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Spectropop - Digest Number 1232



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

Topics in this digest:

      1. Gene Pistilli
           From: Mike Rashkow 
      2. Re: Where Were You When I Needed Ya?
           From: Albabe Gordon 
      3. How Sweet It Is
           From: Phil Milstein 
      4. Re: Medicine Man
           From: Mike McKay 
      5. Re: Worst Lead Vocal
           From: Lapka Larry 
      6. How I Won The War
           From: Christian Gordon 
      7. Classical music / the Shirelles / Answer songs
           From: Mike Edwards 
      8. Re: The Chiffons - "My Secret Love"
           From: Mike McKay 
      9. Re: Tuesday Weld 45
           From: Fred Clemens 
     10. Re: Most inept hit
           From: Mike McKay 
     11. Re: Vinyl / Styrene and Stylus
           From: Albabe Gordon 
     12. Re: Wilson Paley / doing the Napoleon / most inept Rosie & Originals' cut
           From: Phil Milstein 
     13. Re: Most Inept Hit -- Angel Baby
           From: John Fox 
     14. Re: U.S. Bonds
           From: Simon White 
     15. Re: Tuesday Weld 45
           From: Frank 
     16. Re: Iveys / Badfinger / Inept Hits / Todd / Tuesday / Welcome
           From: Albabe Gordon 
     17. Mods
           From: Frank 
     18. Re: Austin Roberts Interview - Arkade/Austin R. music
           From: Clark Besch 
     19. Re: Most Inept Hit
           From: Billy G. Spradlin 
     20. Re: Worst 45 pressings
           From: Billy G. Spradlin 
     21. Re: Gerri Granger @ Musica
           From: Brian Davy 
     22. Alder Ray
           From: David Coyle 
     23. Spector piece
           From: Kevin Coral 
     24. Re: Peggy Lee in Pete Kelly's Blues
           From: TD 
     25. Re: 4 Seasons in Mono
           From: Billy G. Spradlin 


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Message: 1 Date: Thu, 08 Jan 2004 21:26:25 EST From: Mike Rashkow Subject: Gene Pistilli clevesoulie writes: > Austin--whatever happened to Gene Pistilli? I know he broke it > off with Cashman and West to form the Manhattan Transfer, but > I don't think I've heard anything about him since. Directed to Austin, but I can tell you that he is in Nashville. Wrote "Too Gone For Too Long." Randy Travis recording about 10 years back -- I'm sure he has done OK down there. Austin is in touch with him, he'll be able to provide more detail. Di la, Rashkovsky -------------------[ archived by Spectropop ]-------------------
Message: 2 Date: Thu, 08 Jan 2004 18:36:49 -0800 From: Albabe Gordon Subject: Re: Where Were You When I Needed Ya? Hey Glenn: Re: Vocals on WWYWINY. Have you tried to play both versions on separate players to see if you can sync them, and then see if only the vocal phases? Just a suggestion. -------------------[ archived by Spectropop ]-------------------
Message: 3 Date: Thu, 08 Jan 2004 22:01:31 -0500 From: Phil Milstein Subject: How Sweet It Is A brief thread here in the past week or two referred to "How Sweet It Is," by Picardy (or The Picardy Singers). I'm a bit confused about the history of this record. A friend of mine included it on a CD-R he made for me from the soundtrack album for a 1968 movie of the same title (although with an "!" added at the end of the latter), but listed the composer as Pat Williams (with whom I'm otherwise unfamiliar). Other titles discussed here in the same breath as HSII (i.e., "Montage") do not appear on the CD dub (which, knowing my friend's dubbing tendencies, might be abridged from the full LP). The title song is a piece of joy itself -- the very essence of "sunshine pop," if I understand the term correctly -- and I would love it if someone could straighten me out on what's what and who's who with this song/album/movie. --Phil M. -------------------[ archived by Spectropop ]-------------------
Message: 4 Date: Thu, 08 Jan 2004 22:22:58 EST From: Mike McKay Subject: Re: Medicine Man > ...and it was COME ACROSS. > ...funny, but I thought it was "Come-a Close"! > This is one of the more controversial "mondegreens". I always > thought it was "Common Cold" (makes perfect sense for a medicine > man, no?). Hooray! This is what I always thought was being sung here as well, but I was too embarrassed to mention it. Thanks, buddy! Mike -------------------[ archived by Spectropop ]-------------------
Message: 5 Date: Thu, 08 Jan 2004 19:25:01 -0800 (PST) From: Lapka Larry Subject: Re: Worst Lead Vocal Dear All: Most of the others that were named were pretty bad, but the worst lead vocal from the 1960s era--and one that was on a record that was a hit--was Gary Lewis' rendition of "Sealed With a Kiss." He simply can't carry this tune, his voice cracks right in the middle, and it is a shambles--all the way up to #19 on the Billboard charts. The worst sounding record of the 1960s: "You Must Have Been a Beautiful Baby" by the Dave Clark Five. It's all mush, and you have to hear it on one of those bootleg/legit CDs that came out some years ago to actually hear what a good job they do on this. Larry Lapka -------------------[ archived by Spectropop ]-------------------
Message: 6 Date: Thu, 08 Jan 2004 22:29:10 -0500 From: Christian Gordon Subject: How I Won The War Anyone seen this movie? John in transitional 1966 phase for sure - really cool to see. However, the humor was more than a little hard to get. Way out there. Any opinions, let me know. CG -------------------[ archived by Spectropop ]-------------------
Message: 7 Date: Fri, 09 Jan 2004 03:44:34 -0000 From: Mike Edwards Subject: Classical music / the Shirelles / Answer songs John Lang writes: > You have to remember that the kind of audio equipment people > were listening to in those days was very primitive by modern > standards. So peoples' expectations regarding the technical > brilliance of the recorded product were much less acute than > they are today. Not only that but most of the listening public > for pop music in those days had little or no training in classical > music, You're right, John, I had absolutely zero training in classical music in 1963 although I did like "Nut Rocker" by B Bumble & The Stingers from the prior year. > so the kind of offkey singing that you might find in the Shirelles > for example (which in my humble opinion contributes greatly to > their charm!) just didn't really register back then as being 'bad'. Right again, John. I did not think that any of the Shirelles' records were "bad". In fact I thought all of them were good. Still do. "Foolish Little Girl" was an absolute gem (as was the version by the Cookies). The best 5 records by the Shirelles were: Foolish Little Girl, 1963 Tonight You're Gonna Fall In Love With Me, 1964 Baby It's You, 1961 Will You Still Love Me Tomorrow, 1960, and Sha-La-La, 1964 Long Day, Short Night (bonus - Bacharach-David song, not released until it appeared on a compilation album in the 80's) Which leads to answer records: Bertell Dache - Not Just Tomorrow, But Always (UA) 1961 Jon E. Holiday - Yes, I Will Love You Tomorrow (Atlantic) 1961 Mike -------------------[ archived by Spectropop ]-------------------
Message: 8 Date: Thu, 08 Jan 2004 22:49:51 EST From: Mike McKay Subject: Re: The Chiffons - "My Secret Love" Phil Hall wrote: > 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? Tracks on "My Secret Love" (with composers indicated, as most are of interest): Secret Love (Fain-Webster) You're the Love of a Lifetime (Ronnie Mack) Soul (Spencer-Radcliffe) I Don't Deserve a Boy Like You (Kolber-Keller) Strange, Strange Feeling (Margo, Margo, Medress and Siegel) Now That You're My Baby (Goffin-Kornfield-Wine) The First and Last (Goffin-King) Remember Me Baby (Weil-Mann) It Hurts to Be Sixteen (Sedaka-Greenfield) Every Boy and Every Girl (Barry-Greenwich-J. Hamiph) Interestingly, in the midst of this august company, it's the Ronnie Mack song that fares the best, from both a composition and performance standpoint. I believe I've heard it said that this album consists of leftovers from earlier Chiffons sessions over the years. It sure doesn't sound like something anyone (even The Tokens, bless 'em) would have been doing in 1970. And while I bow to no one in my love of The Chiffons, this is probably some of their weakest work overall. This gives me the opportunity to pose a question I think I know the answer to, but I'll throw it to the experts here to confirm that which I dread: has The Chiffons sublime "What Am I Gonna Do with You (Hey Baby)" ever been reissued anywhere on the planet on CD? There are many Chiffons comps with just about everything (other than the "Secret Love" tracks) on them, but I've yet to see this anywhere. I've said it before and I'll say it again: this is the single most beautiful girl group record ever recorded by anyone...anywhere. While I have it on the LP "Flips, Flops and Rarities" (and had the original single before that), it's got a few pops and tics. I'd love to hear it nice and clean once before I die! Mike -------------------[ archived by Spectropop ]-------------------
Message: 9 Date: Fri, 09 Jan 2004 04:01:37 -0000 From: Fred Clemens Subject: Re: Tuesday Weld 45 Stephane wrote: > You can hear both sides here, on a Tuesday Weld site: > http://www.kokonino.com/weldrecords.html > 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...) Thanks for the link, Stephane! I haven't heard either side in 30 years, on the Pewter program. They're exactly how I remember them. Her singing abilities aside, they're still a nice couple of sides. Fred Clemens -------------------[ archived by Spectropop ]-------------------
Message: 10 Date: Thu, 08 Jan 2004 23:08:41 EST From: Mike McKay Subject: Re: Most inept hit I don't say that this qualifies the song overall as the most inept, but it might start an interesting subcategory... Ever notice how the drummer on The Rebels' "Wild Weekend" gets totally out of synch with the rest of the band toward the end of the track? The normal "surf" drum pattern is two snare drum beats on 2 and one beat on 4. But for the last verse or so he's playing this pattern on 1 and 3. Any other nominations for this kind of very obvious musical "mistake" on well-known records? Meanwhile, fie upon anyone who characterizes "Louie Louie" by The Kingsmen as inept. Energy and drive can make up for a lot of lack of musical perfection. The bass player cooks, and I nominate this and The Kinks' "All Day and All of the Night" for the most savage drumming on any Top 40 hit of the 60s -- and I mean that in the best possible way! (Honorable mention to Johnny B. on "Devil with a Blue Dress/Good Golly Miss Molly.") -------------------[ archived by Spectropop ]-------------------
Message: 11 Date: Thu, 08 Jan 2004 20:11:23 -0800 From: Albabe Gordon Subject: Re: Vinyl / Styrene and Stylus Simon says: > ...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. Ouch! steveo said: > I also remember record wiping cloths, but was warned that the > silicone in them would take off the highs. I guess silicone is little teeny tiny particles floating in a liquid. I have heard from some car aficionado friends that, for instance, the silicone product ArmorAll will really mess up the rubber on your car if you start using it and then don't continue to re-apply it generously over the life of the rubber. But I digress. ... More steveo: > I also heard that playing the disc more than once before resting it, > would also shave off the highs I have heard that, that happens because of how fast or slow the little "mountains of music" "reset" themselves in the valley of the grooves (the "memory" quality of the material) . If you haven't given them enough time to go back to their original position, supposedly they get broken because of the angle and the extra distance the plastic has to move. But this all may be silly made-up pseudo-tech talk from psedo- science-informed DJs. And even more steveo: > Dirt was an enemy of records, so Chris would often wash them with > "Joy" dishwashing soap. For me, i always felt it was lubrication of > the needle that was important, so i would try to do that. Dish-washing detergent is a record wonder-drug in many ways ... as long as you don't snort it. On an oldies program that I worked on, we would drop a spot of dish-washing liquid in some warm water so that the water would have more surface tension and therefore stick to an old popping 45's surface when we applied it. This would cut down on the surface noise (and the highs) so the record wouldn't sound so staticy as we recorded it on a "cart" for later airplay. Not great for fidelity but certainly less noisy. I've haven't heard much about lubricating a needle, except to remove the static charge. (Looks like we need a real Mr. Wizard in here to explain these amazing "facts.") Dan Hughes said: > Needles made for radio station turntables were constructed so that > they could play either direction without harm to the record, so > cueing by backing up the record was no problem. I always heard that the pro stylus' were made sturdier to take constant abuse, but that they would cause more "Q burn." That's not true? (I love learning new stuff.) > Once in a while a needle would be damaged and could destroy records - > I remember once when I was backing up a record to cue it, and I > watched in horror as a furrow of plastic was plowed -- it just rose > right into the air -- by the needle as I spun the record backwards." More ouch! Dining on some nice fried walnuts in the Twilo Zone, ~albabe -------------------[ archived by Spectropop ]-------------------
Message: 12 Date: Thu, 08 Jan 2004 23:14:29 -0500 From: Phil Milstein Subject: Re: Wilson Paley / doing the Napoleon / most inept Rosie & Originals' cut Susan wrote: > 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. On what album(s) can Brian's Paley sessions be found? Mark wrote: > Years after Samuels's fleeting success with the music biz, he > founded the Tinder Box chain of tobacco shops, which were staples > in suburban malls a while back. I don't know if they're still in > existence, though. I've got an interesting bit on Samuels on my website, about a tune of his cut by Johnny Ray in 1954, when Samuels was only 16. The page it's on is devoted to odd little articles taken from the pages of "Songwriter's Review," a strange little tipsheet for amateur songwriters, so y'all might enjoy browsing through some of the other pieces (which cover the years 1947-1971) on there, as well. It's at http://www.aspma.com/sr.htm -- look for the link to the Napoleon XIV article near the top. (I should mention that the only evidence I have that the Jerry Samuels mentioned there is the same as the one who later created "They're Coming To Take ..." is circumstantial, but it is strongly so, enough to convince me and even moreso given Larry Lapka's confirmation that Samuels was, as the article mentions, from New York.) Rat Pfink wrote: > "Angel Baby" by Rosie & The Originals This seems to be the concensus opinion, and I'm not about to disagree. Yet if you flip that sucker over, "Give Me Love" will by contrast make "Angel Baby" sound like it had the ears of a Wilson or Spector working it. ("Give Me Love," I should note, does not include Rosie herself.) --Phil M. -------------------[ archived by Spectropop ]-------------------
Message: 13 Date: Thu, 08 Jan 2004 23:29:06 EST From: John Fox Subject: Re: Most Inept Hit -- Angel Baby "Angel Baby" by Rosie & The Originals: Out of tune guitar at the beginning? Starting out in the wrong key and then lowering it one key? Out of tune sax solo? Rosie's singing so high only a dog can hear it? And the worst drumming ever--one entire verse the snare is completely off the beat? I agree completely on the ineptitude of this hit. A close second is Dion's "The Majestic" -- He can't hit any of the high notes, and the lyrics are absurd (he doesn't tell you anything about the dance except to "do it"; and why, in a geographic bandwagon akin to "Sweet Little 16", would anyone mention "the Dakota states"?). Another out-of-tune sax classic is Ron Holden's "Love You So". Now about "A Thousand Stars": The music track is weird, lacking a bass. The Innocents' harmonies are a bit off-key (but not as bad as in "Happy Birthday Blues"). Yeah -- it was probably done in one take. But please don't say that Kathy Young's singing is flat -- after all, I feel about her the same way Mike McKay and others feel about Mary Weiss! John Fox -------------------[ archived by Spectropop ]-------------------
Message: 14 Date: Fri, 09 Jan 2004 04:35:41 +0000 From: Simon White Subject: Re: U.S. Bonds Richard Williams wrote: > 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? Pre-exactly -- or at least that was always my understanding. All Gary's early 45's sound like that! My personal fave is "Not Me," which has a great lyric. Which is first, Gary's or The Orlons'? Or is there another? Simon Holy Mackeral! -------------------[ archived by Spectropop ]-------------------
Message: 15 Date: Fri, 09 Jan 2004 04:41:21 -0000 From: Frank Subject: Re: Tuesday Weld 45 lobsterman730 wrote: > 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! Tuesday Weld lip-synched 2 songs in the early R&R movie, "Rock Rock Rock", in which she co-starred with Teddy Randazzo and Alan Freed. They must have realized that Tuesday was no singer because Connie Francis' voice was dubbed in. She did not let this stop her. About 10 years later, she attempted to sing in another film, "I'll Take Sweden" (Frankie Avalon & Bob Hope). Her song "Give It To Me" was on the UA soundtrack LP. It is the only mono track on the album. It is not very good, but Tuesday did live up to her image as a sexpot. -------------------[ archived by Spectropop ]-------------------
Message: 16 Date: Thu, 08 Jan 2004 20:56:16 -0800 From: Albabe Gordon Subject: Re: Iveys / Badfinger / Inept Hits / Todd / Tuesday / Welcome Eddy wrote: >"Maybe Tomorrow" is by The Iveys. It's also the last song on the first Badfinger album. I'm not sure if they re-recorded it after their name-change. Dan Matovina would know. Danny? You here? Besides writing a great book on Badfinger and producing two really swell Pete Hamm demos CDs (among other things), Dan has had a few really cool Iveys projects in the works for a few years now. But, as per usual, legalities and personalities get in the way. http://www.mindspring.com/~crimson3/ Rat Pfink wrote, on Most Inept Hit: >'"Angel Baby" by Rosie & The Originals And the piano is out of tune. So is the sax. I think that's called "charm." More Inept Hits??? "96 Tears" and "Wolly Bully???" BLASPHEMY!!! Re: Todd's "Something. Anything?": One of the absolute best albums of all times -- all 4 sides. And as for Tuesday Weld: In my personal opinion, you don't get any prettier, so who cares if she can sing (kidding). http://www.fabianforte.com/images/tuesdayweld.jpg http://profmendez.tripod.com/html/apart3G.htm Hi, Mr. John Sellards. Welcome to the madhouse. "Watchit, na, watchit..." ~albabe -------------------[ archived by Spectropop ]-------------------
Message: 17 Date: Fri, 09 Jan 2004 07:59:30 +0200 From: Frank Subject: Mods Howard wrote: > 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!! Welcome Howard to this great group, your mention of the Mod scene brings back memories of street fightings in Brighton between Mods and Rockers. I was there, this was really something. ... Frank -------------------[ archived by Spectropop ]-------------------
Message: 18 Date: Fri, 09 Jan 2004 07:12:56 -0000 From: Clark Besch Subject: Re: Austin Roberts Interview - Arkade/Austin R. music Mike Dugo wrote: > I know Austin has been kind enough to respond to many questions > via this list, but I'd like to welcome any and all questions from > fellow Spectropoppers. If you have questions you'd like to ask > Austin, please send them to me, mike @ 60sgaragebands.com (no > spaces). I'll be sure to include them into my interview. Mike, glad to see you expanding your horizons! Now, about the title of your website with respect to interviewing a member of the Arkade?? Just joking. Makes me thing of how Doug Richard and I came up with "Strictly 60's" for our radio show in 1980. Doug left a couple of years later and I began branching out, including some later stuff when appropriate and 60's sounding, so I eventually changed the name to "Wild Wednesdays" (say, doesn't NBC or someone use that now?) and eventually, to show that my musical tastes were sometimes thought of as "skewed" and since I was including songs from 60's to 80's, the name became "60/80 Hindsight". OK, Mike, I'll stop now. By the way I have your project completed! Amazing, huh? With my posting of Austin's "One Word" and the stereo "Morning of Our Lives" "in cue", I spent some time digging out my Austin 45s. With Austin's permission only (sorry I didn't consult you on "One Word", but it SHOULD be heard!), I could likely post any of these songs. Not sure if I found all I have, but a couple of early efforts on Philips would be "Mary & Me", b/w "I'll Smile" as well as a mono/stereo "One Night Ann", the Chelsea 45s including the Bobby Hart co-written "Somethin to Believe In" mono/stereo (non-LP?) as well as "Rocky's" B-side "You Got the Power" which I just noticed was co- written with Kenny O'Dell, whom I'd just been writing about!! Any comments from Austin on Kenny would be appreciated in the interview. Also, the 1978 mono/stereo "Don't Stop Me Baby (I'm On Fire)" -- OH THOSE DASTARDLY BRACKETS AGAIN!! The latter from Bobby Goldsboro's House of Gold Music publishing. Man, as I look at these CDs, there all kinds of interwinding threads here. We were talking of Jim Croce and mono-stereo compatible records. Well, another question for Austin would be his involvement if any in the group or artist Horatio?? I was interested in their Buchanan Brothers-era 45 "Age" when it came out. Later, I realized the writer was Jim Croce, after he became famous. In fact, I think his version is on the Capitol LP he had in '68 or so. Anyway, I have 2 45s by them listed as "Compatible-mono-stereo," of course, and other than the Croce-penned tune, the other 3 sides are Cashmen, Pistilli, West composiions. Is there a chance Austin was Horatio?? Anyway, that's about enough to yak about at the moment. Thanks for reading this! Clark -------------------[ archived by Spectropop ]-------------------
Message: 19 Date: Fri, 09 Jan 2004 07:52:18 -0000 From: Billy G. Spradlin Subject: Re: Most Inept Hit "Angel Baby" has one of the sickest sounding, most amateur sax solos ever committed to vinyl. How this record connected with a national audience I will never know. "Wild Weekend" sounds like the Rebels practiced a few times before they recorded it. I think its one of the best instro's of the early 60's just for the cool slapback ("Thunk-Thunk-Thunk"), splashy cymbals and badass guitar solo. Great early garage rock! I'll take it over "Theme from a Summer Place" any day (though it doesn't beat "Telstar")! My pick: Royal Teens "Short Shorts" and Chuck Berry's "My Ding-A- Ling". Billy http://listen.to/jangleradio -------------------[ archived by Spectropop ]-------------------
Message: 20 Date: Fri, 09 Jan 2004 08:10:09 -0000 From: Billy G. Spradlin Subject: Re: Worst 45 pressings 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? That was what Producer Frank Guida wanted. From what I remeber he re-recorded the crowd 5 times over the master tape to get that sound. Guida produced some of the crudest sounding records ever made. It's been rumored his studios only had "consumer grade" mics, mixers and tape recorders, to cover the deficiencies he used a lot of compresson, tape saturation (recording into the red), and lots of overdubbing of the bass drum to fatten the sound. Even Spector copied his style on "Not Too Young To Get Married". Billy http://listen.to/jangleradio -------------------[ archived by Spectropop ]-------------------
Message: 21 Date: Fri, 09 Jan 2004 18:37:29 -0000 From: Brian Davy Subject: Re: Gerri Granger @ Musica Me: > 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. Mick Patrick: > Steady, Brian, you don't *have* to beg. Some of us need little > persuading filling musica with fab black chicks. Not that I > have anything against all these mimsy white boys. Well, not > much. :-) > > As it's not out on CD - well, not to my knowledge - Gerri > Granger's "Just Tell Him Jane Said Hello" (Big Top 3150, 1963) > is now playing @ musica. Gerri deserves a whole CD of her own. > Fat chance, I guess. "Stick Close", anyone? Mick - Thanks for answering my request. Any chance that this song might end up on one of your future compilations? Brian -------------------[ archived by Spectropop ]-------------------
Message: 22 Date: Fri, 09 Jan 2004 07:14:05 -0800 (PST) From: David Coyle Subject: Alder Ray Jimmy Crescitelli: > ..."A Little Lovin' Goes A Long, Long Way" (by Alder Ray)... Is this the same song that was recorded by the Liverpool beat group the Fourmost in 1964? David -------------------[ archived by Spectropop ]-------------------
Message: 23 Date: Fri, 09 Jan 2004 05:22:18 -0000 From: Kevin Coral Subject: Spector piece hi, any u.k. spectropoppers happen to have a copy of the story on phil that ran in the jan. 3rd editon of the daily mail? any help with tracking this article down would be most appreciated!! thanks, kevin coral -------------------[ archived by Spectropop ]-------------------
Message: 24 Date: Fri, 09 Jan 2004 03:36:11 -0500 From: TD Subject: Re: Peggy Lee in Pete Kelly's Blues Country Paul wrote: > ...Mea culpa re: Peggy Lee's "Sing A Rainbow." I remember "He's > A Tramp" from "Lady and The Tramp" and elided the former into the > latter. I've never seen "Pete Kelly's Blues"; am I missing > something? Thanks for fact-checking me, TD. So - is it on a CD > anywhere? Yes! You are missing something. Produced and directed by Jack Webb, "Pete Kelly's Blues" is set in Kansas City of 1927, with colorful hard-boiled dialogue written by Richard Breen (Webb's collaborator on "Dragnet" and the 1951 radio series "Pete Kelly's Blues"). Like "Lady and the Tramp", I first saw "Pete Kelly's Blues" on the big screen when I was in elementary school, and it inspired me to buy Dr. Marshall Stearns' "History of Jazz". Someone who is hip enough to confuse Peggy Lee's work in "Pete Kelly's Blues" and "Lady and the Tramp" will enjoy Ella Fitzgerald singing the theme "Pete Kelley's Blues" and Peggy Lee singing "Sugar", "He Needs Me" -- the scene of Peggy Lee singing "a rainbow" is haunting. For her portrayal of Rose Hopkins, Peggy Lee was nominated for the Best Supporting Actress Oscar. I don't know about CDs, but the last time I saw "Pete Kelly's Blues" it was part of a Turner Classic Movie channel "homage" to Jack Webb. -- TD -------------------[ archived by Spectropop ]-------------------
Message: 25 Date: Fri, 09 Jan 2004 08:36:48 -0000 From: Billy G. Spradlin Subject: Re: 4 Seasons in Mono Doc wrote: > Does anyone know if there is a CD of the 4 Seasons, in mono, > the 45 mixes? Ace Records reissued "Edizione D'oro" on CD back in the mid 90's and instead of going all-stereo, it used the mono mixes of many singles, and the alternate stereo remixes done for that album. 1. Sherry (mono) 2. Big Girls Don't Cry (mono) 3. Connie-O (mono) 4. Walk Like a Man (mono) 5. Candy Girl (mono) 6. Marlena (mono) 7. Peanuts (mono) 8. Ain't That A Shame (alternate remix, Frankie isn't double-tracked) 9. Dawn (alternate remix, doesnt have the slow "Pretty as.." intro) 10. Stay (mono) 11. Big Man In Town (mono) 12. Alone (mono) 13. Save it For Me (alternate remix, Frankie isnt doubled-tracked and theres more reverb on the vocals) 14. Girl Come Running (stereo remix, might be different from the mono version, need to compare) 15. Ronnie (still in mono) 16. Rag Doll (mono - the stereo mix is on Ace's "Dawn/Rag Doll" 2-fer) 17. Bye Bye Baby (mono) 18. Toy Soldier (mono) 19. Let's Hang On (stereo - with the slow introduction in mono) 20. Dont Think Twice (It's Alright) (mono) 21. Working My Way Back To You (mono) 22. Opus 17 (mono) 23. I've Got You Under My Skin (mono) 24. Beggin' (mono) 25. Silence Is Golden (mono) 26. C'mon Marryanne (mono) For some reason Ace pulled it off the shelf right after it was released, and it's been impossible to find. I've had to do with a CD-R copy. Billy http://listen.to/jangleradio -------------------[ archived by Spectropop ]-------------------
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