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Spectropop - Digest Number 1311

               SPECTROPOP - Spectacular! Retro! Pop!

There are 25 messages in this issue.

Topics in this digest:

      1. Re: JFK & the Beatles
           From: Phil Milstein 
      2. Re: Sunrays
           From: Clark Besch 
      3. New @ S'pop - Emily's Illness: Diagnosis Of A Song
           From: S'pop Team 
      4. Re: which High?
           From: Bill George 
      5. Re: Newport boo-boos
           From: Paul Bryant 
      6. Re: Italian Drama
           From: Steve 
      7. Re: Italian originals / becoming a writer
           From: Phil Milstein 
      8. Re: Colours
           From: Scott 
      9. Re: skipping records
           From: Clark Besch 
     10. D.W. Washburn
           From: Larry Lapka 
     11. Re: Dylan's bike crash
           From: Steve Harvey 
     12. Welcome, Paul Evans / intros / Monkees / 6Ts TV songs
           From: Bobster 
     13. Wyman
           From: Steve Harvey 
     14. Re: Albeth Paris's new CD
           From: David Young 
     15. Re: Songs w. Same Title As A Movies But Not Otherwise Related
           From: Steve Harvey 
     16. Re: Colours
           From: Bryan 
     17. Re: Ron Dante/"Without A Dream"
           From: Ron Dante 
     18. Re: Japanese Lyrics to "Sukiyaki"
           From: Mike Rashkow 
     19. Re: Beatle covers
           From: Mike McKay 
     20. Re: cigarette commercial music
           From: Bibi LaRed 
     21. Re: Who played bass
           From: Mike McKay 
     22. Re: Spine Shiverers / Big Finishes
           From: Rob Stride 
     23. Re: Child is Father to the Man/Projections
           From: Mike McKay 
     24. Re: Songs that "quote" others / Bed-In John & Little Paul
           From: Clark Besch 
     25. Even More Skipping Records
           From: Mark Hill 

Message: 1 Date: Thu, 29 Jan 2004 16:40:41 +0000 From: Phil Milstein Subject: Re: JFK & the Beatles Mike McKay wrote: > 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!" Mike wasn't the only one who failed to recognize the impact The Beatles were about to have on the U.S. Songwriter's Review, the NYC-based monthly that catered to amateur songwriters, reported in an April 1964 cover story that "The trade expects this fad to die a quicker death than the belated twist," and the following January wrote that "The pubs that gave us the Beatles and another British invasion (of talent) have turned their heads away from The Beat. Pub clientele are playing bingo." I've reprinted four brief anti-Beatles articles from the front page of SR at , under the heading "'Beatle Music' Is Similar To Rock 'N' Roll." Also there, albeit in miniature, is an ad, for a song demo service, from the April '64 issue titled "Write In the Style of The Beatles." --Phil M. -------------------[ archived by Spectropop ]-------------------
Message: 2 Date: Thu, 29 Jan 2004 06:04:08 -0000 From: Clark Besch Subject: Re: Sunrays Country Paul wrote: > Eddy Medora has a Sunrays website at ; > when the page opens, you hear a stereo mix of "I Live For The Sun." > Follow the "buttons" on top of the page -- some cool pix here, too, even > one with Carol Connors and one with David Marks (!) on the "Sunrays > and Eddy Medora" page. > Two interesting sites, not in the least because of their home-made quality. > And now you know. Paul, Murray (the W) had a good formula for awhile. I loved "I Live For the Sun", and "Andrea" was incredibly great. I must say many of their other 45s really didn't interest me. I really like "You Don't Phase Me", but it was a B side, much like the two hits. Odd that the stereo/mono Lps had a cold ending (stereo) and fade ending (mono) on "Sun", if I remember correctly. Clark -------------------[ archived by Spectropop ]-------------------
Message: 3 Date: Wed, 28 Jan 2004 19:35:51 -0000 From: S'pop Team Subject: New @ S'pop - Emily's Illness: Diagnosis Of A Song New @ S'pop Emily's Illness: Diagnosis Of A Song "'Emily's Illness', a forgotten 45 from late 1967 recorded by a 17-year-old non-singer named Nora Guthrie (the daughter of folk legend Woody), is an overpowering musical force. In the three- minute span from its opening harpsichord down-note to its double- reverse coda, 'Emily's Illness' expands to occupy all attention, saturating its environment to the extent that music and listener are ineluctably fused into one unit." (Phil Milstein) Although "Emily's Illness" somehow escaped attention upon its release, it absolutely compels attention when it is played. Tracking down all principals for extensive interviews, Phil Milstein details the fascinating story of a record that has remained criminally unknown for 35 years, and one whose impact is even greater on music fanatics than it is on civilians. Access here: Enjoy, The S'pop Team -------------------[ archived by Spectropop ]-------------------
Message: 4 Date: Thu, 29 Jan 2004 01:10:26 EST From: Bill George Subject: Re: which High? previously: > As I recall without listening, Valley High is a sentimental ballad about > their high school days. No Doowop here. No mention of Jackie > DeShannon on the label. Too bad. Jackie does have a demo of a song called Harbor High, which would fit your description. I thought perhaps they just changed the name of the HS. -------------------[ archived by Spectropop ]-------------------
Message: 5 Date: Wed, 28 Jan 2004 16:15:26 -0800 (PST) From: Paul Bryant Subject: Re: Newport boo-boos Al Kooper wrote: > 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 ! Thanks for your take on the worksheets as (mis)interpreted by Krogsgaard, Heylin and the others -- I had been living in a fool's paradise thinking we now really knew what happened at each Dylan session. So thanks again for disabusing me of that notion. I'm much happier now. Next big myth to tackle -- Dylan at Newport '65. It's a big one. The biographies and Dylan scholars have several theories. The first idea, that the trad folkies were booing because of the electric instruments, has been revised. The next alternative theory is that the crowd was booing because the sound was terrible and you couldn't hear the words (even though we know there was a soundcheck); and the third theory, as explained by Mr Kooper himself (quoted in Heylin's Dylan bio) is that the crowd booed because the set was so short. Back to Al. pb ps Hey, Al - it just occurred to me to ask - did YOU boo Dylan at Newport?? __________________________________ Do you Yahoo!? Yahoo! SiteBuilder - Free web site building tool. Try it! -------------------[ archived by Spectropop ]-------------------
Message: 6 Date: Thu, 29 Jan 2004 02:13:40 -0000 From: Steve Subject: Re: Italian Drama Paul Bryant wrote: > I could be three times wrong of course! Dusty also did > a couple which sound exactly like great Italian ballads > but which are entirely English, I think - All I See is You, > and Losing You. > Next question, for Italians only -- why'd you stop > writing those great ballads? Mmmmm - let me see ... All Alone Am I is a Greek song written by Manos Hadjidakis. I Will Follow Him is a French song called Chariot -- written by "Del Roma / Stole". Recorded by Petula Clark, it was a huge hit in 1962. English lyrics by Norman Gimbel turned it into a huge hit in 1963 for our Peggy. Apparently "Del Roma" is really Paul Mauriat. Love's Just A Broken Heart was written by Mort Shuman and Kenny Lynch. I suspect the "big ballads" died out mostly bcause the music scene changed (as it does). Euro Pop became much more euro, the rise of the singer/songwriter, also the rise of the bubblegum scene that dominated for a while?? Who knows? Steve -------------------[ archived by Spectropop ]-------------------
Message: 7 Date: Wed, 28 Jan 2004 21:48:07 -0500 From: Phil Milstein Subject: Re: Italian originals / becoming a writer Michael Edwards wrote: > Sidebar I tell who would have turned in a good job on Italian songs > if he could have been bothered. Elvis. Well he sorta did, with You Don't Have To Say You Love Me. Rex Strother wrote: > Where it doesn't end in a squabble, we get some lovely music! And even when it does ... --Phil M. -------------------[ archived by Spectropop ]-------------------
Message: 8 Date: Wed, 28 Jan 2004 19:58:45 EST From: Scott Subject: Re: Colours Billy G. Spradlin wrote: > 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? Simply a killer LP that is even better in that it's still affordable. I'd rather have a copy of this than hundreds of supposedly rarer and far more expensive collectables. Scott -------------------[ archived by Spectropop ]-------------------
Message: 9 Date: Thu, 29 Jan 2004 06:10:34 -0000 From: Clark Besch Subject: Re: skipping records Mike Stachurski wrote: > This might be opening me up to public ridicule, but... > I think the record you mean is "Wombling White Tie and Tails" > That was my turn at Batt - after being initially stumped... ;) Mike, glad you came out of the closet about being at the Wombling Summer Party in 1974. I was at it too! Talk about repeating -- I just pulled my Wombles Lp, and there are 6 of 11 titles with "Womble" in them! I really thought it was great light pop. My faves were "Dreaming in the Sun" and "Wombling Summer Party", but liked 3 others pretty well too -- and at age 18! Shame on me! Gotta say that Mike Batt's solo, "Walls of the World", is one of my fave songs. I LOVE it! Time to Womble ... Clark -------------------[ archived by Spectropop ]-------------------
Message: 10 Date: Wed, 28 Jan 2004 19:37:08 -0800 (PST) From: Larry Lapka Subject: D.W. Washburn Dear Clark: I must humbly disagree with you about the Monkees' D.W. Washburn. I really think that rather than sending the death march just yet, they were trying to expand themselves with this track, which was a Leiber and Stoller tune previously done by the Coasters, I believe. They took a calculated risk, and it kind of worked. I mean, they weren't going to do Boyce and Hart forever (although that probably wouldn't have been the worst thing). If they had the TV series to help promote this, I think it would have been another smash. I am wondering if, in actuality, they did any real promotion of this song, such as performing it on any variety shows or anything. I kind of doubt it, which probably doomed it. Nonetheless, it scraped the Top 20, so it really wasn't that terrible. The death march came with Head, and even though I love the movie and the music and the talent attached to this film, this was the end, followed by 33 1/3 Revolutions Per Monkee, which I continue to believe has been unfairly judged for years. Since we are on the subject, can someone answer this for me: why was there such a small amount of Monkees singles, based on their huge popularity? I realize many of the singles were actually two-sided A sides in actuality, but I remember Mike Nesmith once saying that they were so hot at the time that if they put out a version of Happy Birthday it would have sold a million. With all the wonderful album tracks on their LPs that were as hook-laden as their hits, I have often wondered why RCA and Colgems only put out what amounted to a couple of 45s. They Monkees could have easily had 20 or more hit singles if they would have been released--so why weren't they? Larry Lapka -------------------[ archived by Spectropop ]-------------------
Message: 11 Date: Wed, 28 Jan 2004 16:11:10 -0800 (PST) From: Steve Harvey Subject: Re: Dylan's bike crash Carlo Ponti wrote: > He went into a very strange downward spiral > culminating in "Self Portrait," which is one of the > strangest albums released in rock, so he later said, > in an attempt to stop people liking him so much! Which is why in Mexico it was released as a single lp. -------------------[ archived by Spectropop ]-------------------
Message: 12 Date: Wed, 28 Jan 2004 20:23:58 EST From: Bobster Subject: Welcome, Paul Evans / intros / Monkees / 6Ts TV songs Thanks for signing in, Paul Evans. Love all your stuff both penned and performed! Anyone know what "older" song is played at the beginning of 10cc's "I'm Mandy-Fly Me"? Part of the chorus goes, "what goes up ... must come ... Downdowndowndown" -- any of our UK gang know please? I agree that "D.W. Washburn" wasn't exactly a high point in The Monkees' career, much preferring Davy's crisp little tune, "It's Nice To Be With You" that also charted as the B-side. But what does mean? Did this killer "Pisces, Aquarius ..." kickoff chart in Canada? Or am I, like, WAY off? The American Breed vocalized a tune called "Music to Think By" on their "Pumpkin, Powder, Scarlet & Green" LP. Seems to me this was a 6Ts commercial too -- for "Wink" soda? For Kodak or Polaroid maybe? Hope everybody enjoyed "The Ballad of James Bong." What a relic!! Bobster -------------------[ archived by Spectropop ]-------------------
Message: 13 Date: Wed, 28 Jan 2004 18:23:16 -0800 (PST) From: Steve Harvey Subject: Wyman Clark Besch wrote: > I would say in the case of "19th Nevervous Breakdown" > that it would be ridiculous. I have a boot tape of > the Stones playing "Diddley Daddy" by Bo Diddley and > the bass line is exactly the same as "19th, etc". So > for him to claim ownership on an exact part he stole > from Bo Diddley You have to play "Diddley Daddy" by Bo Diddley and hear "19th Nervous Breakdown" before you could say Wyman swiped it. If it's on there, fair enough. However, it is possible that Bill came up with it on his own and put it into their rendition. Lately I've been listening to the Stones live and I noticed Wyman's bass playing was a lot louder and seemed busier than on the studio recordings. He seems to be buried more in the mix when it comes to the studio recordings (depending on what tune you're listening to) than when he was playing live. -------------------[ archived by Spectropop ]-------------------
Message: 14 Date: Thu, 29 Jan 2004 00:43:33 -0000 From: David Young Subject: Re: Albeth Paris's new CD A big thank you to Bill Reed for his Albeth Paris/Paris Sisters update in Digest 1303. So great to hear that they have a website in the works, and that Albeth has a CD out (or out soon). No amount of Amazoning (including the Japanese site, since I know you're in Japan, Bill) or Googling yielded any success when I tried to find out where to order myself a copy, so I assume you have an advance promo, yes? Please keep us posted on both the CD's availability and the website progress. Thanks. I'm sure the trio has set some kind of record: In addition to the remake of "I Love How You Love Me" they did on their Sidewalk LP "Golden Hits of the Paris Sisters" (co-produced by Albeth's husband, Clancy Grass, along with Mike Curb), each of the three sisters has cut her own solo version. Bill reports that Albeth's is just out (or soon will be) on CD; lead singer Priscilla's rendition came out on (UK) Rak 184 in 1974 (produced by Chinnichap and featuring the same backing track as they used on their version by Mud, also released as a single), and Sherrell's was issued two years later as a 45 in the U.S. on Sha $ Sha 286. Incidentally, while you're waiting for the Sisters' official site to launch, there's plenty to learn about them right here on Planet Spectropop. Click below and you're on your way! David -------------------[ archived by Spectropop ]-------------------
Message: 15 Date: Wed, 28 Jan 2004 18:28:08 -0800 (PST) From: Steve Harvey Subject: Re: Songs w. Same Title As A Movies But Not Otherwise Related Laura Nyro's "Flim Flam Man" didn't appear in the movie of the same name either. -------------------[ archived by Spectropop ]-------------------
Message: 16 Date: Wed, 28 Jan 2004 19:04:40 -0800 From: Bryan Subject: Re: Colours Billy G. Spradlin opines: > 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. Try here: Artist: COLOURS Title: Colours Label: WORLD PSYCHEDELIA Format: CD Price: $17.00 Catalog #: WPC6 8466 Bootleg reissue. "The liner-notes from this, tha band's first album tell us that they 'have the crystalline sharpness of the Beatles before they turned acid', and what's more, it's quite true; an excellent pop-psych album, first released on DOT in 1968; the first track, 'Bad Day At Black Rock, Baby', must be reckoned among the very best attempts at an orchestrated psych sound, with the band easily switching from key to key and featuring many disturbing time-changes; it's charms are many and varied, with songs like the sitar drone 'Rather Be Me', and the commune-song 'Brother Lou's Love Colony', later covered by Moon, and the eerie 'Cataleptic'. An underestimated LP, until now, but not anymore." -------------------[ archived by Spectropop ]-------------------
Message: 17 Date: Thu, 29 Jan 2004 03:41:41 -0000 From: Ron Dante Subject: Re: Ron Dante/"Without A Dream" Greg Wolf wrote: > I remember when I was a teenager you recorded a theme song > for a TV show called "Sweepstakes" . I think the song was > called "Without A Dream". Can you give me any info on the > song and your personal recollection of it. I think it was > written by Charlie Fox and Norman Gimbel but I'm not sure.. Hello. I did the theme song for "Sweepstakes" with my good friend Charlie Fox. Charlie called me in to sing the theme and help produce. It was a great song and I thought that "Without A Dream" could have gone on and been a hit if the series got off the ground. I felt this series had a good shot since it was produced by the best production team of that time, Tom Miller and Ed Milkis. They were responsible for Happy Days, Laverne and Shirley, Mork and Mindy and the many of the best tv productions of the 70's. Tom Miller was a real stand-up guy and creative as all get out. Fox, of course, was my hero as a fine writer of pop songs, and the greatest TV themes of that period. -------------------[ archived by Spectropop ]-------------------
Message: 18 Date: Wed, 28 Jan 2004 22:48:00 EST From: Mike Rashkow Subject: Re: Japanese Lyrics to "Sukiyaki" John Sellards writes: > A songwriter friend of mine recently played a show at Brown's diner > in Nashville and announced that, after years of playing here and > there down there, he was going to do his first cover song. I guess > they were expecting "Unchained Melody" or something, but they > got..."Sukiyaki"! I also have actually played it with him at a sock > hop we did about two years ago. It's funny that you mention this, > since he was at my house last Saturday and we were talking about it. I know it by heart: Oooh ay oh moo ee tee ahh roo ko nah me dah gah ko go ray mah he oh oh oh nee oh no ree dah su hah roo no hee etc., etc. That's from memory 35 years old. Don't ask why, don't ask how, don't forever of me. ... No guarantee of perfection. But I have the sheet music, if someone thinks it's important. That guy Kyu Sakamoto, big star in Japan, was on that JAL plane that lost its rudder and flew around for a hour or so while people wrote goodbye notes to their kids and then crashed into a mountain. Sukiyaki! Oh well, Rashkovsky that's from mem -------------------[ archived by Spectropop ]-------------------
Message: 19 Date: Wed, 28 Jan 2004 23:34:25 EST From: Mike McKay Subject: Re: Beatle covers Paul Bryant wrote: > 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. Yes, Paul, I think I have the same problem you do with putting Paul McCartney on an equal footing with Little Richard. I enjoy The Beatles' "Long Tall Sally" very much (in fact, when I play it in bands I always throw in George's ascending octave solo), but I'm not able to say that it stands toe-to-toe with Little Richard's version, either vocally or instrumentally. Same deal with "Kansas City." As for my full list, I'll have to do some digging to see if I can come up with it, as it was a few years ago. Mike -------------------[ archived by Spectropop ]-------------------
Message: 20 Date: Wed, 28 Jan 2004 19:45:38 -0800 (PST) From: Bibi LaRed Subject: Re: cigarette commercial music Robert Beason wrote: > I've got to admit there was a lot of great music used on > TV ads in the days of cigarette commercials. DEFINITELY! I'd like to know what was that L&M jingle from the early 60's with the "la-la" female vocal. My mum always told me my godfather came out walking the street where the commercial was shot (supposedly Westchester County, NY) -------------------[ archived by Spectropop ]-------------------
Message: 21 Date: Wed, 28 Jan 2004 23:55:46 EST From: Mike McKay Subject: Re: Who played bass Rob wrote: > PS do you know who played bass on The Last Time by the WHO? > The same guy who played bass on Thunderclap Newman's > "Something In The Air" Quite so! As John Entwistle was off on his honeymoon during the hastily arranged recording of "The Last Time," Pete Townshend strapped on the bass. As he did for TN. Mike -------------------[ archived by Spectropop ]-------------------
Message: 22 Date: Sun, 29 Jan 2023 05:23:56 -0000 From: Rob Stride Subject: Re: Spine Shiverers / Big Finishes For Spine-Shivering Performance and a HUGE epic ending, see Labelle/"Miss Otis Regrets", as mentioned previously by Phil C., who worked on it. I picked this single up at a jumble sale and was knocked out by it! I must have played it 40 times the first day i got it. My only problem is that it was scratched to hell, so if anybody has a decent copy please let me know. I have many versions of this song, but nothing comes as close to giving me palpatations as this little beauty. Rob -------------------[ archived by Spectropop ]-------------------
Message: 23 Date: Wed, 28 Jan 2004 23:50:36 EST From: Mike McKay Subject: Re: Child is Father to the Man/Projections Al Kooper wrote: > I'm just glad somebody likes anything I did. It's a tough world > out there ... Believe me, Al, there are lots of "somebodies" out there. I have to chime in on two semi-related fronts. "Child Is Father to the Man" is the only rock 'n' roll album with horns that I like. While horns are fine on strictly R&B stuff, I guess I'm so much of a straight guitar/bass/ keyboards/drums guy that I've just never been able to get into them in a rock setting. Never dug Chicago at all, or any of the various other attempts to integrate horns with rock. Nevertheless, I dearly love "Child." Somehow all the elements just came together on that album -- most certainly, the great Kooper songs so many have cited, along with the others, made a big difference. And prior to that, there was The Blues Project's "Projections." Man, I just LIVED with that album all through high school. There's a story I often tell that illustrates the phenomenon of persistence of musical memory. For as much as I played "Projections" back in the day, for some reason I seem to have put it aside for a very long time and just not listened to it...I don't know why. Then about eight years ago or so, I did a tape trade with someone, and he threw "Projections" on side two of the cassette he sent me to fill it out. I'm somewhat ashamed to say that it had probably been well over 20 years since I'd last listened to it. But I'm here to tell you that, as it played back, I anticipated and knew every single note of every solo...every vocal nuance...EVERY moment of that album...before it ever arrived to my ears. I was amazed, really, at my intimate and total familiarity with something I'd been away from for so long. So Al, you and the rest of the boys sure must have done something right! Thanks for all the great music. Mike -------------------[ archived by Spectropop ]-------------------
Message: 24 Date: Thu, 29 Jan 2004 05:57:39 -0000 From: Clark Besch Subject: Re: Songs that "quote" others / Bed-In John & Little Paul Phil Milstein wrote: > Of course, Sir Paul had a bit of help with that one -- lessons > in "how to do Little Richard" from Little Richard himself! Which is not > to say that you or I could've done half so well had we had the same > training ... Phil, seeing the "quote others/John & Paul" title, I immediately thought you would bring up Lennon's quotes of Pauly songs in "God" (Yesterday) and "How Do You Sleep?" (Yesterday and Another Day). Not nice quotes, but made the songs interesting and the wishes of a Beatles reunion more remote. Man, how many of us wished for that reunion right up until John's death? I sure did! Clark -------------------[ archived by Spectropop ]-------------------
Message: 25 Date: Wed, 28 Jan 2004 20:25:01 -0500 From: Mark Hill Subject: Even More Skipping Records Robert R. Radil wrote: > I think it's on "Smiling Phases" by BS&T where if you play > one channel, the one without the keyboard solo, it sounds and > *looks* like the record is skipping because the beat matches > the 33 RPM. I'm scratching my head on this one... Are you saying that if I look at the actual record while I'm playing only one specific channel, that the record/tonearm will give some sort of visual response that matches something on the record? More explanation, please... "Dr. Mark" Hill * The Doctor Of Pop Culture /*/ WEBPAGE: -------------------[ archived by Spectropop ]-------------------
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