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Spectropop - Digest Number 1318

               SPECTROPOP - Spectacular! Retro! Pop!

There are 25 messages in this issue.

Topics in this digest:

      1. Upcoming Eric CDs
           From: Michael Edwards 
      2. Songwriter credits; Cool for Cats; Paul Evans; Bobby Rydell; short subjects
           From: Country Paul 
      3. Re: Who played bass
           From: Steve Harvey 
      4. Apollas and the Flirtations
           From: James 
      5. You Left the Water Running "tell the truth"
           From: Frank Murphy 
      6. Buddy's Picks
           From: Steve Harvey 
      7. David Bromberg
           From: Steve Harvey 
      8. Re: Twist and Shout
           From: James Botticelli 
      9. Cilla Black
           From: Michael Edwards 
     10. Re: Weirdly grooved records
           From: Eddy 
     11. Re: D.W. Washburn
           From: Jon Cook 
     12. Re: Cigarette Jingles
           From: James Botticelli 
     13. Re: European language versions
           From: Eddy 
     14. Re: Pearly Spencer
           From: Frank 
     15. Re: The Beat Goes On
           From: Phil Chapman 
     16. Re: Feldman, Goldstein & Gottehrer
           From: Glenn 
     17. Uni-Chord songs
           From: Norm D. Plume 
     18. Re: Awesome group names
           From: Paul Bryant 
     19. Re: Uni-chord songs
           From: Ian Chippett 
     20. UK engineers
           From: Frank Murphy 
     21. Musical Monologues
           From: Chris 
     22. Re: More On Commercial Music
           From: TD 
     23. Re: musical epochs
           From: Peter Kearns 
     24. Re: Feldman, Goldstein, and Gottehrer
           From: Trevor 
     25. Re: Wyman the Songwriter
           From: Richard Havers 

Message: 1 Date: Sat, 31 Jan 2004 04:50:22 -0000 From: Michael Edwards Subject: Upcoming Eric CDs Clark writes: > 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 > Excellent message, Clark. Very timely too, following the Team's request to "keep it 60s". Next time you talk to Bill, please ask him to limit the inclusion of titles already out on other CDs (Colpix recordings for example). Better still; let's hope he involves you in the project. Those sleeve notes you wrote for Varese's American Breed CD were pretty good. Bill Buster? Nice name for a guy. Very manly sounding. Mike -------------------[ archived by Spectropop ]-------------------
Message: 2 Date: Fri, 30 Jan 2004 23:54:56 -0500 From: Country Paul Subject: Songwriter credits; Cool for Cats; Paul Evans; Bobby Rydell; short subjects Al Kooper, Re: Songwriter Credits > Here's a piece I wrote for EQ magazine...,"A Defining of > Terms - Who writes the songs the whole world sings?" Excellent, Mr. K. I'm with you all the way, and especially re: sampled material. But we all know how many moves by producers, label owners, and others were made to attach their names to records. It's sad that this is how this industry operates - or at least operated. Austin Powell: > Kent Walton...also presented the late night pop show > on commercial TV "Cool For Cats". I never knew that - that explains the album title by Squeeze! Thanks, Austin. ACJ, re: questions for Paul Evans: > "Summer Souvenirs", a tune you co-wrote with J. Krondes > and a single by one Karl Hammell, Jr. Any memories of > that song or that record? Paul, I was joing to mention that too, as Karl Hammel, Jr., came (I believe) from my home town of New Rochelle, NY. (Or was it co-writer Jimmy Krondes?) I also wanted to ask if you had any info on your labelmates on Guaranteed, The Nelson Trio, whose semi-hit, "All In Good Time," featured a tuba solo! Thanks in advance! Steveo: > With all due respect, I think Bobby [Rydell] was kind of a > lounge singer, and I couldn't imagine him performing WWL like > Peter and Gordon! My only regret is that I didn't see it! Agreed - he sounded most at home on "Volare" to me; I always felt as though he was goofing on his earlier "teenage idol" hits. But: Go back to the first outing, "Kissin' Time" - there's real rock and roll going on there, despite the corny lyrics. (Listen to the way he phrases "sweeter than wine and it feels so fine.") Great instrumental track, too. Short subjects: Mark T., from purchasing experience and talking to folks who know, you're right about Ed Engel and Crystal Ball Records: as a rule, espect good taste, bad tech. Re: fake skipping records, didn't the Bonzo Dog Band's "Slush" end with a real skip manufactured into the last groove? Mike McKay, re: bad singing: > you owe it to yourself sometime to hear "The Parakeet Polka" > by Audrey Williams.... I'd love to, but the other lists I'm on don't have a musica equivalent. From all I've heard, she should probably be posted on the Outsider Music list, except she was married to one of the most "inside" country guys of all time. Thanks: Phil Milstein for the amazing Hy Zaret article; Dr. Mark for the comments and compliments; and everyone for putting up with my after-the-fact posts since I'm so frequently so far behind! Steve Harvey, re: the Beatle Myth: > Shifts happens! You've been waiting to say that all year - right? :-) Austin Roberts: > There were 7 Beatles, weren't there??? Bob Radil: > Of course! John, Paul, George, Ringo, George Martin, > Billy Preston, & Billy Shears! And don't forget The > Five Seasons, Autumn, Winter, Summer, Spring, & Fall! ...and the Six Stooges: Eeenie, Meenie, Miney, Moe, Larry and Curly! (Actually, there was a 7th - Iggy.) Country Paul (who has obviously been at this too long!) -------------------[ archived by Spectropop ]-------------------
Message: 3 Date: Fri, 30 Jan 2004 21:01:34 -0800 (PST) From: Steve Harvey Subject: Re: Who played bass Joe Nelson: > The great book The Who - Maximum R&B shows a news > clipping whose caption reads to that effect, > accompanied by a pic taken in the studio of Pete on > guitar and Roger Daltrey on bass. So who can tell? I doubt that Daltrey ever played bass on anything, although he does play guitar. Sounds like it was a staged photo for the press. Steve Harvey -------------------[ archived by Spectropop ]-------------------
Message: 4 Date: Fri, 30 Jan 2004 23:37:55 -0000 From: James Subject: Apollas and the Flirtations Hi, I have been searching for a chart peak and/or information regarding the Appolas' "Mr. Creator". I know it charted, but not where. It is not TOP 100 pop or R&B. It "bubbled under" the R&B charts in 1967 and possibly the Cashbox Charts in top 100 in 1967, but I am not as sure on this one. Can anyone supply me with a peak number? Also, The Flirtations were a classic northern soul girl group who had two pop hits "Nothing But A Heartache" (#34) and "South Carolina" (#111 pop) in 1969. They also charted big in New Zealand, does anyone know with which songs, when and how far they got. Also I heard they were big on Cashbox (especially in 1970 with "Keep On Searching"). Again, which songs, when and a peak date. Thanks to all that help me answer. I am trying to help make a bio for the Flirtations on the "Girl Group Chronicles" the web-site. I am also the moderator for the small group Flirtationsuk which is dedicated to the awesome female Flirtations. Thanks, James -------------------[ archived by Spectropop ]-------------------
Message: 5 Date: Fri, 30 Jan 2004 19:42:16 +0000 From: Frank Murphy Subject: You Left the Water Running "tell the truth" Now here's a tale of mystery and imagination from Big O distributors at Are you sitting comfortably? Now let us begin..... THE HISTORY The story is said to be one of chance, talent and destiny. Otis Redding had always wanted to be a performer. In the early sixties, he was doing any odd-job he could just to be around recording artists and studios; for a while he even chauffeured for a musical group. While at Fame Recording Studios (Muscle Shoals, Ala.) he would sweep, clean-up around the studio, whatever was needed. He was refilling a soda machine outside of a demo room where Dan Penn (producer The Box Tops, Percy Sledge) was recording a demo of one of his own songs, "You Left the Water Running". Not satisfied with how the song sounded, he thought that it would fare better as a soul production. He stepped outside of the room and called Otis over to see if he would like a chance to record the song. This 45 is the result of their meeting. THE PATH The demo was put aside and forgotten. Otis (now with the band he recorded this demo with) went on to a historical recording career. Otis died at the age of 26 in a plane crash in 1967, three days after the release of (Sittin' On) The Dock Of The Bay. Dan Penn came across the demo in the seventies, and, having been very close to Otis, wanted to have the single released to the public. Jim Crudgington of Hotline Record Distributors (Memphis, TN) entered into an agreement with Stone Records (Baton Rouge, LA) and formed Big-O Distributors to release Otis Redding's only unreleased single, You Left the Water Running. Mastering was done at Mastercraft (Memphis, TN) by Howard Craft who mastered all of Otis Redding's records. Fifty-thousand 45's were pressed at Plastic Products (Cold Water, MS just south of Memphis). The record was shipped nationwide to distributors around the country, but, got little air-play. The bulk of the records that were not sold were returned and crushed for recycling. A small quantity (about 2,000) of these 45's were discovered in an old record shop in south Louisiana and are now presented for sale by Big-O Distributors. Frankm reflections on northern soul Saturdays at 14:30 or listen now -------------------[ archived by Spectropop ]-------------------
Message: 6 Date: Fri, 30 Jan 2004 21:08:01 -0800 (PST) From: Steve Harvey Subject: Buddy's Picks David Coyle wrote: > 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. Glad to hear somebody else finds the Picks as annoying as I did. Every time I listen to them it reminds me how great the Jordanaires were. What's with that weird sound overdubbed at the beginning for "Learning The Game"? Sounds like somebody switching a piece of cardboard over the guitar strings. -------------------[ archived by Spectropop ]-------------------
Message: 7 Date: Fri, 30 Jan 2004 20:10:28 -0800 (PST) From: Steve Harvey Subject: David Bromberg David Bromberg nows lives in my old hometown of Wilmington, DE. The city made a deal with him to sell a building cheap if he'd fix it up. Of course it's costing him an arm and a leg to fix it, but he has his own violin shop right on the main street in town. -------------------[ archived by Spectropop ]-------------------
Message: 8 Date: Sat, 31 Jan 2004 00:14:29 -0500 From: James Botticelli Subject: Re: Twist and Shout Mike McKay wrote: > 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. And I noticed Bowie quoted latter on "Let's Dance", now a staple of "classic rock" radio..... JB/stuck inside a Mercury with the classic rock blues again -------------------[ archived by Spectropop ]-------------------
Message: 9 Date: Sat, 31 Jan 2004 05:07:40 -0000 From: Michael Edwards Subject: Cilla Black Paul starts this: > 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. John Love responds:. > 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. Nothing wrong with that. Many "unhip" artists have some great recordings in their catalogs. A member recently mentioned Pat Boone's "Beach Girl", which is far superior to the Rip Chords' version on their "Three Window Coupe" album. Martin posted Frankie Vaughan's "Wait" to musica and what a blast that was. (Thanks for letting me know who did the original version, Martin.) Back to Cilla: a song I'm playing a lot is "Is It Love", the UK b-side of "You've Lost That Lovin' Feelin'" (1965). It was the title and lead song on her first US album. She also sang it in the film, "Ferry Cross The Mersey" though it didn't appear on the soundtrack LP. She doesn't yell loudly on this one; it's mellow all the way through and quite dreamy. Mike -------------------[ archived by Spectropop ]-------------------
Message: 10 Date: Sat, 31 Jan 2004 07:56:59 +0100 From: Eddy Subject: Re: Weirdly grooved records Tom Taber: > 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. M's Pop Muzik was done this way on the 12inch version. Eddy -------------------[ archived by Spectropop ]-------------------
Message: 11 Date: Sat, 31 Jan 2004 02:27:53 EST From: Jon Cook Subject: Re: D.W. Washburn Couldn't one of the reasons for this single be attributed to the 'Vaudeville/'20s' fad that had sprung up in the wake of 'Winchester Cathedral'? Not sure how long that lasted but it was a real preoccupation for at least a year or so. When was D.W. Washburn? If it was early '68, that would put it within range of that interest. I'm speculating, though. Jon Cook -------------------[ archived by Spectropop ]-------------------
Message: 12 Date: Sat, 31 Jan 2004 00:16:08 -0500 From: James Botticelli 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"! "The Disadvantages of 1-4-5 Cliches" JB -------------------[ archived by Spectropop ]-------------------
Message: 13 Date: Sat, 31 Jan 2004 08:11:46 +0100 From: Eddy Subject: Re: European language versions Julio Niño: > 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. Actually, the original of that one was done as an instrumental by Paul Mauriat, who also wrote it under the name Del Roma. Petula Clark did indeed do the first vocal version, with lyrics added by Jacques Plante. English lyrics were provided by Arthur Altman and Norman Gimbel and the first English-language version was done by Little Peggy March as I will follow him. Eddy -------------------[ archived by Spectropop ]-------------------
Message: 14 Date: Sat, 31 Jan 2004 09:02:30 +0200 From: Frank Subject: Re: Pearly Spencer previously: > I remember 1967 being largely made up of David McWilliams' > "Days of Pearly Spencer" and it still wasn't a hit. It was also a huge hit over here in France and still is widely known. So much so that two compilations of McWilliams songs were released lately and also in disco days a very enjoyable disco version of the song was produced. Frank -------------------[ archived by Spectropop ]-------------------
Message: 15 Date: Sat, 31 Jan 2004 08:20:01 -0000 From: Phil Chapman Subject: Re: The Beat Goes On Steve Harvey wrote: > ..."The Beat Goes On", it was just a chord pattern (and > nothing that spectacular Jon Adelson: > Actually I believe it was just one chord throughout the > whole song. Can anyone think of any other uni-chord songs? > I can't believe that there are too many. "The Beat Goes On" is sung over a bass figure that doesn't modulate, similarly "Mickey's Monkey". Marvin Gaye's "Baby Don't You Do It" is sung over one bass note. Pete Townshend said that's what interested him about the song. And, of course, the fab "Bo Diddley" is also sung over one chord. Phil C. -------------------[ archived by Spectropop ]-------------------
Message: 16 Date: Sat, 31 Jan 2004 08:21:47 -0000 From: Glenn Subject: Re: Feldman, Goldstein & Gottehrer Alan Gordon wrote: > Regarding Feldman, Goldstein & Gottehrer: > Didn't, they also write and produce "My Boyfriend`s Back"? Yes! One of my favorite songwriting stories is about this song. "Goldmine" magazine interviewed the three, and they said they had the whole song complete, lyrics and music, except for a line to follow: "My boyfriend's back, he's gonna save my reputation" And then... nothing. They couldn't come up with a line to follow that. According to the article, they were not going to be satisfied with the song until they had the perfect line to go there. According to the interview, it took them ONE AND A HALF YEARS to come up with the perfect next line, which was (as we all know) "If I were you I'd take a permanent vacation" The quote from the article, and I'm going by memory so I don't remember whether Feldman, Gottehrer or Goldstein said it, is: "'If I were you I'd take a permanent vacation' - that line took a year and a half!" Seems odd, but I can't see any reason they'd lie about it in an interview all those years later. Of course, they used to lie about being Australian... :) Then again, the timeline of a different story of the song's creation conflicts: Bob Feldman overheard a girl in a malt shop yelling at a boy and saying the exact first line, "My boyfriend's back and you're gonna be in trouble", plus "You've been spreading lies about me all over school and when he gets a hold of you, you're gonna be sorry you were ever born", and this occurence supposedly happened in 1963. Feldman went back and told his writing partners about the incident and they sat down and wrote the song. The song was released in 1963, so if that version is true then the one they told to Goldmine could not have been, UNLESS the malt shop incident actually occurred in 1962. So if anybody here actually has their Goldmine collection ORGANIZED, you can back me up on the first story. It's the March '92 issue, with Tommy James on the cover, (and if I could find the darn issue it might also resolve a controversy regarding what James once said about "I Think We're Alone Now" vs. "Mirage".) I guess most here know that Jerry Goldstein went on to produce and manage the group War, also worked with Redbone, and now runs his own record label. Gottehrer achieved great success producing "new wave" acts Blondie and the Go-Go's. And if you want to know what Feldman's up to, here's a nice link: And I finally get to say... Hey la, Glenn -------------------[ archived by Spectropop ]-------------------
Message: 17 Date: Sat, 31 Jan 2004 00:16:19 -0800 (PST) From: Norm D. Plume Subject: Uni-Chord songs previously: > Can anyone think of any other uni-chord songs? > I can't believe that there are too many. "Tomorrow Never Knows" by The Beatles, which is all in C (with a little help from George Martin as non-writer, but maybe we should put that discussion to bed now). And wasn't most of John Lee Hooker's career built around one chord? But look at what he did with it. Now, if he had only progressed to three.... Norm D. Plume -------------------[ archived by Spectropop ]-------------------
Message: 18 Date: Sat, 31 Jan 2004 00:44:38 -0800 (PST) From: Paul Bryant Subject: Re: Awesome group names Alan Gordon wrote: > How about another group from the UK called The Men > They Couldn't Hang or Stark Naked and the Car Thieves > or a group in the 60s, Dow Jones and the Industials > and my next group Pat Pending and the Trademarks! My favourite group name is The Subdudes. I never heard anything by them. I imagine their records are very quiet. pb -------------------[ archived by Spectropop ]-------------------
Message: 19 Date: Sat, 31 Jan 2004 03:58:18 EST From: Ian Chippett Subject: Re: Uni-chord songs Jon Adelson wrote: > Actually I believe it was just one chord throughout the whole song. > Can anyone think of any other uni-chord songs? I can't believe that > there are too many. "The Trip" by Donovan? "Smokestack Lightnin'" by Howlin' Wolf? Ian Chippett -------------------[ archived by Spectropop ]-------------------
Message: 20 Date: Sat, 31 Jan 2004 10:30:52 +0000 From: Frank Murphy Subject: UK engineers J Stewart: > I read somewhere that British producers and recording > engineers in the 60s tended to mix the bass at a relatively > low level in order to prevent the needle bouncing out > of the record groove. I don't know how true that is and, > if so, whether they were correct in their belief. In the major studios of the time sound engineers were wearing brown dustcoats and adhering to engineering principles more appropriate to industry. Therefore one did not go into the red on the VU's. They were trained to record classical music which had a wide range in both volume and frequency. Joe Meek ended up setting up his own studios after using all sorts of ruses to overcome the reluctance of UK engineers to experiment. As for needles jumping out of grooves I believe the art of cutting records, compression was not too widely thought about so it could have happened if the record had been mastered as they mastered their classical recordings. Even after Joe meek had hits the reluctance was still there. Also the juke-box market, the radio market and the availability of car radios was not as big as in the US so cutting for volume was not part of the mastering process. However the youger tape ops were listening to American productions and learning as part of their apprenticeships to become the sound engineers and producers of the sixties. FrankM reflections on northern soul Saturdays at 14:30 or listen now -------------------[ archived by Spectropop ]-------------------
Message: 21 Date: Sat, 31 Jan 2004 02:59:52 -0800 (PST) From: Chris Subject: Musical Monologues Paul Bryant [re: Alfie] > The character singing the song is a slightly naive > young woman trying to work out some profound, > difficult moral problems. I'd imagine that, given a little latitude for the phrase "moral problems", this description could apply to a lot of songs. A possible new thread? In any case, the first song that occurred to me was Randy Newman's "I Don't Want To Hear It Any More" (as sung on "Dusty In Memphis"). Any other noteworthy examples? Would, say, the Jackie DeShannon/Randy Newman "Did He Call Today, Mama" (about which I'm filled with curiosity) fit into this category? Chris -------------------[ archived by Spectropop ]-------------------
Message: 22 Date: Sat, 31 Jan 2004 07:27:33 -0500 From: TD Subject: Re: More On Commercial Music Art Longmire: In addition to the Elmer Bernstein theme from "The Magnificent Seven", there was the Marboro commercial with Julie London sliding into a limo singing, "You get a lot to like with a Marlboro". There was the Ban Deodorant commercial with the overture from "West Side Story". There were dance steps to "The Teaberry Shuffle" (chewing gum music?). You could play the Kinks "You Really Got Me" and the audience would shout back "Stronger Than Dirt". I'm not sure of the shampoo product that had "Wear Your Love Like Heaven", but because is Donovan, I'd guess it was Herbal Essence -- TD. -------------------[ archived by Spectropop ]-------------------
Message: 23 Date: Sat, 31 Jan 2004 12:44:46 -0000 From: Peter Kearns Subject: Re: musical epochs Bill George wrote: > 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. That's a good point. Life and times and memories etc definitely have an influence over the appeal of music, or any culture for that matter. As far as one period over another? Well, I narrow it down in more of a black and white way. I don't think it's really a decades thing, but sure, that's convenient as a handle and for recognition of 'trend' changes etc. But as far as I'm concerned, all music was great until overall it started to deteriorate in the late 80s. There was still some great records in the charts then. But how many do we hear today? The percentage of quality stuff being released is now the minority. And I mean this in regard to the majors and indies. I cannot include the plethora of internet or 'self' releases in this, for they suffer in a different way. The problem there is lack of quality control. There are many brilliant artists out there relasing stuff themselves but the production suffers. Just like there are many (the majority of) big budget acts signed to major labels who couldn't whistle dixie to save their own lives. But my spectro-friends; I fear I am stating the obvious! :-) Peter. -------------------[ archived by Spectropop ]-------------------
Message: 24 Date: Sat, 31 Jan 2004 13:12:29 -0000 From: Trevor 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? Ed Salamon: > 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, Thanks for the memory jog. Starngeloves is exactly why the names were familiar. I remember "Nighttime" very well. Played both songs in my band at Clarion State. Don Bombard / Bob Shannon's book has a great story on their sort of accidental meeting with Rick Derringer and his band. They had dinner at Derringer's Mom's in Dayton/Akron? ...Ohio somewhere and the plan was cooked up to rush to NY and record "Sloopy" before the DC5 could get it out. Trevor -------------------[ archived by Spectropop ]-------------------
Message: 25 Date: Sat, 31 Jan 2004 13:18:13 +0000 From: Richard Havers 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. Rat Pfink: > If 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... Hi Rat Pfink First let me declare an interest. I wrote 'Rolling With The Stones' with Bill Wyman, and he's been a friend for many years; so that definitely makes me biased. Let's not get into a debate about which of Bill's memories are correct. The Manic Street Preachers named an album "This is my truth, tell me yours", which I think that gets to the heart of much of what is written about history. Music and its place in history are no exception. There is sometimes more than one truth, and it can depend on perspective. Bill kept a diary, so I guess that helps his memory somewhat. Having said all that I think most everyone accepts that Bill was tinkering with a riff, that eventually became 'Jumping Jack Flash', on the keyboard when Mick and Keith walked into the studio; certainly Mick and Keith have never argued the toss! Bill has never claimed that he wrote the song. I have repeatedly heard him say, privately and during interviews, that he accepts that it was the way things were in the Stones. Richard -------------------[ archived by Spectropop ]-------------------
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