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Spectropop - Digest Number 1303

               SPECTROPOP - Spectacular! Retro! Pop!

There are 26 messages in this issue.

Topics in this digest:

      1. Richard Thompson on sound
           From: Neb Rodgers 
      2. Re: Fake Skipping Records
           From: Robert R. Radil 
      3. Re: Highway 61 Revisited
           From: Steve Harvey 
      4. Re: Boone & Sebastian & Dylan
           From: C. Ponti 
      5. Re: Fake Skipping Records
           From: steveo 
      6. Re: Mary Hopkin
           From: Steve Harvey 
      7. Re: Songwriter Credits
           From: Steve Harvey 
      8. Re: Songs that quote others
           From: Steve Harvey 
      9. Re: Artists that "quote" themselves
           From: Clark Besch 
     10. Re: Boone & Sebastian & Dylan
           From: Al Kooper 
     11. The Fab Seven
           From: Bob Radil 
     12. Re: Artists that "quote" themselves
           From: Clark Besch 
     13. Not in the movie
           From: Al Kooper 
     14. Re: Fake Skipping Records
           From: Clark Besch 
     15. Re: Ray Hildebrand Question
           From: Orion 
     16. Question for Paul Evans - "Summer Souvenirs"
           From: ACJ 
     17. Re: Colours CD
           From: Clark Besch 
     18. Collecting; Jews in Doo Wop; new CD's; Ace country CD; Canadian Esquires; more
           From: Country Paul 
     19. Sebastian & Boone & Dylan
           From: Steve Harvey 
     20. Re: artists that "quote" themselves: Zappa
           From: Peter Kearns 
     21. Re: Brand New Day
           From: Al Kooper 
     22. Paris Sisters
           From: Bill Reed 
     23. Re: songwriter credits
           From: Paul Bryant 
     24. Re: Italian Drama
           From: Paul Bryant 
     25. Re: Dylan's bike crash
           From: C Ponti 
     26. Re: Italian Drama
           From: Bill Reed 

Message: 1 Date: Mon, 26 Jan 2004 14:25:26 -0800 (PST) From: Neb Rodgers Subject: Richard Thompson on sound English folkie Richard Thompson talks briefly about his taste in recording and analog vs. digital here: -------------------[ archived by Spectropop ]-------------------
Message: 2 Date: Tue, 27 Jan 2004 00:13:04 -0000 From: Robert R. Radil Subject: Re: Fake Skipping Records > WHILE THE RECORD GOES AROUND//gimmick of reproducing a faulty record I think it's on "Smiling Phases" by BS&T where if you play one channel, the one without the keyboard solo, it sounds and *looks* like the record is skipping because the beat matches the 33 RPM. Bob Radil -------------------[ archived by Spectropop ]-------------------
Message: 3 Date: Mon, 26 Jan 2004 17:57:58 -0800 (PST) From: Steve Harvey Subject: Re: Highway 61 Revisited Once again, Al, you're right. Guess YOU would know about the sessions for Highway 61 Revisited. Meant to say Bringing It All Back Home. John played bass on Mr. Tambourine Man, On the Road Again, and Maggie's Farm. I'll be sending a link about this if I can locate it on the web. -------------------[ archived by Spectropop ]-------------------
Message: 4 Date: Tue, 27 Jan 2004 03:46:48 -0000 From: C. Ponti Subject: Re: Boone & Sebastian & Dylan The pictures in various books and magazine articles affirm that John worked some of those sessions. Dylan's producer, John Hammond Sr. was also a family friend of John, Mark and their dad, the harmonica virtuoso John Sebastian. However in the Mojo piece both Boone and Sebastian mused about whether John didn't refer Steve to do one of the dates. Steve has memories of working some of the Dylan sessions. C P -------------------[ archived by Spectropop ]-------------------
Message: 5 Date: Mon, 26 Jan 2004 19:53:57 -0800 (PST) From: steveo Subject: Re: Fake Skipping Records How about intros: "Slowdown" (Beatles) or "Mercy, Mercy, Mercy" (Buckinghams)? Steveo -------------------[ archived by Spectropop ]-------------------
Message: 6 Date: Mon, 26 Jan 2004 19:14:11 -0800 (PST) From: Steve Harvey Subject: Re: Mary Hopkin The great thing about Mary Hopkin's debut was that the hit was the worse thing on it. Everything else was interesting and different from the rest. Love "George Martin's "The Game". Wished he'd done an lp of tunes like that. -------------------[ archived by Spectropop ]-------------------
Message: 7 Date: Mon, 26 Jan 2004 17:54:19 -0800 (PST) From: Steve Harvey Subject: Re: Songwriter Credits Okay Al, How would you judge something like "The Beat Goes On" which mainly runs due to the riff Carol Kaye came up with on bass. Musically that riff is what hooks the listener and yet she has yet to get any writing credit. However, considering Sonny never wrote "Needles & Pins" and his name is on that I guess I shouldn't be surprised. Steve Harvey -------------------[ archived by Spectropop ]-------------------
Message: 8 Date: Mon, 26 Jan 2004 19:16:10 -0800 (PST) From: Steve Harvey Subject: Re: Songs that quote others Cheap Trick had a 10-inch record out in the '80s with "Daytripper". It was either that tune or something else on that EP that lifted the solo to the Yardbirds' "Think About It". -------------------[ archived by Spectropop ]-------------------
Message: 9 Date: Tue, 27 Jan 2004 04:27:30 -0000 From: Clark Besch Subject: Re: Artists that "quote" themselves Actually, "All You Need Is Love" also quotes the word/song "Yesterday" in there too, this time with John doing the honors! Clark -------------------[ archived by Spectropop ]-------------------
Message: 10 Date: Tue, 27 Jan 2004 00:11:47 EST From: Al Kooper Subject: Re: Boone & Sebastian & Dylan > The pre Beatles college kid in Al Kooper's post is actually > Steve Boone. Went to the session with John S. and ended up > playing on two or three cuts. What about the photos of Sebastian playing bass? Are you saying that it's not Sebastian? I think not. WHAT trax did Steve Boone play on? I know of none that were released. Al Kooper -------------------[ archived by Spectropop ]-------------------
Message: 11 Date: Tue, 27 Jan 2004 04:23:29 -0000 From: Bob Radil Subject: The Fab Seven Austin Roberts: > There were 7 Beatles, weren't there??? Of course! John, Paul, George, Ringo, George Martin, Billy Preston, & Billy Shears! And don't forget The Five Seasons, Autumn, Winter, Summer, Spring, & Fall! Bob Radil -------------------[ archived by Spectropop ]-------------------
Message: 12 Date: Tue, 27 Jan 2004 04:25:11 -0000 From: Clark Besch Subject: Re: Artists that "quote" themselves Since you brought them up. James Brown copies his "I Feel Good" on "Living in America" at the end--making it almost as great as the first usage! Also, your mention of Arthur Conley makes he think that song actually made its' "Living" off this subject, as did of course, Spyder Turner's "Stand By Me". Clark -------------------[ archived by Spectropop ]-------------------
Message: 13 Date: Mon, 26 Jan 2004 23:15:45 EST From: Al Kooper Subject: Not in the movie > Songs w. Same Title As A Movies But Not Otherwise Related. The Man Who Shot Liberty Vallance by Gene Pitney - NOT in the movie of the same name. -------------------[ archived by Spectropop ]-------------------
Message: 14 Date: Tue, 27 Jan 2004 04:20:16 -0000 From: Clark Besch Subject: Re: Fake Skipping Records Altho not a hit and more country (?), John Hartford's "Don't Leave Your Records in the Sun" gives a funny and great take on what happens and he "plays" the skip over and over in the song due to that hot sun that has baked a few of mine on unfortunate occasions in the past. Clark -------------------[ archived by Spectropop ]-------------------
Message: 15 Date: Mon, 26 Jan 2004 20:51:39 -0600 From: Orion Subject: Re: Ray Hildebrand Question Cleber: > You mentioned Ray Hildebrand. I've got a 45 of his that's very > very good: "Mr. Balloon Man". Is this the same Ray Hildebrand? > What other names did he use? Holy Cow, I have been wanting to here Mr Balloon Man for years and yes he is now a Christian singer. Anyway you could play Mr Balloon Man to musica? Orion -------------------[ archived by Spectropop ]-------------------
Message: 16 Date: Mon, 26 Jan 2004 22:16:45 -0500 (EST) From: ACJ Subject: Question for Paul Evans - "Summer Souvenirs" Paul Evans - if indeed you're out there: I've seen your website several times, and it's a nice, professional, interesting job. (Much like its subject.) But in your list of songs you'd written, one song you didn't note - at least not the last time I looked in - was "Summer Souvenirs," a tune you co-wrote with J. Krondes and a single by one Karl Hammell, Jr. Any memories of that song or that record? Thanks, and I hope you're enjoying S'pop! (I am. Massively.) ACJ -------------------[ archived by Spectropop ]-------------------
Message: 17 Date: Tue, 27 Jan 2004 04:10:23 -0000 From: Clark Besch Subject: Re: Colours CD > Colours first album is in serious need of a CD reissue! Al Kooper: > See Collectors Choice monthly catalogue. I'm pretty sure it was in > there at one time recently and may still be. Cant look it up cause > I gave my catalogue to a pal this month. Love that album myself. The song "Love Heals" is one of the great psychedelic records of the era. I really don't know why people continue to pan this record. I played it a ton on my radio show in the 80's and in 68 when it was new. I cannot believe it did not at least hit top 40. It was like an anthem of the times to me. It also got a great push from Dot Records too. WLS FM had adds all the time on "Spoke", their underground show, when the Lp was out. A great one that may never be realized. Clark -------------------[ archived by Spectropop ]-------------------
Message: 18 Date: Tue, 27 Jan 2004 01:48:34 -0500 From: Country Paul Subject: Collecting; Jews in Doo Wop; new CD's; Ace country CD; Canadian Esquires; more Phil Milstein on our fascination with music, why we collect, etc.: > I feel pretty well reconciled to my childhood. But I do understand > and share [the] point about "pieces of a puzzle" -- in fact much > of my fascination with older pop music, as well as older cultural > history of all stripes, is to help feed my interest in trying to > piece together as much of the essence...of a time and place as I > possibly can, the ultimate goal being to feel in my bones what it > was like to have been there. "Being there" is part of it, remembering the feeling of having been introduced to a new sound for the first time, occasionally where I was, etc. But I have no desire to do the impossible and return to living in the 50s, 60s or 70s. Sure there were good times in each decade, but I'm glad to "be here now." Phil continues; > Sometimes it's a time and place I do know from personal experience > yet only hazily remember, but most often it's one I wasn't present > for, but have learned to admire from afar. By extension part of my > interest in history is to better understand how we (alright: I) > arrived at this exact moment, but another part of it is purely for > its own sake. A lot of music indeed comes with memories attached (some good and some less so), but as I delve deeper into earlier styles, my main desire is not to evoke an era but to discover a new (or new version of a) sound that excites, inspires, or otherwise commands my attention. The music history we discuss is fascinating; I enjoy knowing the story behind the music, but in the end, as it has always been for me, it's what's in the grooves that counts, and I appreciate the knowledge of those who are hip to more grooves than I and who are willing to share their knowledge and their musical tastes. I like Mop Top Mike's quote: "It doesn't matter WHEN a piece of music was recorded - it is how that piece of music makes you feel NOW." Enough philosophy. JB: > ...Here in the Northeast U.S. several people called The Blues > Project the Jewish Beatles! First, thank you, Al Kooper of "The Jewish Beatles" for the rundown on the Aurora 45; you answered many long-wondered-about aspects of it. Second, I'm with you re: stamping out revisionist history. Glad you're here to do it. And third, so what about "Short Shorts," or have I not yet caught up to that response? Which reminds me - a friend has invited me to a live presentation in February called "Jews In Doo Wop" at an area Jewish center. It advertises itself as "the 'Inside Scoop' on the Jewish song-writers, musicians and singers of 50s and early 60s Rock & Roll." We'll be able to "see and hear some of your favorite oldies performed"; credits not given. I have no idea who the "music maven" will be either, but it's sure to be an interesting night - or maybe that might be "interesting"! I'll report. (If anyone wants to know more, please contact me off-list. Maybe we should stock with place with an S'pop "truth squad." Hey, it works in politics! Any original artists want to show up, too? "Admission is free. All are welcome.") Mark Radice, still getting into your very nice "It Sounds Like Us" album - "One False Move" is the favorite of the first half so far. Super song! You have a great way with words and wordplay, too. And I may have inadvertantly shortchanged Orgone Box - the self-titled album has some astounding music on it, but the album of demos, "Things That Happened Then," is not too shabby either - half way through, the title track and "Last Ride On The Jets" are the first two prime tracks. Beatles and psych fans, they sometimes *do* make 'em like they used to - and still serve 'em fresh! Paul Bryant cites Ace CDCHD 845, Various Artists: Golden Age Of American R'n'R, Special Country Edition: All are country hits which crossed over to pop radio (but I question Carl Butler, which is VERY deep country). For the uninitiated or the newcomer, it's a superb package. For the rest of us, it's still very cool. And Paul, thanks for citing the movie "Peggy Sue Got Married." The line you quote did come from that, one of the rare flicks that "got it right." Damn fine movie. Herb from Toronto, if you're responsible for the charts on the CHUM pages, then I congratulate and thank you - your research actually led me to find a copy of The Esquires' wonderful "So Many Other Boys" (Capitol of Canada, 1964-65), one of my all-time favorite non-British "invasion" records. It's a shame that (1) the song never crossed the border to the south and (2) seems to have never made it to an album. Unfortunately, I had to get a bootleg CD to get the song, but 38 years after my then-girlfriend turned my 45 into a potato chip in the rear window of her car(!) I finally have a copy. Do you know (1) anything about this group? and (2) if there is a legit issue/reissue of this track? I have their 1965 album (which excludes this song), but it's unfortunately a ho-hummer in comparison to the single. Also, (3) did they record anything else in this vein and of this quality? (Any other cognizenti of Canadian music are also invitesd to respond, please.) ...And the proverbial "more": Clark Besch: > A song I'd been trying to think of by Randy [Van Warmer] was his > later 45, "Suzy". Quite a different sounding vocal for him on it. > No ballad here! Pretty cool record if you find it. Also on > Bearsville. And also excellent. I'd forgotten it was a single; we played it from the album on WHCN. Another shoulda-been-a-hit. Thanks for shaking up my memory bank! (I still can't believe he's passed.) Julio, thanks for the Millie info. Mike McKay, Subject: Elvis Sun Records master tapes: > 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? Disgusting. Shameful. Everything is for sale. Nothing is sacred. On the other hand, now that they've no doubt been digitally preserved, who's going to play them again? Special thanks to Phil M. for all the cool music off-list, including a version of the Skyliners' "Comes Love" by the Marcels using the same instrumental track! FYI, the Skyliners - or rather, a Skyliners group with original lead singer Jimmy Beaumont - is performing in northeastern Pennsylvania on February 20th. If interested, I'll post details. Country Paul -------------------[ archived by Spectropop ]-------------------
Message: 19 Date: Mon, 26 Jan 2004 18:13:42 -0800 (PST) From: Steve Harvey Subject: Sebastian & Boone & Dylan Here is the link for the Dylan sessions for Bringing It All Back Home. Both John Sebastian and John (sic) Boone are listed as bass players. The third bassist was actually Spike Lee's pop! Small world. -------------------[ archived by Spectropop ]-------------------
Message: 20 Date: Tue, 27 Jan 2004 09:06:34 -0000 From: Peter Kearns Subject: Re: artists that "quote" themselves: Zappa It appears to me that the most self-quoted of all would have to Frank Zappa. Though he did of course quote much music from Louie Louie to The Rite Of Spring, he had a self-relating thread running through all of his stuff. It was so intricate and complex that you could hear anything at any time. He'd quote whole sections of his stuff sometimes, but more often it would be lyrics and even actual instrument parts cropping up in another song. They were often so subtle that even a self-confessed Zappa nut like me could miss them. And even now I still notice him self-quoting in pieces I've been familiar with for years and years. One of my favourite examples is a pretty obvious one where he takes a whole instrumental section from Sheik Yerbouti's 'Wild Love' and inserts it right into his stunning instrumental piece 'Sinister Footwear 2' (which in fact began life as an orchestral piece). The stunningly beautiful section sounds like it belongs in both and indeed I can't be certain which was composed first, but I'd guess at 'Wild Love' being the source. Zappa kinda spoiled me for a few years to the point where I had trouble listening to anything else. But I recovered. haha. :-) Peter. -------------------[ archived by Spectropop ]-------------------
Message: 21 Date: Tue, 27 Jan 2004 12:01:12 -0000 From: Al Kooper Subject: Re: Brand New Day Phil Chapman writes: > Hey Al, your mention of "Brand New Day" triggered one of > my earliest recollections of a studio 'scene'........ > Did you get to hear this version? No, but I've heard about it. Vicki Wickham led me to understand that it was the group LaBelle who were the artists on it as opposed to just Patti. I'd love to hear it though. Al Kooper -------------------[ archived by Spectropop ]-------------------
Message: 22 Date: Tue, 27 Jan 2004 17:53:06 -0000 From: Bill Reed Subject: Paris Sisters I had breakfast the other a.m. with Clancy Grass, husband of Albeth Paris. Naturally, the subject of the Paris Sisters came up, and while I didn't get all the details, it looks like a Sisters website is on the cards for the near future. I will keep the group informed about this. Also, Clancy presented me with a copy of Albeth's new CD, Dream a Little Dream. Not in the Brill Bldg vein, instead Albeth sings a batch of standards: I Remember You, I've Got a Crush on You, Give Me the Simple Life, Nowadays, etc. And, most interestingly, a very quiet and effective version of I Love How You Love Me, the trio's signature hit. IMHO the hardest kind of singing in the world to bring off -- even more difficult than grand opera -- is just straightforward, believable, felt, no-nonsense, on pitch, swinging pop singing. i.e. "No scatting puh-leeze!" And Albeth Paris, who might never have performed w/o her sisters before (not quite sure) does this about as well as anyone around right now. Very impressive solo "debut"(?). Bill Reed -------------------[ archived by Spectropop ]-------------------
Message: 23 Date: Tue, 27 Jan 2004 08:34:13 -0800 (PST) From: Paul Bryant Subject: Re: songwriter credits Al Kooper wrote: > If you're hired to write a string arrangement on a > Jewel track, and you come up with soaring original > countermelodies and take a 5-chord song and make it > sound like Debussy, you are not a songwriter. You're > a damn good arranger doing a great job and being > compensated for it. That's for that. You give us the ground on which we can stand in this article. And you allayed my Beatle fears too, because sometimes I kind of think that George Martin DID deserve a songwriting credit. Two examples among many: they recorded In My Life and left a 32 bar gap (?) and told George Martin to fill it in -- you'll think of something! they said cheerily as they breezed out of the studio -- and he did, the famous speeded up baroque interlude; and Being for the Benefit of Mr Kite, when John told him to make it sound like an old-fashioned carnival, and lo! he did. But no, you're right, it still doesn't make him the co-writer. pb -------------------[ archived by Spectropop ]-------------------
Message: 24 Date: Tue, 27 Jan 2004 08:43:31 -0800 (PST) From: Paul Bryant Subject: Re: Italian Drama Julio Nino wrote: > One of the many surprises I have experience in this list > is to discover some versions of Italian pop classics, either > versions in English by the original artist or English versions > of the songs by American or British artists. I would love it if you could confirm if these songs were all originally Italian. The first two were Dusty hits and the last three hits by Cilla Black (the Ethel Merman of Merseyside) All I See Is You Give Me Time You're My World Love's Just A Broken Heart A Fool Am I And I'd be fascinated to know about any other US/British ballads of the '60s which were originally Italian. And did they stop writing them in the '70s or was it that British and American singers stopped steal ... sorry, adapting them. pb -------------------[ archived by Spectropop ]-------------------
Message: 25 Date: Tue, 27 Jan 2004 16:26:33 -0000 From: C Ponti Subject: Re: Dylan's bike crash Dan Hughes: > PS Dylan was never the same after that motorcycle accident. Dan, There are also those who have opined that the motorcycle accident was nothing more than just Bobby coming off the bike, which happens to all riders at one point. I have read somewhere that it was no more than Zimmerman and his spinmeisters trying to build the James Dean-type myth by making it sound more dramatic than it was. He did this a lot in telling his life story when he was trying to re-invent his past. I don't know who to believe. I guess Albert Grossman's widow, Sally would know ... or Al Kooper... C Ponti P.S. When John Wesley Harding came out many of us DID believe he had gone around the bend. -------------------[ archived by Spectropop ]-------------------
Message: 26 Date: Tue, 27 Jan 2004 18:17:28 -0000 From: Bill Reed Subject: Re: Italian Drama Julio: > Months ago I read about Gigliola Cinquetti's "My Prayer". > The title of the song sounded completely unknown to me, > then I discovered that it was "just" a version in English > of her archetypical song, "Non Ho L'eta". Mariya Takeuchi sings this on her recent hit Japanese CD "Longtime Favorites." The song was a huge hit in Japan at the time of its initial release in 1964 (they love canzione). It won a major award at San Remo that year, the same year that Nino and April performed there (video is available SOMEWHERE). Cinquetti remains such a big star in Japan that she was still releasing Live in Tokyo double CD's there as recently as '93. > Today listening to "Tar and Cement", by Patricia Ann Michaels, > now playing in musica, I was again surprised to find that it > was a version of the classic by Adriano Celentano "Il ragazzo > della via Gluck" Mel Carter has a beautiful "Tar and Cement", arr. by Nick DeCaro. Bill Reed -------------------[ archived by Spectropop ]-------------------
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