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Spectropop - Digest Number 1289

               SPECTROPOP - Spectacular! Retro! Pop!

There are 25 messages in this issue.

Topics in this digest:

      1. Patricia Ann Michaels - Tar And Cement - Michael-Ann
           From: Martin Roberts 
      2. Re: brain shiverers
           From: John Sellards 
      3. Re: Top 40 radio / ELO / times a changin'
           From: Clark Besch 
      4. Re: Richard Hawley / Late Night Final
           From: Austin Roberts 
      5. Re: Biggest record label blunders
           From: Joe Nelson 
      6. Re: Concrete & Clay
           From: Mac Joseph 
      7. talking of Tar And Cement
           From: Martin Roberts 
      8. Re: Variable Speed Oscilator/Hastening the track...
           From: Mike Mckay 
      9. Re: Bubblegum
           From: Mike Mckay 
     10. Re: Brenda's BG singer
           From: Mike Mckay 
     11. Re: Lead Vocal on This Diamond Ring
           From: Al Kopper 
     12. Re: spine-shiver songs
           From: John Sellards 
     13. Re: Indianapolis sixties groups
           From: Jess 
     14. Re: US music in 1963
           From: Paul Bryant 
     15. Re: Album stories
           From: Art Longmire 
     16. What happened to the Brill Building?
           From: Paul Bryant 
     17. Re: Mary Hopkin
           From: Phil Milstein 
     18. Fuzzy Bunnies...heard of them?
           From: superoldies 
     19. Re: life in Tulsa al la '70s
           From: Mike Rashkow 
     20. Re: The Zombies Live On
           From: Jake Arriaga 
     21. Re: Label Blunders
           From: Paul Urbahns 
     22. "Porpoise Song" in stereo
           From: Stewart Mason 
     23. Re: Caroline No
           From: Steveo 
     24. Re: Elvis Sun Records master tapes
           From: Steveo 
     25. Phil Spector's "Well, I Mean" demo
           From: JD Doyle 

Message: 1 Date: Fri, 23 Jan 2004 18:40:35 -0000 From: Martin Roberts Subject: Patricia Ann Michaels - Tar And Cement - Michael-Ann Phil M. posted a super version of "Tar And Cement" and pondered on the identity of the singer: > The jury is still out on whether Patricia Ann Michaels is the same > singer as Patty Michaels... Not sure if she's Patty Michaels, I'll give my 45s another spin. But I'm in no doubt that she is Michael-Ann: "Teenage Cleopatra" / "Nine Out Of Ten" on Kip 0067 from '63. Both sides are girl-group heaven but it's the side with the Ellie Greenwich twang on the vocals that confirms it to these ears. I've just posted the track to musica, so you don't have to take my word for it. Martin PS Don't forget Mel Carter's groovy, "Tar And Cement" that Mike posted to musica eons ago. -------------------[ archived by Spectropop ]-------------------
Message: 2 Date: Fri, 23 Jan 2004 16:53:56 -0000 From: John Sellards Subject: Re: brain shiverers Mike Rashkow wrote: > I'd like to hang a left on this thread and move it to, > BRAIN SHIVERERS. And the the very strange way the beat turns around for a split second in the chorus of "I Was Made To Love Her" by Stevie Wonder. John Sellards -------------------[ archived by Spectropop ]-------------------
Message: 3 Date: Fri, 23 Jan 2004 18:59:52 -0000 From: Clark Besch Subject: Re: Top 40 radio / ELO / times a changin' Country Paul wrote: > My 2 cents on the ELO debate: I saw them live early on. Excellent. > I don't agree that there was much competition for ELO on Top 40 > radio. But, as is stated at the end of Paul's message, aren't there a > lot of musical acts who obscured radio over the years? Haven't the > Beatles been accused of preventing better quality music from getting > into the Top 40 or even on the radio? Paul, I saw the spaceship concert ELO tour thing in the '70s, and it was mesmerizing. Loved their music from day 1. Mostly I think I loved hearing a Beatles energy and sound in the '70s that actually DID get played. There was more, but music like that wasn't necessarily displaced by ELO, but more by the BGs, Manilow and the New Kids on the Block, so to speak. I loved the '60s sound, but it was more displaced by a glitzier '70s sound than ELO, who were in itself a glitzier '60s that was acceptable because they were at least glitzy. The sound quality on their records was so polished, it was amazing. As I wrote, "Navy Blue" had stiff competition from the Beatles, but it did well anyway. The Beatles should never be accused of preventing better quality music from getting into the top 40. It's more the changing of the guard. Time moved ahead, and unfortunately, younger people liked a new sound. Happens decade after decade. The Beatles just managed to transcend the eras like Elvis, the Stones, Dylan and others. We write a lot about '60s songs, but there are those out there who will make that Beatles comment just because, unlike me, they grew up with Elvis, Haley and the early rockers. I don't blame Elvis for ending "Your Hit Parade". I don't blame the Beatles for ending or lowering the status of the girl groups and teen idols of early '60s. I don't blame ELO for keeping Three Dog Night or the Grass Roots from continued success. It's just the times that were a changin' and we want to hold those old artists up and wish their hits would continue. Or we hear someone after the fact, P.F. Sloan for instance, who was so great and I didn't know who he was for a decade after his best songs had come and gone. Does this make any sense? Clark -------------------[ archived by Spectropop ]-------------------
Message: 4 Date: Fri, 23 Jan 2004 01:57:43 EST From: Austin Roberts Subject: Re: Richard Hawley / Late Night Final previously: > 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. Appreciate it. I'll try to get a copy. AR -------------------[ archived by Spectropop ]-------------------
Message: 5 Date: Fri, 23 Jan 2004 13:26:52 -0500 From: Joe Nelson Subject: Re: Biggest record label blunders Bob Radil wrote: > I have two copies of "Runaway Child Running Wild" by The Temptations, > 4:30 and 3:17. They're both labeled 3:17. In a similar manner, all copies of "Beach Baby" by First Class show the running time as 4:59, but some copies faded out abruptly at 3:06. I wasn't aware there were two different versions untill Tim Neeley at Goldmine told me he'd never heard of the shorter one. The short version can be identified by the addition of the characters EV to the matrix number as it appears in the dead wax. Joe Nelson -------------------[ archived by Spectropop ]-------------------
Message: 6 Date: Fri, 23 Jan 2004 05:28:46 -0800 (PST) From: Mac Joseph Subject: Re: Concrete & Clay Ed, Got a quick question for you. Until I joined Spectropop, I did not even know that there was an original version of "Concrete and Clay", as Unit 4+2 was the only version I was familiar with. I remember that song very well. Tell me, Ed, did you record that as a solo venture, or were you in a group at the time? I would be very interested in hearing your version of this song. It would make for some interesting research. And, also, did you continue in the recording industry. Please forgive me for not recognizing your name if you did, everyday I learn something new here at Spectropop, that's what I love about this sight. Take care, Mac Joseph -------------------[ archived by Spectropop ]-------------------
Message: 7 Date: Fri, 23 Jan 2004 19:02:29 -0000 From: Martin Roberts Subject: talking of Tar And Cement Keiron Tyler, (who I think is a lurker on the site) has a great 6 page article and review of Mark Wirtz (who is a very active participant!) in this month's MOJO. Thanks to Mick Patrick for pointing it out to me, I'm behind on everything at present and hadn't got round to reading it, anyway. Super article based around Mark's unfinished (soon to be completed?), "Teenage Opera". Included are interviews with the great man and Keith West, great pictures and an excellent setting of time and place in which the work was begun. And Mark, I still think your production of "Tar And Cement", with vocal by Caroline Munro, is the best! -------------------[ archived by Spectropop ]-------------------
Message: 8 Date: Fri, 23 Jan 2004 14:15:43 EST From: Mike Mckay Subject: Re: Variable Speed Oscilator/Hastening the track... C. Ponti wrote: > 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. In the case of The Beatles, they also went the other way, slowing down tracks recorded at normal speed. The most notable example is "Rain," and this definitely had an effect on the sound of the instruments. Then of course, there's "Strawberry Fields Forever," with one section speeded up and another slowed down in such a way that two disparate takes recorded in different keys magically "matched." Mike -------------------[ archived by Spectropop ]-------------------
Message: 9 Date: Fri, 23 Jan 2004 14:18:43 EST From: Mike Mckay Subject: Re: Bubblegum David Coyle wrote: > 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. Sounds like the case of The Lemon Pipers, who fancied themselves a heavy psych band and were reportedly not too thrilled at the material they were made to record. However, these guys could actually deliver the psych goods when permitted. "Through with You" from their first album is a psych classic...though most of you guys would probably hate it -- all eight minutes plus of it! Mike -------------------[ archived by Spectropop ]-------------------
Message: 10 Date: Fri, 23 Jan 2004 14:25:13 EST From: Mike Mckay Subject: Re: Brenda's BG singer Alan Gordon wrote: > ...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 ... I don't know this for a fact, but this is almost certainly Millie Kirkham, whose soprano graced hundreds, if not thousands, of records cut in Nashville from the 50s through at least the 80s. Mike -------------------[ archived by Spectropop ]-------------------
Message: 11 Date: Fri, 23 Jan 2004 15:11:22 EST From: Al Kopper Subject: Re: Lead Vocal on This Diamond Ring Mikey wrote: > Gary sang most of the vocals, altho if you listen VERY > closely to some of the stereo mixes, youll hear Ron Hinclins > voice coming thru as the "guide" track for Gary. BTW thats Ron Hicklin - a famous LA vocal contractor who helped me tremendously when I lived in LA He got all the backup singers for all my LA solo albums and The Tubes first album that I produced. I'm VERY impressed that you know that it's him singing lead on This Diamond Ring as well as others al kooper -------------------[ archived by Spectropop ]-------------------
Message: 12 Date: Fri, 23 Jan 2004 20:38:22 -0000 From: John Sellards Subject: Re: spine-shiver songs David Coyle wrote: > "The End" by Earl Grant > "Pledging My Love" by Johnny Ace Since you've brought up R&B and pop from that era, I'd like to vote for (I think) the greatest male vocalist of all time, and a man who you can hear in Elvis, and whose mid 40s band stylings possibly influenced many of the great R&B bands of the 50s...Billy Eckstine, with his recording of "Body And Soul". John Sellards -------------------[ archived by Spectropop ]-------------------
Message: 13 Date: Fri, 23 Jan 2004 20:44:53 -0000 From: Jess Subject: Re: Indianapolis sixties groups Dan Hughes wrote: > the Dawn Five, who had a great folk-rock song called > "A Necessary Evil," and who were in a bad traffic accident just as > they were becoming very popular. I believe some of the group > members were killed. If anyone has this one ("A Necessary Evil"), could they please play it to musica? Thanks, Jess -------------------[ archived by Spectropop ]-------------------
Message: 14 Date: Fri, 23 Jan 2004 13:27:31 -0800 (PST) From: Paul Bryant Subject: Re: US music in 1963 Mike Edwards wrote (in reply to a comment about Frankies and Bobbys by me): > There was a lot more to American pop music in 1963 > than you imply. It was a top quality year. Yes, it was, I totally agree, and here's a few of my reasons why Up on the Roof : The Drifters Little Town Flirt : Del Shannon The Night has 1000 Eyes : Bobby Vee Rhythm of the Rain : The Cascades Green Onions : Booker T & the MGs Hey Paula : Paul and Paula It Might as well rain until September : Carole King Walk Right In : Rooftop Singers Walk Like a Man : The Four Seasons >From a Jack to a King : Ned Miller Our day will Come : Ruby and the Romantics Tell Him : Exciters Brown Eyed Handsome Man : Buddy Holly Hello Stranger : Barbara Lewis One Fine day : The Chiffons The Folk Singer : Tommy Roe The End of the World : Skeeter Davis I Will follow Him : Little Peggy March Can't Get Used to Losing You : Andy Williams I Wonder : Brenda Lee On Broadway : Drifters Two Kinds of Teardrops : Del Shannon The Martian Hop : The Ran-Dells Denise : Randy and the Rainbows Memphis Tennessee : Chuck Berry In Dreams : Roy Orbison Losing You : Brenda Lee It's my Party : Lesley Gore He's so Fine : The Chiffons If you Wanna be Happy : Jimmy Soul Wipe Out : The Surfaris Abilene : George Hamilton IV So Much in Love : The Thymes Bobby Tomorrow : Bobby Vee Sweets for my Sweet : Searchers Devil in Disguise : Elvis Presley Surf City : Jan and Dean Easier said than Done : The Essex Bo Diddley : Buddy Holly Don't make me Over : Dionne Warwick Da Doo Ron Ron : Crystals The Grass is Greener : Brenda Lee I'll Take you Home : Drifters Falling : Roy Orbison Candy Girl : The Four Seasons Just One Look : Doris Troy Then He Kissed Me : The Crystals Blue Bayou : Roy Orbison I Wonder : The Ronettes Pipeline : The Chantays Blue Velvet : Bobby Vinton Sally Go round the Roses : The Jaynettes I Want to stay here : Steve Lawrence and Eydie Gorme Everybody : Tommy Roe My Boyfriend's Back : The Angels Mockingbird : Inez and Charlie Foxx I Can't Stay Mad at You : Skeeter Davis Deep Purple : Nino Tempo and April Stevens Heatwave : Martha and the Vandellas Be my baby : The Ronettes Pretty Paper : Roy Orbison so I didn't mean to imply any disrespect to 1963! pb -------------------[ archived by Spectropop ]-------------------
Message: 15 Date: Fri, 23 Jan 2004 21:56:29 -0000 From: Art Longmire Subject: Re: Album stories Dan Hughes wrote: > Got any stories about albums that surprised you? I love hearing about the first records people bought...a first record can bring back as many pleasant memories as a first girlfriend! I was much more oriented towards 45s than LPs early on, and the very first 45 I ever spent my allowance money on was "Domino" by Van Morrison. The date for this momentous occasion was November 2, 1970...amazing that I can still recall it after all these years. I actually wanted "Sex Machine" by James Brown, "Ooh Child" by the Five Stairsteps, and "Joanne" by Michael Nesmith, but they had all fallen off the charts by then and were no longer in the record bins. After several months of buying 45s I decided to make the jump to LPs and my first three purchases were "Ecology" by Rare Earth, the Harlem Globetrotters LP (from the television show) and "Astral Weeks" by Van Morrison. I remember the Globetrotters LP was really a great soul/r&B album, and my two younger brothers and I really got into it. Unfortunately I don't have it anymore-it would be a great candidate for a CD reissue. As for "Astral Weeks", I purchased it in March, 1971 and it's been a huge favorite ever since. Some other records (45s) I got around that time included "Ride a White Swan" by Tyrannosaurus Rex, "Paranoid" by Black Sabbath, "Super Bad" by James Brown, and "Engine No. 9" by Wilson Pickett. And one that got away-one song I heard and tried to get and still haven't gotten was called "You're the One" by Little Sister (Sly Stone's sister and her group). Art Longmire -------------------[ archived by Spectropop ]-------------------
Message: 16 Date: Fri, 23 Jan 2004 14:04:08 -0800 (PST) From: Paul Bryant Subject: What happened to the Brill Building? Dear Poppers Thinking about what the Beatles killed off and what they put in its place got me wondering what happened to the Brill school of songwriting. The Fabs were big fans of the Brillos and played many live covers of Brill songs, but maybe they helped do them in inadvertently by making it de rigeur for groups to write their own stuff, so that jobbing songwriters could no longer place their songs easily - I dunno about that. What do you all think? We know what happened to the Brillos individually (Carole, Ellie, Barry, Neil, etc etc) but we also know that by - say - 1966/7 there wasn't a Brill School of Hits any more. Something had happened. pb -------------------[ archived by Spectropop ]-------------------
Message: 17 Date: Fri, 23 Jan 2004 16:48:00 -0500 From: Phil Milstein Subject: Re: Mary Hopkin Eddy wrote: > Apparently things weren't quite clear on which cd's were actually > re-issued by Apple on cd in the mid 90's. Here's the list (with > UK ref #'s) : > Mary Hopkin - Postcard - Sapcor 05 Thanks for the list, Eddy -- sure wish I'd been on this at the time! Does anyone know what Mary Hopkin does these days? I always found Those Were The Days awfully annoying -- was never a big one for the faux vaudeville/music hall/stein-lifters fad -- but she sounded terrific on Goodbye, and with that winsome face it's a wonder she wasn't a bigger star. Or was she, in UK/Europe/elsewhere? --Phil M. -------------------[ archived by Spectropop ]-------------------
Message: 18 Date: Fri, 23 Jan 2004 22:14:49 -0000 From: superoldies Subject: Fuzzy Bunnies...heard of them? They had a low charter in 1968 on Decca with "The Sun Ain't Gonna Shine Anymore". Typical '68 psych-rock. Haven't been able to find anything on the web about them...anyone know? -------------------[ archived by Spectropop ]-------------------
Message: 19 Date: Fri, 23 Jan 2004 18:08:30 EST From: Mike Rashkow Subject: Re: life in Tulsa al la '70s Phil Milstein wrote: > Any sign of Denny Cordell at that time and place? Denny Cordell was living on Tulsa time? Rashkovsky -------------------[ archived by Spectropop ]-------------------
Message: 20 Date: Fri, 23 Jan 2004 23:09:25 -0000 From: Jake Arriaga Subject: Re: The Zombies Live On Neb Rodgers wrote: > The Zombies live on. Well, two of 'em, anyway. And they're touring > the US in Feb. Argent/Blunstone have been touring for about 3 years now. Although they fought the appellation of the "Zombies", it would appear that they've tossed in the towel, and are now often booked as the same. The Zombies presently consist of Colin Blunstone, Rod Argent, Jim Rodford (Kinks/Animals II/Argent), Keith Airey (Tom Jones/Nik Kershaw), and Steve Rodford (Jim's son great drummer). If you haven't had a chance to hear them, then I heartily recommend you seek out a performance near you. Or maybe not so near. Colin's voice is even more sublime than in the early days. He can still hit the high part in "I Love You" and absolutely owns Tim Hardin's "Misty Roses". "A Rose for Emily" generally brings the house to its feet, as does Russ Ballard's song, "I Don't Believe In Miracles." Blunstone usually does "Old And Wise", from the Alan Parsons LP "Eye In The Sky". In fact, Alan was a special guest at the band's gig in Santa Barbara last year. Rod keeps things moving apace, with commentary and keyboard wizardry. Chris White's songs (the older material) are amazing. It is easy to see that these veterans really love making music. And what great and wonderful music it is. Jake -------------------[ archived by Spectropop ]-------------------
Message: 21 Date: Fri, 23 Jan 2004 18:20:28 EST From: Paul Urbahns Subject: Re: Label Blunders Previously: > Anyone else have any other [label] blunders to add? > Let's hear from ya! I must mention what I think is the biggest blunder of all. At least the biggest one I have seen. When MCA (you remember the Music Cemetery Of America) Records decided to issue a series of movie soundtracks licensed from MGM one of the Lps they issued was "2001 A Space Odyssey, Vol 2". Naturally you would assume it was aditional classical themes not issued on the original MGM soundtrack album. Nope. It was a track for track reissue of the 2001 A Space Odysssey MGM album. So there you have the original album, and Volume 2 exactly alike (except for the cover ..and title). Yes I have both. Paul Urbahns -------------------[ archived by Spectropop ]-------------------
Message: 22 Date: Fri, 23 Jan 2004 15:23:48 -0800 (PST) From: Stewart Mason Subject: "Porpoise Song" in stereo Country Paul asks: > My favorite Monkees 45 was "Porpoise Song," > the full-length version. I've only found this > long version on the original 45, and only in > mono. I know there's a stereo mix of the > "short version" - up to the pause at the II > minor 7 chord dominated by the organ, but I've > never found that long Beatle-ish fade riff > (for the not-yet-informed, think "She's So > Heavy" is a major key). Question: does it > exist? If so, anyone know where? Rhino's vinyl reissue of HEAD in 1986 included the long version of "Porpoise Song" in place of the short version that originally appeard on the LP, and while I cannot confirm this because I unfortunately no longer have this LP, I'm about 95% certain that this was a stereo mix. S -------------------[ archived by Spectropop ]-------------------
Message: 23 Date: Thu, 22 Jan 2004 20:00:19 -0800 (PST) From: Steveo Subject: Re: Caroline No Richard, I remember when that record (Caroline, No) came out originally. I thought it was fresh and different. I loved it very much. The other side is a take-off on "Theme from a Summer Place", but given that homage.. the backround orchestration and mixing is really fantastic! Steveo -------------------[ archived by Spectropop ]-------------------
Message: 24 Date: Thu, 22 Jan 2004 20:02:14 -0800 (PST) From: Steveo Subject: Re: Elvis Sun Records master tapes Mikey wrote: > 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. Mikey, Yeah, I forgot about that RCA release in 1956. You're right about that stuff. I do remember the original Sun 45, I had several of them. Steveo -------------------[ archived by Spectropop ]-------------------
Message: 25 Date: Fri, 23 Jan 2004 21:06:52 -0000 From: JD Doyle Subject: Phil Spector's "Well, I Mean" demo I've gotten so much enjoyment out of this group that I wanted to say thanks, so I played a rare Phil Spector demo to musica. He did it in 1961, supposedly to interest Elvis in recording it. JD Doyle -------------------[ archived by Spectropop ]-------------------
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