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Spectropop - Digest Number 1226

               SPECTROPOP - Spectacular! Retro! Pop!

There are 25 messages in this issue.

Topics in this digest:

      1. Shelley Fabares on CD
           From: Billy G. Spradlin 
      2. "I Know that You´ll be There"
           From: Julio Niño 
      3. Re: B.Wilson influence. Weezer
           From: Richard Hattersley 
      4. Re: The Saddest Story Ever Told
           From: Sebastian Fonzeus 
      5. Re Moon River and Audrey Hepburn
           From: Vlaovic B 
      6. Re: Bobby Vee "Beautiful People"
           From: Clark Besch 
      7. Girls
           From: Simon White 
      8. Cashman, Pistilli and West
           From: Mike Rashkow 
      9. Re: Brian Wilson influence
           From: Rodney Rawlings 
     10. Grapefruit
           From: Clark Besch 
     11. S'pop Remembers Bobby Hatfield
           From: S'pop Projects 
     12. Re: Weezer and Ben Folds
           From: Sebastian Fonzeus 
     13. Re: Answer Songs
           From: Brian Davy 
     14. Melinda Marx
           From: Ed B 
     15. Re: Sally Go 'Round The Roses
           From: Mike Rashkow 
     16. Re: Buzz Cason
           From: Austin Roberts 
     17. Re: Melodies Rule - The Words Just "Go On"
           From: Rodney Rawlings 
     18. Rundgren / Nyro
           From: Dave Heasman 
     19. Re: Words and melodies
           From: Austin Roberts 
     20. 2:45
           From: Charles G. Hill 
     21. more BW
           From: Susan 
     22. Re: Rundgren / Nyro
           From: Steve Harvey 
     23. Re: Melodies Rule - The Words Just "Go On"
           From: Steve Harvey 
     24. Re: Shatneresque
           From: Phil Milstein 
     25. Re: Grapefruit; Iveys
           From: Orion 

Message: 1 Date: Wed, 07 Jan 2004 19:57:26 -0000 From: Billy G. Spradlin Subject: Shelley Fabares on CD previously: > Incidentally, whatever happened to I Know That You'll Be > There, recorded by Shelley Fabares with The Fantastic Baggys? > I've been expecting to see it on CD sometime over the last > few years, but no show. Grumble. Rhino reissued it on on thier "Best of Shelly Fabares" CD, but its been out of print for a long time. Billy -------------------[ archived by Spectropop ]-------------------
Message: 2 Date: Wed, 07 Jan 2004 21:51:29 -0000 From: Julio Niño Subject: "I Know that You´ll be There" Watson Macblue wrote: > ...whatever happened to I Know That You'll Be There, > recorded by Shelley Fabares with The Fantastic Baggys? > I've been expecting to see it on CD sometime over the > last few years, but no show... Watson, Shelley Fabares' "I Know you will be There" ( my favorite Shelly's song next to "Make me happy" a little song included in the album "Hold on" by Herman's Hermits) is included in the Rhino CD "The Best of Shelley Fabares" and also in the Castle Pulse CD box set "Chapel of Love and other Great Girl Groups Gems". Julio Niño. -------------------[ archived by Spectropop ]-------------------
Message: 3 Date: Wed, 07 Jan 2004 20:05:43 +0000 From: Richard Hattersley Subject: Re: B.Wilson influence. Weezer Ruby: >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? I agree they had a single on their last album that was pretty Wilsonesque. I can't recall the title but the video had them petting animals as well (another influence?). Some unsigned influenced artists for you to seek out: Tripsitter: great harmony band from vegas: Great central: wilsonesque 1 man band from leicester UK: Richard Snow: This guy is fantastic!!! :-) -------------------[ archived by Spectropop ]-------------------
Message: 4 Date: Wed, 07 Jan 2004 20:50:53 +0100 From: Sebastian Fonzeus Subject: Re: The Saddest Story Ever Told Hi! Albabe Gordon wrote: > After a while I started to notice that those few cued seconds > at the beginning of some records would be missing the high-end. Simon: > All too technical for me. But what I do know - to my cost - is > that if you cue up a styrene 45 by winding it backwards it 'burns' > the record and ruins it. And I didn't know this until I did it on > a 45 I'd paid £160.00 for. And I don't want to talk about it. Simon, you probably know this by now, but try to keep styrene 45s WELL away from old and worn styluses in general. I once played a DJ set and ruined ALL the styrene records I played - not just cue burns, but entire sides of 45s! :( Luckily(?) this was when I first started collecting/DJing at soul venues and the stuff ruined was easily obtainable and cheap 45s like Betty Harris "Mean Man" on Sansu, Oscar Toney Jr. "Ain't That True Love" on Bell, Candace Love "Wonderful Night" on Aquarius etc. Still a bummer though. :( Since then, I NEVER cue styrene 45s. Take care! Sebastian -------------------[ archived by Spectropop ]-------------------
Message: 5 Date: Wed, 07 Jan 2004 14:15:04 -0500 From: Vlaovic B Subject: Re Moon River and Audrey Hepburn Phil M: > 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 hers. > 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"). It's a little out of the Spectropop realm, but I'll offer my correction. Moon River, in the film Breakfast at Tiffany's, was always performed by Audrey Hepburn; it was never dubbed. I've been a fan of the film for decades and the original copy I bought in 1987 had Hepburn signing. If I could dig out my 1961 copy of the vinyl LP I'm confident it too has Hepburn singing. Hepburn might not have been a brilliant vocalist but her interpretation was really very touching. Marni Nixon dubbed most of Hepburns vocals in 'My Fair Lady', but in the earlier 'Funny Face' (1957) Hepburn handled all of her own vocals. -------------------[ archived by Spectropop ]-------------------
Message: 6 Date: Wed, 07 Jan 2004 16:11:45 -0000 From: Clark Besch Subject: Re: Bobby Vee "Beautiful People" Austin Roberts: > Just to keep this string going, I was in a group called the > Arkade on Dunhill and we released Carole King's "Where You Lead" > at the same time you guys did; I think we helped cancel each > other out. Bummer. I think I'm right about that. Clark Besch: > How interesting that we have the two of you that had dueling 45s! > Both coming off moderate hits at about the same time! Reminds me > of many double releases that WERE hits still - Bobby Vee and > composer Kenny O'Dell's "Beautiful People" is one I always felt > would have been top 10, had only one of these two top 40 hits > been released. Bob Celli wrote: > I did an interview with Bobby Vee's producer at that time, > Dallas Smith, and he told me that "Beautiful People" sold > 750,000, so your statement couldn't be truer! Bob, the song seemed to do better with stations' charts when they played only one version too. #6 for Bobby on WLS Chicago with no airplay for Kenny O'Dell's version. I think Bobby's version was much smoother and pleasant to the ear than Kenny's, which is often the case when pitting a writer's version versus a better produced and more professional singer's version. When talking with Varese Vintage's Cary Mansfield this week about the White Whale catalog, I brought up Kenny O'Dell. The subject was good ideas that wouldn't sell enough to get a release. I felt that there wouldn't be a big enough audience out ther to make money off an O'Dell greatest hits package, he wrote some good songs, had an LP, numerous singles on Vegas (WW subsidiary) and WW and would have plenty of stuff for a nice CD comp. I love "Springfield Plane". We both agreed it wasn't likely, but you never know..... Clark -------------------[ archived by Spectropop ]-------------------
Message: 7 Date: Wed, 07 Jan 2004 14:54:01 +0000 From: Simon White Subject: Girls Phil Hall wrote: > Tracey Dey is one of many others I've always wondered about. > Is there a subgroup within Spectropop that specializes in > the 60s girl groups? Now there's an idea.... -------------------[ archived by Spectropop ]-------------------
Message: 8 Date: Tue, 06 Jan 2004 20:45:14 EST From: Mike Rashkow Subject: Cashman, Pistilli and West Also on Event, CPW produced a group which I always assumed was them, or them with Austin. The group (person) was called Horatio. The A side of the single I have is titled "I Gotta Have You". It is a very interesting lyric and might be subject to conjectural interpretation. I'll say no more. Di la, Rashkovsky -------------------[ archived by Spectropop ]-------------------
Message: 9 Date: Wed, 07 Jan 2004 18:52:14 -0000 From: Rodney Rawlings Subject: Re: Brian Wilson influence Rashkovsky: > What about Jobim's "One Note Samba"? Actually that song's repeated-note section has a nice melodic "kicker" at the very end--a sudden move upward that tranforms the preceding. When I first heard the song attentively, I was rather bored by the tune until that point was reached--then I was all ears. Also, rhythmic variations and metric placement can create melodic interest even in a succession of repeated notes. Sousa has a part in one of his marches that weaves a long, fascinating melody out of the three tones of the tonic chord and no others. The melodic interest is generated by the rhythmic values. "One Note Samba" also has a brilliant middle section that further affects the impression left by the front section and improves the effect of the last section. I'm not saying that a lyric can't elevate a so-so tune to the level of a great song. Just that "One Note Samba" is not a nonmelodic tune. I also maintain that literary or intellectual significance of the lyrics is not necessary for a great song and should not be a factor in measuring songs against one another as songs. Rodney Rawlings -------------------[ archived by Spectropop ]-------------------
Message: 10 Date: Wed, 07 Jan 2004 16:16:33 -0000 From: Clark Besch Subject: Grapefruit Austin Roberts wrote: > Was it Grapefruit that did Maybe Tomorrow? Austin, sorry bout the confusion on the Buchanan Bros lead. I didn't think it sounded like your voice. The Iveys (later Badfinger) did "Maybe Tomorrow". Grapefruit was signed to Apple, but their records never appeared on Apple Records. They started on an ABC subsid, Equinox, with 2 tremendous singles: "Elevator" and "Dear Delilah". Terry Melcher produced, if I remember correctly. "Elevator" is great, but the flip, "Yes", is incredible! Their LP on Dunhill is great and they later had records on RCA in the UK. Take care, Clark -------------------[ archived by Spectropop ]-------------------
Message: 11 Date: Wed, 07 Jan 2004 22:26:19 -0000 From: S'pop Projects Subject: S'pop Remembers Bobby Hatfield Dear Members, As reported previously, Bobby Hatfield of the Righteous Brothers passed away November last. An obituary, written by Peter Richmond, has just been added to the S'pop Remembers section: Also recently departed: Don Gibson: Johnny Cash: Teddy Randazzo: Arthur Conley: Dick St. John: R.I.P. The S'pop Team -------------------[ archived by Spectropop ]-------------------
Message: 12 Date: Wed, 07 Jan 2004 23:35:13 +0100 From: Sebastian Fonzeus Subject: Re: Weezer and Ben Folds > 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? > Correct me if I'm wrong, but are Weezer the guys that did > some quite raw sounding stuff a number of years back, recorded > at home on 8-tracks etc? If so, I was impressed with their > melodic sensibility. I preferred it to their newer stuff. Weezer had a couple of major hits with "Buddy Holly" (the "Happy Days" parody video), "Say It Ain't So" and "Undone - The Sweater Song" back in 1994 and their debut self titled blue album from that year is an great pop album. Singer and songwriter Rivers Cuomo went nuts by all the fame that came their way though plus grew long hair and beard. He then wrote, recorded and produced the fantastically brilliant "Pinkerton" album from 1996. An album so fantastic that I STILL listen to it weekly and absolutely love it to bits. A pretty lo-fi recording but not in the early Sebadoh/Pavement kind of way, it's just very raw with few effects and is guitar/drums heavy. It gave them no hits at all. But it's nevertheless a mindblowingly cohesive album and will doubtlessly be hailed as a masterpiece and a key album of the 90s in years to come. All the b-sides from 1994-1998 are essential. The lack of sales etc. made Weezer a low priority at Geffen and the group thought they had no fan base. But they later realised that there actually were a lot of people out there who still dug their debut... and what did they do? Recorded two unispired and extremely uninspiring albums in 2001 ("Weezer" a.k.a. the green album) and 2002 ("Maladroit") - two records that while it boosted their popularity and sales probably is the biggest reason as to why they don't get any critical acclaim anymore. These two albums lack all the emotions that are evident on the troubled "Pinkerton" and to a lesser extent their debut. Really off-topic I know. But there you go. I also really like Ben Folds (Five). Actually listened to the "Whatever And Ever Amen" album when I got up this morning. Great CD. Classic pop. :) Take care! Sebastian -------------------[ archived by Spectropop ]-------------------
Message: 13 Date: Wed, 07 Jan 2004 22:39:51 -0000 From: Brian Davy Subject: Re: Answer Songs If I add Gerri Granger's "Don't Want No Letters" to the list as the answer to "Return to Sender", it gives me the opportunity to beg that someone with the wherewithal posts her Elvis cover "Just Tell Him Jane Said Hello" to Musica. Brian -------------------[ archived by Spectropop ]-------------------
Message: 14 Date: Wed, 07 Jan 2004 23:18:50 -0000 From: Ed B Subject: Melinda Marx While on vacation this week have been playing a lot of 45s from my collection and came across Melinda Marx VJ 657 The East Side of Town/How I Wish You Care - A quick Google search revealed she is daughter of Groucho, something I wasn't aware of, nice girl group sound on both sides, did she have any other releases? -------------------[ archived by Spectropop ]-------------------
Message: 15 Date: Wed, 07 Jan 2004 18:15:20 EST From: Mike Rashkow Subject: Re: Sally Go 'Round The Roses Carl asks: > 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? Dan Hughes: > I remember reading somewhere (Burt Bacharach column perhaps, or maybe > even Walter Winchell, when the song was a hit) that there was an > electronics problem with the audio board that recorded it. A burned- > out capacitor or some such, that gave the song the fuzzy-buzz sound. > Better equipment would probably have kept the song from becoming a hit! Go here and ask Artie Butler--he made the record. He'll know the story. It's the first thing you see and hear on his homepage: Rashkovsky -------------------[ archived by Spectropop ]-------------------
Message: 16 Date: Wed, 07 Jan 2004 18:25:43 EST From: Austin Roberts Subject: Re: Buzz Cason Gary Miles (Buzz Cason) and Gary Mills (whoever that was) had Look For A Star out at the same time. I think the song came from the horror flick 'Circus Of Horrors'... Buzz's version was much better and went higher I'm pretty sure. Buzz was also a great publisher, co-publishing among others Honey and Little Green Apples. He published "She Believes In Me" and a couple of country hits he and I co-wrote. He wrote "Everlasting Love" and is currently coming out with a book about his life in the music business for 50 years. I have known and been very best of friends for over 30 years. He is honest, funny, extremely talented and as good a man as I have ever met. Sounds like a eulogy, but believe me it's a heartfelt tribute to a great friend. Austin Roberts -------------------[ archived by Spectropop ]-------------------
Message: 17 Date: Wed, 07 Jan 2004 23:31:41 -0000 From: Rodney Rawlings Subject: Re: Melodies Rule - The Words Just "Go On" Me: > Those who dispute the dominance of melody often say words > and music are equally important, and in a sense this is true. > Bad lyrics can kill the appeal and worth of a good tune ... (I should have said merely "the appeal of a good tune." It is the worth of the SONG that is diminished.) Rex Strother wrote: > I think in current popular songwriting - it is the melody > that is prominent. Of course, there are exceptions - but > the hooks can keep nonsense or cliche lyrics popular as ever. I agree that a bad lyric does not necessarily kill a song's success. If a lyric is bad due to being ILL-SUITED to the melody, however, it is more likely to undermine the song's success, I think. I should make it clear what I mean by good and bad. The lyric to TIE A YELLOW RIBBON ROUND THE OLD OAK TREE is absolutely masterful (so is the tune) and I would not be surprised if it were penned by someone famous. On the other hand, many so-called "significant" or "important" lyrics seem to deliberately court or embrace obscurity -- thus they frustrate judgment, which is in part the purpose. I classify them as bad. -------------------[ archived by Spectropop ]-------------------
Message: 18 Date: Wed, 07 Jan 2004 23:40:45 -0000 From: Dave Heasman Subject: Rundgren / Nyro Diane: > 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? I've been a fan of both Todd & Laura Nyro for over 30 years, and only noticed 6 months ago how much Todd was influenced by her - down to chord changes. -------------------[ archived by Spectropop ]-------------------
Message: 19 Date: Wed, 07 Jan 2004 18:33:42 EST From: Austin Roberts Subject: Re: Words and melodies For that matter They're Coming To Take Me Away (Napoleon the XIV, I think). OK Rashkow, my friend (which he is), there are always various opinions on the same subject. I would love to hear what the Spectropop people think. Austin -------------------[ archived by Spectropop ]-------------------
Message: 20 Date: Wed, 07 Jan 2004 18:11:38 -0600 From: Charles G. Hill Subject: 2:45 Saith Billy G. Spradlin: > I think the worst sounding but one of the greatest early rock > recordings is Gary U.S. Bonds'"Quarter To Three" - I have it on > original 45, on a vinyl LP and Rhino CD and they all sound like > it was recorded with the microphone stuck in a closet or under > a blanket! A "most peculiar unity", said Dave Marsh in naming it to his Top 1001. "I've played it on stereo systems ranging from $49.95 to $10,000, and the equipment makes no difference". I always figured that if that record comes on and I don't start to move, they've already carried out the DNR instruction. :) -------------------[ archived by Spectropop ]-------------------
Message: 21 Date: Wed, 07 Jan 2004 19:24:10 EST From: Susan Subject: more BW Paul writes: > This I do not understand - why would any record label turn > down original material from Brian Wilson? Hasn't he long > since become so revered record executives would love to > issue anything he wants to do? much of Brian's recent [last 20 years, just to pick a timeframe], unreleased material have you heard? There are a few songs that are pretty good, some that are average at best, and a lot that isn't that good. I love Brian, I want him to have One More Great whatever inside him, and i want it to come out. But the *quality* of that unreleased material that you yearn for really isn't that great. The best of it, IMHO, is that which he did with Andy Paley. But there are many who will tell you that Andy is the best BW mimic they've ever heard, and these sessions prove it. So that doesn't seem to count for much, even tho it might be the best - and most complete - work he's done post-Landy. Brian's gifts to the world were given in the 1960s. They continue to bless us, and the fact that he's still out there making music, giving an effort, speaks volumes not only for his talent and perseverence, but also for the power of his wife, who is spearheading Brian's Efforts these days. And one must acknowledge her contribution to his resurgence since 1998... But is there a great Brian Wilson song still to come, one that isn't just Feels or Noodling? Is there something there, yet to come, that a record executive is going to wet his pants to release? I wouldn't bet on it. Susan -------------------[ archived by Spectropop ]-------------------
Message: 22 Date: Wed, 07 Jan 2004 16:30:00 -0800 (PST) From: Steve Harvey Subject: Re: Rundgren / Nyro Dave Heasman wrote: > I've been a fan of both Todd & Laura Nyro for over > 30 years, and only noticed 6 months ago how much Todd > was influenced by her - down to chord changes. Which is why Todd once sang, "Laura, I caught your show in L.A." in "Baby's Let's Swing". Now I love to shuffle so surrey on down. -------------------[ archived by Spectropop ]-------------------
Message: 23 Date: Wed, 07 Jan 2004 16:32:54 -0800 (PST) From: Steve Harvey Subject: Re: Melodies Rule - The Words Just "Go On" Rodney Rawlings wrote: > Those who dispute the dominance of melody often say words > and music are equally important, and in a sense this is true. > Bad lyrics can kill the appeal and worth of a good tune ... I don't know about lyrics and melodies being equal or lousy lyrics killings decent songs. Still love the Flamin' Groovies despite their throwaway lyrics. I remember Cyril once admitting that he couldn't be too bothered with writing lyrics. However, I still love their rockin' stuff despite the lyrics. -------------------[ archived by Spectropop ]-------------------
Message: 24 Date: Wed, 07 Jan 2004 18:45:50 +0000 From: Phil Milstein Subject: Re: Shatneresque I wrote, re: Shatner: > of "Rocket Man," "Taxi" and "Why Can't A Woman Be More Like > A Man"), yet they're still pretty screwy in their own right. The latter piece was actually "How To Handle A Woman."* Another fact done gone. Urp, --Phil M. *aren't these both from My Fair Lady? I wonder if Shatner's stylistic progenitor wasn't Rex Harrison. -------------------[ archived by Spectropop ]-------------------
Message: 25 Date: Wed, 07 Jan 2004 16:58:11 -0800 From: Orion Subject: Re: Grapefruit; Iveys Eddy: > The Grapefruit did "Dear Delilah", which was their first > 45 with Apple Publishing. There was no Apple label yet. The Grapefruit, IMHO, were really pretty good. I liked the song "Elevator". I have their LP and the few 45s released here in the US. Orion -------------------[ archived by Spectropop ]-------------------
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