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Spectropop - Digest Number 1219



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


Topics in this digest:

      1. Happy Christmas was a race horse
           From: Norman 
      2. Re: bi question
           From: Hugo M. 
      3. Bi and stalker songs
           From: Bob Rashkow 
      4. Re: Send In The Clowns
           From: Rodney Rawlings 
      5. Medicine Man
           From: Bob Rashkow 
      6. Various Responses
           From: Mark 
      7. More catchin' up
           From: Bob Rashkow 
      8. Answer Songs
           From: Phil Hall 
      9. Stereo 45s; influences; Michael Brown
           From: Country Paul 
     10. Re: Styrene vs.plastic 45's (Styrene IS a plastic)
           From: Fred Clemens 
     11. Re: The Rag Dolls
           From: Phil Hall 
     12. Re: Brian and Bach pt.2
           From: Steveo 
     13. Re. William Shatner
           From: platch1 
     14. Ventures, Tornadoes, Tijuana Brass
           From: Mike Edwards 
     15. Re: "Send In The Clowns" as Worst Song?
           From: Gary Spector 
     16. Jerry Lordan
           From: Mike Edwards 
     17. Get Bach Tojo
           From: Steve Harvey 
     18. Melodies Rule
           From: Steve Harvey 
     19. Re: The Mob/"Where You Lead"
           From: Don 
     20. Fraternal Order of The All; auteurs, artists and
producers; Beatles influences; underage lust; more
           From: Country Paul 
     21. Re: The death of the LP
           From: Gary Spector 
     22. Searchers' song title
           From: John Love 
     23. Re. Janie Marden
           From: Ian Chapman 
     24. Re: "Send In The Clowns" & "MacArthur Park"
           From: Ivo van Dijck 
     25. Avanti / Wong Kar Wei
           From: Richard Williams 


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Message: 1 Date: Mon, 05 Jan 2004 07:46:54 +1030 From: Norman Subject: Happy Christmas was a race horse Clark Besch wrote: One of my fave early 45 purchases as a kid was the Peter, Paul & Mary 45 "Stewball". Loved it! Not until a year ago at Christmas did I realize that the intro of "Happy Christmas (War Is Over)" is a dead on copy of "Stewball"!! "The Ballad of John and Yoko" borrows too much from "Little Sister", especially the opening, and "I Saw There Standing There" breaks into Bonaparte's Retreat. Another Beatle song borrows a small bit from "Take Good Care Of My Baby" but I can't remember which one. Regards Norman -------------------[ archived by Spectropop ]-------------------
Message: 2 Date: Sun, 04 Jan 2004 20:57:23 -0000 From: Hugo M. Subject: Re: bi question JD: I don't think "Lola" fits as a bi song, It's not QUITE what you're looking for, but one that popped into my head just now (except that I can't remember the exact title) is a 45 by Joe Tex called something like "Honey, Don't You Freak (I'm Gonna Go Dance With That Sissy)". Somebody else will probably be able to chip in with the correct information... Wish I could find me a copy... Best wishes for 2004, peace in the MidEast -- Hugo M. http://free.hostdpeartment.com/P/PME -------------------[ archived by Spectropop ]-------------------
Message: 3 Date: Sun, 04 Jan 2004 17:14:11 EST From: Bob Rashkow Subject: Bi and stalker songs Just spun the wonderful UK Spark Records comp "The Electric Lemonade Acid Test" for the first time. Lots of Bee Gees influence in the Fruit Machine's "Willow Tree", lots of Hollies influence in "Goodbye Love". Bisexuality song: Possibility is Jefferson Airplane's "Triad", which I think somebody mentioned earlier in the archive. Stalker song: Randy Newman's "own" "Suzanne" from 12 Songs.... with a bit of sadomasochistic imagination, "Night Time" (Strangeloves) and "Foxey Lady" (Jimi Hendrix) can be perceived as stalker songs. Suspect, though, these became more universally accepted in the eighties, as already exemplified by Blondie and records such as Animotion's "Obsession." "The Hunter" as done by Blue Cheer and others, there's another one! Bobster -------------------[ archived by Spectropop ]-------------------
Message: 4 Date: Sun, 04 Jan 2004 21:54:35 -0000 From: Rodney Rawlings Subject: Re: Send In The Clowns "Send in the Clowns" was of course by Stephen Sondheim, who in my view is not a good melodist. And although his lyrics generally are well fashioned, the fact that his entire worldview is alien to mine makes his lack of melody all the more distasteful. -------------------[ archived by Spectropop ]-------------------
Message: 5 Date: Sun, 04 Jan 2004 17:23:53 EST From: Bob Rashkow Subject: Medicine Man So that's Austin Roberts singing the lead on "Medicine Man (Parts I and II)? How I LOVE that record. I picked up a near-mint copy of it in 1993 on the Event label at House of Records in Santa Monica, CA. Was I excited. Junior high comes back to haunt me again. That should have been a No. 1! Austin--is the lyric "Come across"? (I always used to think you were singing "Tomahawk.....cha sha cha sha....Tomahawk... etc.!!!) Bobster -------------------[ archived by Spectropop ]-------------------
Message: 6 Date: Sun, 04 Jan 2004 22:31:16 GMT From: Mark Subject: Various Responses Hey Guys! Apologies for the length of this post... Rex Strother--you mentioned the line in "She Believes in Me" as a bad line ('I try to get undressed without the light')... I can't help but think how much better the song would be had they inserted a Spike Jones-type sound effect afterward. (And to Tom Tabor...that line was featured in "Energy Crisis '79", not "Energy Crisis '74" by Dickie Goodman...those are both great songs). Paul Bryant--While "Dream Girl" is a crap song, I get a kick out of his little diatribe before singing it, where he mentions that he wished that Johnny Tillotson, Ricky Nelson, Johnny Cash or 'the guy that sang "Invisible Tears" would have recorded it. I also liked Wild Man doing the female backing part in that falsetto. S.J. Debai mentioned "She's a Heartbreaker" by Gene Pitney. There's an interesting story that Jerry 'Swamp Dogg' Williams Jr. likes to tell about that song. He was working in some capacity at Musicor Records and somehow got assigned to work with Gene. Noting that he hadn't had a hit in three years, Swamp decided that something drastic had to be done and he and Charlie Foxx wrote the soul-sounding "Heartbreaker" with Pitney in mind. Despite the fact that it gave Pitney his first hit in quite some time, Swamp was fired from his job at the label for taking Pitney too far out of his element. I think Swamp did the right thing, personally. Re "Hurting Each Other": in addition to the versions by Jimmy Clanton and Ruby and the Romantics, the song was also cut by the Guess Who (the "Shakin' All Over" lineup of the group-- surprisingly good version) and also by Ruth Lewis on RCA (flip of her Northern soul single "That Special Way"). Are there any other versions? Country Paul--my Jukebox from Hell would have to include such crap as the overwrought "Hotel California" by the Eagles (makes my ears bleed!), "The Night Chicago Died" by Paper Lace and "Billy Don't Be a Hero" by Bo Donaldson and the Heywoods. There are plenty more... S.J. again--The reason why you didn't see Levi Stubbs is that he's had serious health problems. I haven't been following the threads about him on the Soulful Detroit Forum, but it's my understanding that he suffered a stroke. Re the Grassroots and Hamilton, Joe Frank and Reynolds: It's interesting to learn that the 'Roots turned down a chance to record "Don't Pull Your Love". If you see them in concert, they now perform the song. Jakeeo: I'm assuming you're familiar with the Del-Fi CD that features some of Felice Taylor's songs. Unfortunately, the liner notes don't help much. My suspicion is that she lives in the UK, but it's just suspicion--I'll have to ask the gang on the Soulful Detroit Forum about that. Clark: I'm casting a vote to have both the Arkade and Austin's version of "One Word" posted to Musica, if there's room. Glenn: Gene Redding had one single that I know of on Bell, about six years prior to "This Heart". The songs were "I Need Your Lovin'" and "You Gotta Have Soul", Bell 819 if I remember correctly. This record is known on the Northern soul scene. Rodney Rawlings: William Shatner has been obsessed with rock music and musicians for some time now. I hate to say it, but he does seem to take his 'music' quite seriously! And finally, another bad/oddball rhyme, this one from a country hit from my childhood, "Satisfaction" by Jack Greene: "Your love just may as well be on a star/Because my dirty back is almost that far" That line plus the fact that he was looking for satisfaction behind his neighbor's door puzzled me for years, until I was old enough to know what he meant by 'satisfaction'! HAPPY NEW YEAR! Best, Mark -------------------[ archived by Spectropop ]-------------------
Message: 7 Date: Sun, 04 Jan 2004 17:38:59 EST From: Bob Rashkow Subject: More catchin' up I too was pretty sure "Avanti!" means forward, as "avanze" means advance. I believe that's what the title of the 1972 unsuccessful movie (Billy Wilder) of the same name means. Re "MacArthur Park"--count me on the pro side. It's a beautiful record and a relic of its time. Hard to imagine Jim Webb ever doing wrong. Even Donna Summer couldn't completely destroy this great, happily dramatic and pretentious musical poem. But my favorite Webb tune? Got to be "Montage from How Sweet It Is", especially Picardy's version from the flick. Listen to Shatner's version of Mr. Tambourine Man and it's difficult to believe he's being serious. Doesn't he kind of stammer and then yell hysterically at the end? BTW I left out the artist on "Goodbye Love" from the Spark Records UK comp, it's Simon DeLacy (UK Roulettes' Peter Thorp along with Sue & Sunny providing those groovy Hollies-style harmonies; Tony Newman on guitar; etc.) Bobster -------------------[ archived by Spectropop ]-------------------
Message: 8 Date: Sun, 04 Jan 2004 23:54:34 -0000 From: Phil Hall Subject: Answer Songs One of my favorite musical subjects is answer songs. I have quite a few in my collection, and I'm always looking to add more. A few examples are: Dion - Runaround Sue Ginger & The Snaps - I'm No Runaround Danny Jordan - Runaround Sue's Getting Married Claude King - Wolverton Mountain Jo Ann Campbell - I'm The Girl From Wolverton Mountain Billy Ward & His Dominoes - Sixty Minute Man.mp3 The Persuasions - Can't Do Sixty No More.mp3 The Four Seasons - Sherry Tracey Dey - Jerry, I'm Your Sherry etc, etc. A-Side Records did a decent CD of them in the 90's. How many others are there? Thanks, Phil Hall Clay, NY -------------------[ archived by Spectropop ]-------------------
Message: 9 Date: Sun, 04 Jan 2004 19:05:20 -0500 From: Country Paul Subject: Stereo 45s; influences; Michael Brown RIP Dick St. John. "The Mountain's High" was a mountain of a record in my life. Previously: I'm still on my fun facts about forty-fives kick. What was the first single released in stereo? Set the way-back machine for this one: Little Anthony & The Imperials, End E-1047, "A Prayer And A Jukebox"/"River Path", probably 1958, maybe 1959. I have it in my hand, and I'm not sure it's the first - The Flamingoes might have had one around the same time (unsure, but I'm pretty sure there was more than one End stereo 45.) There's also the 1959 stereo 45 of "Come Softly To Me" by the Fleetwoods I've previously cited, and Paul Anka's 1959. Re: "Influences," Paul Bryant wrote: The worst example of influence is simple plagiarism - for instance, Terry Stafford's big hit "Suspicion" or Marmalade's No 1 "Ob-la-di". I agree re: Marmalade - and many other groups who did one-off Beatle album-track covers hoping for the hit single of the song - but I thought the Terry Stafford version cut Elvis completely - not only better vocals and production in my opinion, but the use of the trumpet was also brilliant. (But then again I'm one of those folks who thought that Elvis essentially died when he went into the army....) And I can't turn on the radio without hearing James Brown's influence all over the charts. Me too, and I don't mean it as a good thing. For all his great grooves and cooking beats, I think ol' JB dumbed down songs to one-chord wonders full of boring repetition. Especially sad from someone who did doo-wop classics like "Try Me" and the gorgeous "Lost Someone". But I do agree with your accolades for Brian Wilson and all that he and the real Beach Boys represent. By the way, yesterday (1/3/04) was Van Dyke Parks' birthday. Talk about a major influence who "nobody" 9at least in the mainstream) knows.... Phil Milstein: According to legend, Brown wrote "Renee" and "Ballerina" on the same day (as well as a third masterpiece -- "Desiree," was it? "She May Call ..."?). If this is even close to the truth, it almost defies belief. All wonderful - and yes, "Desiree" is another transcendent high point. All in one day? Wow! More soon, Country Paul -------------------[ archived by Spectropop ]-------------------
Message: 10 Date: Mon, 05 Jan 2004 00:15:46 -0000 From: Fred Clemens Subject: Re: Styrene vs.plastic 45's (Styrene IS a plastic) Steveo Anyone else have any thoughts on this? Sebastian Fonzeus: I've posted a list of Terms and Definitions relating to records. I think it was posted on the SoulTalk mailing list about a year ago. http://groups.yahoo.com/group/spectropop/files/articles Having been in the Plastic Injection Molding Industry for the past 30 years, I believe I can speak from a working hands-on experience on this. Styrene is never taken to "liquid form", as the link states. Doing so would render it useless. Styrene is a plastic, which is why the thread title is misleading. When properly heated, it's pliability is similar to that of PVC, only at a higher temperature. PVC's general workable temperature range is from 300-400 degrees F. Most grades of Styrene are workable at 350-500 degrees F. Styrene is generally half the cost of PVC. Reusing it will cause a gradual breakdown in it's properties, just as with PVC. Since Styrene is heated at a much higher temperature over room temperature than PVC, it would tend to shrink more when exposed to the room temperature. This would tend to make the record grooves tighter, given the same stampers are used in the molding process as the PVC. Though it may save the stampers in the long term, it still does not overcome the sooner wear found on the styrene pressings. That, and the fact that styrene is not as forgiving to friction as PVC. The reason for the switch to styrene was simply the price of the material, as I see it. But at what cost? The records wear out much quicker so you'd have to buy more. What better way to push a record to #1! Fred Clemens -------------------[ archived by Spectropop ]-------------------
Message: 11 Date: Mon, 05 Jan 2004 00:17:36 -0000 From: Phil Hall Subject: Re: The Rag Dolls George: Hi, can anyone tell me where I can get The Rag Dolls on CD? Got a couple of songs sent to me but I'd love to hear everything they've done George, I don't think there ever was an LP or CD of The Rag Dolls material; at least not a legal one. Jean Thomas was the lead singer, with various other artists doing the background singing for the studio sessions. They used different artists for the touring group. Jean Thomas eventually left the group to continue her work as a session vocalist rather than tour, which paid better and was probably less stressful. There's a short but good article about The Rag Dolls with photos at http://www.btinternet.com/~seasonally/News39Pt2.pdf Phil Hall Clay, NY -------------------[ archived by Spectropop ]-------------------
Message: 12 Date: Sun, 04 Jan 2004 16:30:36 -0800 (PST) From: Steveo Subject: Re: Brian and Bach pt.2 Dave Mirich writes: Without Bach, would there have been classical music as we know it? Watson Macblue: Bach is just about the worst possible choice for this sort of analogy - or maybe he isn't. Without Bach, classical music would look *exactly the same* - only without Bach. Watson, having said all of that stuff you said on the analysis of Bach's place in music... Now I will say that IMHO Bach was the greatest composer that ever lived. -------------------[ archived by Spectropop ]-------------------
Message: 13 Date: Mon, 05 Jan 2004 01:46:17 -0000 From: platch1 Subject: Re. William Shatner My father, Don Ralke, was the arranger/conductor of "The Transformed Man". The album was recorded in all seriousness. The musical arrangements are lush and could stand alone. As my dad always did with his clients, he was steering Shatner, who really wanted to sing, in a direction that was better suited for his voice. Frank Davenport's original lyrics on "Elegy for the Brave", "Spleen" and "Transformed Man" are also very beautiful, in spite of the theatrical treatment given them by Shatner. I hope this clears this up for everyone. My dad also produced Dick & Dee Dee. Thanks so much for the kind words that are being posted since Dick St. John's passing. His wife Sandy has asked that I forward them to her. -------------------[ archived by Spectropop ]-------------------
Message: 14 Date: Mon, 05 Jan 2004 01:52:19 -0000 From: Mike Edwards Subject: Ventures, Tornadoes, Tijuana Brass Paul Urbahns writes re: the Ventures 1962 LP, "Telstar And The Lonely Bull" Mike Edwards missed the point (as this) a great instrumental album for folks wanting the songs on an LP instead of stacking 45s. The Ventures' Telstar album clearly outsold the Tornados' original and The Tijuana Brass had not even issued an album at that point. According to Joel Whitburn's "Top Pop Albums" book, The Tijuana Brass' "Lonely Bull" LP entered the album charts on Dec 29, 1962 and eventually reached #10 during a 157-week chart run. "The Ventures Play Telstar, The Lonely Bull" charted on Jan 5, 1963, peaked at #8 and stayed around for 40 weeks. Without a US presence but right on the heels of a #1 US 45, the Tornados' "The Original Telstar" LP also charted on Jan 5, 1963. It reached #45 and had a chart run of only 17 weeks. The Ventures clearly outsold the Tornados but they didn't have the better album. The Ventures' LP contained 12 cover versions and no originals, whereas the Tornados' album featured 10 original tunes, written by members of the group, their producer Joe Meek and noted UK tunesmith, Geoff Goddard. Of particular interest is rhythm guitarist George Bellamy's "Ridin' The Wind". It got a UK release on an EP at the time but London Records put it out as a 45 (London 9581) in the US where it got to #63. (Apparently they withdrew their support for "Globetrotter", the official US and UK follow-up to "Telstar", probably realizing the melody was too close to "Venus In Blue Jeans".) The US 45 had wind sound effects added at the beginning and end of the tune, which together with Roger La Verne's driving keyboard playing made for a very atmospheric 45. The wind effects are neither on the US album cut nor on any subsequent version I have heard from the UK. When space becomes available, I'll play the US 45 version of "Ridin' The Wind" to musica as we haven't had a 45 instrumental there in a long time. Mike -------------------[ archived by Spectropop ]-------------------
Message: 15 Date: Sun, 04 Jan 2004 18:22:16 -0700 From: Gary Spector Subject: Re: "Send In The Clowns" as Worst Song? Chris wrote: I've always liked "Send In The Clowns" a lot -- although I can understand how it has the capacity to make people cringe. Hello. I can remember for about one week my father would walk around the house in the early 80s with a small tape player playing that song over and over and over. At times he would stop the player and rewind just to hear a few seconds repeatedly. I actually found that I can recognize the song on the radio by its 1st note. Surprised me the day I realized that. Simply put, the song makes me cringe. But the one song I can not stay in the same room while it plays is "Cats and the Cradle" for very personal reasons. Specter Not just another P.S. Fan... -------------------[ archived by Spectropop ]-------------------
Message: 16 Date: Mon, 05 Jan 2004 02:41:06 -0000 From: Mike Edwards Subject: Jerry Lordan Steve Harvey writes re: "Apache" by the Shadows (UK) and Jorgen Ingmann (US): It was written by Jerry Lordan. He supposedly played it for the Shadows on a ukelele on a bus. Bert Weedon actually did the first version. Lordan actually wrote a number of hits for the Shadows and their offshoot, Jet Harris/Tony Meehan. He had a great knack for a melody, but a lousy lyricist. I know a couple of songs by Jerry that exemplifies the point Steve is making. UK balladeer Mike Preston became one of only a handful of UK artists to reach the US Hot-100 in the pre-Beatles' era, when "A House, A Car And A Wedding Ring" crept in at #99 in December 1958. (It was not a UK hit). It was a Jerry Lordan song and the lyric runs: "Got a house and a car and a wedding ring but I don't know what I'll do without a wife..". It just sounds so strange. But not apparently to Leonard Chess as one of his subsidiaries, Checker, put out a version by Dale "Susie-Q" Hawkins with "My Babe" as the b-side (Checker 906, 1958). Jerry Lordan had some releases on the UK Parlophone label, one of which was "I'll Stay Single", a small UK hit in 1960. The US was paying attention as this was covered by Larry "Sandy" Hall on Strand. (Sample lyrics: "I'll stay single, not one thing'll ...make me change my mind" looks as if he resolved the problem in the previous song). But as Steve implies, the tunes Jerry wrote for the Shadows are what he will be best remembered for and deservedly so as they were so much a part of the golden age of rock instrumentals. Mike -------------------[ archived by Spectropop ]-------------------
Message: 17 Date: Sun, 04 Jan 2004 19:57:17 -0800 (PST) From: Steve Harvey Subject: Get Bach Tojo Watson Macblue wrote: He also fathered something like 25 children, by the way. That was because his organ had no stops! -------------------[ archived by Spectropop ]-------------------
Message: 18 Date: Sun, 04 Jan 2004 20:03:14 -0800 (PST) From: Steve Harvey Subject: Melodies Rule Austin Roberts wrote: I guess my point is, the stronger the melody, in most, if not all, forms of music (not just pop), the better the chance that the song will be remembered. Lyrics are icing on the cake (the melody). How many people have bought a song because it had great lyrics, but a lousy tune. You're more likely to hear somebody humming a melody than quoting a lyric. Don't get me wrong, great lyrics can lift a great melody to even greater height, but can the reverse be said to be true? -------------------[ archived by Spectropop ]-------------------
Message: 19 Date: Mon, 05 Jan 2004 04:18:57 -0000 From: Don Subject: Re: The Mob/"Where You Lead" James Holvay wrote: Austin: That's pretty funny. Here I thought we (The Mob) had an exclusive on "Where You Lead". I wonder how many other groups cut that song, other than Streisand? We also cut "I Feel The Earth Move" at the same session but Carole K. beat us to the punch on that one. Oh well ... I didn't see this message before I posted my question about "I Feel The Earth Move". But in answer to your question, "Where You Lead" was done by Streisand, Annette Bentley, Kate Taylor, and Liz Damon's Orient Express. It appears on 2 Tapestry tribute albums, by Faith Hill, and Spring. At least 2 instrumental versions by Bob Belden and Barbara Higbie. And I read somewhere that there was a version by Janice Hoyt on Marks & Spencer label. It is also duetted by Carole King and daughter Louise Goffin for the theme to the US TV show, "The Gilmore Girls". In fact Carole herself has made a cameo on the show. I have never seen the Mob's version on CD. Maybe someone could play it or Arkade's version to musica? -------------------[ archived by Spectropop ]-------------------
Message: 20 Date: Sun, 04 Jan 2004 23:29:43 -0500 From: Country Paul Subject: Fraternal Order of The All; auteurs, artists and producers; Beatles influences; underage lust; more Peter Kearns, regarding Brian Wilson's influence: Of course I'm sure I haven't heard them all and would welcome any other suggestions. Andrew Gold a/k/a The Fraternal Order Of The All has the gorgeous "Love Tonight," one of the best songs "left off" Pet Sounds (and the acapella "Tuba Rye and Will's Son"), as well as spot-on imitations/tributes to the Byrds ("Space and Time" - McGuinn should be envious) and the Beatles ("Tomorrow Drop Dead") among others. There's also a 10cc "tribute," "King of Showbiz," but he cheats a bit by having a guest shot by Graham Gouldman (almost everything else is done by him alone). The CD, "Greetings From Planet Love" (J-Bird), previously discussed in the archives, is available via http://www.andrewgold.com An almost total lack of distribution is the only reason I can think of why this CD didn't get at least some kind of attention. "pnreum": Brian was the first self-producing artist or auteur in rock. Not to take anything away from our beloved Mr. Wilson, but a quick fact check suggests that Phil Spector preceded Brian at the same Gold Star by several years; like Brian, in the Beach Boys, his identity was at the time subsumed by his group, The Teddy Bears. And while the Beach Boys were still launching on X and Candix, Spector had already landed a producing gig at Atlantic (at age 21) on the strength of that early success. Dee: We all know that there were great records in the 60s that barely scraped the charts by artists like the Velvet Underground and Love. I could suggest that VU's gorgeous "Sunday Morning" has a wall-of-sound influence in the deliciously murky background hovering over the group like an amorphous silver cloud. Peter Kearns again, re: Beatles influences: But that aside, the Klaatu debut had sterling examples of a longing for the 60s while still sounding state of the art and up to date in every way when it was released in 1976. I submit that Badfinger, on the Beatles' own Apple label, had it way earlier. And although just one song - not an album - Barclay James Harvest's early-70's "Titles" nailed the style as well. And, to Mark Frumento, Badfinger *did* sell a bunch of records. I'm not familiar with the Rockin' Horse LP you cite, but I remember Sleepy Hollow and Stackridge as being like third- and second-rate Beatles derivatives, respectively. However, it's been since their release that I've heard them; time could make my opinions kinder. Is there space on musica to which you could post a favorite Stackridge track? Estufarian mentions Big Daddy and their "jukebox" on their site http://www.bigdaddyfan.com/Jukebox.html - Highly recommended; "Mr. Kite" from Sgt. Pepper is rendered in Palisades Park style. Interestingly, there's a Gregorian chant version of REM's "Losing My Religion" which I think is the same (or a close copy) as the one credited to The Benzedrine Monks of Santa Domonica on a Rhino EP from the early 90's. Even better is the same acapella vocal track (the "Monks") with a slow dance track behind it. Rare, but worth finding for the sonically adventurous (I got mine in Spain on a UK pressing). Mark "mfuncle": The only thing I can play is the stereo. Okay, I will give the thanks to the producer. I firmly believe that the producer, writer and arranger are the most important people in the recording anyway, at least with the type of music I like. To me, the artist is the least important part of the mix. Ouch! Mark, I'm sure you're really a nice guy, but as a producer-composer-artist-radio DJ, I hope I'm not the first person in the five days since your comment was posted to take issue with your last line. Sure, the singer is in many cases like Spector's, just another studio musician, but the quality of those records is largely determined by how well those musicians, vocal and instrumental, render the artist's vision - in this case, the artist being the producer, i.e. Spector, or any of the other producer/auteurs you cite. Somehow, I can't see Spector having had the same level of success with your typical hotel-lounge musicians, for example, no matter how decent they might have been. My point: all elements in the equation matter. It's why some name-on-the-line artists flounder until they find the right producer or after they lose the right one, etc., even - perhaps especially - in "the type of music [you] like." Just my opinion. Glad you're on board to express yours. Phil Milstein: Donny Osmond's "Sweet And Innocent," for example, doesn't really belong on a "jailbait" list Glenn: 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?) Back in the doowop days, 14-year-old Frankie Lymon wrote and sang: "Come on, baby, let's go downtown, / Rock, talk, kid around." You knew what he meant. And if you didn't, 12-year-old Butchie Saunders of the Elchords spelled it out in "Peppermint Stick." Propriety forbids me from quoting the lyrics here, but you get the feeling he sang from experience. (Good thing our parents weren't listening to the lyrics - I think!) Short takes: Paul Bryant: So the question is... why was there this rash of silly brackets in song titles in the 60s? Who started it (anyway)? Elvis, perhaps: "(Marie's The Name) His Latest Flame," 1960. Mike Edwards, thanks for the White Whale CD recommendation. That's a "definite probable" here - the BT Puppy one also has possibilities. Still catching up - and I'm not even to this year yet! Country Paul -------------------[ archived by Spectropop ]-------------------
Message: 21 Date: Mon, 05 Jan 2004 00:48:19 -0700 From: Gary Spector Subject: Re: The death of the LP Vlaovic B wrote: I recall Motown embarking on a programme circa 1985 of withdrawing all their recent vinyl reissues of classic Motown LPs and replacing them with Twofer CDs. I remember being slightly p*ssed at the thought of them deleting the vinyl before I'd purchased much of it. And I also remember mentioning to a friend who worked in a traditional music store that I wasn't into CDs because it was all just current stuff and there'd never be historical stuff released...geez was I wrong. I too remember when CDs hit the scene and I was very iffy about them as well. Then the DVDs came out and I came up with an idea after watching a lot of commercials that promoted music tapes and CDs. What I hated about the commercials was that they showed the videos of the performers but you only got the music. I actually left a message on my father's answering machine giving my idea of selling his music not on CDs but on DVDs with the videos of the performers so that the listener would not only have the music but the stage show or video to keep as a part of history. This idea was given to my father shortly after DVDs started to catch on in the early 90s (I think) but he has never tried it and neither has anyone else. I thought it would have been great if he had released a Christmas DVD with videos. Specter Not just another P.S. fan... -------------------[ archived by Spectropop ]-------------------
Message: 22 Date: Mon, 05 Jan 2004 02:21:14 -0600 From: John Love Subject: Searchers' song title Does anyone know why The Searchers' 1965 hit "Goodbye My Love" was bizarrely retitled "Goodbye My Lover Goodbye" for the American market? Are there any other examples of song titles being changed for no apparent reason? John -------------------[ archived by Spectropop ]-------------------
Message: 23 Date: Mon, 05 Jan 2004 21:18:39 -0000 From: Ian Chapman Subject: Re. Janie Marden Don wrote: I don't know if it was here that I learned about a version of Goffin and King's "Make The Night A Little Longer" by Janie Marden but I see the 45 is for sale on eBay:.... I would ask if it was worth the money, but at an opening bid of $73, I don't think I'm going near it. Does anyone else have this? Is it any good? It must be pretty rare, as I have had eBay searching for this for several months and this is the first time it has come up. Don, Janie was primarily a MOR singer who guested on TV variety shows of the early/mid-60s in the UK. Her recording of "Make The Night A Little Longer" draws mixed reactions. For some reason - maybe as an attempt to sound more "pop" - she affected a vocal which wasn't her usual style and which grabs some listeners as slightly eccentric. But the orchestration is full and the production great. My copy is one of those Pye demos devoid of all producer/arranger info, so I'm unable to credit the individuals responsible. I love it; but is it worth $73? Not unless it's gold-plated........ I might also mention that Janie cut another 45 worthy of attention, on U.K. Decca (this time in her "normal" voice) - a cover of "You Really Didn't Mean It". Not quite up to the standard of the superb original by Jill Harris on U.S. Capitol, but very pleasant nonetheless. Ian -------------------[ archived by Spectropop ]-------------------
Message: 24 Date: Mon, 05 Jan 2004 11:51:38 +0100 From: Ivo van Dijck Subject: Re: "Send In The Clowns" & "MacArthur Park" Hi all. "Send In The Clowns" and "MacArthur Park" are both favourite songs of mine. As a true Sinatra fan I love his rendition of "Send In The Clowns," as I do the Judy Collins version. I don't think the lyrics are corny or out of date. Maybe it is just the fact that being a romantic is somewhat not fashionable these days. I am truly not ashamed to say I like this song very much, as I do "MacArthur Park." I regard the latter song as an epic song of the 60s, with that truly great Richard Harris to sing (or rather act) it! So, there you are! Who's next! Not in my list of worst songs, but in my list of best songs. Thank you. Ivo van Dijck Netherlands -------------------[ archived by Spectropop ]-------------------
Message: 25 Date: Mon, 05 Jan 2004 13:18:32 +0000 From: Richard Williams Subject: Avanti / Wong Kar Wei 1. The Studebaker Avanti, a beautiful GT car, was designed by the late Raymond Loewy, also responsible for the Coca Cola bottle and the Lucky Strike pack (and a ton of other stuff). Ian Fleming owned one. 2. Anyone who liked the use of "Happy Together" in Wong Kar Wei's film of the same name should try to see Chungking Express, one of his earlier films, in which one of the characters is obsessed with "California Dreaming". Wong is a great directer whose work invariably features good music, used as an integral part of the film. Richard Williams End

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