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Spectropop - Digest Number 1304

               SPECTROPOP - Spectacular! Retro! Pop!

There are 25 messages in this issue.

Topics in this digest:

      1. Underdog record found w. Jay & Americans tracks
           From: Dr. Mark 
      2. Re: Country Paul
           From: Bob Radil 
      3. Re: Beatle myth, pt.2
           From: Mike McKay 
      4. I Can't Quit Her
           From: John Sellards 
      5. Re: Reparata & The Detergents
           From: Bob Celli 
      6. Beach Party Movie music website
           From: Mikey Mars 
      7. Re: Mary Hopkin
           From: Art Longmire 
      8. Re: Rydell / vocal instrumental / Life Is But Nothing
           From: Ken Silverwood 
      9. Question for Austin Roberts re: Emitt Rhodes
           From: Clark Besch 
     10. last-minute TV listing
           From: fxxm 
     11. Telstar Vocal
           From: Paul Urbahns 
     12. Damn it's good to have Al Kooper on this newslist!
           From: Bob Hanes 
     13. Re: Roy Hamilton
           From: Peter Richmond 
     14. do the mash
           From: Wendy Flynn 
     15. Re: anoraks
           From: Paul Bryant 
     16. Worst singing
           From: Watson Macblue 
     17. Spoonful Magic - Live At The Night Owl Cafe
           From: Steve Harvey 
     18. Barry Mann - Young Electric Psychedelic Hippie...
           From: Kurt 
     19. Re: fourth note of the arpeggio
           From: Steve Harvey 
     20. Re: Fake Skipping Records
           From: steveo 
     21. Boone & Sebastian & Dylan
           From: Steve Harvey 
     22. Arpeggios ??
           From: Chris 
     23. Re: Pop Masterpieces
           From: Trevor Ley 
     24. Re: varispeed listening
           From: Clark Besch 
     25. Shirelles v Florence Greenberg
           From: John Clemente 

Message: 1 Date: Mon, 26 Jan 2004 23:02:58 -0500 From: Dr. Mark Subject: Underdog record found w. Jay & Americans tracks previously: > Underdog Record Found w. Jay & The Americans tracks on it continuing: > 1. UNDERDOG'S THEME SONG 1:07 > (Biggers - Covington - Stover - Harris) Anyone recognize the writers here or know of the actual singers/musicians from the sessions? Any connections between them and pop music or publishing or Columbia or UA? TV Tunes booklet says: W. Biggers, Harwichport Music Co. It would probably make our heads spin to discover all the one-off or even actual label releases of material such as this that existed but was barely marketed to the general public. Maybe this was a mail-in cereal premium. I've been crazy about cartoons and record collecting since I was little and I've never seen or heard of this release. Even as a collectible -- like on eBay. The "Underdog" theme was featured on the 2nd TV Tunes compilation (1986), and was one that jumped out at me as sounding like it was *not* (as many of these were) re-recorded or recorded from a copy of an episode. On "Underdog" it sounded like they were using a master tape. The vocals and instruments are really crisp and there's even some tape flutter. I wish TV Tunes had put in their liner notes if the copy of the various themes they were using was an actual record. I suppose these TV theme compilations were licensing nightmares. Fred, I would really like to see a picture/scan of that Underdog cover and label. Any chance you could post one to the group files? Or email directly to me? "Dr. Mark" Hill * The Doctor Of Pop Culture -------------------[ archived by Spectropop ]-------------------
Message: 2 Date: Tue, 27 Jan 2004 04:15:26 -0000 From: Bob Radil Subject: Re: Country Paul me: > Do you remember WKOB in New Britain? Country Paul: > The call letters, but nothing more about it without a memory > jog, I'm afraid. WKOB was a small unlicenced (pirate) AM station on the air non- continuously from late 1972 to early 1976. CP: > I'm familiar with Rockin' Richard's doo-wop and r&b show on the > same station Tuesday nights 8-11; when is Jim's slot? Same slot, but on Thursday nights. CP: > It has been interesting to see your posts re: Hartford radio of the > 60s. I have most of the WPOP surveys from 1965 to 1975 and from 1967 to 1979 for WDRC (and WKOB). Bob Radil -------------------[ archived by Spectropop ]-------------------
Message: 3 Date: Mon, 26 Jan 2004 23:37:06 EST From: Mike McKay Subject: Re: Beatle myth, pt.2 Steveo wrote: > "Twist and Shout" was a great record by the Isleys, but > John took it to new heights (this is my opinion.) > He also personalized "Baby It's You," like nobody's > business. But...he also did this with the Tin Pan Alley > song from the 20s....."Ain't She Sweet." > Smashing vocal by Johnny boy! You've hit the nail on the head, Steveo! I once compiled my personal view of Beatles covers, sorting them into three categories (strictly by my own preference): 1) Better than the original 2) Not better than the original but meritorious in its own right 3) Not as good as the original Though it ruffled a lot of purists' feathers, I recall that I put the following in category #1: Twist and Shout Please Mr. Postman Rock and Roll Music Mr. Moonlight ... and these in category #2: Soldier of Love Anna (Go with Him) Baby It's You You Really Got a Hold on Me Money (That's What I Want) Slow Down Words of Love Note the common thread running through virtually every selection: a Lennon lead vocal. "Mr. Moonlight" is widely regarded as one of the worst Beatles tracks, but even it is saved, in my view, by John's impassioned vocal. I don't believe I put any other Beatles covers not sung by John in category #1. As a rule, I resist ranking things, be it songs, albums, artists, whatever. But I've long made the statement that while everyone is always on about John Lennon's songwriting, his personal life, etc., it's only rarely noted what an incredible vocalist he was. Equally effective at conveying emotion on an all-out rocker or a tender ballad -- he sounds like no one, and no one sounds like him. And he is, quite simply, my favorite rock 'n' roll *singer* of all time. More ruffled feathers, no doubt. Believe me, there are loads of other singers I dearly love as well. But I can only say that when John sings, he touches my emotions in a way that is unique to him. Mike -------------------[ archived by Spectropop ]-------------------
Message: 4 Date: Tue, 27 Jan 2004 11:12:18 -0000 From: John Sellards Subject: I Can't Quit Her With all the attention "I Love You More Than You'll Ever Know" is getting here, I thought I should mention that my exposure to Child Is The Father To Man came from a friend in radio whom I distinctly recall saying, "Make sure you listen to 'I Can't Quit Her '... Gawd! what a song!" I loved the whole album, and still do ... but I still tend to think my friend was right and that's the standout cut. John Sellards -------------------[ archived by Spectropop ]-------------------
Message: 5 Date: Tue, 27 Jan 2004 12:48:46 -0000 From: Bob Celli Subject: Re: Reparata & The Detergents I asked Bobby Vee about the Dick Clark Tour and the incident with Reparata and the Delrons and he responded: "BC, I do remember! Lots of backstage chatter about her lack of a group. The band also kicked in some background vocals, and in the end it didn't really matter to anyone but Reparata ... no one else really knew the difference. She was a sweet gal ... good singer." BC -------------------[ archived by Spectropop ]-------------------
Message: 6 Date: Tue, 27 Jan 2004 18:23:58 -0000 From: Mikey Mars Subject: Beach Party Movie music website Well, a belated hello to all. I started a website back in late 2002 that focuses specifically on the music of the AIP Beach Party movies, as well as that from what I label "Beach Party clones" (ergo, the scores of pop movies made in the early to mid 1960s that featured musical interludes mixed in with pretty girls and silly plots). In the process of researching the site, I continually found discussion on Spectropop to be incredibly useful, and meant to get engaged here earlier. Well, better late than never, and I welcome any and all comments or input relative to the content of my site, which is at By the way, quirky Yahoo is causing problems with the records in my registration; my correct email is mikeymars[at] (not "mikeybmars" as listed). -------------------[ archived by Spectropop ]-------------------
Message: 7 Date: Tue, 27 Jan 2004 22:07:56 -0000 From: Art Longmire Subject: Re: Mary Hopkin Phil Milstein wrote: > 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. Paul Bryant wrote: > "Postcard" is a great Paul McCartney side project, on > which he used Mary as the singer. I think she was > allowed to pick one song (the Welsh one), and she > liked the Donovan songs (he was Paul's pal at the > time) but the rest she hated with a passion. I'm a bit of a fan of Mary Hopkin, but just like Phil I always found "Those Were the Days" to be HUGELY annoying. I used to hear it non-stop in junior high school back in '68 when it was at the top of the charts, and it always had the "fingernails on the chalkboard" effect on me. But I really like "Goodbye" and another lesser-known tune of hers called "Temma Harbour" that I first heard back in the spring of 1970. I have the Postcard LP and one song I'm interested in on that album is the Donovan song "Lord of the Reedy River". Does anybody know if Donovan ever recorded a studio version of this, and if so which of his albums (or CDs) is it on? I have a Donovan bootleg LP of a live late 60s performance that includes a great version of "Reedy River", so I wondered if it had ever been released on a studio LP. Art Longmire -------------------[ archived by Spectropop ]-------------------
Message: 8 Date: Tue, 27 Jan 2004 21:45:31 -0000 From: Ken Silverwood Subject: Re: Rydell / vocal instrumental / Life Is But Nothing from Mike McKay: > A propos of this last point, I've yet to see a more > convincing argument for the days of the "Bobbys" truly > being over than Rydell's slaughtering of "World Without Love" > on the Ed Sullivan show (caught it when VH-1 used to rerun > these -- I don't know if it's out on one of the videos or not). > There he was in full geek mode, snapping his fingers like some > sort of bad Vegas lounge singer -- totally clueless as to how > to put the song across. One of the cheesiest rock 'n' roll moments > I've ever seen! I actually saw this and could not believe what I was seeing/hearing. While were on Bobby R someone posted a track of his written by Ray Davies to musica a year or two ago -- please get in touch with me if you still have it. Thanks Percy Faith's "Theme From A Summer Place" spawned two notable vocal versions, by Dick Roman (Harmon), and Joanie Sommers (WB). Joanie also released a vocal version of Tobin Matthews' "Ruby Duby Du" (WB 5183) backed by the Sir Chauncey Combo (Ernie Freeman). Sir Chauncey's instrumental of "Beautiful Obsession" had a vocal version by Johnny Walsh, also on WB, backed by Sir Chauncey. Wasn't there a vocal version of Dave Brubeck's "Take Five"? But I don't think anyone would have tried putting words to "Unsquare Dance" from Phil M.: > This is an amazing number, which Del nails beautifully (and, > in light of later events, most tragically). I wonder, though, > if the "Rose" isn't Fred Rose and the song of older, C&W origin. Skinner & Rose were the two members of Twice As Much, who recorded for Oldham's Immediate label releasing a cover of Jagger/Richards "Sitting On A Fence" before coming up with " Step Out Of Line"/ "Simplified" -- a great double side. Ken On The West Coast. -------------------[ archived by Spectropop ]-------------------
Message: 9 Date: Tue, 27 Jan 2004 03:55:28 -0000 From: Clark Besch Subject: Question for Austin Roberts re: Emitt Rhodes Austin, When reading the Emitt Rhodes story, I thought about you. Since you were on Dunhill in 1971 as was Emitt, did you also feel pressure from Dunhill to release records. The Arkade had only singles and yet Emitt was expected to have 2 Lps a year! What was your contract like? By the way, I have read this same stuff on Emitt since the 80's Bangles interview stuff. I just want to slap Emitt and tell him to get ahold of himself, but it's easy when you are a fan and you want the same thing Dinhull wanted: 2 Lps a year!! Thanks, Clark -------------------[ archived by Spectropop ]-------------------
Message: 10 Date: Tue, 27 Jan 2004 21:53:52 -0500 From: fxxm Subject: last-minute TV listing Ron Isley & Burt Bacharach on Conan O'Brien Show tonight. --Phil M. -------------------[ archived by Spectropop ]-------------------
Message: 11 Date: Mon, 26 Jan 2004 21:04:52 EST From: Paul Urbahns Subject: Telstar Vocal John Fox wrote: > Not sure if anyone's mentioned the vocal version of "Telstar" > by Bobby Rydell. Magic Star is the lyric I remember hearing on the radio when the song was out. I remember it being a male vocal but I know Margie Singleton recorded a female version. The only lyric I remember is something like, "Oh star above please tell me of my love" or something like that. I was 13 at the time. Paul Urbahns -------------------[ archived by Spectropop ]-------------------
Message: 12 Date: Mon, 26 Jan 2004 23:27:11 -0800 (PST) From: Bob Hanes Subject: Damn it's good to have Al Kooper on this newslist! I absolutely loved your songwriter-producer-arranger essay! It could not be said more clearly and succinctly ever! It's just too bad that the jury who awarded Mike Love 1/3 songwriters' credit for Wouldn't It Be Nice (when his admitted entire contribution to the lyrics was the line "Sleep tight through the night babe" in the tag of the song under the beautiful circular chorus) amazed me. I am only slightly more willing to accept the hooks, "Round, round get around, I get around" and "She's real fine, my 409" as worth 1/3 writers' credit. If only your essay could have been the instructions to the jury! The Right Reverend Bob, dumb angel chapel, Church of the Harmonic Overdub -------------------[ archived by Spectropop ]-------------------
Message: 13 Date: Tue, 27 Jan 2004 20:52:05 -0000 From: Peter Richmond Subject: Re: Roy Hamilton Howard wrote; > I can't let this pass without adding my all-time favourite > artist, who has definitely influenced so many performers > down the years, I'm talking about the late great ROY HAMILTON. > ... Dark End Of The Street, Earthquake, Baby You Shook Me Up, > Cracking Up Over You, and so many more! Couldn't agree more, Howard. Roy Hamilton was a truly magnificent singer and his version of "Dark End Of The Street" is one the most spine-tingling tracks I have ever heard, the power of his voice is awesome. He was a really big guy, having been a professional heavyweight boxer. He was idolised by Elvis Presle,y who copied much of his vocal style. He was held in such high esteem that Presley gave Roy Hamilton the Mann/Weil song "Angelica" that he was about to record with Chips Moman. Roy Hamilton recorded "Angelica", written by Mann/Weil, in January 1969, with Elvis present at Chips Moman's American Sound Studio in Memphis, and what is really interesting is that the other song recorded at the session, also written by Mann/Weil, "Hang Ups" (originally recorded by Bobby Hatfield the previous year) features at the end of the track a guitar riff by Reggie Young that would, later that evening, be played by the same musician as the intro on to Elvis Presley's "Suspicious Minds". Roy Hamilton was a massive influence of the Righteous Brothers. They recorded many of his big hits, "You'll Never Walk Alone", "Unchained Melody", "Ebb Tide" plus "You Can Have Her," written by Hamilton's manager Bill Cook. My understanding is that, sadly, "Dark End Of The Street" was from the last recording session before he died aged only 40, on 20 July 1969, but ironically at the same session he recorded a cover of Bill Medley's "100 Years" that Medley had recorded for soundtrack of the film "The Riot". Personally I much prefer his '60s musi,c and he cut some other great tracks including "Don't Let Go", "Midnight Town, Daybreak City", "Let Go", "A Thousand Tears Ago", and "Cracking Up Over You", to name a few. Peter Richmond. -------------------[ archived by Spectropop ]-------------------
Message: 14 Date: Tue, 27 Jan 2004 11:01:46 +0000 From: Wendy Flynn Subject: do the mash Dear S'boppers Can anyone tell me how to do 'the slop', and if there ever was a real dance to go with 'The Monster Mash'? Thanks! Wendy -------------------[ archived by Spectropop ]-------------------
Message: 15 Date: Tue, 27 Jan 2004 05:41:56 -0800 (PST) From: Paul Bryant Subject: Re: anoraks Dr Mark wrote: > Not only ain't it being dumbed down, it's members are > getting smartened up! I had to get out the Websters to > look up ANORAK. I thought it must be a misspelled word. > But no... anorak (ano rak) n. a heavy jacket with a hood, > worn in the cold north So I assume you meant the chord > references were a bit "heavy" or over the top for the > average poster? This is not the way the term anorak is being used around here. The garment you describe was much beloved in Britain by a curious breed of harmless lunatics called TRAINSPOTTERS. These youths would go out in all weather to SPOT TRAINS. Which means, they would write down the trains' numbers in their trainspotter books. By extension, music geeks who like to record matrix numbers and know the different versions of "Do It Again" by the Beach Boys and also who played bass and who was married to the person who would have played bass on "Do It Again" except they missed that session due to being double-booked on a different session in an adjacent studio, and who collect 78rpm records and have the right equipment to play them and own Godrich & Dixon's Complete Guide to Matrix Numbers 1922-1937 -- those people are called anoraks, rather unkindly. And people who know what the fourth note of an arpeggio should be, or how many diminished sevenths appear in the works of Lennon/McCartney, they too could be called anoraks. People who dislike this kind of mania for detail, who positively recoil in horror from it and just like to play the records REALLY LOUD, they are suffering from anoraknophobia. I hope this clears things up. pb -------------------[ archived by Spectropop ]-------------------
Message: 16 Date: Mon, 26 Jan 2004 12:29:17 -0800 (PST) From: Watson Macblue Subject: Worst singing At the risk of clasting an icon (so to speak), has anyone listened to the Crystals' assault on Parade of the Wooden Soldiers recently? I mean, give me a break. If this was the take Phil approved, what must the others have been like? Watson -------------------[ archived by Spectropop ]-------------------
Message: 17 Date: Mon, 26 Jan 2004 18:18:52 -0800 (PST) From: Steve Harvey Subject: Spoonful Magic - Live At The Night Owl Cafe Here's the link to the site for the unreleased Spoonful live CD. Maybe "John" Boone will tell us more about it. -------------------[ archived by Spectropop ]-------------------
Message: 18 Date: Tue, 27 Jan 2004 06:20:02 -0000 From: Kurt Subject: Barry Mann - Young Electric Psychedelic Hippie... Does anyone in the gallery have any juicy tidbits concerning Barry Mann's "Young Electric Psychedelic Hippie Flippy Folk and Funky Turned on Groovy Twelve String Band." Looks like it was released in 1968. For a song that lasts 3:24, there's a lot going on. Thanks Kurt -------------------[ archived by Spectropop ]-------------------
Message: 19 Date: Mon, 26 Jan 2004 18:03:48 -0800 (PST) From: Steve Harvey Subject: Re: fourth note of the arpeggio Mark wrote: > And as for the chord structures, being a totally > non-instrument playing person, have tried to decipher > references like this for years- in as much as how they > make our favorite songs sound like they do. I for one, > would *welcome* an attempt from a musician to explain > one of these references - in layman's terms. When you strum a chord on guitar with a pick you are playing all six notes at the same time (in reality you are actually hitting the 6th string first then go onto the 5th string etc.) An arpeggio is deliberately slowing down that process so each notes rings a little more independently. i.e. Hilton Valentine's picking on "House of the Rising Sun". The fourth note would be the fourth note played from that chord (on guitar it would be whatever note the guitarist was playing on the G string). -------------------[ archived by Spectropop ]-------------------
Message: 20 Date: Mon, 26 Jan 2004 08:40:52 -0800 (PST) From: steveo Subject: Re: Fake Skipping Records > WHILE THE RECORD GOES AROUND//gimmick of reproducing a faulty record > Kind of like: CURTIS LEE- "Pretty Little Angel Eyes" (07/61) and THE > BEATLES- "Tell Me Why" (c.64) sound like syncopated, stuck/skipping > records at the beginning of each. Mark, Never thot about that..but when I played those intros back in my're right! Steveo -------------------[ archived by Spectropop ]-------------------
Message: 21 Date: Mon, 26 Jan 2004 19:05:28 -0800 (PST) From: Steve Harvey Subject: Boone & Sebastian & Dylan Eddy: > Tambourine man is on Bringing it all back home... Do > you happen to know the other two songs Sebastian is on? Right Eddy, "Eagle-eye" Kooper caught that one, of course. The other two tunes were On the Road Again and Maggie's Farm. Turns out that Steve Boone also played on those session so we'll have to find out what tunes he did. -------------------[ archived by Spectropop ]-------------------
Message: 22 Date: Mon, 26 Jan 2004 19:03:33 -0800 (GMT-08:00) From: Chris Subject: Arpeggios ?? Dr. Mark; > I for one, would *welcome* an attempt from a musician to explain > one of these references - in layman's terms. An Attempt At An Explanation: "An arpeggio is a chord where the notes are sounded in sequence, rather than all at once. Think: guitar-strumming." Example Of An Arpeggio With An Altered (I.E. "Unexpected") Note: The guitar chord on the lead-in to "Oh! Darling " on "Abbey Road." In this case it's the third note, the 5th of the chord, which is higher than one might expect (i.e. "Augmented") -- in other words, it's the altered one. Does this help you? "Songbirds are not dumb; "They don't have to buy a crumb of bread, "A spool of thread, "Just sing instead ..." (Lorenz Hart), Chris -------------------[ archived by Spectropop ]-------------------
Message: 23 Date: Tue, 27 Jan 2004 01:44:39 -0000 From: Trevor Ley Subject: Re: Pop Masterpieces Richard Havers: > My stab at the Top 10. > > Being English, and to give myself more scope I have > cheated and split the list between UK and US albums. Is > that allowed? Neither list is in any kind of order > > US > Pet Sounds The Beach Boys > 1st album Crosby Stills & Nash > Younger than Yesterday The Byrds > Forever Changes Love > Magic Garden 5th Dimension > Bookends Simon & Garfunkel > Sailor Steve Miller Band > Music of My Mind Stevie Wonder > I've Never Loved A Man Aretha Franklin > Hissing of Summer Lawns Joni Mitchell Richard (and hello to s.poppers) A friend put me on to this group and this is my first foray. Just wanted to say a big "yay" for including "Magic Garden" on this list. Jimmy Webb put all that talent to work so well and the LP just flows like a film...changing scenes rather than dead stops between songs. It was previous to me and I'll always be grateful to a friend who found me one for my birthday in 1999. To contribute a Top 10 list, I'd have to think about for a while and will. Trevor Ley -------------------[ archived by Spectropop ]-------------------
Message: 24 Date: Tue, 27 Jan 2004 04:02:00 -0000 From: Clark Besch Subject: Re: varispeed listening I must admit that the one that got me was playing by accident in the late 70's the Atlanta Rhythm Section's "Imaginary Lover" on Lp at 45 speed. It's shocking to hear this other wise "unreleased" version of the song by Stevie Nicks!!! Clark -------------------[ archived by Spectropop ]-------------------
Message: 25 Date: Mon, 26 Jan 2004 23:15:26 -0500 From: John Clemente Subject: Shirelles v Florence Greenberg Hello All, Phil Milstein wrote: > (Florence Greenberg) Deceived (the Shirelles) in what way?> Money!!!!!!!! Shirley (Owens) Alston-Reeves told me personally that the two factions never managed to patch things after that. JC -------------------[ archived by Spectropop ]-------------------
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