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Spectropop - Digest Number 1309

               SPECTROPOP - Spectacular! Retro! Pop!

There are 26 messages in this issue.

Topics in this digest:

      1. Re: Take Five vocal
           From: Den Lindquist 
      2. Re: Spine Shiverers / Big Finishes
           From: Austin Roberts 
      3. Paul Evans et al
           From: Michael Godin 
      4. Patty Duke song, "Tell Me Mama"
           From: Mark Hill 
      5. Re: Spine Shiverers / Big Finishes
      6. Re:  Take Five vocal
           From: Simon White 
      7. Becoming a Writer
           From: Rex Strother 
      8. Re: question for Austin Roberts re: Emitt Rhodes
           From: Austin Roberts 
      9. Re: Ray Hildebrand Question
           From: Cleber 
     10. Re: Sebastian & Boone & Dylan
           From: Al Kooper 
     11. Re: Boone & Sebastian & Dylan
           From: Steve Harvey 
     12. Re: Songwriter credits, Ringo Starr
           From: Andrew Hickey 
     13. Re: Beatle Myth Pt.2
           From: TD 
     14. Payola
           From: Dan Hughes 
     15. songwriting credits
           From: A. Zweig 
     16. Re: Spine Shiverers / Big Finishes
           From: Trevor 
     17. Re: JFK & the Beatles
           From: Mike McKay 
     18. Beatles bands...Pubert & co.
           From: Jules Normington 
     19. Italian Roots
           From: Julio Niño 
     20. Songs that "quote" others / Songwriter credits...Radio Birdman
           From: Jules Normington 
     21. Re: cigarette commercial music
           From: steveo 
     22. Re: cigarette commercial music
           From: Clark Besch 
     23. Ready for those obscure questions !
           From: Paul Evans 
     24. Re: Beatle myth, pt.2
           From: John Sellards 
     25. Re: Feldman, Goldstein & Gottehrer
           From: Mike Rashkow 
     26. Re: The earliest fake-skipper?
           From: Clark Besch 

Message: 1 Date: Wed, 28 Jan 2004 19:02:26 -0500 From: Den Lindquist Subject: Re: Take Five vocal Carmen McCrae did a vocal version of "Take Five" on Columbia (maybe 1961-62). It was a slower, soulful version, as I remember. I have the single around here somewhere... Den. -------------------[ archived by Spectropop ]-------------------
Message: 2 Date: Wed, 28 Jan 2004 19:21:35 EST From: Austin Roberts Subject: Re: Spine Shiverers / Big Finishes > How about Billy Stewart's vocal ending on Summertime > (for that matter his whole vocal)? Billy G S: > I always liked the way Stewart took the line "Your mama's > rich" and strectched it into "Your mama's rich--sonoffab*tch". Billy, I agree. I loved that vocal. Austin R -------------------[ archived by Spectropop ]-------------------
Message: 3 Date: Wed, 28 Jan 2004 16:03:03 -0800 From: Michael Godin Subject: Paul Evans et al Hi Paul, Great to have my good friend Paul Evans as a new member to Spectropop. Paul has been a frequent guest on my show over the past few years. I would also more than welcome all of our other writers, producers, and recording artists to have a visit at my website and get in touch with me offline at your convenience to arrange an interview. Cheers. Michael Godin -------------------[ archived by Spectropop ]-------------------
Message: 4 Date: Wed, 28 Jan 2004 19:06:13 -0500 From: Mark Hill Subject: Patty Duke song, "Tell Me Mama" Robert R. Radil: > I recall her 1965 hit, "Don't Just Stand There", was pretty good. Phil Hall: > I'll grant that she's no Whitney Houston, but her song "One Kiss > Away" is a fair representation of the entire early 60s girl group > sound, and she does a respectable job on it. Back when "The Patty Duke Show" used to be on Nik at Night, they frequently showed a promo commercial- with clips from the show - over which they played a cutesy little pop song she sang in one episode, "Tell Me Mama." (May not be the title, but that's the most repeated line.) I look every time I see a Duke album and checked her hits CD, but there is no song on there with that title. Of the half dozen songs or so I've heard by Patty, it has to be the one I know best. Anyone else familiar with the song and know where I could find it? "Dr. Mark" Hill * The Doctor Of Pop Culture /*/ -------------------[ archived by Spectropop ]-------------------
Message: 5 Date: Wed, 28 Jan 2004 20:20:13 EST From: Subject: Re: Spine Shiverers / Big Finishes Trevor Ley: > 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. Hey Trevor, You say Bung,I say Bong,let's call the whole thing off. LOL Whatever they sang,it was a mutha. Austin Roberts -------------------[ archived by Spectropop ]-------------------
Message: 6 Date: Thu, 29 Jan 2004 00:40:56 +0000 From: Simon White Subject: Re: Take Five vocal > Wasn't there a vocal version of Dave Brubeck's "Take Five"? AK: > That would probably have been Lambert Hendricks & Ross on > Columbia. There is certainly a version by the marvellous Carmen Mcrae. Can we talk about Mark Murphy now? -------------------[ archived by Spectropop ]-------------------
Message: 7 Date: Wed, 28 Jan 2004 17:33:41 -0700 From: Rex Strother Subject: Becoming a Writer I think Al makes a great point - nobody here (or probably anywhere) could possibly disparage George Martin's contribution or Carol Kaye's playing (who wants a brick to the noggin, after all?). But if those folks wanted to be songwriters - then they would have to write a lyric down, sing a melody over it, and hire some of their session musician and arranger friends to make it into a recording. Maybe Ringo did deserve 10% writing credit for coming up with a title - but that's a battle he would have had to fight. At least the historical record mentions his contribution (even if he doesn't get a BMI check); so that's something. Bless the songwriters and bless the musicians, producers and arrangers. Where it doesn't end in a squabble, we get some lovely music! Rex -------------------[ archived by Spectropop ]-------------------
Message: 8 Date: Wed, 28 Jan 2004 03:13:06 EST From: Austin Roberts Subject: Re: question for Austin Roberts re: Emitt Rhodes Clark Besch: > 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!! Clark, I remember Emitt pretty well. Dunhill was really hot with Steppenwolf, Three Dog Night,The Grass Roots, all selling large amounts of albums (pre-CD, of course), especially 3 Dog and Steppenwolf. The Arkade was formed when Steve Barri wanted to put together a singles act of singer-writers that loved straight-ahead pop and wrote songs for themselves as well as other artists. My main reason for leaving after Morning Of Our Lives was to become a single artist. Anyway, that kind of paints a general picture of what Dunhill was about at that time. When Emitt came out with his first album everyone at Dunhill, and soon the whole country, was amazed that one guy could write so many great pop songs and more or less put it all together so well in his own home studio. He was hot right outa the box. He was different than anything that they had and was selling a lot of albums, and since he more or less did everything himself (not much expense, etc.), they were pushing for more and more product from him so they could sell sell sell while he was hot hot hot. Not thinking of the long haul, where he could have the time to create each album the way he had the first one, that got everyone hooked in the first place. Now this is just my take on the situation. He was a very personal artist that needed to do his thing his way, but the label milked and milked. I met him a couple of times and he seemed to be a good guy. I haven't read the article yet -- on purpose -- because I hate to read about great talents that have been injured by the record business, usually through no fault of their own. I'll read it tomorrow, but I'm sure it will bring me down. The best person at Dunhill was, by far, Steve Barri, because he knew how to get the best out of each artist without scaring them off or killing their confidence. Unfortunately I don't believe Steve had a lot of say where Emitt was concerned; at least I don't think so. Sorry to be so verbose on this, but it's a bittersweet story to me because I really enjoyed the experience at Dunhill, but Steve didn't put a lot of pressure on us since we were always writing as well as recording and we all knew that going in. With Emitt being in charge of all of the creative aspects of his records, he was open to pressure from every direction. A lot of artists given that much freedom, as well as pressure to come up with great product at the speed that the Company wanted, get buried in the business end of things, plus a lot of times not being paid as they should be, and finally it gets to them to the point that they can no longer do the thing that they are good at. That's the bitter part of those late '60s,early '70s days, in my opinion. I was lucky that I left to go in the studio with Danny Janssen and Bobby Hart and come up with Something's Wrong With Me and Keep On Singing. I was happy as a clam being a single artist, but with minimum pressure from the label (Wes Farrell's Chelsea Records) -- probably the difference between Emitt and folks like myself. Where his work was more of a personal process, mine (and many others) was in the fun of collaboration in and out of the studio. Making records has always been great for me, mainly because the esponsibilities for the product were on several shoulders, not just one. Although long and perhaps boring, that's the best way that I can explain what might have happened with Emitt and several other gifted artists. Best, Austin -------------------[ archived by Spectropop ]-------------------
Message: 9 Date: Wed, 28 Jan 2004 10:00:43 -0000 From: Cleber Subject: Re: Ray Hildebrand Question Cleber: > 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? Unfortunately i don't have equipament to do that, but i'll try to find somebody do that for me, but could take a long time. Cleber -------------------[ archived by Spectropop ]-------------------
Message: 10 Date: Wed, 28 Jan 2004 05:16:05 EST From: Al Kooper Subject: Re: Sebastian & Boone & 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. Too lazy to look but I'm betting John Hammond Sr is out of the picture on BIABH and Tom Wilson is firmly in place, therefore John Srs. connections mean nothing here. Also I dont recall a bass on Mr Tambourine Man. Too old ? Perhaps, perhaps.......give a listen , gang -------------------[ archived by Spectropop ]-------------------
Message: 11 Date: Wed, 28 Jan 2004 03:18:34 -0800 (PST) From: Steve Harvey Subject: Re: Boone & Sebastian & Dylan Al, The shots of Dylan teaching the guy bass are definately Sebastian. However, once Steve pointed out that he played on some of the sessions too I did check on a Dylan site and found his name listed too. They goofed and wrote John Boone instead of Steve, but they also listed Sebastian too. John played on Mr. Tambourine Man, Maggie's Farm and On the Road Again. Boone is mentioned on that link I sent on Sunday. -------------------[ archived by Spectropop ]-------------------
Message: 12 Date: Wed, 28 Jan 2004 11:13:41 +0100 From: Andrew Hickey Subject: Re: Songwriter credits, Ringo Starr > Paul.......Tom....How ya' doin'? I agree that Ringo should've > gotten some of the writers credit and royalties, but that's up > to the parties involved. Maybe John and Paul thought being a > drummer in the biggest group in the world was enough remuneration? There's a difference though - of the two titles Ringo is credited with, one was used after the song was already written and recorded (Tomorrow Never Knows) and the other (A Hard Day's Night) had actually appeared in Lennon's book In His Own Write before Ringo used the phrase and inspired the song... -------------------[ archived by Spectropop ]-------------------
Message: 13 Date: Wed, 28 Jan 2004 08:20:02 -0500 From: TD Subject: Re: Beatle Myth Pt.2 Steveo: > "Twist and Shout" was a great record by the Isleys, > but John took it to new heights (this is my opinion). Tell it to the marines (the sailors won't listen). You may like the Beatles "Twist and Shout" because it's the first version you've heard. I liked "Twist and Shout" in its earlier incarnation when Richie Valens sang it as "La Bamba", embellishing the message with beautiful guitar chops--"To dance La Bamba, one must be graceful". I liked the Isley Brothers "Twist And Shout", with their vocal trills and cookin' rhythm section. Quite frankly, the Beatles version of "Twist and Shout" isn't anything that a competent wedding band from Ofay, New Jersey wasn't already doing. In 1963, the woods were full of competent wedding bands. --TD -------------------[ archived by Spectropop ]-------------------
Message: 14 Date: Wed, 28 Jan 2004 07:24:38 -0600 From: Dan Hughes Subject: Payola I've always been curious about payola, and it struck me that some of our members may well have some stories. You hear about how rampant payola was in the early days of rock and roll, and that bad songs became hits because of it, but I don't think I've ever heard examples of which particular "bad" songs became hits because of payola. This note is prompted by a report I heard this morning on NPR. An FCC commissioner announced he is going to crack down on payola, which he says is still prevalent to the tune of over $150 million per year. A music executive was quoted as saying something like "To say payola is back is to say that gravity is stronger this year. It never left." The report also claimed that Carly Simon's "Jesse" had more payola spent to make it a hit than maybe any other song, and it still didn't make Billboard's top ten (though it did sell a million). Personally, I don't think payola ever made a bad song a hit. First, the politicians who fought payola hated rock and roll. They could not believe that people would buy that garbage unless they were paid to buy it. But as we kids knew, they were out to lunch on that one. I bought records because I loved them, not because I heard them over and over. My theory is that the songs that were helped by payola were not bad songs. It's just that maybe twenty good songs would be released in one week, and payola helped determine which two or three of those would get airplay and become hits, while the rest were ignored and dropped into oblivion, only to reappear 40 years later to be shared on musica. So--do any of you oldtimers have payola stories? ---Dan -------------------[ archived by Spectropop ]-------------------
Message: 15 Date: Wed, 28 Jan 2004 09:56:44 -0500 From: A. Zweig Subject: songwriting credits Paul Bryant wrote: > I have a question for the songwriters amongst you. > Some time ago Bill Wyman was trying to get some kind > of songwriter credit for various early Jagger/Richards > songs because he said his bass playing helped make the > records hits (I remember 19th Nervous Breakdown was > singled out for its diving bass runs). Was he being > ridiculous? I'm not a songwriter but I find this entire concept a little ridiculous. You're in a band or you're a session musician. Someone comes in with a song. They play it on acoustic guitar or piano. At that point it is basically a song. It's not a "recorded" song. Maybe it's not even a good song. Maybe there's virtually nothing to it. Maybe it will only become a good song once you and the other members of the band make your unique contributions. But isn't that your job? To make the song better than it was when you first heard it. To put your unique stamp on it. That's why people love your band or keep asking you to play on sessions. But I don't see how that has to do with songwriting. I mean, I love the organ playing on "Like a rolling stone", it's one of my favorite elements of the song and I certainly prefer Dylan's version to Buddy Greco's but when I hear Buddy Greco do it, it'is the same song. (Wouldn't it be funny if Al Kooper informed me now that he also played on Buddy Greco's version?) Anyway I don't want to make it seem like I'm undervaluing the many unique and brilliant contributions of musicians. But I just don't think songwriting credit is the way to acknowledge that. AZ -------------------[ archived by Spectropop ]-------------------
Message: 16 Date: Wed, 28 Jan 2004 14:43:10 -0000 From: Trevor Subject: Re: Spine Shiverers / Big Finishes I'm with you on that, John, alwasy found the "Baddderrrupp" stuff irritating. Guess because my Mom hipped me to Gershwin. for that song in the rock vein, gimme Janis. For finishes, how about the Chambers Bros. "Time Has Come Today".....urrrrrrrahhh!? For shivers...."Shakin' All Over" both Live at Leeds and the Guess Who hit. Trevor Ley -------------------[ archived by Spectropop ]-------------------
Message: 17 Date: Wed, 28 Jan 2004 10:00:32 EST From: Mike McKay Subject: Re: JFK & the Beatles Country Paul wrote: > I was 18 when JFK was shot and I remember the day better than > much more recewnt stuff. After an incredible funk that the country was in, > we were ready for something. Also, the steady diet of "sugar" on pop radio > was ready for something harder and better. Such records were lurking beneath > the surface (check 1963's Ronnie Hawkins & The Hawks "Bo Diddley"/"Who Do > Your Love" for a low-charting but kick-butt track driven by some future > major players) but till the Beatles revealed themselves, there was no > galvanizing personality (or in this case, personalities) to lead the > emotional recovery. (I tell a story earlier in the archives about a Murray > The K Record Review Board in July '63 with Del Shannon and the Beatles in > competitive voting - Shannon got hundreds, the Beatles were in the single > digits.) Reflective of this is a story I've long told on myself. I remember with absolute clarity the moment I heard "I Want to Hold Your Hand" for the first time on the radio. Local DJ legend Boots Bell outroed the song by saying this was the new group from England that was taking the world by storm. He made quite a big deal out of it, upon which I smugly said to myself "If that's the kind of music those English guys think we like over here, they're nuts!" That's how totally DIFFERENT "I Want to Hold Your Hand" was from what I had been used to hearing -- and I had been a fanatical listener to Top 40 radio for at least a year by then (and I do mean fanatical...the classic story of sneaking the transistor underneath your pillow as you went to bed and listening until sleep overtook you is absolutely true, I'm here to say!). Of course, it only took me one or two more listens before I was completely won over, thus beginning a love affair that has continued without pause for 40 years now. I think it's possible that the theory of America awakening from the JFK funk has some merit; and I'm sure The Beatles' winning personalities and the general hype were factors as well. But as time has proven, it was ultimately what was in the grooves that won the day. It was fresh, exciting, and yes, different (in terms of melodies, harmonies, vocal quality, guitar sound, etc.) from anything else around at the time. Mike -------------------[ archived by Spectropop ]-------------------
Message: 18 Date: Thu, 29 Jan 2004 02:39:13 +1100 From: Jules Normington Subject: Beatles bands...Pubert & co. Now this will sound horribly obscure of me....but nobody has ever attempted and pulled off a better "Sgt. Pepper's.." era Beatles take, than the very recent PUBERT BROWN FRIDGE OCCURRENCE with their "A Once And Future Thing" album...there's a touch of 1968 Kinks and Move heavily on display as well. Album kicks off with a cover of "Eight Days A Week" and it's all originals from thereon in. The songs are incredibly's a real gets better all the son's a massive Beatles fan, and this is his other favourite album. (you can find out more at: and click on "Artists" and scroll down alphabetically) It's possibly my fave album of 2003...well me. Cheers, Jules -------------------[ archived by Spectropop ]-------------------
Message: 19 Date: Wed, 28 Jan 2004 15:28:54 -0000 From: Julio Niño Subject: Italian Roots Hi Everybody. Paul Bryant wrote: > 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..." Paul , "Give Me Time" is a cover of "L´amore se ne va", by Carmelo Pagano 1966, a think this song was the winner of the song contest "Festival delle Rose" 1966. I´ve heard the song many times but I don´t have the record. I think Dusty´s version is just perfect (although I also love P.J. Proby 1968 version). "All I see is you" was composed by Clive Westlake and Ben Weisman, and I as far I know is an original song. Cilla´s "You´re my world" is a version of "Il mio mondo" a song by Umberto Bindi (composed with Gino Paoli), a very big hit in Italy, Spain and I suppose, many places in 1963. Bindi´s version is wonderful, and very easy to find, I also like very much the French version by Richard Anthony ("Ce Monde", 1964). I haven´t heard the other two other songs you mentioned. You may think that I´m a pervert and a neurotic, but I don´t like Cilla Black´s singing very much. In fact her songs always make me nervous. She sounds often too vigorous for my taste. Greetings to everybody. Julio Niño -------------------[ archived by Spectropop ]-------------------
Message: 20 Date: Thu, 29 Jan 2004 03:46:08 +1100 From: Jules Normington Subject: Songs that "quote" others / Songwriter credits...Radio Birdman Legendary Australian band Radio Birdman (1974-78...reformed 1996 and a few times since) wrote a song called "Aloha Steve And Danno" about their fave TV show "Hawaii 5-0" (great lyrics!) wherein the drummer kicks it all off with a great pounding 60's style surf drum intro, and they use the Mort Stevens-written theme as the guitar was written by the band's guitarist and singer and Mort gets a one-third credit...they also sang the show's common Steve McGarrett final line "Book him, Danno, murder one" as the's a GREAT song by the way. They also include: "Got Garland Jeffreys on the car radio..." in "I-94", and snag the chorus of his "Wild in the Streets" in a song too....virtually all of the band's members were big fans of 60's surf, Motown, and garage/psych stuff (and indeed active collectors of the same...and still are! - they've done many roaring covers from those genres over the years)...they quote other songs/artists as well. In fact their name comes from a miss-heard line in a Stooges song ("1970")...and their first album's [appropriate] title ("Radios Appear") was straight out of a Blue Oyster Cult tune ("Dominance And Submission")....yes, neither of those fall in line with the genres above, but the band deserves honourable mention, in my opinion, for proudly wearing their influences on their sleeve. Come to think of it, their bass player's in the afore-mentioned Pubert Brown Fridge Occurrence...and their singer recently had a side-band called Nanker Phelge... I could go on.... -------------------[ archived by Spectropop ]-------------------
Message: 21 Date: Wed, 28 Jan 2004 08:57:01 -0800 (PST) From: steveo Subject: Re: cigarette commercial music Bob, One of the best 60's commercials music was "Colt 45 malt liquor theme"! This used an ocarina as lead and was very quirky. It had a moderato beat, but was very memorable! The title of this piece is "A Completely unique Experience". Steveo -------------------[ archived by Spectropop ]-------------------
Message: 22 Date: Wed, 28 Jan 2004 17:06:14 -0000 From: Clark Besch Subject: Re: cigarette commercial music I always liked the whistling song to Colt 45 Malt liquor that they played during that commercial where a guy is sitting on top of water at a table and a shark comes along and takes the table while he grabs his beer off. Kinda like the Benson & Hedges thing or the Think Drink coffee commercial. Clark -------------------[ archived by Spectropop ]-------------------
Message: 23 Date: Wed, 28 Jan 2004 16:07:57 -0000 From: Paul Evans Subject: Ready for those obscure questions ! Dan, Thanks for the introduction. Ready for those obscure questions. :-) Paul -------------------[ archived by Spectropop ]-------------------
Message: 24 Date: Wed, 28 Jan 2004 18:17:24 -0000 From: John Sellards Subject: Re: Beatle myth, pt.2 Paul Bryant: > I dig all on your list and agree, but hang on, where's > Paul's amazing throat-shredding "Long Tall Sally" in all > of this? And "Kansas City?" This can't be your full list. > C'mon, let's have the full list! I always struggle with > "Long Tall Sally" - it's as good as Little Richard. But > how can that be? Little Richard was the quasar of rock. Or "I'm Down", in which Paul updates Little Richard by about 6 years. I think when it comes down to it, "I'm Down" is my favorite Beatles record. Not song, but recording. John Sellards -------------------[ archived by Spectropop ]-------------------
Message: 25 Date: Wed, 28 Jan 2004 13:20:10 EST From: Mike Rashkow Subject: Re: Feldman, Goldstein & Gottehrer > Anyone know what else (Feldman, Goldstein & Gottehrer) contributed to? The McCoys and Rick Derringer. Rashkovsky -------------------[ archived by Spectropop ]-------------------
Message: 26 Date: Wed, 28 Jan 2004 18:32:19 -0000 From: Clark Besch Subject: Re: The earliest fake-skipper? ACJ wrote: > I just remembered - I have on tape a track from the early 1950s > called "Get Out Those Old Records," by Broadway legend Mary Martin > and her son Larry Hagman (then still in his twenties). At the > beginning and near the end, Mary and Larry sing, "The ones (clap) > the ones (clap) the ones we heard so long ago." This might make > this track the earliest "fake-skipping" record. An early "fake-skipper", the hilarious take off on "History Repeats Itself". Ben Colder did a classic novelty take off, "Great Men Repeat Themselves" where he ends repeating over and over "repeat themselves". That must be the answer: all these people were drunk! Clark -------------------[ archived by Spectropop ]-------------------
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