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Spectropop - Digest Number 1286



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               SPECTROPOP - Spectacular! Retro! Pop!
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There are 24 messages in this issue.

Topics in this digest:

      1. Variable Speed Oscilator/Hastening the track...
           From: C Ponti 
      2. The Zombies Live On
           From: Neb Rodgers 
      3. Re: No Greater Sin
           From: Guy Lawrence 
      4. Homburg
           From: Peter Kearns 
      5. Re: Bubblegum
           From: David Coyle 
      6. Rev-Ola's Phantom Jukebox
           From: S'pop Team 
      7. Re: sediS-B sdrawkcaB fo noitalipmoC :eR
           From: Joe Nelson 
      8. Aurora label listing
           From: Davie Gordon 
      9. Re: Austin Roberts Live?
           From: Clark Besch 
     10. Caroline No
           From: Richard Havers 
     11. Re: Elvis Sun Records master tapes
           From: Mikey 
     12. Re: There Is No Greater Sin
           From: Dan Hughes 
     13. Re: Stroboscope
           From: Dan Hughes 
     14. Richard Hawley / Grey Eye Glances
           From: Jules Normington 
     15. Russell Bridges (Leon Russell) and groupie life in Tulsa al la '70s
           From: Bob Bailey 
     16. At Last and Brenda's BG singer
           From: Albabe 
     17. Re: Austin Roberts Live?
           From: Austin Roberts 
     18. Re: Thoughts on rarity / instrovox / label typos
           From: Phil Milstein 
     19. Re: Biggest record label blunders!
           From: Art Longmire 
     20. Re: 2003 top 10 albums
           From: Peter Lerner 
     21. Re: The Cake
           From: Art Longmire 
     22. Re: Biggest record label blunders!
           From: Patrick Beckers 
     23. Re: Female collectors
           From: mattmattador60 
     24. Re: Steve Tudanger & the Four-Evers
           From: Mike Rashkow 


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Message: 1 Date: Thu, 22 Jan 2004 05:52:53 -0000 From: C Ponti Subject: Variable Speed Oscilator/Hastening the track... On almost every session I remember from the 60s, there was a time when the VSO would be brought out. After the tracks were mixed, we would experiment to see if the cut was improved by being sped up a hair. The effect was to compress and integrate the track. Also the voices had more energy, (of course they were higher), and the instruments had a more saturated sound. I continue in this tradition even now, digitally, despite protest! Engineers want to kill me 'cause they perceive it as a dated effect and they seek naked, documentarian truth versus "it sounds like a hit!!" type compression. One would be hard pressed to find a single in the 60's where VSO wasn't used. It was ubiquitous. I hear it indelibly on Beatles, Spoonful, Hollies,Four Seasons, Mamas & Papas tracks. This is why some songs seem tuned sharp of "concert". If you sometimes wonder how a lead guitar part was played at that speed.....maybe it wasn't! -------------------[ archived by Spectropop ]-------------------
Message: 2 Date: Wed, 21 Jan 2004 21:55:59 -0800 (PST) From: Neb Rodgers Subject: The Zombies Live On The Zombies live on. Well, two of 'em, anyway. And they're touring the US in Feb. More info here: http://www.pollstar.com/tour/searchall.pl?By=Artist&Content=A-BLUARG&PSKey=Y -------------------[ archived by Spectropop ]-------------------
Message: 3 Date: Thu, 22 Jan 2004 10:16:53 -0000 From: Guy Lawrence Subject: Re: No Greater Sin Dan wrote: > Guy, I think you've sparked a long-buried memory here. Is the > full line "And there is no greater sin / Than what you're tryin' > to do"? Where was the group from and what label were they on? > I feel sure I know that song, and I was thinking it was a local > group (from the midwest US). You're right Dan, the Boys were referred to as the 'Beach Boys of the Midwest' no less! After one surfy Soma 45 as the Four Wheels they released a bunch of great tracks on several different labels though with no national chart action. Well written and produced, they remind me of "Today" era Beach Boys with nods to the Byrds and Zombies here and there. Luckily the whole shebang has been packaged together on one CD (with unissued tracks and radio spots natch!) for your convenience and is available from Sundazed at: www.sundazed.com Guy http://groups.yahoo.com/group/TweedleeDumsDrive-In/ -------------------[ archived by Spectropop ]-------------------
Message: 4 Date: Thu, 22 Jan 2004 11:05:41 -0000 From: Peter Kearns Subject: Homburg I just finished this version of Procol Harum's 'Homburg' for a cd my brother is doing. I wondered if spectropoppers at large might be interested in checking it out. I'm pretty happy with it. http://www.peterkearns.net Cheers, Peter. -------------------[ archived by Spectropop ]-------------------
Message: 5 Date: Thu, 22 Jan 2004 06:33:05 -0800 (PST) From: David Coyle Subject: Re: Bubblegum Somebody mentioned seeing a show by the reformed 1910 Fruitgum Co. I'd like to see that. I saw the Ohio Express in Mansfield a few years ago, and they had a similar thing going. The only original member is Tim Corwin, who was originally drummer of Sir Timothy & The Royals, the band that went out on the road as the Ohio Express from 1967 on. He is now the singer, backed by about five younger guys and a couple of girl backup singers. They did a purely bubblegum set, with not only the OE's hits, but others by the Fruitgums, Crazy Elephant and 1941 Dubble Bubble Trading Card Co. or whatever they were called. They put on a really good show...Tim had the Joey Levine voice down pat. He has definitely come to terms with the bubblegum past. The Ohio Express used to play heavy psych on stage to avoid those sticky sticky hits, but now, as I said, it's bubblegum music all the way. What is Mark Gutkowski of the 1910 Fruitgum Co. up to now? I saw one clip of the group doing "Simon Says" in 1968, and the bass player looked very embarrassed, making funny faces and shrugging his shoulders whenever he was shown close-up. Wonderful piece of '60s TV that. David -------------------[ archived by Spectropop ]-------------------
Message: 6 Date: Fri, 23 Jan 2004 01:10:29 -0000 From: S'pop Team Subject: Rev-Ola's Phantom Jukebox New @ S'pop Recommends - Rev-Ola's Phantom Jukebox Vol I: "In The Garden - The White Whale Story", featuring Liz Damon's Orient Express, Nino Tempo & April Stevens, Lyme & Cybelle, Laughing Gravy, Dobie Gray + more. Vol II: "Night Time Music - The B.T. Puppy Story", featuring the Tokens, Randy & the Rainbows, Canterbury Music Festival, Beverly Warren, the Sundae Train + more. "The true nature of singles is the pursuit of the hit record . . . . Thus, it's fascinating to hear the pursuit of the hit as carried out by White Whale and B. T. Puppy, two successful singles-oriented independent labels featured on the first two installments of Rev-Ola's Phantom Jukebox compilations." (Country Paul) Paul's review in full: http://www.spectropop.com/recommends/index2004.htm#PhantomJukebox Enjoy! The S'pop Team -------------------[ archived by Spectropop ]-------------------
Message: 7 Date: Thu, 22 Jan 2004 10:29:59 -0500 From: Joe Nelson Subject: Re: sediS-B sdrawkcaB fo noitalipmoC :eR Robert R. Radil wrote: > This is going a little off your topic but "Mirage" by Tommy James > & The Shondells is based on "I Think We're Alone Now" played > backwards. Glenn responded: > Myth. Total myth. > It's weird how these things get started. Tommy James once laughed in > an interview about the fact that the chord sequence of the chorus > of "Mirage" was created, by writer Ritchie Cordell, by taking the > chord sequence of the chorus of "I Think We're Alone Now" and playing > it backwards - in other words, reversing the order of the chords. > James thought this was funny because it showed how formulaic the > creation of a hit could be. In a later interview he shortened the > comment by simply saying that "'Mirage' is 'I Think We're Alone Now' > backwards." When Bob Radil first brought this to my attention, I promptly ripped a wav file of "I Think We're Alone Now" and played it backwards using Sound Forge. It turns out the melodies also match, and the backward drum part in question matches the bongo solo at the end of each chorus. Try it out. (Bob, incidentally, discovered this as a kid when he wired a cheap record player to spin backwards. He played ITWAN a few times, then wondered a couple of months later when "Mirage" was released why it sounded familiar.) Joe Nelson -------------------[ archived by Spectropop ]-------------------
Message: 8 Date: Thu, 22 Jan 2004 17:45:29 -0000 From: Davie Gordon Subject: Aurora label listing AURORA RECORDS, distributed by Amy/Mala/Bell [see below] Any help in filling in missing credits and matrix numbers would be appreciated. I think "Ronga", the co-writer of the Jorge single, might well be Bob Ronga. He was a member of a good garage band called the Teddy Boys ("Mona" and "Where Have All The Good Times Gone" on Cameo). I suspect he's the same guy who went on to be a member of Ian Matthews' seventies group Plainsong, but have yet to see this confirmed anywhere. Most seventies groups tended to see being a member of an unsuccessful group in the sixties as an embarrassment that was best never mentioned. Can any Fairports alumni fans confirm this, or am I suffering from one of my periodic data-overloads ? While David Mook's name is being mentioned, it should be remembered that he was the first producer for the great Lou Johnson. He gets credits for "If I Never get To Love You" and "You Better Let Him Go", then Burt Bacharach took over. Lou Johnson's a guy who is loooooooong overdue for a CD compilation. He has tracks available on various compilation CDs, but I want ALL of it in one place. Davie Gordon _______________________________________________ 150 EDDIE HODGES (1965) ACROSS THE STREET SHE DOESN'T LOVE ME (Randy Newman) Prod : David Mook for P, P & F prod. Arr: David Gates 151 JOEY BROOKS A LITTLE BIT OF RAIN ? Prod : 152 JOEY BROOKS YOU BETTER MOVE ON NEIN, NEIN,FRAULEIN Prod : 153 EDDIE HODGES (06/65) UK : Stateside SS442, 07/65 NEW ORLEANS (Frank Guida,Joe Royster) HARD TIMES FOR YOUNG LOVERS Prod : David Mook for P, P & F prod. Arr: Gene Page 154 JIMMY RADCLIFFE MY SHIP IS COMING IN (Joey Brooks) 6453 GOIN' WHERE THE LOVIN' IS 6454 Joey Brooks - arr/prod. 155 BARBARA ENGLISH (YOU GOT ME) SITTIN' IN THE CORNER (Al Capps,Mary Dean) 6492 STANDIN' ON TIP TOE (Jimmy Radcliffe,Philips Swern) 6493 Prod. David Mook 156 EDDIE HODGES (10/65) UK : Stateside SS469,11/65 LOVE MINUS ZERO - NO LIMIT (Bob Dylan) THE WATER IS OVER MY HEAD (Al Kooper) Prod. David Mook for P, P & F prod. Arr: Jack Nitzsche 157 THE WHEEL-A-WAYS UK : Columbia DB7827;flip DB7682 BAD LITTLE WOMAN (Tinsley,Catling,Demick,Rosbotham,Armstrong) 6614 DON'T YOU KNOW Scott-Solomon Productions [UK releases credited to The WHEELS, 'Bad Little Woman' was covered in the US by the Shadows of Knight on Dunwich] 158 JAMES GALT UK : Pye 7N17021 A MOST UNUSUAL FEELING (Gallagher,Lyle) 6654 WITH MY BABY no producer credits 159 SKIP BATTYN AND THE GROUP NIGHT TIME GIRL (Al Kooper,Irwin Levine) 6689 THE DATING GAME THEME Past Present & Future Productions 160 THE PENDULUMS LOVE IS SUMMERTIME (Ritchie Adams,Irwin Levine) 6769 WHERE THERE'S SMOKE THERE'S FIRE (Al Kooper) 6770 Prod : Ritchie Adams & Irwin Levine 161 EDDIE HODGES HITCHHIKE (Marvin Gaye,Wm. Stevenson) 6849 THE OLD RAG MAN (Al Kooper) 6850 Prod : David Mook for P, P & F prod. 162 ROBB STORME GROUP UK : Columbia DB7993 HERE TODAY (Brian Wilson,Peter Asher) DON'T CRY Prod : Monty Babson 163 TWINKLE (08/66) UK : Decca F12464;flip F12305 WHAT AM I DOING HERE WITH YOU (P F Sloan,Steve Barri) END OF THE WORLD (Dee,Kent) Prod : Tommy Scott 164 AL KOOPER NEW YORK'S MY HOME (Al Kooper) 8012 MY VOICE, MY PIANO AND MY FOOT (Al Kooper) 8013 Prod : arr - Artie Butler 165 THE FUNKY SISTERS SOUL WOMAN (Hayes,Porter) 8676 DO IT TO IT (Derrell Jackson) 8677 Prod : Derrell Jackson for Past,Present and Future Productions 166 JORGE EVERYBODY WANTS TO BE LOVED (Schroeder,Barberis,Ronga,Goehring) TIC TAC TOE (Schroeder,Goehring) Prod : David Mook for PP&F Prod. arr ; Joe Renzetti -------------------[ archived by Spectropop ]-------------------
Message: 9 Date: Thu, 22 Jan 2004 18:37:14 -0000 From: Clark Besch Subject: Re: Austin Roberts Live? Austin Roberts wrote: > ...my friend Gene Hughes' Benefit in Nashville in February. I'll > probably get the bug again and maybe do some more dates since my > 3 kids are grown now. Also, I'm interested to see if I can remember > any lyrics. Ha, who knows, but I used to love performing. Orion: wrote > Austin, I believe you will be terrific. If you get anywhere near > Omaha, NE please let me know. I wouldn't miss a concert by you. Ditto, since I'm in Lincoln! Clark -------------------[ archived by Spectropop ]-------------------
Message: 10 Date: Thu, 22 Jan 2004 22:39:01 +0000 From: Richard Havers Subject: Caroline No Just browsing through the New Musical Express of April 1 1966, the sort of thing you do on a winter night in the hills. I chanced upon the first review of Brian Wilson's 'Caroline No'/'Summer Means New Love'. I quote: "If you're expecting a stimulating surf sound from the leader of the Beach Boys, you're very much mistaken. Supported by background humming Brian only once zooms to falsetto. Might just make it on the strength of group's popularity, but not normal chart material." I think he was saying it was a flop! Richard -------------------[ archived by Spectropop ]-------------------
Message: 11 Date: Thu, 22 Jan 2004 17:15:59 -0500 From: Mikey Subject: Re: Elvis Sun Records master tapes The reverb/echo chamber on the Elvis Sun stuff was NOT added at the time of recording. There was a small amount of "slapback" echo added during the original recording. The echo you hear on the Elvis Sun stuff was done in the late 50s, when RCA dubbed all the Sun tapes to new masters. They added the echo at that point. Sadly, many of the original "clean" Sun tapes were lost so that all the now remains are these "dubbed with extra echo" tapes. The only way to hear what Elvis really sounded like on Sun is to get some clean Sun 78s or 45s. They do exist. -------------------[ archived by Spectropop ]-------------------
Message: 12 Date: Thu, 22 Jan 2004 16:11:02 -0600 From: Dan Hughes Subject: Re: There Is No Greater Sin Al quotes lyrics: > She's a poor man's daughter she don't do the world no harm > She goes to church on Sunday & no one has to twist her arm > But you sit there and boast of how you'll wreck her when you're through > Ahhh there is no greater sin, than what you're tryin' to do.... Yep, that's it! Now can someone please play it to musica??! Thanks, --Dan -------------------[ archived by Spectropop ]-------------------
Message: 13 Date: Thu, 22 Jan 2004 16:07:44 -0600 From: Dan Hughes Subject: Re: Stroboscope Wendy Flynn wrote: > Hey S'Poppers......anyone know where I can buy a stroboscope > online? It's a paper circular device you put on your turntable > to make sure it's playing at the right speed. An English website > was selling them a few years ago but I cant seem to find > it now. Thanks! Wendy, do you have a large album collection? Back in the sixties, a lot of albums released on the Audio Fidelity label (pretty sure that's the one; anyone confirm?) had the strobe bars printed right on the label. You have to have it under a fluorescent light to make it work .... --Dan -------------------[ archived by Spectropop ]-------------------
Message: 14 Date: Fri, 23 Jan 2004 03:04:53 +1100 From: Jules Normington Subject: Richard Hawley / 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? Geez...I drop off to hang with the kids for a few days and another 250-plus posts...but you jus' gotta love all the activity going on here. Yep, Austin, I liked Steeleye Span enough in the early to mid '70s to buy a few albums and go see them live out here, then fell away around "Commoner's Crown"...of that ilk of the folk bloodline. I was more a Fotheringay/ Fairports fan -- too many reels and jigs soon enough weren't my bag anymore (but Maddy's voice was a treat, I gotta admit. It's the more moodier, ethereal stuff now that gets me. Early All About Eve was another, and Sylvia Tosun is a gem! Grey Eye Glances "Painted Pictures" was the one that got me hooked on them so that may be a good place to start. Another tip re an utterly amazing album with not one note out of place: try Richard Hawley's "Late Night Final" -- specifically that one (he has an alnost-but-not-quite as good second album too). "LNF" is loaded with the most beautiful melodies, dream lyrics, and the most effortless singing voice you've ever heard .I mean it -- I'd go as far as to defy anyone on this list not to like it. The production is simply awesome, too. I don't want to pretend it's Spector-ish, or girl-group-ish (natch ...he's a bloke after all), or even '60s-ish, but it's smoother than the finest wine, and has almost the same effect. It's powerful and gentle, at the same time, and at times ethereal, sometimes sad and wistful (not much), as pure as can be, and pretty definitely the first Desert Island Disc I'd pick. I'm not really that sure what else to say to convince you to go out and find it, but I do suggest lying on the floor with your head on a soft pillow for the first listen -- you'll sigh a couple of extra inches into it from the first few notes. (Would love feedback from anyone who may have lucked onto it already!) -------------------[ archived by Spectropop ]-------------------
Message: 15 Date: Thu, 22 Jan 2004 17:12:03 -0000 From: Bob Bailey Subject: Russell Bridges (Leon Russell) and groupie life in Tulsa al la '70s While spending high school years and adulthood in the Tulsa area, it was always a quest for us psuedo-groupies to see if we could meet those stars that regularly lived or visited in Tulsa. This was a very time consuming process, as you might guess -- a lot of beer and zig-zags went into this effort over the years. Leon Russell was always the hardest to interface with, as he was seemingly arrogant and inaccessable, but probably in retrospect was tired of people doing what we were doing. We got tossed off Galaird Sartain's mother's property by none other than Garaird himself a few times. I spent many Saturday nights at Channel 8 trying to get a seat on Mazzeppa Popazoids Uncanny Film Festival and Camp Meeting (Galaird's ahead-of-his time-show for the chemically inebreited). Ran into Dwight Twilly at a local club a time or two, he was always friendly and accessable. Leon had a house near this park (Wooward Park). and once early in the morning ran into an English-accented fellow on a bench looking at the roses a la Eric Clapton visiting Mr. Russell up the street. The late Jesse Ed Davis was gentle and kind -- friendly. His dad was a riot when under the influence of beer. A good place to go was the Guitar House. We found Elvin Bishop there buying a guitar -- he was nice. If you were lucky you could encounter Roy Clark at Jim Halsey's office (his manager). if you drove over there enough times. He is without a doubt one of the most accessible guys, there were practically invites to the house for dinner. And we even went to Jenks America to get beer at the Git n' Go when the Hanson's were still breastfeeding. May have seen them being pushed in strollers, who knows. Looking back at my life, Tulsa was one of the most exciting cities for its size one could imagine. Much talent has come from that area, as we all know, and don't forget Woody Guthrie from Okemah (been there too!). I had a blast groupie-combing the place, as we did. Met a few others, but can't think of them right now. Hope I didn't bore you guys, but felt compelled to share the adventures we had. Don't regret a single mistake I made. Bob -------------------[ archived by Spectropop ]-------------------
Message: 16 Date: Thu, 22 Jan 2004 13:19:50 -0800 From: Albabe Subject: At Last and Brenda's BG singer Mike Rashkow said of the Breathless Shivers induced during "At Last" by Etta James: > Second that emotion! Who wrote those string parts? Gawd, I wish I knew ... makes my heart go all a-twitter... gets my GF even crazier. And of similar breathlessness: The amazing soprano background singer in Brenda Lee's "I'm Sorry," who, during Brenda's heart-felt recitation, echoes that gorgeous melody from a palm- tree-swaying, soft-breezed beach in the balmy just-out-of-reach, sun-setting distance ... are two of my all-time fave breathless shivers. -------------------[ archived by Spectropop ]-------------------
Message: 17 Date: Thu, 22 Jan 2004 17:01:35 EST From: Austin Roberts Subject: Re: Austin Roberts Live? Orion, I'll sure let you know. Gonna go slow, since I've been away from Nashville for 5 years and need to get back in the writing groove again. Take care, Austin -------------------[ archived by Spectropop ]-------------------
Message: 18 Date: Thu, 22 Jan 2004 16:50:24 -0500 From: Phil Milstein Subject: Re: Thoughts on rarity / instrovox / label typos DJ Jimmy B wrote: > The desire for rarity comes more I think from overexposure > to the everyday than a desire for rarity for its own sake, > although a bit of that pathology creeps into my searches on > occasion. Rarity implies to me unheard and unknown and when > it comes to picking up oldies, since I've heard so much during > my 55 years, I need something 'new' and at this stage of the > game that means rare practically by definition. One of the main reasons I'm more prone to be interested in a rare record or obscure artist than a great popular one (f.e., my collection includes just a few select Elvis and Beatles records) is because the popular artists don't need any more exposure than they already have, whereas the lost records and artists need every single fan and word of praise that can be mustered. Since I, like all of us, lack the time (not to mention money, space and energy) to pay attention to every worthwhile piece of music out there, I generally choose to attend to the lesser-known. Put it this way: who would be more appreciative of an interview with them published in a small fanzine, Paul McCartney or The Gamma Goochee? previously: > And while we're on the subject, howzabout "Magic Star," the > vocal "Telstar"? I have a version by country singer Margie > Singleton (on Mercury, naturally, since she was Mrs. Shelby S.). Of course, Joe Meek made a few vocal recordings of Telstar himself! Although only wordless demos, they are infamous in "outsider music" circles, in a Linda McCartney/Hey Jude sorta way. On the topic of label typos, Nervous Norvus's Big Ben release "Does A Chinese Chicken Have A Pigtail" omitted the word "Chicken" on the label, rendering a strange and probably racist title even more so. --Phil M. -------------------[ archived by Spectropop ]-------------------
Message: 19 Date: Thu, 22 Jan 2004 20:03:17 -0000 From: Art Longmire Subject: Re: Biggest record label blunders! Denny wrote: > Anyone else have any other blunders to add? Let's hear from ya! I have a great 1970 LP by a South Korean rock group doing covers of a number of rock songs of the era, along with some originals by the group. The album has song titles and lyrics, in English, printed on the back cover, and among the songs is listed "Fire" by the Jimi Hendrix Experience. When I first got this, I thought, "Great, an Asian group covering Hendrix -- this ought to be good!" Well, when I queued up the track on my turntable, out came a cover of "Fire" by The Crazy World of Arthur Brown ... it still sounded good, though! Interesting that both of these "Fires" came out at roughly the same time -- I don't blame them for getting confused. Art Longmire -------------------[ archived by Spectropop ]-------------------
Message: 20 Date: Tue, 20 Jan 2004 22:11:25 -0000 From: Peter Lerner Subject: Re: 2003 top 10 albums > Bill George wrote: > I don't know if anyone else has posted year-end lists. But I thought I'd > post mine in case anyone is interested. OK. My top 10 albums of 2003 are: 1. Jackie DeShannon: Jackie....... Plus Do I need to comment? 2. Various Artists: Phil's Spectre - A wall of soundalikes Not just because this is Spectropop...... 3. Various Artists: Singing with Emmylou 2 Excellent Raven compilation 4. The Waifs: Up all night Australian folk band 5. Maria Muldaur: Classic live Girl really enjoying herself 6. Dionne Warwick: Soulful Rhino Handmade reissue of Dionne's Memphis album 7. Rick Shea and Patty Booker: Our ShangriLa California country 8. Amy Allison: No frills friend Scottish California country 9. Natalie Merchant: The house carpenter's daughter Spine-chilling vocals 10. Detroit Cobras: 7 easy pieces Try 'em poppers, they're worth it! Peter -------------------[ archived by Spectropop ]-------------------
Message: 21 Date: Thu, 22 Jan 2004 22:00:14 -0000 From: Art Longmire Subject: Re: The Cake Mike McKay wrote: > I know I saw the Cake at least one other time on TV in addition > to their Smothers Brothers performance; perhaps even more than > that. The original poster's description of the blonde member > standing stock still and singing with a glazed-eye expression > as if she were stoned out of her mind is spot-on. This was her > standard shtick, and she performed this way all the times I saw > them. Hello Mike, I erred when I said the Cake were from Sacramento -- I was thinking of another all-girl band called She who hailed from there. The band She was active around 1969-1970, and had quite a hard garage-rock sound. Art Longmire -------------------[ archived by Spectropop ]-------------------
Message: 22 Date: Thu, 22 Jan 2004 19:22:45 +0100 From: Patrick Beckers Subject: Re: Biggest record label blunders! The biggest record label blunder that I have in my collection is an album on Harvest from 1978 by the duo of Marshall Hain (who had a #1 hit in Europe that year with Dancing In The City). On the (Dutch) pressing that I have, side one is side one of the album called Free Ride. But, side two is NOT side two of that album. No, side two of the Marshall Hain album is side two of another Harvest album, The Shirts' debut album from that same year. Since the hit of the MH album is on side 1, not that many people may have noticed this blunder! Patrick Beckers -------------------[ archived by Spectropop ]-------------------
Message: 23 Date: Thu, 22 Jan 2004 22:27:23 -0000 From: mattmattador60 Subject: Re: Female collectors Country Paul wrote: > Where do you live? ATLAYN-TA JAW-JA -------------------[ archived by Spectropop ]-------------------
Message: 24 Date: Thu, 22 Jan 2004 17:48:25 EST From: Mike Rashkow Subject: Re: Steve Tudanger & the Four-Evers Mick Patrick: > Any thoughts on Steve Tudanger, Al? Rashkovsky tells us Steve's not > in the best of health these days, alas. Mick, thanks for mentioning Steve's situation. He can't play keys anymore because his strokes left him a bit disabled. He can't drive a car. He's not on-line or I'd have brought him in as a member. I feel it would be nice to let him know that many people still know that he made a real contribution to music. Here's what I propose: If anyone would like to send a Hello note to Steve, send it to him at this address: Bookedybookedy@aol.com That is an address of mine. I will print them out and mail them to him in a nice litle package from the Members of Spectropop. Please use a larger type font than usual as he has problems reading regular type and has to use a magnifying glass. Anything 16 pt. or larger should make it easy for him. Thanks Mike Rashkow -------------------[ archived by Spectropop ]-------------------
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