection and play it. Thank you. -------------------[ archived by Spectropop ]-------------------
Message: 12 Date: Thu, 18 Dec 2003 11:00:55 +0100 From: Christopher Lalor Subject: Re; The 1958 murder of John Dolphin > Does anyyone have any details on the 1958 murder of John Dolphin? > John Dolphin owned Dolphin's of Hollywood, a record store on Central > at Vernon Avenue down in the black section of L.A. He was also the > owner of a small label, Dolphin Records, among others. > In February of 1958, John Dolphin was shot dead by a songwriter > named Percy Ivy. His widow re-started the Money label in the early sixties and had some sucess. Firstly with the Larks but more importantly with Betty Swann. Employing that mega genius Arthur G Wright who arranged "Make me yours" one of the most dreamy soul songs ever to come out of the USA. They even released an album for her, no mean feat for a ten cents outfit in them days. We Brits don't know a lot about 6T's US pop but we're unbeatable when it comes to soul music ;-) Chris L -------------------[ archived by Spectropop ]-------------------
Message: 13 Date: Thu, 18 Dec 2003 01:01:08 EST From: Mike McKay Subject: Re: "The Long Black Veil" Andrew Jones wrote: > Normally, I have a high tolerance for bad rhymes and bad lyrics. > But in all my years of listening, there is only one song that > has ever made me shout, "Stupid!" That song is the country standard > "Long Black Veil", recorded by numerous acts, including Johnny Cash > and The Band (I first heard it on The Band's "Music from Big Pink" > album). > > And oddly enough, what made me shout "Stupid!" wasn't the lyrics > themselves - they're quite well-written, as these songs go - but > the situation the lyrics describe. A man allowing himself to be > convicted and executed for a crime he didn't commit, just to keep > secret his affair with his friend's wife? "Stupid!" You'd be less prone to say this if you had greater familiarity with the ethos that informs country music and its antecedents. Guilt and shame play pivotal roles, and the song is a reflection of this. And it should be pointed out that, speaking of antecedents, the ethos gets murkier still as you go back in time. Look at all the Appalachian ballads (many of them based, in turn, from English sources that go even further back) with their tales of guys murdering their loved ones ("The Knoxville Girl" is but one of hundreds) in horrific fashion. The story of "The Long Black Veil" is a particularly interesting one. It's one of those songs that sounds so much like a folk "standard" of indeterminate origin that it comes as a surprise when you learn that it was written by two professional songwriters in Nashville in 1959. What's more, it may win the prize for the fastest turnaround ever. Marijohn Wilken and Danny Dill wrote "The Long Black Veil" one evening and presented it to Lefty Frizzell's producer bright and early the very next morning. It was recorded that same day and rush-released, whereupon it climbed to #6 on the country charts in short order. -------------------[ archived by Spectropop ]-------------------
Message: 14 Date: Thu, 18 Dec 2003 06:16:20 -0000 From: Billy G. Spradlin Subject: Re: The Hollies - Long Road Home Box Set Dig around the net for the Hollies Box Set - I paid $88 for it from Check too It's always a toss up when it comes to sequencing box sets - put too many well-known hits in and the die-hard collectors howl for more rarities. Put too many rarities in and the causal fans go "where the hits"? The Hollies hits have been reissued over and over and over again so instead of giving them another copy of "Bus Stop" and "Carrie Anne" the band and compilers tried to showcase the ignored B-sides and LP cuts. With a band that recorded 21 original albums and a truckload of 45s theres always going to someone's favorite missing. Despite the high price they did a fine job, great remastering and stuck in a excellent book (with many great pictures) about the Hollies' history, something seriously missing from other Hollies compilations. I know a lot of fans that were disapointed with the track listing. Some on the Audities Power Pop mailing list felt that it should have showcased the 1963-69 Graham Nash-lead group only. I didn't care the tossing in of the 1976 "Live Hollies" LP that I already have on CD, didn't they record any other shows back then? I think there's still a need for a good single CD compilation showcasing the Hollies psychedelic pop period from 1966-9. Billy -------------------[ archived by Spectropop ]-------------------
Message: 15 Date: Thu, 18 Dec 2003 01:44:24 EST From: John Berg Subject: Re: The Ventures Yes, the Ventures are still very big in Japan. They have toured there annually forever, and released lots of albums specifically cut for that market, including their takes on various Japanese tunes. You can find most of these via the web, and in some Tower stores (at least here on the West Coast). I saw them live for the first time ever in mid 2000 at the EMP grand opening concert weekend here in Seattle. They closed a set featuring numerous Northwest greats (others included the Fabulous Wailers of "Tall Cool One" fame and Paul Revere & The Raiders) and the Ventures absolutely blew me (and the whole crowd) away. I was sorry I had disdained them back in the mid-to-late '60s as "square". John Berg -------------------[ archived by Spectropop ]-------------------
Message: 16 Date: Thu, 18 Dec 2003 00:55:12 -0800 From: Scott Swanson Subject: Bobby Shafto discography Larry Lapka: > Several other singles came out under (the Bobby Shafto) name; does > anybody have any further information on this? Here's a list of his 45s that I know of: Over And Over/I Want My Bed (Parlophone R 4870, 01 /62) Feel So Blue/I Haven't Got A Girl (Parlophone R 4958, 10/62) Lets Make A Habit Of This/The Kissing Has To Stop (by The Guv'ners; Piccadilly 7N 35117, 04 /63) She's My Girl/Wonderful You (Parlophone R 5130, 04 /64; US: Rust 5082; Canada: Capitol 72170) Love Love Love (Don't Let Me Down)/I Don't Love You Anymore (Parlophone R 5167, 07 /64; Canada: Capitol 72197) Who Wouldn't Love A Girl Like You/I Remember (Parlophone R 5184, 10/64) Baby Then/How Could You Do A Thing Like That To Me (Parlophone R 5252, 03 /65) The Same Old Room/Lonely Is As Lonely Does (Parlophone R 5403, 01 /66; US: Rust 5108) See Me Cry/A Little Like You (Parlophone R 5481, 07 /66) Hope this helps, Scott -------------------[ archived by Spectropop ]-------------------
Message: 17 Date: Thu, 18 Dec 2003 04:48:37 -0800 (PST) From: Paul Bryant Subject: Re: Bad Lines Continuing the bad grammar thread - Can anyone spot this one? (Answer at the bottom!) The first line's perfectly okay: "When I was young people spoke of immorality" but then comes "All the things they said were wrong are what I want to be" .....well, I know what he means, but, does it make any sense? pb answer : Over Under Sideways Down, Yardbirds -------------------[ archived by Spectropop ]-------------------
Message: 18 Date: Thu, 18 Dec 2003 11:41:05 -0000 From: pkmusic2001 Subject: Re: Bad Lines Steve Harvey wrote: > Bernie Taupin once wrote, "I've made some bad rhymes" and he was > right! Got better once he ditched Reginald. Maybe so. But let's face it, if I may be so bold as a newcomer; The worst lyricist of all combined with showing the most promise??? Goes to..........STEVIE WONDER!!!!!!! Marvelous concepts. Ideal sentiments. Gorgeous melodies. Seductive chord progressions. But......... his meter needed work! You Are The Sunshine Of My Life must've been an accident. It was flawless, but somehow uninteresting. But in general he needed a lyricist badly. But if you're successful, what does it matter? Any takers??? -------------------[ archived by Spectropop ]-------------------
Message: 19 Date: Thu, 18 Dec 2003 04:54:44 -0800 (PST) From: Paul Bryant Subject: Re: One night with you Artie Wayne wrote: > Mike........Got another one with really bad grammar. From "One > night With you" by Elvis....."I ain't never did no wrong". A > triple negative.......but does that turn it into a positive? A great performance by Elvis, twice. He recorded two versions, one of which I think was only released later. The first version blues lyrics go: One night of sin is what I'm now paying for. and for the pop single version that was cleaned up: One night with you is what I'm now praying for. - in the first risque version I particularly admire the line: The things I did and I saw would make the earth stand still. - I think that's it anyway - great line. pb -------------------[ archived by Spectropop ]-------------------
Message: 20 Date: Thu, 18 Dec 2003 05:04:24 -0800 (PST) From: Paul Bryant Subject: Re: Bad Lines The Beat Goes On David Coyle wrote: > To me, nothing will ever, ever, ever beat: "And men keep right > on marchin' off to war, Electrically they keep a baseball score" > from "The Beat Goes On" by Sonny & Cher. In fact the whole lyric is transcendentally awful: Charleston was once the rage, uh huh. History has turned the page, uh huh. The miniskirt's the current thing, uh huh. Tennybopper is our newborn king, uh huh. The grocery store's the supermart, uh huh. Little girls still break their hearts, uh huh. And men still keep on marching off to war. Electrically they keep a baseball score. Grandmas sit in chairs and reminisce Boys keep chasing girls to get a kiss. The cars keep going faster all the time. Bums still cry 'Hey buddy, have you got a dime?' Arrrrrrrrrrrrrrgh.............!!! pb -------------------[ archived by Spectropop ]-------------------
Message: 21 Date: Thu, 18 Dec 2003 08:18:26 -0500 From: Steve Grant Subject: Re: Bad Lines Herman's Hermits, Can't You Hear My Heartbeat When I feel you put your arms around me Then I'm glad I'm mighty glad I found you Steve -------------------[ archived by Spectropop ]-------------------
Message: 22 Date: Thu, 18 Dec 2003 05:42:47 -0800 (PST) From: Paul Bryant Subject: Re: Crooners in US and UK Charts Mike Edwards wrote: > I guess we should bear in mind that the UK charts, unlike those > in the US, did not have an adult contemporary category in the 60s > everything was dropped into one chart. In the US, a song such > as "Cold" by John Gary got to # 1 on the adult contemporary chart > in 1967 without showing up on the Hot 100, thus leaving room for > the likes of the Association. I don't really get this - are we saying that a big selling record in America which was deemed to be "adult contemoorary" or whatever would not have been included in the main Billboard/Cashbox top 50 because it was judged to be - er - not a pop record, even if by sales alone it would have been placed in the top 20? Am I understanding this right? pb -------------------[ archived by Spectropop ]-------------------
Message: 23 Date: Thu, 18 Dec 2003 05:47:34 -0800 (PST) From: Paul Bryant Subject: Re: Wild man's rhymes Mark wrote: > Re the worst rhyme in a song: this one is like > kicking a dog, but Wild Man Fischer has to take > the honors for "The Taster" from the LP > "An Evening With Wild Man Fischer" On "An Evening With Wild Man Fisher" he sings "Dream Girl" which includes Her eyes are brown, her hair is blonde And everything about her's strong And after that there's a track called "Dream Girl Explanation" wherein he recounts being turned down by bemused execs - Wild Man says (this is from memory) "Everytime I sang that song they said they didn't like it, they didn't understand the words, where I rhyme "blonde" and "strong". Blonde - strong. I always liked that rhyme but no one else could understand it." Way to go, Wild Man, but it would have helped if the tune wasn't crap. pb -------------------[ archived by Spectropop ]-------------------
Message: 24 Date: Thu, 18 Dec 2003 06:06:29 -0800 (PST) From: Artie Wayne Subject: Re: Aldon Music Staffers When I was signed to Aldon music[1959-1961] I wasn't much of a songwriter or musician. Al Nevins and Donnie Kirshner convinced my mother that I shouldn't go to college but learn the music business, that I wanted so much to be part of,from the street level. As a wide-eyed 17 year old, I sat everyday in Aldon Music's 1650 B'way office and became freindly with most of the writers who were signed....... Neil Sedaka and Howie Greenfield [who helped me develop as a lyric writer],Cynthia Weil and Barry Mann [who taught me how to sing harmony],Gerry Goffin and Carole King [who showed me how to make demos], Jack Keller, Larry Kolber [one of my first collaborators], Russ Teitleman, Brooks Arthur, Billy Michelle, Charles Koppleman and Don Rubin and a 14 year old Toni Wine. It was a magical time and although I didn't get one cover record, I learned more about songwriting than I ever could've in school. The Aldon music offices were magical as well. When the company was bought by ScreenGems, they moved out of the building and Koppleman and Rubin moved in. When they moved out, my partner, Kelli Ross, and I moved in and for the next 5 years ran Allouette Prods. regards, Artie Wayne -------------------[ archived by Spectropop ]-------------------
Message: 25 Date: Thu, 18 Dec 2003 15:11:13 -0000 From: Hugo M. Subject: Re: Bad Lines My all-time favorite 'brand new dance' was invented by The Blenders from Chicago on a 45 (Witch label) from 1963. No need to editorialize, but... WHAT WERE THEY THINKING? (As if I didn't know...) The song and dance were called "Squat And Squirm". Squat, squat, squat, oh baby, squirm, squirm squirm... squat and squirm... Mum mum mum yip yip, Hugo M. -------------------[ archived by Spectropop ]-------------------
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