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Spectropop - Digest Number 1277

               SPECTROPOP - Spectacular! Retro! Pop!

There are 25 messages in this issue.

Topics in this digest:

      1. Murray The K Shows / The Tubon / Irwin Levine
           From: Al Kooper 
      2. My Verve 45
           From: Al Kooper 
      3. Re: Smile in London
           From: Al Kooper 
      4. Re: Smile in London
           From: Martin Jensen 
      5. Re: Del Shannon
           From: Martin Jensen 
      6. 40 years ago
           From: Herb 
      7. This Diamond Ring
           From: Bob Celli 
      8. Dick Clark/Monkees
           From: Lapka Larry 
      9. Re: Obscurities Online?
           From: Joe Nelson 
     10. Re: Some Things Just Stick In Your Mind
           From: Mike McKay 
     11. Re: Styrene vs plastic 45s
           From: Steveo 
     12. Re: David Mook
           From: Steveo 
     13. Re: Sock It To Me Time, Laugh-in bands
           From: Sean Anglum 
     14. Collecting records
           From: Alun Hill 
     15. Re: Speaking of disappointments
           From: That Alan Gordon 
     16. Re: Some Things Just Stick In Your Mind (+ Del Shannon)
           From: Scott Swanson 
     17. Red Bird CDs Vol 1 - 04 From: Brad 
     18. Elvis Sun Records master tapes
           From: Mike McKay 
     19. Re: Scooby Doo / Ben Raleigh / Austin Roberts
           From: Austin Roberts 
     20. Howard Tate / Barbara Jean English
           From: Al Kooper 
     21. Re: The Blues Project -- Tommy Flanders
           From: J Berg 
     22. Re: The long "El Paso" does exist in stereo
           From: Paul Bryant 
     23. Re: Sock It To Me Time: Strawberry Alarm Clock on "Laugh-In"
           From: Art Longmire 
     24. Heaven Bound with Tony Scotti
           From: markt439 
     25. Re: Annie Haslam/October Project/Grey Eye Glances
           From: Ken Mortimer 

Message: 1 Date: Tue, 20 Jan 2004 03:56:52 EST From: Al Kooper Subject: Murray The K Shows / The Tubon / Irwin Levine > Al, Do you recall The Blues Project performance at the Murray The K > show at the Paramount Theater in the spring of 1967? Also on the > bill: The Who, Cream, and Wilson Pickett, among others. I remember > when TBP were in the middle of "No Time Like The Right Time" you > switched to your somewhat synth-like keyboard (called something like > a tubon? It was tubular in shape.)and the thing refused to produce > any sound, forcing Danny Kalb to improvise a solo to fill the void. > Does this ring a bell at all? Equipment failure not withstanding the > Blues Project set was great. It couldn't have been too much after this > that you split to form BS&T. I think we played 5 shows a day for a week at that engagement which was actually at the RKO 58th Street Theater (now defunct) So if you say it happened, I believe it, but I don't recall it. The tubon was a pain-in- the-arse battery-operated instrument and it's entirely possible a battery fell out. > Also in about 1970 my friend Steve and I were in NYC trying to shop > an acetate demo around to some labels. To illustrate just how much we > didn't know what we were doing, we were there on a Saturday having > made no prior contact thinking that we would find someone to give a > listen. Of course on a weekend most of the places we tried were either > closed or no one relevant was there or willing to give it a spin. > Interestingly we did somehow manage to get past the security at the > CBS offices and go up in one of the bank of elevators and find > ourselves in a deserted series of offices, one of which seemed to be > yours! We considered leaving the demo but instead beat it out of > there realising that we could be in trouble just for being ther Hey, > we were teenagers in a strange land. In terms of sneaking into CBS, I used to do that myself before I worked there and liberated some Dylan acetates from Tom Wilson's office, I am ashamed/proud to say. Security? Not like today, my friend!!! > Here's another question: Do you remember a talent scout from NJ named > Walter Gollender who supossedly put Irwin Levine together with Larry > Brown before they went on to write "Tie A Yellow Ribbon"? I think he > told me they were writing for a band called "The Purple Avalanche" When Irwin hooked up with Larry Brown, I was long gone from the fold so I have no idea how it happened. Irwin is no longer with us so I can't find out that way. Al Kooper -------------------[ archived by Spectropop ]-------------------
Message: 2 Date: Tue, 20 Jan 2004 04:06:19 EST From: Al Kooper Subject: My Verve 45 Den Lindquist: > Note for Al Kooper: (My apologies if this has been mentioned before) > I have a single you recorded on Verve Folkways: "Changes" b/w "Pack > Up Your Sorrows" (Verve Folkways KF5026 -circa 1965 or 66). I'm > guessing this came prior to the Blues Project recordings. I will try > to post it to Musica (if my computer will cooperate!) Any > recollections would be greatly welcomed. Thanks! Den, This was one of the many mistakes I accrued in my 46 year career, so far... I started making an album, based on my success as a studio player, the kind of which peoliferated in the mid-sixties; a sideman covered all the hits of a genre on one album. A mentor of mine, Wally Gold, produced it. I was in The Blues Project when I did it and Andy Kulberg and Roy Blumenfeld helped me out by playing on it. It took me cutting about 5 tracks before I realized what a wanker I was for doing it in the first place, and somehow I was able to pull the plug. That single you have is the only remnant of that possible debacle. I think it's corny trash, but if you like it, than I've made another person happy and I certainly don't regret THAT. al kooper -------------------[ archived by Spectropop ]-------------------
Message: 3 Date: Tue, 20 Jan 2004 04:13:55 EST From: Al Kooper Subject: Re: Smile in London > I'm going to London next month in order to see Brian Wilson > perform Smile, and since I've never been there, I wondered > if someone here could recommend any good records shops with > CDs of Spectropopper interest? First of all, London & Japan are orgasm-shopping for collectors. Both countries routinely release albums that US record companies would never DREAM of re-releasing. My first trip to London in the late '60's, I brought 40 albums through customs. On my Japanese tour last year, I had SONY mail me the 65 CDS I had acquired on that trip. What I'm trying to say is, you dont need to find small out of the way shoppes. The chains have great stock in them i.e. Tower, HMV or Virgin. It just takes a long while to go through the racks, so if you can, leave 2 or three extra days just for record- buying, it helps a great deal. Good luck and I'm quite jealous - SMILE and English CDs. Oh what a lucky man you ARE. al kooper -------------------[ archived by Spectropop ]-------------------
Message: 4 Date: Tue, 20 Jan 2004 09:34:14 -0000 From: Martin Jensen Subject: Re: Smile in London C. Ponti wrote: > What are they charging for seats at the Royal Festival Hall? It's pretty expensive. I paid 60 pounds (about 107 U.S dollars) for a seat at row 7. Though, I think that Bryan is right in claiming that all the shows have been sold out by now... You can check out for up-to-date information. With regards Martin, Denmark -------------------[ archived by Spectropop ]-------------------
Message: 5 Date: Tue, 20 Jan 2004 09:51:38 -0000 From: Martin Jensen Subject: Re: Del Shannon Michael: > Aloha, Can anyone help on this one? I recieved a disc in trade a > while back. Marked "Home and Away" 1967 Del Shannon, Finally got > around to listening to it and was much surprised. Great Stuff. Can > anyone tell help with artwork, setlist and who produced this gem? > Mahalo, Michael Hi Michael, Congratulations with the great disc. It was produced by Andrew Loog Oldham, the manager of the Rolling Stones and a great champion of Spector's 'Wall of Sound', which I'm sure you've noticed. There's some great stuff on there - I especially like the mellow track 'Silently', 'It's my Feeling' and Del's take on Billy Nicholls' 'Come Again', - in my opinion even better than his stripped down original. Basically, Del went to England and recorded the songs with Andrew and the help of some of the guys associated with his Immediate Records; notably Nicholls and Twice as Much. (And I think that P.P Arnold is also in there somewhere. :-) >From what I've read, Home and Away was shelved for some inexplicable reason. Very strange, given that the songs are really well-produced and melodic. Del subsequently went back to the U.S and recorded a new psychadelic offering called 'The Further Adventures of Charles Westover', which you also ought to track down. It's quite good... There's this killer track on it called 'Gemini' - absolutely awesome! (BGO Records have reissued this album, by the way. They have also reissued Home & Away but under the title 'And the Music Plays On...) With regards Martin, Denmark -------------------[ archived by Spectropop ]-------------------
Message: 6 Date: Tue, 20 Jan 2004 10:14:59 -0000 From: Herb Subject: 40 years ago Hi, PART ONE: On a local Toronto message board, I've been posting the top ten's of Billboard and our CHUM chart. I started doing this in 2001 and 1961 was 40 years ago then. Around this time in 1962, the Twist was the rage. November 1963, JFK was assassinated. I was in Grade 9 and at High School when our class found out. (I was 16 at the time). So much time has passed that my memories of that time have receded. I don't really recall being "affected" by the news and can't remember the weeks following. Being not in tuned with politics may have been a factor. I have been told or read that there was a general malais. People were affected whether they were old or young, black or white, rich or poor. It was/is my understanding that the youth back then held JFK in high esteem. If I am wrong, let me know. In a book, Phil Spector blamed the lack of interest in his Christmas LP "A Gift For You" on the events of Nov. 1963. I asked a friend who lived in Ottawa at the time and he reiterated that a lot of people were affected. It seems Canadians were touched by the event. Do you have memories regarding JFK's death, the funeral procession, etc? PART TWO: On the cover of Toronto's CHUM chart dated January 20, 1964, The Beatles are featured as the phenomenon of Beatlemania began to take root. I am quite aware that The Beatles were quite popular back in August of 1963 and they caught on in Continental Europe, Australia, New Zealand and other countries. Advanced copies of Beatle singles were sent to American labels (Swan, Vee Jay, etc.) but they seemed to have shrugged their shoulders at the time. On January 20, 1964, She Loves You became #1 on the CHUM chart while the single only debuted on Billboard's Hot 100. What followed next was screaming female fans and pandemonium. I myself never really caught on to them. In fact, I "hated" them. As The Beatles and other British acts crossed over, I was left wondering where are my favouties -- Dee Dee Sharp, The Orlons, The Marvelettes, The Crystals. To me, it was like they were shunted aside. The only British acts I did like were Dusty Springfield and The Dave Clark 5 (they seemed "cuter" than the Fab 4). Since then, I have wondered "Why The Beatles?" "What made them hot and others not?" They did borrow from other artists. Roll Over Beethoven was a Chuck Berry hit, FIRST. The Beatles did Pleae Mr. Postman and other songs. Feel free to respond. Thank you, Herb Toronto, Canada -------------------[ archived by Spectropop ]-------------------
Message: 7 Date: Tue, 20 Jan 2004 13:10:53 -0000 From: Bob Celli Subject: This Diamond Ring I recall in an interview with Snuff Garrett several years ago, my asking him if he offered the song to Bobby Vee before Gary Lewis. He said that he did, Vee says he didn't! He then proceeded to tell me that Gary was the first performer on the Ed Sullivan Show to lip sync a song. He told me there was no way he was going to let Gary do that song "live" on Ed Sullivan for various reasons, one being that the Tympanis were sped up on the record, and the other being that he felt Gary couldn't do an effective vocal "live" on tv and would hurt future sales. He told me that he had Jerry Lewis call Ed up and request the change in policy and that Ed said ok. Interesting story! Bob -------------------[ archived by Spectropop ]-------------------
Message: 8 Date: Tue, 20 Jan 2004 05:43:19 -0800 (PST) From: Lapka Larry Subject: Dick Clark/Monkees Dear All: Interesting bits about performers having to buy their Bandstand performances. Was/is the same thing true for those who appeared on Where the Action Is and the other Dick Clark-produced rock/pop shows in the 1960s? Also, with so many industry veterans on board, perhaps they can answer a question for me. Were any of you involved in pitching/creating songs for the Monkees project? I realize that most, if not all, the songwriting talent had a strong connection to Don Kirshner, but I would imagine that when the word went out that songs were needed, did any of you seriously try to create a tune for this project? What were the mechanics involved in getting such a song heard? Was it a similar situation with the Partridge Family project? Larry Lapka -------------------[ archived by Spectropop ]-------------------
Message: 9 Date: Tue, 20 Jan 2004 09:00:09 -0500 From: Joe Nelson Subject: Re: Obscurities Online? Rex Strother: > Just a question to the many fans of this site - has anyone tried out > iTunes, or its competitors? I was wondering if all this hype about > "500,000 tracks" being available for purchase, if any music of the > type discussed here was popping up for legitimate download (which, > of course, would never satisfy the vinyl fetish of Mick Patrick - but > would be making this stuff available to the "masses"). Fat chance. The process of taking older music from analog to digital doesn't change between CD and MP3 - you still have to pull the tape, bake it, EQ it and transfer it in real time to be remastered digitally. I doubt anyone will be pulling tapes to satisfy a few listeners with interest. The 500,000 tracks are as common as most CD'sd because it's easier to just pop in the CD and rip it. Joe Nelson -------------------[ archived by Spectropop ]-------------------
Message: 10 Date: Tue, 20 Jan 2004 09:34:47 EST From: Mike McKay Subject: Re: Some Things Just Stick In Your Mind Phil M wrote: > I was stunned to hear Dick & Deedee's fantastic take on "Some Things > Just Stick In Your Mind" recently. I have versions by Mick Jagger and > Vashti -- haven't A/B'd any of 'em to compare basics, but they sure do > all share the same feel, especially with that dark and insistent piano > riff rumbling underneath like a subway train. Anyone know the story > behind this killer song? Who wrote it, even? Any other versions kickin' > around? I have this single on Warner Brothers. The flipside is "Blue Turns to Grey," and both are Jagger-Richards compositions. I agree with you, Dick and DeeDee's take on "Mind" is great, and that unearthly backing track is wonderful. Of course, the Stones' original of "Grey" is on one of their early albums ("December's Children"? I'm not at home now so I can't check), and wasn't their version of "Mind" on the Alan Klein mining of unreleased Stones tracks "Metamorphosis" (see previous parenthetical statement!)? Mike -------------------[ archived by Spectropop ]-------------------
Message: 11 Date: Tue, 20 Jan 2004 09:10:04 -0800 (PST) From: Steveo Subject: Re: Styrene vs plastic 45s Denny wrote: > You may already know this or you may not. Many record companies > used BOTH vinyl and styrene, and for these labels, instead of > tapping on the record, you can tell one from the other by just > looking at the label. In such cases as Gordy, Cameo, and Uni, > if the label's colors are deep, flat or dark, they are vinyl > records. Bright or "bleached" colored labels are styrene pressings. Denny, I hadn't really pondered that thought, but yes, I would imagine it's true about the same plant using both vinyl or styrene, based on the label's wishes. On that topic, Herb Alpert's first TJ Brass album was pressed on vinyl only, at his request, as styrene before 1962 was used on mono pressings of albums and vinyl on stereo. (According to this article) Herb wanted to make sure the pressings were top notch. Steveo -------------------[ archived by Spectropop ]-------------------
Message: 12 Date: Tue, 20 Jan 2004 09:15:51 -0800 (PST) From: Steveo Subject: Re: David Mook Al Kooper wrote: > David Mook worked for my publisher at the time, Aaron Schroeder. > David helmed the west coast office and Schroeder was based in > the east. Schroeder started Musicor Records with one of my > songs "Sick Manny's Gym," a take-off on the Vic Tanny muscle > centers on the eastcoast. I wrote that song in math class in > high school! Mook got us lotsa west coast covers, but sadly we > did not attend any of the sessions........ Al, I remember playing some of my songs for David Mook at Schroeder's office a few times in the 9000 building. David appeared to me to be one of the most low-keyed guys personality-wise, I've ever met! LOL. Steveo -------------------[ archived by Spectropop ]-------------------
Message: 13 Date: Tue, 20 Jan 2004 10:18:33 -0700 From: Sean Anglum Subject: Re: Sock It To Me Time, Laugh-in bands Lou B. wrote: > Thanks for bringing up the fact that "Laugh In" did try (for > a moment at least) to incorporate pop music as part of their > show's format. It's true that Laugh-In didn't have many bands on, but..... while the hallucinations are still fresh, does anybody remember two promo films by The Bee Gees on Laugh-In? I remember them from right around the time of "Horizontal" (late '67 to early '68) and, I believe, that that ran only two of them. One was "Lemons Never Forget" (an odd song choice because it wasn't a single, but a very funny clip and a groovy Beatlesque song) and another tune whose title escapes me. Possibly "Massachusetts" or "World." Anybody else remember these, or did I pick them up on my "special television", if you get my drift?? It was '67, for gawdsakes! This, of course, was back when The BGs were a glorious pop band. Their first four LPs still put me away! -Sean -------------------[ archived by Spectropop ]-------------------
Message: 14 Date: Tue, 20 Jan 2004 17:35:49 -0000 From: Alun Hill Subject: Collecting records Hi all, This great thread about collecting brings me out of lurkerdom. The posts of messrs. Hall and fellow Torontonian Alan Zweig reminded me of an anecdote about the collecting mind. Years ago, I knew a collector of classical music, a man who used to buy a foot-high stack of CDs on a Friday night, and beside whom I always felt lacking in seriousness when I stood behind him at the checkout with my piddly single disc. One day he stopped buying so many. "When I buy a whole whack of discs, I end up never listening to half of them, because I am always thinking about the ones I have yet to buy." So he adopted a new buying method, which was to buy fewer at a time and visit the store more often. "The secret of collecting," he said, "is to always have something to look forward to." I think he was afraid he would run out of things to collect. AH -------------------[ archived by Spectropop ]-------------------
Message: 15 Date: Tue, 20 Jan 2004 10:47:56 -0700 (MST) From: That Alan Gordon Subject: Re: Speaking of disappointments A few days ago Mike Rashkow was talking about being let down when he heard the first version of Al Martino's "Mary In The Morning." That got me thinking about a feeling we've all gone through. For example.....(bear with me, it's kind of a long story): When I was 18 or 19, I was in a doo wop group in Brooklyn, on Ave U to be precise. The group consisted of Luca, Tony, Joe, Mike and myself. Four Italian guys and one skinny Jewish kid who wrote the songs. We bought red cardigans, black slacks and sang at some record hops with Jack Spector from WMCA. We performed with Jay & the Americans and Candy & the Kisses to name a few. A local "merchant" had visions of being our manager and let us use his basement to rehearse. One night he brought along a man who had a small label - we were very impressed. The man's name was Tony Dano and wow, he looked very wealthy. He wore alligator shoes, the creases in his pants were sharper than a knife and the shirt was silk. His blazer had the family emblem - two baseball bats - his thin moustache was waxed, his black hair had enough grease to lube a cadillac for a year, and he topped it all off with tortoiseshell sunglasses. He said he was tight with Dick Clark and Clay Cole and he took us to Manhattan to a studio. We cut 2 sides [I still have the records]. He said for us to go back and work on our dance steps and that he was going to make us famous. We were beside ourselves with pure joy; this would be the man who would make our dreams come true - new cars, girls, fame and fortune, and girls. This would be the man who would even get rid of our acne! We returned to Ave U on cloud nine. The following week, I was returning home from my job in Manhattan - I was a messenger for an ad agency. I was waiting for the subway train on 42nd Street, it was hot and crowded. I held my NY Post sports page, ate my pretzel, sipped my coke and was ready for the challenge of the day - getting a seat on the train. I gazed around the crowded platform, saying to myself, keep looking at me, people - though I might be a lowly skinny messenger now, MY day is coming. Then I heard the roar of the mighty subway train zooming into the station. I said to myself, this Puerto Rican chick standing next to me is really cute - if I get a seat should I give it to her? As I was saying that, the train suddenly screeched to a halt. Directly in front of me, the conductor popped his head out of his window - he looked to the left, then to the right then at me. He looked like a tired, hot weary man, but wait - those sunglasses he was wearing looked like Tony Dano's sunglasses, the moustache looked like Tony Dano's moustache..... Wait a minute - Holy Jesus, IT WAS TONY DANO!!!!! He was a conductor! Oh God! I stood there, my jaw hanging. I let the train leave without me. What was I going to tell the guys, *what* was I going to tell the guys? A true story. Best, That Alan -------------------[ archived by Spectropop ]-------------------
Message: 16 Date: Tue, 20 Jan 2004 10:13:02 -0800 From: Scott Swanson Subject: Re: Some Things Just Stick In Your Mind (+ Del Shannon) Phil M.: > I was stunned to hear Dick & Deedee's fantastic take on "Some Things > Just Stick In Your Mind" recently. I have versions by Mick Jagger and > Vashti -- haven't A/B'd any of 'em to compare basics, but they sure do > all share the same feel, especially with that dark and insistent piano > riff rumbling underneath like a subway train. Anyone know the story > behind this killer song? Who wrote it, even? Any other versions kickin' > around? "Some Things Just Stick In Your Mind" was one of about 30 songs Mick Jagger & Keith Richards wrote during their "let's learn how to be songwriters" period (late 1963 through fall 1964). Jagger and Richards recorded a demo version of the song c. July 1964 with the Andrew Oldham Orchestra backing them. (This is the version which can be found on the Stones' "Metamorphosis" LP). Supposedly, the same backing track was later used for Vashti's version, which was released in May 1965. Dick & Deedee's version was recorded c. December 1964, and Dick St. John has claimed that the Stones actually played on it. But I've never A/B'd all three songs to compare them. Michael: > Can anyone help on this one? I received a disc in trade a while > back. Marked "Home and Away" 1967 Del Shannon. Finally got around to > listening to it and was much surprised. Great Stuff. Can anyone tell > help with artwork, setlist and who produced this gem? "Home And Away" was the original proposed title of the album Del Shannon recorded with Andrew Oldham in 1967. But the album did not see the light of day until 1978, when it was packaged with a couple new songs and released as "And The Music Plays On". The songs recorded in 1967 are: It's My Feeling (writers: Skinner/Rose from Twice As Much) Life Is But Nothing (writers: Skinner/Rose) Easy To Say (writers: Skinner/Rose) Cut And Come Again (writer: Billy Nicholls) Led Along (writer: Billy Nicholls) Friendly With You (writer: Billy Nicholls) Mind Over Matter (writer: Jeremy Paul, of "Would You Believe" fame) My Love Has Gone (writer: Ross Watson) He Cheated (writer: Del Shannon) Silently (writers: Shannon/Bourgoise) Runaway '67 (remake) Hope this helps, Scott -------------------[ archived by Spectropop ]-------------------
Message: 17 Date: Tue, 20 Jan 2004 19:48:19 -0000 From: Brad Subject: Red Bird CDs Vol 1 - 04 I am looking for these 4 CDs....any info would greatly be appreciated on how and where to buy them. I am a huge Red Bird fan and this would be some interesting listing. Thanks, Brad -------------------[ archived by Spectropop ]-------------------
Message: 18 Date: Tue, 20 Jan 2004 14:48:16 EST From: Mike McKay Subject: Elvis Sun Records master tapes I know this is somewhat off-topic for this group, but I received this press release today and I'm not sure what to make of it... Media Advisory for Tuesday, January 27th Witness the Official First Cut of the Original Sun Sessions Master Recording Tape of Elvis Presley Two-Inch Segments from the Original 1954-1955 Studio Recording tape, beginning with "That's All Right," the Song that Propelled Elvis's Career, to be Cut, Certified, Numbered and Mounted on Commemorative Plaques and Sold to the Public * * * Music Industry Artists and Veterans will witness this First Ever Cut of a Certified Elvis Presley Original Master Source Tape Recording. Graceland's Elvis Presley Enterprises to Receive Plaque Number (1) WHAT: The official first cut of the original 1954-55 Sun Sessions master recording tape made by Elvis Presley and his band. Master Tape Collection, which unearthed and preserved this initial original source recording of Elvis and his band, will officially cut, certify, number and mount each 2-inch segment of this Sun Sessions Master Tape. Each segment will comprise an authenticated collectible limited edition plaque licensed by Elvis Presley Enterprises. The master tape has been authenticated by recording industry experts, and historians Tony Bongiovi and Jim Czak, and is licensed by Graceland's Elvis Presley Enterprises. Those attending the invitation-only news conference in New York will bear witness to the very first cut of this master tape and will hear, first-hand, the off-the-record conversations between Elvis, his band members and engineers from this historic recording. WHEN: Tuesday, January 27, 2004 - 11:00 a.m. WHERE: NOLA RECORDING STUDIOS 111 West 57th Street - 17th Floor Penthouse (bet. 6th & 7th Aves) WHO: Mike Esposito, President, and Master Tape Collection Tony Bongiovi, Record Producer, Authenticator Jim Czak, Owner and engineer, Nola Recording Studios Joe Franklin, radio personality Cousin Brucie, CBS FM radio personality Joey Reynolds, radio personality Pete Davidson and Todd Morgan, Graceland's Elvis Presley Enterprises Representatives from the Smithsonian in Washington, D.C. and Christie's Rock musicians and personalities to be named later * * * To me, this sounds like messing with a very significant piece of rock 'n' roll history for the sake of making a few bucks. What say you? Mike -------------------[ archived by Spectropop ]-------------------
Message: 19 Date: Tue, 20 Jan 2004 14:58:58 EST From: Austin Roberts Subject: Re: Scooby Doo / Ben Raleigh / Austin Roberts Artie Wayne wrote: > Austin........How ya' doin'? I didn't know you did the Scooby > Doo records.....that's cool! My long time collaborator Ben > Raleigh co-wrote "Scooby Doo Where Are You?" with David Mook. > I once asked him which of the songs he wrote, that included, > "Tell Laura I Love her" [Raleigh/Barry], "Wonderful, Wonderful" > [Raleigh/Edwards], "Dead End Street" [Raleigh/Linden], and "[Meet > me at] Midnight Mary" [Raleigh/Wayne], made the most money. He > laughed and said, "Scooby Doo"....which he wrote in 20 minutes!! Hey Artie, Great to hear from you! Ben was a great writer, as are you. Dave Mook was a nice man that I had the pleasure to do a little work with circa '69,70. I know they both have done well with Scooby, as it's still playing somewhere all the time. I'm gonna sing a little bit of it in a benefit for Gene Hughes in Nashville next month. It'll probably get more audience reaction than the hits I've had as an artist. What have you been up to lately? Austin -------------------[ archived by Spectropop ]-------------------
Message: 20 Date: Tue, 20 Jan 2004 15:11:55 EST From: Al Kooper Subject: Howard Tate / Barbara Jean English Phil Milstein wrote: > My own personal concert recollection to ask Al the K about is > the Howard Tate show of a summer or two ago at the Harvard Square > House of Booze, at which I saw him weave a masterful B-3 with a > crack band behind Mr. Tate's blissful time-leap back to 1967. > Any good stories of working with him? Did he rehearse at all with > the band? Who were the other cats in the band? And, was Mr. Tate > more aware of changes in music that've come down in the intervening > years than he seemed? (not meant as a cut, believe me, as I so > appreciated the apparent purity of the retro experience). By the > way, I'd seen H.T. there in his first swing through a year or two > prior, but without you at the wheezer it was just a bit lesser of > a great experience. Jeez Phil Thanks for all the huzzahs !!! As one gets older, one has less knowledge of the current music biz unless they actually work for a company or somethin'. I usually dont know anything in the Top Ten. I'm sure Howard follows less than I do. Doesn't matter. We both know what counts for both of us and that's ALL that matters. He's a wonderful, spiritual person and he DID make rehearsals. And Lord, what a voice! I worked for zero income cause I couldn't get tix and the seat on the organ bench was pretty damned good. Mick Patrick: > One of your old friends from the Aaron Schroeder days, Barbara > Jean English, was at the S'pop Shindig in New York last summer. > Remember her? Of course. She was the receptionist at Aaron Schroeder's office, where I was a young virile songwriter who lusted after her like every other employee there. I'm pretty sure none of us got past the typewriter, but Babs was quite the looker...AND quite the singer. She sang all our girl-songs demos and they were GREAT. Aaron cut a version of "Small Town Girl" on Reprise with her about 1965. Dusty Springfield covered it and imitated Barbara !!!!! A great gal and if anyone is in contact with her, send her my! Al Kooper -------------------[ archived by Spectropop ]-------------------
Message: 21 Date: Tue, 20 Jan 2004 10:13:52 EST From: J Berg Subject: Re: The Blues Project -- Tommy Flanders Non-Yehudi Tommy Flanders "solo" album is worth your listen -- some very nice material, singing and playing (by a good set of session musicians). But another Jewish mother's son, David "Blue" Cohen, also arose during that same era and is perhaps even more worth your time exploring, being slightly prolific (at least for a time) .... J Berg -------------------[ archived by Spectropop ]-------------------
Message: 22 Date: Tue, 20 Jan 2004 04:40:22 -0800 (PST) From: Paul Bryant Subject: Re: The long "El Paso" does exist in stereo vanmeterannie wrote: > The issue wasn't about the song never appearing in stereo, > it's about the missing verse. If yours is stereo AND has > these four lines at that point in the song, then you do > have something that's been missing for many years! My mistake - I thought the long version was the 4:20 version, I didn't know about the missing verse, so many apologies. I promise to pay more attention. pb -------------------[ archived by Spectropop ]-------------------
Message: 23 Date: Tue, 20 Jan 2004 22:02:48 -0000 From: Art Longmire Subject: Re: Sock It To Me Time: Strawberry Alarm Clock on "Laugh-In" Back in the 80's or early 90's I saw a rerun of "Laugh-In" that featured a terrific film clip of the Nitty Gritty Dirt Band doing their great song "Buy For Me the Rain". The clip was somewhat humorous and featured the group clowning around in what appeared to be Civil War uniforms, with flowers popping out of their gun barrels. In addition to the humor, there was a strong anti-war message to the clip. I remember it was one of the earlier episodes, so it probably dates back to 1968. I was a huge fan of Laugh-In as a kid, but unfortunately I was not a music fan during the early years that the show was on, so I have no recollections of musical acts that may have appeared there. The show I really remember having a lot of musical acts was the Smothers Brothers show-I recall seeing Donovan, Jennifer Warnes (just billed as "Jennifer" at the time) John Sebastian (I remember he did "Did You Ever Have To Make Up Your Mind") and of course the regulars like Glen Campbell, John Hartford, and Mason Williams, and also Steve Martin plucking his banjo. Those were the days! Art Longmire -------------------[ archived by Spectropop ]-------------------
Message: 24 Date: Tue, 20 Jan 2004 22:13:32 -0000 From: markt439 Subject: Heaven Bound with Tony Scotti I haven't seen any mention here about this great group. Definitely one for Partridge Family fans to look for. Kind of like what they would have sounded like if Susan Dey could sing and she sang lead. Don't know anything about this Tony Scotti guy but I know Michael Lloyd, who was a sunshine pop genius, produced them. -------------------[ archived by Spectropop ]-------------------
Message: 25 Date: Tue, 20 Jan 2004 22:53:23 -0000 From: Ken Mortimer Subject: Re: Annie Haslam/October Project/Grey Eye Glances Austin Roberts wrote: > Hey Jules, That's some good info; I'll check those out. > What do you think of Steeleye Span? Steeleye Span - now you're talking! They're still going after 30 years!! Thankfully Maddy Prior has rejoined. Ken -------------------[ archived by Spectropop ]-------------------
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