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Spectropop - Digest Number 1208



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

Topics in this digest:

      1. Re: Music To Watch Girls By / Tony Velona
           From: James Botticelli 
      2. Re: Ron Dante
           From: Laura 
      3. Re: Brian Wilson influence
           From: Phil Milstein 
      4. Re: First Beatles / 60s resurgence
           From: Mike McKay 
      5. Re: The Cherry People / The Hangmen
           From: Rat Pfink 
      6. Herb Bernstein
           From: Ed B 
      7. Re: Stalker rock
           From: Phil Milstein 
      8. Re: (Why) Brackets?
           From: Ayn Rand 4fr 
      9. Re: Stereo 45s
           From: Billy G. Spradlin 
     10. Re: Jailbait
           From: Eddy 
     11. Re: Merry Go Round Stereo 45 / The Band
           From: Clark Besch 
     12. Re: Good Vibrations/Pet Sounds
           From: Eddy 
     13. Re: Stereo 45s / Brian Wilson
           From: Bill Craig 
     14. Re: Left Banke / Cherry People's "And Suddenly"
           From: Patrick Beckers 
     15. Re: The Mob / "Where You Lead"
           From: Austin Roberts 
     16. Re: Jailbait rock
           From: Matthew 
     17. Re: Good Vibrations
           From: Bob Hanes 
     18. Re: 2 Austin Roberts groups (Arkade / River Deep)
           From: Austin Roberts 
     19. Re:  Hangmen
           From: Phil Milstein 
     20. Re: Audrey Hepburn & Moon River / Mr. Wilson / red-faced  Phil
           From: Phil Milstein 
     21. Re: Left Banke / Cherry People's "And Suddenly"
           From: Leslie Fradkin 
     22. Re: Hangmen / Cherry People
           From: Mike Dugo 
     23. Re; Jailbait Rock
           From: Bob Wallis 
     24. 2004
           From: Bob Rashkow 
     25. Re: Left Banke 45 on Camerica
           From: Leslie Fradkin 


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Message: 1 Date: Wed, 31 Dec 2003 11:16:22 -0500 From: James Botticelli Subject: Re: Music To Watch Girls By / Tony Velona Jules Normington wrote: > 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. Not to mention Herb Alpert's take on the LP "Whipped Cream & Other Delights". He gave it the 'Now Sound' arrangement. -------------------[ archived by Spectropop ]-------------------
Message: 2 Date: Wed, 31 Dec 2003 16:19:12 -0000 From: Laura Subject: Re: Ron Dante Hi all, A big THANK-YOU to the Spectro team for posting my article. I hope everyone enjoys reading it. It includes a wealth of comments by the man himself, Ron Dante, and basically covers Ron's entire career from 1963 to the present. I'd like to wish a happy, healthy and prosperous 2004 to all. Laura -------------------[ archived by Spectropop ]-------------------
Message: 3 Date: Wed, 31 Dec 2003 11:08:53 +0000 From: Phil Milstein Subject: Re: Brian Wilson influence Stuart Miller wrote: > When artists talk about Brian influencing them, do they > not mean, "Wow, I heard this BB record and it really made > a deep impression on me"? It may be that there is something > much more subtle going on here but if there is, it's over my head. Artistic influence need not be blatant to exist. The way I see it, everything an artist has ever seen, done, read, heard, touched or even smelled in his or her lifetime goes into the giant stewpot that is their "heart and soul" (or, less romantically/more accurately, brain), where it all churns around, flavoring, coloring and otherwise affecting all of the other ingredients. To create his or her next work, the artist then draws from this stewpot; although certain of its ingredients may be more dominant in that work than others, because each of the ingredients affected all of the others then all of them -- every last droplet -- can be said to have had some degree of influence. Neither the artist nor the audience is necessarily even aware of it, but that influence exists all the same. --Phil M. -------------------[ archived by Spectropop ]-------------------
Message: 4 Date: Wed, 31 Dec 2003 00:09:14 EST From: Mike McKay Subject: Re: First Beatles / 60s resurgence Mark Frumento wrote: > I guess the earlier the example the more likely it's not > so much a longing for the 60s as much as an out-dated record? > I'm a big fan of this trend none-the-less: > Three of my favorite examples are "Yes It Is" by Rockin' Horse > (Philips UK, 1971), the self titled LP by Sleepy Hollow (Family > Productions US, 1972) and Stackridges' "Friendliness" (MCA UK, > 1972). As a huge power pop fan, I want to thank you for the tip on Rockin' Horse and Stackridge, neither of whom I'm familiar with. > Both Rockin' Horse and Sleepy Hollow are mostly Beatle-like and in > fact both records sound almost exactly like the Beatles in parts. I do, however, own the Sleepy Hollow album and very much enjoy it. What you don't point out is that the lead vocalist makes a very deliberate effort on most tracks to sing exactly like John Lennon, and is quite successful at it. Actually, the album's lead track could have been plopped right in the middle of John's debut solo album "Plastic Ono Band," and no one would have been any the wiser! By the way, many years ago a friend of mine told me that he'd gone to see a soft porn flick at a drive-in. As a fellow Beatle fanatic, he came back raving that a band called Sleepy Hollow had done the soundtrack for it and that it was great. I've always wondered if they simply used songs from their album, or whether Sleepy Hollow recorded additional tracks expressly for the film. And this story has its own parallel in my own experience; I wrote to Buddah Records begging for a copy of the "Hot Parts" soundtrack after seeing the film (am I the only one in history who's actually seen it?!) and being blown away by the Steve Martin/Michael Brown tracks. (They fulfilled my request, by the way.) > What's fascinating to me is that 1971 and 1972 couldn't have been a > good time to sound like the Beatles if you were hoping to sell a lot > of records (they didn't!). It ain't necessarily so: 1. Emitt Rhodes' self-titled solo debut album reached #29 in 1971, and a couple of singles from it flirted with the Top 40. 2. Badfinger had the last of their four major Top 40 hits, all of which were very Beatles-sounding, in 1972. 3. Raspberries had their first two hits, both Top 10, in 1972. 4. Stealers Wheel's very Beatlish "Stuck in the Middle with You" would follow in March of 1973. 5. My hometown heroes Blue Ash (incidentally now reunited and making music together again!) *almost* broke through with "Abracadabra (Have You Seen Her)" and their "No More, No Less" album that year as well. Great melodic rock 'n' roll with hooks took a pretty good beating, but was nonetheless not totally bowed, through that era. -------------------[ archived by Spectropop ]-------------------
Message: 5 Date: Wed, 31 Dec 2003 11:38:55 -0500 From: Rat Pfink Subject: Re: The Cherry People / The Hangmen Mark wrote: > By the way, I LOVE the Cherry People album. Sorry the > Hangmen didn't. I'm sure they liked their album better. > Oops, I'm sorry. No one cared to record an album of what > they wanted to play. The Hangmen's album, "Bitter Sweet", while not as good as their earlier 45s is easily on a par with the Cherry People's LP. RP -------------------[ archived by Spectropop ]-------------------
Message: 6 Date: Wed, 31 Dec 2003 01:35:18 -0000 From: Ed B Subject: Herb Bernstein Hello happy new year. Long time record collector here just found an album by Herb Bernstein "Herb Bernstein's New Crusade" Metromedia MD-1003. I haven't had time to listen to it yet; seems his name is all over mid sixties records and, if my memory serves me right, DYNO-VOICE and Bob Crewe Productions. -------------------[ archived by Spectropop ]-------------------
Message: 7 Date: Wed, 31 Dec 2003 11:06:29 +0000 From: Phil Milstein Subject: Re: Stalker rock Stewart Mason wrote: > ... "One Way Or Another" (just > about the most blatant song about > stalking ever to become a big hit) ... After "Every Breath You Take", of course ... > ... would be greeted > with howls of outrage if a man had sung it. ... yet it somehow wasn't. Go figure. --Phil M. -------------------[ archived by Spectropop ]-------------------
Message: 8 Date: Wed, 31 Dec 2003 02:22:22 -0000 From: Ayn Rand 4fr Subject: Re: (Why) Brackets? Paul Bryant wrote: > So the question is... why was there this rash of silly > brackets in song titles in the 60s? Who started it (anyway)? I think it's just a way of distinguishing the OFFICIAL title of the song from what the listener might guess it to be. Or of adding info so that the record can be located by someone who heard it on the radio. Sales might be lost if the listener did not know what title to ask for at the store. -------------------[ archived by Spectropop ]-------------------
Message: 9 Date: Wed, 31 Dec 2003 10:39:10 -0000 From: Billy G. Spradlin Subject: Re: Stereo 45s I did a little googling out of curiousty and found out that the first Stereo 45 was Danny & The Juniors "Somehow I Just Can't Forget" on ABC-Paramount in 1959. Another web site says Roy Hamilton's "Dont Let Go" on Epic as the first commercially released Stereo 45. I have a Pat Boone 45 on Dot (in a box somewhere) that proudly displays "STEREOPHONIC" at the top. RCA released some very rare Stereo 45s in the late-early 60s (Elvis, Jim Reeves and I think Neil Sedaka also got this treatment). But I agree with Mikey these were all pressed mainly for stereo jukeboxes and didn't sell well with the general public. Hit Records from Nashville had many "Compatible Stereo" 45s in the early-mid 60s. I cant think of any 45s from 1967 that were issued stereo-only! At http://www.oldiesfun.com/oldiesfunfactoids.html someone mentions buying Jimmy Gilmer & The Fireballs "Goin Away" in May 1968. You might be right with the Doors having the first Stereo 45 to hit the Top 40. But I have a original copy of "Hello I Love You" in stereo, and that was the single released before "Touch Me". Billy http://listen.to/jangleradio -------------------[ archived by Spectropop ]-------------------
Message: 10 Date: Wed, 31 Dec 2003 18:00:00 +0100 From: Eddy Subject: Re: Jailbait Simon White: > But what about "Good Morning Little Schoolgirl"? Who did > the original of that? I have Little Richard's version > but assume it's a blues standard...... The original on this is by the first Sonny Boy Williamson (John Lee) from 1937, but definitely inspired by Son Bond's Back and Side Blues from 1934. Eddy -------------------[ archived by Spectropop ]-------------------
Message: 11 Date: Wed, 31 Dec 2003 15:53:24 -0000 From: Clark Besch Subject: Re: Merry Go Round Stereo 45 / The Band Art Longmire wrote: > The discussion on stereo 45's got me to thinking about a > 45 I have by the Merry Go Round on A&M records. It's a > white label promotional copy of "Live" in stereo, and is > the only stereo 45 by the group I've come across. Of course, > this dates from 1967 when stereo 45's were far from common. > In fact this is the ONLY stereo 45 I've found from '67. > Has anyone else seen this Merry Go Round 45? I have several > other of their later promo singles-for instance " 'Til The Day > After"- but none are in stereo. Also the font is different on > this "Live" promo. Art, Glad to hear that SOMEONE has the stereo "Live" 45. I knew about it since Billboard printed a small one paragraph about A&M deciding that they would for the first time release a special mono/stereo 45 of "Live" to FM radio stations. So, it was the first on A&M, and possibly since the early 60's stereo 45 demise! Hold on to that baby! I love Emitt, by the way! I too, have his other MGR dj 45s and none are stereo. > 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. Art, I have that alternate Band name 45 too. In fact, I think I may have "The Weight" that way on DJ. I think Doug Richard once told me that the band didn't have a name at the time, but I can't remember for sure what the deal was. I know he's reading, so fill us in, ok? :) Take care, Clark -------------------[ archived by Spectropop ]-------------------
Message: 12 Date: Wed, 31 Dec 2003 18:06:49 +0100 From: Eddy Subject: Re: Good Vibrations/Pet Sounds Good vibrations was meant for the unreleased Smile album and was actually the first track they started recording for the project. But since that one wasn't happening, it got released as a single and then wound up on Smiley Smile. As far as I know there was never mention of it being intended for Pet Sounds. Eddy -------------------[ archived by Spectropop ]-------------------
Message: 13 Date: Wed, 31 Dec 2003 01:00:23 -0000 From: Bill Craig Subject: Re: Stereo 45s / Brian Wilson Clark, I wrote my last post before reading yours. You did a great job of addressing the issue. Thanks. Bill Craig -------------------[ archived by Spectropop ]-------------------
Message: 14 Date: Wed, 31 Dec 2003 18:16:52 +0100 From: Patrick Beckers Subject: Re: Left Banke / Cherry People's "And Suddenly" > 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. As a Left Banke fan myself, I want to make a slight correction on the facts written above. Ivy, Ivy was indeed the A-side, with And Suddenly as the B-side (both were recorded in February of 1967). But, while Ivy, Ivy was indeed written by Brown/Feher, the B-side was not. This was written by Brown/Bert Sommer. The late Bert Sommer also sang lead on both tracks (and not Tom Feher). And while being on the subject of Michael Brown, has anyone on this list ever heard the 1994 release of Yvonne Vitale's On This Moment? Yvonne Vitale is (was?) Michael Brown's wife and on this album she performs 16 (at the time new) Michael Brown tunes, some of those co- written by Shane Faubert and Carl Vitale. While the lead vocals are not my cup of tea, to say it in a mild way, some of the songs are very fine. Not as good as his work from the Sixties and Seventies, but in 1994, it was good to hear this songwriter could still write some good, catchy stuff! Patrick Beckers -------------------[ archived by Spectropop ]-------------------
Message: 15 Date: Wed, 31 Dec 2003 12:33:19 EST From: Austin Roberts Subject: Re: The Mob / "Where You Lead" James, Such is life for both of us I guess. I liked your version. Best, Austin -------------------[ archived by Spectropop ]-------------------
Message: 16 Date: Wed, 31 Dec 2003 13:08:39 EST From: Matthew Subject: Re: Jailbait rock This is a very subjective topic and you can take a song to mean whatever you think, hell you can read stuff into a song that was never meant to be there. However, below is a list of songs that more rock'n'roll and garage then Spectropop but here you go with a list of possible jailbait songs: Andrea Williams: Jail Bait Chocolate Watchband: Sweet Young Thing Syndicate Of Sound: Hey Little Girl The Yardbirds: Good Morning Little School Girl The Chesterfield Kings: Hey Little Bird Aquavelvets: Thirteen The Original Sins: Just Fourteen The Milkshakes: She's Just Fifteen The Coastwatchers: Teenage Cutie Chuck Berry: Sweet Little Sixteen Elvis Presely: Little Sister The Critters: Younger Girl Stray Cats: Sexy Seventeen The Coasters: Young Blood The Sonics: Dirty Old Man: Don & Dewey/The Premiers: Farmer John Dee Clark: Hey Little Girl Mouse & The Traps: Maid Of Sugar, Maid Of Spice Canned Heat: Sweet Sixteen Neil Young/Music Machine: Cherry Cherry Sam The Sham & The Pharoahs: L'il Red Riding Hood The Devil Dogs: So Young Dave Clark 5: Little Bitty Pretty One Them: Little Girl Alex Chilton: Hey! Little Child The Everly Brothers: Wake Little Susie Ray Charles: This Little Girl Of Mine Professor Longhair & His Blues Scholars: Hey Little Girl Tommy Youngblood: Hey Little Girl Major Lance: Hey Little Girl The Underdogs: Little Girl The King Krooners: Pretty Little Girl Modest "Show Stopper" Clifton: Pretty Little Baby Huey "Piano" Smith: Little Liza Jane And of course...Thank Heaven For Little Girls...ouch Matthew -------------------[ archived by Spectropop ]-------------------
Message: 17 Date: Wed, 31 Dec 2003 10:48:27 -0800 (PST) From: Bob Hanes Subject: Re: Good Vibrations As Susan pointed out "Good, Good, Good Vibrations", as it was originally titled, was begun during the Pet Sounds sessions. In fact the original recordings carry the same master reference number for both Here Today and Pet Sounds. Something Derek Bill and I were confused and confounded over for years, before we found out they were begun with the same rhythm track. Operative word, BEGUN, the similarities are there rhythmically, but that ends quickly, IMHO. The Right Reverend Bob, dumb angel chapel, Church of the Harmonic Overdub -------------------[ archived by Spectropop ]-------------------
Message: 18 Date: Wed, 31 Dec 2003 12:53:55 EST From: Austin Roberts Subject: Re: 2 Austin Roberts groups (Arkade / River Deep) Hey Jeff, I wrote that about a girl I met on a beach and liked her name so much that a year later in 1969 I wrote and sang it out in LA as River Deep. George Tobin And Johnny Cymbal produced. I appreciate your liking it. It brings back some cool memories of LA in the late sixties, early seventies. Best, Austin -------------------[ archived by Spectropop ]-------------------
Message: 19 Date: Wed, 31 Dec 2003 13:32:34 +0000 From: Phil Milstein Subject: Re: Hangmen Jeff Lemlich wrote: > 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! Thanks for the clarification, Jeff. The Lyres also did a great cover of Stacey, found on their megagenius 2nd LP "Lyres, Lyres." --Phil M. -------------------[ archived by Spectropop ]-------------------
Message: 20 Date: Wed, 31 Dec 2003 13:01:22 +0000 From: Phil Milstein Subject: Re: Audrey Hepburn & Moon River / Mr. Wilson / red-faced Phil Watson Macblue wrote: > ... instead, the role went to Audrey Hepburn, who couldn't sing at > all. Hepburn's "singing" was done for her by Marni Nixon - Andrew > Gold's mother, by the way. Granted that Hepburn was no great vocal technician, but her debut take of "Moon River" demonstrates that she could carry a tune just fine, as well as imbue the right one with a subtle dramatic flair. In fact, I've yet to hear so touching a version as her's. But I'll admit that my use of the word "debut" may be stretching its definition a bit. Although Hepburn was apparently the first to tackle this classic Henry Mancini tune, her version of it in "Breakfast At Tiffany's" was dubbed (by the ubiquitous Miss Nixon, I believe) for the original release of the movie, and did not appear until a remastered version was released in the 1990s. (I wonder which is currently in-print. And whether "debut" means "first-ever," or "first released"). On the subject of Brian Wilson-influenced songs, add John Cale's "Mr. Wilson," from his mid-'70s "Slow Dazzle" LP, to the list. Although not a direct BBs copy, it does offer some of the elements of their sound, and a lyric that is a direct tribute to the master. In interviews given around the time it came out, Cale related an anecdote in which Brian, upon settling in to watch Francis Coppolla's "The Conversation," freaked out over its opening line, "Good evening, Mr. Wilson." According to the story, the paranoid Brian then perceived the entire movie as being addressed to him. Albabe Gordon wrote: > 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? Oops -- color me red in the face. Not the first time I've jumbled those two songs, by the way. Perhaps in future posts I should flag those "facts" I've taken the time to double-check, vs. those poured straight from the leaky sieve that is my memory. It's probably no surprise that, at least in the semi-spontaneous domain of this chat board, I'm generally more interested in underlying truths and opinions than I am in perfect objective accuracy, but I understand and respect that others here feel very differently, and I don't wish to mess anyone up with misguided reportage. (For the record, my comments above all fall into the "unchecked" category.) --Phil M. -------------------[ archived by Spectropop ]-------------------
Message: 21 Date: Wed, 31 Dec 2003 11:51:26 -0700 From: Leslie Fradkin Subject: Re: Left Banke / Cherry People's "And Suddenly" Mike wrote: > 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. Your info is in error. Bert Sommer sang those tracks that you mention although Tommy did help write them. That record caused quite a bit of harm to the group because of Mike's actions in that episode. Les Fradkin -------------------[ archived by Spectropop ]-------------------
Message: 22 Date: Wed, 31 Dec 2003 11:34:51 -0600 From: Mike Dugo Subject: Re: Hangmen / Cherry People > By the way, I LOVE the Cherry People album. Sorry the Hangmen > didn't. I'm sure they liked their album better. Oops, I'm > sorry. No one cared to record an album of what they wanted to > play. If this is implying that The Hangmen didn't record an LP...they did. It's titled "Bittersweet" and was released in '66. I'd say it's about equal to the Cherry people LP - in my opinion. Mike Dugo 60sgaragebands.com -------------------[ archived by Spectropop ]-------------------
Message: 23 Date: Wed, 31 Dec 2003 17:37:07 -0000 From: Bob Wallis Subject: Re; Jailbait Rock Boston area group Teddy and the Pandas had a regionally hit song in 1965 (which bubbled under the BB 100) in the Bob Stone penned tune "We Can't Go On This Way". The lyrics went: "Sugar is sweet but you're much sweeter Flowers are pretty but You're even prettier Your love much warmer than a summer's day But you're so young and we can't go on this way" -------------------[ archived by Spectropop ]-------------------
Message: 24 Date: Wed, 31 Dec 2003 20:44:54 EST From: Bob Rashkow Subject: 2004 All the best to everybody at Spectropop, the coolest, hottest, GROOVIEST discussion group online...... for a great 2004. Bobster -------------------[ archived by Spectropop ]-------------------
Message: 25 Date: Wed, 31 Dec 2003 11:52:54 -0700 From: Leslie Fradkin Subject: Re: Left Banke 45 on Camerica Jules: > it'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? I have it as well. I think "And One Day" is more my favorite (The B-side). Les -------------------[ archived by Spectropop ]-------------------
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