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Spectropop - Digest Number 1321

               SPECTROPOP - Spectacular! Retro! Pop!

There are 25 messages in this issue.

Topics in this digest:

      1. Ogden's
           From: Trevor 
      2. Re: Sergio Mendes
           From: Bill Brown 
      3. Re: Uni-Chord songs
           From: Rob Stride 
      4. Re: More On Commercial Music
           From: Glenn 
      5. Bill Sherrill Rock On Baby LP on Domino
           From: Paul Urbahns 
      6. Dionne vs. Cilla / Lulu vs. Aretha
           From: steveo 
      7. Payola
           From: Phil Hall 
      8. Wyman books
           From: Steve Harvey 
      9. DW Washburn / Monkees
           From: Mark 
     10. Rare mono albums from "The Great Mono Phase-Out of 1968!"
           From: Denny Pine 
     11. Dream World, Popcorn and Mina in musica.
           From: Julio Niņo 
     12. Flying Machine
           From: Mark 
     13. Re: Awesome group names
           From: Doug Richard 
     14. Beatles, Mike Mac photo exhibits at the Smithsonian
           From: Alan Haber 
     15. Question for Al Kooper
           From: Dan Hughes 
     16. Re: Grass Roots
           From: Dan Hughes 
     17. Re: DJ Pronunciations
           From: John Fox 
     18. Open Up Your Heart - Same A/B side in various cover versions
           From: Mark Hill 
     19. Hits You Missed
           From: Dan Hughes 
     20. Beatles
           From: Dee 
     21. Steve Tudanger
           From: Mike Rashkow 
     22. Mina / Matt Monro
           From: Michael Edwards 
     23. Songwriter credits
           From: Al Kooper 
     24. Cameo Parkway Blues
           From: Paul Urbahns 
     25. Re: Uni-chord songs
           From: Jon Adelson 

Message: 1 Date: Sat, 31 Jan 2004 15:07:14 -0000 From: Trevor Subject: Ogden's Previously: > Are you sitting comfortably? Now let us begin..... A little sidebar. Could be quoting Pink Floyd or are you quoting from the Small Faces' "Happines Stan"? About five yrs ago, a good friend gave me a few oddity LP's he didn't care about....the original packaging of "Ogden's Nutgone Flake" on Immeidate label was one of 'em. Its in absolutely pristine condition. Later ones were reissued on ABKO without all the fun stuff inside. The big line from "Itchykoo Park" was the condition that all supposed you had to be in to appreciate the second side of the album. Trevor -------------------[ archived by Spectropop ]-------------------
Message: 2 Date: Sat, 31 Jan 2004 07:22:16 -0800 (PST) From: Bill Brown Subject: Re: Sergio Mendes Phil Milstein: > Can anyone recommend a good Sergio Mendes/Brasil '66 compilation -- > preferably one still in print? Has anyone seen a press kit for the self-titled 1983 album? I would like to find a copy somewhere if it is available. -------------------[ archived by Spectropop ]-------------------
Message: 3 Date: Tue, 31 Jan 2023 15:46:27 -0000 From: Rob Stride Subject: Re: Uni-Chord songs Sorry Norm, but there are two chords in Tomorrow Never Knows, allthough the bass plays around the C the actual chords go from C to Bb. Regards, Rob Stride -------------------[ archived by Spectropop ]-------------------
Message: 4 Date: Sat, 31 Jan 2004 16:44:26 -0000 From: Glenn Subject: Re: More On Commercial Music TD wrote: > You could play the Kinks "You Really Got Me" and the audience > would shout back "Stronger Than Dirt". The mention of which takes us back in the other direction, where we go from commercial jingles becoming pop songs instead of the other way around. But I really didn't want to start a thread on that topic. I just wanted to point out that on the Doors' "Touch Me", unless my ears are deceiving me, muffled under the horns in the last four notes of the song, the Doors are actually singing "Stronger Than Dirt"! Am I right? Glenn -------------------[ archived by Spectropop ]-------------------
Message: 5 Date: Sat, 31 Jan 2004 11:49:40 EST From: Paul Urbahns Subject: Bill Sherrill Rock On Baby LP on Domino I have had fairly good luck asking the experts on this list about those usual items that are in my collection. One album issued in 1991 titled, Rock On Baby appearing on the Domino label from Austin Texas is credited to Bill Sherrell (aka Billy Sherrill the Columbia record producer of the 70s) but appears to be a collection of material from various singles. The Tracks are: Rock On Baby; Rock 'N Roll Teenager; Teen Hop Rock; Cadillac Baby; Like Makin' Love; Rules Of The Game; Kool Kat; Yes, No Or Maybe; Drag Race; and Tipsy all written by either B Sherrell or W Sherrell. Songs written by others on the Lp include Lonesome Just For You; Hear Her Rave On; You're The Beat Within My Heart; Don't You Rock Me Daddy'O; Big Windy City (written by D Bergen White and Bobby Russell of Nashville); and This Town (written by Bobby Russell). The album is illustrated by line drawings except for one photo of a drummer that looks to me like an old picture of Sandy Nelson. I can email a JPEG to anyone wanting to see it. My problem is I really don't know what the album is supposed to be. Most of the songs are written by Bill Sherrell so maybe it was intended as a collection of his songs. But some songs not written by him are included, such as the two Bobby Russell recordings I mentioned which are the original Nashville recordings by Bobby Russell. Sherrill may have played sax or guitar on these tracks but otherwise I wonder where the other songs came from and who were they originally credited to. Drag Race and Tipsy were originally issued on ABC 10465 according to my notes. Any asistance on figuring out the mysteries surrounding this LP would be appreciated. You can email me off line if you wish since this is not a "general topic" that would appeal to all. Thanks! Paul Urbahns -------------------[ archived by Spectropop ]-------------------
Message: 6 Date: Sat, 31 Jan 2004 09:19:34 -0800 (PST) From: steveo Subject: Dionne vs. Cilla / Lulu vs. Aretha Paul Bryant writes that Cilla Black performs "Alfie" better than Dionne Warwick, and that also on his next post he will explain why Lulu is a better singer than Aretha Franklin. I don't think so on the Dionne/Cilla issue. On the second issue, Lulu is a great singer, but the styles between Aretha and her are very different. Sorry Paul ;) Steveo -------------------[ archived by Spectropop ]-------------------
Message: 7 Date: Sat, 31 Jan 2004 17:35:44 -0000 From: Phil Hall Subject: Payola Dan Hughes wrote: > My theory is that the songs that were helped by payola were not bad > songs. It's just that maybe twenty good songs would be released in > one week, and payola helped determine which two or three of those > would get airplay and become hits, while the rest were ignored and > dropped into oblivion, only to reappear 40 years later to be shared > on musica. Dan, You're right about payola not helping most of the real clunkers. But since there were only a certain number of records that could be played (promoted) on any show, payola probably kept a lot of songs from doing as well as they might otherwise have. Also, other forms of payola (e.g., where the record was pressed; who got writing credits) may have decided whether or not it received good airplay and/or distribution. Payola made the playing field less level. A book that does a good job of describing the behind-the-scenes operation of payola is: "American Bandstand: Dick Clark and the Making of a Rock 'N' Roll Empire" Phil Hall -------------------[ archived by Spectropop ]-------------------
Message: 8 Date: Sat, 31 Jan 2004 09:43:18 -0800 (PST) From: Steve Harvey Subject: Wyman books Rat: > 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... It wasn't in Bill's book. Right now I'm on a Stones kick again (on since 1965) and reading everything on the band. At various times I'm reading "Old Gods", "According to the Rolling Stones", Uncut's Keith interview, Mojo's Stones tribute, and I just found the Playboy issue with Keith's interview. In at least one of those things, maybe two, the Jumpin' Jack riff-Bill Wyman connection is made. I mentioned it to prove my point that a riff sometimes deserves credit even if that's all the creator added. In that song the riff is what started it. No riff and "Jumpin' Jack" would not have resembled what we know it is today. Richard: > 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. Richard, do you know who made that fretless bass Wyman played when he started with the Stones? It pops up again in the 80s in a Willie and the Poor Boys video I have. Kinda cool that William was playing one in those pre-Jaco days. Does he know how to slap on the upright too? -------------------[ archived by Spectropop ]-------------------
Message: 9 Date: Sat, 31 Jan 2004 18:01:22 -0000 From: Mark Subject: DW Washburn / Monkees I was a huge Monkees fan and not really following any other music at the time (I was 9 in when the show premiered). I watched the show and I bought whatever records came out. But after they got rid of Kirshner, the decline was slow but steady. Valleri was a big hit but inferior to the earlier version which was not put out until the 80s legally. DW Washburn was not a good song, the flip was better although not great. The next single Porpoise Song was also weak. Can You Dig It? would have been a better choice from the Head LP. Tear Drop City was okay. The Instant Replay album was pretty bad so there weren't really a lot of choices. Maybe The Girl I Left Behind Me? Someday Man should have been the A side over Listen to the Band. The only other possible single from Present would have been Looking for the Good Times. The less said about the final LP Changes, the better. BTW, the Monkees performed Tear Drop City on the Glen Campbell Show. -------------------[ archived by Spectropop ]-------------------
Message: 10 Date: Sat, 31 Jan 2004 18:03:42 -0000 From: Denny Pine Subject: Rare mono albums from "The Great Mono Phase-Out of 1968!" Here's what I have in my collection: Incredible -- Gary Puckett & The Union Gap -- Columbia CL-2915 Jungle Marmalade -- Lemon Pipers -- Buddah BDM-1016 Birthday -- The Association -- Warner W-1733 Angel Of The Morning -- Merrilee Rush -- Bell 6020 Now, if only I could find... --The Birds, The Bees, & The Monkees -- Colgems COM-109 (Genuine mono mixes that are uniquely different from the all-too-common stereo album. Any mono foreign pressings are watered-down versions of the stereo copies) --Ohio Express -- Buddah BDM-1018 --Wake Up, It's Tomorrow -- Uni 3025 (if ever pressed in mono at all) --Beatles White Album (U.K.) -- Apple PCM-101 And speaking of Beatles, somebody told me that the mono version of Magical Mystery Tour (Capitol MAL-2835) is no different than the common stereo version. Can anyone else expand on this? Anybody else have any unique rare mono LP's from 1968? Let's hear from ya! Later! Denny Pine -------------------[ archived by Spectropop ]-------------------
Message: 11 Date: Sat, 31 Jan 2004 19:15:16 +0100 From: Julio Niņo Subject: Dream World, Popcorn and Mina in musica. Hola Everybody. Bill George wrote about musical tastes: > "...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..." Contrary to Bill, my musical taste is not related to the music I was exposed to when I grew up. Iīm not very nostalgic. I especially like early sixties music, a music field that I didnīt experience during its time. The fact is that, "that music" represents a kind of Dream World for me: a bubble that I can fill with my fantasies (itīs because of that, the girls and boys of the sixties always remain young and sexy, frozen in time, and I can never assume completely that they are the same persons that live today). I suppose Iīm the daydreamer type of guy. Mike Edwards wrote : >"... I see a lot of overlap between the vintage R&B sounds that are > popular in Jamaica and Belgian Popcorn..." Belgian Popcorn has for my taste an almost perfect blend of musical genres (early sixties Pop, girlie sounds, danceable Soul, vintage Jamaican music, European sixties pop,...). Mike, to please you and everybody, I will later play in Musica Minaīs "Breve amore" (1966, B side of " Ta-ra-ta-ta") and if there is enough space the Spanish version of "Grande, Grande, Grande" (Hispavox /1971). I hope you will like the latter more than I do. Best Wishes. Julio Niņo. -------------------[ archived by Spectropop ]-------------------
Message: 12 Date: Sat, 31 Jan 2004 18:21:04 -0000 From: Mark Subject: Flying Machine Don't know if anyone noticed (or cares) but I stumbled upon the fact that Castle has re-issued the double CD of Flying Machine/ Pinkerton's Assorted Colors CD, including the A's and B's of their 3 Decca singles as well as the US single version of Smile a Little Smile for me. Anyone who has not bought this yet, the Flying Machine has to be one of the best pop LPs I've ever heard. Just about every song on the CD is great. -------------------[ archived by Spectropop ]-------------------
Message: 13 Date: Sat, 31 Jan 2004 21:31:21 -0000 From: Doug Richard Subject: Re: Awesome group names I always thought that "Simon Stokes and His Incredible Black Whip Thrill Band" was a cool name... Doug -------------------[ archived by Spectropop ]-------------------
Message: 14 Date: Sat, 31 Jan 2004 16:35:20 -0500 From: Alan Haber Subject: Beatles, Mike Mac photo exhibits at the Smithsonian Just got back from a whirlwind walk around 70 or so previously-unseen photos of the Beatles, documenting their arrival in the U.S. in 1964, their appearances on the Ed Sullivan Show, and performance at the Washington (D.C.) Coliseum. These photos, taken by Life magazine photog Bill Eppridge, are simply astounding, and simply breathe life before your very eyes (not so in the well-overpriced catalog, selling for a mere $34.95 in the National Museum of American History's Music Shop). The main thing that jumped out at me and my wife as we experienced these wonderful photos is that the Fabs really were enjoying themselves. The candids taken at rehearsals for the first Sullivan show, and for the Miami (remember, Ed pronounced it Mi-am-uh) Beach followup, show a band at once having a ball and serious about their music. The little details are the kickers, though-the cabana jackets the boys are wearing, the old-men-ish, old-fashioned press photographers dressed like they're taking pictures at a fight, the girls going ga-ga to the nth degree, and, most telling, the seriousness with which Sullivan approaches the whole shew (until he dons a Beatle wig and gets in the spirit, oh yeah!). Appearing right next to the Beatles pix are many of the shots that populate Mike McCartney's latest book, Liverpool Life (MMLL). Some of these are great-especially the one of Little Richard taken from the back, Graham Nash asleep on a train, Little Richard backed by the Big Three (only they're likely studio musicians and not the actual Three, McCartney's neighborhood, and the Scaffold-but there were too many shots of cars for my taste. I like the younger Mac's other collections better, but there was still much to marvel at here. Four things stood out for me; two were photos: one, depicting the Beatles cavorting in the ocean down in Miamuh, arms raised and flagging this way and that, big smiles on their faces, and fans a couple of feet behind them; and two, crazed female fans, lunging for jelly babies (uh, jellybeans in the States, of course) at the foot of the Washington Coliseum stage. Beatlemania! Third: the (mostly) way-younger people passing around us, looking at the exhibit, and most importantly, the younger parents trying to explain what their kids were looking at. Just to prove that not everybody's frame of reference is the same or even remotely alike, one young father was reading the photo captions from McCartney's exhibit to his son; when the boy asked what the Scaffold was, the father read one of the captions to himself and then proudly nnounced, "Why, they're a pop group!" Priceless, in a good way. Fourth? A signature in the guest book from none other than Ringo himself: "Thanks for all the attention, love, Ringo." Now, that's show biz! Alan -------------------[ archived by Spectropop ]-------------------
Message: 15 Date: Sat, 31 Jan 2004 15:35:20 -0600 From: Dan Hughes Subject: Question for Al Kooper Al, for the sake of antirevisionism (love that term), could you please discuss the parting of the ways between you and BS&T? (For what it's worth, I was DEEPLY disappointed in the album released after you left. I bought it before I knew you were not involved). Thanks, ---Dan -------------------[ archived by Spectropop ]-------------------
Message: 16 Date: Sat, 31 Jan 2004 16:02:09 -0600 From: Dan Hughes Subject: Re: Grass Roots Thanks for the correction, Glenn. I liked their version of Pearly Spencer too. (By the way, was City Women a single? I think it could have been a monster hit). There are a ton of groups and artists that leave me cold after the first few albums (some after just the first album), and the Grass Roots is one. I know taste cannot be argued, and I'm not saying I'm right and you're wrong, just that our tastes differ. And I'm not saying that they would have had continued success with the public if they hadn't changed. Adapt or die. (Or retire gracefully). I don't have figures, but I'll bet the vast majority of the public saw the Grass Roots as a singles group rather than an album group, and they bought the 45s rather than the albums. Which would explain the emphasis on their earlier material on the Rhino set, perhaps. I'd wager the first three albums sold better than the rest. "Poppy fluff" was a bad term; sorry, I wrote in a hurry and it kinda said what I meant but not quite. (And remember, poppy fluff sells a lot of records -- just because I don't like it doesn't mean it's inferior). (I hate the Yankees and everybody knows how good they are!) I preferred the original version of Midnight Confessions (Lou Josie's group; can't recall their name--Evergreen Blues maybe?) to the Grass Roots' version, though I was glad to see SOMEBODY finally get a hit out of it. I just didn't like any of their hits after that. I can understand their selling a lot of them--they certainly had mass appeal--I just didn't care for those songs personally. My only argument is that you point out that they sold 19 of their 20 million records from their later catalog, and you imply that therefore the later material is better. The same reasoning would lead you to conclude that the best song Chuck Berry ever did was My Ding-A-Ling, because it was his only million-seller. Anyway, it's great to see the Grass Roots talked about! Thanks for your response! ---Dan -------------------[ archived by Spectropop ]-------------------
Message: 17 Date: Sat, 31 Jan 2004 17:04:40 EST From: John Fox Subject: Re: DJ Pronunciations Dan Hughes writes: > 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." Kinda like when stations would announce "We have the biggest hits of all time!" John Fox -------------------[ archived by Spectropop ]-------------------
Message: 18 Date: Sat, 31 Jan 2004 16:54:33 -0500 From: Mark Hill Subject: Open Up Your Heart - Same A/B side in various cover versions Charles G. Hill: > Go hunt down "Sunshine Days: Pop Classics of the '60s, Volume 2" on > Varese Sarabande (last seen as Varese Vintage VSD-5802, 1997). > "Open Up Your Heart" by Thomas and Richard Frost This could open dialog on a curiosity I've followed over several decades of record collecting... > "Open Up Your Heart" by Thomas and Richard Frost Is this the same song that was first(?) recorded by: THE COWBOY CHURCH SUNDAY SCHOOL (01/55 - Decca 29367) "Open Up Your Heart (And Let The Sunshine In)/ b-side: "The Lord Is Counting On You" On the charts for 21 weeks, peaked at #8 (!) The COWBOY CHURCH record was "Recorded by Stuart Hamblen, his wife, 02 daughters (16 and 18) and recorded at 33 1/3 so the record sounds like children's voices at 45rpm." I'm pretty sure Hamblen was the songwriter on both sides. Here's where it gets curious: A new recording of "Open Up Your Heart" was later used in a FLINTSTONES episode (c.1965) where Pebble And Bamm-Bamm start singing and become recording stars. (And wasn't their topically named manager, "Brian Eppy-STONE"?) This "Heart" was released as a 45 on HBR Records with a picture sleeve. (Same recording used on the show.) It was one of the first records I ever had as a child. I still have the record, but the sleeve is long gone. And here's what's curious... it has the SAME B-SIDE as the original... "The Lord Is Counting On You." I had the Flintstone version first and picked up a copy of the COWBOY CHURCH version many years later at a yard sale. I was pretty much floored to discover the FLINTSTONE version was a *cover* and of a *hit* song. Then, about 5 years ago, I picked up ANOTHER version of "Open Up Your Heart" on a Columbia 78rpm by ROSEMARY CLOONEY and her sister. (c.50s) I'll assume it came shortly after the COWBOY CHURCH version. *And*... it has THE SAME B-SIDE, "The Lord Is Counting On You." I'm almost positive I have yet another cover version 45 with the same A/B sides. (My thousands of records are in such a state of disorder, I can't get to all of them.) I just wonder what it is with that song..? How it ended up being used in a FLINTSTONES episode..? (Of all the lame songs- to pick this!) and why all these cover versions all use the same B-side? Can anyone recall any other songs, where through numerous cover versions, the A side and B side were always the same??? (Like is it a contractual reason?) Just wondering... "Dr. Mark" Hill * The Doctor Of Pop Culture -------------------[ archived by Spectropop ]-------------------
Message: 19 Date: Sat, 31 Jan 2004 16:49:57 -0600 From: Dan Hughes Subject: Hits You Missed When I was in high school (early '60's), the local Kresge store had a rack of 45 rpm records called HITS YOU MISSED, and they were sold five records to a pack for 88 cents. Because they were packed in plastic you could see only the top and the bottom record--the three in the middle were unknown. Usually the top and bottom records were well-known artists but not-known songs (the top record usually had a picture sleeve), and the three middle records were filler. Of course one man's filler is another man's gold.... Often the middle records were songs you knew, by artists you didn't (for example, Hello Walls by Dick Lory on Liberty). I loved buying those packs! I got some of my favorite singles that way. Most of them long gone (my parents also got rid of my Hardy Boys books and my comic books--did I tell you I had a copy of the first silver-age Brave & the Bold JLA they threw away!!!) when I went into the Air Force. But I do remember them well... Howsabout You Been Torturin' Me by Gary Paxton, I think on his GarPax label? I'd love to hear that one on musica.... The first time I ever saw Bob Dylan's name was as a writer on one of these records...I believe it was PP&M's Don't Think Twice. And of course the ones I didn't like (Donald Where's Your Troosers by somebody I've forgotten, but I remember it was on Warwick) I gave to my little sister, who was always begging for my records. Others with similar memories? ---Dan P.S. In the early 80's I did a radio show on WRFG in Atlanta called The Bargain Bin, where I played music I bought from thrift shops, record shop bargain tables, yard sales, flea markets, and the like. As you true S'Poppers know, there's a lot of great stuff out there that the public has no knowledge of. -------------------[ archived by Spectropop ]-------------------
Message: 20 Date: Sat, 31 Jan 2004 15:34:29 -0800 (PST) From: Dee Subject: Beatles > 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 The offer was for $3000, with the additional comment that "hey, you can give Ringo less if you want." And the reunion which almost happened would have just been Paul and John - but even so, it would have pleased many. Dee -------------------[ archived by Spectropop ]-------------------
Message: 21 Date: Sat, 31 Jan 2004 23:25:21 EST From: Mike Rashkow Subject: Steve Tudanger Hi out there in Radio Land. Got a phone call tonight from Tudy. He had received the package of letters I sent him. He was truly touched. Amazed that people remember his music and care. He was particularly excited about the folks that wrote from Brazil and mentioned the #1 record of Let Me Be Forever down there. He has no familiarity at all with computers or the net--he didn't really have an idea about how it works (as if *I* did), but when I explaned to him that there are over 1,000 members from all over the world he was excited by the concept. Since he can't see well enough to use a computer, he asked me to thank each of you that wrote to him. I hope you'll accept this as a group rather than my sending one to each of you that wrote him. He appreciates the thoughtfulness--as do I. You have done a good thing. He weighs 103 pounds, has diabetes, a bad heart and can't see very well, has had two strokes and likely will not have a lot more time. Doo Bee Dum Rashkovsky -------------------[ archived by Spectropop ]-------------------
Message: 22 Date: Sun, 01 Feb 2004 04:50:29 -0000 From: Michael Edwards Subject: Mina / Matt Monro Steve writes: > By the way - just remembered 2 more.... > Piano - Mina > Softly As I leave You - Matt Monro That's a mouth-watering proposition! Great by Matt Monro, I wonder how Mina's version sounds. Also released by Frank Sinatra on Reprise in 1964, but Matt's version beats out Frank's. Another great Matt Monro record: "On Days Like These" from 1969 and featured in the original film version of "The Italian Job". Matt sings part of the lyric in Italian but I don't think it's an Italian song. The credits would indicate that Don Black wrote the lyrics and Quincy Jones the music. Mike -------------------[ archived by Spectropop ]-------------------
Message: 23 Date: Sun, 01 Feb 2004 06:08:13 EST From: Al Kooper Subject: Songwriter credits Rashkovsky: > So I asked our arranger friend Pete Dino to help me and he did.  He > was able to play what I was looking for and set it in the right > character. Without him I would not have been able to go in and make a > demo. > > I chose to put him on the song as the third writer.  In my opinion he > deserved it and earned it.  That is a special situation.  There are > times when giving a piece to someone is called for--that's my opinion. Now if you had $500, that would have been fair to reimburse arranger Pete Dino for his work. Your generosity was overwhelming. I have given people 25% for titles. Fer instance in the old days Irwin Levine & I wrote a lousy song called I Cant Quit Him. I wrote a whole new song called I Cant Quit Her and added Irwin's name to it cause I was a loyal good lad. Dan Penn wrote the title and half the chorus with me on one of my best new songs. We split it 59/50 cause I could not have written the song without him even though I wrote all the verses. It's a judgement call, plus I worship Dan Penn and I'm not worthy..... -------------------[ archived by Spectropop ]-------------------
Message: 24 Date: Sat, 31 Jan 2004 20:05:01 EST From: Paul Urbahns Subject: Cameo Parkway Blues > One question remains: When is Mr. Klein going to release the long, > long, long, long overdue C/P CD box set? What is he waiting for?!? Nobody knows the answer to this so I am thankful to the Liberty Bell reissues of CP material regardless of where they come from. I know CamPark has put out some bootleg two fers on CD of CP albums but let's face it there was also a lot of filler or garbage on the albums. It's amazing they issued so many albums. One of the worst in my collection is the Surfin' album, featuring our CP stars doing songs by The Beach Boys, Jan and Dean etc. It's really odd to hear the mellow Tymes singing Surf City and Bobby Rydell doing his best on Surfin USA but let's face it, it's trash only for collectors. I was listening to some of my cameo Parkway songs the other day, and reading a letter I have had since 1991 from Elaine Franks at ABKCO Records which says, "ABKCO Records is presently working on digitally re-mastering the original masters of Cameo Parkway which will include Patti LaBelle and The Bluebells, Chubby Checker, The Orlons, Dee Dee Sharp, Bobby Rydell, and various artists. It will be re-released on 100 percent Virgin Vinyl, Chrome Cassette and Compact Disk. A release date has not been scheduled." Needless to say that was 12 years ago and nothing from ABKCO has hit the market. But then I guess every Cameo Parkway fan has at least one of these letters in their collection. -------------------[ archived by Spectropop ]-------------------
Message: 25 Date: Sun, 01 Feb 2004 01:52:44 -0000 From: Jon Adelson Subject: Re: Uni-chord songs Susan wrote: > "The Trip" by Donovan? "Smokestack Lightnin'" by Howlin' Wolf? > "Coconut" by Harry Nilsson - one great big C chord! I knew you 'Poppers would come up with a bunch! I just thought of Sly and the Family Stone's "I Want To Thank You for Letting Me Be Myself." Different strokes for different folks...(btw, did Sly originate this phrase?) Jon Adelson -------------------[ archived by Spectropop ]-------------------
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