The Spectropop Group Archives
presented by Friends of Spectropop

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

Spectropop - Digest Number 1317

               SPECTROPOP - Spectacular! Retro! Pop!

There are 25 messages in this issue.

Topics in this digest:

      1. Re: BST: '69 ---> '75 / Beatles & SNL
           From: Phil Milstein 
      2. Emitt Rhodes
           From: Kim Cooper 
      3. Roy Hamilton
           From: Peter Richmond 
      4. Re: My Mistakes
           From: Mike Rashkow 
      5. Re: Sock it to me!
           From: Trevor 
      6. Re: Weirdly grooved records
           From: Mike McKay 
      7. Re: Sergio Mendes comp
           From: Michael Coxe 
      8. Re: Weirdly grooved records
           From: Robert R. Radil 
      9. Songs that quote others / Penn / 10cc
           From: Peter Kearns 
     10. More On Commercial Music
           From: Art Longmire 
     11. musical epochs
           From: Bill George 
     12. Re: My Mistakes
           From: Robert R. Radil 
     13. Re: I Can't Quit Her
           From: Robert R. Radil 
     14. Re: "I Love You More Than You'll Ever Know"
           From: Robert R. Radil 
     15. Re: Weirdly grooved records
           From: Paul Bryant 
     16. Re: Wyman the Songwriter
           From: Rat Pfink 
     17. Re: Same Song?
           From: Paul Bryant 
     18. Cilla Black vs. Dionne Warwick
           From: Paul Bryant 
     19. Bobby Vee
           From: Bob Celli 
     20. Question for Al Kooper - "Fly Away"
           From: Bob Celli 
     21. Re: Elvis Sun Session tapes
           From: Dan Hughes 
     22. Pearly & the Grass Roots
           From: Dan Hughes 
     23. Mina
           From: Michael Edwards 
     24. Re: Monkees / 6Ts TV songs
           From: Javed Jafri 
     25. Re: Cigarette Jingles
           From: Trevor Ley 

Message: 1 Date: Fri, 30 Jan 2004 16:30:30 +0000 From: Phil Milstein Subject: Re: BST: '69 ---> '75 / Beatles & SNL Steve Harvey wrote: > 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. BST must've fallen quite a ways in just a few years, from the heights of Woodstock to the time I saw them. In a county-wide radio contest in 1975, my high school (OHS, in Ofay, NJ) won a free BST concert by supplying the most Milky Way candy wrappers per capita. I imagine our interest, besides downing all those yummy chocobars, was primarily in the thrill of the hunt, as only about half the school bothered to turn out for the show. Stewart Mason wrote: > The famous story along these lines is that Neil Innes > appeared on Saturday Night Live during one of Eric > Idle's first host slots, in 1975, dressed as the > white-suit-era John Lennon and singing "Cheese and > Onions" (which of course later appeared in the Rutles > film): this performance quickly showed up on several > bootleg LPs as a lost Lennon outtake! Another famous story involving SNL and The Beatles had them coming very damn close to a spontaneous reunion on the live program. According to the legend (which I believe came from one of the participants himself), McCartney was visiting Lennon at the Dakota, in their first reconciliation following the How Do You Sleep travesty. As chance would have it, that same night Harrison was the musical guest on SNL, probably on a night that his friend Eric Idle was hosting (Idle and Michael Palin were both frequent SNL hosts in the show's early years). Lennon and McCartney settled in to watch. SNL producer Lorne Michaels opened the show by making an on-air offer to The Beatles to reunite (presumably on some future episode) on his show -- I think the punchline was that, in an atmosphere when one impresario had recently offered $1 billion for a Beatles tour and the Secretary General of the U.N. had pleaded for them to do a tour to benefit U.N. charities, Michaels's cash offer was for something like $25,000, maybe even less. At any rate, as McCartney and Lennon saw this they joked among themselves that it'd be a gas if they actually turned up then and there and performed (allowing, of course, for the fact that without Ringo this would've amounted to an incomplete reunion, but what the hey). After a while -- and I imagine there were probably a few intokes of a relaxing herb at play -- they actually did go downstairs, grab a cab and head over to the NBC studio, but by the time they got there the show was already over. Caveat: the above story is from my leaky memory, and so a few -- hell, perhaps even all! -- of the facts might not quite jibe with reality. But what the hey. --Phil M. -------------------[ archived by Spectropop ]-------------------
Message: 2 Date: Fri, 30 Jan 2004 13:56:50 -0800 From: Kim Cooper Subject: Emitt Rhodes Austin's comments on the grinding atmopshere at Dunhill while Emitt was under contract to them were illuminating. Jeez, didn't Jay Lasker's mama ever read him the one about the goose that lays the golden eggs? Kim -- Scram Scram #18 out now with Emitt Rhodes, the Ramones, Marty Thau, Smoosh and more. -------------------[ archived by Spectropop ]-------------------
Message: 3 Date: Fri, 30 Jan 2004 21:54:24 -0000 From: Peter Richmond Subject: Roy Hamilton Paul asked: > 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? As far as I am aware Paul, Roy Hamilton only recorded two tracks at the session, both Mann/Weil songs, "Angelica" and "Hang Ups". All sources I have ever seen indicate that it was "Angelica" that Elvis gave up so Roy Hamilton would record it, as you rightly stated it had been recorded by many prior to this, I have somewhere a version by Oliver produced by Bob Crewe on Crewe records. None of the three singles that Roy Hamilton had released on AGP Records had a song written by Dickie Lee. Bill Reed wrote; > 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? Unfortunately as far as I am aware Bill, there was no resulting album from the Roy Hamilton sessions at Chip Moman's AGP Records, just the following three singles. AGP 113 The Dark End Of The Street/100 Years 1969 AGP 116 Angelica/Hang Ups 1969 AGP 125 It's Only Make Believe/100 Years 1969 Peter Richmond. -------------------[ archived by Spectropop ]-------------------
Message: 4 Date: Fri, 30 Jan 2004 17:01:25 EST From: Mike Rashkow Subject: Re: My Mistakes Previously: > I dont know how Dante, Austin or Rambeau feels, but when I hear > my old records, all I hear are the mistakes !!!! Weird, huh ? That is God's truth. -------------------[ archived by Spectropop ]-------------------
Message: 5 Date: Fri, 30 Jan 2004 22:03:33 -0000 From: Trevor Subject: Re: Sock it to me! Howard: > 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! Not sure what the record is, Howard, but if I had to make a stab, I'd say James Brown or Wilson Pickett. For those who may not have the recall of us "old f...rts, the phrase repaeated a bunch in Aretha's "Respect" and was popularized also by the "Laugh-in" tv series. Lots of fun having a quick video hit of Nixon saying it. -------------------[ archived by Spectropop ]-------------------
Message: 6 Date: Fri, 30 Jan 2004 17:26:16 EST From: Mike McKay Subject: Re: Weirdly grooved records The one I remember reading about, though I've never seen it, was an LP by The Knickerbockers. It had the word "Sync" in the title and I believe was tied in with our own Lloyd Thaxton. I'm sure another S'Popper will supply the full information, if he/she hasn't done so already. Mike -------------------[ archived by Spectropop ]-------------------
Message: 7 Date: Fri, 30 Jan 2004 14:46:30 -0800 From: Michael Coxe Subject: Re: Sergio Mendes comp Phil Milstein asks: > Can anyone recommend a good Sergio Mendes/Brasil '66 > compilation -- preferably one still in print? FOUR SIDER, actually a single cd version of the 2-lp hits collection from the late sixties is a great start, in print and cheap. 21 songs, though a bit heavy on the US pop covers. Some reviewer called Mendes the bossa nova Bacharach - apt! I see there is now a 2-CD import with 48 songs called THE VERY BEST OF, which covers a wider timeline (66-71), but at 3 times the cost of 4-Sider. michael -------------------[ archived by Spectropop ]-------------------
Message: 8 Date: Fri, 30 Jan 2004 23:08:46 -0000 From: Robert R. Radil Subject: Re: Weirdly grooved records Tom Taber wrote: > 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? No. Bob Radil -------------------[ archived by Spectropop ]-------------------
Message: 9 Date: Fri, 30 Jan 2004 23:20:15 -0000 From: Peter Kearns Subject: Songs that quote others / Penn / 10cc In Michael Penn's 1997 ballad 'I Can Tell' from the album 'Resigned', after the line "I can tell when I'm without you', the string section quotes the 16th note lead-in from Nillsson's version of Ham and Evans' 'Without You'. And as for 'I'm Mandy Fly Me'; it's gotta be one of the greatest singles of the 70s. A glorious collage of moods you just don't hear in the top 40 anymore. Peter. -------------------[ archived by Spectropop ]-------------------
Message: 10 Date: Fri, 30 Jan 2004 23:22:16 -0000 From: Art Longmire Subject: More On Commercial Music I mentioned cigarette commercials in an earlier post and wanted to say thanks for the info on music used the Kent commercials-I can even remember the animation used in the original ad! Amazing, the memories that a simple musical theme used in a commercial can bring back. In the 1960s many commercials had a big influence on me, long before I got into buying records. One commercial I heard frequently in the mid-60's was a song used in ads for the Girl Scouts-this had a delightful, folky melody and was one of my favorite commercial themes. Quite unexpectedly I came across a copy in the 1980's-it turned out to be a song called "The Growing Up Tree" and was issued on a 45 in the mid-60s, on a record label owned by the Girl Scouts. The lyrics can be found at the link below: Another song I remember first hearing in a commercial was Donovan's "Wear Your Love Like Heaven" in an ad for some kind of women's product-shampoo? Anyone remember this? Anyway, it featured a gorgeous gal with long flowing hair walking through a field-that's all I can pull up in the old memory banks. Yet another commercial I saw many times as a kid featured the song "Let's Hang On" by the Four Seasons-I think this was animated too, but I'm not sure. I recently researched this on a Four Seasons website and found out-after more than 30 years-that this commercial was for Beechnut chewing gum. It's interesting that young people these days frequently discover songs that we are familiar with through television commercials. I know several people who have told me that they discovered Nick Drake through the "Pink Moon" TV commercials from a few years back. Art Longmire -------------------[ archived by Spectropop ]-------------------
Message: 11 Date: Fri, 30 Jan 2004 18:05:30 EST From: Bill George Subject: musical epochs I'm still WAY behind in my reading. It seems like while I'm reading one digest, three more come in! HELP! Anyway, someone recently wrote: > the steep decline in singles in the early 70s. I think this must be relative to when you grew up. I first started listening to music and buying singles in the early 70s, and it is one of my favorite periods. Of course, now I think most of the current hits are horrible, and how can anyone think otherwise. But my neice and nephew would disagree with me, I'm sure. So for someone who grew up in the 50s or 60s, probably the 70s weren't as good, and the 80s worse. But for me, I have very fond musical memories of the 70s. As much as I enjoy music from the 60s and 70s, I will never have the same associations with it that I do the 70s because I wasn't there. - Bill -------------------[ archived by Spectropop ]-------------------
Message: 12 Date: Fri, 30 Jan 2004 23:31:20 -0000 From: Robert R. Radil Subject: Re: My Mistakes > I dont know how Dante, Austin or Rambeau feels, but when I hear my > old records, all I hear are the mistakes !!!! Weird, huh ? Not weird at all. You're hearing it from a totally different, unique perspective. You were there at the recording. One thing to keep in mind. Although you may be aware of possible imperfections that you may desire to go back and fix, if possible, these are the recordings that the public has grown to be fond of, regardless of imperfections. To go back and fix recordings, perhaps for a CD re-issue, might please the creator of the recording, but it wouldn't be what the public remembers. One example is "One Fine Morning" by Lighthouse. The remix on CD is technically superior to the original LP mix but I prefer the original because that's what I remember hearing back in 1971. Bob Radil -------------------[ archived by Spectropop ]-------------------
Message: 13 Date: Fri, 30 Jan 2004 23:40:50 -0000 From: Robert R. Radil Subject: Re: I Can't Quit Her Was "Just One Smile" also a single? Was it the follow up or did it precede "I Can't Quit Her"? Was "I Love You More Than You'll Ever Know" released as a single? Bob Radil -------------------[ archived by Spectropop ]-------------------
Message: 14 Date: Fri, 30 Jan 2004 23:48:21 -0000 From: Robert R. Radil Subject: Re: "I Love You More Than You'll Ever Know" I just checked the CD last night. That *had* to be it. I must have quickly glanced at the label and played the first cut I saw, not realizing the CD has 2 versions, unlike my copy of the LP. Bob Radil -------------------[ archived by Spectropop ]-------------------
Message: 15 Date: Fri, 30 Jan 2004 15:56:40 -0800 (PST) From: Paul Bryant Subject: Re: Weirdly grooved records Tom Taber wrote: > I'm looking for more examples of records that had > two or more grooves on a side How about "Jimmie Rodgers' Puzzle Record" released circa 1932? A 78 rpm single (obviously) with two or three grooves, just like the somewhat later Monty Python album. Jimmie was a weird groove pioneer as well as a country music pioneer. pb -------------------[ archived by Spectropop ]-------------------
Message: 16 Date: Fri, 30 Jan 2004 19:00:13 -0500 From: Rat Pfink Subject: Re: Wyman the Songwriter Steve Harvey wrote: > While on a Stones kick I've been reading a lot of > biographies on them. "Jumpin' Jack Flash" was born > with a riff that Wyman was playing on piano when Mick > and Keef came into the room. It wasn't a case of Bill > adding a bassline to their music, but them adding > lyrics and a chord progression to his riff. And yet he > got no credit. If he had not started with that riff > there would have been no song. I you read that in one of Wyman's own books I wouldn't put too much faith in it. The general concensus is that his memory of past events doesn't quite jive with reality... -------------------[ archived by Spectropop ]-------------------
Message: 17 Date: Fri, 30 Jan 2004 16:01:47 -0800 (PST) From: Paul Bryant Subject: Re: Same Song? Mike McKay wrote: > 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 have a theory that Green Onions is the same song (tune) as Wipe Out, and the latter is DEFINATELY the same as The Ox (an instrumental on The Who's first album) and probably the same also as Hanky Panky. Or the other way round. Anyone tell me I'm wrong? pb -------------------[ archived by Spectropop ]-------------------
Message: 18 Date: Fri, 30 Jan 2004 16:21:00 -0800 (PST) From: Paul Bryant Subject: Cilla Black vs. Dionne Warwick Previously: > ...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!] I hesitate to say this, in fact here goes my credibility right now, but Cilla's version of Alfie is loads better than Dionne Warwick. It's because she's a worse singer. This masterpiece of a song is the 60s pop equivalent of a Shakesperian monologue. The character singing the song is a not unintelligent but slightly naive young woman trying to work out some profound, difficult moral problems (question - which other 1960s pop song fits that description? Answer - The Shoop Shoop Song!!). Hal David gets the tone of the lyric absolutely right - "something even non-believers can believe in" is an inspiration. The naivete appears right at the end - "when you walk let your heart lead the way, and you'll find love any day" - yeah, sure. She kind of knows that's stupid but she wants to go on believing it anyhow. She wants to be the kind of person who does believe it even though she knows that by now she probably isn't. And Cilla absolutely captures this, in a way that Dionne so absolutely doesn't, with her unaffected vocal perfectionism. There you go. Next week : why Lulu was better than Aretha Franklin. pb -------------------[ archived by Spectropop ]-------------------
Message: 19 Date: Sat, 31 Jan 2004 01:23:51 -0000 From: Bob Celli Subject: Bobby Vee CP, I first met Bobby Vee at the Saints and Sinners club in Mayfield Hts, Ohio in 1973, right around the "Sunny Day" time period. I had a chance to chat with him before the show and he updated me on what he had been doing since I lost track of him around 1970. I was surprised when he told me that he had released "Signs" as a single. He explained that it was the "B" side of the Five Man Electrical Band's single and Dallas Smith (who produced both acts at the time) thought it might be a good song for him to do. Well you know the rest of the story. The song caught on for Five Man and was a huge hit. He did go on to tell me that a few of the Five Man Electrical Band members played on the Sunny Day album, Les Emmerson, Ted Gerow et al, and a very interesting story involving comedian Steve Martin. There was a song on the album called "Hayes" which called for a Banjo player. Steve was friends with the Nitty Gritty Dirt Band at the time and they asked Bobby to audition Steve for the part. Bob said Steve was a good player but the song just wasn't suited for his style of playing so they didn't use him. Steve was much better suited to comedy as we all soon found out! Btw, Bobby did perform Bucky Wilkin's "My God And I" and "Hayes" at that show and did a great job on them. You also mentioned "Every Opportunity". Bobby told me that the guys from the FMEB did the background vocals on that track and that he felt they were one of the tightest vocal groups he'd ever used. Bob -------------------[ archived by Spectropop ]-------------------
Message: 20 Date: Sat, 31 Jan 2004 01:27:56 -0000 From: Bob Celli Subject: Question for Al Kooper - "Fly Away" Al, I was wondering if you did the demo on "Fly Away" and if you remember the circumstances on how Bobby Vee ended up with the song. As I mentioned in another post, "Fly Away" was one of the highlights of the "Look At Me Girl" lp and in my opinion showed just how versatile Bobby Vee was as a recording artict. Bob Celli -------------------[ archived by Spectropop ]-------------------
Message: 21 Date: Fri, 30 Jan 2004 19:31:41 -0600 From: Dan Hughes Subject: Re: Elvis Sun Session tapes Mike sez (of the Elvis tape): > ...but there are plenty of artifacts on display at the Rock 'n' Roll > Hall of Fame (guitars, articles of clothing, etc.) that are well beyond > any useful life. Nevertheless, they remain intact, as opposed to being > hacked to pieces for profit. But Mike, let's look at it from the other side: You speak of the public being cheated. Not at all! Let's face it, what percentage of Elvis fans will ever go to Cleveland when they've got Graceland in a much prettier state? I live just two states away from Cleveland, and I doubt that I'll ever make the trip. Well, do the math! If the tape is a standard 7-inch reel, it has 1200 feet of tape. When cut into 2-inch lengths, it will supply 7,200 museums! Now with equal distribution (which admittedly can be tricky), you have 360 genuine Elvis tape shards for each state in the union! So nobody would have to drive very far to visit one of them. Doesn't that make a lot more sense than to keep the whole thing in one place where nobody wants to go anyway? Incidentally, news reports said a 2-inch strip will sell for 270 pounds, which is about $500.00. Okay, 500 bucks times 7,200 two-inch strips equals somewhat over 3 1/2 million dollars. Certainly even Cleveland wouldn't have paid that much! Hacked to pieces for profit? How dare you make that accusation! I mean, if that was their game wouldn't they have gone for, say, half-inch strips? Still plenty big enough to see, even from the back of a small crowd, and they'd make $14 million. And if they put a 1/8 of an inch square piece of tape on Collectors cards (like baseball cards with bat slivers) they would make $56 million. I think this proves profit was not a consideration. Now if I could just get ahold of Rolf Harris' tanned hide..... ---Dan -------------------[ archived by Spectropop ]-------------------
Message: 22 Date: Fri, 30 Jan 2004 19:40:47 -0600 From: Dan Hughes Subject: Pearly & the Grass Roots Mike sez: > ... that song [Days of Pearly Spencer] was a hit in New Zealand - > in 1967. It was done by a local band called the Avengers.... Just to be a completist, it was also on the third (think it was the third) Grass Roots album, Feelings. ---Dan, who suspects ringers were substituted for the real Grass Roots after the third album, when they switched from cutting-edge Sloan/Barri folkrock to poppy fluff.... -------------------[ archived by Spectropop ]-------------------
Message: 23 Date: Sat, 31 Jan 2004 04:32:44 -0000 From: Michael Edwards Subject: Mina Julio writes: > I think I have (Mina's) Spanish version of "Grande, Grande, > Grande" somewhere. Personally, I donīt like it very much, > it is too seventies style for my taste, but I can play it to > musica if you are interested. Yes I am > 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. I do not have any of these so please bring them on. You are a very fortunate man, Julio, to have so many of Mina's recordings. One other Italian song recorded by Julie Rogers: "Tar And Cement" on UK Philips in 1968. One other Italian song not yet mentioned: "Volare" by Bobby Rydell on Cameo from 1960. Mike -------------------[ archived by Spectropop ]-------------------
Message: 24 Date: Fri, 30 Jan 2004 23:03:21 -0800 From: Javed Jafri Subject: Re: Monkees / 6Ts TV songs previously: > 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 'the Canadian "She Hangs Out"' mean? Did this killer "Pisces, > Aquarius ..." kickoff chart in Canada? Or am I, like, WAY off? Clark Besch answered part of your question but let me just add that She Hangs Out reached # 1 here in Toronto as the B-side to A Little Bit Me. A great double-sided hit for the Monkees in the early spring (?) of 1967. Javed -------------------[ archived by Spectropop ]-------------------
Message: 25 Date: Sat, 31 Jan 2004 01:49:59 -0000 From: Trevor Ley Subject: Re: Cigarette Jingles previously: > 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. John Fox: > It should be catchy--it's to the tune of "La Bamba"! It was Benson & Hedges....still smokin' 'em. Trevor Ley (koff, koff!) -------------------[ archived by Spectropop ]-------------------
SPECTROPOP - Spectacular! Retro! Pop! End

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