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Spectropop - Digest Number 1197

               SPECTROPOP - Spectacular! Retro! Pop!

There are 15 messages in this issue.

Topics in this digest:

      1. Re: Soundalikes
           From: Dave Heasman 
      2. Patsy Cline
           From: Phil Hall 
      3. Now Hear This
           From: Steve Harvey 
      4. Re: Lloyd Price and Harold Logan
           From: Dave Heasman 
      5. Re: Soundalikes
           From: Austin Roberts 
      6. Re: All This & World War II
           From: Phil Milstein 
      7. Michael Brown, Left Banke, Stories, etc...
           From: Doug 
      8. Re: "uptight"
           From: Paul Bryant 
      9. Jukebox from Hell
           From: Phil Milstein 
     10. Re: US Chart Question, Still Unanswered
           From: Paul Bryant 
     11. Re: Bobby Vee
           From: S.J. Dibai 
     12. Nina Simone question
           From: Paul Bryant 
     13. Re: Orlons as Backup Singers/Cameo-Parkway Sound(s)
           From: S.J. Dibai 
     14. Re: Peter Gallway
           From: Phil Milstein 
     15. Johnny Cymbal,Mr. Bassman question my computer ate
           From: Austin Roberts 

Message: 1 Date: Fri, 26 Dec 2003 18:34:52 -0000 From: Dave Heasman Subject: Re: Soundalikes Mark T: > A rule of thumb I've found is that for any act that hits > it big on the charts, there will be an imitator. > Monitors (4 Tops) I have had "The Further You Look The Less You See" by the Monitors for over 30 years; it's on my jukebox & I play it a lot. But due to some sort of blind (deaf?) spot I never realised until now that it owes a lot to the 4 Tops. Everyday something new. -------------------[ archived by Spectropop ]-------------------
Message: 2 Date: Fri, 26 Dec 2003 18:56:30 -0000 From: Phil Hall Subject: Patsy Cline This tune may be slightly off-subject, but in the mid-1950's I had 2 uncles who were country artists with their own weekly radio show in Huntsville, Alabama. For those who don't remember, it was a different world back then; a world where Elvis Presley could just hop off a bus at the end of a tour and walk home. Anyway, they knew a few lesser Nashville stars and had picked up a demo 45 by Patsy Cline called "If You Don't Believe I'm Leaving, Just Count The Days I'm Gone". I'm almost positive it was on the black Mercury label. I later found out that it was a cover of an Eddie Marshall tune. I'd love to get my hands on a copy of it, but the president of the Patsy Cline Fan Club assures me that Patsy never recorded such a song, and claimed to have verification from Patsy's husband as well. I KNOW she recorded the song; it just may not have been released. One of my uncles also distinctly remembers the record, although he has no idea what happened to his copy of it. Does anyone have or remember this song? Thanks, Phil Hall -------------------[ archived by Spectropop ]-------------------
Message: 3 Date: Fri, 26 Dec 2003 10:56:46 -0800 (PST) From: Steve Harvey Subject: Now Hear This Steve Harvey: > I always heard the line "with lovers, buggers and thieves" Austin: > Thought it was 'muggers'. You say "potato", I say "potahtoe". -------------------[ archived by Spectropop ]-------------------
Message: 4 Date: Fri, 26 Dec 2003 18:57:31 -0000 From: Dave Heasman Subject: Re: Lloyd Price and Harold Logan Steveo: > I would like to know how much truth there is in the story that Mr. > Lloyd Price agreed to share writing royalties with his subsequently > murdered (1969) business manager Harold Logan. Someone said that Mr. > Logan really had no part in the co-composing of Lloyd's songs. I > wonder if anyone has any info on this. It's certainly stated on the Lloyd Price reissue I have. Price met Logan in the army and after hearing how Price made nothing from "Lawdy Miss Clawdy" Logan set up Price's management. Logan was not a musician at all, so the writing credit must have been a way to pay his management fees. It's a pretty good one - no hit, no money, so it must have "incentivised" Logan. And it worked. In 3 years from 1959 Price was rich enough to semi-retire, which is more than can be said for many many more talented and long-lived black artists - think of poor Jackie Wilson for example. -------------------[ archived by Spectropop ]-------------------
Message: 5 Date: Fri, 26 Dec 2003 15:03:58 EST From: Austin Roberts Subject: Re: Soundalikes Jerry Fuller, the great writer and producer,was also a good singer and loved Pucket's voice because he could write the kind of songs that he (Jerry) liked to sing (big ballads), consequently, many great records, most of which Jerry wrote and produced. -------------------[ archived by Spectropop ]-------------------
Message: 6 Date: Fri, 26 Dec 2003 16:01:07 -0500 From: Phil Milstein Subject: Re: All This & World War II Peter Kearns wrote: > You mean there was actually a movie to go with it? Fascinating. > Hmmm. Might need to do some research on this. Michael Weldon's Psychotronic Video Guide has an interesting listing for "All This And World War II": "Some people still don't believe that this film was made and think it's just a two-record boxed set with a booklet and ads for T-shirts. The film is all old newsreel footage set to Beatles cover songs. ... Hear Helen Reddy and The Bee Gees sing while Hitler plans and Nazis march and kill. Amazing." dir.: Susan Winslow pr.: Sandy Lieberson, Martin J. Machat 1976 --Phil M. -------------------[ archived by Spectropop ]-------------------
Message: 7 Date: Fri, 26 Dec 2003 21:02:09 -0000 From: Doug Subject: Michael Brown, Left Banke, Stories, etc... I've been out of town for a couple of days, so I've been catching up on my reading here. I've been a Left Banke fan since "Walk Away Renee" hit the charts, so I wanted to jump in on this discussion. Most everything I was going to say has been said already, so I'll offer just a few things. Concerning the Stories, their second album ("About Us") is a great power-pop record. Many fans of that genre put it the same level (or just below) of Big Star, Badfinger and the Raspberries. Especially the first pressing that does not include the fairly hideous "Brother Louie." That was added later, after it became a hit. Songs like "Darling" and "Hey France" are superb. All the Stories albums were released in Canada in the early 90's. Also, a few bits about Harry Lookofsky, Michael Brown's dad. He's credited on several Reparata & the Delrons records (at least the World Artists and RCA singles I have) as "Hash Brown and his Orchestra". The writer's credit to the flip of "Whenever A Teenager Cries", "He's My Guy" is listed as "H. Brown, S. Jerome, W. Jerome". If you want to see a picture of Harry, look in the booklet of your Burt Bacharach box set (you've all got it, right?) on page 84, and see Harry's smiling face and his name listed in the photo details. Doug -------------------[ archived by Spectropop ]-------------------
Message: 8 Date: Fri, 26 Dec 2003 13:56:40 -0800 (PST) From: Paul Bryant Subject: Re: "uptight" Bill Craig wrote: > The Byrds tune from early '65 "You Won't Have To Cry" by McGuinn > and Clark contains the lines: > "Oh you know it isn't right to put yourself uptight > By thinkin about the things he's done before" > Obviously used in the negative sense. More negatives: Beach Boys, "I Know there's an Answer" 1966: They come on like their peaceful But inside they're so uptight They trip through the day And waste all their thoughts at night Byrds, "Mr Spaceman", 1966: Must be those strangers that come every night Those saucer shaped lights put people uptight Beach Boys again, "Be With Me", 1968: You're going out tonight You put your real cool looking clothes on You're getting uptight About some little thing I said Soooooo....looks like Stevie Wonder is the only person ever to use uptight in its positive sense in a pop song. pb -------------------[ archived by Spectropop ]-------------------
Message: 9 Date: Fri, 26 Dec 2003 17:43:10 -0500 From: Phil Milstein Subject: Jukebox from Hell Country Paul wrote: > Certainly in the Top Ten on the Jukebox From Hell. Which could > start another interesting thread: which songs are on your Jukebox > From Hell (records you NEVER want to hear again, but no doubt > will be subjected to)? I'll let others go first, but offer Dionne > Warwick's treacly "That's What Friends Are For" as a starting point. Although there are far worse songs, I have a particular weed up my ass over The Manhattans' "Kiss And Say Goodbye." It was #1 in NYC for quite a spell during the summer of '76, when I was working third shift at a Mob-run magazine distributorship in Secaucus, NJ.* My co-workers were partial to the Top 40 WABC-AM, and, since most of them were also "connected," I was not about to complain. 'ABC musta played that song seven times a night, forcing me to endure the damn thing 35 times a week, week after week after week, until its greasy harmonies were oozing from my very pores. Even though those days are long behind, I imagine it won't be for many more years still until I'm able to listen to "Kiss And Say Goodbye" with anything near objectivity. --Phil M. *where I learned what became of the body of Jimmy Hoffa -------------------[ archived by Spectropop ]-------------------
Message: 10 Date: Fri, 26 Dec 2003 14:50:11 -0800 (PST) From: Paul Bryant Subject: Re: US Chart Question, Still Unanswered Dan Hughes wrote: > Paul, in the "golden age" there were three main music "chart > creators" in the USA. All the charts were put together by the > magazines that featured them: Billboard, Cashbox, and Record > World. If the charts were based solely on sales reports, the > charts would be identical. They were not; surely someone here > can explain how each of the magazines determined chart positions. > Rumor has it that Cashbox was run by the Mafia and that their > charts were "fixed". When an honest man was brought in to clean > up the magazine, he was promptly assassinated More info on the curious world of American pop charts comes from the introduction to the Billboard Book of Top 40 Hits by Joel Whitburn (2000). He says that in 1955 Billboard published 3 charts - Best sellers in stores, Most Played by DJs, and Most Played on Jukeboxes. The Hot 100 was introduced in August 1958 and this fully integrated the fastest-selling and most-played records. Note for American readers - in the UK, because in the 1950s and for most of the 1960s there was only one state monopoly broadcaster, the BBC, there was no such thing as a Most Played on Radio chart, and I believe there was never a Most Jukebox Plays chart either. So we only had One True Chart - sales. To a British person, a number one hit is the song which is selling the most at any particular moment, and a No 2 is the second biggest selling song, etc etc. An obvious point, I would have thought, but now I see more clearly how complicated the American charts were and are, a point worth making. Joel goes on to make an interesting point - he says that by the 1990s many big radio hits were not being released as singles, so a Hot 100 Airplay chart was created which often was very different. In 1998 Billboard combined the radio hits and sales-only Hot 100, so now theoretically I guess a song can get to No 1 in America without having been released as a single at all! None of this touches on the question of Adult Contemporary, R & B or Country charts. Further research is required! pb -------------------[ archived by Spectropop ]-------------------
Message: 11 Date: Sat, 27 Dec 2003 00:17:56 -0000 From: S.J. Dibai Subject: Re: Bobby Vee Country Paul wrote: > S.J. Dibai, thanks for the "At The Drive-In" review. Uneven > as it seems, I'd still like to have seen it, just for the > history value. Gee, I'd always liked Bobby Vee.... Country Paul, good to hear from you, and you're welcome. Don't get me wrong: I've always liked Bobby Vee, too, and I own a good deal of his work. I just thought that he didn't sound good on "At The Drive In". Either his voice just hasn't held up or he's another artist who tries too hard to sound like he's still 17 instead of just flowing with the sands of time. Take Paul Anka--his voice doesn't sound anything like it did in his teen idol phase, but I saw him on TV a couple of years ago and he sounded great. S.J. Dibai -------------------[ archived by Spectropop ]-------------------
Message: 12 Date: Fri, 26 Dec 2003 15:24:57 -0800 (PST) From: Paul Bryant Subject: Nina Simone question Dear Spoppers I have a question about a Nina Simone song which is a million miles away from the kind of thing usually discussed here, but it was recorded in the 60s, so that's my excuse. It's quite famous & it's called "Four Women" (she wrote it herself and it's really great!) The song sketches out various stereotypes of black women. Verse one goes "My arms are long/ my back is strong/ strong enough to take the pain/ inflicted again and again/ what do they call me? My name is Aunt Sarah". Verse two concerns a mixed race woman, and her name is Siffronia. Verse three is about a hooker (Who's little girl am I? Well, yours if you have money to buy) and her name is Sweet Thing. Then comes the politically aware woman of the last verse - "My skin is brown/My manner is tough/I'll kill the first mother I see/Cos my life has been rough/I'm awfully bitter these days/Cause my parents were slaves" and for the very last line Nine screams out "what do they call me? My name is PEACHES!!!" So - what's the significance of the name Peaches?? To my (British) ears it sounds very strange, but I kind of think I'm missing something Americans would understand straight away... pb -------------------[ archived by Spectropop ]-------------------
Message: 13 Date: Sat, 27 Dec 2003 00:27:38 -0000 From: S.J. Dibai Subject: Re: Orlons as Backup Singers/Cameo-Parkway Sound(s) Stuffed Animal wrote: > I was fortunate to interview Kal Mann a few years before he > died. Great! Do you have a transcript of that interview on a website or in a publication where I can read it? > The Orlons were definitely in > the background on Chubby's single "Dancin' Party", along with > Dee Dee Sharp and The Dreamlovers. That would explain the roll call Chubby did at the end of that record: Chubby: Is Dee Dee here? Crowd: YEAH! Chubby: Are The Orlons here? Crowd: YEAH! Chubby: Are The Dreamlovers here? Crowd: YEAH!!! But something has perplexed me for years: the first question that Chubby asks is "Is Wendell Smith here?" to which the crowd responds, "YEAH!" But who exaclty is this Wendell Smith fellow? I used to think that he was an obscure Cameo-Parkway recording artist, but I haven't seen his name in any C-P discography. > This is according to Kal; > he said it was "like one big, happy family". I have noticed that from 1959 to early 1964, Cameo-Parkway's records had an identifiable sound. It's similar to Motown in the mid-to- late '60s. Same musicians, same songwriters, same producers, same singers on a lot of the records. It is both sad and fascinating how all of that came tumbling down in '64 and the label spent its last few years with no identity whatsoever, taking a chance on anything that might give them a hit. S.J. Dibai -------------------[ archived by Spectropop ]-------------------
Message: 14 Date: Fri, 26 Dec 2003 16:42:08 -0500 From: Phil Milstein Subject: Re: Peter Gallway Dave Heasman wrote: > Ah, Peter Gallway. Made 3 good records as "Fifth Avenue Band", > "Ohio Knox" and himself. > Had big teeth. What happened to him I wonder. He's still recording, and, as the saying goes, is "big in Japan." Gallway plays a tangential role in my article on "Emily's Illness," which'll launch on S'pop in '04. The article will include a photo of The Strangers, although I'm not sure it quite reveals the dimensions of Gallway's choppers. --Phil M. -------------------[ archived by Spectropop ]-------------------
Message: 15 Date: Fri, 26 Dec 2003 15:17:41 EST From: Austin Roberts Subject: Johnny Cymbal,Mr. Bassman question my computer ate I apologise to whoever was asking about whether Johnny Cymbal was as bright and happy as he seemed in Mr. Bassman. Johnny, though a very gifted and complex man, was also the funniest human being I've ever met. In the eulogy I delivered at his funeral in the early 90s, I likened him to a gunfighter that couldn't be beaten, with Johnny's gun being his quick wit. He was truly the best friend I've ever had in the music business. Best, Austin Roberts -------------------[ archived by Spectropop ]-------------------
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