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Spectropop - Digest Number 1312

               SPECTROPOP - Spectacular! Retro! Pop!

There are 25 messages in this issue.

Topics in this digest:

      1. Re: You Left the water Running/Maurice McAlister & Art Roberts
           From: WLS Clark 
      2. Dwight Twilley; Al Hibbler; Elvis Spector; quickies & a personal note; endings
           From: Country Paul 
      3. Re: Becoming a Writer
           From: Glenn 
      4. Re:  Lou Johnson on the Bacharach box
           From: Sebastian Fonzeus 
      5. Re: Roy Hamilton
           From: Paul Underwood 
      6. Re: cigarette commercial music
           From: Glenn 
      7. Re: The earliest fake-skipper?
           From: Peter Lerner 
      8. Re: Italian Roots
           From: Paul Bryant 
      9. Re: Beatle Myth Pt.2
           From: Paul Bryant 
     10. Re: Sock it to me
           From: John Fox 
     11. Re:  Payola
           From: Paul Bryant 
     12. Re: Questions for Paul Evans
           From: Al Kooper 
     13. Re: Songwriter Credits, General Question
           From: Glenn 
     14. Re: My Mistakes
           From: Al Kooper 
     15. Re: Beatle Myth Pt.2/Twist & Shout
           From: Craig Davison 
     16. Re: Clapton Solos
           From: Al Kooper 
     17. Re: Songwriter credits
           From: Mike Rashkow 
     18. Re: Ray Hildebrand Question
           From: Orion 
     19. Re: Songs that quote others
           From: Eddy 
     20. Orchestra Wives
           From: Al Kooper 
     21. Louis Phillipe
           From: Bill George 
     22. Patty Duke celebrates Arbor Day
           From: Tom Taber 
     23. Re: Angel Baby
           From: Bill George 
     24. Re: Beatles-inspired girls
           From: Andres Jurak 
     25. "The 60s Show" will be streaming tonight
           From: Robert R. Radil 

Message: 1 Date: Thu, 29 Jan 2004 06:19:53 -0000 From: WLS Clark Subject: Re: You Left the water Running/Maurice McAlister & Art Roberts Frank Murphy wrote: > I believe Maurice and Mac did the original version of "You > left the water Running" It was written by Box Tops producer > Dan Penn, Rick Hall and ? Frank and recorded at Fame studios > for Chess. > Both Maurice McAlister and McLauren "Mac" Green were members > of The Radiants. Dan Penn later recorded his own version on > "Do right man". If anyone doesn't know and remembers the late great Art Roberts of WLS in Chicago, he did an oldies show in the latter 60's on WLS on Sunday nights called "Hey Baby, They're Playing Our Song". Most people know that our Spectropop buddy, James Holvay, wrote the Buckinghams hit of same name after asking Art if he cared if he wrote a song with that title. (Correct, James?). However, Art's theme song of his show with the same title was a groovy pop r&b by Maurice McAlister! Clark -------------------[ archived by Spectropop ]-------------------
Message: 2 Date: Thu, 29 Jan 2004 02:15:55 -0500 From: Country Paul Subject: Dwight Twilley; Al Hibbler; Elvis Spector; quickies & a personal note; endings As the Tulsa scene has come up in the discussion, I'd like to throw in a salute to Dwight Twilley and the late Phil Seymour. Although their work began in the 70s, after our arbitrary timeline, I think they exemplify the best in creative power pop, progressively conceived, excellently played and recorded, and consistent in style from the first ("I'm On Fire") to the most recent CDs on Not Lame. "Oh Carrie," my favorite recent Twilley track, found on "The Luck" (Not Lame, 2001) and "Between The Cracks, Volume 1," an odds-and-ends collection (Not Lame, 1999). For a good but by no means complete overview of Twilley's career from "I'm on Fire" to 1998, Check out "XXI" (The Right Stuff, 1998). Paul Bryant wrote, re: Unchained Melody: > And originally in 1955 it was a No 2 hit for some guy called Al > Hibbler (!) This "some guy" had the original hit. The title of the song, as you may know, comes from the movie "Unchained," now largely forgotten, about a then-novel minimum-security prison in Chino, California. It was the love theme. From the Artist Direct website biography: "Not just a distinctive singer but a true vocal wonder, Al Hibbler featured with Duke Ellington's Orchestra throughout the 1940s and recorded a few hits ("Unchained Melody," "After the Lights Go Down Low," "He") on his own for Decca and Atlantic during the 1950s and '60s. His frequent use of a Cockney accent and non-subtle growling techniques kept listeners on their toes though, far from a novelty act, Hibbler's voice was strong, emotive and masculine, with a steady vibrato that carried every record he made. "Born blind in Mississippi, he began singing early on and sang soprano in the choir of a school for the blind after moving to Little Rock at the age of 12...." He spent 8 years with the Duke Ellington Orchestra, then in 1955 "he signed a big contract with Decca and hit the pop charts in a big way with two million-selling singles, "Unchained Melody" and "He," spotlighting his idiosyncratic (to say the least) delivery, which veered from growling vocals to a carefully studied, almost Cockney accent only occasionally enforced. In 1956, Hibbler hit the Top Ten again with "After the Lights Go Down Low," but it proved to be his last hit." He was active in the civil rights movement, cuts several jazz albums, and passed on just recently. Quite some guy, indeed. If I haven't yet mentioned it, special thanks to J. D. Doyle for posting Phil "Elvis" Spector's "Well, I Mean" to musica. Just when I thought I'd heard it all! I've been privileged to hear all of PS's Atlantic productions from the ame period, and with the exception of the Top Notes' "Twist & Shout," in my opinion this equals or beats 'em all. This should've been a real release; glad to have it now. And thanks to Stewart Mason and Bryan, thanks for the Monkees info, and to Phil M for the music. The Rhino Handmade collection Bryan mentions sounds like it'll be a treat - Warner Brothers had so many really cool one-offs in the 60's, both albums and singles. I don't see it yet on the Rhino Handmade website, but there are now reissues of past-discussion-subject Judee Sill's two albums with extra demos, etc. (Missing is my favorite demo by her, "Till Dreams Come True," which was on Bob Brainen's WFMU premium CD from their 2002 fund-raising marathon. It is also available as a free download (provided by her music publisher) at I strongly recommend this song; she was a unique talent, and rediscovering her work has been one of my great recent musical pleasures. Short stuff: Kim Cooper: > thought you folks might be interested in the cover story on Emitt Rhodes that ran in yesterday's CityBeat out here in LA. Yes, very much interested. What a tragic tale. Austin Roberts, re: spine-shivers: > Back to center on this thread: how about the great vocal 'bong' at the > end of Thomas Wayne's "Tragedy"? Yes indeed; always loved that song. Incidentally, beware the later "sweetened" version with violins overdubbed. Paul Bryant: > "Whatever happened to the Brill Building? - say - 1966/7 there > wasn't a Brill School of Hits any more. Something had happened. Singer-songwriters and bands with their own internal writer(s) happened. A personal note: Thanks to the S'pop Team (a bit late) for the nice herald for, and to S'pop correspondents for the warm reception to, my review of the two Phantom Jukebox albums - and of course to Steve Stanley for assembling them. You guys make these labors of love worth it! Congrats also to Phil Milstein on his excellent review of the Kim Fowley collection; I can tell he had a good time too! And in closing, this from John Sellards: > Maybe this is a new thread - great endings???? Maybe.... Harvey & The Moonglows, "Ten Commandments of Love" (30 seconds of divine doo-wop vocal calisthenics) Lyme & Cybelle, "Follow Me" (a coda building to an ending in a different key, but it works) Nazz, "Open My Eyes" (the fade defines pop-psychedelic, even in mono) Sandy Salisbury, "Come Softly" (the fade is an aural trip down a dark rainy street with Fellini-esque Spectorian sounds haunting the scene - Sandy walks away, singing, as the "audio camera" remains) And so I too fade for the evening.... Country Paul -------------------[ archived by Spectropop ]-------------------
Message: 3 Date: Thu, 29 Jan 2004 08:31:29 -0000 From: Glenn Subject: Re: Becoming a Writer Rex Strother wrote: > 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 thosefolks 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. Sometimes people that don't write lyrics or melody DO fight that battle for songwriting credit - and WIN. Case in point: "Go All the Way" by Raspberries. The song was written by Eric Carmen. The group's lead guitarist, Wally Bryson, came up with the amazing guitar riff that opens the song and is repeated in the middle. He felt that his contribution was significant enough (I don't think anyone would deny that it's one of the record's major hooks) for him to get co-writer credit, and asked for it. Carmen said that that was ridiculous, that you couldn't copyright a guitar riff, and refused to give co-writing credit to Bryson. According to Bryson, "That was the beginning of the end." Be that as it may, Raspberries still managed to put out four albums after that incident, with both Carmen and Bryson remaining as steady, in fact the ONLY steady, members. I don't know how it went down (maybe someone here does?) - whether there was a court battle, or Carmen just eventually conceded out of the kindness of his heart, but recent re-issues of Raspberries material now list the writing credits of "Go All the Way" as Carmen- Bryson. It would be interesting if there WAS a court battle, because a verdict in Bryson's favor would set a legal precedent against Al Kooper's assertion that only melody and lyrics count for songwriting credits, and could trigger a whole wave of lawsuits by session musicians, producers, and people that just happened to walk through the room when the song was being written. Now, I've read this over very carefully, and I'm fairly certain that I haven't taken a position on the issue, one way or the other, in this post - and thus haven't stepped on anyone's toes. So PLEASE don't hurt me. Glenn -------------------[ archived by Spectropop ]-------------------
Message: 4 Date: Thu, 29 Jan 2004 13:07:46 +0100 From: Sebastian Fonzeus Subject: Re: Lou Johnson on the Bacharach box Martin wrote: > Some time ago, I became aware of Lou Johnson via the Bacharach box. > Lou's reading of 'Reach Out for Me' and 'Always Something There to > Remind Me' just blows my mind! Incredible voice. According to >, Collectables issued a CD of his Big Hill '60s recordings > in the '90s, but it seems to be out of print. I can't find it > anywhere online. Does anyone here have this disc? Is it any good, > or, more to the point, do the other recordings he did for Big Hill > stand up in comparison with the ones on the abovementioned box? > I'd be interested in any info you might be able to share on this > great singer. Martin, I've dug around a bit on the net and here in Malmoe but can't find the CD anywhere. I suppose it is well out of print. :( As you write, Lou is a fantastic singer. I love his voice and wouldn't mind a career-spanning double CD. As for now, the fine "Big Top Soul Cellar" various artists CD on Goldmine Soul Supply which includes six of his recordings (plus an instrumental) will have to do. The CD also has got some fantastic male group harmony tunes by The Volumes and great Don & Juan, Dynamics, Azie Mortimer and Bobbie Smith tracks that might appeal to many of you. Here's a Lou Johnson discography. Might be missing some stuff, but this is what I know: Big Top 3115 (1962) - Thank You Anyway, Mister D.J. / If I Never Get To Love You Big Top 3127 (1962) - You Better Let Him Go / Wouldn't That Be Something Big Top 3153 (1963) - Reach Out For Me / Magic Potion Hill Top 551 (1964) - It Ain't No Use / This Night Big Hill 552 (1964) - Always Something There To Remind Me / Magic Potion (instr.) Big Hill 553 (1964) - Message To Martha / Last One To Be Loved Big Hill 554 (1965) - Please Stop The Wedding / Park Avenue Big Top 101 (1966) - A Time To Love, A Time To Cry / Unsatisfied Big Top 103 (1966) - What Am I Crying For / Any Time Big Top 104 (1966) - Little Girl / Walk On By Cotillion 44011 (1968) - Rock Me, Baby / It's In The Wind Cotillion 44026 (1969) - People In Love / Don't Play That Song Cotillion 44035 (1969) - Gypsy Woman / Please Stay Volt 4055 (1971) - Frisco, Here I Come / Who Am I SWEET SOUTHERN SOUL (Cotillion SD-9008 LP) 1969 Rock Me Baby It's In The Wind This Magic Moment She Thinks I Still Care Move & Groove Together Please Stay I Can't Change Tears, Tears, Tears People In Love Don't Play That Song (You Lied) Gypsy Woman WITH YOU IN MY MIND (Volt VOS-6017 LP) 1972 There Were Times Transition The Loving Way Nearer The Beat Who Am I Frisco Here I Come Wrong Number Crazy About You Living Without You That's it. Take care! /Sebastian -------------------[ archived by Spectropop ]-------------------
Message: 5 Date: Thu, 29 Jan 2004 08:51:37 +0100 From: Paul Underwood Subject: Re: Roy Hamilton Peter Richmond and Howard wrote: > He was idolised by Elvis Presle,y who copied much of his vocal > style. He was held in such high esteem that Presley gave Roy > Hamilton the Mann/Weil song "Angelica" that he was about to > record with Chips Moman. > Roy Hamilton recorded "Angelica", written by Mann/Weil, in > January 1969, with Elvis present at Chips Moman's American > Sound Studio in Memphis, and what is really interesting is > that the other song recorded at the session, also written by > Mann/Weil, "Hang Ups" (originally recorded by Bobby Hatfield > the previous year) features at the end of the track a guitar > riff by Reggie Young that would, later that evening, be played > by the same musician as the intro on to Elvis Presley's > "Suspicious Minds". Hi, According to the notes on the Elvis Presley 60's box set, the (unnamed) song that Elvis gave to Roy Hamilton was written by Dickie Lee who was apparently disappointed not to have his song recorded by Elvis. In any case, "Angelica" had already been recorded and released by many people, including Barry Mann and Scott Walker, and didn't need to be given by Elvis to anyone. But in that case, what was the title of the Dickie Lee song? Paul -------------------[ archived by Spectropop ]-------------------
Message: 6 Date: Thu, 29 Jan 2004 09:20:30 -0000 From: Glenn Subject: Re: cigarette commercial music Ed Salamon wrote: > Another great one is Paul Evans' "Happiness Is", a hit by Ray > Conniff, which became the first of many commercial jingles Paul > wrote when it was used as "To a smoker it's a Kent" Oh, how cool to finally know who wrote that Kent jingle! Thanks. That was my very favorite of all the cigarette commercial tunes - I still remember most of the words. Always loved that Marlboro theme, too. Winchester miniature cigars used "Winchester's something else" to the tune of "Evil Ways", the Santana hit. That campaign introduced Winchester, which still exists to this day. Anybody remember "A silly millimeter longer" for a cigarette called "101"? Apparently, that extra millimeter wasn't enough to sell the cigarette, but the jingle was very catchy. And one of the most famous - I don't know if this was based on a pop song or was purely written as a jingle: "You can take Salem out of the country but * Glenn -------------------[ archived by Spectropop ]-------------------
Message: 7 Date: Thu, 29 Jan 2004 11:35:00 -0000 From: Peter Lerner Subject: Re: The earliest fake-skipper? ACJ recalled: > 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." This certainly stirs some memories for me. As a little lad, aged perhaps 7 or 8, I can remember well sitting at home in front of the fire with my parents, listening to a 30 minute programme of nostalgic old records on the BBC Home Service (radio) whose weekly theme music was "Get out those old records". My parents loved it, and so did I. The joy of sharing memories via music. I'm certain this started my own record collecting bug, which has never left me. And although I've thought of that song a few times and can still hear it inside my head, I never thought that I'd ever be able to trace it to an actual record. Does any other UK popper remember this radio show? ACJ, if you could contact me off-Spectropop, I'd love to negotiate for a tape of this! -------------------[ archived by Spectropop ]-------------------
Message: 8 Date: Thu, 29 Jan 2004 04:12:48 -0800 (PST) From: Paul Bryant Subject: Re: Italian Roots Julio Nino wrote: > 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. Hi Julio, I can well understand your reaction to the former Cavern cloakroom attendant. She starts softly, and quite prettily, then like a car which has no second, third or fourth gear, suddenly without warning she YELLS LOUDLY and the effect can be alarming. Her loud voice could be used to strip paint off the walls of factories, it's not pretty. However in her early days she was given a few excellent songs to make into hits - all of which would have been better coming from Dusty Springfield of course, but Dusty was busy at the same time with her own hits. I give Cilla a Classy Pop Award for being the first person to get Randy Newman into the British charts (I've been wrong before, 1965). pb -------------------[ archived by Spectropop ]-------------------
Message: 9 Date: Thu, 29 Jan 2004 04:23:21 -0800 (PST) From: Paul Bryant Subject: Re: Beatle Myth Pt.2 TD wrote: > 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. Funny how none of them competent NJ wedding bands were huge hit groups then. pb -------------------[ archived by Spectropop ]-------------------
Message: 10 Date: Thu, 29 Jan 2004 09:23:22 EST From: John Fox Subject: Re: Sock it to me Sock it to me! Speaking of which - who first used that phrase on a recording? I believe it was Mitch Ryder and the Detroit Wheels, spoken at the end of Devil With The Blue Dress On/Good Golly Miss Molly (charted in the fall of 1966). John Fox -------------------[ archived by Spectropop ]-------------------
Message: 11 Date: Thu, 29 Jan 2004 04:20:55 -0800 (PST) From: Paul Bryant Subject: Re: Payola Dan Hughes wrote: > 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. I think Dan is exactly right about this. Many songs have been given immense airplay and not become hits. In the days of pirate radio (this will only make sense to other British persons) I remember 1967 being largely made up of David McWilliams' "Days of Pearly Spencer" and it still wasn't a hit. Meanwhile at the BBC big name djs loved The Idle Race (as I do) and played them incessantly (as I do) and still their records weren't hits. The kids buy what they like. Durn those pesky kids. pb -------------------[ archived by Spectropop ]-------------------
Message: 12 Date: Thu, 29 Jan 2004 09:41:32 EST From: Al Kooper Subject: Re: Questions for Paul Evans Paul Evans wrote: > I'll be more than happy to answer questions posted here regarding my > experiences in the "biz" in the 50s, 60s and beyond. All my life I have wanted to know who played that GREAT lead guitar on Midnight Special. And was it Gary Chester playing drums??? Al Kooper -------------------[ archived by Spectropop ]-------------------
Message: 13 Date: Thu, 29 Jan 2004 13:59:21 -0000 From: Glenn Subject: Re: Songwriter Credits, General Question Al Kooper wrote: > A song is distilled down to a chord pattern with melody and > lyrics riding above it. Al, What about intros, turnarounds, and other instrumental portions that are as much (and as crucial) a part of the creation of the song as are the melody and lyrics? As a songwriter, I know that *I* wouldn't consider my song finished if it didn't have these elements in place. Same with many other songwriters I know. These are elements that are composed by the songwriter(s) during the songwriting process as surely as the melody and lyrics. I'm not saying that these aren't elements that can't be changed during the cutting of the actual track, but so can melody and lyrics. When you write songs, don't you generally write intros for them? Don't these intros sometimes come back in later portions of the song, such as when you're getting back from the chorus to the verse? And if not, don't you usually write SOMETHING besides a rest to get you back to your verse? If you wrote an original intro for your song and someone else copied it note for note and used it on their song (without sampling), but their song was different in every other way, couldn't you still sue the heck out of them? And what I mean by an "original intro" is one that is not simply a copy of a part of the song's melody, but an original piece of music in itself that catches the ear and leads nicely into the song. I don't know about you, but if they *couldn't* be sued for stealing my intro, I'd be P.O.'d. Now I know that the intros for many Holland-Dozier-Holland songs, such as the telegraph dit-dit-dits on "You Keep Me Hangin' On", and most frequently, the rolling, building intro for the Four Tops' "I Can't Help Myself (Sugar Pie, Honey Bunch)", have been copied countless times on other records trying to do their take on the Motown sound, (not to mention the countless times H-D-H copied THEMSELVES.) No one ever seems to sue anyone for those things, so Los Bravos get away with "Black Is Black", the Grass Roots get away with "Wait A Million Years", Ben Findon gets away with "Love Really Hurts Without You", Tony Macaulay gets away with "In the Bad, Bad Old Days" and "Love Grows (Where My Rosemary Goes)", etc., etc. But I think in these specific instances, the "intro" actually continued work as the background on the Motown originals, and thus would probably be considered as accompaniment, and not copyrightable. But it just seems to me that reducing the definition of a song to a chord pattern with melody and lyrics over it, while very possibly a legitimate legal definition, is not the whole of the songwriting process in my experience. And I seriously doubt that it is in yours, either. Although, thinking about it, most of the songs I know by you DO tend to have intros that are simply parts of the melody played instrumentally. But take a song like "Knock Three Times", co-written by your old partner Irwin Levine. The intro on that song is an original piece of music, not an echo of either the verse or the chorus, and there's no doubt in my mind that that was in place before it ever left Levine & Brown's hands. Of course, I don't KNOW that for a fact. But it seems pretty integral to the song's structure and flow. In some cases the introduction is the best part of the song, and the listener can't WAIT to get back to it. All I know is, I work very hard on my introductions and turnarounds, and they will be absolutely in place before I ever consider the song a finished piece and create a demo for it. Well, usually. Sometimes I can't even think of an intro and just start the song from the first line! I admit it. Please understand that this is a DIFFERENT issue than the original contributions of session musicians, etc. I'm just asking you - with the greatest amount of respect for your opinion - whether your definition of what constitutes a song might be a little too restrictive, even from your own experience. Glenn -------------------[ archived by Spectropop ]-------------------
Message: 14 Date: Thu, 29 Jan 2004 08:54:05 EST From: Al Kooper Subject: Re: My Mistakes Previously: > "Child" is my brother's fave album and it IS a > true classic.  I dont know how Dante, Austin or Rambeau feels, but when I hear my old records, all I hear are the mistakes !!!! Weird, huh ? Al Kooper -------------------[ archived by Spectropop ]-------------------
Message: 15 Date: Thu, 29 Jan 2004 13:33:40 -0000 From: Craig Davison Subject: Re: Beatle Myth Pt.2/Twist & Shout TD wrote: > I liked the Isley Brothers "Twist And Shout", with their vocal > trills and cookin' rhythm section. I so looked forward to finally hearing the Isley Brother's original version! As mentioned above, it was, indeed, "cookin'" and then... then... those danged trumpets with the toilet-plunger mutes came in at the instrumental break. WHAT WERE THEY THINKING? ****Fwaaa Fwa Fwa Fwa Fwaa Fwa Fwa Fwa**** I've since gotten used to it and accept it as part of a classic recording, but that initial shock... -------------------[ archived by Spectropop ]-------------------
Message: 16 Date: Thu, 29 Jan 2004 08:50:16 EST From: Al Kooper Subject: Re: Clapton Solos Previously: > Speaking of lifting Yardbirds solos, the punk classic "Last Time Around" > by The Del-vettes on Dunwhich nicks the solo to "Mr. You're a Better Man > Than I" virtually note-for-note. A great song nonetheless. Speaking of Ex-Yardbirds lifting solos, Claptons solo on "Strange Brew" on Disraeli Gears is almost note-4-note Albert Kings Crosscut Saw. But who's counting.... Al Kooper -------------------[ archived by Spectropop ]-------------------
Message: 17 Date: Wed, 28 Jan 2004 20:46:08 EST From: Mike Rashkow Subject: Re: Songwriter credits RE: Writer/Arranger credits recentl much discussed on site. I agree totally with Koop in concept but would offer this contrarian view for certain situations: I wrote a song called "You Can't Take The Country Out Of The Boy". Since I was married to Mikie Harris at the time and we were signed at Pamco together, I naturally put her name on it, BUT, here's the real issue: I could sing the melody I had in my head, I had all the lyrics, but I didn't have the chops to play the feel I was looking for on the piano --or on a pile of dishes for that matter--kind of a parody Yakety Sax /Hoe Down thing (no, not today's Ho Down--that's different). Something like might be used for a dance scene in Oklahoma. So I asked our arranger friend Pete Dino to help me and he did. He was able to play what I was looking for and set it in the right character. Without him I would not have been able to go in and make a demo. I chose to put him on the song as the third writer. In my opinion he deserved it and earned it. That is a special situation. There are times when giving a piece to someone is called for--that's my opinion. PS, Louis Prima recorded it with Charlie Calello producing and arranging. A travesty. A parody of a parody and they made me change the words in one section from something that related to "country" to something that placed it in Las Vegas and used the words pizza pie. Jesus I hate the music business. Di la, Rashkovsky -------------------[ archived by Spectropop ]-------------------
Message: 18 Date: Thu, 29 Jan 2004 8:00:27 -0500 From: Orion Subject: Re: Ray Hildebrand Question Cleber, It has been a long time since I heard it, maybe 1968 or 1969. So whenever you can would be great. If you want to RENT the 45 to me I will do it and return it to you. I have a very good record on eBay if you want to check out hemroid. Orion -------------------[ archived by Spectropop ]-------------------
Message: 19 Date: Thu, 29 Jan 2004 08:13:23 +0100 From: Eddy Subject: Re: Songs that quote others Mike: > Speaking of lifting Yardbirds solos, the punk classic "Last Time > Around" by The Del-vettes on Dunwhich nicks the solo to "Mr. > You're a Better Man Than I" virtually note-for-note. A great song > nonetheless. And still on "Mr you're a better man than I"... Aerosmith quote the lyrics in "Living on the edge". Eddy -------------------[ archived by Spectropop ]-------------------
Message: 20 Date: Thu, 29 Jan 2004 08:56:22 EST From: Al Kooper Subject: Orchestra Wives > I think it was first heard/seen in the (great) movie "Orchestra Wives." I've had a few of those - AK -------------------[ archived by Spectropop ]-------------------
Message: 21 Date: Thu, 29 Jan 2004 09:49:59 EST From: Bill George Subject: Louis Phillipe Is the Louis Phillipe being mentioned here recently the same one that recorded "Jackie Girl", a tribute to jackie DeShannon? (She is even on the cover of his album.) If so, I don't hear any Brian Wilson influence, but that is the only song of his I've heard. Bill -------------------[ archived by Spectropop ]-------------------
Message: 22 Date: Thu, 29 Jan 2004 07:01:07 -0800 (PST) From: Tom Taber Subject: Patty Duke celebrates Arbor Day Having listened to Patty's tree planting on Musica, I can only say she must have woke up one day and decided she was Elaine Stritch! Tom Taber -------------------[ archived by Spectropop ]-------------------
Message: 23 Date: Thu, 29 Jan 2004 09:52:58 EST From: Bill George Subject: Re: Angel Baby All this talk about this "inept" track has me very curious. I've never heard this song to my knowlege. Since it seems most everyone else has, and the track is out on CD, I won't request it be played to musica. But perhaps someone would be kind enough to let me hear it. :) Bill -------------------[ archived by Spectropop ]-------------------
Message: 24 Date: Thu, 29 Jan 2004 15:58:30 -0000 From: Andres Jurak Subject: Re: Beatles-inspired girls Patrick wrote: > Is there anyway somebody could shed some light on this inspired > time period and cull down the list of the Beatles tributes to the > Beatles-inspired - and what I mean here is a GG song *with* a > Beatles guitar *or* melody sound...... Ian Chapman wrote: > These two you definitely need to hear: > Oma Heard's Great "Lifetime Man" on Motown's VIP label.... > The Bootles "I'll Let You Hold My Hand" on Crescendo...... Here is the photo of the Bootles Andres -------------------[ archived by Spectropop ]-------------------
Message: 25 Date: Thu, 29 Jan 2004 15:45:36 -0000 From: Robert R. Radil Subject: "The 60s Show" will be streaming tonight "The 60s Show" will be streaming tonight, starting just before 8PM, Eastern. You'll need to use Windows Media Player version 7 or newer. Go to "File", "Open URL", and in the blank enter: and click "OK". Bob Luyckx (Loyx) will be the guest host tonight. Regular host, Jim Abbott, should be in around 9:30. As usual, I should also be around. Bob Radil -------------------[ archived by Spectropop ]-------------------
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