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Spectropop - Digest Number 1202

               SPECTROPOP - Spectacular! Retro! Pop!

There are 25 messages in this issue.

Topics in this digest:

      1. Re: Manhattans - Kiss And Say Goodbye
           From: Joe Nelson 
      2. Re: The Cherry People / The Hangmen
           From: Mark T 
      3. Re: The Shadows And Surf
           From: David Coyle 
      4. Re: Pet Sounds
           From: Paul Bryant 
      5. Re: Lafayettes
           From: Dave Heasman 
      6. Famous Amos
           From: Steve Harvey 
      7. Re: The Cherry People / The Hangmen
           From: Austin Roberts 
      8. Re: Michael Brown / The Cherry People
           From: Austin Roberts 
      9. Re: Soma and the Gestures
           From: Dan Hughes 
     10. Re: Lafayettes
           From: Austin Roberts 
     11. Re: Re: Jerry Fuller/Soul'd Out
           From: James Holvay 
     12. Re: The Cherry People / The Hangmen
           From: Scott Charbonneau 
     13. '60s Influential Geniuses/Brian Wilson
           From: Dave Mirich 
     14. Re: Jukebox from Hell
           From: Billy G. Spradlin 
     15. Re: Sixties Geniuses
           From: Richard Williams 
     16. Re: Lafayettes
           From: Fred Clemens 
     17. Tim Gilbert
           From: Scott Charbonneau 
     18. Re: "Walk Away Renee"
           From: Peter Lerner 
     19. Ketty Lester
           From: Robert Beason 
     20. Re: Jerry Fuller/Gary Puckett soundalikes
           From: Austin Roberts 
     21. Limelites, Heartbeats, and harmony; mentally "different" artists; Dolphin>Dolton; "uptight"; short takes
           From: Country Paul 
     22. Re: Tootie & the Bouquets
           From: James Botticelli 
     23. Re: Let's Live For Today
           From: David Coyle 
     24. Lyrical gems
           From: Jules Normington 
     25. Re: The Knickerbockers/Jimmy Walker
           From: Austin Roberts 

Message: 1 Date: Sun, 28 Dec 2003 09:01:05 -0500 From: Joe Nelson Subject: Re: Manhattans - Kiss And Say Goodbye Tony Bayliss: > Whilst not exactly overenamoured of the song myself, I do find that > it is far more palatable when one listens to the X-Rated Version. > This has a far longer spoken intro, and alters the meaning of the > song considerably. It starts off with the 'lady' being called 'the > Baddest Bitch' he's ever known, and accuses her of beating him up > for the two years they have been sleeping together .. in fact he has > been at the hospital so much the staff know him very well. Actually, what he claims is he has to break off the affair because his wife has been beating him up! Talk about "I won't see you any more because of my obligations"... Here's the transcript of Blue Lovett's X-rated intro: "This is rated X. You're the baddest bitch I ever had. I don't give a damn who knows it. For two years we've been going to bed together, and now my wife wants to kick my ass. I'm sorry I've got to leave you, but she beats me up so goddamn bad that the people in the hospital are tired of seein' me. I've got to say one thing to you baby before I leave ya. The next young man that you make love to - don't do it to him so good! Bye, bitch!" (I had to meet you here today, etc...)" ...and goes on to finish off the album length version of the song. Joe Nelson -------------------[ archived by Spectropop ]-------------------
Message: 2 Date: Sun, 28 Dec 2003 18:38:40 -0000 From: Mark T Subject: Re: The Cherry People / The Hangmen > A propros of the discussion that spawned this query, I recall > from reading the book that the Cherry People album was one of > those that was completely dominated by its producer. Cherry People > were in fact a very hard-rockin' punk aggregation, probably second > in popularity only to The Hangmen in D.C. But the album's producer > used studio musicians and made them do lightweight pop along the > lines of "And Suddenly." They were quite disgusted with the whole > thing and disavowed it. It never ceases to amaze me the great lengths that groups would go to to try to avoid any possibility of success. I think the Cherry People recordings are excellent and that was actually one of my first pleasant surprise CDs that I had bought without ever hearing any of the music. So they really were angry that they were made to put out a commercial sounding record that had a chance rather than some garagey crap that they wanted to record. The best story I heard in this regard is the one about the Go Gos. Not the RCA sixties band but the 80s girl group. They were also some unlistenable punk band but when they got their record deal they told the producer to do whatever he had to do to make them successful. The results speak for themselves. -------------------[ archived by Spectropop ]-------------------
Message: 3 Date: Sun, 28 Dec 2003 11:19:02 -0800 (PST) From: David Coyle Subject: Re: The Shadows And Surf I have the Shadows boxed set with everything recorded from 1959-66 and I don't think there's a single surf cover on the set, not even "Mr. Moto." On the other hand, the Shadows did occasionally have a bit of influence on US surf acts, even if their records didn't actually get their due over here. There are several Shadows covers on LPs by the Challengers, notably "The Rise And Fall Of Flingel Bunt" and "Man Of Mystery." So I think the Challengers at least might have dug the Shadows. David -------------------[ archived by Spectropop ]-------------------
Message: 4 Date: Sun, 28 Dec 2003 11:31:51 -0800 (PST) From: Paul Bryant Subject: Re: Pet Sounds Steve Harvey wrote: > The new book "Wouldn't It Be Nice" is the second (following > Kingsley's) to deal with "Pet Sounds". It also contains a quote > from Clapton on its influence on him. Something I would have > thought Mr. "God of the Blues" would never acknowledge. How many > LPs have had one, let alone two, books written about them? Not to mention The Pet Sounds Sessions, a 4 CD box set containing: 1) the original mono album 2) the brand new stereo mix 3) the backing tracks of all the songs without vocals 4) the vocals without the backing tracks 5) various excerpts from the instrumental sessions for each song 6) various alternate takes And it's all dazzling, all of it. Any Spectropopper who thought - hmm, they're really milking this Pet-Sounds-Is-God thing, I'll stick to my old LP thanks - should immediately spend some Christmas gift tokens on this amazing box set, the greatest work of rock archaeology ever. pb -------------------[ archived by Spectropop ]-------------------
Message: 5 Date: Sun, 28 Dec 2003 18:40:44 -0000 From: Dave Heasman Subject: Re: Lafayettes Austin Roberts wrote: > Hey Mike, > Do you know anything about a 60's group called the Lafayettes, > who had a small hit with a song called Life's Too Short? A wonderful record, b/w "Nobody But You", released on RCA about 1962, very influential on UK bands, particularly Them. I heard it at the time on French radio, and bought it used when reissued about '77/'78. This time it had a picture sleeve of the 3 Lafayettes. And here's a funny thing: It was featured in the movie "Hairspray" (though it isn't on the soundtrack album) and playing it "live" in the film were 3 guys who were the spitting image of the Lafayettes on the single picture sleeve. Except that "Hairspray" came out much later. Dave H -------------------[ archived by Spectropop ]-------------------
Message: 6 Date: Sun, 28 Dec 2003 10:52:50 -0800 (PST) From: Steve Harvey Subject: Famous Amos Dan Hughes wrote: > Bob, thanks for bringing up Soma (Bobby Vee's first label). > Seems I heard it was named for founder Amos (Garrett) spelled > backwards, Amos Garrett is the session guitarist known for such solos as the one he did on "Midnight At The Oasis". He is also an early disciple of the "The Humbler" tape that was eventually released legitimately due to his enthusiasm. -------------------[ archived by Spectropop ]-------------------
Message: 7 Date: Sun, 28 Dec 2003 16:02:27 EST From: Austin Roberts Subject: Re: The Cherry People / The Hangmen Thanks so much for the info. You folks out there are incredible with the knowledge of little known facts, but things that matter to people like us. I'm lovin' this site! Best thing I've ever seen on music on the internet! Austin -------------------[ archived by Spectropop ]-------------------
Message: 8 Date: Sun, 28 Dec 2003 16:16:59 EST From: Austin Roberts Subject: Re: Michael Brown / The Cherry People Scott wrote: > Geez, the late Bayou ... what a great club down in Georgetown > near the water ... Gone and is now part of an office building > or condo development. Scott, What a great balcony the Bayou had! A bunch of us used to come up 3 or 4 times a year from Newport News just to go to the Bayou because of the incredible feel of the place. It figures that someone would tear it down to "put up a parkin' lot" as Joni would say. Did you know of a band in the DC area called the Party Makers? Austin -------------------[ archived by Spectropop ]-------------------
Message: 9 Date: Sun, 28 Dec 2003 14:07:37 -0600 From: Dan Hughes Subject: Re: Soma and the Gestures Bob wrote: > Soma was Amos spelled backwards but his last > name was not Garrett it was Heilacher. I thought it was Garrett because Soma's twin label was Garrett (Trashmen, Gregory Dee & the Avanties, Underbeats, etc). So who was Garrett? ---Dan -------------------[ archived by Spectropop ]-------------------
Message: 10 Date: Sun, 28 Dec 2003 16:30:17 EST From: Austin Roberts Subject: Re: Lafayettes Mike Dugo wrote: > Sorry, Austin - I don't have any info on The Lafayettes. > If anybody on the list can chime in - please do! Hey Mike, I remember it had a quirky lyric that started with: Well life's too short - And you're too sweet Every day of your life child - You're gonna spend with me (now get this) We gonna up and get married - Before my hair turns gray I need you for my baby - ........and another line I can't remember It was a cool little record. Hey wait a minute, I just found it! They were from Bethesda, Maryland and the record went to number 87 (Billboard) in 1962. Now I remember that that's where and when I heard it. I was 16 and playing in an awful 3 piece pop rock group. We all sucked, but we played in a fire station for donations. (I sure wouldn't have payed us a dime if I was in that firehouse listening). Austin -------------------[ archived by Spectropop ]-------------------
Message: 11 Date: Sun, 28 Dec 2003 15:03:58 -0800 From: James Holvay Subject: Re: Re: Jerry Fuller/Soul'd Out Steveo wrote: > Thanks for the post about Jerry Fuller. I do remember "Lies" > and the Knickerbockers,as I was in Hollywood at that time. > I spoke with the Knicks at Disneyland...Buddy and Jimmy Walker > (he was an amazing drummer). They often played at a night club > not far from Vine St. on the north side of Sunset Blvd. that > was later called "Soul'd Out" (can't remember the original name) Steveo: The name of the club you referenced (Soul'd Out) was originally called The Red Velvet. That was the first club my group (The Mob) played in LA, when Capitol flew us out to record in '66. -------------------[ archived by Spectropop ]-------------------
Message: 12 Date: Mon, 29 Dec 2003 00:10:41 -0000 From: Scott Charbonneau Subject: Re: The Cherry People / The Hangmen JJ wrote: > Agree TOTALLY, regarding the diff between the FAB orig 45 > version of "What a girl..", compared to the LAME LP ditto! > Didn't know it was another line up, i.e. group(!) who recorded > the 45 version... The Hangmen LP, as a whole, is a huge disappointment when set against those 45 versions of "What A Girl Can't Do" and "Faces." Definitely not worth the bucks!! Scott -------------------[ archived by Spectropop ]-------------------
Message: 13 Date: Mon, 29 Dec 2003 06:28:08 -0700 From: Dave Mirich Subject: '60s Influential Geniuses/Brian Wilson Paul Bryant: > If we're talking about "most influential people" then immediately > James Brown and Lou Reed must be added and probably Brian Wilson > removed (can't think of many people who aspired to be like him or > the Beach Boys, with the notable exception of the barking mad High > Llamas). Sean Lennon gushes that there is no better music than Brian Wilson and the Beach Boys and that he listens to it every day. Carpenters, Beatles, Tears for Fears, XTC, Garbage, Barenaked Ladies, Dave Edmunds, David Bowie, Frank Black, Jellyfish, Teenage Fanclub, Ladybug Transistor (excellent!), Apples in stereo (excellent!), REM. It is rare that modern musicians (and older ones too) don't acknowledge Brian Wilson's influence, in interview or tribute. Even Hetfield of Metallica has "Pet Sounds" on his list of 10 all- time favorite LPs (it recently was rated by 350 music experts as the #2 greatest LP of all time by Rolling Stone). Elton John recorded "Caribou" at the BBs Caribou studios and has spoken of the influence on him of LPs such as "Wild Honey." Listen to the many tribue CDs with the like of Sonic Youth who have talked of BW's influence. I was amazed watching the bio "I Just Wasn't Made for These Times" to hear Petty, Crosby and Nash, Ronstadt and others speak of how BW influenced them. Elvis Costello has written about how he revers BW and many of his LPs from late '60s-early '70s. Also amazing is to see how many times the man is mentioned in Mojo, Uncut, Rolling Stone, Pulse, Goldmine, Billboard and other mags -- 35 years after his biggest hits. There are more BW/BB "soundalike" covers and even bands than I could mention here. What always tickles me is when a young punker or rock/hip-hop type mentions in interview how much BW has influenced him/her. It would be hard to imagine the course of music history since the '60s without the talents of Brian Wilson. Even when a musician doesn't try to copy him, there is a debt of gratitude (and awe) acknowledged by so many on their music. I can only imagine the music we have listened to in the time since the '60s would be diminished without Brian's genius and legacy. Dave Mirich -------------------[ archived by Spectropop ]-------------------
Message: 14 Date: Mon, 29 Dec 2003 07:44:29 -0000 From: Billy G. Spradlin Subject: Re: 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. I DJ'ed at a tiny 1000 watt Adult Contemporary radio station in Claremore OK in 1985. The station had been off the air for over a year with no record library (and no microphones - we went over to the local Radio Shack and bought about 4 "Hiball" mics to use on air) and the present owner brought in a good sized 45 and CD library (mostly Motown and Classic Rock) which served the station well. We put together a good sounding station, but being a AM daytimer broadcasting in mono with a weak signal kept us from pulling listeners who preferred the nearby Tulsa FM stations. After about 5 months of making little money (with fellow employees recieving bounced checks) the bank pulled the ownership from him and on Friday cleaned out his office and took back his library of oldies. The Program-Music Director had quit a couple weeks before. A quick call to the man with whom the bank left the station in recievership (a former Mayor and TV dealer) left me with the instructions to play whatever 45s were left in the station - about 20 hits from the current Top 40. The morning jock had a sports talk show and a syndicated countdown show to help him out - no such luck for me. I played those damned 20 records over and over and over for a whole 6 hour shift on saturday and also sunday afternoon! So records like Whitney Houston's "The Greatest Love Of All", The Pet Shop Boys' "West End Girls", Atlantic Starr's "Secret Love", Mr. Mister's "Broken Wings" are on my personal Jukebox from Hell. The later owner decided to can everyone and run a satellite format. Billy -------------------[ archived by Spectropop ]-------------------
Message: 15 Date: Mon, 29 Dec 2003 09:35:06 +0000 From: Richard Williams Subject: Re: Sixties Geniuses Paul Bryant wrote: > ...wonderful though H-D-H were, they were stuck on one > level forever. No equivalent of Strawberry Fields, Blackbird, > Cabinessence or Idiot Wind from them, as far as I have heard. Now, Paul, are you seriously telling me that "Reach Out I'll Be There" isn't fit to be spoken of in the same breath as any of those tracks you cite? Or "Heatwave"? Or "Can I Get A Witness"? And what's this about "one level"? Was Charlie Parker on "one level" because he only played alto saxophone and concentrated on 12-bar blues and 32-bar show tunes within a relatively restricted instrumental format? As a rather older song put it: it ain't what you do, it's the way that you do it. Most of the time, anyway. And speaking of Charlie Parker, I should have added to my list of suggested black geniuses of '60s music the name of Jimi Hendrix, the Parker of his time. Richard Williams -------------------[ archived by Spectropop ]-------------------
Message: 16 Date: Mon, 29 Dec 2003 07:46:30 -0000 From: Fred Clemens Subject: Re: Lafayettes Mike Dugo wrote: > Sorry, Austin - I don't have any info on The Lafayettes. > If anybody on the list can chime in - please do! This link may answer some questions about the group: As you can see, the info is fairly recent. Fred Clemens -------------------[ archived by Spectropop ]-------------------
Message: 17 Date: Mon, 29 Dec 2003 00:14:53 -0000 From: Scott Charbonneau Subject: Tim Gilbert Hi Clark!! Do you think that, at your convenience, you could play the other side of the Tim Gilbert 45, "Early October," to musica? Many Thanks, Scott -------------------[ archived by Spectropop ]-------------------
Message: 18 Date: Sun, 28 Dec 2003 20:39:44 -0000 From: Peter Lerner Subject: Re: "Walk Away Renee" Richard Williams wrote: > "Walk Away Renee" is one of the few great songs, I think, to > exist in three outstandingly and completely different versions > -- by the Left Banke, Four Tops and Rickie Lee Jones. Not just > covers, complete revisions of equal artistic merit. Any more? Well, I would just like to add that Vonda Shepard's cover of "Walk Away Renee" stopped me in my tracks when I heard it played in a store three years or so ago. I hadn't heard the song for 20 years or so. And Vonda's re-creation of Lulu's "To Sir With Love", with Al Green duetting, is nothing short of brilliant. Peter -------------------[ archived by Spectropop ]-------------------
Message: 19 Date: Mon, 29 Dec 2003 02:54:18 +0000 From: Robert Beason Subject: Ketty Lester Mick Patrick: > I've posted one other to musica: "I'll Be Looking Back" by > Ketty Lester, released on Tower 166 in 1965. Take a listen, > it's great Indeed it is, Mick! And thank you so much for playing it to musica! I'd been wondering what the title of that fantastic song was ever since I first saw her perform it on a bootleg Shindig video many years ago. You made my day, mate! Bob Beason -------------------[ archived by Spectropop ]-------------------
Message: 20 Date: Sun, 28 Dec 2003 16:38:09 EST From: Austin Roberts Subject: Re: Jerry Fuller/Gary Puckett soundalikes Mark T wrote: > Apparently when Jerry found something that worked, he stuck > with it. I have records he produced on Columbia by himself, > Jimmy Walker and Jack Bedient and the Chessman that all have > that great Gary Puckett sound to them....... Man do I ever agree with you about Jerry Fuller's formula. I think he also produced and may have written Al Wilson's #1 "Show And Tell," which to me, had a Puckett flavor to it. Austin -------------------[ archived by Spectropop ]-------------------
Message: 21 Date: Mon, 29 Dec 2003 02:46:37 -0500 From: Country Paul Subject: Limelites, Heartbeats, and harmony; mentally "different" artists; Dolphin>Dolton; "uptight"; short takes Jon Adelson: > (I've waited for this moment) ra ta tat And what a moment it was. I mentioned I was off to see the Heartbeats 50th anniversary reunion (much fun if not a perfect recreation) which UGHA sponsored last night (Saturday, 12/27/03), but there was a surprise: Shep's original Limelites, with their current lead singer (sorry I didn't get his name) were in the audience and were persuaded to get onstage for a couple of numbers, including "Daddy's Home" and "Our Anniversary" (Hull, 1960-61). In a word: wow! Not quite as idiosyncratic a voice as the late James Sheppard, but the lead channeled the inflections and phrasing perfectly; of all the artists on the bill, their set was to my ears even better than the original recordings. The Heartbeats singing together for the first time in 44 years was the emotional high point of the night, but the Limelites scored the musical one. (Kudos, too, to the excellent Eternals ["Babalu's Wedding Day," "Rockin' In The Jungle"] with the original lead singer; and Cleveland Still's Dubs ["Could This Be Magic" and many more], with only Mr. Still from the original group, but a credible re-creation. Two very fine contemporary groups, The Sheps and Cornerstone, rounded out the bill.) By the way, even if you don't know The Heartbeats ("A Thousand Miles Away" and many more), who were pioneers of the now-classic doo-wop sound, you know the work of their bass singer after the group split up. Wally Roker did lots of producing and arranging for Scepter/Wand and many other labels; others in this group can cite "chapter and verse" better than I. James Sheppard, by the way, either died of a heart attack, was murdered, was mugged, or drank himself to death in 1970. All the facts but the ultimate one remain sketchy. For doo-wop and early 60s group fans, January's UGHA meeting/concert features The Florida Legends, including Tony Passalacqua of The Fascinators (previously discussed at length in S'pop), Jimmy Gallagher of The Passions ("I Only Want You," Audicon, 1960-61), the lead of the Imaginations ("Hey You," Music Makers, 1961), and the bass from The Five Sharks. Details at Paul Bryant: > 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" To me, picking on Wild Man Fischer isn't quite fair, as he is "delicately balanced" mentally. That said, sometimes the imagery of the mentally "different" is outstanding. Rhyming or not, I think this is pretty cool. Of course, the "song" is open to debate.... Would the Brian Wilson lyrics David Mirich cites (his "Love You" lyrics) also count as mentally precarious? And from another mentally "different" person, Skip Spence, a great song title from the "Oar" album/CD: "Lawrence of Euphoria." Also from the same album (I forget which song) comes these delicious but totally un-PC lines, even for the times: "I will stay by your side by the day, You'll stay underneath me at night." By the way, as I've probably mentioned in this group before: for all its sloppy imperfection, stream-of-consciousness-type lyrics, and drugged-out nervous-breakdown terror and humor, I love this insane album. "Oar" was among Columbia's worst-selling LP's upon release but has become a well-deserved cult classic, in my opinion. (Thinking about it makes me want to go find it and play it again; those unfamiliar with it can find an expanded reissue on Sundazed.) Re: Dolphin/Dolton: Here's the word from "Both Sides Now"'s Dolton page, , by David Edwards and Mike Callahan: "Dolton records started life in 1959 as Dolphin Records, a small Seattle-based company. Their first label contained fish symbols that were consistent with the Dolphin name. However, they soon apparently ran into a problem with another label which had the name first, hence the quick change to "Dolton," which didn't involve too much change on the label art, although the fish logo stayed around for some time afterwards. This duplication of names would probably not have been discovered for some time had not their very first single release, "Come Softly to Me" by the Fleetwoods, been a huge international hit. Because of the name change, and the ultimate need for better distribution, the first single was issued as Dolphin 1, then Dolton 1, then as Liberty 55188. Their first 45 was also issued as a stereo single in 1959, although the stereo version contained bongo overdubs." Paul Bryant: > ..."Uptight, everything is all right" sings Stevie > [Wonder] - but "uptight" doesn't mean "all right" > does it? It's ancient 60s slang meaning the very > opposite to all right! Stevie and another artist, Judy Clay ("I'm Uptight," Lavette, early '60s) both use it as a positive term. (In Judy's ballad, she's uptight with her guy and feelin' good.) The term obviously reversed its meaning shortly thereafter. Notes from The Catch-up Files: David Coyle, thanks for the info on Joe Brown and the Bruvvers. I think I actually saw them on a Dick Clark show doing "Teardrops In The Rain," and I love that 45, which was on Jamie in the US. What was his career post-British Invasion era? Don "Reubin" (Koppelman-Rubin) was really "Rubin," at least according to their many label credits. (Can't vouch for the birth certificate, though.) Art Longmire: > the Left Banke's original [of "Walk Away Renee" is > definitive, in my opinion. My two cents: agreed, and the follow-up, "Pretty Ballerina," is even more fey, more intricate a composition and more beautiful. Please forgive that I never "got" either the Four Tops or the Orpheus versions. Nick Archer: > Left to right, it's my friend Skip Woolwine, Tupper > Saussy, and John "Buck" Wilkins.... ...who looks scarily old! How old IS he now, Nick? Finally, a mea culpa, mentioned in service of keeping S'pop factual: I credited the Larks' "The Jerk" to being on Cash, when it was really (as Chris Lalor noted) on Money. I sit corrected. (Hard to type while standing!) Too many good posts, not enough time.... Country Paul -------------------[ archived by Spectropop ]-------------------
Message: 22 Date: Mon, 29 Dec 2003 08:38:35 EST From: James Botticelli Subject: Re: Tootie & the Bouquets Mick Patrick and Phil Chapman: Thanks for posting, and for Phil's alternate take. As soon as I heard Tootie's release, I thought of Little Eva; "Tootie's" voice employs that same vocal quirk as Eva's - "chewing" certain syllables and vowels - that make the voices identical to me. It's all too bad that girl-group producers in the early 60s didn't keep logs as detailed as Carol Connors'... think of all we'll never know! --Jimmy-- -------------------[ archived by Spectropop ]-------------------
Message: 23 Date: Sun, 28 Dec 2003 11:36:46 -0800 (PST) From: David Coyle Subject: Re: Let's Live For Today There are two songs on the CD "Jump!" by the UK freakbeat/mod band The Riot Squad that sound like blueprints to the Rokes original version of "Let's Live For Today" as well. David -------------------[ archived by Spectropop ]-------------------
Message: 24 Date: Mon, 29 Dec 2003 12:03:29 +1100 From: Jules Normington Subject: Lyrical gems I always figured one of the great ones was in Hal (& Burt's) "Magic Moments" sung so magically by Perry Como, natch, where he intones: "The way that we cheered whenever our team was scoring a touchdown The time that the floor fell out of my car when I put the clutch down" ...and how can you go past "Music To Watch Girls By" for lyrics so evocative, so damn clever, and so damn simple (just how good is that first line)..the scene is set so just wanna be there.... piazza in sitting 'n' leaning on scooters... "The boys watch the girls while the girls watch the boys who watch the girls go by Eye to eye, they solemnly convene to make the scene Which is the name of the game, watch a guy watch a dame on any street in town Up and down and over and across, romance is boss Guys talk "girl talk", it happens everywhere Eyes watch girls walk with tender lovin' care It's keepin' track of the pack watching them watching back That makes the world go 'round "What's that sound?" each time you hear a loud collective sigh They're making music to watch girls by" does it for me anyway...truly quality stuff. And, not that we were discussing songwords of great romantic beauty, but are there any more romantic lyrics than those of Vic Damone's "On The Street Where You Live"...??!! -------------------[ archived by Spectropop ]-------------------
Message: 25 Date: Sun, 28 Dec 2003 15:26:42 EST From: Austin Roberts Subject: Re: The Knickerbockers/Jimmy Walker Steveo wrote: > Thanks for the post about Jerry Fuller. I do remember "Lies" > and the Knickerbockers, as I was in Hollywood at that time. > I spoke with the Knicks at Disneyland....Buddy and Jimmy Walker > (he was an amazing drummer). They often played at a night club > not far from Vine St. on the north side of Sunset Blvd. that > was later called "Soul'd Out" (can't remember the original name) Steveo, When Jimmy Walker went with Bobby Hatfield (I think he took Bill Medley's place), a friend of mine named Eric (brain fart; can't remember his last name) took his place. He was a solid drummer. I remember the club you're talking about. Where did you live in LA? Austin -------------------[ archived by Spectropop ]-------------------
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