The Spectropop Group Archives
presented by Friends of Spectropop

[Prev by Date] [Next by Date] [Index] [Search]

Spectropop - Digest Number 1249

               SPECTROPOP - Spectacular! Retro! Pop!

There are 25 messages in this issue.

Topics in this digest:

      1. Re: Christine Quaite
           From: Jules Normington 
      2. Many great men; 45 pressings, more
           From: Country Paul 
      3. Stateside Records
           From: Austin Powell 
      4. Re: Scooby-Doo
           From: Clark Besch 
      5. Christine Quaite
           From: John Lester 
      6. Re: Pet Sounds mix whoopsies - I'm Waiting For The Day
           From: Billy G. Spradlin 
      7. RE: Gene Radice - Bob Gallo
           From: Stephane Rebeschini 
      8. Re: How about brilliant tracks with ONE inept ingredient
           From: Billy G. Spradlin 
      9. RE: Gene Radice
           From: Al Kooper 
     10. Re: Free As a Bird / Jeff Lynne
           From: Martin Jensen 
     11. Re: Pet Sounds whoopsies
           From: Al Kooper 
     12. Re: Mark Radice
           From: Al Kooper 
     13. Alvin Robinson / What is soul?
           From: Richard Williams 
     14. Re; Brilliant tracks with one inept ingredient
           From: Craig Davison 
     15. Re: Righteous Brothers
           From: Al Kooper 
     16. Re: Picardy/Ron Dante welcome/Gary Chester
           From: A. Zweig 
     17. Re: Macca Bass/speeding up
           From: Joe Nelson 
     18. RE: Jeff Lynne on Free as a bird
           From: Richard Hattersley 
     19. Re: Picardy / Ron Dante welcome / Gary Chester
           From: Jonathan Singer 
     20. Re: Mixing, "Run To Him"
           From: Steveo 
     21. Re: Chuck's finest moments
           From: Phil Milstein 
     22. Paul Vance/Danny Jordan
           From: Artie Wayne 
     23. Gene Hughes Benefit Info
           From: Ed Salamon 
     24. where's Bo?
           From: Phil Milstein 
     25. Re: Lloyd Thaxton
           From: Clark Besch 

Message: 1 Date: Tue, 13 Jan 2004 17:27:41 +1100 From: Jules Normington Subject: Re: Christine 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. Howard: > 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... Eeeek! And here I was confidently espousing her two World Artists 45s in the US, as the ONLY US releases...have never spotted any on Laurie, after eons of searching out this stuff. I stand corrected...(dammit!). Was there more than just the one on Laurie? -------------------[ archived by Spectropop ]-------------------
Message: 2 Date: Tue, 13 Jan 2004 02:12:35 -0500 From: Country Paul Subject: Many great men; 45 pressings, more Peter Kearns: > 'God Only Knows' was the last great piece of pop genius. > Nothing on 'Abbey Road' came close. JB: > ...[T]he prize went to the Beatles. That they had melodic > sensibility and could turn a lyric was their collective gift, > but that came about largely after the beats made them kings > of the hill, top of the pops. And who can deny that the Beach > Boys were Spectrofied? Without that Spectrofication they would > have been Chuck Berry's red-headed step-cousin. Mike McKay: > Most of the lead guitar work you heard was of the Chuck Berry > variety -- again, nothing wrong with that, but certainly the > electric guitar offered additional possibilities. I disagree with the Great Man Theory. There were many great men (and women). All contributed something, some more than others. All mentioned above certainly were leaders. There are also more. I think comparisons past a certain point are occasionally entertaining, but more often useless exercises in frustration. And re: Chuck Berry, before him rock & roll guitar had not been formulatred. He seriously affected all players after him (with the possible exception of Duane Eddy and Chet Atkins, who "wrote their own books") - including, if we remember, early Beach Boys and Beatles records, which liberally copped his style, albeit with much different guitar tones. And there's my two cents. Steveo wrote: > A 45 that gets my vote for the worst pressing is the Elektra 45 > compatible mono/stereo 1967 release of the Doors "Light My Fire". Most of the stuff pressed by Golden Crest on Long Island was pretty bad. In addition to their own label (with "Tall Cool One" by the Wailers, although the group was based in Washington state), they did the east coast pressing for Liberty/Imperial/Minit in the early 60's - all on brittle styrene, which became "crispy critters" in just a couple of plays. I think they also did some Columbia commercial pressings, too. They'd come in clean, self-destruct quickly, and crackle on forever. Worst out of the sleeve: Cameo Parkway commercial pressings. Pressed on sandpaper, I swear. (Or recycled vinyl.) Very heavy, too. Some companies used the RCA-style soft vinyl pressings for DJ copies, even Columbia when they were using the cheap stuff for commercial copies. This was the same stuff the good Capitol pressings used. It was a pleasure to use these on the air - no cue burns, etc., and relatively long-lived clean playing. Steve Grant, I didn't know the Avanti auto was still being made! VERY cool; nice stylistic update. I notice they don't give the estimated MPG - or the price! :-) Mark: > Country Paul--my Jukebox from Hell would have to include such > crap as the overwrought "Hotel California" by the Eagles (makes > my ears bleed!), "The Night Chicago Died" by Paper Lace and > "Billy Don't Be a Hero" by Bo Donaldson and the Heywoods. Agreed wholeheartedly. May I also add a song we consciously misintroduced on the radio, "Love Goes Where My Rosemary Grows"? "platch1": > My father, Don Ralke, was the arranger/conductor of > "The Transformed Man".... My dad also produced > Dick & Dee Dee. A late welcome to you, Mr. Ralke Jr. May I propose a Don Ralke thread? Platch, what other goodies that we have discussed or would or should discuss here was he involved with? Connie Stevens, if I remember correctly.... Mike Edwards: > UK balladeer Mike Preston became one of only a handful of UK > artists to reach the US Hot-100 in the pre-Beatles' era, when > "A House, A Car And A Wedding Ring" crept in at #99 in December > 1958. (It was not a UK hit). It was a Jerry Lordan song and the > lyric runs: "Got a house and a car and a wedding ring but I > don't know what I'll do without a wife..". My God! I have that record - and don't know where or when I got it. I remember one listening was fine; repeated listenings got cloying. I vaguely remember Dale Hawkins' version, too; he could really sing, although he was known more for his rockabilly. "My Babe," of course, became the A-side, no matter what the intention of the record company. Steve Harvey: > How many people have bought a song because it had great lyrics, > but a lousy tune[?] With the exception of Dylan - but I haven't heard too many instrumental covers of his songs! :-) John Love: > Does anyone know why The Searchers' 1965 hit "Goodbye My Love" > was bizarrely retitled "Goodbye My Lover Goodbye" for the American > market? Because that was the title of the original version by Robert Moseley [sp?]. Great record, by the way. I also commend you to his earlier record on Coed, "Just A Little More." Correction: I cited the Big Daddy Gregorian chant version of REM's "Losing My Religion" which is indeed the The Benzedrine Monks of Santa Domonica. Forgive me, Daddies, for I have sinned; 'twas a nom de plume. Go in peace.... ...which I shall now do. Country Paul (eternally one week behind) -------------------[ archived by Spectropop ]-------------------
Message: 3 Date: Tue, 13 Jan 2004 07:53:45 -0000 From: Austin Powell Subject: Stateside Records Scott Swanson: > By the way, if anyone out there happens to know the contents > of "SS 427" and "SS 436", please let me know because they're > the only Stateside 45s from 1965 that I don't have!! Scott...SS 427 was Gary Criss "Hands Off Buddy" c/w "If This Is Goodbye" and SS 436 was Ronnie Dove "A Little Bit Of Heaven" c/w "If I Live To Be A Hundred". Both were licensed from Joe Kolsky's Diamond Records label in N.Y. and released in mid-65... Austin -------------------[ archived by Spectropop ]-------------------
Message: 4 Date: Tue, 13 Jan 2004 07:49:17 -0000 From: Clark Besch Subject: Re: Scooby-Doo Austin Roberts wrote: > David Mook was a cool guy to deal with. I did a few things with > him. Also did one (I think, just one) vocal for a Fruitgum cut > and wrote one song for them. Since One is the loneliest number, > they must not have liked my vocal or my song much. Austin, was the Fruitgum Company song "Go Away"? It was one of the last, 1970. Just curious. Clark -------------------[ archived by Spectropop ]-------------------
Message: 5 Date: Tue, 13 Jan 2004 09:11:34 -0000 From: John Lester Subject: Christine Quaite Ken: I have posted the "unknown female" version of "Long After Tonight Is All Over" to musica to see if it can be identified, maybe as Christine Quaite. I will check that the posted version is Christine's version. I bought that version in 1966 on Stateside....and I love it. The flip side was called "I'm Hoping" which was almost as good. John Lester -------------------[ archived by Spectropop ]-------------------
Message: 6 Date: Tue, 13 Jan 2004 09:56:06 -0000 From: Billy G. Spradlin Subject: Re: Pet Sounds mix whoopsies - I'm Waiting For The Day There was a quote by one of Brian's friends (it's in one Beach Boy Bio) that said "He spent all this time recording Pet Sounds - but he zipped it down (to mono) in one day and it was full of noise" It has always sounded to me that instead of using a new reel of tape for "Im Waiting For the Day" the engineer/tape-op reused an older reel that didnt erase correctly and you can hear the old song "peek through" the final mix. There's a really bad edit or tape glitch at the start of "Pet Sounds", right at that organ hit at :05. And theres 2 different mixes of "Wouldnt it be Nice" - the original LP mix and a another mix that appeared on the "Made in the USA" CD that sounded sped up with the vocals mixed higher. Another reason to believe that engineers didn't have good monitoring equipment in the 60s - leaving all these mistakes to hear on better stereo equipment and CD since then. Billy -------------------[ archived by Spectropop ]-------------------
Message: 7 Date: Tue, 13 Jan 2004 11:02:23 +0100 From: Stephane Rebeschini Subject: RE: Gene Radice - Bob Gallo Mike Rashkow a écrit : > Yesterday I posted an item saying I thought Gene Radice > produced a thing called "What Is Soul" by Ben E. King. > See, it was gnawing at my psyche so I went to the attic > and pulled out Atco 6454. Right artist, right title -- > wrong producer. The producer was Bob Gallo. Gallo and Ben E. > wrote the song. Now, even though I had the producer wrong, > this record is a pretty funky piece of R&B -- has a lot > going for it -- and I know nothing about Bob Gallo. Something > in the back of my head says he had his own studio on 42nd St., > near 6th Ave. Anyone know something about Bob Gallo besides > (to paraphrase Hoyt Axton) "helping him drink his wine"? > Anyone else know this record? (...) Bonjour, I have/know several records produced by Bob Gallo, who had a long career - 1965, The "You-Know-Who" Group (Int'l Allied IA 420). US group with masks, pretending to be british... - 1967, Sounds Of Modification, same, (Jubilee JGS 8013). New York group, pop rock - 1969 : Aesop's Fables : In due time, (Cadet Concept LPS-323). Hampstead, Long Island group, recorded at Syncron Sound Studios, Wallingford, Connecticut with Louis Cofredo. White soul rock with horns - 1970/71, Sum Pear : Sum Pear (Euphoria EST 1), recorded at Soundview Environmental Studios with Louis Cofredo. Psych rock - 1977, Michel Pagliaro, "Dock Of The Bay" 45 (CBS). Quebec, Canada, rock singer - 1978, Hellfield, Hellfield LP, CBS. Canadian rock group There must be many others. NB : Sounds Of Modification, Aesop's Fables & Sum Pear were all formed by italo-americans from the NY area. I hope that helps Stephane -------------------[ archived by Spectropop ]-------------------
Message: 8 Date: Tue, 13 Jan 2004 10:13:53 -0000 From: Billy G. Spradlin Subject: Re: How about brilliant tracks with ONE inept ingredient Skip Woolwine rote: > At the end of Glen Campbell's vocal on "Guess I'm Dumb" > which appears on The Honeys' recent compilation of various > Brian Wilson productions, you plainly hear someone - probably > Brian - exclaim "Awesome!" over the talkback among the music track. I have Mp3's of the vocal tracks from the "Unsurpassed Masters" bootlegs and Brian says through the control room mic: "Glen, that was outta-site, c'mon in". I took all the vocal and instrumental takes, edited them then synched them all together using Cool Edit and made my own true stereo remix of "Guess I'm Dumb" last year. Sounds great but I left that little goof out! oops. Billy -------------------[ archived by Spectropop ]-------------------
Message: 9 Date: Tue, 13 Jan 2004 05:26:34 EST From: Al Kooper Subject: RE: Gene Radice Group, This is my first reply in S'pop, but I'm an old fan of "What Is Soul" by Ben E King. I'm pretty sure Bob Gallo was a Long Island type of guy, but that means I have to go upstairs and check some LPs and I'm on the road at the moment. But "WIS" by BEK is a masterful track: great songs, great production, great arrangement, great engineering & great playing. I have it on a 45 and have never heard it in stereo. Is there such a thing on CD? Al Kooper -------------------[ archived by Spectropop ]-------------------
Message: 10 Date: Tue, 13 Jan 2004 11:05:20 -0000 From: Martin Jensen Subject: Re: Free As a Bird / Jeff Lynne Peter Kearns wrote: > Lynne is one of the few remaining producers still giving a > nod toward the 60s in a positive, non-corny way. Hi Peter, I really agree with you in this. Have you heard the Zoom album, which he issued in 2001 (or was it 2002, ...nevermind) under the old Electric Light Orchestra name? There's a song on it called 'State of Mind', which faboulously evokes a 60s feel. It's quite a good album... Both Ringo and George plays on it. With regards Martin, Denmark -------------------[ archived by Spectropop ]-------------------
Message: 11 Date: Tue, 13 Jan 2004 06:26:23 EST From: Al Kooper Subject: Re: Pet Sounds whoopsies Watson Macblue: > As for the 5.1 mix - don't get me started.  Like coloring > Casablanca with crayons. As a major Brian fan, I welcome the stereo & 5.1 additions as a Brian student. Many questions are answered re: arrangements & engineering. I HATE mono for that reason with the exception of Elvis, Gene Vincent, Phil Spector & Pet Sounds. Al Kooper -------------------[ archived by Spectropop ]-------------------
Message: 12 Date: Tue, 13 Jan 2004 06:39:40 EST From: Al Kooper Subject: Re: Mark Radice Mike McKay: > 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 had a wonderful Mark Radice single on DECCA called "Natural Morning". A pop beauty amazingly overlooked. Any of you 'poppers heard it or own it ? Al Kooper -------------------[ archived by Spectropop ]-------------------
Message: 13 Date: Tue, 13 Jan 2004 11:56:17 +0000 From: Richard Williams Subject: Alvin Robinson / What is soul? 1. Thanks to Artie Butler for the information that he didn't arrange Alvin Robinson's sublime "Fever" (the B-side of "Down Home Girl"). Can anyone out there confirm a suggestion that it (the chart) might have been the work of Robinson's fellow native of New Orleans, Wardell Quezergue? 2. Re Rashkovsky's meditations on "What is Soul": so popular was Ben E.King's record in UK discotheques that it became the title track of a succesful Atlantic budget-price compilation. Richard Williams -------------------[ archived by Spectropop ]-------------------
Message: 14 Date: Tue, 13 Jan 2004 13:51:54 -0000 From: Craig Davison Subject: Re; Brilliant tracks with one inept ingredient How about that big tape pull or whatever it is at the end of The Rolling Stones' "19th Nervous Breakdown?" Annoying! -------------------[ archived by Spectropop ]-------------------
Message: 15 Date: Tue, 13 Jan 2004 06:36:15 EST From: Al Kooper Subject: Re: Righteous Brothers Peter Richmond: > I have just updated the photo gallery on my website and > there is a photo of yourself [Lloyd Thaxton] with the > Righteous Brothers. Peter Just to inform you that I cut two sides with Bobby Hatfield around 1971-72 for Warner Bros. One was a cover of Orbison's "Crying" and the other was a Motown cover of a song called "Sweet Joy Of Life". SJOL was the better of the two. Never released. Neither of them. He was GREAT to work with and I treasure the time we spent together. Al Kooper -------------------[ archived by Spectropop ]-------------------
Message: 16 Date: Tue, 13 Jan 2004 09:07:27 -0500 From: A. Zweig Subject: Re: Picardy/Ron Dante welcome/Gary Chester Phil Milstein: Subject: Re: Picardy / Ron Dante welcome / Gary Chester > The show was hosted by the extremely unfunny Canadian > comedian David Steinberg (whose tagline was "Booga booga", > which I assure you had us all rolling in the aisles). > For the show's first season Steinberg was joined by a > self-consciously recruited (as opposed to organic) comedy > troupe, only one of whom, Lily Tomlin, ever went on to any > notable success. The troupe was such a bust that they were > not invited back for the second season, although Steinberg, > who may have been harboring incriminating photos of the producer, > was. For what it's worth, David Steinberg was one of my favorite comedians when I was a kid. "Booga Booga" was not exactly his tagline. It was the tagline of a particular character he played in skits. I'm pretty sure he performed that skit on the Smothers Brothers show among others. I don't think skits were his greatest strength. And the whole idea of having a comedy troupe "hosting" a music show was just one of those bad ideas TV execs had in the sixties. But as a standup, Steinberg did have my siblings and I rolling in the aisles. (I'm also wondering why you added "Canadian". Why not "Winnipeg" too? That's okay. When I was a kid, things like that could actually make me proud.) AZ -------------------[ archived by Spectropop ]-------------------
Message: 17 Date: Tue, 13 Jan 2004 10:37:56 -0500 From: Joe Nelson Subject: Re: Macca Bass/speeding up previously: > Especially surprised the Beatles haven't made more use of > the mono mixes in re-issues, especially as the first real > bonofide stereo mix wasn't really made until 1969. I'm not really sure what this means. Does the fact that EMI abandoned mono for all intents and purposes in 1969 mean that all mono mixes prior to that were automatically definitive? It seems to me the group had at least become aware that an alternative to mono existed by 1968, and used it to create two deliberately different versions of the White Album. (Some differences, such as the occasional odd overdub added to the stereo might be attributed to failure to mix out, but how does one explain the false fade on the stereo "Helter Skelter"?) -------------------[ archived by Spectropop ]-------------------
Message: 18 Date: Tue, 13 Jan 2004 13:56:43 +0000 From: Richard Hattersley Subject: RE: Jeff Lynne on Free as a bird >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. I think Jeff is a great producer and i love that drum sound too, it's so fat. I really don't understand why he gets such a hammering by press and music buffs. Maybe you have to have been around in the 70's to hate ELO, but being born in '74 i only vaguely remember ELO at their height of fame, hence I hear the sounds of Jeff Lynne without any image and I like it. As for Free as a bird, its amazing what effect press has on people. The week it was released I was in a band that played it at a gig and it got a standing ovation, but 3 or 4 months later it was dropped because of the moans and groans that playing it caused! Maybe we just murdered it !:-) -------------------[ archived by Spectropop ]-------------------
Message: 19 Date: Tue, 13 Jan 2004 14:54:13 -0000 From: Jonathan Singer Subject: Re: Picardy / Ron Dante welcome / Gary Chester Billy G. Spradlin wrote: > 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." Phil M: > Thanks for the link, Billy. Loved the bit about breaking glass! I once > interviewed a NYC-based recording engineer named Gary Chester, after > which I began coming across all sorts of references to the same name as > having tubbed on many of my favorite NYC-based sessions, causing me to > wonder if they weren't one and the same cat. The bio you provided > finally confirmed that they're not, although for all I know the drummer > could still be the engineer's dad. Gary Chester, the engineer, IS the son of Gary Chester the drummer. Jonathan Singer -------------------[ archived by Spectropop ]-------------------
Message: 20 Date: Tue, 13 Jan 2004 08:13:27 -0800 (PST) From: Steveo Subject: Re: Mixing, "Run To Him" Bob Celli: > Several years ago I was at Bobby's home and he let > me rummage through several boxes of acetates. I came > across one for "Run To Him", Take 11A. I played it > and was amazed that the entire first verse was done > just like the Everlys would have done it, only with > Bobby singing a high harmony part throughout the entire > verse. It sounded great but they obviously made the > right choice with the version that was released. Bob, Thanks for the great info.I feel that the mono versions are superior on Bobby Vee. However, I'm glad I have the stereo versions so I can figure out Ernie Freeman's brilliant scoring (tee hee). Ernie wrote the whole shebang, including the voices! Johnny was there to supervise and handle any changes or problems, as well as direct the choir. Steveo -------------------[ archived by Spectropop ]-------------------
Message: 21 Date: Tue, 13 Jan 2004 00:56:05 -0500 From: Phil Milstein Subject: Re: Chuck's finest moments Steve Harvey wrote: > Jo-el Sonnier, the Cajun accordianist, did the best > version I've heard. Something about Cajuns playing > Chuck Berry appeals to me. Johnnie Allan: Promised Land. --Phil M. -------------------[ archived by Spectropop ]-------------------
Message: 22 Date: Tue, 13 Jan 2004 08:42:30 -0800 (PST) From: Artie Wayne Subject: Paul Vance/Danny Jordan Laura.........How ya' doin'? You asked if anybody knew Paul Vance? When I was 19,in 1961, I asked for a release as a staff writer from Aldon Music.Although I learned how to write songs from Carole King,Barry Mann and Howie Greenfield, I was overshadowed by them and wasn't able to get one cover record in the 18 months I was there!! I went from office to office in 1650 B'way with a batch of new songs, 'til I met Paul Vance, whose name I recognized from "Catch a Falling Star" and "Itsy Bitsy, Teenie Weenie, Yellow Polka Dot Bikini" [which he co-wrote with Lee Pockriss]. He liked what I was doing and athough he couldn't afford to sign staff writers he gave me a place to operate out of and continue my "unorthodox education" in the music buisness. Paul teamed me up with his professional mgr. Cirino Colocrai, and his nephew Danny Jordan [before he cleaned up as one of the Detergents]. During the year that followed, Paul and I wrote songs that were covered by the Fleetwoods, Gary Miles, the Playmates, while Danny and I had songs covered by the Angels, "You Should've Told Me" [co-written with Ellie Greenwich], "Meet me Where we used to Meet" by Brian Poole and the Tremeloes [co-written with Joey Powers].....among others.It was also during this time that Paul produced Danny and me for Diamond records as Jordan and Wayne. Paul was an excellent producer, who unselfishly shared his knowledge and contacts with me. It was through him I met Jeff Barry, Ellie Greenwich, Artie Resnick, Ron Dante, Snuff Garrett, Morris Levy, George Goldner, Morty Craft, Artie Ripp, Jack Gold, to name a few...but I am most grateful for his introductions to Joey Powers[who I produced after Paul released him from his contract].........and Ben Raleigh [with whom I co-wrote "(Meet me at) Midnight Mary"]....who became my songwriting partner for over 20 years. The most important thing I learned from Paul Vance was how to make concept records...he could sell an idea to a record company based on his enthusiasm...but it was usually accompianied by a great song!! regards, Artie Wayne -------------------[ archived by Spectropop ]-------------------
Message: 23 Date: Tue, 13 Jan 2004 16:55:36 -0000 From: Ed Salamon Subject: Gene Hughes Benefit Info Anthony James: > Can anyone give me some more information about Gene's accident. > We here in Cincinnati would like to know what happened and when. > Any info would be great so we can pass on to his fans here. Austin Roberts: > Anthony, I'm singing at a show for Gene Hughes in Nashville > in Feb. so I'll find out more and let you know. He's a great > guy and what a voice. Here's the info. I just got off the phone with Steve Jarrell, who advise T. Graham Brown is in too; BENEFIT CONCERT: "Rockin' At The Trap" Friends come together for the benefit of industry vet Gene Hughes TUESDAY, FEBRUARY 10, 2004 7:00 PM THE TRAP, NASHVILLE A Benefit From The Heart for Gene Hughes Enjoy an evening of classic Rock 'n Roll. Proceeds to benefit 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 artists will be performing at to raise funds to offset his medical bills. Artists confirmed to perform are: CLIFFORD CURRY, BRUCE CHANNEL, LARRY HENLEY OF THE NEWBEATS, DICKEY LEE, BUZZ CASON (GARRY MILES), BUCKY WILKIN (RONNY AND THE DAYTONAS), STEVE JARRELL AND THE SONS OF THE BEACH! More artists to be announced. Tickets are $10 at the door. Advance tickets may be purchased on line @ Donations may be made by sending a check or money order to: GIFT 2804 Azalea Place, Nashville, TN 37204 For more information call 615/383-8682 See you there, Ed Salamon -------------------[ archived by Spectropop ]-------------------
Message: 24 Date: Tue, 13 Jan 2004 11:34:18 +0000 From: Phil Milstein Subject: where's Bo? Anyone know what's become of the official Bo Diddley website, previously at ? --Phil M. -------------------[ archived by Spectropop ]-------------------
Message: 25 Date: Tue, 13 Jan 2004 17:55:36 -0000 From: Clark Besch Subject: Re: Lloyd Thaxton Bob Bailey wrote: > Thanks for the memories, Mr. Thaxton. I spent many an > afternoon tuned to KCOP Channel 13 in Los Angeles, > because my 2 older sisters made me turn it from Felix the > Cat each afternoon. Bob, I saw your name and had to think for a minute. I have a cousin Bob BaYley living in Dodge City. So, it was not you. I see you did not grow up in Kansas but live there now. I grew up in Dodge City, but live in Lincoln, Ne. Either way, my 3 brothers and I watched Lloyd Thaxton's show syndicated also, just like you. Can't remember which station, but probably Garden City station. Seemed like it was on about 5 PM, but I think it was only on Saturdays there. Maybe Lloyd syndicated it to stations outside of California for weekends only?? I often taped songs off his show and still have many. I could always tell, cause Lloyd kinda yelled or said something loudy over the end of the song to get the crowd revved up, I figure, for applause. He certainly had all the great groups on his show. Only Upbeat could compare on a syndicated basis, I'd think. Clark -------------------[ archived by Spectropop ]-------------------
SPECTROPOP - Spectacular! Retro! Pop! End

Click here to go to The Spectropop Group
Spectropop text contents © copyright 2002 Spectropop unless stated otherwise. All rights in and to the contents of these documents, including each element embodied therein, is subject to copyright protection under international copyright law. Any use, reuse, reproduction and/or adaptation without written permission of the owners is a violation of copyright law and is strictly prohibited. All rights reserved.