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Spectropop - Digest Number 1230

               SPECTROPOP - Spectacular! Retro! Pop!

There are 26 messages in this issue.

Topics in this digest:

      1. Rapper DJs' use of vinyl records
           From: Rodney Rawlings 
      2. RE: Best lyrics
           From: Hugo M 
      3. The Chiffons
           From: Phil Hall 
      4. Napoleon XIV
           From: Lapka Larry 
      5. Re: Various
           From: Austin Roberts 
      6. Stewball, The Left Banke, Melodies Rule, etc.
           From: Jeff Lemlich 
      7. Hello everyone
           From: Howard 
      8. Re: Melinda Marx
           From: Dan Hughes 
      9. Re: more BW
           From: Paul Bryant 
     10. Re: Most Inept Hit
           From: TD 
     11. Re: Most Inept Hit
           From: John 
     12. Re: talking to music
           From: Phil Milstein 
     13. Re: Dodgy sound
           From: Dave Heasman 
     14. Re: Tuesday Weld 45
           From: Stephane Rebeschini 
     15. Re: Most Inept Hit
           From: Rat Pfink 
     16. Tuesday Weld 45
           From: lobsterman730 
     17. Re: Ed & Sam Chalpin, His Father the Pop Singer
           From: Mike Rashkow 
     18. Re: Austin Roberts Interview - Arkade
           From: Joe Nelson 
     19. Re: Worst 45 pressings
           From: Joe Nelson 
     20. 4 Seasons
           From: Doc 
     21. Re: Most Inept Hit
           From: Paul Balser 
     22. Re: Artie and Sally
           From: John Fox 
     23. The Swans, and Alder Ray
           From: Jimmy Crescitelli 
     24. Re: Most Inept Hit
           From: Mike Rashkow 
     25. Re: Brian and his imitators
           From: Susan 
     26. Re: Grapefruit
           From: Scott Swanson 

Message: 1 Date: Thu, 08 Jan 2004 17:50:27 -0000 From: Rodney Rawlings Subject: Rapper DJs' use of vinyl records I'm a bit puzzled by what exactly rapper DJs are doing with vinyl records and turntables when they accompany a performer. Are they merely using the needle and grooves to make a scratching sound? If so, why? Why not a synthetic sound with the equipment they already have? Doesn't this ruin both the record and the needle? Do they care what record they use? Do they sometimes let the record play a bit? Who started this? -------------------[ archived by Spectropop ]-------------------
Message: 2 Date: Thu, 08 Jan 2004 17:30:11 -0000 From: Hugo M Subject: RE: Best lyrics I think it was Phil who recently mentioned Richard Hell. Kinda outside the group's focus, but some of his lyrics have always impressed me mightily, he does really striking things with meter sometimes... like the anapests (I think that's right) in "He was a cartoon, long-forsaken by the public eye" and the first verse of "Who Says". I can't quote it from memory, and I don't have it here at hand, but it's about 16 words, with five or six rhymes stuffed into it without damaging the meaning, craft-y like anything you could find in Cole Porter... Probably the drugs talking, God knows, Richard had plenty of time to sit around and head-trip in those days... doo-wacka-doo -- Hugo M. -------------------[ archived by Spectropop ]-------------------
Message: 3 Date: Thu, 08 Jan 2004 18:00:07 -0000 From: Phil Hall Subject: The Chiffons The Chiffons released an album circa 1970 called "My Secret Love". On it they supposedly covered some songs by Andrea Carroll that they had backed her on when she originally recorded them; "It Hurts To Be Sixteen" and "The Doolang". I don't think it was ever released as a CD, and I've never been able to locate a copy of it anywhere. Does anyone remember the album and/or have any of the tracks? Thanks, Phil Hall -------------------[ archived by Spectropop ]-------------------
Message: 4 Date: Thu, 08 Jan 2004 09:57:55 -0800 (PST) From: Lapka Larry Subject: Napoleon XIV Dear Phil: Napoleon XIV was someone by the name of Jerry Samuels, who lived in the same housing development that I did in South Jamaica, Queens, NY in the 1960s and early 1970s. The place was known as Rochdale Village, a melting pot of races, creeds and colors if there ever was one. Since it was nestled right in the middle of one of the largest African American communities in the northeast, you heard a lot of diverse sounds by just walking the grounds of this huge place. It was a good place for this white Jewish kid to begin a musical education that continues to this day. Anyway, back to Samuels, I know a couple of people who babysat his kids. Also, I knew he turned into one of the biggest proponents of, shall we say, funny cigarettes as he got older. He died a few years ago. Larry Lapka -------------------[ archived by Spectropop ]-------------------
Message: 5 Date: Thu, 08 Jan 2004 13:05:52 EST From: Austin Roberts Subject: Re: Various Re: answering Napoleon XIV AHA! Re: Medicine Man / Buchanan bros I don't think so, but if I had a dime for every time I've been wrong in this life,well you know the rest. I did a couple of Buchanan Bros. singles and a couple of other sides under another group name but I can't for the life of me remember what we called it. Sorry. Austin -------------------[ archived by Spectropop ]-------------------
Message: 6 Date: Thu, 08 Jan 2004 13:35:51 -0500 From: Jeff Lemlich Subject: Stewball, The Left Banke, Melodies Rule, etc. Clark Besch: > 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"!! John coulda been > sued before George??!!> I can definitely hear the similarities, but I'm pretty sure "Stewball" was in the public domain, with origins that go back to the early 1800s. I know there have been many variations of the Stewball theme, some in which he is a blind race horse, others in which the name is "Sku-ball", others in which the tune is uptempo, others in which it's a stone blues song. The melody was also nicked for the "Come Back To Jamaica" advertising campaign! 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. The story of the writing of "Walk Away Renee" was told on one of the Left Banke groups recently. Michael Brown had written down lines that reminded him of his early childhood -- lines that formed the basis of the song. Tony Sansone came by -- they went out to deliver food to an old woman -- and then Sansone helped him refine what would become "Walk Away Renee". The other two songs came later. Glenn: > Case(s) in point - melodies that NEVER should have had words > written to them: > "Love Is Blue" > "Exodus" > "Love Theme from Romeo and Juliet" > All three started life, and had immense success, as instrumentals. > Perfectly gorgeous pieces of music that needed no words. > All three had offensively schlocky lyrics added to them after-the - > fact, lyrics that simply destroyed the songs when they were sung. I may be wrong, but I think "Love Theme From Romeo And Juliet" was originally a vocal -- "What Is A Youth" -- which was sung in the film by Glen Weston. If I recall correctly, the instrumental was based on that song (minus the silly middle eight). I do agree the later lyrics, "A Time For Us", leave a lot to be desired. Now playing on Musica: "Shelly Tell Me Why" by River Deep (Bell 791), featuring vocals by Austin Roberts. Jeff Lemlich -------------------[ archived by Spectropop ]-------------------
Message: 7 Date: Thu, 08 Jan 2004 19:01:55 -0000 From: Howard Subject: Hello everyone Hi, I've just joined the group and like to post a brief introduction, my name is Howard, Im 51 years old, and am still an active member of the progressive northern soul scene, being editor of 'Soul Up North' fanzine. I am also a fan of british beat from the 60s, being a 'mod' from the first time around :-) I hope I can contribute something useful to the group as well as making some new friends along the way. I know aready from reading some of the posts that there are some very clued up members here and I'll be sure to learn plenty of interesting stuff too!! all the best... let's go... Howard -------------------[ archived by Spectropop ]-------------------
Message: 8 Date: Thu, 08 Jan 2004 16:48:06 -0600 From: Dan Hughes Subject: Re: Melinda Marx Fred sez, > Bill Marx recorded a piano/Jazz oriented album for VJ Records in 1963, > with Harpo featured on the cover introducing Bill as "MY SON, THE > FOLK SWINGER". Great title! Obviously a takeoff on the popular Allan Sherman album MY SON THE FOLK SINGER. -------------------[ archived by Spectropop ]-------------------
Message: 9 Date: Thu, 08 Jan 2004 13:36:03 -0800 (PST) From: Paul Bryant Subject: Re: more BW I wrote: > 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? Susan wrote: > 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. I heard Sweet Insanity, of which I already enthused - that one's much better than BW's first or Imagination - and I heard the Andy paley stuff, which is ... erm... strange. I don't think old Brian has another Don't Worry Baby in him either, but if I was any kind of record exec I'd snap up Sweet Insanity and the Paley stuff as fast as you can say Eugene Landy - the sheer prestige of having big Bri on my label! Who cares how much it sells - surely you're gonna cover your costs! There you are - that's why I'm not a record exec! I might mention that I would also have told the Beatles that a CD composed of all their No 1s was a stupid idea and no one would buy it as everybody who wants their stuff has already got it. Would have been slightly wrong about that too. pb -------------------[ archived by Spectropop ]-------------------
Message: 10 Date: Thu, 08 Jan 2004 17:50:26 -0500 From: TD Subject: Re: Most Inept Hit Paul Bryant: > .. However, my pick for "worst ever guitar solo in a > hit record" is "Lightnin' Strikes" by Lou Christie - a > favourite of mine - but just listen again to the solo > - you talk about One Note Sambas - here's the one note > guitar solo. So this is also the winner of the Most > Minimalist Solo of all time too. Of all time? Listen to the guitar break in the Coaster's "I'm a Hog for You Baby". -- TD -------------------[ archived by Spectropop ]-------------------
Message: 11 Date: Thu, 08 Jan 2004 23:03:16 -0000 From: John Subject: Re: Most Inept Hit > Okay - what's your choice of the most badly performed > song ever to become a hit? No contest surely, it's got > to be Louie Louie by the Kingsmen - the drummer loses > the beat at one point. You know, it's funny; I would quickly answer "A Thousand Stars" by Kathy Young and the Innocents for her flat singing. But my wife loves it, and hates "Angel Baby", which I love. "Angel Baby" has a pretty bad sax solo, though - on part with "Blue Monday" by Fats, which may be the worst instrumental break I've ever heard in an otherwise slick record. John -------------------[ archived by Spectropop ]-------------------
Message: 12 Date: Thu, 08 Jan 2004 17:50:11 +0000 From: Phil Milstein Subject: Re: talking to music Paul Bryant wrote: > Quite true, and we might also mention at this point > the thin but persistent trickle of talking records > which have been hits over the years, from Hank > Williams' Luke the Drifter monologues, via "Ringo" by > Lorne Greene (a No 1! the only talking No 1?) and I > think "If" by Telly Savalas (eugh), and all the way > through to the amazing revival of talking records > called rap. From Luke the Drifter to Eminem! But rap is a very different animal than the tradition of talking records. While a well-made monologue, usually with music behind it, will be done with an actor's attention to rhythm, that rhythm should remain subtle, felt yet barely noticeable to the listener. In rap, however, the rhythms are overt, strong, in fact sometimes half the point of the entire record. If an analogy can be drawn in which talking is to walking as singing as to running, rap delivery is somewhere between a trot and a gallop. U.S. pop charts in the late '60s and early '70s were veritably lousy with talking records, but they seem to have gone the way of the instrumental hit and the novelty hit. A shame. --Phil M. -------------------[ archived by Spectropop ]-------------------
Message: 13 Date: Thu, 08 Jan 2004 23:15:08 -0000 From: Dave Heasman Subject: Re: Dodgy sound 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! I think it was deliberately recorded that way, trying to get the "live in the open air" sound. Specifically the sound on "Ray Charles In Person" -------------------[ archived by Spectropop ]-------------------
Message: 14 Date: Fri, 09 Jan 2004 00:41:56 +0100 From: Stephane Rebeschini Subject: Re: Tuesday Weld 45 lobsterman730 wrote: > Exactly, how RARE is the TUESDAY WELD 45, "Are You The Boy" > on Plaza Records? Can anyone share some light on the value > and the history of this recording? Fred Clemens: > I first heard it on Jim Pewter's ROCK SHOPPE, ca.1973-74, a > syndicated program that took the place of Gus Gossert's show > on WPIX 102FM in New York. He played it as a mystery song > where you had to guess the Artist, and apparently the song was > new then. The flip was called "All Through Spring And Summer", > which Pewter played a portion of when he revealed the answer. > I was told a couple of years later that it was on Warner Bros. > Records, though I've never seen a copy in any form. I would > say that it is VERY RARE (as opposed to ULTRA RARE). Hi You can hear both sides here, on a Tuesday Weld site: After listening, you'll surely understand why she recorded only this single (the vocals on "Are You The Boy" are on a class of their own, nice arrangements though...) Happy New Year/ Bonne Et Heureuse Année 2004 Stephane -------------------[ archived by Spectropop ]-------------------
Message: 15 Date: Thu, 08 Jan 2004 19:20:13 -0500 From: Rat Pfink Subject: Re: Most Inept Hit Paul Bryant wrote: > Okay - what's your choice of the most badly performed > song ever to become a hit? No contest surely, it's got > to be Louie Louie by the Kingsmen - the drummer loses > the beat at one point. "Angel Baby" by Rosie & The Originals RP -------------------[ archived by Spectropop ]-------------------
Message: 16 Date: Fri, 09 Jan 2004 00:14:49 -0000 From: lobsterman730 Subject: Tuesday Weld 45 Hi! I don't know about the soundtrack but the 45 "Are You The Boy" has got to be the WORST vocal performance ever! Totally off-key! -------------------[ archived by Spectropop ]-------------------
Message: 17 Date: Thu, 08 Jan 2004 19:33:52 EST From: Mike Rashkow Subject: Re: Ed & Sam Chalpin, His Father the Pop Singer Michael Greenberg: > It's a nutty record that I dug because of its incongruity, > but man, what an ugly (yet very well told!) story of > exploitation! Yuck! (and thanks!!) Thanks and good yuck to you. Di la, Rashkovksy -------------------[ archived by Spectropop ]-------------------
Message: 18 Date: Thu, 08 Jan 2004 19:27:33 -0500 From: Joe Nelson Subject: Re: Austin Roberts Interview - Arkade > Cool info from Austin: He wrote and sang lead on "Pretty Mary > Sunshine" and "Seven Days A Week" from the great, original > SCOOBY DOO cartoon. Both songs are among my two boys' favorites! Why do I remember Kid Rhino putting out a Scooby Doo, Where Are You? CD of the music from the show? Austin's also going to be doing an interview with Jim Abbott from the 60's and 70's Show at WNHU in New Haven, CT, and it'd be a groove to get a hold of that music to play on the show. Joe Nelson -------------------[ archived by Spectropop ]-------------------
Message: 19 Date: Thu, 08 Jan 2004 19:36:03 -0500 From: Joe Nelson Subject: Re: Worst 45 pressings 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! anon: >Surely "Quarter to Three" was intended to sound "like it was >recorded with the microphone stuck in a closet or under a >blanket". Wasn't that the magic? I think it was more the use of sound-on-sound overdubbing, which degrades heavily as each new sound takes the tape back another generation. If you listen carefully, some sounds are further under the blanket than others. The crowd noises, added to create a party atmosphere and dress up an otherwise uninspired performance - were the last thing recorded and are crystal clear. I have to look into this further, but I thought I heard a microphone bounce at the beginning of the track. This suggests to me that something was dubbed in by putting a microphone in front of a tape recorder/phonograph speaker rather than directly going into the board. That'd get the sound for sure. Joe -------------------[ archived by Spectropop ]-------------------
Message: 20 Date: Thu, 08 Jan 2004 19:38:53 -0500 From: Doc Subject: 4 Seasons Does anyone know if there is a CD of the 4 Seasons, in mono, the 45 mixes? Thanks. Doc -------------------[ archived by Spectropop ]-------------------
Message: 21 Date: Thu, 08 Jan 2004 19:59:05 -0500 (Eastern Standard Time) From: Paul Balser Subject: Re: Most Inept Hit Paul Bryant: > Okay - what's your choice of the most badly performed > song ever to become a hit? No contest surely, it's got > to be Louie Louie by the Kingsmen - the drummer loses > the beat at one point. Rat Pfink: "Angel Baby" by Rosie & The Originals Wooly Bully gets my vote. -------------------[ archived by Spectropop ]-------------------
Message: 22 Date: Thu, 08 Jan 2004 20:03:05 EST From: John Fox Subject: Re: Artie and Sally Dan Hughes, If we can't get Artie Butler as a Spectropopper, can you at least ask him why there are two completely different versions of "Sally Go 'Round The Roses" going 'round--one with an organ (far superior) and one without? I even think the one with no organ adds an extra line of singing or two. Thanks, John Fox -------------------[ archived by Spectropop ]-------------------
Message: 23 Date: Thu, 08 Jan 2004 20:10:58 EST From: Jimmy Crescitelli Subject: The Swans, and Alder Ray Okay... it's time for more girl-group minutiae! I've been playing Touch the Wall of Sound, Volume 2, in the car, and "A Little Lovin' Goes A Long, Long Way" never sounded so great. MAN! And my fave of the week is the Swans' "I Love Him". Queries: do there exist any photos of the Swans, and Alder Ray? And one of the Swan's backup singers has a VERY deep voice... anyone know who these ladies were? Jimmy Crescitelli -------------------[ archived by Spectropop ]-------------------
Message: 24 Date: Thu, 08 Jan 2004 20:17:26 EST From: Mike Rashkow Subject: Re: Most Inept Hit Paul Bryant wrote: > Okay - what's your choice of the most badly performed > song ever to become a hit? No contest surely, it's got > to be Louie Louie by the Kingsmen - the drummer loses > the beat at one point. RP: > "Angel Baby" by Rosie &The Originals 96 Tears???? I'm sure there's been worse but that just came to mind. Rashkovsky -------------------[ archived by Spectropop ]-------------------
Message: 25 Date: Thu, 08 Jan 2004 20:15:00 EST From: Susan Subject: Re: Brian and his imitators Watson responds to me: > 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. > Ah - someone has mentioned the Elephant In The Room. The > evidence and the claims do not match up. In all seriousness, > beware of mines here, Susan; I've been threatened - physically > - for suggesting this. And it has been going on for a lot > longer than people like to think. If engineer Steve Desper > is to be believed, all that wonderful Brianism on the Spring > album was the work of David Sandler; Desper insisted in an > interview that Brian's contribution to the album had been > "minimal". Something to do with brand recognition. Yes, I've heard this, too, and I believe others have made this assertion as well. And I'd say Stephen Desper is a pretty credible source. His memory for detail is encyclopedic, as he demonstrated at the convention this past summer, and he is not someone I've ever heard called a liar... That having been said, my personal opinion is that Andy Paley was able to take what Brian was offering and "Bri-ify" it. I think songs like "Desert Drive" tend to be more Andy, and things like "Soul Searchin'" and "It's Not Easy Bein' Me" are more Brian. My point was, however, that THIS is the best stuff that Brian has come up with in a long time. He and Andy clearly get on well together musically, and these songs are terrific examples of a recent, positive collaboration in which Brian has engaged. That's still my point. -------------------[ archived by Spectropop ]-------------------
Message: 26 Date: Thu, 08 Jan 2004 17:24:09 -0800 From: Scott Swanson Subject: Re: Grapefruit Didn't Mark Wirtz produce Grapefruit at some point?? Just wondering, Scott -------------------[ archived by Spectropop ]-------------------
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