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Spectropop - Digest Number 1207

               SPECTROPOP - Spectacular! Retro! Pop!

There are 25 messages in this issue.

Topics in this digest:

      1. "The White Whale Story"
           From: Michael Edwards 
      2. 2 Austin Roberts groups (Arkade/River Deep)
           From: Jeff Lemlich 
      3. Re: Good Vibrations/Pet Sounds
           From: Steve Harvey 
      4. Felice Taylor
           From: Jakeeo 
      5. Re: jailbait rock
           From: Glenn 
      6. Re: The Band
           From: Stephane Rebeschini 
      7. Re:  Hangmen
           From: Jeff Lemlich 
      8. Re: Jimmie Cross / Let's Live For Today
           From: Clark Besch 
      9. Ricky Nelson-Summertime - Let's Live For Today - We Ain't Got Nothing Yet
           From: Albabe Gordon 
     10. Re: Tony Velona
           From: Stephane Rebeschini 
     11. Re: (Why) Brackets?
           From: Glenn 
     12. Re: Hamilton, Joe Frank, & Reynolds
           From: Glenn 
     13. Brian Wilson influence
           From: Wayne Short 
     14. Re:  Merry Go Round Stereo 45 / The Band
           From: Tom Taber 
     15. Re: Left Banke/Cherry People's "And Suddenly"
           From: Mike McKay 
     16. Please Phil Spector
           From: S'pop Projects 
     17. Brain Wilson/BBs homages
           From: David Mirich 
     18. Re: Brian Wilson influenc
           From: Peter Kearns 
     19. Re: Stereo 45s
           From: Mike McKay 
     20. A Forgotten "Jailbait" Song
           From: Larry Lapka 
     21. Re: Stereo 45s
           From: Tom Waters 
     22. Re: Elvis's and Terry Stafford's "Suspicion"
           From: Mike McKay 
     23. Re: Stereo 45s
           From: Jerry Lintelf 
     24. Re: (Why) Brackets?
           From: Phil Milstein 
     25. Left Banke 45 on Camerica
           From: Jules Normington 

Message: 1 Date: Wed, 31 Dec 2003 00:03:56 -0000 From: Michael Edwards Subject: "The White Whale Story" I recently received the Rev-ola (UK) CD, "Phantom Jukebox Vol. 1 – The White Whale Story" and after playing it a few times, I recommend it to members of this group. It doesn't include anything by the Turtles and it doesn't duplicate any of the tracks on the Varese CD, "Happy Together – The Very Best Of White Whale Records". In fact it complements some of the titles on that set by offering some of their b-sides. Liz Damon's "You're Falling In Love" and the Committee's "If It Weren't For You" being fine examples of this. The Liz Damon track is the best on the CD being a superb Pet Clark/Tony Hatch knock-off. Another surprise is the inclusion of "We've Only Just Begun" by Holiday Inn lounge singer, Freddie Allen – apparently the original version of the hit song by the Carpenters. Not every track is a gem but there are enough of them to justify the $13.98 asking price at There is a BT Puppy Rarities CD from the same company which should now be available in the US. Mike -------------------[ archived by Spectropop ]-------------------
Message: 2 Date: Wed, 31 Dec 2003 06:08:41 -0000 From: Jeff Lemlich Subject: 2 Austin Roberts groups (Arkade/River Deep) Clark Besch > I am very happy to have Austin Robert's Arkade hit "Morning > of Our Lives" on a stereo/mono DJ 45, as the store copy was > mono and it is not on CD yet in stereo - AND the stereo is > well mixed!! Gotta be one of the few Hot 100 hits that is > in stereo on vinyl, that is still unavailable in stereo on > legit CD. Clark, I know you mentioned this song being used in a Bridal Fair ad in your area. It was also used in the same manner by WFUN in Miami: "it's the morning of our lives, and it starts with Bridal Fair"! Probably my favorite Austin Roberts record is "Shelly Tell Me Why" by River Deep, which reminds me a lot of "Time Of The Season" by the Zombies. Austin, any memories of recording that one? Jeff Lemlich -------------------[ archived by Spectropop ]-------------------
Message: 3 Date: Tue, 30 Dec 2003 21:06:45 -0800 (PST) From: Steve Harvey Subject: Re: Good Vibrations/Pet Sounds I doubt that "Good Vibrations" was ever supposed to be on "Pet Sounds" since they put "Sloop John B" on and that fit even less than "Good Vibrations" did in the scheme of things. Still, they wanted a hit single to entice buyers (lotta good it did!). Something like "Good Vibrations" would have even been more enticing to tack onto Pet Sounds, but I suspect it wasn't totally finished when Pet Sounds came out. -------------------[ archived by Spectropop ]-------------------
Message: 4 Date: Wed, 31 Dec 2003 00:26:10 EST From: Jakeeo Subject: Felice Taylor Hello, does anyone know whatever happened to Felice Taylor? Is she still singing. I heard that she may have had some past emotional problems, but is she still with us?  I am an "Entertainment Specialist" and would like to write a story about her, but know one seems to know where she is these days. If anyone has information about her at all, please reply to this message. Thanks, P.S.  There may also be record royalties stored up for her if she can be found. -------------------[ archived by Spectropop ]-------------------
Message: 5 Date: Wed, 31 Dec 2003 07:01:19 -0000 From: Glenn Subject: Re: jailbait rock Phil Milstein wrote: >I'd like to point out that society does (or at least should) > make a clear distinction between sex between near-age partners, > and sex between an adult and a minor. Donny Osmond's "Sweet And > Innocent," for example, doesn't really belong on a "jailbait" list A matter of happenstance, Phil, in that the artist who recorded it was 13 years old at the time (which also brings up the disturbing, yet silly, question: just how young WAS this girl that was after him?) But I included it because the song itself fits the classic lyrical themes of songs about conflicted men who are "of age" being involved with girls who are not "of age", right down to the lyric "I'd like to kiss you and hold you tight/So go on home girl or I just might", clearly depicting a temptation to cross some kind of forbidden line, and reminiscent of "Get out of here/Before I have the time/To change my mind/'Cause I'm afraid we'll go too far". So the fact that the artist that recorded it happened to be 13, which actually makes the lyric fairly absurd coming out of his mouth, does not disqualify this song from being about what it was clearly about, which of course would have been much clearer (and less ridiculous) had it been recorded by someone older. So with a suspension of disbelief, which is necessary in any case when you hear a 13 year old telling any girl that she is too "Sweet and Innocent" for HIM (at least back in 1971), the song belongs on the list. BTW, I heard a 42 year old Donny Osmond sing the song at a concert several years ago - does that change anything? :) But I do agree with you that distinctions should be made between near-age partners and adults with minors, even tho they can be pretty much the same thing - say, someone who is 17 years, 11 months, 30 days, 23 hours and 55 minutes old with someone who is 18. >(Also, the defense that "she lied about her age" is hardly a valid > one; as they say, "Tell it to the judge." Or, put another way, > "When in doubt, leave it out.") LOL. Well, that's true, but I simply stated that the "Young Girl" narrator is beyond MORAL reproach because the girl lied about her age - I didn't say he was beyond legal action. And fear of the latter is exactly why he is telling her to get out of his mind, and his life. Glenn -------------------[ archived by Spectropop ]-------------------
Message: 6 Date: Wed, 31 Dec 2003 14:03:42 +0100 From: Stephane Rebeschini Subject: Re: The Band Art Longmire a écrit: > Another sort of puzzling 45 I have is one by the Band on Capitol > Records. It's their first single, "I Shall Be Released", but instead > of the artist name being given as The Band, the name on the record > is "Music From Big Pink". It makes me wonder if the group (or the > record company) might have released some early copies of their first > single under this name. Hi - The first single of "The Band" was released by "Robertson/Danko/Manuel/Hudson/Helm", this was before "The Band" became the group's name. "Music From Big Pink" was the name of their first LP. You can find everything you need to know (and much more!) about the Band there: Stephane Rebeschini -------------------[ archived by Spectropop ]-------------------
Message: 7 Date: Wed, 31 Dec 2003 06:13:46 -0000 From: Jeff Lemlich Subject: Re: Hangmen Phil Milstein: > Were The Hangmen the same as The Hangmen Of Fairfield County, of > "Stacey" fame? I'd thought the Fairfield Co. mention in their name > referred to Virginia, but, with parts of VA being so close to DC, > perhaps there is a connection between the two. There was no connection between the groups. The Fairfield County group came from Fairfield, Connecticut, and oh what a record they made! I did "Stacey" in my short-lived garage-punk band The Hivebizzers, but changed the lyrics to reflect some of the newer drugs those crazy kids were consuming. I still can't believe I found that record at a Hialeah thrift shop! Jeff Lemlich -------------------[ archived by Spectropop ]-------------------
Message: 8 Date: Wed, 31 Dec 2003 06:11:51 -0000 From: Clark Besch Subject: Re: Jimmie Cross / Let's Live For Today Phil Milstein wrote: > Ricky Nelson's 1962 version of "Summertime," which opens > with the signature "Let's Live For Today" lick. I'm guessing > it was played there by James Burton. Phil, I think you are confused on the Rick Nelson track. His "Summertime" starts with the exact licks of the Blues Magoos' "Nothin' Yet". As for Jimmie Cross, it is a great record that (again) Spectropopper Doug Richard turned me on to when doing our radio show in the 80's. As usual, kudos to Doug....:) Take care, Clark -------------------[ archived by Spectropop ]-------------------
Message: 9 Date: Tue, 30 Dec 2003 17:29:27 -0800 From: Albabe Gordon Subject: Ricky Nelson-Summertime - Let's Live For Today - We Ain't Got Nothing Yet Phil Milstein sayeth: > Ricky Nelson's 1962 version of "Summertime," which opens > with the signature "Let's Live For Today" lick. I'm guessing > it was played there by James Burton." Hey Phil. Actually it's more like The Blues Magoos, "We Ain't Got Nothing Yet." ... and according to the liner notes, the riff is credited as being played on a fender bass by Joe Osborn... but James Burton was on the track as well... I wonder who came up with the great lick? The Rick(y) fan formally known as, ~albabe -------------------[ archived by Spectropop ]-------------------
Message: 10 Date: Wed, 31 Dec 2003 14:16:09 +0100 From: Stephane Rebeschini Subject: Re: Tony Velona Jules Normington a écrit: > Hi there Phil...we have Tony Velona to thank for those > observations...Sidney Ramin wrote the music, and I can't > find a single other song written by the two of them...would > love to know if there were any more ...folks? > Tony also wrote "Lollipops And Roses" (Paul Petersen/Jack > Jones would be best known versions), and, although there's > not a lot of them, again the lyrics are eloquent and heartfelt. > > He apparently added "some catchy musical production numbers" > to the 1968 kids movie "The Clown And The Kids", but apart > from the two above-mentioned songs I know of bugger-all else > by him. Would love some leads ...anyone? Velona also - wrote the lyrics for the only LP of the Inner Dialogue (Ranwood R.8050, 1969), a soft pop trio with female vocals. - worked on the music of the Night Gallery TV serie (1970, Rod Serling's follow-up to The Twilight Zone) Stephane Rebeschini -------------------[ archived by Spectropop ]-------------------
Message: 11 Date: Wed, 31 Dec 2003 08:54:42 -0000 From: Glenn Subject: Re: (Why) Brackets? Paul Bryant wrote: > You all remember these: > (There's) Always Something There To Remind Me > (The Best Part Of) Breaking Up > Remember (Walkin' in the Sand) > Dawn (Go Away) > > So the question is... why was there this rash of silly > brackets in song titles in the 60s? Who started it (anyway)? Who started it I can't answer. As for WHY, there are several specific reasons, but most of them boil down to one thing: consumer recognition. The goal of singles is to sell, so the chances are that your average consumer walking into a record store having heard a song they liked on the radio, and probably not having a clue who the artist is (most people who buy records aren't as enlightened as us), would be asking for "that song called 'Don't You Worry 'Bout Me'", and not for something called "Opus 17". Heck, even us enlightened folks probably wouldn't have been asking for something called "Opus 17"! But the song was titled that at the insistence of its writers, Sandy Linzer and Denny Randell, who decided after some major hits to be eccentric, and was subtitled (Don't You Worry 'Bout Me) at the insistence of the record company, which decided they wanted to both hold on to the loyalty of these writers and to sell records. Thus we got "Opus 17 (Don't You Worry 'Bout Me)". Fact is, songwriters have a right to call their songs whatever they want, and copyright them that way. And get PAID for them that way. So, in most cases, record companies DO NOT have the right to change a song title, without specific permission from the songwriter and/or publisher, but they have a right to append parenthetical phrases to them, or even to put the real title in brackets and substitute a more easily-recognized title. More people would have probably asked for "It's In His Kiss" than the fanciful real title of "The Shoop Shoop Song". Sometimes record companies even tack on bracketed parts of titles mid-release, when they are told by radio and record stores that people are asking for a song by a certain name or part of the title. Thus the Spinners' "Games People Play" became the oddly- named "They Just Can't Stop It the (Games People Play)". Odd as it is, you will notice that the original title always stays intact and unchanged, even if it is in brackets. Sometimes, shorter titles are simply more commercial, fit on record labels and album covers better, and are easier to refer to. While there isn't one person in this group who wouldn't know what song I'm talking about if I mentioned "Satisfaction" by the Rolling Stones, the full title of the song is "(I Can't Get No) Satisfaction". In many cases, the songwriters themselves include the parentheses in the title, being savvy enough to recognize the commerciality of shorter titles as well as the tendency of most people to quote whole lines when asking for titles. Thus Tony Macaulay's "I Didn't Get To Sleep At All" is rarely referred to as anything but "Last Night I Didn't Get To Sleep At All' when people talk about it or request it, and he anticipated this when he wrote it, titling it "(Last Night) I Didn't Get To Sleep At All". In much the same way he titled "Love Grows" "Love Grows (Where My Rosemary Goes)" because of the same reasons. Face it, both now and back then, if you just said the title "Love Grows" to your average person, they wouldn't have a clue what song you were talking about. As soon as you add the "where my Rosemary goes" part of the line, you have a connection, you have instant recognition. And usually a big smile. One interesting story was the conflict between Eric Carmen, when he was in Raspberries, with the group's label, Capitol. Eric had written a song called "Hit Record", and while Capitol wanted to release it as a single, they were afraid a song with that title might be a little presumptuous and arrogant, and might work against the single becoming successful. Carmen disagreed. This was a fairly big fight, but they finally settled on the compromise "Overnight Sensation (Hit Record)". And the song became a Top 20 hit (record) for Raspberries and Capitol. Anyway, parenthetical titles is one of my favorite topics, and I could go on and on. But I'm sure some of the professional songwriters in this group could add more insight and interesting stories to what I have to say. Glenn -------------------[ archived by Spectropop ]-------------------
Message: 12 Date: Wed, 31 Dec 2003 09:01:56 -0000 From: Glenn Subject: Re: Hamilton, Joe Frank, & Reynolds Nick Archer wrote: > I purchased a copy of "Annabella" by HJF&R the other day on > the iTunes music store for 99 cents. Almost as much fun as > finding it in a store. Anyone else been browsing the digital > stacks? No, but that is a GREAT song!!! I have it on HJF&R's "Greatest Hits" CD. Which also includes their never-on-an-LP single "Daisy Mae", a bouncy pure-pop delight that just missed the Top 40 at #41. Glenn -------------------[ archived by Spectropop ]-------------------
Message: 13 Date: Wed, 31 Dec 2003 07:42:52 -0000 From: Wayne Short Subject: Brian Wilson influence Pete Kearns has it right. Brian is the template. The songs and arrangements have this uniqueness that make The Beach Boys inimitable. What I find interesting is that there is a plethora of soundalikes out there and to my ears always sound like a poor man's version of The Beach Boys. The harder guys attempt to sound like them the worst they fare. Conversely, there are more artists abroad who cite The Beatles as amajor influence, yet to my ears fare better, not to supercede the template, (with respect to The Rutles!) but its as if The Beatles influence allows broader musical brush-strokes. Again, I think this is because Brian's musical vision was more exclusively his, (with due respect to The Freshmen and Chuck Berry and Spector). IMHO what The Beatles and Brian both achieved in the mid-sixties was to push the edge of the envelope in pop. The move was masterly and resides as the exemplar,the paradigm to this very day. Those contemporary artists licking the edge of the Wilsonian envelope; The High Llamas, XTC, Apples In Stereo, Ladybug Transistor, Silver Sun, Peter Lacey, The Pearl Fishers, Louis Phillipe and others, all deserve credit in their various projects that transcend the soundalike tag, BUT there's only one Brian Wilson. Wayne Short :) -------------------[ archived by Spectropop ]-------------------
Message: 14 Date: Wed, 31 Dec 2003 06:03:07 -0800 (PST) From: Tom Taber Subject: Re: Merry Go Round Stereo 45 / The Band Art Longmire wrote: > Another sort of puzzling 45 I have is one by the Band on > Capitol Records. It's their first single, "I Shall Be Released", > but instead of the artist name being given as The Band, the > name on the record is "Music From Big Pink". It makes me wonder > if the group (or the record company) might have released some > early copies of their first single under this name. I've been meaning to ask for ages about The Band 45 I have, regular commercial copy, which doesn't credit "The Band", but rather lists it as being by all the members, by first and last names. I believe it is also "I Shall Be Released". Tom Taber -------------------[ archived by Spectropop ]-------------------
Message: 15 Date: Wed, 31 Dec 2003 08:53:25 EST From: Mike McKay Subject: Re: Left Banke/Cherry People's "And Suddenly" previously: > I know the Left Banke's "And Suddenly" was a 45 by them > but not sure if it battled the Cherry People or if it > was even the A side. For the Left Banke, "Ivy, Ivy" was the A-side, while "And Suddenly" was the B-side. And of course, these two songs were both the work of Michael Brown and lyricist Tom Feher, the latter of whom is the lead vocalist. No other Left Banke members are present on these tracks. I was surprised at how well Cherry People's version actually did. If I'm remembering correctly from having looked it up last night, it made it to #45. Don't ever recall hearing it on the radio (though I do remember hearing "Ivy, Ivy"...exactly once!). -------------------[ archived by Spectropop ]-------------------
Message: 16 Date: Wed, 31 Dec 2003 13:48:35 -0000 From: S'pop Projects Subject: Please Phil Spector New @ S'pop PLEASE PHIL SPECTOR: HIS SUBJECTS PAY HOMAGE David A. Young brings new meaning to the term "Spector Collector" with a feature article now showing in the New @ S'pop section. Begin here: Or view the pages individually: Part 1: HONORABLE MENTION Songs about or including lyrical references to Phil Spector Part 2: QUOTE UNQUOTE Songs that include lyrics originally found in Spector records Part 3: IT SAYS HERE . . . The category for printed allusions to Spector Part 4: FREE SAMPLES Recordings that include actual segments of Spector discs Part 5: YOU GET THE PICTURE? Records packaged to look like Spector releases Part 6: THE SINCEREST FORM OF FLATTERY Releases that are in their very essence intended as tributes Part 7: WHAT WAS THE QUESTION? Answer records and parodies Part 8: WHAT'S GOOD FOR THE GANDER Recorded homages to Ronnie Spector, rather than Phil Enjoy! The S'pop Team -------------------[ archived by Spectropop ]-------------------
Message: 17 Date: Wed, 31 Dec 2003 06:19:29 -0700 From: David Mirich Subject: Brain Wilson/BBs homages > In the 60s/70s resurgence of recent years, the 'influence' of the > Wilsons has indeed been somewhat obscure. But it's definitely there. > But indeed, I think Dave is quite right in suggesting there's been no > influence in as much as 'following on' and continuing to develop from > what the Brian Wilson did. So I guess the below might fall into the > category of homage. These examples to my ears are the most notable > and definitely worth a listen. All british too. Of course I'm sure I > haven't heard them all and would welcome any other suggestions. > Pale And Precious - Dukes Of Stratosphear (Actually an XTC pseudonym) > From Psonic Psunspot (1987) > Chalkhills And Children - XTC > From Oranges And Lemons (1989) > Service - Silver Sun > From Silver Sun (1997) I LOVE Pale and Precious by the Dukes of Stratosphere (XTC). Other great homages include: Beach Boys Blood (in my veins) by Dave Edmunds (a wonderous song) Beach Baby by First Class (crank this loud and have a fresh listen) The first side of the Toons LP So Far The Ghost at Number One by Jellyfish Brian Wilson Said by Tears for Fears Much of David Cassidy's best stuff (which is quite good) Here There and Everywhere by the Beatles Back in the USSR by the Beatles (Also, what song did George say on Anthology that they were trying to sound like the BBs?) I Wanna be Sedated by the Ramones (Joey said they were trying to sound like the BBs) There are plenty more, not to mention the beautiful harmonies of the Critters, Flower Pot Men, Yellow Balloon, Sunrays and ? Dave Mirich -------------------[ archived by Spectropop ]-------------------
Message: 18 Date: Wed, 31 Dec 2003 15:15:30 -0000 From: Peter Kearns Subject: Re: Brian Wilson influenc Stuart Miller wrote: > Steveo said: > My judgement would be, does that sound like a BB's record? > Very few records indeed have ever made that impact on me > and my own interpretation of that would simply be that the > BB's sound was very hard to copy. That is interesting. What does a BB's record sound like? I'm sure there are still purists that might argue that 'Heroes And Villians' doesn't sound like a BB's record. My nose would be highly put out of joint by that suggestion. Or some might say the 'Wild Honey' album is questionable as the real BB's sound. I would incline (scuse the nose pun) more towards that. But then, I'm a Smile convert through and through. All rise please! It's Jan 1 already where I live. Happy new year spectropoppers all! Peter. -------------------[ archived by Spectropop ]-------------------
Message: 19 Date: Wed, 31 Dec 2003 09:43:53 EST From: Mike McKay Subject: Re: Stereo 45s Clark wrote: > Then, stereo stations got either stereo/mono or stereo/stereo > 45s and mono stations got mono/mono copies! This happened > with Columbia Records especially.  Then, there was the > "compatible mono/stereo" labelling.  Often these were actually > just plain mono!  Then on LP, you had the reverse of this phenomenon -- at least with The Left Banke and some other Mercury/Smash acts. I have a copy of the "Walk Away Renée/Pretty Ballerina" album that says mono on the label and the jacket but that in fact plays stereo. I'm not sure if this album was ever actually issued in mono or not, and it's my understanding that this was the case with several other releases at this time when "playable on mono phonographs" stereo LPs first came out. I also believe I have some examples of unscrupulous smaller labels releasing mono albums with a big sticker saying "This record is playable on STEREO phonographs". Of course, this was always the case with mono records! It was when you went the other way and tried to play a stereo record with a mono cartridge that you came to grief (until the compatible process was developed). -------------------[ archived by Spectropop ]-------------------
Message: 20 Date: Wed, 31 Dec 2003 14:57:55 -0000 From: Larry Lapka Subject: A Forgotten "Jailbait" Song Who can forget (or for some, who wants to remember) the Raiders' own contribution to the "Jailbait" song spectrum: Just Seventeen, which if I remember correctly, talks about involvement with an underage groupie and concludes with the sound of a jail door slamming shut. This single actually made the Hot 100, if I am not mistaken, and can be found on their Collage album, when they were trying to change their direction from a teenybop band to something with more substance. Larry Lapka -------------------[ archived by Spectropop ]-------------------
Message: 21 Date: Wed, 31 Dec 2003 09:22:14 -0000 From: Tom Waters Subject: Re: Stereo 45s A question was asked about the first stereo 45. I believe the first two 45s in stereo were "There Goes My Heart" by Joni James and "Born Too Late" by the Poni-Tails. Both released in 1958 and fantastic recordings I might add. Tom -------------------[ archived by Spectropop ]-------------------
Message: 22 Date: Wed, 31 Dec 2003 09:30:52 EST From: Mike McKay Subject: Re: Elvis's and Terry Stafford's "Suspicion" Steve Harvey wrote: > Terry Stafford's big hit "Suspicion" replicates the > styles of the original. > Stafford's version must have some extra that Elvis' > version didn't since the King flopped on that one. > I'm pretty certain that Elvis's "Suspicion" was the B-side of "Kiss Me Quick" and therefore wasn't being touted as a hit single. I also seem to remember looking into this a while back and learning that the song was already a couple of years old before it was put on the single (it had been an album track prior to that). Mike -------------------[ archived by Spectropop ]-------------------
Message: 23 Date: Wed, 31 Dec 2003 07:00:34 -0800 (PST) From: Jerry Lintelf Subject: Re: Stereo 45s Polydor in Germany were issuing stereo 45s from the back end of 1958. The first was "Malaguena" by, I think, Kurt Edelhagen. These were pressed by DGG and were available on special import here in the UK. -------------------[ archived by Spectropop ]-------------------
Message: 24 Date: Wed, 31 Dec 2003 11:07:39 +0000 From: Phil Milstein Subject: Re: (Why) Brackets? steveo wrote: > Paul, My guess is because the title phrase was longer than they > wanted it to be, or it helped the public identify the song by > including more of the phrase. Could have been a producers gimmik, > I dunno. It is a very interesting question and I'd like to know > more about it myself, which record started it, what year, etc. I don't know who started it, but I can report that the punkrock postmodernist Richard Hell used to like to have a lot of fun with parentheses in his song titles, messing with the formula in various ways just because it was there. I've always thought that the use of parens were a way of "double-decking" a title; in other words, giving less-than-complete weight to the subtitled part much the way a New York Times headline will often go two or three decks deep, with diminishing weight given to each successive level. --Phil M. -------------------[ archived by Spectropop ]-------------------
Message: 25 Date: Thu, 01 Jan 2004 02:56:47 +1100 From: Jules Normington Subject: Left Banke 45 on Camerica Speaking of Michael Brown as we have been, did anyone here ever get a copy of the solitary 45 from their brief reformation in was on a label called Camerica. The 'A' side was "Queen Of Paradise", and it remains one of the most beautifully melodic songs (along with the Beckies "River Bayou"...and how good is that one!!) that any MB band has's one of those 45s I'd never part with. Just wondering if it's one of those 45s that surfaced much over there in the US...I ordered stock of it for my record shop here (Sydney, Australia) back then, and I remember it taking a while to come through from the one-stop we used in L.A. Well worth the wait and effort though. Anyone else here know that gem? Cheers, Jules -------------------[ archived by Spectropop ]-------------------
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