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Spectropop - Digest Number 1233



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               SPECTROPOP - Spectacular! Retro! Pop!
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There are 27 messages in this issue.

Topics in this digest:

      1. Re: Stewball, The Left Banke, Melodies Rule, etc.
           From: Glenn 
      2. Re: How about brilliant tracks with ONE inept ingredient!
           From: Paul Bryant 
      3. Jaynetts & other sing-a-long flipsides
           From: Michael Fishberg 
      4. Re: The Swans and Alder Ray
           From: Mick Patrick 
      5. Re: 4 Seasons 45s mixes
           From: Lou 
      6. Re: Most inept hit
           From: Hugo M. 
      7. Re: Vance-Pockriss query
           From: Laura Pinto 
      8. Re: Answer Songs
           From: David Coyle 
      9. Re: Most Inept Hit
           From: David Coyle 
     10. Gene Hughes (Casinos:'Then You Can Tell Me Goodbye') Benefit Show
           From: Skip Woolwine 
     11. Re: MacArthur Park
           From: sarah vaughn 
     12. New member
           From: Lloyd Thaxton 
     13. Re: Hello everyone
           From: Phil Milstein 
     14. Re: Grapefruit
           From: Scott Swanson 
     15. Re: How about brilliant tracks with ONE inept ingredient!
           From: Mike McKay 
     16. Re: The Buchanan Brothers/Cashmen/Morning Mist, etc etc
           From: Clark Besch 
     17. Re: Jimmie Haskell / Louie Shelton / Clingers
           From: Patrick Rands 
     18. Re: Most Inept Hit
           From: steveo 
     19. Re: Rapper DJs' use of vinyl records
           From: Rodney Rawlings 
     20. Re: Worst Lead Vocal
           From: Bob 
     21. Re: Best lyrics / more on parentheses
           From: Phil Milstein 
     22. Re: How Sweet It Is
           From: Dan Hughes 
     23. Re: U.S. Bonds
           From: Tom Taber 
     24. Re: Gene Pistilli
           From: Austin Roberts 
     25. Answer to Peter Kearns
           From: steveo 
     26. Re: Most Inept Hit -- Angel Baby
           From: John Sellards 
     27. Re: How about brilliant tracks with ONE inept ingredient!
           From: Phil Milstein 


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Message: 1 Date: Fri, 09 Jan 2004 08:51:00 -0000 From: Glenn Subject: Re: Stewball, The Left Banke, Melodies Rule, etc. Jeff Lemlich wrote: > 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. Yes, I DO now remember that song being sung in the film. But to say that "the instrumental was based on that song" seems a bit backwards, IMHO - the score by Nino Rota, who was a film composer and not a pop songwriter, makes extensive use of two major instrumental themes, one for Romeo and one for Juliet - and "What Is A Youth" is basically Juliet's theme with a lyric and that "silly middle eight" added. All the music in the film, including the song's melody, is by Rota. Also, "Love Theme from Romeo and Juliet" as we know it is actually in the film in its full version, played in the scene in the tomb at the end. So Juliet's Theme, "What Is A Youth" and the "Love Theme" are three related, but not identical, pieces. The latter was the basis for the instrumental hit single. It was also the basis for the "A Time For Us" lyric that was created post-film by people unrelated to the film project. While not quite as bad as the lyrics tacked onto "Love Is Blue" and "Exodus", they were still equally unneccessary, and equally destructive to the melody. But you are absolutely correct that this example doesn't hold up as well as the others, just knowing that the composer of the theme even CONSIDERED allowing ANY words to be put to it, much less that he actually allowed it to happen in his own film score. "Middle eight", eh? Wow, I've only ever heard British songwriters refer to the bridge as "the middle eight" before. Are you a British songwriter by any chance? Cheers, Glenn -------------------[ archived by Spectropop ]-------------------
Message: 2 Date: Fri, 09 Jan 2004 01:43:50 -0800 (PST) From: Paul Bryant Subject: Re: How about brilliant tracks with ONE inept ingredient! Peter Kearns wrote: > My example is a slightly different concept; the otherwise great > recording that has an ingredient so off-putting you'd wonder why > the producer let it through. Okay - interesting -- you give two examples of off-key backing singing, My Sweet Lord and You're Gonna Lose that Girl. I'll put up my hand and say I honestly never heard these as off-key at all! So here's the perfect forum to ask the question - what does everyone else think? My example of your excellent concept is slightly outside the scope of Spectropop, Gene Clark's masterpiece "No Other" -- a fantastic album, but since it was 1974 the producer thought he'd spray truly hideous wah-wah guitar over one of the best songs. Wah wah wah! pb -------------------[ archived by Spectropop ]-------------------
Message: 3 Date: Fri, 09 Jan 2004 03:22:43 -0800 (PST) From: Michael Fishberg Subject: Jaynetts & other sing-a-long flipsides Further to the Jaynetts' "Sally Go 'Round The Roses" - the flip was just the backing track (with the girls faintly heard). I think I've got another 7" on Tuff by another group that has this poor value phenomenon. Michael Fishberg -------------------[ archived by Spectropop ]-------------------
Message: 4 Date: Fri, 09 Jan 2004 20:30:59 -0000 From: Mick Patrick Subject: Re: The Swans and Alder Ray Jimmy Crescitelli: > 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? Ooh good, girl group minutiae. My favourite! Hey Jimmy, you'll find a nice ('70s) pic of Alder Ray in the S'pop photos section. Click here http://www.spectropop.com/go2/members.html then click on "Photos". Have a look around while you're there, why not. A search of recent messages will reveal more about Alder too. David Coyle: > Is this the same song that was recorded by the Liverpool beat > group the Fourmost in 1964? Actually, the Alder Ray track is "A Little Love (Will Go A Long Way)". They got the title wrong on the bootleg CD Jimmy mentions. So no, it isn't the same song as the Fourmost. Likewise, the correct title of the Swans' track is actually "He's Mine", not "I Love Him". I've never seen a photo of the Swans but I can tell you that they were from Camden, New Jersey and included sisters Tina and Jean Thomas in their line-up. I think they also recorded as the Dreamers (on Fairmount) and later evolved into the Mellowmoods. Of course, "A Little Love (Will Go A Long Way)" by Alder Ray and "He's Mine" by the Swans are both out on legit CDs. But you all know that already, right? Gotta trot, Sex In The City is about to begin. I can't possibly watch it dressed like this. Hey la, Mick Patrick -------------------[ archived by Spectropop ]-------------------
Message: 5 Date: Fri, 09 Jan 2004 07:04:40 -0500 From: Lou Subject: Re: 4 Seasons 45s mixes Doc wrote: > Does anyone know if there is a CD of the 4 Seasons, in mono, > the 45 mixes? Ace Records reissued the 4 Seasons double album " Edizione D'Oro" on Cd (CDCHD 642) back in '97. As stated on the back: "The original double album re-mastered with mono single versions but retaining all the original stereo versions unique to this album -- most of which are previously unavailable to CD" (Ace did have to drop 3 songs from the original album due to Cd time restrains). Most of the hits are in mono except for: - Ain't That A Shame - Dawn (Go Away) - Save It For Me - Girl Come Running - Let's Hang On Lou -------------------[ archived by Spectropop ]-------------------
Message: 6 Date: Fri, 09 Jan 2004 12:56:26 -0000 From: Hugo M. Subject: Re: Most inept hit How 'bout "I've Had It", by The Bell-Notes? NA-na-na-na-na! Hugo M. -------------------[ archived by Spectropop ]-------------------
Message: 7 Date: Fri, 09 Jan 2004 13:57:25 -0000 From: Laura Pinto Subject: Re: Vance-Pockriss query Hugo M. wrote: > I've been seeing those names [Vance/Pockriss] a LOT lately, they > seem to be there every time I turn around. lounge/Bacharach/bossa > stuff, girl-group, novelty songs (like the weird baby-talk/hipster > lingo parody of "The Chick"...) They seem to have done a little bit > of everything, and I've never seen them mentioned here -- anybody > have good info or anecdotes to share about these two careerists? Hi, Paul Vance and Lee Pockriss were responsible for lots of hits like "Catch a Falling Star" (Perry Como) and "Itsy Bitsy Teenie Weenie Yellow Polka Dot Bikini" (Brian Hyland), as well as a bunch of recordings during the 60's with Ron Dante, i.e., "Don't Stand Up in a Canoe," all the Detergents sessions, and a few years later, the Cuff Links (as both composers and producers). One thing I found during my research for the Spectropop article and which will appear in a piece I wrote about Ron's 60's work in the forthcoming issue of a fanzine (details to follow) is that Paul Vance also wrote "Playground in My Mind," recorded by Clint Holmes, and that it's Paul's young son singing the "My name is Michael" chorus along with Clint. Laura ------------------------------------------------------------- Admin Note: Don't miss Laura's "Then & Now: A Ron Dante Retrospective" at the New @ S'pop section: http://www.spectropop.com/RonDante/index.htm Enjoy! The S'pop Team -------------------[ archived by Spectropop ]-------------------
Message: 8 Date: Fri, 09 Jan 2004 07:04:28 -0800 (PST) From: David Coyle Subject: Re: Answer Songs > Memphis Calling New York City, by Carole Coby Epic 9711 But Chuck Berry had already answered his own song with "Little Marie". When and where was it released? I heard it on one of CB's "Rock And Roll Rarities" compilations. David -------------------[ archived by Spectropop ]-------------------
Message: 9 Date: Fri, 09 Jan 2004 07:01:52 -0800 (PST) From: David Coyle Subject: Re: Most Inept Hit Was "Love You So" by Ron Holden actually a hit? If so, that one ranks right up there with "Angel Baby" in terms of some lousy musicianship. Of course, why do we always remember these songs? BECAUSE of the mistakes. If "Louie Louie" by the Kingsmen doesn't qualify as THEE most inept hit of all time, so mangled that the FBI couldn't even figure out the lyrics to see if they were dirty, and pronounced the song "unintelligible at any speed", then I don't know what does. Not to mention the drummer losing the beat and yelling the f-word right in the middle of a split-second pause (apparently not picked up by the Louie-haters at the time). David -------------------[ archived by Spectropop ]-------------------
Message: 10 Date: Fri, 09 Jan 2004 10:15:43 -0600 From: Skip Woolwine Subject: Gene Hughes (Casinos:'Then You Can Tell Me Goodbye') Benefit Show In Nashville TN: Feb 10, '04 @ 7:00 p.m., "Rockin' At The Trap": A Benefit From The Heart for Gene Hughes. GIFT and friends present an evening of classic rock 'n roll benefitting Gene Hughes, lead singer of the CASINOS (Then You Can Tell Me Goodbye). Gene, a long time music industry veteran, has sustained injuries resulting from an automobile accident in Nashville. Many of his friends and recording artis will be performing at the TRAP to raise funds to offset Gene's medical bills. Artists include: Clifford Curry, Bruce Channel, Larry Henley of The Newbeats, Dickey Lee, Buzz Cason (Garry Miles), Bucky Wilkin (Ronny & The Daytonas), Steve Jarrell and the Sons Of The Beach! (there may be more to be announced). Tickets are $10 and may be purchased at the door or ordered online at musicnashville.com (very soon). Donations can also be mailed to GIFT at 2804 Azalea Pl., Nashville, TN 37204. Call 615/383-8682 for details (Buzz Cason's office). Skip Woolwine Emmons Hicks Woolwine and Associates 708 Tern Court Nashville, TN 37221 (615) 376-6462 Fax: (615) 463-0454 -------------------[ archived by Spectropop ]-------------------
Message: 11 Date: Fri, 09 Jan 2004 08:31:49 -0800 (PST) From: sarah vaughn Subject: Re: MacArthur Park Phil Milstein wrote: > 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? He was actually very serious. He told me all about it when I was in high school. He's related to my auntie. I guess I believed him, but of course I couldn't read his mind! Sarah in MA. -------------------[ archived by Spectropop ]-------------------
Message: 12 Date: Fri, 09 Jan 2004 16:39:37 -0000 From: Lloyd Thaxton Subject: New member Hello out there in Yahooland. I have just joined the group and would love to hear from my fans out there. Who am I? Lloyd Thaxton, former TV host of the 60's The Lloyd Thaxton Show (So What!) and now author of a new book, STUFF HAPpENS (and then you fix it). Check it out on http://www.stuffhappens.net - Drop me a line. -------------------[ archived by Spectropop ]-------------------
Message: 13 Date: Fri, 09 Jan 2004 12:10:31 +0000 From: Phil Milstein Subject: Re: Hello everyone Howard wrote: > 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. Welcome to Spectropop, Howard. I'm curious in what way "progressive" Northern soul differs from the ordinary variety. --Phil M. -------------------[ archived by Spectropop ]-------------------
Message: 14 Date: Fri, 09 Jan 2004 09:43:07 -0800 From: Scott Swanson Subject: Re: Grapefruit Mr. Wirtz: >I did indeed produce two tracks with Grapefruit in 1967 >at Abbey Road #3 for Paul McCartney (I only remember one >of the titles - "One More Try") I wonder if that song is related to "Give It One More Try", which was released on the "Around Grapefruit" LP in 1968? P.S. This is such a cool list when I can just ask a question about Mark Wirtz and get an answer directly from him in a matter of hours! If only it worked that way with EVERY famous person I had a question of! :) Regards, Scott ("I wonder what Brian Wilson thinks of....") -------------------[ archived by Spectropop ]-------------------
Message: 15 Date: Fri, 09 Jan 2004 12:42:09 EST From: Mike McKay Subject: Re: How about brilliant tracks with ONE inept ingredient! Peter Kearns wrote: > My example is a slightly different concept; the otherwise great > recording that has an ingredient so off-putting you'd wonder why > the producer let it through. > So I'll mention George's 'My Sweet Lord'. Nice playing yes, > nice arrangement; the 'He's So Fine' debacle notwithstanding, > and not to mention the borrowing of the Krishna prayer. > BUT! Why on earth did Phil let 'those' backing vocals pass the > test? They're so out of tune it's not funny. I've always been > amazed by this. How could that happen? I can't say I've ever noticed this, but if they're indeed out of tune Phil may have let them pass because George sang every single one of them himself -- which obviously took some considerable effort given how many parts there are. It's one thing to boss around anonymous background singers and another to boss around one of The Beatles! > And another example from 1965; The Beatles 'You're Gonna Lose > That Girl'. Again, the backing vocals are woefully out of tune. > Couldn't they hear it?? It's beyond me. It must be beyond me too, because I've never noticed it. This has always been a favorite Beatles track of mine. Where do you hear something off-key? In the response vocals or on the bridge where there's full three-part harmony? If you can be specific, I'll listen for it. Mike -------------------[ archived by Spectropop ]-------------------
Message: 16 Date: Fri, 09 Jan 2004 17:48:42 -0000 From: Clark Besch Subject: Re: The Buchanan Brothers/Cashmen/Morning Mist, etc etc Mark wrote: > Who put out the Cashman and West CD? Sounds like something > from Varese Vintage to me! The CD came out in 1993 on New York City's Razor & Tie Records, which makes even more sense, right? > I agree, "American City Suite" and "King of Rock and Roll" > are great tunes (I remember "King of R&R" from when I was a > kid!). "American City Suite" is a great predecessor to songs > like "Scenes From an Italian Restaurant" and "New York State > of Mind", but lacking the pretentiousness of Billy Joel. Altho hearing it a million times may make a difference, I'd much rather hear the 10 minute "American City Suite" than the 8 minute "American Pie" anyday. Yet, with the CPW song coming only months after McLean's epic, maybe that song gave them the idea to tell a long tale too? Cool promotion too, a nice pic cover 45 short version, a 10" DJ version with a longer version and a different pictur cover yet. Fun for us collectors! Never heard "King of Rock N Roll" until a few years later when i picked it up cheap. Anyway, the Cd is really good, but my ears tell me that many tracks seem more sparse than i remember them as 45s. Maybe the stereo separation? I really think there may be overdubs missing on some tracks. Anyone else feel that way? The Cd has both sides of the 69 Capitol 45 "Some of my Best Friends are People" and "Sausalito" in stereo. That's all from Capitol tho. They had a handful of 45s for Capitol including the one I liked, "Goodbye Jo" (not to be confused with the great Laura Nyro song). Other late 60's Capitol 45s I have not on the Cd are "Sister John"/"Memphis Medley:Proud Mary/Dock of the Bay" (hmm, maybe that''s where the medley idea came from--the Lettermen! Also on Capitol was their Fred Neil 45 cover, "Dolphins" which they performed on "Upbeat" in 69. Back to the Cd, "Medicine Man" is neither the 45 length or side one and 2 combined as I might have expected. It seems to be the version the 45 was cut from, but has a cold ending without the 45's ending at all! Odd. The vocals really stand out tho and sound is pristine. BTW, their Lp has both Part 1 & 2 separated. "California on my Mind" is just so great. Bobster, if you liked the Picardy songs, this is for you too. Originally "Kodak makes your pictures count" ad, this one sounds great, but something still sounds slightly different to me from the 45. Then, their Spanky hit "Sunday will Never Be the Same", which is a great version too! Without digging out the 45, "King of RNR" sounds like it's missing something too? Again, I am almost 100 % sure "Son of a Lovin Man" is missing a thing or two also. Cd also has "Talkin Baseball". Does anyone have ALL the versions with pic sleeves? I have the Braves one with tribute to Phil Neikro (I'm a lifelong Braves fan). Unfortunately, the Cd does not have their original version of the Robbs great 45, "I'll Never Get Enough" (but it is on their Lp) or their later 45's "The Last Time"/"Feelin that I Get" and "Rosianna"/"A Song With A Happy Soul". "Rosianna" was the original version of the Robbs' later incarnation, Cherokee's second single release. Austin, were you involved in these?? Did you have any contact with the Robbs? I have been hoping for a legit Cd of their stuff. Anyway, well worth getting at 20 nice songs, but don't throw your 45s out, cause I think they're better.....or my ears are worse? > I too thought the line in the song was 'come a-close'. Another > way I heard it (feasible since it's called "MEDICINE Man"): > 'comatose' (pronounced comma-tose). Best, Mark Just listened again, sure sounds like "come-a close" sometimes and other times "comatose". Sometimes, I swear you hear an "s" at the end of what he sings and sometimes not! What does it all mean???? Number 9, number 9, number 9......... Take care, Clark -------------------[ archived by Spectropop ]-------------------
Message: 17 Date: Fri, 09 Jan 2004 17:51:25 -0000 From: Patrick Rands Subject: Re: Jimmie Haskell / Louie Shelton / Clingers Austin Roberts wrote: > You're right about Jimmie Haskell, he was the best and a fun guy Hi Austin, I've got not one but two copies of Jimmie Haskell's concept album from the early 70s - California '99. I've been meaning to put the lp on disc for a long time, so keep your ears peeled to musica for a taste (soon). It's got not one but two songs from the classic Curt Boettcher project, The Millennium (Prelude and To Claudia on Thursday). Til then, read about the album here (a really great read): http://theband.hiof.no/albums/california_99.html > We worked with Hal Blaine, Joe Osborn and Larry Knechtal, with Ben Benay and Louie Shelton Is Louie Shelton at all related to Fred Shelton? Just curious, because The Clinger Sisters sang backup on one of Fred's albums in the 70s, maybe they also worked with Louie at some point too. Now's a good a time as any to let you all know that next friday night I'm doing a one hour spotlight show on The Clinger Sisters. It's been one long odyssey collecting their music (and I'm still not done with it!), but they've been worth it, a lot of interesting projects under their collective belts including The Rock Flowers, The Cattanooga Cats, a Kim Fowley/Michael Lloyd produced single on Columbia Records (I believe they were the very first all girl rock band signed to a major label - even before Fanny in 1970), their mid-60s girl group records recorded as The Clinger Sisters (some of which are as rare as steak these days), a Johnny Cymbal produced single, as well as Peggy co-writing a bunch of songs with Johnny including music for The Partridge Family, Peggy's song she wrote for Cher, and Debra's music for Billy Cowsill's solo album (Patsy played drums too!) and the 70s tv show Kaptain Kool and the Kongs. http://www.angelfire.com/d20/reefer/clingers.html It's quite a resume of great music, and if you are at all curious to hear these girls from Utah have a way with a song, then tune between 6 and 7 pm (Eastern Standard time), Friday January 16th to 90.3 WZBC FM in the Boston, MA area. Or tune in online at http://www.zbconline.com If anyone has any information they'd like to share about the Clingers, I'd love to hear it. :Patrick -------------------[ archived by Spectropop ]-------------------
Message: 18 Date: Fri, 09 Jan 2004 09:56:17 -0800 (PST) From: steveo Subject: Re: Most Inept Hit Phil Hall wrote: > My vote is for "Wild Weekend" by The Rebels, although > "Angel Baby" by Rosie & The Originals is certainly a > good candidate. Wild Weekend certainly is raw as hell...whoever the musicians were...this recoding proves that you don't have to know how to play an instrument to make a record. Even as such...the rhythmic concept was original enuff to carry it thru,and despite the cheezy guitar solo and the slush drummer....I enjoy the record. Angel baby is another matter, it must have appealed to the female audience word wise....that's about all I can say about it. Steveo -------------------[ archived by Spectropop ]-------------------
Message: 19 Date: Fri, 09 Jan 2004 18:07:17 -0000 From: Rodney Rawlings Subject: Re: Rapper DJs' use of vinyl records James Botticelli: > Nope...a good Stanton Cartridge is a wonderful thing. And it has > been synthesized. The above programs have the sound or you can > sample the sound into them (at least with Pro Tools) What you've described is interesting, but doesn't cover the main thing I was curious about, which is the sound of a stylus being dragged across the grooves repeatedly in a rhythmic fashion. Can you shed any light on this? Rodney -------------------[ archived by Spectropop ]-------------------
Message: 20 Date: Fri, 09 Jan 2004 19:24:17 -0000 From: Bob Subject: Re: Worst Lead Vocal Lapka Larry wrote: > 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. Larry, Funny you should bring that song up. A friend of mine who was running Gary's fan club at the time, was invited to Gary's 50th birthday party. He asked Gary if he could bring me along and Gary said fine. Gary at the time lived in Ohio. Anyway, during the party, the DJ was playing a bunch of Gary's tunes. We happened to be talking to Gary just as "Sealed With A Kiss" came on. Gary immediately turned around and said "Turn that off"!!! Even he knew a bad song when he heard it! Bob Celli -------------------[ archived by Spectropop ]-------------------
Message: 21 Date: Fri, 09 Jan 2004 14:37:57 +0000 From: Phil Milstein Subject: Re: Best lyrics / more on parentheses Hugo M wrote: > I think it was Phil who recently mentioned Richard Hell. > Kinda outside the group's focus ... But not entirely: the album was co-produced by Richard Gottehrer. > ... 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" > From "(I Belong To) (The) Blank Generation." > ... 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. The verse you cite sounds better than it reads: I saw what I had so I got I got mad so I guess I went bad so Hell's use of parens in the full title of this song, "Who Says (It's Good To Be Alive)?", is another example of his fascination with that punctuation device. Taken separately, the subtitle means virtually the opposite of its in-context meaning. --Phil M. -------------------[ archived by Spectropop ]-------------------
Message: 22 Date: Fri, 09 Jan 2004 13:47:33 -0600 From: Dan Hughes Subject: Re: How Sweet It Is Phil asks about Pat Williams. Wrote tons of TV themes; Columbo, Bob Newhart, Mary Tyler Moore.... http://www.patrickwilliams.net/credits.html -------------------[ archived by Spectropop ]-------------------
Message: 23 Date: Fri, 09 Jan 2004 12:33:35 -0800 (PST) From: Tom Taber Subject: Re: U.S. Bonds Simon White wrote: > My personal fave is "Not Me," which has a great > lyric. Which is first, Gary's or The Orlons'? > Or is there another? Gary's was his follow up to, I believe, "New Orleans," and "bubbled under" the top 100, supposedly done in by objections to the "punch in the face" line. I don't usually buy those "we would have had another hit, but..." stories, but I like his version so much I'm surprised it didn't do better. Orlons hit quite a bit later, months if not a year or more. If you haven't heard forgotten oldie "Dear Lady Twist" for years, go play it loud - it will blow you away! Tom "working from memory" Taber -------------------[ archived by Spectropop ]-------------------
Message: 24 Date: Fri, 09 Jan 2004 14:50:34 EST From: Austin Roberts Subject: Re: Gene Pistilli Hi Guys, Gene is still writing in Nashville as far as I know. I last wrote with him was about 6 years ago, but I've been gone since then. I'm in the process and plan to renew our writing and friendship. He's a terrific singer and writer, for sure. Austin -------------------[ archived by Spectropop ]-------------------
Message: 25 Date: Fri, 09 Jan 2004 13:02:44 -0800 (PST) From: steveo Subject: Answer to Peter Kearns Paul Bryant wrote: > Okay - what's your choice of the most badly > performed song ever to become a hit? Peter Kearns rote: > My example is a slightly different concept; the otherwise great > recording that has an ingredient so off-putting you'd wonder why > the producer let it through. Peter, I'm aware of these imperfections...noticed them, like you...but what I think the producers went after was the "Feel" of the take....For most of us that's fine... do you have perfect pitch? It can be annoying to those who do..to hear this stuff. These imperfections... Steveo -------------------[ archived by Spectropop ]-------------------
Message: 26 Date: Fri, 09 Jan 2004 20:15:08 -0000 From: John Sellards Subject: Re: Most Inept Hit -- Angel Baby John Fox: > The Innocents' harmonies are a bit off-key (but not as bad > as 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! Well...and I'm not trying to CMA here...it's mainly the first time she sings the word "stars", and that's where the Innocents come in as well, so maybe she was thrown a bit by them. She's not unpleasant to listen to - as I said, my wife loves "Stars" and can't stand "Angel Baby", and I'm the opposite. The Innocents did an incredible job on "Gee Whiz", one of my favorite records, and a pretty much flawless performance. Wonder why they don't sound that great on other things? I have the LP (I haven't listened to it in a few years) and recall some intonation issues there as well. John Sellards -------------------[ archived by Spectropop ]-------------------
Message: 27 Date: Fri, 09 Jan 2004 15:59:41 +0000 From: Phil Milstein Subject: Re: How about brilliant tracks with ONE inept ingredient! Paul Bryant wrote: > Okay - interesting -- you give two examples of off-key backing > singing, My Sweet Lord and You're Gonna Lose that Girl. I'll put up > my hand and say I honestly never heard these as off-key at all! One of the Papas comes in early after the break in "I Saw Her Again", abruptly cutting off his "I saw her ..." before order is restored. Given how professional, talented and careful the M's & P's ordinarily were, however, I wonder if this little glitch wasn't somehow intentional. --Phil M. [warning: I'm going from memory here, so facts may be a bit off ...] -------------------[ archived by Spectropop ]-------------------
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