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Spectropop - Digest Number 1313

               SPECTROPOP - Spectacular! Retro! Pop!

There are 25 messages in this issue.

Topics in this digest:

      1. Re: Ray Hildebrand Question
           From: Frank Wright 
      2. Re: question for Austin Roberts re: Emitt Rhodes
           From: Clark Besch 
      3. Songs not in the movie
           From: Mike Edwards 
      4. "Don't Take Candy From A Stranger"
           From: Al Kooper 
      5. "It's Been So Nice Loving You"
           From: Al Kooper 
      6. "Love Trap"
           From: Al Kooper 
      7. Buddy Holly after 45 years
           From: David Coyle 
      8. Team spirit
           From: S'pop Team 
      9. Roy Hamilton
           From: Peter Richmond 
     10. Re: Feldman, Goldstein & Gottehrer
           From: Dan Hughes 
     11. Re: Feldman, Goldstein, and Gottehrer
           From: Ed Salamon 
     12. Re: Italian originals
           From: Scott Charbonneau 
     13. Re: cigarette commercial music
           From: Paul Evans 
     14. The Metropolitan Soul Show on Soul
           From: Simon White 
     15. Re: Feldman, Goldstein & Gottehrer / Pubert
           From: Phil Milstein 
     16. Weirdly grooved records
           From: Tom Taber 
     17. The Wonderful Home Transmitter
           From: John Sellards 
     18. Re: Finding Rambeau, Roberts and Paul Evans
           From: Paul Evans 
     19. Re: Donovan & Mary Hopkin & Al Kooper
           From: Ken Mortimer 
     20. European language versions
           From: Julio Niño 
     21. Re: Sebastian & Boone & Dylan
           From: Steve Harvey 
     22. Re: You Left the water Running
           From: Bill Reed 
     23. A little help over here
           From: Mike Rashkow 
     24. Re: New @ S'pop - Emily's Illness: Diagnosis Of A Song/ The Strangers
           From: C Ponti 
     25. Re: Spine Shiverers / Big Finishes
           From: Dan Hughes 

Message: 1 Date: Thu, 29 Jan 2004 16:22:35 -0000 From: Frank Wright 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? I have the Ray Hildebrand stereo 45 on Metromedia, and can post it to Musica, however Musica is full. If you care to contact me off-list, I will be happy to Email it to you. It is a great record from "Paul" of Paul & Paula. Frank Wright -------------------[ archived by Spectropop ]-------------------
Message: 2 Date: Thu, 29 Jan 2004 16:17:13 -0000 From: Clark Besch Subject: Re: question for Austin Roberts re: Emitt Rhodes Austin, No apologies necessary. I am glad you were luckier, even tho at the time, Emitt may have looked like he had the better deal when signed to Dunhill. Sometimes, session players and writers end up a lot better off money-wise, provided they held on to their songs legally. I can see how not having producers, managers and lable execs around would tend to not let anyone see that Emitt was working his Lp, not lying back on his contract. It also wouldn't let him become friends with these people to let them see that he was willing to do as much as possible to get out what he could, even if it wasn't every 6 months. Even McCartney got a band for his second Lp, but I think he needed a band at that point, because he loved being in a band. Emitt had a band that he really didn't need or want, so he wanted the solo thing. All that dubbing didn't help the Lp's sound, but it still came off as one of my faves. His website has interviews from 1970 and he was low keyed even then. Actually, this new story is much BETTER sounding than the ones I've read the last 20 years, if you can believe that. In December, 1970, I wasn't searching for another Beatles, but here it was (almost). I'd had that feeling earlier in the year when I first heard the BG's "Lonely Days" (remember that the Bee Gees were barely heard in 69 and 70 up to that song), but this was really Beatles sounding! That's what I wanted on the second Lp. I got about 50% great stuff and 45% good. The third, which was nearly IMPOSSIBLE to find in the first place, had 0 great songs, 50% good and 50% not good songs, so I was disappointed immensely. But that's the way it is for the fans, we don't know what's going on. We just know we want the first Lp again and more imortantly, the "feeling" we got from the first album. Take care, Clark -------------------[ archived by Spectropop ]-------------------
Message: 3 Date: Thu, 29 Jan 2004 16:26:53 -0000 From: Mike Edwards Subject: Songs not in the movie Previously: > Songs w. Same Title As A Movies But Not Otherwise Related. Al Kooper responds: > The Man Who Shot Liberty Vallance by Gene Pitney - NOT in the movie > of the same name. Very true but as that song was so intertwined with the movie, I wonder if it meets the criterion set by the member posing the question. The subject of Burt Bacharach songs that did and did not appear in movies is worthy of a separate posting. In the meantime, now playing at the multiplex, we have: Honey: Film – Dir: Bille Woodruff / Star: Jessica Alba Song – Bobby Goldsboro The Tracker Film - Rolf de Heer / David Gulpilil Song – Sir Douglas Quintet Walking Tall Film – Kevin Bray / The Rock (also Phil Karlson / Joe Don Baker - 1973) Song – Steve Lawrence Calendar Girls Film – Nigel Cole / Helen Mirren Song – Neil Sedaka Radio Film – Michael Tollin / Cuba Gooding Jr. Song – Shakin' Stevens & Roger Taylor Stuck On You Film – Farrelly Brothers / Matt Damon Song – Elvis Presley Back to "Liberty Valance", with a cast that included John Wayne, Lee Marvin and Jimmy Stewart, it's amazing that it was shot in black and white as late as 1962. Maybe the producers didn't have enough in the budget to pay Burt Bacharach either. Nonetheless, a truly great western and John Ford's best film. Remember the scene where the doctor attending the fallen Lee Marvin asks the crowd for some whiskey and then drinks it himself as the crowds' gaze is on Marvin anticipating that the whiskey is for him. Classic. Mike -------------------[ archived by Spectropop ]-------------------
Message: 4 Date: Thu, 29 Jan 2004 11:35:11 EST From: Al Kooper Subject: "Don't Take Candy From A Stranger" Ian Chapman: > "Don't Take Candy from A Stranger" - Gene Pitney. Love it! Could > almost be a girl-group number with the jangling piano and castanets. > And are those bagpipes? That is the mystical ondioline overdubbed 3 times. -------------------[ archived by Spectropop ]-------------------
Message: 5 Date: Thu, 29 Jan 2004 11:37:13 EST From: Al Kooper Subject: "It's Been So Nice Loving You" > "It's Been Nice Loving You" - in a similar vein to the Boone song, I > only know this by UK singer Don Fardon, ex-singer with the Sorrows, > who later hit with "Indian Reservation."  I've never tracked down an > American original, but I think it may be by Calvin Grayson on Capitol > (can you confirm, Al?) Calvin Grayson on Capitol. We wrote it for the Righteous Brothers. -------------------[ archived by Spectropop ]-------------------
Message: 6 Date: Thu, 29 Jan 2004 11:38:40 EST From: Al Kooper Subject: "Love Trap" > "Love Trap" - T.D. Valentine - as played on the UK northern soul > scene back in the 70s. Did I ever point out that this was Tommy Mottola future president of SONY Records and the first Mr. Mariah Carey ? -------------------[ archived by Spectropop ]-------------------
Message: 7 Date: Thu, 29 Jan 2004 09:25:37 -0800 (PST) From: David Coyle Subject: Buddy Holly after 45 years Someone mentioned Buddy Holly's version of "Brown Eyed Handsome Man" as being one of the reasons 1963 was a good year for pop music. Oddly enough, this is four years after his death when unreleased Buddy Holly songs, both straight and overdubbed, were coming out seemingly every year. In this regard, he was the Tupac Shakur of his era. John Gunderson's excellent bio "Remembering Buddy" quotes an early '60s writer as saying "I give the [Buddy Holly] cult five more years." Yet, 45 years later, Buddy Holly's music lives on. February 3rd is coming up soon, and is still being remembered as "the day the music died" (except maybe on Spectropop where the case against this myth is proven every day). The Surf Ballroom is still an eerie reminder of that last great Winter Dance Party, and the draw to the crash site is still enough that a book of famous pop culture landmarks lists almost obsessively specific directions to the scene. There's a guy named John Mueller who has been touring as Buddy Holly, in a show variously called the Summer Dance Party or the Winter Dance Party, which also features J.P. Richardson II performing his father's songs. It's as close as one will ever get to the magic of those early days of rock and roll. How is the "day the music died" being remembered this year? Shamefully, the demand for Buddy Holly music does not seem to be enough that the definitive Buddy Holly collection has been released for the digital age. MCA's "The Buddy Holly Collection" is still the best source of his work, while "The Complete Buddy Holly," their landmark 6-LP set, remains a tough find in LP and cassette format, and is still in limbo for a decent reissue. If you're really into it, there's numerous bootlegs, including the "What You've Been A-Missing" boxed set. I just recently listened to NPR's "All Things Considered" segment about the "apartment tapes," Buddy's last recordings made in his NYC apartment in Jan. 1959. I also picked up a CD called "Buddy Holly With The Picks: Only The Love Songs." This CD was almost a travesty, where even familiar hits which were perfect in 1957-58 were overdubbed with overeager backing vocals, and several of Holly's posthumous releases were fleshed out by various Fireballs and Picks. Hearing tracks like "Learning The Game," "What To Do," "That's What They Say," "Love Is Strange" and "You're The One" in this form remind one why the simple unadorned versions should be heard. This should be the year of Buddy Holly. A lot of the future history of rock and roll might never have been made if death hadn't made him a legend. While Brylcreem Bobbies made pop music respectable for adults by taking it back to the days of the big band crooners, groups like the Beatles and the Hollies and the Searchers remained in the Buddy Holly "cult" and gave rock and roll the kickstart it needed. Buddy Holly remained an influence even on the pop crooners and both schools of pop were able to learn from Buddy's example. "I didn't hear them say a word of when that time would be..." David -------------------[ archived by Spectropop ]-------------------
Message: 8 Date: Fri, 30 Jan 2004 16:06:22 -0000 From: S'pop Team Subject: Team spirit Dear Members These past few months have witnessed a meteoric rise in messaging traffic. Thanks to the services of willing volunteers, the moderating team has grown to meet demand. Maintaining the flow of tidy, comprehensible messages is very time-consuming. It would ease our workload immensely, and reduce the delay for accurate presentation, if messages could be as close as possible to the format of the sample message below. May we also take this opportunity to gently remind members that, although guidelines are flexible, our declared area of interest is primarily pre-Woodstock 60s pop, especially the era of the Brill Building writer/producer. Thanks to everbody whose numerous interesting contributions have helped further Spectropop's increasing popularity. S'pop Team START OF SAMPLE MESSAGE = = = = = = = = = = = = = = = = = = = = = = = = = = [This header section only applies to email members] From: My Name Date: Mon Jan 01, 2004 0:00am Subject: overview of my message [OR Re: existing thread] [BUT NOT "Spectropop Digest Number xxxxx"] previous sender writes: > This is the relevant part of the message you are > replying to because it contains something you would > like to discuss further. Hi, I am interested in what you have to say, and would like to add something to this thread using lines that are no longer than 60 characters and employing regular punctuation, i.e. upper-case at the start of a sentence, and full-stop (period) at the end followed by a space. Whilst I don't totally share the opinion of the previous sender, I respect their right to hold that opinion and will remain friendly. I would like to make this group even better. I'll submit my ideas off-list, as comment about the way the board operates is always edited out. My Name = = = = = = = = = = = = = = = = = = = = = = = = = = END OF SAMPLE MESSAGE -------------------[ archived by Spectropop ]-------------------
Message: 9 Date: Thu, 29 Jan 2004 20:24:57 -0000 From: Peter Richmond Subject: Roy Hamilton Art Longmire wrote; >I never knew that "100 Years" was a Bill Medley cover. The record >label does mention that the song comes from the movie "Riot". Bill Medley recorded the version of "100 Years" as used on his "Soft & Soulful" album at Western Recorders in LA on 9 December 1968, I have no information relating to the recording of the much longer and alternate version that was used in the film "The Riot". Incidentally Bill Medley recorded an unissued version of "Dark End Of The Street" on 22 July 1970 for MGM Records using the same AMG Studio in Memphis, and producer Chips Moman, as Roy Hamilton had on his version the previous year. Howard wrote; > Can anyone out there furnish me with a full US discography, > (I have his UK discography) I have sent you a complete Roy Hamilton US singles discography offlist, if any other Spectropop members would like a copy, contact me offlist. Peter Richmond. -------------------[ archived by Spectropop ]-------------------
Message: 10 Date: Thu, 29 Jan 2004 13:39:50 -0600 From: Dan Hughes Subject: Re: Feldman, Goldstein & Gottehrer Steveo sez, > As far as the Feldman and assoc bag..I think they also > procduced the Strangeloves.."I Want Candy". I think they WERE the Strangeloves, weren't they? Claiming to be Australian sheep-herders or some such? ---Dan -------------------[ archived by Spectropop ]-------------------
Message: 11 Date: Thu, 29 Jan 2004 21:45:34 -0000 From: Ed Salamon Subject: Re: Feldman, Goldstein, and Gottehrer Trevor Ley: > Just seeing that title made the eyes swell up. That was > often a closing song at dances I went to here in suburban > Pittsburgh. I remember those three names, too. Always read > the little print credits. > Anyone know what else they contributed to? You may remember them appearing on Clark Races' Dance Party as the Strangeloves ("Giles, Niles and Miles - sheep herders from Australia") lip synching "I Want Candy". Another Pittsburgh reference, Mad Mike played their follow up "Nightime" as well as their "Twelve Months later" as The Sheep. I got to spend some time with Richard Gotteher in NY in the late 70s when he was producing Robert Gordon. Ed Salamon -------------------[ archived by Spectropop ]-------------------
Message: 12 Date: Thu, 29 Jan 2004 17:27:25 -0000 From: Scott Charbonneau Subject: Re: Italian originals Piangi Con Me - The Rokes. Done in English as Be Mine Again by Dutch band the Skope and, of course, as Let's Live For Today by The Living Daylights, The Grass Roots and The Rokes themselves. Scott -------------------[ archived by Spectropop ]-------------------
Message: 13 Date: Thu, 29 Jan 2004 17:52:39 -0000 From: Paul Evans Subject: Re: cigarette commercial music Eddy: > 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" Eddy, Thanks for the compliment ("Another great one is ... ") :-) Here's a story about the Kent Cigarette jingle that you might find interesting: Federal law prohibited cigarette makers from equating "happiness" with cigarette smoking in their advertisements. Because of the popularity of Ray Conniff's recording (It hit the Billboard Top 100), the ad agency had the phrase, "Happiness Is", played instrumentally and assumed that the listening audience would supply the words unconsciously. I guess that the audience did as predicted because the campaign ran for more than three years. Paul -------------------[ archived by Spectropop ]-------------------
Message: 14 Date: Thu, 29 Jan 2004 21:54:24 +0000 From: Simon White Subject: The Metropolitan Soul Show on Soul This Sunday, 1st February 2004 on Soul 24-7 at 2-4pm G.M.T.. THE METROPOLITAN SOUL SHOW 2 HOURS OF NORTHERN STUFF. with - The Utterly Marvellous Simon White. Be there or be square. -------------------[ archived by Spectropop ]-------------------
Message: 15 Date: Thu, 29 Jan 2004 17:23:33 +0000 From: Phil Milstein Subject: Re: Feldman, Goldstein & Gottehrer / Pubert Steveo wrote: > As far as the Feldman and assoc bag..I think they > also procduced the Strangeloves.."I Want Candy". Beyond that -- FGG *were* The Strangeloves. Jules Normington wrote: > 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. Interesting name. When Charles Addams was cooking up plans for The Addams Family TV series, the name he proposed for the porcine young boy (who, like all Addams' ghoul family characters, went unnamed in his original cartoons) was "Pubert." That idea, of course, was ixnayed by network executives, and someone or other came up with "Pugsley" as its replacement -- which, I admit, was almost as good. --Phil M. -------------------[ archived by Spectropop ]-------------------
Message: 16 Date: Thu, 29 Jan 2004 12:47:28 -0800 (PST) From: Tom Taber Subject: Weirdly grooved records I'm looking for more examples of records that had two or more grooves on a side - one Monty Python LP was done this way. What 10 minutes of comedy you got was dependent on the luck of which groove the needle fell in. I had that album for quite some time before I realized it had three sides! The other I remember was "The Chariot Race" 45 - it had at least 4 outcomes, and you didn't know till the end (i.e. "And the winner is the GREEN chariot!") which one you were getting! Were there others? It would have been a great way to do a 4 song EP. I wonder if a CD could in theory be made the same way? Tom Taber -------------------[ archived by Spectropop ]-------------------
Message: 17 Date: Thu, 29 Jan 2004 21:00:25 -0000 From: John Sellards Subject: The Wonderful Home Transmitter This is somewhat left of center, but I get so much out of it (I use it every day) I thought I should pass it along... it's an $18 kids toy called the Wild Planet Radio DJ, and it's a decently powered legal home AM transmitter that broadcasts on 1610 (which can be convereted to another frequency with a different crystal). Coupled with Winamp and the various crossfader and limiter plug-ins, you can really feel like you have your own station in your house, which, especially considering the state of radio, is nice. But only in America, I think. And sorry Al, no stereophonic sound. John Sellards -------------------[ archived by Spectropop ]-------------------
Message: 18 Date: Thu, 29 Jan 2004 22:58:25 -0000 From: Paul Evans Subject: Re: Finding Rambeau, Roberts and Paul Evans Clark: > Then, I spotted "What Can I Wish For You > My Son" by Ron Marshall on Intrepid (probably 1970). It was > produced by Art Wayne and arranged by Dean Christopher and > Art Wayne. Any comments on these, guys? Clark, If the Ron Marshll you're referring to is the one I knew, he had a terrific career as a voice-over artist in the studios of New York. I think his biggest commercial was for Trident Gum. -------------------[ archived by Spectropop ]-------------------
Message: 19 Date: Thu, 29 Jan 2004 22:27:05 -0000 From: Ken Mortimer Subject: Re: Donovan & Mary Hopkin & Al Kooper I love that song 'Lord of the Reedy River'. Esther Ofarim did a lovely version of it.... Ken -------------------[ archived by Spectropop ]-------------------
Message: 20 Date: Thu, 29 Jan 2004 22:59:33 -0000 From: Julio Niño Subject: European language versions Hola. Mike Edward wrote about ("Grande, Grande, Grande") : > ...Can anyone play Mina's version to musica? Her stuff is > difficult to track down ˆ even if you contact Italy..." Mike, I think I have her Spanish version of "Grande, Grande, Grande" somewhere. Personally, I don´t like it very much, it is too seventies style for my taste, but I can play it to musica if you are interested. Now that we are talking again about Mina, let me recommend to you a rather forgotten 1966 track by her, "Breve amore", composed by the great Piero Piccioni. The original version of the song was included in the soundtrack of "Fummo di Londra". The version in the film was sung in English by Julie Rogers, and titled "You Never Told Me", although, oddly, the version included on the record of the original soundtrack of the movie released in 1966 didn't include Julie's version but Lydia MacDonald's. My favourite version is by far Mina's. Paul Bryant : > ...Next question, for Italians only - why'd you stop > writing those great ballads?... Paul, although I'm not Italian (I'm Spanish), I can assure you that Italians have never stopped composing, singing and having hits with ultradramatic ballads. Think of Umberto Tozzi, Ricardo Cocciante, Lucio Battisti, Sandro Giacobe, Toto Cotugno, Lucio Dalla, and many more. But for me, most of the magic went with the sixties. You also asked in your message about the possible Italian origin of Little Peggy March's "I will Follow Him", I think the original version of the song is in French by "Petula Clark ("Chariot", Disques Vogue 1962), although she also recorded the song in Italian. Best wishes. Julio Niño. -------------------[ archived by Spectropop ]-------------------
Message: 21 Date: Thu, 29 Jan 2004 15:48:59 -0800 (PST) From: Steve Harvey Subject: Re: Sebastian & Boone & Dylan Al Kooper wrote: > 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. You're right about Hammond. There are shots of Tom Wilson at the BIABH sessions (who has been discussed on these pages many a time). Steve Harvey -------------------[ archived by Spectropop ]-------------------
Message: 22 Date: Fri, 30 Jan 2004 00:20:59 -0000 From: Bill Reed Subject: Re: You Left the water Running Frank Murphy: > 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". And, of course, there was a posthumously overdubbed demo of "..Water Running" by Otis Redding that was released. I have always been very curious as to who produced the final recording. There is no info given on any of the releases, originally a single and then on some comps. It is excellent. I would say that it is equal to the same treatment given Lennon's Free as a Bird. Does anyone know who produced, and who were the musicians on the final recording? I have always suspected Chips Moman and the usual Memphis suspects, Penn, Oldham, et al. Also I have kept an eye open for the Roy Hamilton LP produced by Moman and also mentioned in these parts the last few days, but have never been able to find it. Hard to come by? Rare? Pricey? Bill Reed -------------------[ archived by Spectropop ]-------------------
Message: 23 Date: Thu, 29 Jan 2004 17:44:16 EST From: Mike Rashkow Subject: A little help over here If any members of the group own a 45 on Atlantic of The Other Voices, "May My Heart Be Cast Into Stone" would they let me know off-line. Also, if you own the record, do you have a turntable that has speed adjustment capability? Also, thanks to all who sent me notes for Steve Tudanger. I'm sure when he gets the package he'll be touched by the many kind comments and thoughts sent to him. Mike Rashkow -------------------[ archived by Spectropop ]-------------------
Message: 24 Date: Fri, 30 Jan 2004 02:28:41 -0000 From: C Ponti Subject: Re: New @ S'pop - Emily's Illness: Diagnosis Of A Song/ The Strangers S'pop Team wrote: > "'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. Dear Team, Nora was and is a joy. The Strangers were such a great band, one I heard many times, and Gallway and Altman's contributions to music are vast. It wasn't in the cards for Nora to succeed in music, nor was it for many great artists who came out of the Pop music explosion in the 60s Greenwich Village. I am so glad to see you shed some light on these people. I still am influenced by the Strangers in my music, so unique was their sound.... C Ponti -------------------[ archived by Spectropop ]-------------------
Message: 25 Date: Thu, 29 Jan 2004 20:33:14 -0600 From: Dan Hughes Subject: Re: Spine Shiverers / Big Finishes Rob sez > Labelle/"Miss Otis Regrets.... I have many versions of > this song, but nothing comes as close to giving me > palpitations as this little beauty. Rob, have you heard the version on Anna Black's first Epic album? Slow and sultry, and unlike anything else on the album. Gives me goosebumps. ---Dan -------------------[ archived by Spectropop ]-------------------
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