The Spectropop Group Archives presented by Friends of Spectropop

[Prev by Date] [Next by Date] [Index] [Search]

Spectropop - Digest Number 1310

               SPECTROPOP - Spectacular! Retro! Pop!

There are 24 messages in this issue.

Topics in this digest:

      1. Re: Dylan's bike crash
           From: Denis Gagnon 
      2. Re: Feldman, Goldstein & Gottehrer
           From: steveo 
      3. My own two cents; My Own Two Feet; Four Evers; cheap pressings; cutting Elvis
           From: Country Paul 
      4. Anoraks
           From: Frank Murphy 
      5. Re: Spine Shiverers
           From: Rex Strother 
      6. Fake crackles
           From: Rex Strother 
      7. Rain From The (Jamaican) Skies
           From: Julio Niño 
      8. Fake crackles
           From: Stewart Mason 
      9. Re: Randy Vanwarmer
           From: Chuck Limmer 
     10. Fake skipping records - Roy Wood?
           From: Watson Macblue 
     11. Re: "My Name Is Mud"
           From: Ed Rambeau 
     12. Question for Paul Evans Question regarding Guaranteed Records
           From: steveo 
     13. Dylan
           From: Dan Hughes 
     14. Re: Roy Hamilton
           From: steveo 
     15. Super Bowl playlist
           From: Mike Edwards 
     16. Donovan & Mary Hopkin & Al Kooper
           From: TD Stout 
     17. Re:  do the mash
           From: TD 
     18. Re: The Beat Goes On
           From: Steve Harvey 
     19. Re: "Child of Mine" Jim Fielder
           From: John Berg 
     20. Re: House In The Country
           From: Mike Rashkow 
     21. The Dis-advantages
           From: Charles G. Hill 
     22. Re: Sebastian & Boone & Dylan
           From: Steve Harvey 
     23. Re: Ray Hildebrand
           From: Hugo M 
     24. "Shadows & Reflections"
           From: John Berg 

Message: 1 Date: Wed, 28 Jan 2004 13:45:31 -0500 From: Denis Gagnon Subject: Re: Dylan's bike crash C. Ponti: > ...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. I'm ready to believe this theory as long as someone can explain to me why after this "motorcycle accident", his voice changed drastically and became what is most of the time that swqeaky little sound that comes from his mouth. Contrary to what a lot of people might say, I don't think there was anything wrong with his voice pryor the "accident". Quite the contrary, in fact, I liked it very much and played his second, third, fourth, fifth, sixth album plus what I consider his masterpiece, Blonde on blonde, thousands of times on record player. Denis -------------------[ archived by Spectropop ]-------------------
Message: 2 Date: Wed, 28 Jan 2004 10:51:57 -0800 (PST) From: steveo Subject: Re: Feldman, Goldstein & Gottehrer Trevor, The little town I spoke about was not far from Pittsburg...Cadiz, Ohio 50 miles away.. As far as the Feldman and assoc bag..I think they also procduced the Strangeloves.."I Want Candy". Steveo -------------------[ archived by Spectropop ]-------------------
Message: 3 Date: Wed, 28 Jan 2004 14:04:12 -0500 From: Country Paul Subject: My own two cents; My Own Two Feet; Four Evers; cheap pressings; cutting Elvis Me, earlier: > My 2 cents on the ELO debate: I saw them live early on. Excellent. > The great songs were great, the trite songs were trite, the hits > got burned out quickly to my ears, but stayed around too long, > obscuring some of the really good stuff that didn't make Top 40 > radio. (Actually, that happened to a lot of groups. ....) Mark F: > I've been thinking about the last sentence in Paul's message for > a few days now (the sign of a good thought-provoking message!). > 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? The following is strictly opinion based on experience; as the Band sang, "Take what you need and leave the rest." Musical artists don't control radio playlists and compete to keep others down; that comes from the executive branches of radio and records. I wasn't criticizing ELO any more than any other act whose music was seized on by Program Directors, Music Directors and (bad word ahead) consultants and turned into boring mush. There's a lifespan for a hit (in several categories in programming falling under the "current" umbrella) and then ways to ease it into oldie-dom ("recurrent" then various "oldies" categories, including the [in]famous "lunar rotation"). In my opinion, by the time most huge hits hit "recurrent" status, they were burned out and needed a rest before being brought back more-or-less occasionally as oldies. (All categories are arbitrary, as is the process despite great pretentions to statistical research; radio sucks more as more research and fewer ears are applied to it.) It seems that a lot of ELO's top 40 hits reached the "cherished" status of "burned-out-ness" and, through no fault of their own, caused a diminution in their status among musical cognizenti. Another example: I think much of the Eagles' ouevre suffered from similar over-popularity. I remember seeing them live in the early 70's, before Joe Walsh joined them and before they became a household name. They were phenomenal - creative, innovative, and one of the best live shows I'd seen to date. Within a year, their hits were over-exposed jukebox fodder. Nothing about the original recordings had changed; it was just too much exposure of a good thing. Sadly, I'm so burned out personally on the hits of these artists - and way too many more, whose names I won't sully by mentioning them - to probably ever hear most of them with fresh ears again. This brings up your next point, Mark: > I've often wondered if there was ever a time when radio was the > ulimate gauge of quality (i.e. lasting) music? In a word, no. Some eras were, however, better than others, and I'll keep my comments to the "music" part rather than the "personality" aspect. I and many of the stations I worked at tried hard to play the best music, especially in the evolving days of album rock, and occasionally we succeeded. Also, the "deeper" top 40 stations who played 50, 60, 100 new records may have come closer musically than the ones with the excessively tight playlists. But radio was always guided by someone's opinion and by ad sales (except for non-commercial, which is guided by begging marathons or funded by an institution, like a college, which often has its own agenda). My personal musical gold may be your lead, and vice versa. At best, commercial radio is somewhat of a compromise. We could open windows on music you might not have heard otherwise, and we certainly tried to present what we thought the best music would be, at least most of the time. But (true confession that hurts) even in freeform commercial radio, all of us, well-meaning and erudite folks that we were, would pull back from playing something we *really* wanted to play in favor of something more popular in order to pander enough to the audience (win them over to our side - "see, we like what you like too") so they would listen to what *we* wanted them to listen to. Do I sometimes regret this? Sure - but if I had let my own taste run rampant, I wouldn't have been paid to do what I was blessed enough to do for almost 30 years. On the other hand, there's Spectropop, where my taste *does* run rampant. Yet, even at the New York S'pop party in June, where I was privileged to DJ for a set, I didn't compromise my taste, but I did default to a couple of songs that I knew were better known by the crowd, and saved the others for later. (And y'know, it was great to see folks singing along to the popular ones, too; I fulfilled the "job description" - to bring joy to the evening. That works for me. And I'd DJ again for S'pop in a heartbeat!) Oh, no! I think I just delivered another tome of a think piece, and opened myself up to the inevitable criticism to follow - so have at me! :-) Ian Chapman: > Only recently did I get to hear the U.S. version [of "On My > Own Two Feet," wr. Rambeau-Rehak] by Hal Miller, after a > few years of searching. I'd always imagined it would be > even better than the [Kenny] Lynch cover and envisaged a > typical Crewe stomper with Rag Dolls-type b-vox. Having just heard the Lynch version for the first time on musica, my nod goes to Hal Miller, Ian, but Lynch is really good, too, and I understand your preference. I think it's a great song, and I've always felt the Miller version would have been a monster hit if the Seasons had sung the same arrangement over the same instrumental track - or (and here's the "monster in the closet") if Miller had been white instead of black. Another option: if he had been promoted as the lead voice of the Rays instead of just another newcomer, it might have helped. (I don't mean to start a race war here; American radio got much better as the British invasion and progressive radio opened more doors for black artists [not just "safe" ones] and other "fringe" folks. And this is just my opinion; I certainly welcome and encourage others.) Mick Patrick wrote: > [now at musica]...The 4 Evers "Stormy" (Constellation 151, 1965) Another Four Seasons hit that never was; what were they doing on Constellation, essentially a soul label? It might explain why we were never serviced with this at WBRU; we darn well would've played it! (The fade-out is a bit abrupt, though - did the session fall apart, or was that intentional?) Related topic: Mike Edwards cites Tom Crewe (Bob's brother) – "Come On Dream" (on Mala); this has always been one of my favorites, including a Del Shannon/Max Crook-like organ which adds a lot. Billy G Spradlin wrote: > The cheapest vinyl I have ever seen is from Cameo/Parkway's > Wyncote budget label. They used the worst crap! Bob Radil followed up: > As bad as the old ABC Paramount singles or early Dunhill stuff? It > seems they used recycled vinyl, without first removing the labels! I think they came from a pressing plant called Universal, in Nashville, who did pressing orders large and small. (They did my first 45, which suffers from the same disease!) Mike McKay wrote: > Witness the Official First Cut of the Original Sun Sessions > Master Recording Tape of Elvis Presley Today's (1/28/04) New York Times had an article about it in the entertainment section. Lots of people aren't happy. Personally, the stunt sounds like a high-priced form of prostitution. -------------------[ archived by Spectropop ]-------------------
Message: 4 Date: Wed, 28 Jan 2004 19:29:38 +0000 From: Frank Murphy Subject: Anoraks Anoraks were the choice garments of trainspotters not long brown overcoats. Anoraks had lots of pockets which could hold a packed lunch, a Thermos flask, a notebook, an Ian Allen Guide to locomotives and a camera. One could also hide one's scarf and mittens in another pocket once were of sight of an elderly mother ;) I would associate long brown overcoats with either the characters in the film The Longriders or the fans of the shoe gazing bands of the eighties. Frank Murphy reflections on northern soul Saturdays at 14:30 or listen now -------------------[ archived by Spectropop ]-------------------
Message: 5 Date: Wed, 28 Jan 2004 12:28:26 -0700 From: Rex Strother Subject: Re: Spine Shiverers Personally (I likewise hope not to be tarred with any ruffled feathers either), the opening vocal phrase to the Beatles' "Mr. Moonlight" IS one of my spine-tingling music moments. The effect of that half-ragged scream always sends a shudder. Rex -------------------[ archived by Spectropop ]-------------------
Message: 6 Date: Wed, 28 Jan 2004 12:34:35 -0700 From: Rex Strother Subject: Fake crackles Phil Milstein: > I also know a reissues compiler who has, on rare occasion yet > more than once, included his own '60s-styled recordings amidst > authentic '60s originals, with a crackle 'n' pop track added to > accentuate the effect. Some customers have been fooled; others > decidedly have not. Out of Time Purview: A famous opening intro with "vinyl" noise added - needle drop and crackles (even though it came out on LP! originally) is Klaatu's "Calling Occupants ..." I believe it also appears on the Crash Test Dummies "God Shuffled His Feet" - the opening track of their sophomore effort. As to recording, I understand "They Might Be Giants" went to the Edison laboratories in Menlo Park and acoustically recorded a song titled "Can You Hear Me" (or similar, this is striclty off-the-topping) directly into the bell of an Edison phonograph, and then released on CD. Sorry - I'll rewind to the 60s now. Rex -------------------[ archived by Spectropop ]-------------------
Message: 7 Date: Wed, 28 Jan 2004 21:17:33 +0100 From: Julio Niño Subject: Rain From The (Jamaican) Skies Hi Everybody. Mike Edwards wrote: > I did not think I'd ever see Adam Wade's "Rain From The Skies" > mentioned on this site. It's a little known gem from Bacharach-David > that slipped out early in 1963, right after Adam switched from Coed > to Epic. The song is a huge Popcorn favorite in Belgium and pretty > much defines that genre. I haven´t heard Adam´s Wade´s "Rain from the Skies", but there is a much versioned Jamaican sixties classic titled also "Rain From The Skies". The first version is by Delroy Wilson and it´s always credited to him. But, considering that in Jamaica it is not uncommon that singers, and specially producers take credit of well known songs (I´ve seen blatant cases), and that the song has a certain "Bacharach" flavour, I suspect that maybe they could be the same song. The lyrics of the Jamaican "Rain From The Skies" are more less like this: "Ever since you went away Everyday is such a cloudy day, and I don´t know if it´s rain from the skies tears from my eyes falling down my face and rolling down my cheek.... " Am I too suspicious?. I will appreciate any information on the subject. Thanks. Julio Niño. P.D. : By the way, the Jamaican song is beautiful, my favourite is Slim Smith´s version. -------------------[ archived by Spectropop ]-------------------
Message: 8 Date: Wed, 28 Jan 2004 12:23:33 -0800 (PST) From: Stewart Mason Subject: Fake crackles Phil Milstein teases: > I also know a reissues compiler who has, on > rare occasion yet more than once, included > his own '60s-styled recordings amidst authentic > '60s originals, with a crackle 'n' pop track > added to accentuate the effect. Some customers > have been fooled; others decidedly have not. I'm going to take a wild stab and guess that it's Erik Lindgren of the fine Arf! Arf! label who does this. Partially because it just seems like something Erik would do to amuse himself and partially because some of the entries on albums like A HEAVY DOSE OF LITE PSYCH sound just a little *too* perfect. I can see why some people would be mildly outraged by this practice, but I think it's both funny and an entertaining poke at the obsessives -- anoraks, if you will -- who think that a track's worth is directly proportional to its rarity. Surely I'm not the only one to notice that mixed in with all the lost gems on those Pebbles and Cicadelic reissues are a fair number of utter dogs that disappeared for a reason! S -------------------[ archived by Spectropop ]-------------------
Message: 9 Date: Wed, 28 Jan 2004 13:27:10 -0700 From: Chuck Limmer Subject: Re: Randy Vanwarmer Thanks to all those who remembered Randy Vanwarmer's early career as a pop-rock recording artist in the late '70s-early '80s, upon his recent, untimely death from leukemia. (I was surprised that Vanwarmer was only 48; when I learned that he was 18 when he wrote his #4 hit from 1979, "Just When I Needed You Most," his relative youth made more sense.) Those references to Vanwarmer made me pull his Bearsville LPs off the shelf for the first time in years. The last of those four albums, THE THINGS THAT YOU DREAM (23746-1, 1983) is worth revisiting, for those familiar only with his sole Top 5 hit or his later successes as a country songwriter and performer. Produced by David Kershenbaum, it alternated between sprited pop and crisply professional adult contemporary tracks, with an energetic cover of "Do You Believe In Magic" (on which John Sebastian plays autoharp and harmonica). The music lives on, Chuck Limmer -------------------[ archived by Spectropop ]-------------------
Message: 10 Date: Wed, 28 Jan 2004 12:45:35 -0800 (PST) From: Watson Macblue Subject: Fake skipping records - Roy Wood? Has anyone mentioned the title song of Roy Wood's "Mustard"? This begins with a dropped pickup and hair-raising scratch before Roy's amazing Andrews Sisters pastiche gets under way. For once, I'm using "amazing" in its true sense - it's actually slightly disturbing that someone would go to this sort of trouble to fake up an entire 1940s Big Band and (girl!!!) vocalists. I've even heard one casual listener claim to remember the song from the 1940s, placing Roy in very distinguished company. I know of two other entirely fake 1940s songs that have been mistakenly described as the real thing - Andy Mackay's "War Bride" and "Who Do You Think You Are Kidding, Mr. Hitler?", the title song of Dad's Army. Anyone know any other pastiches that have been mistaken for the real thing? There must have been a few 50s tributes that have passed for originals. Watson Ailbhean 's an rum, a Mhgr Biorain-goirm ...? -------------------[ archived by Spectropop ]-------------------
Message: 11 Date: Wed, 28 Jan 2004 15:58:45 EST From: Ed Rambeau Subject: Re: "My Name Is Mud" Phil Hall: > My best friend in high school was Robert O'Gwynn, and his > father, James O'Gwynn had a moderately big country & western > hit in 1962 called "My Name Is Mud". Is it the same song as > yours? I doubt it, but it is possible. There are many songs with the same title because you cannot copyright a title...but you certainly wouldn't wanna write a song called "White Christmas". If you have an MP3 of the country "My Name Is Mud" send it along to me and I'll let you know if it's the same. Ed Rambeau -------------------[ archived by Spectropop ]-------------------
Message: 12 Date: Wed, 28 Jan 2004 13:46:45 -0800 (PST) From: steveo Subject: Question for Paul Evans Question regarding Guaranteed Records Paul, Can you tell me who the big shot was behind Guaranteed Records, and what sutio they used back in the early 60's? Thanks, Steveo -------------------[ archived by Spectropop ]-------------------
Message: 13 Date: Wed, 28 Jan 2004 15:03:36 -0600 From: Dan Hughes Subject: Dylan Al, this note was just posted on another group I'm on. You're gonna love it! Please have a look at it: "The three minutes spent hearing it [Positively 4th Street] beats hitting someone over the head with a rake, and it's just plain fun to hear with its funny lyrics and great melody, punctuated by Mike Bloomfield's organ throughout. (Note: Bloomfield was Dylan's musical director while making Blond on Blond and the punk masterpiece, Highway 61 Revisited. "Like a Rolling Stone" is also Mike playing organ. Bloomfield use to call the Dylan sessions "a-maze-o-sessions"....He would arrive at the studio late at night at the studio ahead of when Dylan and the band would arrive and scribble down the arrangements for the band all within a couple of hours. And it all worked so beautifully. He was all of 22 years old. And people tell me they didn't make geniuses in the 60's? Come on!)" ---Dan (who is just the messenger and had nothing to do with the composition of the preceding) -------------------[ archived by Spectropop ]-------------------
Message: 14 Date: Wed, 28 Jan 2004 13:58:19 -0800 (PST) From: steveo Subject: Re: Roy Hamilton Howard, Thanks for the info on Roy Hamilton. I enjoy the song "100 years", even tho I only know Bill Medley's version of it. Not a bad little song! Steveo -------------------[ archived by Spectropop ]-------------------
Message: 15 Date: Wed, 28 Jan 2004 22:36:04 -0000 From: Mike Edwards Subject: Super Bowl playlist Here's the playlist for the half time show: Freddy Cannon - Boston My Home Town Dave Loggins - Please Come To Boston Boston Crabs – You Didn't Have To Be So Nice Boston – More Than A Feeling Standells - Dirty Water Merv Griffin - Banned In Boston Kingston Trio - MTA Bee Gees - Massachusetts Kirsty MacColl - A New England Randy Edelman - A Weekend In New England (also Barry Manilow) White Plains – Carolina's Coming Home (also Shaun Cassidy, Vanity Fare) Marie Antoinette – He's My Dream Boy Mustangs – Dartell Stomp Patti Page – Hush Hush Sweet Charlotte James Taylor – Carolina In My Mind (also Dawn, Melanie) Reba McEntire – Whoever's In New England Jerry Vale – I Love New England Billy Butler – The Boston Monkey Boston Pops Orch – I Want To Hold Your Hand Brian Diamond & The Cutters (awesome name for a group!) – Brady Brady And continuing Ken's Kent Walton thread: Adrian Street & The Boston Crabs – Imagine What I Could Do To You Seems a little too one-sided? So will the game be. (PS – I hope that Adrian Street is still out there, alive and well. I am a little concerned because no one in this group could locate Big Daddy for me) Mike -------------------[ archived by Spectropop ]-------------------
Message: 16 Date: Wed, 28 Jan 2004 14:03:31 -0800 From: TD Stout Subject: Donovan & Mary Hopkin & Al Kooper Art Longmire wrote: > 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. Donovan did indeed record a studio version of "Lord Of The Reedy River" on his UK only release LP, HMS Donovan, which has been reissued on CD a few years ago. It's also found on a UK Donovan compilation and he's done a number of live versions. Back to Mary Hopkin. Mary put out a Japanese release only LP, "Live In Japan 1970", documenting her tour of that year, which is very rare and worth searching out. I've never found it but have copies of the songs (and would like to get good quality versions if anyone can help me please). She made some good music in the 80s with a group called Sundance. That record has also been reissued recently. She was also in a group called Oasis, long before the the Gallagher's took the name. And she contributed to a number of other things, Brian Willoughby, Dave Cousins (both British folkies). Much of her music is available if you look hard enough, although some is damn near impossible to locate. "Earth Song" was not around long as a CD. You had to jump on it when it came out or you were out of luck. Copies on eBay are quite dear. I understand she plays on a rare basis in the UK....once in a blue moon or less. I disagree with those who slag "Those Were The Days". It was a great single and wonderful song. Like many it suffered from gross overexposure, but it doesn't diminish it's quality. I'd hate to say which cut on the LP was the worst. To me it's like asking which song off Pet Sounds or Rubber Soul would I have left off. To Al Kooper: I loved your version of "A Rose & A Baby Ruth". It seemed to come out of nowhere for the times. How was it you came to cover this tune? It was wonderful. tdstout -------------------[ archived by Spectropop ]-------------------
Message: 17 Date: Wed, 28 Jan 2004 17:47:37 -0500 From: TD Subject: Re: do the mash Wendy Flynn: > Can anyone tell me how to do 'the slop', and if there ever was > a real dance to go with 'The Monster Mash'? Doing "the slop" meant dancing "free form". Unlike "the stroll" that had specific steps (one-two, one-two and back-step), as the name implies "the slop" was some of this and some of that. When you danced "the slop", you weren't following a lead from your dancing partner, you just went wherever the music was sending you. The Monster Mash was dancing "the mashed potatoes" at a Halloween party--otherwise, it was no different than "the mash". If you were on a television dance party show in '62, you could dance the mash, but they'd throw you out if you did "slop". -- TD -------------------[ archived by Spectropop ]-------------------
Message: 18 Date: Wed, 28 Jan 2004 15:04:55 -0800 (PST) From: Steve Harvey Subject: Re: The Beat Goes On Al Kooper wrote: > 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. Carol Kaye has claimed she did it. I don't hear her too often taking credit for songwriting. There was no riff for her to arrange on "The Beat Goes On", it was just a chord pattern (and nothing that spectacular). She claims to have come up with the riff and it's what makes the tune work (as much as the bass riff to "Under My Thumb" does). -------------------[ archived by Spectropop ]-------------------
Message: 19 Date: Wed, 28 Jan 2004 18:12:01 EST From: John Berg Subject: Re: "Child of Mine" Jim Fielder Al, I am wondering if you kept in contact at all with bass player Jim Fielder? His style of bass playing on the first BS&T album is part of what makes that LP stand out for me. He clearly was influenced by soul bassplayers of the time, including Jamerson as well as some of the NYC sessionmen. I wonder what ever became of Jim once he moved on from the BS&T scene? One summer in the late '60s I took a Fullerton [California] Junior College summer school course in speach with Jim's sister Jonelle (sp?) -- I of course knew who her brother was, having been a fan of the Mothers, Buffalo Springfield, Tim Buckley and the first BS&T album, but I never got up the courage to ask her for any "insider" info about her brother. She was a very good looking, and very nice, young woman, and I had not yet developed any confidence about talking either to women or rock musicians. Fortunately those traits came later as I found both to be strangely human just like me.... John Berg -------------------[ archived by Spectropop ]-------------------
Message: 20 Date: Wed, 28 Jan 2004 18:25:31 EST From: Mike Rashkow Subject: Re: House In The Country Al Kooper: > the movie folded after the writer and director had a fistfight > on the set I'l bet $50 on the director. Rashkovsky -------------------[ archived by Spectropop ]-------------------
Message: 21 Date: Wed, 28 Jan 2004 17:24:51 -0600 From: Charles G. Hill Subject: The Dis-advantages Bob Beason laments: > The liner notes to the Collector's Choice comp "Instrumental Gems of > the '60s" say that the compilers wanted to include "Dis-Advantages" > but couldn't find a decent source tape, so they went with the BR's > "Love Theme From 'The Flight of the Phoenix'" instead. Too bad! Go hunt down "Sunshine Days: Pop Classics of the '60s, Volume 2" on Varese Sarabande (last seen as Varese Vintage VSD-5802, 1997). Sounds pretty decent to me, and it's sandwiched between "Open Up Your Heart" by Thomas and Richard Frost and "Distant Shores" by Chad and Jeremy, neither of which is exactly overplayed these days. -------------------[ archived by Spectropop ]-------------------
Message: 22 Date: Wed, 28 Jan 2004 15:46:23 -0800 (PST) From: Steve Harvey Subject: Re: Sebastian & Boone & Dylan Al Kooper wrote: > 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. Al, Boone said he played on only a couple of cuts and was mainly there because Sebastian took him. I never even knew about it until he mentioned it the other day. However, that site does mention him playing at the sessions. I find it strange that Dylan would chose Sebastian (who admits he's not a bassist) over Boone who is a bass player. But then again, I heard a story once about the Hibbings Wunderkind using one of the Royal Teens' guitarists to play organ on "Like A Rolling Stone". -------------------[ archived by Spectropop ]-------------------
Message: 23 Date: Wed, 28 Jan 2004 23:59:23 -0000 From: Hugo M Subject: Re: Ray Hildebrand I goofed. Off the top of my head I posted "...made up new names to record under as often as Ray Hildebrand used-a-do..." I went back today to look up info & answer the question that came up about Ray H.s name-changes, and it turns out there WEREN'T a whole bunch of them like I thought I remembered. In fact, the only one I see him credited with is being the "Paul" of Paul And Paula. He and Jill Jackson recorded the song on a local label, first as "Jill And Ray", and then when it was reissued on Philips Records as "Paul And Paula". Two Paul/Paula LP.s and they stopped working together; after that, Ray put out a couple of solo 45's as "Paul", all with titles that referred to the stages in the two characters' break-up. Along the lines of "It's All Over Now, Paula"... But other than his couple of years being "Paul", he didn't record under pseudonyms. I was just testing y'all to see if you were awake, that's the explanation.... A-wee-mo-weh... Hugo M -------------------[ archived by Spectropop ]-------------------
Message: 24 Date: Wed, 28 Jan 2004 18:59:56 EST From: John Berg Subject: "Shadows & Reflections" Clark, while you were rooting about amongst your 45s, did you happen to stumble across copies of Shadows & Reflections by either Eddie Hodges or The Lownly Crowde? I have the former on the Fading Yellow Vol 3 CD comp., but have yet to hear the latter version. Being a huge Action fan, I would dearly love to get hold of these and any other versions of this song by Tandyn Almer. Speaking of him, does anybody have a copy of the album of his demo songs that circulated in the late '60s or maybe it was the early '70s? That's another piece of music history I would love to get my ears on. John Berg -------------------[ archived by Spectropop ]-------------------
SPECTROPOP - Spectacular! Retro! Pop! End

Click here to go to The Spectropop Group
Spectropop text contents © copyright 2002 Spectropop unless stated otherwise. All rights in and to the contents of these documents, including each element embodied therein, is subject to copyright protection under international copyright law. Any use, reuse, reproduction and/or adaptation without written permission of the owners is a violation of copyright law and is strictly prohibited. All rights reserved.