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Spectropop - Digest Number 1261

               SPECTROPOP - Spectacular! Retro! Pop!

There are 21 messages in this issue.

Topics in this digest:

      1. Re: Q for Ron Dante
           From: Laura Pinto 
      2. Re: stupid songs
           From: Andy 
      3. Re: The Outsiders and "Time Won't Let Me"
           From: Mark 
      4. Re: the (un)original hits by the original artists!
           From: Dan Hughes 
      5. It's the Munx, Not Monk!
           From: Mark 
      6. Re: Lorna Dune
           From: Artie Wayne 
      7. Re:  Hair-raising moments
           From: Dan Hughes 
      8. Re: Q's for Rashkovsky
           From: Mike Rashkow 
      9. Re: Mark Radice
           From: Mark Radice 
     10. Welcome Eddie Rambeau and Whoops
           From: Rosemarie 
     11. Re: Don Costa
           From: Artie Butler 
     12. Re: Vinyl Junkies
           From: Fred Clemens 
     13. Spanky rocks! / Neon Philharmonic: madness or genius?
           From: Skip Woolwine 
     14. Re: Check Burry's baseball verse
           From: Phil Milstein 
     15. Re: Mark Radice
           From: Mark Radice 
     16. Re: Spine-shiver moments
           From: Mike McKay 
     17. Re: Inferior Oldies
           From: Mike McKay 
     18. Eddie Rambeau; 4 Seasons
           From: Mike Edwards 
     19. Al Kooper and Elvis
           From: Alan Gordon 
     20. Re: Brits blitz Seasons?
           From: Mike McKay 
     21. Al Kooper
           From: Artie Wayne 

Message: 1 Date: Fri, 16 Jan 2004 01:40:35 -0000 From: Laura Pinto Subject: Re: Q for Ron Dante Jeff Lemlich wrote: > Ron Dante -- were you the singer on a 1967 song called > "Flower Girl", produced by Al Kasha? Hi, I can answer that one. Ron indeed sings "Flower Girl," released under the name Plant Life. To hear this track, go to the "Vault" on Ron's site and click on the link for it; it's audio selection #17. Laura -------------------[ archived by Spectropop ]-------------------
Message: 2 Date: Fri, 16 Jan 2004 01:44:59 -0000 From: Andy Subject: Re: stupid songs That's funny you should mention "ne ne .... nu". I worked with Gerry Granahan back in the late 7T's, doing those "great" (not) songs along with his hit "No Chemise, Please", some stuff by the Fireflies and a few of the Angels songs. He married a former Miss Rhode Island and sorta-kinda (replacement) Angel Mary Lou (something), when Gerry was part of the Caprice management team ....... always wondered what happened to him (he owes me money-LOL). I's been years since I've heard or seen anything about Gerry. andy -------------------[ archived by Spectropop ]-------------------
Message: 3 Date: Fri, 16 Jan 2004 01:44:10 GMT From: Mark Subject: Re: The Outsiders and "Time Won't Let Me" Hi Mac! The guy who could best answer this question is my friend Tom King (lead guitarist for the Outsiders/co-writer of "Time Won't Let Me"). Unfortunately, I don't see him that much anymore -- the last time I ran into him was at a Denny's where we'd both just had breakfast. I'll keep this in mind should I run into him or his sons. Best, Mark -------------------[ archived by Spectropop ]-------------------
Message: 4 Date: Thu, 15 Jan 2004 19:28:43 -0600 From: Dan Hughes Subject: Re: the (un)original hits by the original artists! I get a kick out of the so-called rationale for the re-recording of past hits: "Songs on this album have been re-recorded to take full advantage of the dramatic improvements in recording technology since the original song was recorded." Right. Why DO artists recut their old hits? I'm guessing: 1. The artist signed a bad contract when he was a puppy, and he gets nothing at all from sales of the original record. This is a way to make a few bucks from his song. 2. The artist is down on his luck and badly needs cash. 3. The artist sees this as an opportunity to possibly restart his career. 4. The artist recorded for Cameo-Parkway and knows his original will never see the light of day.... Am I close? You artists would have a better handle on this than I would, I'm sure. -------------------[ archived by Spectropop ]-------------------
Message: 5 Date: Fri, 16 Jan 2004 01:37:38 GMT From: Mark Subject: It's the Munx, Not Monk! Hi Clark! First off, as I mentioned in the subject title, the name of the group you wanted info on is the MUNX, not Monk. Secondly, the song "Behind the Trees"--the correct title is "Our Dream" (confusing, I know, as the title is mentioned nowhere in the lyrics). It came out locally on the Clevetown label (I might still have a spare copy of this, if you're interested), with a more garage-y song, "Girls Girls Girls" on the flip. Great record that did well enough around the North Coast to get picked up by Jubilee (#5612), who also issued the follow-up, "So Much in Love"/"Why Did You Run Away" (#5634). Wish I knew more about the band itself. They may be mentioned in Deanna Adams' book "Rock and Roll and the Cleveland Connection", which I have yet to read (good excuse to visit the library). Best, Mark -------------------[ archived by Spectropop ]-------------------
Message: 6 Date: Thu, 15 Jan 2004 18:17:11 -0800 (PST) From: Artie Wayne Subject: Re: Lorna Dune Artie Wayne wrote: > Lorna Dune was Lorna Wright. Gary Wright ["Dreamweaver"] > was her brother. Phil Milstein wrote: > Interesting! So she was a British woman who lived in the > NYC area and did regular session work in the studios there? Phil..........both Lorna and Gary Wright were natives of New Jersey. I guess most people think they were English because Gary was in Spooky Tooth. regards, Artie -------------------[ archived by Spectropop ]-------------------
Message: 7 Date: Thu, 15 Jan 2004 19:38:44 -0600 From: Dan Hughes Subject: Re: Hair-raising moments Al, sorry this is a repeat for you; wanted to tell the rest of the group: My first exposure to Al Kooper was the WHAT'S SHAKIN' album, with his slow, almost dirge-like rendition of I Can't Keep From Crying Sometimes. I loved it. Then a couple of years later, I heard the same song on the Blues Project PROJECTIONS album. My hair did actually stand on end -- I swear it did -- a few bars into the song, when I realized it was the same song from WHAT'S SHAKIN'. I literally vibrated in delight! (And I'm usually not that weird -- honest). What an education to hear these two diametrically different versions of the same song! Kinda like listening to Mr. Tambourine Man, first by Dylan and then by the Byrds. Same great song, yet at the same time two entirely different songs. But with Kooper, it was the SAME ARTIST! To me, this is absolute genius. Thanks again, Al. ---Dan ________________________________________________________________ The best thing to hit the internet in years - Juno SpeedBand! Surf the web up to FIVE TIMES FASTER! Only $14.95/ month - visit to sign up today! -------------------[ archived by Spectropop ]-------------------
Message: 8 Date: Thu, 15 Jan 2004 21:55:01 EST From: Mike Rashkow Subject: Re: Q's for Rashkovsky Jeff Lemlich wrote: > I guess this is a good time to ask Rashkovsky if any soul > artists recorded "Mary In The Morning". I think the lyrics > to this song would lend themselves well to a deep soul > rendition -- "The ache is there, so deep inside me". Well Elvis is as soulful as it got -- but that will do as far as I'm concerned. I remember when Johnny Cymbal found out that Elvis had done it and it was going to be in that movie, he actually had to sit down. Stunned. So was I but it meant so much to JC to have Elvis do a song he wrote that it simply stopped him cold. I had stopped liking Elvis after he left Sun and became whitebread, so I wasn't as impressed, but I have been ever since -- each time the royalty check arrives. That boy can sell some records, every place, every year. Astonishing. Thanks for asking. Just anecdotally, we wrote it for The Association, but they turned it down on first listen. It's a nice little song -- wrote it in about an hour -- '67 I think and it's been a part-time job ever since. At my house we always say Thank God for Mary In The Morning. Di la, Rashkovsky -------------------[ archived by Spectropop ]-------------------
Message: 9 Date: Fri, 16 Jan 2004 02:23:30 -0000 From: Mark Radice Subject: Re: Mark Radice James Botticelli wrote: > Mark. Did you do "If You Can't Beat 'Em, Join 'Em"? Yeah, that's me. That was when I had a 14-piece band and we were riding the disco wave. Steve Tyler asked me to join Aerosmith when I had already had a 60-city tour planned. I talked to each one of them individually and they all said "Mark, we love you, go for it, it will be a good career move". It wasn't. Aerosmith killed my career as an artist, not to mention 13 astounding musicians who, for the better of me, lost\ their jobs. I love them to this day, I hope they are safe and warm, damn, Steve, you just don't know, doya. Fortunately, when I got off thier crazy A train, I got back into songwriting and have been lucky enough to be on a lot of people who I have admired over the years's (yearziz?) CD's. :) Like over 100. -------------------[ archived by Spectropop ]-------------------
Message: 10 Date: Thu, 15 Jan 2004 16:20:42 -0800 (PST) From: Rosemarie Subject: Welcome Eddie Rambeau and Whoops I go almost a year with no posts then post the same thing twice ... but if something is worth saying it is worth repeating....oops And Mark Wirtz's CD really is something else! I have been like a small child on Christmas morning -- waiting to see what Ed posted -- I will now go back into hiding and enjoying the group now that Ed can answer all the questions that I have not got a clue about! All I know is that Ed is wonderful and I am glad that he is here. Best wishes from a very embarrassed Web Designer! Rosemarie Proud to be an Eddie Rambeau Fan! -------------------[ archived by Spectropop ]-------------------
Message: 11 Date: Thu, 15 Jan 2004 22:54:33 EST From: Artie Butler Subject: Re: Don Costa I was good friends with Don Costa. He was a great booster of mine when I was starting out as an arranger in New York. When he heard something that I did, he would call me up and say, "see Artie, I was right about you." I remember going to Don's house in LA a few times in the '70s. I remember that he would leave himself notes about the ranges of different instruments all over the house in the funniest places. He would do this so that he could always have the information at hand anywhere in the house. Under an ashtray, under a bowl on his coffee table, under a few coasters at the bar. The funniest one was inside a cabinet on the wall in his guest bathroom. I used to crack up laughing. I would ask him about it and he would say "too much to remember." I can tell you as an arranger myself, he was not far from wrong. I was at his memorial service in Beverly Hills. He was truly loved. God bless you Don. With much love and respect, Artie Butler -------------------[ archived by Spectropop ]-------------------
Message: 12 Date: Fri, 16 Jan 2004 03:25:04 -0000 From: Fred Clemens Subject: Re: Vinyl Junkies Paul Bryant wrote: > 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. OK, I admit it. I'm a Record Collector. I collect what I like, not what I'm supposed to like, or to fit in a certain category. I am very eclectic in my tastes. I don't buy a song because of its genre, I get it because it sounds good. I'm also a completist in some ways. My pet label was the Laurie label for many years, simply because there were a lot of great (and unknown) sounding tunes released on the label. I am also a completist when it comes to certain songs, the primary one being "The Lion Sleeps Tonight", also known as "Mbube" and "Wimoweh". You might think I'd be tired of hearing the song by now, but I'm not (surprised the heck out of me too). It's got to rank as THE most successful tune ever recorded by so many different artists throughout the world in so many different eras. Though there are well over 200 different versions of the tune (I've got about 150), it's not the most recorded song. But it does rank as the most successful still (in my book). My quests have kept me seeking the truths about several tunes, one of which was "Let's Live For Today", separating the facts from the myths surrounding the tune. One of the latest has been "Lazy Mary"/"Luna Mezzo Mare"/"Oh! Ma-Ma! (The Butcher Boy)", which I'd been helping out Bob Shannon (WCBS-FM) with his Behind The Hits feature on the tune. My job with that: Find 'em! You can view the stories on the above, plus MUCH more, at Fred Clemens Record Collector ... and loving it! -------------------[ archived by Spectropop ]-------------------
Message: 13 Date: Thu, 15 Jan 2004 22:23:49 -0600 From: Skip Woolwine Subject: Spanky rocks! / Neon Philharmonic: madness or genius? Tight vocals like Spanky and Our gang really fire me up! I love those great stereo mixes with overlapping layers of voices panned from every which direction. The Yesterday's Rain LP with "Give a Damn" is a cool soundscape as each song segs into the next. Stereo headphones recommended. If you like that, you'd like the orchestral arrangements that are the signature of the Neon Philharmonic's long-awaited CD of every recording they did. Morning Girl is just the beginning of many different, very complicated and brilliant arrangements that cause you to pause and think,"Wow. To which frequency is Tupper Saussy tuned?" -------------------[ archived by Spectropop ]-------------------
Message: 14 Date: Thu, 15 Jan 2004 23:02:17 -0500 From: Phil Milstein Subject: Re: Check Burry's baseball verse Guy Lawrence wrote: > - then there's the stunning baseball verse. Which makes me nuts: "Two, three the count with nobody on" For those not hep to the ways of baseball, there is no two-three count. Three-two, sure, but two-three would technically be a strikeout, and so the same batter could not then "He hit a high fly into the stand" How could Chuck not know that? If it was a matter of poetic license, to adjust for meter or rhyme, I could easily accept that, but clearly that wasn't the case here. The only explanations I can fathom for this baseball Spoonerism are that either he slipped ("heading for home"?), or he was baseball illiterate. Either way, a rare "error" for this All-Star. --Phil M. -------------------[ archived by Spectropop ]-------------------
Message: 15 Date: Fri, 16 Jan 2004 02:15:07 -0000 From: Mark Radice Subject: Re: Mark Radice Mike wrote: > Hey Mark, > We corresponded privately last summer...recall my webpage > with all of your pre teen 45s and pic sleeves? How long > did it take you to pen your dancefloor fave, "10,000 Year > Old Blues"? And I hope there are more tasty pop tunes > from your '67-'69 era to be enjoyed Hi Mike :) I'm sorry I have to admit I don't remember. Don't feel bad, after 3 years with Aerosmith and all the cocaine we did from 1978 to 1981 I'm often finding myself not remembering what car I just got out of to this day. But I think it must have been fun ... for everyone else. Oh well... As far as "penning" "10,000 Year Old Blues", hey I was ten when that came out, with none other than Steven Tallarico (now Tyler) playing drums on my record, and also the bass marimba intro. We were friends back then and he was really keen on getting on a record with someone who was "signed" (I was ten, he was twenty). I got the words from a traditional poem book. I used to do that a lot when I was just learning to write, I would open up many of my Mom's books, Robert Frost, etc, and just SING to them with a cassette on record, just to see what I could do. Heck, at one point I wrote a song to the back of a Ritz Cracker box, and I'm not kidding. "Ten Thousand" is the only lyric I ever "lifted" from that time, all the other lyrics were mine, as you could easily tell from my ten year old mind. Although it's safe to say I was copying the Beatles big time in my thoughts and chord changes, at the time it was easy to see that , well, so was everyone else :) For intance, even at ten, I picked up that The Turtles (The Beatles name sideways?) wrote "Happy Together" (still a GREAT song) after "Penny Lane". I put out a song called "The Girl By The Meter", in the same exact feel as the first two mentioned, but at ten I was bold enough to even steal the same subject matter ("Lovely Rita Meter Maid"). HEY, I was ten. All this stuff will be available this summer on what is currently titled "RADICE-VOLUMES" and will be on the first CD of a 10-CD set. Thanks for thinking of me :) Mark -------------------[ archived by Spectropop ]-------------------
Message: 16 Date: Fri, 16 Jan 2004 00:00:03 EST From: Mike McKay Subject: Re: Spine-shiver moments Sean Anglum wrote: > The intro to "California Girls" If this isn't on everyone's list, something's wrong! > - bgv on "You Didn't Have to be so Nice" I'm SO glad you mentioned this, Sean! This is my favorite Lovin' Spoonful song of all ... it positively radiates warmth, and not just from Sebastian's lead vocals, but the wonderful backing vox as well. Meanwhile, I could make a very full list for this topic with Beach Boys and Hollies moments alone. Just off the top of my head: * The chorus of "Don't Worry, Baby" * Brian reaching for the heavens with "...knows me so well" on the chorus of "She Knows Me Too Well" * The way the voices and piano combine leading up to the title phrase of "Let the Wind Blow" * The thrice-repeated title phrase of "I'm Alive" * The guitar intro to "Look Through Any Window" (never fails) * The full three-part harmonies on the bridge of "Yes I Will" * The same on the chorus of "You Need Love" I could go on and on, but I'll stop short for now with just a couple more. Since Laura Nyro has come up here of late (and since I positively LIVED with "Eli and the 13th Confession"), I'll mention: * The flute arpeggio that leads from the intro to the body of the song in "Poverty Train" * The way three different "ooo"'s seem to come out of nowhere and merge near the end of "Timer" And finally: * The phrase "sleep nights" on Raspberries' "Let's Pretend." Eric Carmen's soaring high note juxtaposed with an F chord played against a G bass. Gets me every time! * "Here Without You" by The Byrds -- the entire song! Mike -------------------[ archived by Spectropop ]-------------------
Message: 17 Date: Thu, 15 Jan 2004 23:07:15 EST From: Mike McKay Subject: Re: Inferior Oldies John Sellards wrote: > ...the big one is "Creeque Alley" by the Mamas and Papas, > where a substantial part of the instrumentation is missing > from the stereo version. I may be alone in preferring the album version of "Creeque Alley," without all the horn overdubs, etc. This may be due to the "heard first" syndrome, as some station I listened to regularly (Dick Summer on WBZ maybe?) was playing CA as an album cut for some time before the single version came out. The single mix always seemed overdone and, by virtue of the horns, "cornier" somehow. Mike -------------------[ archived by Spectropop ]-------------------
Message: 18 Date: Fri, 16 Jan 2004 04:07:09 -0000 From: Mike Edwards Subject: Eddie Rambeau; 4 Seasons Welcome Eddie Rambeau! Eddie writes: > For those of you who do not remember hit in 1965 > was "Concrete and Clay" and I also wrote Diane Renay's > "NAVY BLUE" and "KISS ME, SAILOR" along with many other > top 100 songs. And very fine songs they were too. Some of them have picked up a following on the northern soul circuit and Spectropop's Simon White played a couple on one of his recent Metropolitan Soul shows: Dee Dee Sharp's "Deep, Dark Secret" (Cameo, 1964) and Hedy Sontag's "He Never Came Back" (Philips, 1964). The song I have chosen to welcome Ed to Spectropop with is the 4 Seasons' "Only Yesterday", a track from their highest charting LP, "Dawn". Ed wrote this with his long time collaborator, Bud Rehak. Outside of Crewe-Gaudio and Linzer-Randell, not too many people had original material recorded by the 4 Seasons in those fabulous golden years, which speaks volumes about the quality of this great song now playing on musica. Crank it and enjoy because Frankie really sings his heart out and the back-up vocals are perfection. Mike -------------------[ archived by Spectropop ]-------------------
Message: 19 Date: Thu, 15 Jan 2004 20:58:15 -0800 From: Alan Gordon Subject: Al Kooper and Elvis Doug said: > "Good grief! Al freakin' Kooper is now posting here?!? > What next, Elvis?" Did Elvis leave? Was the food too rich? Mr. Al Babe: My favorite album in the last few (?) years is the Nilsson tribute you put together. Far and above, it is the BEST tribute album I have ever heard. There is one song on the album that in my pathetic humble opinion doesn't measure up (I plead the Fifth) ... but that's only because every other song -- besides being written by one of the world's best composers -- is a ridiculously high, top-drawer interpretation. This compilation seems an obviously heartfelt tribute to a dear friend (?). Then, of course, there's those amazing albums you did with blues master, Mr. Bloomfield; SuperSession (a personal fave); all that incredible Dylan stuff; The (freakin' amazing) Blues Project; BS & T's high water mark; The rockin' Paul Butterfield Blues Band; The Tubes (another favorite); and you were obviously quite "special" enough to play with The Stones, George Harrison, Ravi, Ringo, Hendrix, The Grape ... I could go on, but I'm already breathless and my coffee buzz is wearing thin. Suffice it to say: It is an extreme pleasure to be in such lofty company ... even if it's only virtual. Is there a version of "This Diamond Ring" performed in its original R & B style? ~albabe -------------------[ archived by Spectropop ]-------------------
Message: 20 Date: Fri, 16 Jan 2004 00:11:41 EST From: Mike McKay Subject: Re: Brits blitz Seasons? Dan Hughes wrote: > 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. As 9 of their 13 top 10 hits came post-"I Want to Hold Your Hand," the Seasons certainly were "in favor" with someone! Mike -------------------[ archived by Spectropop ]-------------------
Message: 21 Date: Thu, 15 Jan 2004 21:08:52 -0800 (PST) From: Artie Wayne Subject: Al Kooper Al.........How ya' doin'? I've been a fan of your music for a long time. and I'm proud to have witnessed some of your accomplishments early in your career. I remember when I ran into you up at Liberty Records in N.Y., where I was an artist and you were there to pick up the first commercial copy of "This Diamond Ring" by Gary Lewis and the Playboys. You shared your cab with me back to 1650 B'way, where you played it for me. I remember saying ,"It was one of the most obvious number one records I'd ever heard!!" A few years later, I remember running into you outside of the Ed Sullivan Theater. You were so excited about a new group you put together. You took me to a little rehearsal studio and let me hear Blood, Sweat and Tears for the first time!! Every time I run into you something eventful seems to happen, like the time, while we were catching up on old times in front of the Cafe Au Go Go and you introduced me to Bob Dylan. Now thirty years later we run into each other again, this time on Spectropop, the best music site on the net .... and your presence has made it even better!! regards, Artie Wayne --------------------------------- Do you Yahoo!? Yahoo! Hotjobs: Enter the "Signing Bonus" Sweepstakes -------------------[ archived by Spectropop ]-------------------
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