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Spectropop - Digest Number 1314

               SPECTROPOP - Spectacular! Retro! Pop!

There are 27 messages in this issue.

Topics in this digest:

      1. Re: Feldman, Goldstein & Gottehrer
           From: Austin Roberts 
      2. Tell Patty's Mama
           From: Doc 
      3. Jukebox Rambeau
           From: Ed Rambeau 
      4. Re: Jim Fielder
           From: Steve Harvey 
      5. Beach Movies and stuff... Hey Mikey
           From: Alan albabe Gordon 
      6. 10cc nicking themselves
           From: James Cassidy 
      7. Re: The earliest fake-skipper?
           From: Phil Milstein 
      8. Re: ; quickies & a personal note; endings/Eric Records releases
           From: Clark Besch 
      9. Re: Awesome group names
           From: Howard 
     10. Re: My Mistakes
           From: Austin Roberts 
     11. Re: David McWilliams
           From: Eddy 
     12. I'm Mandy Fly Me
           From: Harvey Williams 
     13. Re: Sock it to me!
           From: Howard 
     14. Cilla Black
           From: John Love 
     15. Sergio Mendes
           From: Phil Milstein 
     16. Re: Payola
           From: Various 
     17. Re: Dylan's bike crash
           From: Various 
     18. Shake It Up Baby! Friday 6th Feb in Brighton
           From: Chris King 
     19. Re: Ray Hildebrand
           From: Mike McKay 
     20. Dylan
           From: Al Kooper 
     21. "A Rose And A Baby Ruth"
           From: Al Kooper 
     22. "Rain From The (Jamaican) Skies"
           From: Al Kooper 
     23. Jim Fielder
           From: Al Kooper 
     24. Re: Ready for those obscure questions !
           From: Mike Rashkow 
     25. Re: Twist and Shout
           From: Mike McKay 
     26. "Rain From The Skies"
           From: Mike Edwards 
     27. Re: Fake skipping records
           From: Kurt 

Message: 1 Date: Thu, 29 Jan 2004 21:00:13 EST From: Austin Roberts Subject: Re: Feldman, Goldstein & Gottehrer Steveo: > 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". They actually were the Strangeloves. AR -------------------[ archived by Spectropop ]-------------------
Message: 2 Date: Thu, 29 Jan 2004 20:46:29 -0500 From: Doc Subject: Tell Patty's Mama I have Patty doing "Tell Me mama" on audio tape. Doc -------------------[ archived by Spectropop ]-------------------
Message: 3 Date: Thu, 29 Jan 2004 23:50:24 -0000 From: Ed Rambeau Subject: Jukebox Rambeau Many Spectropoppers have been emailing me directly saying they're having trouble finding JUKEBOX RAMBEAU. So I thought I'd post the link here to make it easier for all those who have the same problem. The link is: Every day a new song replaces one of the 5 existing songs and all songs can be downloaded. So join and enjoy the music. Ed Rambeau -------------------[ archived by Spectropop ]-------------------
Message: 4 Date: Thu, 29 Jan 2004 16:20:56 -0800 (PST) From: Steve Harvey Subject: Re: Jim Fielder While watching a bootleg video of Woodstock outtakes I was impressed by Fielder's bass playing and BST in general. They seemed to be better musicians than more of the Woodstock acts and alot more professional. -------------------[ archived by Spectropop ]-------------------
Message: 5 Date: Thu, 29 Jan 2004 16:24:56 -0800 From: Alan albabe Gordon Subject: Beach Movies and stuff... Hey Mikey Re: Mikey Mars' really cool Beach Party Movie music website. Just in case you other S'Poppers didn't check out Mike's site, you really should. Great stuff. And if you like this sorta stuff, there are two more cool sites with similar groovy info: There's also a link at Brian's to a neato pic of the fab Donna Loren and Mr. Left handed Guitar God, Dick Dale, that I found at a local movie and paraphernalia shop... here's the link: And, Mikey, if you wanna better scan contact me off list and I'll get you one from the original pic. Shimmy, shimmy, ko ko bop, ~albabe -------------------[ archived by Spectropop ]-------------------
Message: 6 Date: Thu, 29 Jan 2004 23:02:44 -0500 From: James Cassidy Subject: 10cc nicking themselves Bobster asked: > 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? Bobster, that's a snippet of 10cc's own "Clockwork Creep" from their "Sheet Music" album, which predated "How Dare You?" by 2 years. Jim Cassidy -------------------[ archived by Spectropop ]-------------------
Message: 7 Date: Fri, 30 Jan 2004 01:15:50 -0500 From: Phil Milstein Subject: Re: The earliest fake-skipper? ACJ wrote: > I just remembered - I have on tape a track from the early 1950s > called "Get Out Those Old Records," by Broadway legend Mary Martin > and her son Larry Hagman (then still in his twenties). And here I always thought that one was by Bob Seger! --Phil M. -------------------[ archived by Spectropop ]-------------------
Message: 8 Date: Fri, 30 Jan 2004 07:04:04 -0000 From: Clark Besch Subject: Re: ; quickies & a personal note; endings/Eric Records releases Country Paul wrote: > Warner Brothers had so many really cool one-offs in > the 60s, both albums and singles. Paul, Talked with Eric Records' Bill Buster and Eric will be releasing shortly, a new Cd series of pre-Beatles (mostly) era teen songs titled "Teen Time". The first will be from the Warner vaults and should be out in March. That would include Warner, Roulette, and Colpix. Included should be the Shepherd Sisters, Chicago Loop, Ikettes, Valerie Carr, Ed Townsend, Ral Donner, the Essex, Marcells, Happenings, Bobby Curtola and more. I think he said that eight are non-CD domestically. The next will be mostly Dot stuff with Tab Hunter, Dale Ward, Robin Luke, Bob Braun, the Blue Diamonds, Mark Dinning ("Top 40, News Weather and Sports" FINALLY! YIPPEE!), Bob Beckham, Johnny Nash, Arthur Alexander, Eddie Holland and in first time CD stereo, Teddy Randazzo's "Way of a Clown". In the coming months, a new Dick Bartley collection is slated too, as well as a Tab Hunter set. Seems Bill B has been busy! Watch for them at Clark -------------------[ archived by Spectropop ]-------------------
Message: 9 Date: Fri, 30 Jan 2004 02:37:30 -0500 From: Howard Subject: Re: Awesome group names Mike Edwards wrote: > Brian Diamond & The Cutters (awesome name for a group!) Which set me thinking, what other groups have names like that? I'll start the ball rolling with an obscure British (?)band.. Guy Rope & The Tent Pegs .. it's true! Howard -------------------[ archived by Spectropop ]-------------------
Message: 10 Date: Fri, 30 Jan 2004 01:42:13 EST From: Austin Roberts Subject: Re: My Mistakes Al Kooper: > 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, I always hear stuff I wish I'd done differently,like a vocal lick or more interesting harmony. One of the few good things about getting older in this business is you can be more objective when you look back. It's been a great business to be in (actually since I was a kid and I was lucky enough to learn from some really good record men in New York City during the sixties.But you're right, looking back you can see clearer than when you were making the records. Some were hits, a lot were misses. Songwriting, as I'm sure you know, is a constant development of a craft and I've never been totally happy with anything I've written. I'd really be interested to get your take on the songwriting end of things. AR -------------------[ archived by Spectropop ]-------------------
Message: 11 Date: Fri, 30 Jan 2004 09:14:20 +0100 From: Eddy Subject: Re: David McWilliams Paul Bryant: > 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. Paul, You're right about David McWilliams as far as the UK is concerned. But his Days of Pearly Spencer was a huge hit in France/Belgium/ Holland... three countries very much in touch with UK pirate radio. Not quite sure how it travelled that far, but he was also pretty big in Italy. Also Can I get there by Candlelight still got some attention, but that was very much the end of the ride for him. Eddy -------------------[ archived by Spectropop ]-------------------
Message: 12 Date: Thu, 29 Jan 2004 21:52:06 -0000 From: Harvey Williams Subject: I'm Mandy Fly Me Bobster asked: > 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? Older, but not *that* much older. It's "Clockwork Creep" from 10cc's 1974 LP, Sheet Music. I'm Mandy-Fly Me: what a song. Harvey W. -------------------[ archived by Spectropop ]-------------------
Message: 13 Date: Fri, 30 Jan 2004 05:01:24 -0500 From: Howard Subject: Re: Sock it to me! John Fox wrote: > 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). A while back I was listening to a radio prog. when they played a record from the 50s where the phrase 'Sock It To Me' was used. I sure some Spectropoppers will know! Howard -------------------[ archived by Spectropop ]-------------------
Message: 14 Date: Fri, 30 Jan 2004 11:25:44 -0000 From: John Love Subject: Cilla Black > 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. Very amusing - and spot on! - description of Cilla's style pb. Despite her TV activities of the last few decades, and even though she was desperately uncool at the time, I still get a lot of pleasure from listening to her recordings, particularly I've Been Wrong Before, perhaps the best thing she did. Wonderful song, terrific arrangement. But there are plenty of others too that made the grade - McCartney's brilliant It's For You and Step Inside Love, Bacharach's Alfie [a good example of the soft -to-loud-in-a-single-bound approach!], the Italian ones that have been mentioned, and dare I say it, even her version of You've Lost That Lovin' Feelin'. She knew what to do with a lyric, and had a lot of great material to work with. John -------------------[ archived by Spectropop ]-------------------
Message: 15 Date: Fri, 30 Jan 2004 08:49:24 -0500 From: Phil Milstein Subject: Sergio Mendes Can anyone recommend a good Sergio Mendes/Brasil '66 compilation -- preferably one still in print? --Phil M. -------------------[ archived by Spectropop ]-------------------
Message: 16 Date: Fri, 30 Jan 2004 14:34:37 -0000 From: Various Subject: Re: Payola Dan Hughes wrote: > So - do any of you old-timers have payola stories? Dan, Payola was only part of it. Graft was and still is a normal way of doing business, but especially in 50's & 60's NY. Then there was drugola, (see "disco" and a label named after a Bogart film), and "hooker-ola" which always seemed to me the most fun. Anyway, yes, some artists benefitted from having gangsters as record co. heads. They were experienced and had contacts in place in radio and retail who could reciprocate with airplay and orders. Cut-outs were also the promotional copies on which artists were NOT paid royalties and they were at the center of many payola investigations. To this day I can listen to the radio and certain hits make me think of the "characters" at the label or in management who were tightening people up to play or stock that single. Doo wop was very full of "colourful characters". England had some old hustlers behind many of the British Invasion bands. See the book HIT MEN by Dannen..... C Ponti = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = My understanding of Payola is that it was payment or compensation for airplay that went unreported. That's what caused the trouble. I would think advertisers would have a heck of alot of explaining to do if Payola means what is thought by most. I'm sure pay-for-play still goes on even today. It's just that this payment would go down in the book-keeping as reported income. Regardless of what is transacted, legally or not, it will never make a bad record good. Fred Clemens = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = From: "Trevor" Date: Fri Jan 30, 2004 8:23am Subject: Re: Payola Geez, you hit a hot button here. Among the reasons I'm trying to avoid working in radio any more after 25+ years is the corruption, which plays along nicely with consolidation and centrailized programmming (i.e. consultants) > The kids buy what they like. > Durn those pesky kids. That's true for the most part, but for teens and preteens, they often buy what's hyped and succeeds in getting into that category of "hafta" like so you can be considered cool. That was Abercrombie clothes and Doc Martins a few years ago for my teens along with Nirvana, Hanson, and Marilyn Manson. A great deal of those trends are the result of marketing money and promotion. Our age group wasn't any different, even though the marketing wasn't as sophisticated. American Bandstand created stars...some had talent, some didn't ("Tan Shoes and Pink Shoelaces" comes to mind). Around the same time they buried Alan Freed, Dick Clark walked away clean. Was he? Hard to belieive he wasn't being greased somehow and/or he didn't have a piece of Frankie Avalon and Connie Francis. It wasn't always 100% profit-motivated, either. Some was "for our own good" Always thought Pat Boone was shoved at us to distract us from what our parents (and churches & politicians) thought were the horrors of the like of Little Richard. Go back and listen to Pat's awful soulless "Tutti Frutti" sometime. Why would anyone have bought that? Jump to the 70s when my radio career began. Everyone on the air and involved in music slection signed a yearly no-payola agreement. The irony is after 1976, people on the air had little or no say in what got aired. All I ever was offered, aside from promo copies and an occasional t-shirt, was trips to the men's room for nose candy courtesy of the Warner/Atlantic/Elektra rep. That was promo money filtered from WEA's promotion budget to some dealers to be sure. The interesting part is that at least by the early 80's, programming consultants began to control playlists. They'd repeat in the trade papers that they only are paid to "advise" stations. Then again, Dick Cheney only advises that ignorant hick in the big office. The intersting thing is that programming consultants AREN"T subject to these non-payola agreements; they aren't on-air and they aren't employed by FCC licensees. They're independent consultants on a retainer. So much more efficient for labels to funnel cash, girls, boys, drugs, whatever, to a handful of consultants in each format than to have a whole promotion crew greasing hundreds of dj's. I don't recall the name, but a Brit/American who manages Dixie Chicks and others testified before John McCain's Commerce Committee a few months ago and said payola as we knew it in the 50's and 60's isn't around today, but that its very much alive with a different face. I think what he was talking about is the consultant thing and the mega- groups. McCain questioned him about being pressured and the guy squirmed, wanting to tell the truth, but, knowing he still had to do business with the monsters next day. Since Clear Channel owns stations, concert facilites, even their own ticket outlets, artists and management better play ball with them or the airplay can disappear. Regardless of anyone's reaction to one of the Dixie Chicks' anti war, anti Bush comments, airplay should be based on the music. It wasn't and lots of stations pulled them off. So the truth today is more complex. Airplay and promotion is intertwined not only with "pay for play", its also influended by politics and corporate control of all entertainment and media. Example is "American Idol" where Fox creates stars with a hyped-up tv show. The show is hyped by Fox News and affiliates. Even the "losers" on the show get label deals, movie tie-ins, and constant exposure. The meag-media corps have enough clout and own enough divisions to create the star, promote him/her, own the label, a network, and the movie studio etc, ad nauseum. How many teen pop stars today were Disney kids? The corporation has had them as a "property" for most of their lives. Coprporations by nature need to reduce or eliminate risk. Payola will do it, but better to just own every aspect of the process. The there's allmost no risk and the cash goes to the execs and investment bankers. Just like everything else in this country today. Art for arts sake? Where's the profit in that? Trevor Ley -------------------[ archived by Spectropop ]-------------------
Message: 17 Date: Fri, 30 Jan 2004 14:45:23 -0000 From: Various Subject: Re: Dylan's bike crash Denis sez, > 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. Dan Hughes: Agree wholeheartedly, except that I love his first album too, especially Song To Woody and the long drawn-out note in Freight Train Blues. Hard to pick an all-time favorite album, but for me, most of the time, I think it's Blonde On Blonde. 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. Denis Gagnon: > 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. Paul Bryant: I already elaborated the most plausible theory - that Dylan's cracked neck vertebra was massively hyped in order for him to get out from under many impossible commitments. So, as for the voice-changing business, I'd say that prior to the crash Dylan had two main voices - the old-man-inside-a-young-man voice as so beautifully exemplified in "Moonshiner" or "Chimes of Freedom", and the Yogi Bear talking/singing thing he does in such songs as "I Want You" and "Stuck inside of Mobile". The first thing recorded after the crash was "The Basement Tapes", and his voice is rich and confident in the ballads - "Tears of Rage" for instance. Next album later that year (1967) was "John Wesley Harding", and there ain't too much difference. After that came a year of silence (1968) which Dylan apparently later referred to as his worst time ever. Then he came back with "Nashville Skyline", and yes, the voice had changed into a mellow croon, very unbelievable to hear. Dylan was of course asked about that and he said that he'd given up smoking when he recorded it. Hmmm. But by "Pat Garrett & Billy the Kid" the Dylan whine was back, and by 74 on "Blood on the Tracks" he sang his heart out - listen to "You're a Big Girl Now" or "If you see her say hello" if you don't believe me. Ain't no squeaky little sound. -------------------[ archived by Spectropop ]-------------------
Message: 18 Date: Fri, 30 Jan 2004 14:55:43 -0000 From: Chris King Subject: Shake It Up Baby! Friday 6th Feb in Brighton Dear Brit-based (those located in the South really!) Spectropoppers - Friday 6th Feb sees Shake & Finger Pop! - the sister club of 60s girl group club Da Doo Ron Ron - return for its regular monthly 60s beat 'n' soul 'n' ska shindig @ the Sussex Arts Club, here in Brighton. DJs Chris 'Da Doo' King & Si Bridger provide an utterly unpretensious night of 60s floor-fillers, mixing celebrated classics from the likes of The Small Faces, Four Tops, Who, Temptations, Sonics, Stevie Wonder, Beatles et al with lesser known Northern soul, ska & pop tracks. The ballroom doors should (previous event willing!) swing open at 11.15pm & shut @ 2am. If you reserve your names OR phone:-01273-778020 / 727371, you will pay just Ģ4 instead of the usual fiver. For more info check out the DDRR web-site:- Many thanks indeed for your indulgence. Oodles, Chris Da Doo -------------------[ archived by Spectropop ]-------------------
Message: 19 Date: Fri, 30 Jan 2004 09:56:18 EST From: Mike McKay Subject: Re: Ray Hildebrand Hugo M wrote: > 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... A story often told is that Ray once "stopped working" right in the middle of an American Bandstand tour...forcing Dick Clark himself to deputize as "Paul" for the remaining dates. A propos of nothing, has anyone ever noticed that the composer of the summer camp standard "Let There Be Peace on Earth, and Let It Begin with Me" is one Jill Jackson? I'm sure it's not the same "Paula", but it's always struck me as curious. Mike -------------------[ archived by Spectropop ]-------------------
Message: 20 Date: Fri, 30 Jan 2004 10:48:09 EST From: Al Kooper Subject: Dylan 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, I should think the reward of correcting this person would be enough for you. But you better move fast unless its the Dylan Dumbo board/ AK -------------------[ archived by Spectropop ]-------------------
Message: 21 Date: Fri, 30 Jan 2004 10:54:40 EST From: Al Kooper Subject: "A Rose And A Baby Ruth" tdstout: > 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. We were just goofing between takes on the fact that David Bromberg was playing pedal steel for one of the few times in his life. So, growing up on that song by George Hamilton IV I started singing it and we all chimed in. Later I overdubbed my voice a coupla times and included it on a double album that had room for it. (Easy Does It) Thanks for asking. No one ever has b4. al kooper -------------------[ archived by Spectropop ]-------------------
Message: 22 Date: Fri, 30 Jan 2004 10:40:29 EST From: Al Kooper Subject: "Rain From The (Jamaican) Skies" Julio: > I havenīt heard Adamīs Wadeīs "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 itīs always credited > to him. But, considering that in Jamaica it is not uncommon that > singers, and specially producers take credit of well known songs (Iīve > seen blatant cases), and that the song has a certain "Bacharach" > flavour, I suspect that maybe they could be the same song. It is the same song and Famous Music is looking for Delroy Wilson's address & phone number as we speak. Thats quite a Bacharach steal!!!! -------------------[ archived by Spectropop ]-------------------
Message: 23 Date: Fri, 30 Jan 2004 11:04:29 EST From: Al Kooper Subject: 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? Believe it or don't - Jim hooked up with Neil Sedaka and has been accompanying Neil for the last 30 years. I believe Jim lives in Long Island now - AK -------------------[ archived by Spectropop ]-------------------
Message: 24 Date: Thu, 29 Jan 2004 17:39:54 EST From: Mike Rashkow Subject: Re: Ready for those obscure questions ! Paul Evans: > Dan, Thanks for the introduction. > Ready for those obscure questions. :-) OK Paul, I'll go first. Who threw the overalls in Mrs Murphy's chowder? and.....who knows where or when. Di la, Rashkovksy -------------------[ archived by Spectropop ]-------------------
Message: 25 Date: Thu, 29 Jan 2004 22:53:57 EST From: Mike McKay Subject: Re: Twist and Shout Steveo: > "Twist and Shout" was a great record by the Isleys, > but John took it to new heights (this is my opinion). TD's reply: > Tell it to the marines (the sailors won't listen). You may > like the Beatles "Twist and Shout" because it's the first > version you've heard.  I liked "Twist and Shout" in its > earlier incarnation when Richie Valens sang it as "La Bamba"... There are tons of songs besides "Twist and Shout" and "La Bamba" that have the same I-IV-V chord progression. Because they do doesn't make them all the same song. > I liked the Isley Brothers "Twist And Shout", with their vocal > trills and cookin' rhythm section.  Quite frankly, the Beatles > version of "Twist and Shout" isn't anything that a competent > wedding band from Ofay, New Jersey wasn't already doing.  In > 1963, the woods were full of competent wedding bands. First, I'd love for you to show me evidence of a competent wedding band from any era who had a vocalist of the caliber of John Lennon! Secondly, there's a significant difference in the rhythm and feel of The Beatles' "Twist and Shout" vs. The Isley Brothers'. The latter had an almost calypso feel, whereas The Beatles played it as fairly straight 4/4 rock 'n' roll. Each approach is a valid one; however, I'll bet you a nickel that "wedding bands" who have performed the song from early 1964 to the present day do the Beatles arrangement...not the Isley Brothers one. Of course, I have no way of knowing how many wedding bands in New Jersey were doing "Twist and Shout" before The Beatles' version hit the scene, or how they were doing it. But I'll bet you another nickel that however they were doing it, it didn't have the impact that the totality of The Beatles' performance has. I'm not knocking The Isley Brothers' version at's a lot of fun. But to me it's just another in a long line of good dance numbers...whereas The Beatles' version transcends these origins and moves into the realm of something else altogether. Mike -------------------[ archived by Spectropop ]-------------------
Message: 26 Date: Fri, 30 Jan 2004 03:59:41 -0000 From: Mike Edwards Subject: "Rain From The Skies" Julio Niņo wrote: > I havenīt heard Adam 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 especially 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 donīt know if itīs rain from the skies > tears from my eyes falling down my face > and rolling down my cheek.... " Julio, thanks for posting the lyrics. This is the Burt Bacharach-Hal David song. I see a lot of overlap between the vintage R&B sounds that are popular in Jamaica and Belgian Popcorn (of which Adam Wade's "Rain From the Skies" is a staple). It makes it difficult when you're bidding for 45s as collectors from both genres bid very aggressively. And if the title has some northern soul appeal as well, such as Kurt Harris' "Emperor Of My Baby's Heart", then forget about it. Micky Blue Eyes -------------------[ archived by Spectropop ]-------------------
Message: 27 Date: Wed, 31 Dec 1969 20:18:09 -0800 From: Kurt Subject: Re: Fake skipping records We musn't forget the noise of the tonearm being yanked across the record, which interrupts the gentle warbling of Alice Bowie on Cheech and Chong's "Earache My Eye" Kurt -------------------[ archived by Spectropop ]-------------------
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