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Spectropop - Digest Number 1324

               SPECTROPOP - Spectacular! Retro! Pop!

There are 9 messages in this issue.

Topics in this digest:

      1. Re: Weirdly grooved records
           From: Dan Hughes 
      2. Subject: Hits You Missed
           From: Mike Mc 
      3. Same A/B side in various cover versions
           From: Dan Hughes 
      4. B.S.&T. LPs
           From: Mike McKay 
      5. Re: Wyman's Bass
           From: Richard Havers 
      6. Re: Songwriter credits
           From: Mike Rashkow 
      7. End of Positively 4th St?
           From: Dan Hughes 
      8. Re: Mono "Magical Mystery Tour"
           From: Mike McKay 
      9. The Man Who Shot Liberty Valance
           From: Al Kooper 

Message: 1 Date: Sun, 01 Feb 2004 09:41:16 -0600 From: Dan Hughes Subject: Re: Weirdly grooved records jerophonic writes: > Around 1980, Rhino put out "Henny Youngman's 128 Greatest Jokes", > a live LP. The sticker on the shrinkwrap said "Special Multi- > track (Trick Track) Mastering - The first comedy LP that never > plays the same twice". According to which groove you hit, you > heard a different show. Wait a minute here! "Never plays the same song twice" isn't right! I assume there are 128 different tracks and it's totally random as to which track you get when the needle drops. The odds of getting all 128 tracks in 128 tries are miniscule! You'd get tons of repeats! Do we have a statistician in the group? How many needle drops would it take to get all 128? You'd go nuts! ---Dan -------------------[ archived by Spectropop ]-------------------
Message: 2 Date: Sun, 01 Feb 2004 16:13:56 -0000 From: Mike Mc Subject: Subject: Hits You Missed To: Dan, F.Y.I. "Donald Where's Your Trousers" was the follow up record to "A Scottish Soldier" by Andy Stewart. "...Soldier" hit #69 on Billboard's charts in 1961. Must've been a regional hit. I remember hearing it while living in Canada in the early 60's. By the way, I remember those "Hit's you missed" paks. I would really get a kick out of buying them just to find out if I had any "hidden treasures" tucked away inside. To: Paul Subject: Cameo Parkway Blues It's probably meaningless, but the newest "Collector's Choice" catalog that I received a couple of days ago hints at the fact that "reliable sources" have indicated a Cameo/Parkway release is slated for sometime this year. Yeah, right .... Mike Mc -------------------[ archived by Spectropop ]-------------------
Message: 3 Date: Sun, 01 Feb 2004 09:15:30 -0600 From: Dan Hughes Subject: Same A/B side in various cover versions Mark asks: > Can anyone recall any other songs, where through numerous cover > versions, the A side and B side were always the same??? Can't answer that, but the question brings to mind another situation I've always wondered about. Bill Hayes went to #1 in 1955 with The Ballad of Davy Crockett, on Cadence. Fess Parker (who WAS Davy Crockett) took the same song at the same time to #5 on Columbia. Hayes' next charting song was Wringle-Wrangle, on ABC-Paramount. And Parker's next charting song was Wringle-Wrangle, on Disneyland, from a movie Parker starred in. Was Bill Hayes a stalker? ---Dan -------------------[ archived by Spectropop ]-------------------
Message: 4 Date: Sun, 01 Feb 2004 12:56:11 EST From: Mike McKay Subject: B.S.&T. LPs Dan Hughes wrote: > 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). I find that there are very few things musical that I have changed my mind about over the years. That is, if I loved it back then, I still love it now -- and if I hated it back then, I probably don't feel any differently today. The one glaring exception is that second BS&T album. For reasons I absolutely cannot fathom, my friends and I loved that album when it came out, and played it over and over. Yet no more than a few years later, I felt very differently. No doubt some of this stems from the singles being played to death on Top 40, and then Oldies radio. But even taking this factor out of the occasion, I can't imagine why I thought it was any good. As a rule, I've never liked big beefy-voiced singers like DCT, and as I mentioned earlier, I really don't like horns in rock to begin with (with the exception of "Child Is Father to the Man," which I very much love to this day). I suppose objectively some of the songs on the second BS&T album are OK, but the whole thing just seems very calculated and soulless to me now. Bottom line is, while the post-Kooper BS&T may have won the commercial sweepstakes, there's no question as to the winner on the art side of it! Mike -------------------[ archived by Spectropop ]-------------------
Message: 5 Date: Sun, 01 Feb 2004 13:38:05 +0000 From: Richard Havers Subject: Re: Wyman's Bass Steve Harvey wrote: > 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? Steve, Bill made the bass himself. This is from Bill's book, with some added bits from me. "In retrospect July 1961 was a very important time for me. At a dance, in Aylesbury, at an old converted cinema we saw the Barron Knights. I was staggered by the sound of their electric bass; I realised what was missing in our band (Bill's first band, The Cliftons). Tony Chapman (a Clifton and later Stones drummer, pre Charlie) found me an old bass guitar, called a Tuxedo, belonging to his drum tutor. I scraped the £8 together to buy it. With the help of a neighbour’s fretwork machine I re-shaped the guitar body and then took all the frets out. I intended replacing them with new ones, but it sounded so good that I kept it fretless…...the first fretless bass. I then needed an amplifier and speaker. We clubbed together and bought a Goodman 18" bass speaker along with a Linear-Concorde 30-watt build-it-yourself amplifier. We built a big cabinet and put concrete in the bottom, we'd heard that it improved the bottom-end sound. It did but also made it almost too heavy to lift. I had to take the lid off the amp as it overheated, I also got a shock every time I plugged in, as the whole thing was live!" Bill went on to use it extensively during early Stones gigs, until he bought a Framus Star Bass in September 1963. For a long time afterwards he used "my home made bass", as he always calls it, for recording. It was important to Bill as he got the sound of an upright bass like Willie Dixon. Just listen to 'I'm a Kingbee' for the bass slide. He doesn't slap bass though! Richard -------------------[ archived by Spectropop ]-------------------
Message: 6 Date: Sun, 01 Feb 2004 10:02:01 EST From: Mike Rashkow Subject: Re: Songwriter credits Al Kooper: > Now if you had $500, that would have been fair to reimburse > arranger Pete Dino for his work. Your generosity was overwhelming Not in reality. I think the song earned less than $50.00 for me so I would have overpaid. Di la, Rashkovsky -------------------[ archived by Spectropop ]-------------------
Message: 7 Date: Sun, 01 Feb 2004 10:09:25 -0600 From: Dan Hughes Subject: End of Positively 4th St? Al, I've always wondered about the fade-out at the end of Positively 4th Street. Can't quite describe why, but Bob's voice seems to be preparing to finish the line "You know what a drag it is to see you" but the music just fades out at that point. I just instinctively feel there should be another couplet coming after that. Anybody else feel the song ends before it's over?? Thanks, ---Dan -------------------[ archived by Spectropop ]-------------------
Message: 8 Date: Sun, 01 Feb 2004 12:43:09 EST From: Mike McKay Subject: Re: Mono "Magical Mystery Tour" Denny Pine wrote: > 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? I don't have an "official" answer to your question, but I would think that there must be unique mono mixes of the "Magical Mystery Tour" film songs they first appeared on an EP in the UK, which I don't reckon would have been stereo. I don't know whether these mixes were used for the mono US LP, or if instead this was just a "fold down" of the stereo mixes from two channels to one. (And I agree that the mono LP itself is quite rare...I don't know that I've seen more than one or two of them.) I do know that the non-film songs that were appended to the US stereo album release were in rechanneled stereo. In the early 70s I got a German import of the MMT album that had these tracks in true stereo (except for "I Am the Walrus," all mixes of which start in true stereo and then go to rechanneled a third of the way through), and it was a evelation! Still the best these songs have ever sounded anywhere. Mike -------------------[ archived by Spectropop ]-------------------
Message: 9 Date: Sun, 01 Feb 2004 12:22:53 EST From: Al Kooper Subject: The Man Who Shot Liberty Valance > I have read variously that this song was commissioned for the movie > but ultimately not included, or that it was written after the movie > came out, and in response to it (as per Buddy Holly writing That'll > Be The Day upon seeing The Searchers). Anyone know which was the real > story? They were considering the Pitney track. Why else would ace writers and artists write & record a song with that title? It was not used at the last moment. In retrospect, it seems too modern for the feel of the film, especially if played over the opening credits. I think that was the problem. I remember going to see the film in its first run and being surprised the song was not in there. Al Kooper -------------------[ archived by Spectropop ]-------------------
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