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Spectropop - Digest Number 1307



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               SPECTROPOP - Spectacular! Retro! Pop!
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There are 16 messages in this issue.

Topics in this digest:

      1. Re: Fake Skipping (related)
           From: ACJ 
      2. Re: Colours / Bad Day At Black Rock, Baby
           From: Billy G. Spradlin 
      3. Re: Italian Drama
           From: Steve 
      4. Re: The Beat Goes On
           From: Al Kooper 
      5. Re: The Beat Goes On
           From: Al Kooper 
      6. Re: Writer/Arranger
           From: Al Kooper 
      7. Re: Sebastian & Boone & Dylan
           From: Al Kooper 
      8. Re: anoraks
           From: Rob Stride 
      9. Re: Roy Hamilton
           From: Howard 
     10. Re: Take Five vocal
           From: Al Kooper 
     11. Paul Evans - now a member of Spectropop
           From: Paul Evans 
     12. Re: Songwriters' Credits / "Theme From A Summer Place"
           From: Chris 
     13. Re: Alex Chilton
           From: Al Kooper 
     14. Re: House In The Country
           From: Al Kooper 
     15. Re: Spine Shiverers / Big Finishes
           From: Trevor 
     16. Finding Rambeau, Roberts and Paul Evans
           From: Clark Besch 


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Message: 1 Date: Tue, 27 Jan 2004 18:53:14 -0500 (EST) From: ACJ Subject: Re: Fake Skipping (related) One of the New Colony Six's pre-Mercury albums, "Colonization," includes a nearly seven-minute version of "Mister, You're A Better Man Than I"; about a minute before the track ends, it suddenly runs down as if it's been switched off, then perks back up as if it's been switched back on. ACJ -------------------[ archived by Spectropop ]-------------------
Message: 2 Date: Wed, 28 Jan 2004 00:29:56 -0000 From: Billy G. Spradlin Subject: Re: Colours / Bad Day At Black Rock, Baby Mark Hill wrote re. Colours' first LP: > Got my vinyl copy the first season I started hitting yard sales for > records, c.1980. I'm sure I only paid a quarter for it. I have seen > it as a CD-R bootleg, but not a real reissue. Will have to follow > that tip to the COLLECTORS CHOICE catalog. I love the liner notes of Colour's first album - "they have the crystalline sharpness of the Beatles before they turned acid." Huh? It's very clear that this MOR-Champaign & Cheese record company (who thought Leonard Nimoy could sing?) had little understanding of their music. I just wonder if Colours' first LP was popular during the late 60s, or one of those LPs that didnt chart and laid to rest in bargain bins for years, only to be rediscovered by a new generation of fans? BTW I checked Collectors Choice site - didn't find anything. I wish Sundazed (or ANYONE) could get the rights for reissuing this album on CD. Billy G. Spradlin http://listen.to/jangleradio -------------------[ archived by Spectropop ]-------------------
Message: 3 Date: Wed, 28 Jan 2004 10:25:17 -0000 From: Steve Subject: Re: Italian Drama Paul Bryant: > I would love it if you could confirm if these songs were all > originally Italian. Hey Paul I was fascinateed to know as well - and just LOOK what I found out!! It's the same old song.... Gli Occhi Miei - Dino Help Yourself - Tom Jones Balla Linda - Lucio Battisti Bella Linda - Grass Roots Quando M'Innamoro - Anna Identici A Man Without Love - Engelbert Humperdinck Melodia - Jimmy Fontana The Way It Used To Be - Engelbert Humperdinck Luglio - Riccardo Del Turco Something's Happening - Herman's Hermits Ti Vedo Uscire - Donatella Moretti Don't Answer Me - Cilla Black Il Mio Mondo - Umberto Bindi You're My World - Cilla Black Dimmelo Parlami - Fabrizio Ferretti A Fool Am I - Cilla Black Il Paradiso - Patty Pravo If Paradise Is Half As Nice - Amen Corner L'Amore Se Ne Va - Carmelo Pagano Give Me Time - Dusty Springfield - and do you think I can find any reference on the net for Amore Se Ne Va?? So far - no luck! Grande Grande Grande - Mina Never Never Never - Shirley Bassey Hope this whets your appetito! Ciao Steve -------------------[ archived by Spectropop ]-------------------
Message: 4 Date: Wed, 28 Jan 2004 05:23:33 EST From: Al Kooper Subject: Re: The Beat Goes On previously: > 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 I dont think you read my dissertation very well if you ask that. If you take away the instruments and sing the song, that IS the song. Lyrics and melody. She was hired to play bass to that melody & lyric. Did a great job as a bassist. Not as good a job as George Martin did on Yesterday, but NEITHER of them wrote the song. The song is the melody & the lyric. Got it? Get it........... Al Kooper (hoping he's understood) -------------------[ archived by Spectropop ]-------------------
Message: 5 Date: Wed, 28 Jan 2004 05:26:15 EST From: Al Kooper Subject: Re: The Beat Goes On previously: > 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. How do you know she made that up? Harold Battiste arranged all those sessions. It could have easily been HIS line. But still, my friend, it's an arrangement, not a song. -------------------[ archived by Spectropop ]-------------------
Message: 6 Date: Wed, 28 Jan 2004 06:15:01 EST From: Al Kooper Subject: Re: Writer/Arranger Paul Bryant: > 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. God bless ya Ya got it right! -------------------[ archived by Spectropop ]-------------------
Message: 7 Date: Wed, 28 Jan 2004 06:10:45 EST From: Al Kooper Subject: Re: Sebastian & Boone & Dylan Steve Harvey: > 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. Okay lemme tell ya what I know for true. If those guys are hired for the session, it don't mean that they played on every track. I was hired on the session that Desolation Row was on., but that track is only Bob & Charlie McCoy on guitars. No other dudes. Another REALLY annoying revisionist thing is the misinterperetation of Columbia Records worksheets. Those english guys like Colin Escott have no idea how to read those sheets correctly. Blonde On Blonde was done in a weeklong session in Nashville except for Sooner Or Later which was cut in NYC. Colin Escott told me face to face that it was done in two separate visits and he had the worksheets to prove it. A worksheet will have a date on it, list songs and HCO numbers. It could be a mix session or it could merely be an engineer cutting acetates. A great misinformative mess has been created out of those worksheets. That's just one little boo boo. There are millions. It seems in my lifetime that the journalistic "truth" is the most repeated story. I won't always be here to say they weren't booing us for playing electric at Newport. And so the most bandied about story becomes the "truth". Be careful, Spectropoppers. Don't believe everything you read ....p l e a s e ! Al Kooper -------------------[ archived by Spectropop ]-------------------
Message: 8 Date: Sat, 28 Jan 2023 12:05:07 -0000 From: Rob Stride Subject: Re: anoraks > 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. Spot On Paul, although I think knowing who played bass on what, and the treatment of the fourth note of an arppegio are extremely different examples of "Anorakism". Which is to say I suffer badly from the first example, but only mildly from the second. My medication is helping immensely and thank you for explaining the Anorak Condition to those who are not aware of the affliction. Rob PS do you know who played bass on The Last time by the WHO? The same guy who played bass on Thunderclap Newmans "Something In The Air" -------------------[ archived by Spectropop ]-------------------
Message: 9 Date: Wed, 28 Jan 2004 07:26:11 -0500 From: Howard Subject: Re: Roy Hamilton Peter wrote.. > 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. > 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. Oh yes, I most certainly agree with you..his 60s releases are awesone! Dark End Of The Street c/w 100 Years, was released here in the UK on Dave Godins much missed 'Deep Soul' label (sister label to (UK)Soul City) Can anyone out there furnish me with a full US discography, (I have his UK discography) all the best.. Howard -------------------[ archived by Spectropop ]-------------------
Message: 10 Date: Wed, 28 Jan 2004 02:59:19 EST From: Al Kooper Subject: Re: Take Five vocal previously: > Wasn't there a vocal version of Dave Brubeck's "Take Five"? That would probably have been Lambert Hendricks & Ross on Columbia. AK -------------------[ archived by Spectropop ]-------------------
Message: 11 Date: Wed, 28 Jan 2004 13:43:12 -0000 From: Paul Evans Subject: Paul Evans - now a member of Spectropop Hi, Thanks to the efforts of several S'poppers, I've become a member of the group. I'll be more than happy to answer questions posted here regarding my experiences in the "biz" in the 50s, 60s and beyond. For a reminder of where my perspective on those years comes from and what I've been up to since, just visit my site: http://www.paulevans.com Just as a reminder, I had several recorded hits starting with "Seven Little Girls, Sitting in the Back Seat" (1959) and wrote several charted songs starting with "When" by the Kalin Twins (1958), "Roses Are Red (My Love)" by Bobby Vinton (1962) and four cuts by Elvis. Thanks for remembering. The record business has given me many great moments. Speak to you later, Paul Evans -------------------[ archived by Spectropop ]-------------------
Message: 12 Date: Wed, 28 Jan 2004 00:41:35 -0800 (GMT-08:00) From: Chris Subject: Re: Songwriters' Credits / "Theme From A Summer Place" Ken On The West Coast: > Percy Faith's "Theme from A Summer Place" spawned two > notable vocal versions. Shouldn't that be *Max Steiner*'s "Theme from 'A Summer Place'"? It was, after all, Steiner who composed it. Later on, words by Mack Discant were added. Steiner, who had been writing scores since the 1930s, produced at least one other hit song in "It Can't Be Wrong" (derived from his score for "Now, Voyager"). Dick Haymes recorded the most popular version. For me, though, the definitive vocal version is that of Bugs Bunny ... Chris -------------------[ archived by Spectropop ]-------------------
Message: 13 Date: Wed, 28 Jan 2004 09:09:46 EST From: Al Kooper Subject: Re: Alex Chilton previously: > How about Alex Chilton mentioning the blues classic > (dont know the original artist) "You Left The Water > Running" at the end of the Box Tops "Cry Like a Baby"? Both written by his producer Dan Penn -------------------[ archived by Spectropop ]-------------------
Message: 14 Date: Wed, 28 Jan 2004 09:16:37 EST From: Al Kooper Subject: Re: House In The Country previously: > Remember the inspiraton for "House In The Country"? Okay House In The Country Two avant garde filmmakers I knew asked me to act in a movie they were to begin shooting. I had no interest in such a thing and didn't particularly feel talented in that area but I got talked into it. The first weeks shooting was in a house in the country in Bucks County PA. My co-stars were Michael J Pollard and Edie Sedgewick. Edie, of course, cancelled 2 weeks b4 shooting started and they got TV star Zina Bethune, the lead in the '60s show The Nurses. I wrote the song in that house one day and shortly thereafter, the movie folded after the writer and director had a fistfight on the set. The rest is hysterical. Al Kooper -------------------[ archived by Spectropop ]-------------------
Message: 15 Date: Wed, 28 Jan 2004 14:48:24 -0000 From: Trevor Subject: Re: Spine Shiverers / Big Finishes > Back to center on this thread: how about the great > vocal 'bong' at the end of Thomas Wayne's "Tragedy" ? Paul Bryant wrote: > I'm a fan of Big Finishes, so with a nod to the already > acknowledged "Since I Don't Have You" (Skyliners) how > about "Smoke gets in your....EYESSSSSS" by the Platters, > Dusty howling "believe me!!" (oh I did, I did) at the end > of "You don't hafta say you love me", and the very > Righteous Bros' "Ebb TIIIIIIDDDDDDDEEEEE" - which is very > wonderful. Oh, and pretty much anything at all by Roy > Orbison, but let's go for "It's Over". Ba-ba-ba-ba-boom! Great choices, both of you, although I always thought of the "Tragedy" ending as "Bung". Does the Exciters' "Tell Him" end cold or fade? Don't have a copy at the moment. Seem to recall it winds down to the quick violin notes. Trevor Ley -------------------[ archived by Spectropop ]-------------------
Message: 16 Date: Wed, 28 Jan 2004 18:18:35 -0000 From: Clark Besch Subject: Finding Rambeau, Roberts and Paul Evans If you're like me (God help you!), you have thousands of 45s that you bought from all possible ways over 40 years. I have most alphabetized, but tons not. Anyway, when I see a post like Eddie Rambeau's for wanting mp3s of his songs, I try to go "shopping" in my mess. I just did, and found none of the 45s Ed wanted. Of course, I did see some interesting things along the way: two Spectropopper 45s jumped out of there! First, a Cameo 45 by Bobby Sherman "and friends" called "Happiness Is" written by Paul Evans and Paul Parnes. Then, I spotted "What Can I Wish For You My Son" by Ron Marshall on Intrepid (probably 1970). It was produced by Art Wayne and arranged by Dean Christopher and Art Wayne. Any comments on these, guys? Clark -------------------[ archived by Spectropop ]-------------------
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