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Spectropop - Digest Number 1258



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

Topics in this digest:

      1. Re: Jeff Lynne
           From: Rob Stride 
      2. Leon Russell
           From: Al Kooper 
      3. Pat Lundy
           From: Al Kooper 
      4. Re: Pete Antell
           From: Bibi LaRed 
      5. Re: Ragin' Cajuns
           From: Steve Harvey 
      6. Re: Jeff Lynne
           From: Dave Beard 
      7. Re:  The Lloyd Thaxton Show
           From: Herb 
      8. Re: benefit for Paul Atkinson
           From: James Holvay 
      9. Dillards on White Whale/WKYC Cleveland/Sandusky's Monk
           From: Clark Besch 
     10. Re: Mark Wirtz - Love is Egg Shaped
           From: Rosemarie Edwards 
     11. women and records
           From: Alan Zweig 
     12. Orgone Box; "My Hot Will Go On"; stylii; early Zevon; 1/4 2 3; Nap XIV; Chalpin; Van Dyke Parks
           From: Country Paul 
     13. Re: Don Ralke
           From: Tatsurou Sakaguchi 
     14. Re: Jeff Lynne
           From: JJ 
     15. Re: Answer Songs
           From: Eddy 
     16. Re: Inferior Oldies
           From: John Sellards 
     17. Re: Jeff Lynne
           From: Richard Hattersley 
     18. Eddie Rambeau
           From: Dan Hughes 
     19. Re: Jeff Lynne and Freiheit
           From: Mark Wirtz 
     20. Re: Cymbal & Clinger/Brother John
           From: Clark Besch 
     21. Re: ELO
           From: Peter Kearns 
     22. Re: Vinyl Junkies
           From: Paul Bryant 
     23. Shiver Moments? Mine is ELO.
           From: Peter Kearns 
     24. Re: Jeff and Jellyfish
           From: Peter Kearns 
     25. Re: the stereo/mono debate
           From: Paul Bryant 


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Message: 1 Date: Wed, 14 Jan 2004 23:10:07 -0000 From: Rob Stride Subject: Re: Jeff Lynne Ruby: > I have never really understood why ELO is consistently > shunned. I truly believe that you would have a hard time finding > anything as listenable or beautiful as "Living Thing" or "Can't Get > it Out of My Head." I'm not above saying that they were sometimes > over the top, but LORD HAVE MERCY - that's part of the appeal. At > least to me. It would be interesting, I think to hear some cover > versions of ELO songs just to see how they hold up to that test. > Also - the only band that I can think of whose sound owes any kind > of debt at all to ELO is Freiheit - can anyone think of anyone else? You Are Spot On, but what about "Strange Magic" ..ooohhhhhh...LaLaLaLaLa Rob Stride -------------------[ archived by Spectropop ]-------------------
Message: 2 Date: Wed, 14 Jan 2004 19:05:57 EST From: Al Kooper Subject: Leon Russell Mac Joseph: > If memory serves me right; didn't Leon Russell arrange and > produce most of Gary Lewis' music (inbetween Spector sessions?) In all honesty, after This Diamond Ring I stopped paying attention - although I thought Count Me In was a good record. -------------------[ archived by Spectropop ]-------------------
Message: 3 Date: Wed, 14 Jan 2004 19:04:26 EST From: Al Kooper Subject: Pat Lundy Matthew: > A couple of years back I found a brilliant single by Pat Lundy > called "It's Rainin' Outside" (Leopard Records 5009, 1963) and > could not find out anything about it anywhere (I even asked about > it on this list!). Just by luck I found an email address for > Al Kooper, who had the writing credit on the single, and on the > off chance I shot off an email to the man. Not only did he > remember the single but also the lyrics and this is for a single > that is 40 years old! By the way if there is anything else that > Al is willing to say about this great slab'o'wax I would be happy > to read about it It was done to replicate Motown's "Heat Wave". Everything on the record is reminiscent of that record including the songwriting (I'm guilty!!!!) It was produced & arranged by Joe Rene, who made all the Bobby Lewis and Jive Five records on Beltone Records at that time. I think I played piano on it. Al Kooper -------------------[ archived by Spectropop ]-------------------
Message: 4 Date: Wed, 14 Jan 2004 19:02:47 -0800 (PST) From: Bibi LaRed Subject: Re: Pete Antell Pete Antell scraped the bottom of the Billboard charts (number 100) on December 15th, 1962 with this, his only charted track. Personally, I've never heard it. I do, however, own another of his singles called Keep It Up. Damn good track~!! As you may know, Antell was signed to the NOW DREADED Cameo/Parkway label. The label itself is not dreaded... Maybe if I'm lucky, Mr. Klein will decide to release a collection on these labels before the turn of the NEXT century... -------------------[ archived by Spectropop ]-------------------
Message: 5 Date: Wed, 14 Jan 2004 19:12:51 -0800 (PST) From: Steve Harvey Subject: Re: Ragin' Cajuns I wrote: > Yes, Johnnie Allan by all means. Ever note how he > left out the verse about "put me in a silk suit > and stuck luggage in my hand"? Phil Milstein wrote: > That's because Cajuns are more prone to wearing > alligator than silk, but to say so would've > screwed up the meter. Nah, the line is about racism and how the white passengers were trying to justify Chuck's presence on the plane. It wouldn't have made sense coming from a white singer. -------------------[ archived by Spectropop ]-------------------
Message: 6 Date: Wed, 14 Jan 2004 23:18:15 EST From: Dave Beard Subject: Re: Jeff Lynne previously > Lynne really has produced some strong material. My favorite > album has to be "Time" from 1981. Beautifully crafted concept > collection. His "Armchair Theatre" is also beautifully crafted. > Let's not forget he spearheaded the Traveling Wilburys, two > Tom Petty releases, Roy Orbison's last collection, George > Harrison's "Cloud 9" and "Brainwashed" and The Beatles "Free > as a Bird" and "Real Love". I don't think everything he does is great. "Zoom" feels weak to me, and "Secret Messages" -- while it has nice moments -- is disjointed. Lynne does his best work when he works within a concept and usually when its someone else's music. Dave Beard -------------------[ archived by Spectropop ]-------------------
Message: 7 Date: Thu, 15 Jan 2004 05:46:40 -0000 From: Herb Subject: Re: The Lloyd Thaxton Show I too would like to add to my thoughts here as a DVD set would be great! My teen years were the mid-60s and I watched various teen-dance shows be they local (Toronto) or from the US. The Lloyd Thaxton Show came via a Buffalo network - which one I cannot remember. There were only 3: Channel 2 (NBC), Channel 4 (CBS-WBEN) and Channel 7 (WKBW). Being 56 now, my memories are getting scant but I do remember watching The Lloyd Thaxton Show circa 1964-1965. I have a vague memory or Martha & the Vandellas doing "Wild One" and Candy & the Kisses doing "The 81". I also saw the dancers doing the Slauson (Kick That Little Foot Sally Ann -- Round Robin). A DVD set would rekindle a lot of buried memories that's for sure!!! Over the years, I bought a variety of VHS tapes that Dick Clark put out on The Best of Bandstand (2 vol.). Motown put out two tapes of music set to newsreel - the 60s & the 70s; something about a Lost Radio Station and another to do with the life of an automobile from the it rolled off the plant to its return to that owner who had it first -- all set to 60s Motown songs. Of course, I got the Shindig and Hullabaloo tapes and others. Then of course, John Waters' take on the genre in "Hairspray" was great on all levels. The soundtrack that came disappointed me: no Cameo-Parkway tunes were on it (they were in the film). "The In-Crowd" had a dramatic tone however it featured a snippet of The Lloyd Thaxton Show!!! Yes, a DVD of The Lloyd Thaxton Show would be great!!!! (As an aside, I am praying The Orlons are on it.) Herb Toronto, Canada -------------------[ archived by Spectropop ]-------------------
Message: 8 Date: Wed, 14 Jan 2004 23:10:52 -0800 From: James Holvay Subject: Re: benefit for Paul Atkinson Jake: > A tribute dinner and benefit concert for Paul Atkinson will be held > on the evening of Tuesday, January 27th, 2004 at the House of Blues > in Los Angeles. Paul will also be honored with the Recording Academy > President's Award for his accomplishments as an artist and top A&R > executive during his nearly 4 decades in the record business. Jake: Thank you so much. I worked w/ Paul and The Zombies many years ago. When he was at RCA, we got together and talked about old times. I'll be out of town on the day of the benefit but I can assure you I will be donating to his "trust" and saying a prayer for him and his family. Thanks again. James -------------------[ archived by Spectropop ]-------------------
Message: 9 Date: Thu, 15 Jan 2004 05:51:06 -0000 From: Clark Besch Subject: Dillards on White Whale/WKYC Cleveland/Sandusky's Monk Hi, I need some help. Does anyone out there have mint copies of the 2 Dillards 45s they had on White Whale? If so, could you email me off line? Thanks, Clark Also, I just got done listening to an early 68 aircheck of Chuck Dann on WKYC Cleveland. He played a local group, Sandusky's Monk, as far as I can tell. Oddly, it was a remake of the Tymes' "So Much in Love". I have another song taped off WKYC, "Beyond the Trees" (I think). I have never seen or heard of this group on vinyl. Anyone know what label they were on or have either song? Thanks, Clark -------------------[ archived by Spectropop ]-------------------
Message: 10 Date: Thu, 15 Jan 2004 06:41:41 -0000 From: Rosemarie Edwards Subject: Re: Mark Wirtz - Love is Egg Shaped Thanks to Mark I have already heard this CD and all I can say is Wow - It is fantastic and I have listened to it over and over again. I was so impressed with it that I have ordered the book as well. Mark is a true Artist. I want to wish him all the best for 2004 Rosemarie -------------------[ archived by Spectropop ]-------------------
Message: 11 Date: Thu, 15 Jan 2004 02:25:02 -0500 From: Alan Zweig Subject: women and records Art Longmire writes: > One statement made in the text really caught my > eye -- someone was quoted as saying that there are no > female record collectors! There's got to be some > somewhere, although I personally don't know any ... Stewart Mason: > I vaguely know Brett Milano . For one thing, I know > that Brett knows at least one female record collector, > because he knows my wife! I'm in that book and I'm pretty sure I'm quoted on the subject. But I'm pretty sure I didn't say there were NO female record collectors since that's patently untrue. I might have implied that if you were to define a "serious" record collector as someone with five or ten thousand records, women would comprise maybe one percent. Which is a lot more than none. If by record collector, you mean a thousand or so records, then the proportion might go up to seven or eight percent, though I think that's probably generous. If you make the distinction between record collecting and record accumulating and you define record collecting as a person who is trying to get every single record by a particular artist, then I think the proportion would go back down to about one percent. Of course none of this is scientific. It's just a hunch based on a fair bit of experience. And while I'm here, I must say that just seeing the name "Al Kooper" at the top of a post has broken through my generally blase, unimpressed attitude. That impresses me. Back in high school I was like "the Al Kooper guy". I even had this strange rivalry with this guy who was "the Mike Bloomfield guy" which didn't even make sense at the time (unlike say Dave Clark Five versus The Beatles). I think the idea of the rivalry originated with the legend of the Highway 61 sessions. Even stranger was the fact that I had another rivalry going with another guy and in that case, I was the "Mike Bloomfield guy". AZ -------------------[ archived by Spectropop ]-------------------
Message: 12 Date: Thu, 15 Jan 2004 02:30:50 -0500 From: Country Paul Subject: Orgone Box; "My Hot Will Go On"; stylii; early Zevon; 1/4 2 3; Nap XIV; Chalpin; Van Dyke Parks Jules Normington: > ...I'd like to throw another hat into the ring...that will fit > MANY of you on this list. That hat belongs to The Orgone Box... > If you don't know them, if you were to find a copy of their > self-titled CD, you'd be blessed by a stunning album full of > the most beautiful melodies, utterly gorgeous production.... By stroke of good fortune, across my desk have come not one but two Orgone Box CDs. I'm part-way throught he first self- titled one, and am very much impressed. Not quite "the second coming", but well worth finding. So far, not a bad track, and two super ones (at least): "Hello Centra, Give Me Ganymede" and "World Revolves" (which should more properly be '(The) World Revolves (Around Me)' - but that would be giving away too much). I again recommend checking the samples at http://www.minuszerorecords.com/orgonebox.html#sounds. Beatle fans, psych fans and fans of lush production especially take note. Rex Strother, re: lyrics: > I think in current popular songwriting - it is the melody > that is prominent. Of course, there are exceptions - but > the hooks can keep nonsense or cliche lyrics popular as ever. > If you doubt it - check out the lyric to "My Heart Will Go On" > from TITANIC. Cliche, boring, and outright inept in places.... Ah, Rex, this is a prominent number on my Jukebox From Hell - "Neah, faaah, wherever you aaaah".... To address your point, I think even more than melody, it's the era of the hook - some dumb phrase designed to get into your mind like a fishhook and not let go, no matter how brutally obnoxious it is. We are in the era of limited-attention-span mass pop - no time for full melodies. It's "music" for people who don't know anything about music but need to have something on.... And now back to our regularly scheduled era.... Paul Bryant quotes allegedly good and bad lines from "Magic Moments", originally by Perry Como and later sure (very credible version, I might add). Paul, I think the whole song is very lyrically clever, and both couplets you cite are really well wrought. But chacon a son gout.... Dan Hughes: > Needles made for radio station turntables were constucted > so that they could play either direction without harm to > the record, so cueing by backing up the record was no > problem. > Dan, radio DJ 1967-1980, now GM of a radio station that > still uses turntables for weekend specialty programs. Ideally, Mr. GM - but I knew too many DJ's who could take out any stylus in a shift without trying! However, the stylii and the cartridges to support them are stronger in radio and DJ turntables. (These days they cost a fortune, too.) Steve Harvey: > Here's some new insight on the Left Banke. > http://dawneden.com/blogger.html Following that link - and then some - got me to a new release of early Warren Zevon material on Varese Vintage, including Lyme & Cybelle and a bunch of unreleased stuff, as well as two full-length downloads: http://www.varesesarabande.com/details.asp?pid=302%2D066%2D438%2D2 Recommended. Richard Hattersley: > Richard Snow: This guy is fantastic!!! :-) > http://www.wiz.to/richardsnow Actually, I do think he is. Billy G. Spradlin: > I think the worst sounding but one of the greatest early > rock recordings is Gary U.S. Bonds'"Quarter To Three" - > I have it onoriginal 45, on a vinyl LP and Rhino CD and > they all sound like it was recorded with the microphone > stuck in a closet or under a blanket! That's not the pressing, it's the ultra-distorted and overloaded miking and level-riding. That amazing record is a hit partly either because of or despite that lo-fi sound. Actually, the LeGrand label owner/producer Frank Guida is proud of that sound, claiming in liner notes on an early LeGrand LP (which I'll look up sometime) that all that distortion was intentional. I dunno - sounds like the luckiest bad recording job in the world to me, which Guida then imitated for his next dozen or so releases. Austin Roberts asks for opinions on "They're Coming To Take Me Away (Napoleon the XIV)." My two cents: brilliant - funny, wierd, and if you really "listen into" it, downright scary. I love stuff like this that works on many levels. (See my previous comments on Gloria Balsam's "Fluffy.") Did "Napoleon" aka Jerry Samuels ever do anything out of this vein? Mike Rashkow, great piece on Ed and Sam Chalpin - irresistably hysterical! Interesting that you mention Scott English working there as a "hired throat". Pre-Brandy/Mandy, he had a #2 hit in Boston with the beautiful late-doo-wop ballad "High On A Hill" (Spokane Records, 1963). It's a long-time fave of mine. And I didn't know you wrote "Mary In The Morning" - nice song. For a music junkie like myself, 1650 (and 1619) Broadway were the centers of the universe at that time. Thanks for the insider's context. Rodney Rawlings: > ...[M]any so-called "significant" or "important" > lyrics seem to deliberately court or embrace obscurity -- > thus they frustrate judgment, which is in part the purpose. > I classify them as bad. Phil Milstein responded: > How about Van Dyke Parks' lyrics to "Surf's Up"? Van Dyke Parks is, to me, in general one of the most literate, fascinating, clever and obtuse/obscure lyricists I'vbe ever encountered. Some might add pompous and pendantic to the list, but I find close inspection of his work is always fascinating - and those close inspections are best taken in limited doses lest one be overwhelmed. The rest of time, I just listen and let it wash over me. (To specifically answer Phil's question, "Surf's Up" is gorgeous.) And then there are Parks' wonderfully cinematic arrangements. I'm proud to have been one of the first people to play "Song Cycle" on the air, and was sure I'd discovered a superstar, but I've had to sadly conclude that he's too intellectual for the masses. (But Dylan's that intellectual, you might say. True, but Dylan had that rebel folkie persona, and Parks was just too, well, intellectual!) In operatic terms, "Song Cycle" is like a bunch of recitative in search of an aria; it can be irritating in grand opera, but here, it works. End of rant.... How can I be 25 digests behind in only 7 days? Will you guys please shaddap??? (Just kidding....) Country Paul -------------------[ archived by Spectropop ]-------------------
Message: 13 Date: Thu, 15 Jan 2004 00:17:56 -0800 (PST) From: Tatsurou Sakaguchi Subject: Re: Don Ralke Country Paul wrote: > 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.... Peter Richmond wrote: > Don Ralke arranged and conducted the main side of Bobby Hatfield's > first solo single "Hang Ups" (Mann/Weil), it is most likely that he > also arranged and conducted the other four tracks recorded by Bobby > Hatfield at the session on 15 March 1968 in Los Angeles. > The four remaining tacks from the session were unissued but three of > the titles will be very familiar, "I Can't Make It Alone" (Goffin/King), > "So Much Love" (Goffin/King) and "See That Girl" (Mann/Weil) - a song > traditionally associated with other Righteous Brother Bill Medley. The > other track was "She" which I guess maybe the McKuen/Garson song. I have a question? I have a Don Ralke acetate record 45RPM called "I'd Be lost Without You" written Don Ralke. and I have one regular 45RPM "I'd Be lost Without You" by Dan Rogers on ERA-3131 both is Same Recording. Dan Rogers is Don Ralke? -------------------[ archived by Spectropop ]-------------------
Message: 14 Date: Thu, 15 Jan 2004 08:54:43 -0000 From: JJ Subject: Re: Jeff Lynne > Richard Hattersley wrote: > Lynne is one of the few remaining producers still giving a > nod toward the 60s in a positive, non-corny way. Mark Frumento: > I for one am glad to read posts in defense of Jeff Lynne. > ...........And I still think the guy does one of the best > Roy Orbisons around! **2 AMAZING, non-LP, ELO, b-sides, fr 1981, are "When time stood still" (b-s. to "Hold on tight") & "Julie dont live here" (b-s. to Twilight")........To "afford" to hide this GEMS, on b-sides, SHOWS JL's greatness as a songwriter! JJ/Sweden -------------------[ archived by Spectropop ]-------------------
Message: 15 Date: Thu, 15 Jan 2004 10:53:50 +0100 From: Eddy Subject: Re: Answer Songs Me: > 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. > It's on the St Louis to Liverpool album (1964) and on > several compilations, including the 1988 Chess box. Andres: > I have this LP, no Little Marie there... Andres, Maybe it's not in your part of the world or on the particular pressing you may have, but it's the opening track of the album, as you can see on for instance the following sites: http://departments.colgate.edu/diw/Pegg/CBDiscography.html http://www.crlf.de/ChuckBerry/chessupto1966.html http://tinyurl.com/25s5x These last 2 also have a photo of the cover where you can see Little Marie listed at the top of the song titles. Eddy -------------------[ archived by Spectropop ]-------------------
Message: 16 Date: Thu, 15 Jan 2004 11:13:51 -0000 From: John Sellards Subject: Re: Inferior Oldies John Fox: > coming in from the Good Golly Miss Molly part with with > "...wearing her pearls...". I'm sure all of you can come > up with examples that are just as bad. You're right about that one - the drums hotter in mono, too but the big one is "Creeque Alley" by the Mamas and Papas, where a substantial part of the instrumentation is missing from the stereo version. John Sellards -------------------[ archived by Spectropop ]-------------------
Message: 17 Date: Thu, 15 Jan 2004 11:50:59 +0000 From: Richard Hattersley Subject: Re: Jeff Lynne Martin Jensen: > Me too, so my untrained ears may mislead me, but to me the > music of Lynne, whether it is Electric Light Orchestra, solo > or in terms of production, has always sounded quite good & > well produced. Especially some of the stuff from the second > half of the 70s. Though some might find it a bit polished > and glossy. Abba suffered exactly the same attitude from the serious rock press. I think it comes with being succesful in the 70's. Everybody remembers what ridiculous clothes they were wearing and it clouds their judgement of the music. Abba and ELO kept beauty and art in pop music in the 70s. Richard (a man who mostly dislikes 70's music!) -------------------[ archived by Spectropop ]-------------------
Message: 18 Date: Thu, 15 Jan 2004 04:27:25 -0600 From: Dan Hughes Subject: Eddie Rambeau I recently had a conversation with primo Eddie Rambeau fan Rosemarie Edwards, and I thought Spectropoppers might like to comment on what I wrote: "Even though Eddie's version of Concrete & Clay hit #35 in the USA and the Unit 4 + 2 version hit #28, I don't think I ever heard Eddie's version on a radio station (at the time I lived in Indianapolis, but I also listened to stations in Chicago and Boston). Some towns must have been playing it to get that high on the charts. I think the timing was wrong--in 1965 the USA was in love with everything British. And the Unit 4 + 2 was definitely British--their record was even on the LONDON label here! But white American male singers with names like Tommy and Bobby and Eddie were out of favor by 1965--and the DynoVoice label was run by Bob Crewe, whose 4 Seasons were also out of favor after the British Invasion. Forget the quality of the music--it was just crazy record-buying kids leaping off one bandwagon and onto another. Well, that's my theory. If Eddie had called himself "Guy Fawkes and the Revolutionaries" he may have gone to number one!" ---Dan -------------------[ archived by Spectropop ]-------------------
Message: 19 Date: Thu, 15 Jan 2004 07:37:18 -0500 From: Mark Wirtz Subject: Re: Jeff Lynne and Freiheit Ruby wrote: > Apparently I am not the only one who has to defend my ELO > collection. I have never really understood why ELO is consistently > shunned. Frankly, I wasn't even aware of the fact that Lynne was shunned. Without a doubt, like 'em or not, Lynne and ELO stand as a tower in the anals of rock history, their perhaps most conspicuous success, "Out Of The Blue" firmly cemented as a spectacular all time "great". Many have indeed regarded Lynne's work as derivative, in the Lennon tradition, but then, who of us HASN'T been influenced by others before us? Brian Wilson was influenced by the Four Freshman. So what? Don't those kind of influences ultimately become "traditions" rather than mere emulation? Even Paul McCartney and John Lennon used to come to the studio with a stack of '45's in the early days and say to George Martin and Geoff Emerick, for instance, "Hey, listen to this Fats Domino piano, that's what we want". I myself am known to have been heavily influenced by Phil Spector and Motown. But, with the exception of actual tributes that I produced in salute to my "heroes", the influences got diffused in the creative process and by my own idiosyncratic ideas and visions. In Jeff Lynne's case, the love affair he had with Beatlesque music never sank below the surface and remained for all to hear and feel. Not surprising then that McCartney, and especially George Harrison, invited and embraced Lynne's guidance and work for some of their own projects. > Also - the only band that I can think of whose sound owes any kind > of debt at all to ELO is Freiheit - can anyone think of anyone else? I am so glad someone mentions Krautland's fantastic "Freiheit", to me a band whose creativity, material and superb production put them in a league similar to Abba. As a third generation melodic rock band they were blatantly inspired by the Beatles, ELO and the BB, but despite of it, made some amazing, original, harmony pop music. Unfortunately, their only English language album was the "Fantasy" LP, hence, they shot themselves in the foot, paralizing, and disqualifying themselves from any likely Inernational success sprinting. And that name! Duh! Didn't anybody suggest to them that at least a translation of their moniker to "Freedom" might have, shall we say, ushered them past certain prejudices and bias? Be that as it may, those of you who have kept up with them will agree that they are STILL making great "records"! Mark Wirtz -------------------[ archived by Spectropop ]-------------------
Message: 20 Date: Thu, 15 Jan 2004 07:48:48 -0000 From: Clark Besch Subject: Re: Cymbal & Clinger/Brother John Patrick Rands wrote: > Also, there's a Johnny Cymbal project called Brother John > (2 singles) - one of which I know had arrangements by > Jimmie Haskell and was produced by George Tobin - both sides > are great - Polyanna (Paul Davis) and Smokey (Cymbal / Clinger). Patrick, yes I agree about Pollyanna by Brother John being a good song and version. I got my copy in October 1970 and played it a lot then. Shortly before that, it appeared by Paul Davis as the B side to his great 45 "I Just Wanna Keep it Together". As for the Clingers, I have a Tollie 45 and the later more common Easybeats cover, "Gonna Have a Good Time" which is pretty good! Somewhere I have them as guests on American Bandstand. They looked great and even better on the Smothers Brothers. On both, they were highly praised, altho on Bandstand, Dick Clark was more interested in their producer, future politician, Mike Curb, who Clark all but called the second coming of Phil Spector. Unfortunately, he spent so much time glorifying Curb, that he almost forgot to have the group perform! Oh well. Clark -------------------[ archived by Spectropop ]-------------------
Message: 21 Date: Thu, 15 Jan 2004 12:38:38 -0000 From: Peter Kearns Subject: Re: ELO Bibi LaRed wrote: > My question is: How come with the success of ELO, there > were no clone bands out there? Furthermore, how come no > one has tried it again? Yes it's strange. There are of course many examples in recent years of retro pop with strings etc. I think it just comes down to the fact that if you're gonna do it, you gotta have strong material, and a solid as rock asthetic. Jeff was a gun songwriter plus he had the layered vocal technique down. To really make the grade with something like that, we'd need another genius like him as ringleader, as opposed to a put together moneymaking retro trash bollocky 21st century schmooze!! Peter. (With all respect, as ever). -------------------[ archived by Spectropop ]-------------------
Message: 22 Date: Thu, 15 Jan 2004 04:50:43 -0800 (PST) From: Paul Bryant Subject: Re: Vinyl Junkies Art Longmire wrote: > I'm sure there are quite a few female record > collectors around, but as others have noticed, the > vast majority of collectors appear to be male. Record collecting... what do we actually mean? There are different varieties. I don't collect records as such, I collect the kinds of music I love. It's on tape, cd and vinyl (most of the vinyl is now of course in the loft.) I've never wanted to have the original record in the original sleeve - I guess that's what I mean by record collectors. I don't know what's rare and what's not. Another breed of collectors is the Completists. I know a John Fahey completist and his collection of different editions of each album is a sight to behold - it's like visiting a library. I think some people are record label completists, but I never met any. Are there any Completists on this list I wonder? If your version of Completism also requires that you collect every known bootleg of your particular musical obsession then you're truly doomed. I only ever came across one female bootleg trader and one female completist. Music may be universal but that kind of doggedness and endurance seems to be a male thing. pb -------------------[ archived by Spectropop ]-------------------
Message: 23 Date: Thu, 15 Jan 2004 12:51:59 -0000 From: Peter Kearns Subject: Shiver Moments? Mine is ELO. I like this idea of shiver moments. There are of course so many. Martin reminded me of one I had again a few days ago. Martin Jensen: > At one point during this particular album, he tries his best at > reciting a backwarded message from ELO's 'Face the Music' album - > (the music is reversible...turn back..turn back..) A pretty obvious > nod towards Jeff. :-) This backward message occurs at the beginning of the opening track 'Fire On High'. What a sublime piece of music. Easily one of their greatest tracks. The shiver moment comes for me when that wonderful guitar melody section comes. I have it in a mix at home and when that piece comes I never fail to stop what I'm doing and just stand in awe of it. It did that to me when I was 8 and it does it to me now. The saddest melody ever written. It's so beautiful. Jeff never beat it. Peter. -------------------[ archived by Spectropop ]-------------------
Message: 24 Date: Thu, 15 Jan 2004 12:56:41 -0000 From: Peter Kearns Subject: Re: Jeff and Jellyfish Billy G. Spradlin wrote: > If you love ELO I suggest checking out Jellyfish 1991 album > "Spilt Milk" which has a huge Jeff Lynne-Roy Thomas Baker > styled production. Lots of fun for 70's Classic rock fans > with plenty of ELO, Queen and Supertramp quotes. Yes. And even a Toto quote in 'New Mistake'. > I love Lynne's "kitchen sink" productions, especally 1981's > "Twilight". Great on headphones with all that stuff flying > around your head. I agree with about the "clunky" drum mixes > - he can make Ringo, Stan Lynch (Tom Petty's former drummer), > and Jim Keltner all sound like Bev Beven. That's true. :-) Don't they make Allen-keys anymore?? Peter -------------------[ archived by Spectropop ]-------------------
Message: 25 Date: Thu, 15 Jan 2004 05:06:26 -0800 (PST) From: Paul Bryant Subject: Re: the stereo/mono debate Mike McKay wrote: > A further consequence: the classic songs heard on > Oldies radio stations are often wildly different > from the way they sounded when they were contemporary > hits...and yet all but the most avid listeners don't > even realize this and come to accept what they hear > today as the real McCoy. Not only that, but not infrequently when you buy CD collections, you find some horrible re-recorded version slipped in there without it being made clear. People who do this should be hunted down & strung up on the city walls by their thumbs as an awful warning to other entertainment biz execs. pb -------------------[ archived by Spectropop ]-------------------
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