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Spectropop - Digest Number 1247

               SPECTROPOP - Spectacular! Retro! Pop!

There are 27 messages in this issue.

Topics in this digest:

      1. Re: Tuff Stuff
           From: Davie Gordon 
      2. Re: Bill Lavorgna
           From: C. Ponti 
      3. Re:Chrisine Quaite
           From: Howard 
      4. Re: Tuff Stuff
           From: Howard 
      5. Tim Ashibende / Northern Soul
           From: Howard 
      6. Re: More Arties
           From: IDreamMusic 
      7. Re: Clingers - Rock Flowers
           From: Patrick Rands 
      8. Help!
           From: Martin Roberts 
      9. Re: The Chiffons - "My Secret Love"
           From: Donny 
     10. Re: Drummer on 4 Seasons' "Dawn"
           From: Ron 
     11. Re: "In The Rain"
           From: Ron Dante 
     12. Re: Bobby Pedrick
           From: Orion 
     13. Re: Herman's Hermits In 70s
           From: Sebastian Fonzeus 
     14. Re: Chuck's finest moments
           From: Paul Bryant 
     15. Re: Shangri-Las / Skapop / Help!
           From: Mick Patrick 
     16. Welcome Lloyd Thaxton
           From: Peter Richmond 
     17. Welcome Artie Butler
           From: Peter Richmond 
     18. Re: Christine Quaite
           From: Austin Powell 
     19. Re: Mark Radice
           From: Mike McKay 
     20. Skapop again.
           From: Julio Niño 
     21. Re: Answer Songs
           From: Phil Milstein 
     22. Re: Pet Sounds whoopsies
           From: Watson Macblue 
     23. Re: Free As a Bird / Beatles mono mixes
           From: Mark Frumento 
     24. Re: Christine Quaite
           From: Jules Normington 
     25. Re: Innocence, despair and mistakes
           From: Art Longmire 
     26. Re: Free As a Bird / Jeff Lynne
           From: Peter Kearns 
     27. Re: Christine Quaite
           From: Ken Silverwood 

Message: 1 Date: Mon, 12 Jan 2004 17:28:03 -0000 From: Davie Gordon Subject: Re: Tuff Stuff Here's some notes on the Tuff label TUFF owner - Abner Spector 369 THE JAYNETTS (08/63) # 2 Sally Go Round The Roses / inst. 370 THE HEARTS Dear Abby / inst. 371 THE JAYNETTS Keep An Eye On Her / inst. 372 THE POPPIES Johnny Don't Cry / inst. 373 THE HEARTS (1963) I Understand Him / inst. 374 THE JAYNETTS (1964) Snowman, Snowman, Sweet Potato Nose / inst. 375 THE CORSAIRS Save A Little Monkey / inst. 376 JANUARY STAR And So She Took A Ring / ? 377 THE JAYNETTS There's No Love At All / Tonight You Belong To Me 378 THE PATTY CAKES I Understand Them / inst. [ I've seen this listed as a Beatles novelty - presumably a re- write of of 373 ] 379 ? 380 ? 381 VERNELL HILL (09/64) Long Haired Daddy / Sometimes Love The nominal producer for most (if not all) of these singles was Abner Spector. There was a third series (400 to 422) but most of those releases seem to be independent productions bought in by Spector (who'd produced the Corsairs' late '61 hit "Smokey Places"). Tuff was wound up around early '67 and Abner Spector joined Chess, who'd been distributing Tuff nationally, as a staff producer where he produced Wayne Cochran. Spector is now deceased - possibly some time in the seventies - the last producer credit I have for him is a Wayne Cochran single on Chess, a version of "You Can't Judge A Book By The Cover" (2054) from 07/68. Here's a few other versions of "Sally Go Round The Roses" - The Ikettes (Modern 1015, 1965) The Inner Circle (Impact 1019,1966) prod. Theodore-Coffey-Kreinar The Sunshine Ward (RCA 9227, 1967) - prod. Rick Jarrard Grace Markay (Capitol 2161,1968) prod. Kelly Gordon Grace Slick and The Great Society (Columbia 44583, 1968) prod. Peter Abram LaClave (Verve 10704,1973) prod. Tony Bruno Davie Gordon -------------------[ archived by Spectropop ]-------------------
Message: 2 Date: Mon, 12 Jan 2004 18:11:53 -0000 From: C. Ponti Subject: Re: Bill Lavorgna Lapka Larry wrote: > Bill Lavorgna in recent years has moved totally away > from this type of music. He has been the drummer in > Liza Minnelli's backing bands for quite a long time. > During her concerts, she basically refers to him as > "her best friend in the world", and since he has been > with her forever, you have to believe her. And yes, he > is a terrific drummer, even on her material. I still have not recovered from the assertion that he didn't play on "Dawn"! He is one of my heroes and for most of my life, when listening to Four Seasons records, I have thought fondly of him and his feel on those records. I still am not convinced he didn't play on that cut!! The stubborn, C Ponti -------------------[ archived by Spectropop ]-------------------
Message: 3 Date: Mon, 12 Jan 2004 14:29:14 EST From: Howard Subject: Re:Chrisine Quaite Mark: > Howard--Christine Quaite's version of "Long After..." was > released here on Laurie. I remember it being listed on Tim > Ashibende's voluminous want list. Yes, 'Laurie' was one of the labels that had a few releases over here on the 'Stateside' label (what a great collectors label it is too, with many great soul and beat tracks from the sixties released on it) I have the full Stateside label listing( in the loft) if anyone requires info let me know... cheers. Howard -------------------[ archived by Spectropop ]-------------------
Message: 4 Date: Mon, 12 Jan 2004 14:36:31 EST From: Howard Subject: Re: Tuff Stuff Julie writes: > You are oh-so-on-the-mark there about the E. Rodney Jones > 'B' side being a part 2...but are you SURE it's not just > a continuation in the fine tradition of some Marva Whitney > /James Brown gems I've got both Bobby Treetop & E. Rodney Jones, so I'll have to check and answer that later this week :-) > the 'B' side of TUFF 417, Bobby's "Wait Till I Get To Know You", > is in fact, none other than "R & B Time" (but maybe you knew > that, Howie?). I'd honestly forgotten that, I'm off now to dig them both out for the check on Instrumental vs. Continuation question! cheers.. Howard -------------------[ archived by Spectropop ]-------------------
Message: 5 Date: Mon, 12 Jan 2004 14:45:23 EST From: Howard Subject: Tim Ashibende / Northern Soul Jules: > Regarding 'destroying' labels (aka 'cover-ups') on the > Northern Soul scene, there's an interview with Tim Ashibende > at > wherein he gives a bit of the lowdown on that seemingly errant >'s a good interview actually, if you're keen on > a bit of insider Northern DJ rant...wouldn't you say so Howard? > ...Tim sure knows his stuff. Tim is one of the most respected chaps on the northern soul scene, and has written some very infomative and accurate articles, (I used to buy records from him when in my early twenties!!) Whatever you've read that has been written by Tim can be taken very seriously. cheers.. Howard -------------------[ archived by Spectropop ]-------------------
Message: 6 Date: Mon, 12 Jan 2004 15:55:07 EST From: IDreamMusic Subject: Re: More Arties Artie Kaplan is alive and well in Florida. -------------------[ archived by Spectropop ]-------------------
Message: 7 Date: Mon, 12 Jan 2004 20:16:45 -0000 From: Patrick Rands Subject: Re: Clingers - Rock Flowers Here's a new website I had never seen before of a Rock Flowers article from Feb 1972: According to the Rev-ola website, Melody Clinger was in The Cattanooga Cats. I think it was actually Peggy, since she wrote some of the incidental music for the cartoon. I would love to know if anyone knows conclusively. I doubt both of them were in the band. My information says that Melody married Jim Bell (from The Poor / The Ballroom), left the business and moved to Colorado (with him). Her marriage to Jim would help explain how the Clingers got to work with Curt Boettcher. Anyone know of more details about the Clinger/Michael Lloyd/Curt Boettcher/Kim Fowley/Mike Curb connection beyond Melody marrying Jim Bell? :Patrick -------------------[ archived by Spectropop ]-------------------
Message: 8 Date: Mon, 12 Jan 2004 20:34:48 -0000 From: Martin Roberts Subject: Help! No, not another Beatles track for members to debate, but two scans that would make my day: If any of the musos on the list have The January 1987 "Mix-Pro" magazine (a studio recording mag published in the US) I'd appreciate them contacting me. Likewise The Starr Sisters' "All Because Of You"/"Ready For A Change," U.A. 569. I know the record exists because it's listed on an old printout from J.D. Doyle that catalogued his Girl Group collection. Martin -------------------[ archived by Spectropop ]-------------------
Message: 9 Date: Mon, 12 Jan 2004 20:36:04 -0000 From: Donny Subject: Re: The Chiffons - "My Secret Love" Mike McKay wrote: > 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 believe Mick Patrick once told this group that the master tape for "What Am I Gonna Do With You (Hey Baby)" was missing, and that's why it doesn't appear on the Ace "Chiffons Greatest Hits" CD. Mick, please correct me if I'm wrong. -------------------[ archived by Spectropop ]-------------------
Message: 10 Date: Mon, 12 Jan 2004 20:42:51 -0000 From: Ron Subject: Re: Drummer on 4 Seasons' "Dawn" Billy G. Spradlin wrote: > 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". Right before I read this message, I came upon a web site devoted to Gary Chester. ( On the site it says he played drums on Gene Pitney's "It Hurts To Be In Love" LP, along with many other hit records. I have often wondered, with so many great records coming out of New York, why we don't hear of the NY session players spoken of with the same reverence as the west coast people, and the Funk Brothers. (At least I never have.) Finally, thanks to all the new posters (AND people who have been around the list for a while) with ties to the music industry. For a guy whose sole musical talent consists of laying down a few bucks for some records, I really enjoy reading posts on this list from people whose names appeared on those records. I do also enjoy the posts from the people like me, who are just plain crazy about the music. Ron -------------------[ archived by Spectropop ]-------------------
Message: 11 Date: Mon, 12 Jan 2004 20:10:07 -0000 From: Ron Dante Subject: Re: "In The Rain" Ron, previously: > That was a great session ["In The Rain"]. Don't remember > the studio name but it was in The American Hotel in NYC. Rashkovsky: > Had to be Mirasound. No? Mirasound it was. Great studio. Terrific live drum sound. C. Ponti: > Ron, Gene Radice was the engineer, right? Remember his son Mark > had those cool demos and was quite talented? Alot of us felt > he was going to be huge.... Don't remember the engineer but those guys were just great. They knew the sound for sure. Rashkovsky: > More likely it was Brooks Arthur, but I was among those who > heard Mark Radice and thought he would be GIANT. I think > Gene Radice produced a pretty darn good record, was possibly > Ben E. King, called, "What Is Soul". Seems like Brooks was the king of that studio during those years. -------------------[ archived by Spectropop ]-------------------
Message: 12 Date: Mon, 12 Jan 2004 16:08:05 -0500 From: Orion Subject: Re: Bobby Pedrick Robert John is one of my favorite artists. It is hard to imagine he can get his voice so high up there. I haven't seen anything out by him in quite awhile which leaves me with "Sad Eyes". Orion -------------------[ archived by Spectropop ]-------------------
Message: 13 Date: Mon, 12 Jan 2004 22:11:06 +0100 From: Sebastian Fonzeus Subject: Re: Herman's Hermits In 70s previously: > One of my great curiosity is about who was lead vocals > in some singles that the Herman's Hermits did in the 70s. > LOVE their '75 Private Stock 45, "Ginny Go Softly! Seconded! Fabulous piece of soft pop. Take care! /Sebastian -------------------[ archived by Spectropop ]-------------------
Message: 14 Date: Mon, 12 Jan 2004 13:22:53 -0800 (PST) From: Paul Bryant Subject: Re: Chuck's finest moments steveo wrote: > I think that "No Particular Place To Go" is Chuck's > finest moment. My choice is You Never Can Tell, where the precision of a novelist combines with an irresistible swing -- such great great lines: They furnished off an apartment with a two room Roebuck sale The coolerator was crammed with TV dinners and ginger ale, But when Pierre found work, the little money comin' worked out well "C'est la vie", say the old folks, it goes to show you never can tell It don't get better than that. pb -------------------[ archived by Spectropop ]-------------------
Message: 15 Date: Mon, 12 Jan 2004 21:18:55 -0000 From: Mick Patrick Subject: Re: Shangri-Las / Skapop / Help! Phil Milstein: > For now, at least, John Grecco's online Shangs history > ( remains the most thorough > account of the girls' own Spectropop article > (, based on an > interview with producer Andy Paley, gives a more in-depth > view of what recording with them was like. ...the latter > piece only covers their aborted 1977 reunion sessions... I agree, those are two very vital URLs for serious Shangri-Las fans. Also, Alan Betrock's Girl Groups: The Story Of A Sound is a must-read, as is our very own John Clemete's more recent Girl Groups: Fabulous Females That Rocked The World. All girl group buffs should own both of these books. Discover more about John's tome here: Modesty should forbid me from mentioning the essay that accompanies the Shangri- Las' "Myrmidons Of Melodrama" CD (but it obviously doesn't!). It includes exclusive interviews with Ellie Greenwich, Jeff Barry, Cousin Brucie and the Shangs' labelmate, lovely blue-eyed soul heroine Evie Sands. Find more information at the RPM website: Martin Roberts exclaimed "Help": > No, not another Beatles track for members to debate... Good. Julio Nino identifies the following as examples of Skapop: > Shirelles – Long Day Short Night > Annette – Jamaica Ska > Steve Alaimo – I Don't Know > Doris Troy – What'cha Gonna Do About It Mike Edwards: > Sounds good to me, Julio. If you get a moment why not list > out some more titles. This is lively. A few more girly Skapop faves off the top of my bonce while I'm waiting for my rice and peas: The Pussycats "Come On And Ska" (Keetch) The Angels "Jamaica Joe" (Smash) Tracey Dey "Ska-Doo-Dee-Yah" (Amy) This trend was probably sparked by the freak success of Milly Small's "My Boy Lollipop" in 1964, no? Hey la, Mick Patrick -------------------[ archived by Spectropop ]-------------------
Message: 16 Date: Mon, 12 Jan 2004 21:21:13 -0000 From: Peter Richmond Subject: Welcome Lloyd Thaxton Lloyd Thaxton wrote; >Most recent saddest moment: the passing of Bobby Hatfield of >The Righteous Brothers. I introduced them to TV 40 years ago >and had the honor to introduce them again recently at their >Hollywood Bowl concert to 18 thousand fans. Wow, what a night. >What a great reunion. I was so glad I got to see Bobby again. >I will miss him. However, I know Bill will carry on the tradition. Welcome aboard Lloyd, I was interested to read in your message that you gave the Righteous Brothers their TV debut. I knew that they had appeared on your TV show but have never been able to find any details of dates and the songs they performed. Is there anywhere where this information is available? I particularly would be interested in their TV debut. Do you have any recollections of this or any other Righteous Brothers stories to share with us? I have just updated the photo gallery on my website and there is a photo of yourself with the Righteous Brothers. Peter Righteous Brothers Discography -------------------[ archived by Spectropop ]-------------------
Message: 17 Date: Mon, 12 Jan 2004 16:31:39 -0000 From: Peter Richmond Subject: Welcome Artie Butler Welcome aboard Artie, I wondered if you could possibly throw some light on the 1973 Bill Medley A&M 3517 album "Smile" produced by Tom Catalano, you arranged five of the tracks "Hello Rock N Roll", "Wasn't It Easy", "Rock N Roll Loser", "Oh Me Oh My (I'm A Fool For You Baby)" and "Smile" -- the first three written by Bill Medley himself. I am just curious to know if you had arranged some other tracks for Bill Medley that were not released, possibly intended for the unreleased Bill Medley album on A&M 3512. Or indeed, any recollections of the tracks that were released would be greatly appreciated. Peter. Righteous Brothers Discography -------------------[ archived by Spectropop ]-------------------
Message: 18 Date: Mon, 12 Jan 2004 21:58:16 -0000 From: Austin Powell Subject: Re: Christine Quaite Mike Edwards: > I always thought that Christine was British, having two or > three releases in the early 60s on the UK Oriole label. One > of these was the great "Tell Me Mama"/"In The Middle Of The > Floor", which got a US release on World Artists in 1964. Christine Quaite was certainly born in England and although her two UK Stateside releases are credited as being "Laurie" recordings, her earlier singles on UK Oriole, inc "Tell Me Mama" (US World Artists 1022) were arranged and produced by Oriole Records' head of a 'n' r, Frank Barber....Any help ? Austin -------------------[ archived by Spectropop ]-------------------
Message: 19 Date: Mon, 12 Jan 2004 16:23:14 EST From: Mike McKay Subject: Re: Mark Radice C. Ponti wrote: > Gene Radice,was the engineer,right? Remember his son Mark > had those cool demos and was quite talented? Alot of us felt > he was going to be huge.... > I have a Mark Radice album that I believe dates from the mid-70s. On the cover, he looks to be all of about 12 years old. Haven't listened to it in years, but I recall thinking it was pretty good. And though I'm not the kind of label- squinter that many Spectropoppers are, I also remember seeing Gene Radice's name at some point after this and figuring there must be a connection. Mike -------------------[ archived by Spectropop ]-------------------
Message: 20 Date: Mon, 12 Jan 2004 23:29:19 -0000 From: Julio Niño Subject: Skapop again. Hi Everyone, Mike Edward's wrote about skapop themes : "...Sounds good to me, Julio. If you get a moment why not list some more titles...". Mike, surely there are many people on this list with more information than me about the topic , but I´ll try to please you. Many of Millie´s mid sixties songs for Fontana can fix in this category, for example " Sweet Williams", " Oh Henry", "He´s mine", or even the poppier " Something is gonna be done" (which has great girl backing voices, wonderfully hysterical , they sound to my ears like The Breakaways, but I don´t trust my ears very much ). Continuing with Jamaican artists, the tracks of Byron Lee and The Dragonaires (Byron appears briefly in the first James Bond film playing the Jump up, a sort of Calypso Ye Ye) of this period represents also the pop side of Ska (in opposition to the genuine one, more jazzy, represented by The Skatalites). Check for instance "Jamaica Ska", or the cool " Ska De Wah", that almost sounds like a Madison. Also,many mid sixties versions around the world of the super hit "My Boy Lollipop " can also be considered Skapop, for instance: "C´est toi mon idole" by Agnes Loti (France), " My boy Lollipop" by Sakura and The Quest (sung in Chinese), "Tu sei pallido" by Rita Pavone (recorded in Italy in the sixties but only issued recently), etc, etc. In France "Les Surfs" recorded a version of Millie´s " Sweet Williams" (titled "Sacre Josh") that is also a good example of the topic; they also released " Scandale dans la familie", a version in Ska rhythm of a popular Calypso (Peter Tosh recorded also the song in Jamaica in mid sixties). In the UK , The Tornadoes released as a B-side of a 1964 single "Blue Blue Blue Beat" (Bluebeat was a term used in UK to refer to the pre-Reggae Jamaican music), that was a bizarre hybrid between ska and a cosmic instro. And let not forget the prototypical "Operazione Sole" by Peppino the Capri that I mentioned the other day in my first message about the topic (someday, if there is space in music I would like to play "Operación Sol" by Los de la Torre, a Spanish version of Peppino´s song, a very good example of Skapop and so kitsch that I find it really hilarious). Chao (Spanish version of Ciao). Julio Niño. -------------------[ archived by Spectropop ]-------------------
Message: 21 Date: Mon, 12 Jan 2004 12:40:54 +0000 From: Phil Milstein Subject: Re: Answer Songs Mick Patrick wrote: > And talking of answer records, "Midnight Cryin' Time" is a good > source of those too: > Jimmy Cross "I Want My Baby Back" (Shangri-Las "Leader Of The Pack") I never read I Want My Baby Back as a specific response to Leader Of The Pack, so much as a parody of the teen death-disc cycle in general. I realize it contains a specific reference to Leader, but one reference does not an answer record make. Am I missing something? --Phil M. -------------------[ archived by Spectropop ]-------------------
Message: 22 Date: Mon, 12 Jan 2004 14:05:16 -0800 (PST) From: Watson Macblue Subject: Re: Pet Sounds whoopsies C. Ponti writes: >>It's one of the things that gets fixed in the stereo mix (which, let me >>say immediately, I otherwise loathe - the stereo Sloop John >>B and You Still Believe In Me are unlistenable in my book). >How about on "Here Today", where during the instrumental break I >can here Brian call to Chuck Britz, "Chuck??" None of PET SOUNDS >is unlistenable to me, though "Sloop" never seemed to fit with the >rest of the work. Just to be absolutely clear (as my attorney is fond of writing at a buck a syllable, damn him): my "unlistenable" comment applies to parts of the *stereo* mix of Pet Sounds, and not Brian's mono, which I still play at least once a day, flaws or no. Brian doubled his vocal on You Still Believe In Me for a good reason; without the double, it sounds reedy, small and slightly out of tune. I've never understood what kind of pseudo-antiquarianism prevented the producers of the stereo version (Brian? Yeah, right - wanna buy a bridge?) from simply ADT-ing the existing vocal. Similarly, Billy Strange's 12-string overdub on Sloop John B is there for *2* reasons: (a) to add a new layer of timbre to the track and (b) to cover a stumble on the bass line at "got into a fight". In the stereo version, the bass stumble is right there in your face, and it annoys the Bejasus out of me - just like it did Brian, which was why he called Billy Strange in the first place. (Ask him - I did). The end of God Only Knows is ruined by Carl's soggy entry on the fugato (attention, Mr. Leaf!) that finishes the song; once again, Brian knew what he was doing when he overdubbed the entry himself. I do play bits of the stereo mix from time to time, though. I actually prefer Wouldn't It Be Nice without Mike's whiney contribution on the bridge, and I Just Wasn't Made For These Times definitely gains from being opened out for stereo. As for the 5.1 mix - don't get me started. Like coloring Casablanca with crayons. Watson -------------------[ archived by Spectropop ]-------------------
Message: 23 Date: Tue, 13 Jan 2004 00:08:30 -0000 From: Mark Frumento Subject: Re: Free As a Bird / Beatles mono mixes Mike McKay wrote: > It just seemed like some were bending over backwards not to like > the Threetles project or find fault with it in some way. McCartney said that someone stopped him in an airport (a customs person or the like) and basically chided him, saying "you know, any song you do can never be the Beatles." This was before the song even came out. I'm not sure if the story is true or if it was just a figment of McCartney's insecurity, but you are right, Mike. For some reason certain fans hated the very thing people have been clammering for for years. -------------------[ archived by Spectropop ]-------------------
Message: 24 Date: Tue, 13 Jan 2004 10:09:29 +1100 From: Jules Normington Subject: Re: Christine Quaite Mike Edwards wrote: > I always thought that Christine was British, having two or > three releases in the early 60s on the UK Oriole label. One > of these was the great "Tell Me Mama"/"In The Middle Of The > Floor", which got a US release on World Artists in 1964. > I don't think Christine's two releases on UK Stateside, > "Long After Tonight Is All Over" (SS 482) and "If You've > Got A Heart" (SS 435) were issued in the US. Hey Mike...Christine's last (UK) Oriole 45 "Mr. Stuck Up" was released in the US as the follow-up to "Tell Me Mama" (of which both sides are awesome as you suggest), on World Artists 1028 in '64, but you're right, her two UK Stateside 45s didn't make the grade in the US, nor did any of the other four Oriole 45s. She had six on Oriole and the two on Stateside in the UK (and just the aforementioned two in the US), and then, by 1965, she'd disappeared. Anyone know what happened to her...???...great voice!! Cheers, Jules -------------------[ archived by Spectropop ]-------------------
Message: 25 Date: Mon, 12 Jan 2004 22:25:47 -0000 From: Art Longmire Subject: Re: Innocence, despair and mistakes Paul Bryant wrote: > For some very different versions of some Spectropop > favourites, with many many mistakes, off-key singing > and yet with much beauty too, check out the Langley > Schools Music Project > Paul, the Langley Schools Music Project CD is a classic and I've been a huge fan since I bought it back in 2002. Their versions of "In My Room", "You're So Good To Me", "God Only Knows", and other songs by Brian Wilson and various other songwriters are delightful. I have a lot of other records by school choirs and groups doing pop and rock songs, and to me this is a really fascinating genre. Frequently child performers bring out aspects of a song that are every bit as musical and beautiful as "professional" adult artists. Also it's fun to check out the song selections (sometimes very creative) that these custom school pressings come out with. For instance, I have a record put out in 1970 by a local high school here in Sacramento, California, with one song featuring a student doing "I'm Still Here" (originally by the Notations) -- and this version is terrific, as good as the original. Art Longmire -------------------[ archived by Spectropop ]-------------------
Message: 26 Date: Mon, 12 Jan 2004 23:24:13 -0000 From: Peter Kearns Subject: Re: Free As a Bird / Jeff Lynne Mike McKay wrote: >Yes, I could have done without the Jeff Lynne drum sound Ironic. Isn't this a bit hair-splitting? Ringo and his contemps were seminal influences on Jeff's production style. Lynne is one of the few remaining producers still giving a nod toward the 60s in a positive, non-corny way. He didn't play a note on the record; it was Ringo playing after all, and I'm sure Geoff Emerick/Jon Jacobs had something to do with getting the drum sound; perhaps to Jeff's specifications, but he was after all the producer of the record. He was the man for the job. Peter. -------------------[ archived by Spectropop ]-------------------
Message: 27 Date: Tue, 13 Jan 2004 01:11:53 -0000 From: Ken Silverwood Subject: Re: Christine Quaite Mike Edwards wrote: > I always thought that Christine was British, having two or > three releases in the early 60s on the UK Oriole label. One > of these was the great "Tell Me Mama"/"In The Middle Of The > Floor", which got a US release on World Artists in 1964. > I don't think Christine's two releases on UK Stateside, > "Long After Tonight Is All Over" (SS 482) and "If You've > Got A Heart" (SS 435) were issued in the US. I have posted the "unknown fem." version of " Long After Tonight Is All Over " to musica to see if it can be identified, maybe as Christine Quait . As you will find it is not a full copy as it was taped from a radio programme. Of course, if anyone has the full version please let me know. Her " Tell Me Mama " reached the dizzy heights of # 85 in Billboard in 1964. Ken On The West Coast. -------------------[ archived by Spectropop ]-------------------
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