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Spectropop - Digest Number 1242

               SPECTROPOP - Spectacular! Retro! Pop!

There are 25 messages in this issue.

Topics in this digest:

      1. Skapop
           From: Julio Niño 
      2. Re: Re: Welcome to Ron Dante
           From: Artie Butler 
      3. you will not bore us Lloyd
           From: Mary 
      4. Shangri-Las sessions
           From: Paul Bryant 
      5. Re: How about brilliant tracks with ONE inept ingredient!
           From: John Sellards 
      6. stereo/mono irony
           From: Paul Bryant 
      7. Re: Drummer on 4 Seasons' "Dawn"
           From: steveo 
      8. Welcome to Ron Dante!
           From: Laura Pinto 
      9. Beatles For Sale
           From: Steve Harvey 
     10. Re: McCartney bass
           From: Steve Harvey 
     11. Re: Kane & Abel and The Taylor Brothers
           From: James Holvay 
     12. Jack Nitzsche at Spectropop update.
           From: Martin Roberts 
     13. Re: How about brilliant tracks with ONE inept ingredient!
           From: Eddy 
     14. Re: Drummer on 4 Seasons' "Dawn"
           From: steveo 
     15. Re: What Ever Happened to Lloyd Thaxton
           From: Mike Nathan 
     16. Re:  "Lose That Girl"& "DYWTKAS"
           From: steveo 
     17. Re: If I Fell - unique vocal harmony on "vain"
           From: steveo 
     18. Ron Dante/Artie Butler
           From: Artie Wayne 
     19. DA DOO RON RON - this coming Saturday
           From: Chris King 
     20. Re: one inept ingredient
           From: Phil Milstein 
     21. Re: Grapefruit?
           From: Mark Wirtz 
     22. Re: Progressive Northern Soul?
           From: James Botticelli 
     23. Re: Rapper DJs' use of vinyl records
           From: Paul Bryant 
     24. Re: Herman's Hermits In 70s
           From: Steve Harvey 
     25. Re: First Gears - The In Crowd
           From: Sean 

Message: 1 Date: Sun, 11 Jan 2004 17:41:37 -0000 From: Julio Niño Subject: Skapop Hi Everyone, Let me begin by saying that the story of Ed and Sam Chaplin amused me quite a bit. I´m a total fan of Mike Raskow´s sense of humor. Days ago was mentioned the magnificent box set "Chapel of Love" by Castle Pulse. The third cd of my box has a mistake in the booklet inside, and in place of the always succulent notes by Mick Patrick and Malcolm Baumgart are the credits of another CD. Would someone happen to have the notes from this third CD, be able to scan them and put them on file or even send them to me. I would appreciate it a lot. Changing topics, Mike Edward includes in his personal Shirelles´ top 5 the curious song " Long day , Short night" (Bacharach / David), which is a perfect example of what we could call Skapop; a type of subgenre that developed in the mid-sixties all around the world. Without a doubt the spark was the hit by Millie, "My Boy Lollipop". The event organized by the Jamaican government to promote the island could have also contributed to the difusion of Ska in the USA, which included important figures from the Jamiacan musical scene in the New York World's Fair in 1964. All of which led Atlantic to publish the LP "Jamaica Ska". In parallel, Epic published another LP, "The Real Jamaica Ska," produced by (a little carelessly in my opinion) Curtis Mayfied and Carl Davis, which included such important Jamaican artists as Jimmy Cliff or the fabulous The techniques, with the unequaled voice of Slim Smith (whose falsetto sounds like Mayfield in an attack of existential angst. In any case, Ska germinated in "The Land of the Thousand Dances", totally "popified", adopted as just another dance rhythm. Naturally these Skapop tracks have nothing in common with the rude and sophisticated spirit of authentic Jamaican ska, but nonetheless I like it quite a lot. Examples of Skapop that come to mind right now are " Jamaica Ska " by Annette (the original is by Byron Lee and the Dragonaires), "I Don´t Know" by Steve Alaimo (original by The Blues Busters), and "What´cha Gonna Do About It" by Doris Troy. Outside of the USA the phenomenon was heard in Italy. Peppino de Capri had a hit with "Operazione Sole", later covered in Spain by the bizarre combo Los de la Torre. It would be really cool if someone well-informed made a compilation of the topic. Salutations to everyone, Julio Niño -------------------[ archived by Spectropop ]-------------------
Message: 2 Date: Sun, 11 Jan 2004 12:50:15 EST From: Artie Butler Subject: Re: Re: Welcome to Ron Dante A personal welcome to Ron Dante. I know Ron real well. He is a class act as a talent and as a person. We made tons of music together. Artie Butler -------------------[ archived by Spectropop ]-------------------
Message: 3 Date: Sun, 11 Jan 2004 17:51:15 -0000 From: Mary Subject: you will not bore us Lloyd Hi Mr. Thaxton. Hope you will email more of the great stories, and we see more of you. You along with Bob Eubanks are the best. Mary -------------------[ archived by Spectropop ]-------------------
Message: 4 Date: Sun, 11 Jan 2004 10:05:11 -0800 (PST) From: Paul Bryant Subject: Shangri-Las sessions Dear Poppers Can anyone direct me towards any accounts of the Shangri-Las' recording sessions? I ask because I read an offhand comment once to the effect that the Shangs took it all very emotionally and seriously, and consequently the sessions were quite ... difficult. Would love to know. It wouldn't surprise me, either. Out of all the great girl groups, they're the ones who really put a lot of soul and suffering into their singing. Gets me every time. pb -------------------[ archived by Spectropop ]-------------------
Message: 5 Date: Sun, 11 Jan 2004 18:05:36 -0000 From: John Sellards Subject: Re: How about brilliant tracks with ONE inept ingredient! > And you can only hear those mistakes only on the stereo > mixes. On the mono mixes they were corrected. Like Motown, > mono versions were carefully mixed and the stereo versions > were quickly done, sometimes by a staff engineer. Something that has always amazed me is that there's huge harmonica mistake in "Laugh Laugh" by the Beau Brummels that sticks out like a sore thumb in the mono version, but is relatively buried in the stereo mix. Normally I'm mono all the way, but in this case it's clearly not the better mix! John Sellards -------------------[ archived by Spectropop ]-------------------
Message: 6 Date: Sun, 11 Jan 2004 10:08:59 -0800 (PST) From: Paul Bryant Subject: stereo/mono irony Billy G. Spradlin wrote: > And you can only hear those mistakes only on the > stereo mixes. On the mono mixes they were corrected. > Like Motown, mono versions were carefully mixed and > the stereo versions were quickly done, sometimes by > a staff engineer. This is truly ironic, since it's the hasty stereo versions which we now hear on all cd reissues. pb -------------------[ archived by Spectropop ]-------------------
Message: 7 Date: Sun, 11 Jan 2004 10:14:47 -0800 (PST) From: steveo Subject: Re: Drummer on 4 Seasons' "Dawn" Billy G. Spradlin wrote: > I think Ron Dante or Jeff Barry mentioned him as their drummer. > I still love the booming sound Bob Crewe gave him on > many of his productions. I have always wondered if Saltzman > played on Gene Pitney's "It Hurts To Be In Love" and the great > B-side (co-written by Al Cooper) "Hawaii". Billy, Sure fits right in, the idea that Buddy Saltzman could have been the drummer stylistically on "It Hurts To Be In Love" by Gene Pitney. Steveo -------------------[ archived by Spectropop ]-------------------
Message: 8 Date: Sun, 11 Jan 2004 18:18:13 -0000 From: Laura Pinto Subject: Welcome to Ron Dante! Hi Ron, It's great to see you on the Spectropop board. You're a perennial favorite with the group here and I'm sure I speak for a lot of folks when I say we're glad you showed up. And thanks for the wealth of information you gave me for the Spectropop article. As those of you who've been keeping up with the message threads from yesterday and today know, Ron was mentioned along with Mike Rashkow in Jerry Osborne's "Mr. Music" column yesterday, in a discussion of the 1968 single "Variations on a Theme Called Hanky Panky." However, it wasn't the first time Ron's name had appeared in Jerry's column; check out this archived column from April, 2002: I've been a fan of Ron's since 1970. At that time I was aware of his Archies, Cuff Links and post-Archies/Cuff Links solo work, and I knew he'd been with a group called The Detergents, but I had no idea of the enormous scope of his work until these past few years, since 1999, thanks to the Internet. Ron literally did so many studio sessions in those days that he can't remember it all. It seems like every day, one or both of us is learning (or reacquainting with) something "new" about Ron's 60's and 70's work! Thanks again for joining the discussion, Ron, and welcome. Laura -------------------[ archived by Spectropop ]-------------------
Message: 9 Date: Sun, 11 Jan 2004 10:48:23 -0800 (PST) From: Steve Harvey Subject: Beatles For Sale > Beatles For Sale was the backward step, a fairly > listless beast and some mediocre songs (What You're > Doing, I Don't Want toSspoil the Party). Then Help! > was somewhat better. What?!?!?! You gotta be kidding! "I Don't Want To Spoil the Party" is one of the best British Invasion attempts at country/folk rock that ever was. Rosanne Cash thought enough of it to do a cover as well. "What You're Doing?" is terrific too, starting with those drums setting the tones followed by that twangy guitar riff. I like "Help", but most of those tunes can't hold a light to the two listed above. I can see "Mr. Moonlight" being listed as mediocre (although Lennon's heartwrenching intro is terric -- sounds like he recorded the vocals right after "Twist & Shout"), but not "Party" & "What You're Doing?" -------------------[ archived by Spectropop ]-------------------
Message: 10 Date: Sun, 11 Jan 2004 11:04:28 -0800 (PST) From: Steve Harvey Subject: Re: McCartney bass Peter Kearns wrote: > Was Paul not using a Rickenbacker on 'Band On The > Run'? I presumed > it was but I might be wrong. McCartney started using the Rickenbacker with the Beatles (see the shot of him with it in the Magical Misery Bore booklet). -------------------[ archived by Spectropop ]-------------------
Message: 11 Date: Sun, 11 Jan 2004 11:50:02 -0800 From: James Holvay Subject: Re: Kane & Abel and The Taylor Brothers Martin Roberts: > A new batch of records revealed a few pleasant surprises, > one of the most interesting being The Taylor Brothers "Showdown", > United 98. A wonderful mid-60s Four Seasons' homage, with a > Shangri-Las twist, the middle break features a "Leader of The > Pack" semi-spoken section, complete with "Kill 'im, Kill 'im" > and "Yeah, we hear he's got a bad reputation"! > > A BIG production and one I'll play to musica when space permits. > The main credit on this obscure label is James Butler co-writer, > arranger and conductor. On the B-Side "Your Last Chance", a more > traditional Four Seasons clone (i.e. also fab) it states, "Recorded > In Chicago" and all the credits belong to Mr. Butler. Now I'd like > to think he's Artie's brother but if not... > > We've discussed James Holvay's super Righteous Brothers-styled > homage to Phil Spector by Kane and Abel many times. First released > as "Break Down And Cry" on Destination and then as "He Will Break > Your Heart" on Red Bird, now the record is so good I'm glad they > played it twice with albeit slight differences. > > James wrote an informative and fascinating account of the original > recording (message #14528) the only omission being the name of the > astute engineer, the credit on the label reveals him to be Stu Black. > Besides no engineer credit on the Red Bird release the other credits > remain more or less the same. With one major difference, 'Peterson' > has joined Mr Holvay as co-writer. I'd assumed this was a biz credit, > "I'll put your record on a big label you give me a cut on the take", > sorta thing. But...a BMI search apparently revels that James Butler > (Peterson) are one and the same. > > Perhaps James Holvay can fill in the blanks? Martin: Where do I start? Jimmy Peterson & James Butler were one and the same person. He was a singer, entertainer, songwriter and a pretty creative guy in general. He formed the group The Chicagoans along with Gary Beisbier, myself, Bobby Ruffino, Chuck Russell and Larry McCabe. Peterson being the salesman that he was, convinced Ed Cody/Stereo Sonic Recording in Chicago, into giving us free studio time. In exchange, we would provide the musicians, artists, songs, etc. and become our own Motown and split 50/50 with Ed. We recorded a lot of tracks, most of which I wrote or co-wrote with Peterson. Unfortunately, depending on Peterson's greedy mood, the 45's would come out by "whomever" and sometimes I got credit and sometimes I didn't. I, along with all the other guys in the band, eventually got fed up and kicked him out of the band, after a 2 week engagement, backing up JoAnn Cambell at a club called the Hollyoak in Indianapolis. The Taylor Brothers were named after Taylor Street (Italian neighborhood) in Chicago. He loved Jerry Butler and that's why he took his last name. We were also The Livers/"Beatletime", which I believe Clark Weber (DJ/WLS) came up with, after he heard the acetate. The Kane & Abel singles were produced, after we had severed our relationship with Peterson. Joe Defrancesco, a local promoter in Chicago, would find a lot of the acts that The Chicagoans produced, even though Peterson would have his name all over the label. Joe found an R&B group in Milwaukee called Little Artie and The Pharoas. Artie and his brother Al Herrera were Kane & Abel and were the original lead singers when The Mob was formed. Artie got drafted at the peak of the Vietnam war and Al became "Big Al", the lead singer for The Mob. -------------------[ archived by Spectropop ]-------------------
Message: 12 Date: Sun, 11 Jan 2004 15:43:07 -0000 From: Martin Roberts Subject: Jack Nitzsche at Spectropop update. Oh you lucky people! Billy Daniels is singing his heart out as the Record of the Week on the Home page, Next week, the choice is between two songs that, almost impossible to believe, are not on CD: Merry Clayton with the original of "It's In His Kiss", and The Paris Sisters with their beautiful version of "It's My Party". On The Radio is still playing the KHJ Jingles. This time it's #11, the "Short Blockbuster" but not for much longer! The clue as to the weekly radio transmission to replace the jingles is contained in a new article on the Record Reviews page, - St. Giles Cripplegate was re-released on a small UK label almost ten years after the US Reprise pressing. Considering the US release sold next to no copies, WHY? The label's owner, Karel Beer, tells the answer to this and a very interesting story. Another feature that is reaching the end of its run is the recommendation from 'Hazan and Nitzsche's Record of the Week' page but I can promise some very exciting records and stories to close the feature. This week the record under the spotlight is a presumed unreleased recording by everyone's favourite singing grandma, Dora Hall, with "The Gold Cup". Plenty of things planned for the New Year. Two of the features I'm working on are Jack's time with Koppelman and Rubin, paying particular attention to the recordings involving our Alan Gordon (Songwriter!), and a 'Nitz Bitz Scrapbook' page containing, as you may guess, interesting pictures, short articles and other titbits that I've accumulated that haven't found a home elsewhere. As with all the pages on the site, assistance in the way of articles, pictures etc is eagerly sought and will be credited. Lastly, thanks for the folk who have provided feedback on the site via the form on the voting page. Sorry I've been remiss in thanking you by email, but your comments are appreciated. To show I read and act on your comments, a menu has been added to the top of the pages. Best, Martin -------------------[ archived by Spectropop ]-------------------
Message: 13 Date: Sun, 11 Jan 2004 15:21:07 +0100 From: Eddy Subject: Re: How about brilliant tracks with ONE inept ingredient! Here's more than you need to know on all sorts of weird (?) stuff going on on Beatles records that doesn't really belong there : Eddy -------------------[ archived by Spectropop ]-------------------
Message: 14 Date: Sun, 11 Jan 2004 08:40:42 -0800 (PST) From: steveo Subject: Re: Drummer on 4 Seasons' "Dawn" Paul Bryant wrote: > Speaking of the 4 Seasons, can anyone tell me who > the fantastic drummer was on such songs as "Dawn (Go > Away)" Mike Edwards wrote: > I was able to get a question in to the great > arranger, > Charlie Calello and he says, without hesitation, > that Buddy Saltzman was the drummer on "Dawn". Not that I > know who Buddy was; I'm just passing this on. Kudos to Buddy Saltzman -- he is awesome on those records, especially Dawn [Go Away]. Thought y'all might like to see the brackets once again! Steveo -------------------[ archived by Spectropop ]-------------------
Message: 15 Date: Sun, 11 Jan 2004 06:26:53 -0800 (PST) From: Mike Nathan Subject: Re: What Ever Happened to Lloyd Thaxton Mr. Thaxton, I am a huge fan of your work on the Fight Back series. You probably don't get the credit you deserve for the groundbreaking nature of those consumer protection oriented broadcasts. Anyway, just wanted to say welcome to the Spectropop group and please please please post anything you can about making your 60's shows available, if only to hardcore collectors like you'll find here. Mike Nathan -------------------[ archived by Spectropop ]-------------------
Message: 16 Date: Sun, 11 Jan 2004 08:54:43 -0800 (PST) From: steveo Subject: Re: "Lose That Girl"& "DYWTKAS" Stratton Bearhart wrote: > Closer inspection of the start reveals that in Paul and George's > response to John's call that it is George alone taking the lower > harmony who is flat at particular moments. Musical errors aside, > He did have a way of intoning via his Liverpudlian accent. Stratton, True, George could be flat, but so could John. I'm not sure if this was one of the contributing factors or not to the opening being off, but out of the 4 Beatles. George's voice had the strangest "scouse" Liverpudlean accent. Which i don't like to hear on his solos. However, I must say that as part of the 3 part harmony sound the Beatles had, his "scouse" accent must have been an important factor in that blend, and that part I wouldn't change at all. (Just don't want to hear "Do You Want To Know a Secret" as sung by George. However due the charm of the song, and John and Paul's "doo dah doo"s, it helps me listen to it. Steveo -------------------[ archived by Spectropop ]-------------------
Message: 17 Date: Sun, 11 Jan 2004 10:11:51 -0800 (PST) From: steveo Subject: Re: If I Fell - unique vocal harmony on "vain" Peter Kearns wrote: > Another notable vocal is on the Beatles "If I Fell" > on which Paul McCartney has a high harmony to maintain > for the whole song - eventually his voice cracks, but > as they were really pushed for time they had to leave > it in. > There are versions with and without the voice breakup. I believe this > was only on the mono mix and only on the said mono mix for a certain > issue/country. I'm not sure exactly. The final time Paul sings "was > in vain" is the moment. The Beatles released recordings are a > veritable minefield of these occurrences. They are everywhere. I > still can't even tell the difference between the two versions of 'All > You Need Is Love. But then I've never listened to them side by side > either. > All I can tell you is that when I heard 'Free As A Bird', I > unexpectedly became weak at the knees and shed a > tear. That record still amazes me. Peter, I feel the same way when I hear the record "If I Fell" It effects me emotionally. I know the song is not much on the piano, or done with other artists (with the exception of Stu Phillips' Hollyridge Strings) but the Beatles record is "fab". Incidentally, that one part you mention where Paul's voice cracks on some versions ... on the word "vain" ... the interval of vocal harmony is unique. A major seventh in the vocal? Strange then and strange now -- you will never hear it elsewhere. Just another unique "Beatleism. Steveo -------------------[ archived by Spectropop ]-------------------
Message: 18 Date: Sun, 11 Jan 2004 10:25:04 -0800 (PST) From: Artie Wayne Subject: Ron Dante/Artie Butler Ron.......Artie......How ya' doin'? I've been away for a week .....when I got back I checked the posts from Spectropop. When I scrolled down the list it was like going up the elevator at 1650 B'way!! I'm so happy that you guys are on board ... you both have so much to offer and, as time goes by, you'll find out how much Spectropop can offer you. In the past year the group has discovered 22 recordings I was part of, but had forgotten. They've also reminded me of many stories that will be part of a book ... or a ransom note or two!! Welcome my friends, regards, Artie Wayne -------------------[ archived by Spectropop ]-------------------
Message: 19 Date: Sun, 11 Jan 2004 18:40:20 -0000 From: Chris King Subject: DA DOO RON RON - this coming Saturday Dear Brit-based Spectropoppers - The first Da Doo Ron Ron - the one & only 60s girl group club - of 2004 is happenin' this coming Saturday January 17th @ the sumptious Sussex Arts Club, 07 , Ship Street, Brighton, BN1. Doors swing open @ 9pm & the music stops at 2am. Admission is just £5 if you mail me all the names of those wishing to attend here:- in advance OR alternatively phone Tel:-01273-778020 / 727371. DJs Chris 'Da Doo' King & Si Bridger will spin their familiar mix of 60s girly sounds a-go-go from the likes of The Ronettes, Dusty, Supremes, Marvelettes, Lesley Gore, Barbara Lewis, Chris Clark, Shangri-La's, Petula, Lulu, Helen Shapiro, Vandellas, Brenda Holloway, Shirley Bassey & so on. You'll NEVER hear a MALE lead vocal @ DDRR! Check the DDRR web-site for more info. Many thanks indeed for your indulgence, Kindest regards, Chris Da Doo Da Doo Ron Ron 60s girly sounds a-go-go! Saturday 17th January 2004 & thereafter The THIRD Saturday of each month @ the Sussex Arts Club, 07 , Ship St, Brighton, BN1 9pm - 2am £5 ONLY if names are RESERVED in advance via E-mail or Phone 01273-778020 / 727371 £6 on the door on the night -------------------[ archived by Spectropop ]-------------------
Message: 20 Date: Sun, 11 Jan 2004 14:25:53 -0500 From: Phil Milstein Subject: Re: one inept ingredient About 2/3rds of the way through Little Richard's most manic recording, "Keep A-Knockin'", the speed of the whole recording suffers a brief "wow", as if the engineer inadvertently brushed his hand against one of the tape reels for a second. Not that they usually need it, but I like things like that -- they give the song an extra little hook. --Phil M. -------------------[ archived by Spectropop ]-------------------
Message: 21 Date: Sun, 11 Jan 2004 09:02:52 -0500 From: Mark Wirtz Subject: Re: Grapefruit? Mark Frumento wrote: > Mark - I sent you the track called "Theme for Twiggy." We haven't > confirmed that it's the same track as "Give it One More Try." But > either way it's not representative of the quality of the record. > Though I prefer the McCartney-produced version of "Lullaby", the > album is mostly stunning, fully released, Beatlesque pop. Well done > by Mr Melcher and considered one of the crown jewels of the early > Apple era. I meant no disrespect to Mr. Melcher. Far from it, I am simply surprised that he produced that track, BECAUSE he produced some of my all time favorite records. My comments were merely in defense of Grapefruit's formidable talents, most certainly way transcending how they were portrayed in the "Twiggy" track. But then, I spotted a post by another SP member who mentions it as a favorite, so the most important goal was fulfilled: To keep the audience happy. I won't argue with that, and I shall now shut up, LOL. I am writing to John Perry in the hope that he might perhaps have a copy of "One More Try." If not, I'll knock on Geoff Emerick's door. As "Try" was recorded at Abbey Road, EMI surely have tapes of it in their archives... We'll see. It's the mystery that's intriguing me. > Now about "cheezy": when do you think you were at your "cheesiest". > I'm dying to know! ;>)) Oh, it came and went, like the flu :->> Best, Mark :->> -------------------[ archived by Spectropop ]-------------------
Message: 22 Date: Sun, 11 Jan 2004 14:18:06 -0500 From: James Botticelli Subject: Re: Progressive Northern Soul? Howard wrote: > I don't understand the term 'destroying' rare soul records.. > could you explain what this is supposed to refer to?? Howard...from what I understand, Brits would come to America seeking lost soul rekkids in warehouses, basements of rotting old soul record shops in third-rate cities, ship's ballast, in short, anywhere there were records to be found and even more desirable if you got filthy dirty diggin' through damp moldy stacks. Then, the story goes, a product known as Vymura was applied to the labels of the rekkids to remove them so that turntable sniffers couldn't identify and seek out the rekkid being played, thereby giving the DJ the exclusivity cachet. -------------------[ archived by Spectropop ]-------------------
Message: 23 Date: Sun, 11 Jan 2004 11:55:22 -0800 (PST) From: Paul Bryant Subject: Re: Rapper DJs' use of vinyl records James Botticelli wrote: > Everything a band does to perform is done to look cool. No? You wouldn't say that if you'd ever seen the Pogues live. pb -------------------[ archived by Spectropop ]-------------------
Message: 24 Date: Sun, 11 Jan 2004 11:33:53 -0800 (PST) From: Steve Harvey Subject: Re: Herman's Hermits In 70s csasml2007 wrote: > One of my great curiosity it's about who was lead vocals > in some singles that the Herman's Hermits did in the 70s. I saw them minus Herman and Keith in the 70s down in Newark, DE at the Stone Balloon. They had somebody to take Keith's place, but I think it was Karl singing lead for most of the show. -------------------[ archived by Spectropop ]-------------------
Message: 25 Date: Sun, 11 Jan 2004 20:16:53 -0000 From: Sean Subject: Re: First Gears - The In Crowd Tim: > "The In Crowd" by First Gear is available on the Castle label > 2CD "Jimmy Page and his heavy friends" (NEECD 486). The record > was produced by Shel Talmy and Jimmy Page contributed guitar > during his time as a session musician. It's also on: Doin' The Mod #1 [The Go-Go Train] - CD (Sequel, 2000) Jimmy Page - Hip Young Guitar Slinger - CD (Sequel, 2000) Jimmy's Back Pages [The Early Years] - CD (Sony, 1992) -------------------[ archived by Spectropop ]-------------------
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