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Spectropop - Digest Number 1222



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

Topics in this digest:

      1. Brian Wilson's influence
           From: Diane 
      2. Re: The Buchanan Brothers
           From: Mark 
      3. styrene/vinyl
           From: Albabe Gordon 
      4. Re: Brian and Bach pt.2
           From: Diane 
      5. Re: Beatles, Band, Brackets, etc.
           From: John Fox 
      6. Joe Tex & JP West....are not related
           From: JD Doyle 
      7. Re: Beatle borrowings
           From: Mike McKay 
      8. Re: worst 45 pressing
           From: Clark Besch 
      9. Re: Bi question......Not Jimmy & the Boys
           From: JD Doyle 
     10. Jan & Dean backup
           From: superoldies 
     11. RE: Answer Songs
           From: Andres Jurak 
     12. Re: Poor quality pressings
           From: Joe Nelson 
     13. Re: Brian Wilson's last greatest song.....
           From: Chris Ullman 
     14. Re: Compatible Stereo
           From: Joe Nelson 
     15. Carla Thomas
           From: Jimmy Crescitelli 
     16. Re: Brian Wilson influence
           From: Mike Rashkow 
     17. Re: Tornados
           From: Ken Silverwood 
     18. Re Answer Songs
           From: Tony 
     19. Re: worn-out vinyl / Mike Randle / MacArthur Park
           From: Phil Milstein 
     20. Re: Brian Wilson influence / Wilco?
           From: Ruby 
     21. Re: Answer Songs
           From: Ruby 
     22. Re: Medicine Man / Buchanan bros
           From: Austin Roberts 
     23. Re: Goodbye My Love
           From: Phil Chapman 
     24. Re: Jimmie Haskell / Dan Walsh
           From: Glenn 
     25. Re: Speaking Of Apple Records...
           From: Art Longmire 


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Message: 1 Date: Tue, 06 Jan 2004 02:02:07 -0000 From: Diane Subject: Brian Wilson's influence Hi ya'll, First, I need to thank whoever it was who suggested giving Muddy Waters' version of "Good Morning Little School Girl" a listen. This is some fabulous acoustic blues from Muddy I'd never heard before. Also, I've loved the Left Banke since I first heard "Walk Away Renee" on the radio in the '60s. And "Pretty Ballerina". Bought both 45s as a kid. I just heard "Desiree" for the first time. My GOD!! How beautiful! I would never have thought of pursuing other stuff by them if someone here hadn't mentioned other worthwhile songs they'd done. Now, here's my toss on Brian Wilson's influence: How about Todd Rundgren? His very melodic songs, his great harmonies, his arrangements, with separate "movements". I don't know if Todd has ever acknowledged a debt to Brian, but I feel Brian's stamp on Todd's writing. Anyone else see this? Love this group! HurdyGurl, aka Diane -------------------[ archived by Spectropop ]-------------------
Message: 2 Date: Tue, 06 Jan 2004 01:41:50 GMT From: Mark Subject: Re: The Buchanan Brothers Hi Austin! Thanks for enlightening us about the Buchanan Brothers and "Medicine Man"--I always loved that song! I'm curious--did you do any other work with Cashman and West? I love another song of theirs done for Event as the Morning Mist, "California on My Mind" (which barely dented the Hot 100), and was wondering if you had a hand in that or any other projects of theirs. Best, Mark -------------------[ archived by Spectropop ]-------------------
Message: 3 Date: Mon, 05 Jan 2004 18:07:28 -0800 From: Albabe Gordon Subject: styrene/vinyl I'm curious if anyone knows anything about this. When I did some radio way-back-when, I noticed an interesting thing that I guess fits in this discussion. I assume most people probably aren't familiar with what a disc jockey did back in the olden days to cue up a record for airplay. You would put the needle down at the beginning of the record/song and let the tune start and play through a few seconds, then turn off the turntable motor (the amp would still be on, so you could still hear the music, unlike some home stereo units). Then you would slowly rotate the record back to a few seconds before the start of the song (listening to the music backwards - shades of "I'm Only Sleeping"). You needed to allow for how fast a particular turntable would take to get up to the proper speed when the motor was turned back on. Then you could allow for how long you could ramble on the air, and have the music start exactly where you want. After a while I started to notice that those few cued seconds at the beginning of some records would be missing the high-end. I had heard that cheaper vinyl and the newly used styrene were the culprits. I guess the stiffer the material, the longer it took to bend itself back to the proper place. I guess this has to do with the materials "memory." I had heard that at the steeper angle that is was more likely that the "plastic/vinyl would break off, leaving the high end of the sound spectrum without the upper hertz. Is this apocryphal or..? -------------------[ archived by Spectropop ]-------------------
Message: 4 Date: Tue, 06 Jan 2004 02:42:44 -0000 From: Diane Subject: Re: Brian and Bach pt.2 Hi again, Steveo wrote: > IMHO Bach was the greatest composer that ever lived. I'm with you on this. Folks gush over Mozart, but he has always left me cold. All brain, no heart. Bach, for me, is the perfect combination of clever, interesting melodic lines and underlying emotional movement. I am always pulled into a Bach composition, find my whole body swaying as my hand "conducts". This is the same response my favorite contemporary music gets out of me. And, you know, that is where its power lies. It speaks to me, it moves me. It takes me out of the day-to-day world, and lifts me up to that timeless realm where hearts are always young, and anything is possible. There is nothing like living in the moment when that moment is "Heartbreak Hotel". Or, "God Only Knows". Or a Brandenburg Blues... HurdyGurl/Diane -------------------[ archived by Spectropop ]-------------------
Message: 5 Date: Mon, 05 Jan 2004 22:35:14 EST From: John Fox Subject: Re: Beatles, Band, Brackets, etc. Been gone for a while and have to catch up (no way to re-list the previous strains). In no particular order: Two phenomenal non-Beatle-sounding Beatle covers I don't think were mentioned happened to be on the same album: Ticket To Ride and Eleanor Rigby, by Vanilla Fudge. I don't think The Band originally intended to be called The Band. Their first album, "Music From Big Pink" simply had a panel listing those who played and sang on the album as "The Band:" followed by the names of the 5 guys. So people started calling them The Band. Someone mentioned "Lollipops and Roses" and the Herb Alpert version. That may be one of the most heard songs of all time, since it was played every time new contestants on either The Dating Game or The Newlywed Game were introduced (one used "Whipped Cream", the other "Lollipops and Roses"--I can't remember which). On to parentheses. In the double category is the Earl Grant classic, (At) The End (Of a Rainbow). But will someone please explain to me the need for the bracketed parts of the following two songs: "In The Year 2525 (Exordium and Terminus)", and "634-5789 (Soulsville USA)"? Regarding Dave Marsh's mistaken identities of the Shangri-Las, I just finished reading two rock-related books with glaring errors in them, one with two anachronisms and one with just plain a mistake. In the fascinating book about the murder of Walter Scott of Bob Kuban & The In-Men, the author notes that in 1963 Scott was auditioning and said he liked to sing "In The Midnight Hour" by Wilson Pickett and "Soul Man" by Sam & Dave. Later, she indicates that the Kuban band played the Cow Palace in 1966, top billed over "Chicago" and "Blood Sweat & Tears" on the same bill. In a book on the social history of rock & roll, a Cornell professor no less quotes "In The Still of the Night" (sic) by The 5 Satins as being written by Cole Porter. So, Dave Marsh, you are not alone. And I really do remember an ad from many years ago about getting photos developed at a place like K-Mart, using the tune "Someday My Prints Will Come." John Fox -------------------[ archived by Spectropop ]-------------------
Message: 6 Date: Tue, 06 Jan 2004 05:37:39 -0000 From: JD Doyle Subject: Joe Tex & JP West....are not related JD: > I don't think "Lola" fits as a bi song, Hugo M.: > 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... Oh, I know what one you're talking about. It is the somewhat homophobic "Be Cool, (Willie Is Dancing With A Sissy)" [from Epic 34666, "Bumps & Bruises"], from 1977. It was never clear (at least to me) whether Willie knew or cared who he was dancing with... and I guess I'm also allowed to ask an unrelated question...the song by JP West, "Jimmy Don't Need Me Anymore" (Sweden, 1985). What WAS that one about? I kind of think of it as gay-related, or at least the singer is pining away for his perhaps straight friend. Any other takes on this? JD Doyle http://www.queermusicheritage.com -------------------[ archived by Spectropop ]-------------------
Message: 7 Date: Tue, 06 Jan 2004 01:40:02 EST From: Mike McKay Subject: Re: Beatle borrowings Norman wrote: > "The Ballad of John and Yoko" borrows too much from > "Little Sister", especially the opening... And the ending guitar riff is a direct cop from "Lonesome Tears in My Eyes" by Johnny Burnette and the Rock 'n' Roll Trio. Mike -------------------[ archived by Spectropop ]-------------------
Message: 8 Date: Tue, 06 Jan 2004 06:48:48 -0000 From: Clark Besch Subject: Re: worst 45 pressing steveo wrote: > A 45 that gets my vote for the worst pressing is the Elektra 45 > compatible mono/stereo 1967 release of the Doors "Light My Fire". > It sounded good for the first 25 plays or so, but wore out > qickly, and the grooves were so close together it started to eat > up the needle pretty quickly also becoming white as snow. Most of > these were cheap styrene plastic. Joe Nelson wrote: > From 1967? Every copy I've ever heard was not only mono, but a > different mix from the album (although it may have simply been an > edit of the mono LP version). Ok, was this the pressing or just bad mastering? "Sally Go Round the Roses" by the Jaynetts. Tuff Records was right! How could a song that sounded this bad on 45 ever make the top 10? Mud is all I can come up with for a description. When Steve Hoffman came out with the vintage series and here it was in GLORIOUS stereo, it was truly a revelation. A song I didn't care much for became quite a listenable song in my opinion! Another Doug Richard brought to my attention years ago was the Ides of March "You Wouldn't Listen". I have 1 clean copy and 6 that look mint and play like crap. Take care, Clark -------------------[ archived by Spectropop ]-------------------
Message: 9 Date: Tue, 06 Jan 2004 05:56:08 -0000 From: JD Doyle Subject: Re: Bi question......Not Jimmy & the Boys Rich wrote: > Another Aussie song also by Jimmy & the Boys - "I'm not > like everyone else". Well, yes, it is an Aussie song, but it's not a bi or gay song. As I'd never heard of it I went googling and found the lyrics: I don't wear no clothes that are hand-me-down I don't smile when I wear a frown Once I get started, you can't hold me down Once I get goin', I go to town Cause I'm not like everybody else I'm not like everybody else (no) I'm not like everybody else I'm not like everybody else 'Cause I don't care to walk and talk like everybody else (like everybody else) I'm not gonna walk through life like everybody else (like everybody else) I don't want to fret or cry like everybody else 'Cause I'm not like everybody else You say that you know you love me true You'll confess all your sins if I tell you to But there's one thing I've yet to say to you If you want to love me the whole way through I'm not like everybody else I'm not like everybody else (no) I'm not like everybody else I'm not like everybody else Cause I don't want to walk and talk like everybody else (like everybody else) I'm not gonna walk through life like everybody else (like everybody else) I'm not gonna fret or cry like everybody else 'Cause I'm not like everybody else... Like everybody else (like everybody else) Like everybody else (like everybody else) Like everybody else (like everybody else) Like everybody else (like everybody else) 'Cause I'm not like everybody else... JD Doyle -------------------[ archived by Spectropop ]-------------------
Message: 10 Date: Tue, 06 Jan 2004 05:32:24 -0000 From: superoldies Subject: Jan & Dean backup I've never been able to find info of who the female vocal partner is on Jan & Dean's rather strange tune "It's As Easy As 1,2,3"...and even stranger than she has never been credited. Anyone know? -------------------[ archived by Spectropop ]-------------------
Message: 11 Date: Tue, 06 Jan 2004 10:51:55 +0300 From: Andres Jurak Subject: RE: Answer Songs Phil Hall: >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. >How many others are there? Sorry for my Beatle-orientation... The Beatles - I SAW HER STANDING THERE The Beatle-ettes - ONLY SEVENTEEN The Beatles - I WANNA HOLD YOUR HAND The Bootles - I'LL LET YOU HOLD MY HAND Teen Bugs - YES YOU CAN HOLD MY HAND The Beatle-ettes - YES YOU CAN HOLD MY HAND The Beatles - REVOLUTION Nina Simone - REVOLUTION (PT. 1 & 2) -------------------[ archived by Spectropop ]-------------------
Message: 12 Date: Tue, 06 Jan 2004 07:23:13 -0500 From: Joe Nelson Subject: Re: Poor quality pressings Previously: > Regarding this statement ... "The records wear out much > quicker so you'd have to buy more. What better way to push > a record to #1!" ... Radio airplay is just as important, or > more so, in placing a record at number 1. If the radio stations > receive poor quality styrene disks to play on the radio and they > break or wear out, they obviously cannot play them. The fascinating thing is how long it took the labels to figure this out. Labels like Columbia that commonly press commercial copies on polystyrene were pressing their promos on the same stuff well into the seventies before someone figured out that polyvinyl chloride was less susceptible to cue burn and should at least be used for the promos. By the time the use of PVC became universal, the CD single was in the wings, ready to take over. Joe Nelson -------------------[ archived by Spectropop ]-------------------
Message: 13 Date: Tue, 06 Jan 2004 12:34:20 -0000 From: Chris Ullman Subject: Re: Brian Wilson's last greatest song..... Bob Hanes wrote: > ....hasn't been released yet! I hope there's plenty more too, but even if there isn't then I have to point people in the direction of another lost Brian Wilson "LP"/bootleg. The Andy Paley Sessions from the mid 1990s features not only 20-25 Brian songs, but also a set of vocals from Carl, possibly the last he ever did. I'm sure they've been mentioned before on this very group. But are they any good? Well it was billed rather over-excitedly at the time as his best work since Pet Sounds in one or two magazines. It evidently isn't however it does contain some pretty great songs - the exceptional "You're still a mystery to me", "Soul-Searchin'" with a great Carl vocal, also "Gettin' in over my head" which were never released, as well as a couple that trickled out elsewhere ("In my moonbeams") on the Pulp Surfin' soundtrack and "This song wants to sleep with you tonight" which came out on a b-side for one of the Your Imagination singles I think which are also both very strong. The record company ditched it as it sounded "too sixties". What's notable is the production, while sparse, is really quite impressive, echoey and recalls earlier Beach boys works. None of this Bruce Hornsby by numbers that his current labels would like him to sound like. Not all of the songs are great (I don't have all of them) some of the vocal performances were below par, not all are finished and Brian seems to have forgotten about them all since, but I just cannot believe that some record company jerk has managed to khybosh what would have been a great return to form, and one or two genuinely wonderful moments. They'd rather have Brian muzzled even now. I have an mp3 or two I could play to musica if people are interested? Chris -------------------[ archived by Spectropop ]-------------------
Message: 14 Date: Tue, 06 Jan 2004 07:39:03 -0500 From: Joe Nelson Subject: Re: Compatible Stereo Joe Nelson wrote: > From what I've been told, the Haeco CSG system threw the right > channel ninety degrees out of phase: this resulted in a thirty > percent reduction in the sound pressure from the centered > elements in the mix (which were coming from two sources > electronically, thus making them more prominent in a mono > dubdown). Atlantic put out a few mono singles which used the > CSG system to dub the stereo master down to mono - a handy tool > as eight and sixteen track recording made separate mono and > stereo remixes more difficult to make. Clark Besch wrote: > Joe, I don't know how ths CSG system worked, but it was cool to > get stereo 45s. One interesting example is Free's "All Right Now". > The 45 mixed in CSG sounds more powerful than the better stereo > sounding LP version not using CSG. Even cooler in 1970 was the "B" > side, "Mouthful of Grass". A very cool mellow instrumental, that > using the CSG system, stretched the ending bass note for about 10 > seconds! Really cool technique. If you had an oscilloscope built > into your stereo to show stereo separation then, you saw that note > make a perfect circle, when mono or slight stereo was a straight > diagonal line. I was never so intrigued by a circle on a tube, and > have never seen that formation since on a stereo record. "All Right Now" was completely remixed for single release. I doubt the use of the CSG had anything to do with the changes. I know Bob Radil is reversing the process to convert ARN back to straight stereo for one of his next projects: I should ask him to make the original CSG treated version availible for anyone who wants to compare the two. Email him at bobradil@aol.com for more info: I'll forward this message over to him after it gets posted. (Should have mentioned this by now for anyone who was wondering: CSG stands for Compatable Stereo Generator. I doubt anyone uses them now, but they played as much a role as the development of a universal standard groove in the death of mono. I'll leave it to individual taste whether that's a good or bad thing.) Joe Nelson -------------------[ archived by Spectropop ]-------------------
Message: 15 Date: Tue, 06 Jan 2004 08:52:14 EST From: Jimmy Crescitelli Subject: Carla Thomas >From Liz Smith: 'AND WHILE WE HAVE music on our mind, '60s pop diva Carla Thomas, seen to great effect in the hit documentary "Only the Strong Survive" (now on DVD), was pleased that 2004 pop diva Macy Gray will portray her on NBC's "American Dreams". The two women might even team up for some duets later this year. Carla's thrilled but has one reservation. "I wish, on the show, that Macy had sang something I'd written, like 'Gee Whiz'", she said. "Then, at least, I'd get royalties!" ' -------------------[ archived by Spectropop ]-------------------
Message: 16 Date: Tue, 06 Jan 2004 08:59:55 EST From: Mike Rashkow Subject: Re: Brian Wilson influence Austin: > 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. This is anything but a shot at lyricists, as > their job of marrying lyric to melody is often harder than just > writing a catchy melody, but I stand by my feeling that melody must > catch and hold the listeners attention in order for most songs to > endure the memory test. What about Jobim's "One Note Samba"? Di la, Rashkovsky -------------------[ archived by Spectropop ]-------------------
Message: 17 Date: Tue, 06 Jan 2004 15:27:10 -0000 From: Ken Silverwood Subject: Re: Tornados Paul: > The Ventures' Telstar album clearly outsold the Tornados' original In N W England the flip-side of "Telstar", "Jungle Fever" became as popular as the "a" side, this time it was a cop for "Catch A Falling Star"! Ken On The West Coast -------------------[ archived by Spectropop ]-------------------
Message: 18 Date: Tue, 06 Jan 2004 15:31:15 -0000 From: Tony Subject: Re Answer Songs Drifters - Save the last dance for Me Damita Jo - I'll Save the Last Dance for You Ed Townsend & the Townsmen - You're Having the Last Dance With Me Tony -------------------[ archived by Spectropop ]-------------------
Message: 19 Date: Tue, 06 Jan 2004 10:36:06 +0000 From: Phil Milstein Subject: Re: worn-out vinyl / Mike Randle / MacArthur Park > Regarding this statement ... "The records wear out much quicker > so you'd have to buy more. What better way to push a record to > #1!" ... I dunno, it seems to me that most records that got worn out never did get replaced. By the way has anyone ever used this as the name for a vinyl-only record store: "All Sales Vinyl"? Kevin wrote: > A rich and meaty point to chew on, even more substantial when > you know (as I'm sure many of you do) about Mike Randle's > relationship to topics covered by the Spectropop mailing list. Yes indeed. Half the reason I go see Arthur Lee every time he comes through town is to bask in Randle's sinewy, lyrical leads. I've never heard Baby Lemonade, though -- are any of their records worth getting? Mike McKay wrote: > In that regard, this story may be telling. In late 1969 I was > returning from an all-too-brief visit with my high school > girlfriend, who had to move far away in our senior year because > her dad got a new job in another state. She had returned to the > general area to visit relatives over the holidays, and we had an > intense and bittersweet reunion. Left in this heightened state of > emotion, I heard "Macarthur Park" on the radio on the way back > home. I have to tell you that, on this one occasion, it brought > tears to my eyes. That may have more to do with me than the song, > but nonetheless, isn't that what music is supposed to do...unleash > emotions? Might she have been the one who left the cake out in the rain? As much as I love MacArthur Park, I'd be curious to apply the Shatner question to it: was Webb kidding when he wrote those lyrics, or was he dead serious? --Phil M. -------------------[ archived by Spectropop ]-------------------
Message: 20 Date: Tue, 06 Jan 2004 17:59:36 -0000 From: Ruby Subject: Re: Brian Wilson influence / Wilco? Previously: > And as someone else mentioned, many new "alternative" bands owe > Wilson a big debt. Wilco being perhaps the most successful. Also > groups like Fountains of Wayne. > 'Fountains Of Wayne'? You've GOTta be kidding!!?? Those two > examples owe Brian a debt just by merely presuming they can > even compete in the industry. I definitely agree with this comment about Fountains of Wayne. Wilco I have a bit more respect for, and can hear an influence of Brian Wilson in. What about Weezer? -------------------[ archived by Spectropop ]-------------------
Message: 21 Date: Tue, 06 Jan 2004 18:02:28 -0000 From: Ruby Subject: Re: Answer Songs Phil Hall wrote: > One of my favorite musical subjects is answer songs. > etc, etc. A-Side Records did a decent CD of them in the 90's. > How many others are there? Somebody has probably already mentioned this and I just can't find it, but Bear Family Records has at least one and maybe two comps of answer songs. Their website is located at http://www.bear-family.de -------------------[ archived by Spectropop ]-------------------
Message: 22 Date: Tue, 06 Jan 2004 15:33:22 EST From: Austin Roberts Subject: Re: Medicine Man / Buchanan bros I am embarrassed if I seemed to claim doing the lead on Medicine Man. It was Gene Pistilli, who left the group right after. I think I said that Cashman and West (the other group members) asked me to join as lead singer to take Gene's place, which I did. Gene did a fantastic lead on Medicine Man and it was COME ACROSS. Sorry to mislead anyone, as I would never tke credit for anything I didn't do. What a cool record! Best, Austin -------------------[ archived by Spectropop ]-------------------
Message: 23 Date: Wed, 07 Jan 2004 01:24:50 -0000 From: Phil Chapman Subject: Re: Goodbye My Love Michael Edwards wrote: > And talking of the Manfreds and changing song titles, they > added an extra "Diddy" to "Do Wah Diddy" by the Exciters to > create "Do Wah Diddy Diddy" Conversely, didn't they record the original version of "Semi-Detached, Suburban Mr James", changed to "...Mr Jones" for the US cover? And a little (more) bracket trivia... In the US, the Ronettes had a hit with "Walking In The Rain", whereas in the UK (and on the LP?) it was "(Walking) In The Rain". Phil -------------------[ archived by Spectropop ]-------------------
Message: 24 Date: Wed, 07 Jan 2004 01:14:00 -0000 From: Glenn Subject: Re: Jimmie Haskell / Dan Walsh Austin Roberts wrote: > One thing about being a songwriter and a professional songwriter > could be a hit song, so keep writing and don't be surprised if it > happens. Thanks for the encouragement, Austin! It helps to keep hope alive... And thanks for the very interesting info about your Arkade experience, Steve Barri, Price/Walsh and Jimmie Haskell. Especially fascinating about Dan... > I've always loved Steve Barri's records and his > mentoring manner. We worked with Hal Blaine, Joe Osborn and Larry > Knechtal, with Ben Benay and Louie Shelton on a lot of them, and, > pound for pound, they were the best studio band I've ever worked > with. Which reminds me... and I've always wanted to say this. Personnel on Simon & Garfunkel's Bridge Over Troubled Water album: Drums: Hal Blaine Bass: Joe Osborn Keyboards: Larry Knechtel Strings: Jimmie Haskell Essentially the same crew Barri used for the Grass Roots, H, JF&R, Arkade, and everybody he produced. So the Grass Roots and Simon & Garfunkel were almost the same band (at least in the studio!) Haskell won a Grammy for his strings on "Bridge Over Troubled Water", the single, by the way. Actually one of three he won for arranging, the others being "Ode to Billie Joe" and "If You Leave Me Now". One of my favorite things he did was the horn & string arrangement on Blondie's "The Tide Is High". Made the whole record, IMO. Glenn -------------------[ archived by Spectropop ]-------------------
Message: 25 Date: Tue, 06 Jan 2004 20:16:32 -0000 From: Art Longmire Subject: Re: Speaking Of Apple Records... David Coyle wrote: > I just got the new RPM disc "94 Baker St.: The > Pop-Psych Era Of Apple Records 1967-69"..... > The only problem is that the Misunderstood (an > American band that recorded in London, and was > apparently licensed through Apple) is listed on the > sleeve and referenced in the notes, but the three > tracks listed were left off, apparently for licensing > reasons. They were previously released on the Cherry > Red CD "Before The Dream Faded." Thanks for the information, I never knew that the Misunderstood material was licensed through Apple. I have been trying to get all the Misunderstood's English tracks for years without success...their song "I Can Take You To The Sun" is one of my absolute favorites of all time, and I hear that "Children of the Sun" is just about as good. Were these songs among those listed on your CD? It would have been a bitter disappointment if I'd bought it and found that the songs weren't on there! Art Longmire -------------------[ archived by Spectropop ]-------------------
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