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Spectropop - Digest Number 1319

               SPECTROPOP - Spectacular! Retro! Pop!

There are 14 messages in this issue.

Topics in this digest:

      1. Days of Pearly Spencer
           From: Frank Murphy 
      2. Al Kooper; A workable idea?; mash-ups; Judy Mayhan; Homburg; Funhouse; more
           From: Country Paul 
      3. Re: Monkees
           From: Dan Hughes 
      4. RE: Oddly Grooved Records
           From: Frank Murphy 
      5. Re: Uni-chord songs
           From: Susan 
      6. Re: Feldman, Goldstein & Gottehrer
           From: Eddy" 
      7. Re: The Beat Goes On/Uni-chord songs
           From: Rob Stride 
      8. P.J. Proby - Didn't Give a Damn
           From: Mark Frumento 
      9. Re: Songwriting credits
           From: Al Kooper 
     10. Re: Beatles on SNL/One-chord songs
           From: John Fox 
     11. Re: A rummage through the vaults of Cameo/Parkway Records
           From: Dan Hughes 
     12. Re: musical epochs/Golden Age theory
           From: Paul Bryant 
     13. Re: Dylan - boos at Newport
           From: Al Kooper 
     14. Re: Question about "Without Her"
           From: James Botticelli 

Message: 1 Date: Sat, 31 Jan 2004 10:57:33 +0000 From: Frank Murphy Subject: Days of Pearly Spencer Hate to be a fly in your ointment - but that song was a hit in New Zealand - in 1967. It was done by a local band called the Avengers - got to Number 4 in our national charts at the end of that year. Mr.. Almond was the SECOND to have a hit with that song: the opinions of (xenophobic ;) Poms aside... lol Mike Stachurski, Librarian-in-training DUNEDIN, NZ Thank go we have a librarian on line to keep us all right. I humbly apologise for forgetting to place "UK" before "charts" thus leading people to believe the song "Days of Pearly Spencer" had never been a hit in any of the major record markets of the world. Would I be right in assuming that the measly sales figures David McWilliams achieved in the UK if transferred to New Zealand would have made his version the biggest seller of the decade in Australasia? Mike even in jest "xenophobia" is not appropriate ,"narrow-minded", lacking in world vision, maybe. G'day FrankM -------------------[ archived by Spectropop ]-------------------
Message: 2 Date: Fri, 30 Jan 2004 22:51:54 -0500 From: Country Paul Subject: Al Kooper; A workable idea?; mash-ups; Judy Mayhan; Homburg; Funhouse; more Al Kooper: > one of the greatest tracks of all time I Keep Forgettin; by Chuck > Jackson, a Leiber-Stoller composition/production, arranged by Burt > Bacharach! Al, my tied-for-fave (with "Any Day Now") Chuck Jackson record - thank you for mentioning it. Jackson's intensity is overwhelming in this one. ("I Wake Up Crying" is close to the top, too.) And thank you too for your personal postscript to Emitt Rhodes' sad tale. At least you have a happier ending - so far. (Happier, yes; ending, not yet.) This brings up a question: If, as Al says, "If ya dont expect anything, you're never disappointed," what would it take to start up a record company and get the work of some of our established but overlooked artists out there? (Or new people who would appeal to a similar audience?) I'm not suggesting competing with the majors for rack space at K-Mart, but does anyone here know if there are any distribution and promotion avenues still available for folks "past 30" who aren't expecting their next million-seller but don't mind selling a coupla thousand records as opposed to having nothing out there? I know there are a few Triple-A radio stations (Adult Album Alternative) but too many of those, even the better ones, have the handprints of consultants all over them. On the other hand, if one could get to the decision-makers at those stations - whether consultant, music director, or whoever - and get some exposure, as well as have some way to get product into the kind of stores music-aware adults would patronize.... Well, you see the dream. Is it a possible one? Or has our market become "just press 1000 CD's and stick 'em on your website and CD Baby"? Opinions are of course welcome, but rather than just rosy dreamers - which most of us probably are - I'd like to hear the opinions of people who might have factual answers. Have any of you tried something like this? With what results? Deena J Canale, re: Brian Wilson "mash-up": I had a little trouble with the "marriage of 'I Just Wasn't Made For The Backseat of My Car," although I love the title. On the same page is a mash of Abba and (since they wrote it this way, I will too) E*** & The B******) which does work to my ears, as does "Paperback Believer" . Where do you find these things?!? Fun, fun, fun. Dr. Mark recommends Charles Hill's "Great articles that all record collectors here not familiar with yet should check out." Also artists who are unfamiliar, Judy Mayhan being one very significant one. I second Mark's recommendadion. Also, kudos to list member Peter Kearns, who has created a very respectable version of Procol Harum's "Homburg" with his brother Terry channeling Gary Brooker's voice to quite an extent. It's one of the best Procol Harum songs ever, IMO. Bob Radil: > That just reminded me of another example. Back in 1978 someone > noticed that if you take the LP of "Imaginary Lover" by The > Atlanta Rhythm Section and play it at 45rpm, the lead singer > sounds a bit like Stevie Nicks! Someone told me that one station > actually played it on the air that way! Seriously, my college radio friend, Dave Ogden (who I mentioned in an earlier post), told me that an instrumental 45 by The Roosters (really Herb Alpert) on Felsted, "Funhouse" (possibly 1960 or 61) was a hit in Pittsburgh played at 33. He even showed me his copy which had printed on the label at about a 45-degree angle "A hit when played at 33rpm." Short & sweet... Phil Milstein: > You cats think Tuesday Weld was a bad singer? I've got news for you, > she was a regular Dionne Warwick compared to Patty Duke. Phil, I'll grant that "I'll Plant My Own Tree" is excruciating, but (1) Patty/Anna is belting with a voice designed for far quieter music and (2) she's always at least within a quarter tone of the note - at least a quarter closer than Tuesday at any given minute! Thanks for posting this track - I think! :-) Phil again: > I don't mean to start another thread here, but I am curious to know > if I'm the only dingaling who saves record co. stickers from the > covers of sealed CDs and LPs. No you're not - assuming it's something other than the price tag! Alan Zweig suggested Some of us may relate to this? Darn right! Required reading for collectors, if a bit overheated. I once worked at a radio station that tried filing Jefferson Airplane under "A"." Big mistake. "Superoldies" asked about Gary Stites, who had "Lonely For You" on Carlton (1959). I only found one biographical note here: . There's a citation for a website for one Sammy Hall, a minister; the Google sample reads: "This marks the first time Gary Stites takes a producer's credit on a Birdwatchers single. ... Gary Stites recycled 'She Tears Me Up' for the flip of this as well." However, the website is under re-construction, and the document with this reference is gone. (The Birdwatchers are also referenced in Fuzz Acid & Flowers.) Last but never least, John Clemente: thank you for your thoughtful comments on the fading of girl groups (bad material, indeed!), the continuation of doo-wop in New York, and the coming of the Beatles. Wish I'd seen it before I posted my ramble on the topic. Oh, Denise Doobedoo (that *was* her last name, wasn't it?), Country Paul -------------------[ archived by Spectropop ]-------------------
Message: 3 Date: Sat, 31 Jan 2004 02:05:01 -0600 From: Dan Hughes Subject: Re: Monkees Jim asks: > Anyone recall almost forgotten Monkees song called "I Wanna be > Free"? Not sure if was a "B" side or an LP track. I do remember an interview with the writer (don't remember who it was), saying that they took the title line from Roger Miller's "One Dyin' and a Buryin'": One dyin' and a buryin', One dyin' and a buryin'. Some cryin', six carryin' me, I wanna be free." ---Dan -------------------[ archived by Spectropop ]-------------------
Message: 4 Date: Sat, 31 Jan 2004 11:05:37 +0000 From: Frank Murphy Subject: RE: Oddly Grooved Records Joe Nelson wrote: > An even more interesting concept would be a 12" > single with different mixes of the same song on seperate grooves. The > casual listener would have no way of controlling which mix got played. > The MAD disc is a variation on this idea. This is off the top of my head but i am sure Robin Scott AKA "M" of Pop Muzik fame released such a 12" with two grooves on one side. Frankm reflections on northern soul Saturdays at 14:30 or listen now -------------------[ archived by Spectropop ]-------------------
Message: 5 Date: Sat, 31 Jan 2004 09:02:21 EST From: Susan Subject: Re: Uni-chord songs > "The Trip" by Donovan? "Smokestack Lightnin'" by Howlin' Wolf? "Coconut" by Harry Nilsson - one great big C chord! Susan -------------------[ archived by Spectropop ]-------------------
Message: 6 Date: Sat, 31 Jan 2004 14:46:40 +0100 From: Eddy" Subject: Re: Feldman, Goldstein & Gottehrer Glenn wrote: > One of my favorite songwriting stories is about this > song. "Goldmine" magazine interviewed the three... Glenn, I have that issue of Goldmine right here and I quote: "Feldman wrote the song after visiting a sweet shop across the street from Lincoln High School. "We used to cut classes and hang out, have egg creams and pretzels, you know," Feldman says. "Now it's five years later and I hear they were tearing it down and building apartment houses. So I came back for a final egg cream and to say goodbye to those people. "There's a girl screaming at somebody, 'My boyfriend's back and you're gonna be in trouble. You've been saying things about me in school that aren't true, and when he gets back, he's going to kick the $hit out of you.' I grabbed a napkin and started writing what she was saying. Thyat night I went back to Manhattan, got together with Jerry and Richie and said, 'I heard a great song today.' We wrote the song that night. We didn't finish it until about three months later, because we couldn't get one line down : 'If I were you I'd take a permanent vacation.' That line took us three months." The story does continue however on how FGG wanted the song to be recorded by the Angels and April Blackwood wanted it for the Shirelles, which may account for a possible delay. In any case there is no clear date or even year mentioned in that passage. As for the Tommy James quote, I went through the entire interviews and I do not see this mentiojed anywhere. So... maybe it was in another issue or magazine altogether ? Eddy -------------------[ archived by Spectropop ]-------------------
Message: 7 Date: Tue, 31 Jan 2023 14:00:18 -0000 From: Rob Stride Subject: Re: The Beat Goes On/Uni-chord songs 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. Phil C: > "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. "Land of a Thousand Dances" is all over one chord, as is "Papa Was A Rolling Stone". You've got to be good to write a song with one chord and make it work as well as those two. IMHO Rob Stride -------------------[ archived by Spectropop ]-------------------
Message: 8 Date: Sat, 31 Jan 2004 14:39:59 -0000 From: Mark Frumento Subject: P.J. Proby - Didn't Give a Damn I asked about this song last week and Martin Roberts pointed me to the Proby fan club to get more information. Thanks Martin. Thought I'd play the track to musica in case 1) anyone would like hear it and 2) anyone can help determine if it was ever released. The backing was provided by the British beat/harmony sextet The Quiet Five. That's all I know about it so far. We'll, that and the story Kris Ife (lead singer and guitarist for the Q5) told me... apparently Proby had a touch of whiskey before this performance and infected the vocal booth with spit. Kris was up next to record one of his tracks and opted to use another microphone. Enough said. You get the picture. Mark F. -------------------[ archived by Spectropop ]-------------------
Message: 9 Date: Sat, 31 Jan 2004 09:43:19 EST From: Al Kooper Subject: Re: Songwriting credits Alan Zweig: > (Wouldn't it be funny if Al Kooper informed me now that he > also played on Buddy Greco's version?) Anyway I don't want > to make it seem like I'm undervaluing the many unique and > brilliant contributions of musicians. But I just don't > think songwriting credit is the way to acknowledge that. Buddy Greco never did and never will have any idea who I am. But thanks AZ for seeing the way it is in songwriting ? AK -------------------[ archived by Spectropop ]-------------------
Message: 10 Date: Sat, 31 Jan 2004 09:40:16 EST From: John Fox Subject: Re: Beatles on SNL/One-chord songs Phil Milstein writes: > Michaels's cash offer was for something like $25,000, maybe even less. Phil, to clear up your foggy memory, the offer was for $3,000. And in one of the great lines of all time, Lorne then offers this: "You can split it up any way you'd like. If you want to give Ringo a little less, it's up to you." And regarding one-chord songs, how about any single by the Temptations, starting in mid-1968? John Fox -------------------[ archived by Spectropop ]-------------------
Message: 11 Date: Fri, 30 Jan 2004 19:45:47 -0600 From: Dan Hughes Subject: Re: A rummage through the vaults of Cameo/Parkway Records Other favorites from the catalog-- I (Who Have Nothing) and Mister You're A Better Man Than I (two different singles? Can't remember)--Terry Knight & the Pack--Lucky 11. East Side Story--Bob Seger & the Last Herd. By the way, I always wondered if Seger's group name was a joke or just a stupid mistake? I mean, I wonder how many stations passed on their records because when the DJ announced the group the audience would hear "Bob Seger and the Last Turd." ---Dan -------------------[ archived by Spectropop ]-------------------
Message: 12 Date: Sat, 31 Jan 2004 06:53:36 -0800 (PST) From: Paul Bryant Subject: Re: musical epochs/Golden Age theory 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. Not always the case that you love the music you grew up with best, as I also love the incredible decade of American folk and blues from 1925 to 1935, and there are of course a zillion early jazz fans out there. But I recall the answer to the question: When was the Golden Age of Science Fiction? Answer : 14. I bet Spectropop has discussed this before, but me & my pals have often wagged our heads over whether there really has been a terrible decline in pop music from (say) the 80s onwards, or whether it's merely that we got older. As I tend to reject all other Golden Age theories ("In my young day you could leave your door unlocked and everyone knew their neighbours" - that kind of thing) I had been wavering towards rejecting my Golden Age of Pop beliefs too, & then came Ian Macdonald's Revolution in the Head which includes a fearsome attack on the pop music of the 90s and charts the decline since the 60s in no uncertain terms (citing melody, rhythmic inventiveness, eclecticism, experimentalism, etc etc). So since I have him on my side I'll say yes, I do believe the 60s were the peak of recorded pop music (let's say circa 1955 to circa 1975 to be reasonably inclusive) and since then, the triumph of style over substance (and that's being kind). pb -------------------[ archived by Spectropop ]-------------------
Message: 13 Date: Sat, 31 Jan 2004 10:03:55 EST From: Al Kooper Subject: Re: Dylan - boos at Newport Paul Bryant wrote: > Hey, Al - it just occurred to me to ask - did YOU > boo Dylan at Newport?? Dylan at Newport simple stuff I was onstage. Every act over the weekend played 40 mins - 01 hour. Most people came to see King Dylan and "tolerated" the other acts; it least it seemed that way to me. Chambers Bros. played electric, no booing. Butterfield played electric - no booing. We played a 3 song, fifteen minute set as the headliners of the festival. We didnt play particularly well either and the sound balance was indeed dreadful. Now THERE'S some stuff to boo about. I heard more yells of MORE! than I heard boos. Bob cam back and played on acoustic guitar "Its All Over Now, Baby Blue" Now that was what I thought was the most dramatic number. He basically said goodbye to Newport acoustically. All the other b.s. about booing Bob going electric was promulgated by the press. When we next played Forest Hills. Like A Rolling Stone was number one. They all sang along when we played it and then booed when it was over. Then we played the Hollywood Bowl and there was nary one boo in that whole show. I began to understand how much hipper the westcoast was than the east at that time. Ergo, the westcoasters got a better show Al Kooper -------------------[ archived by Spectropop ]-------------------
Message: 14 Date: Sat, 31 Jan 2004 10:04:19 -0500 From: James Botticelli Subject: Re: Question about "Without Her" Robert R. Radil wrote: > 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? Wasn't "Without Her" on that LP? That's a great one as well. Personal fave at this address. James Botticelli -------------------[ archived by Spectropop ]-------------------
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