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Spectropop - Digest Number 1328

               SPECTROPOP - Spectacular! Retro! Pop!

There are 13 messages in this issue.

Topics in this digest:

      1. Concert For George
           From: Bill Craig 
      2. John Kerry: Rock Bassist
           From: Art Longmire 
      3. Blues Project
           From: Al Kooper 
      4. Re: A workable idea?
           From: Peter Kearns 
      5. Question for Al Kooper
           From: Martin Roberts 
      6. Re: A workable idea?
           From: Tom Taber 
      7. Re: Lovin' Feelin' on Philles - Bad Pressings
           From: Billy G. Spradlin 
      8. RIP; Emily's Illness; Twist & Shout; What is a song?; cool names; payola
           From: Country Paul 
      9. Re: Sunshine Days: Pop Classics of the '60s.
           From: Art Longmire 
     10. Re: Feldman, Gottehrer, Goldstein - sixties discography
           From: Martin Roberts 
     11. Re: Outsiders tracks
           From: Paul Balser 
     12. Re: great names
           From: Rat Pfink 
     13. Bass mix; Cameo-Parkway treasures
           From: Country Paul 

Message: 1 Date: Mon, 02 Feb 2004 22:37:44 -0000 From: Bill Craig Subject: Concert For George I would like to highly recommend to all S'poppers The DVD of The Concert For George, the tribute held at The Albert Hall in Nov. 2002 for George Harrison. It's pricey to buy but a friend of mine loaned me his copy and I thoroughly enjoyed it. Performers included: Eric Clapton (musical director) Jeff Lynne (Sir) Paul McCartney Ringo Starr Billy Preston Tom Petty Gary Brooker Joe Brown and many others including Ravi Shankar, his daughter Anouska and George's son Dhani. Also the surviving members of Monty Python, minus John Cleese plus Tom Hanks performed. For one of these all-star tribute affairs it was extremely well done and moving. How old is Joe Brown these days? He sounded and looked great, with a longer variation of his crew-cut from back in the day. Bill Craig -------------------[ archived by Spectropop ]-------------------
Message: 2 Date: Tue, 03 Feb 2004 00:39:22 -0000 From: Art Longmire Subject: John Kerry: Rock Bassist I came across this article that discusses presidential candidate John Kerry's brief career as a bassist, circa 1961, in a garage band called the Electras-they actually made an album. Wonder how it sounds? Anyhow, here's the link: http://www.washingtonpost.com/wp-dyn/articles/A4009-2004Feb1.html Check out the picture of the band on the page. Art Longmire -------------------[ archived by Spectropop ]-------------------
Message: 3 Date: Mon, 02 Feb 2004 19:48:38 EST From: Al Kooper Subject: Blues Project Dan Hughes: > 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 left The Blues Project because I wanted to add horns and was turned down. I had a bunch of songs that were crying for horns and I tried to heed their advice. I went to CA and found Jim Fielder and drummer Sandi Konikoff. I came back and put a band together for a benefit for myself. It was Steve Katz, Bobby Colomby and they let me fly in Jim Fielder. The promoter took all the money from the benefit and this band talked me into starting my dream band with them onboard. Today Steve Katz & Bobby Colomby claim that they started the band and asked me to be in it. Total lie. So we get hornplayers and get a record deal and make the first album. I chose the producer and worked singlehandedly with him on the production of the album. I designed the cover and named the band. Bobby Colomby says I stole the name from a Johnny Cash album title. Guess Bobby never heard of Winston Churchill. So during ther making of the album a faction formed, headed by Colomby & Katz, to ease me out of the band. I was unaware of this clandestine move. I even started a factiuon to get ride of Katz and get a real guitarist in the band. But they were set to dump me after our first tour. They forced me out of the band and Bobby took over. He even copyrighted the name in his own personal name. The royalties for the album I was on were all sent direct;ly to Colomby & Co. and they NEVER sent me my percentage as a member of the band on the first album. They used my arrangements on the next album to great success i.e. You Made Me So Very Happy, More & More Smiling Phases, etc. I did not agree with the direction they went in and would never have stood for Spinning Wheel or the Las Vegas version of God Bless The Child. They made millions, got grammys and won the contest. I lost, did not make millions, got no grammys or royalties, but kept my self respect and scored next with Super Session, my first production as a staff producer for Columbia. I'm glad I left, I got screwed again by Steve Katz, but now would never acknowledge the existence of either Steve or Bobby. In the Rolling Stone 500 albums of all time, Child Is Father To The Man is the only Blood Sweat & Tear entry. Nuff said...... -------------------[ archived by Spectropop ]-------------------
Message: 4 Date: Tue, 03 Feb 2004 02:22:29 -0000 From: Peter Kearns Subject: Re: A workable idea? Tom Taber wrote: > What I'm saying is, if you do things right and keep your expenses > down by doing most everything yourself, you can do most anything! > The pleasure comes more from the doing than any monetary success > (or lack of same). Absolutely. In the case of forming either a record or production company you'd have the added ingredient of being responsible for other people. So maybe it's the old thing of "You've got the brains, I've got the braun". It's an interesting topic. Peter. -------------------[ archived by Spectropop ]-------------------
Message: 5 Date: Tue, 03 Feb 2004 23:47:49 -0000 From: Martin Roberts Subject: Question for Al Kooper Hello Al, Ian Chapman added a few records to the list of your co-writing credits from the mid 60s, hard to remember them all and fair enough to forget, Skip Battyn's version of "Night Time Girl" on Aurora. How many covers can you be expected to remember? But really Al if it wasn't for your part in the Brass-Levine-Kooper composed "When In Love (Do As Lovers Do)", you'd be beyond forgiveness. An absolute diamond of a record, The Gee-Tones, featuring 15 year old Gregory Howard is a blinder, an up-tempo kiddie led doo-wop rocker. I assume my copy is a bootleg on Gee Records 1013 which would date it about '57 but it sounds early 60s. A record with the same title was released on Kapp in '63. Have you any details on the release? When it dates from and original label? Who was Gregory Howard and his Gee-Tones? Martin -------------------[ archived by Spectropop ]-------------------
Message: 6 Date: Tue, 03 Feb 2004 05:49:31 -0800 (PST) From: Tom Taber Subject: Re: A workable idea? Bryan wrote: > Beloved "unknown" band? Hmm....is that even possible? Perhaps > you should share this with the rest of the Spectropop class? If and when I can get all my ducks in a row, I'll be anything but quiet! Tom Taber -------------------[ archived by Spectropop ]-------------------
Message: 7 Date: Tue, 03 Feb 2004 19:41:11 -0000 From: Billy G. Spradlin Subject: Re: Lovin' Feelin' on Philles - Bad Pressings Is your copy styrene or vinyl? Just curious. I havent played my vinyl copies in a long time. (blame Mp3's for turning my PC into a 1200+ song jukebox) I also wonder where Spector did his mastering. Did Gold Star have a mastering lathe or did he use others (most pressing plants have them). >From what I have dug up, most of the Philles vinyl 45's was pressed by Savoy Pressing in Newark, New Jersey (who pressed the rare colored vinyl 45's) and know Monarch Pressing in LA did many of the styrene. Look for a "MR" in a circle in the dead wax. Billy -------------------[ archived by Spectropop ]-------------------
Message: 8 Date: Tue, 03 Feb 2004 19:26:18 -0500 From: Country Paul Subject: RIP; Emily's Illness; Twist & Shout; What is a song?; cool names; payola Today is February 3; RIP Buddy Holly, Ritchie Valens, and The Big Bopper. Holly's music still amazes, and as David Coyle noted, "A lot of the future history of rock and roll might never have been made if death hadn't made him a legend." Here's something else to think about: Ritchie Valens has now been dead more than 2-1/2 times as long as he was alive. Speaking of death and dying, "Emily's Illness: Diagnosis Of A Song" by Phil Milstein, http://www.spectropop.com/NoraGuthrie/index.htm illuminates yet another fascinating corner of pop history. Having been privileged to hear the song as well as read about it, it is indeed fascinating -- what we used to call "an album cut trapped on a 45." Her voice is so innocent and flat-affect (no vibrato); she sounds truly haunted. Thanks to Phil for the all the effort in chasing down what was obviously a labor of love. TD wrote: > Quite frankly, the Beatles version of "Twist and Shout" isn't anything that > a competent wedding band from Ofay, New Jersey wasn't already doing. > In 1963, the woods were full of competent wedding bands. Paul Bryant: > Funny how none of them competent NJ wedding bands were huge hit > groups then. True, but the song had already been "done" -- and the Beatles version is not what made them THE BEATLES. Just my two cents; I won't perpetuate this. (Someone else might.) And be careful what you say about my adopted home state, or I'll have my boys who live in Ofay "look you up"! :-) (Is Ofay near Mahwah? or Ho-Ho-Kus??) Al Kooper wrote: > A song is distilled down to a chord pattern with melody and lyrics > riding above it. Glenn: > What about intros, turnarounds, and other instrumental portions > that are as much (and as crucial) a part of the creation of the > song as are the melody and lyrics? This brings up a legal question. If a song was copyrighted by either the sound recording method (the circled-P copyright) or as more than a lead sheet (say a piece of pianistic sheet music with an intro, countermelodies, etc.), would the secondary melodies or riffs or patters (whatever you want to call them) also be copyrighted as well? Clark, thanks for the heads-up on the Eric Records reissues. Will be watching at http://www.ericrecords.com Mike Edwards wrote: > Brian Diamond & The Cutters (awesome name for a group!) Howard: > Which set me thinking, what other groups have names like that? Some contributions: one was a frat party band in Providence, RI in the 60's, Jay Walker & The Pedestrians; and from Animal House, a group that was a movie fiction which became a real band, Otis Day & The Knights. And of course, we take for granted Bill Haley & The Comets, but that works here. Best payola story so far: Trevor Ley's, especially since I know a couple of the characters of whom he speaks. And he speaks the truth, too. Payola's around still, too, just different, and a lot bigger. Most 50's payola was penny ante incomparison. Used to be, "Here's a few bucks, play my record." Now it's "Let's get your station's name on a concert, and we'll have you and your staff backstage in a private suite before (or after) the concert, and just make sure Joe Schmuccatelli's record is in hot rotation and gets reported to the trades on a particular day," etc. My one direct experience with the old-style was when I was Music Directing a country station once when a local label owner came in and offered me $50 cash to play an unlistenable 45. I had him escorted out. I've never sold out, and certainly wouldn't for peanuts. Now gimme my cash and lemme outta here! Country Paul -------------------[ archived by Spectropop ]-------------------
Message: 9 Date: Wed, 04 Feb 2004 00:50:07 -0000 From: Art Longmire Subject: Re: Sunshine Days: Pop Classics of the '60s. Justin McDevitt wrote: > Re the Pebbles and Bam-Bam version of Open Up Your Heart, I > remember seeing this episode in 1965 and on 3-4 other occasions > in rerun over the last number of years. > The 1965 season of this great show, (its last) also featured an > episode with Fred appearing on Shindig, presenting a new dance > sensation. The show was hosted by Jimmy Oneilstone), and also > featured the Bo Brummelstones, singing Laugh Laugh. I've seen the "Open Up Your Heart" episode several times, including the original sixties broadcast, but I last saw it more than twenty years ago and alas, that was the only time I paid close attention! I know that early on in the episode Fred Flintstone is watching TV and these pop acts come on...including Danny Hutton doing "Roses are Rainbows", which was on Hanna-Barbera records, of course. What I really want to know is-what were the other acts on this episode? As I recall, Fred fell asleep and dreamed that Pebbles and Bamm-Bamm became pop stars. Another great episode was the "Way-Outs" who sang "Way Out"-that one was a classic! Art Longmire -------------------[ archived by Spectropop ]-------------------
Message: 10 Date: Tue, 03 Feb 2004 20:17:32 -0000 From: Martin Roberts Subject: Re: Feldman, Gottehrer, Goldstein - sixties discography Great list from David L. (message 19033), With apologies if I missed them or other posties have already mentioned them but a few extra FGG credits. Tex and the Chex (20th Cent. 411)'63 Beach Party (Love Me)Now (FGG) Prod : Feldman,Goldstein,Gottehrer Diane Christian (Smash 1862)'63 There's So Much About My Baby (That I Love) Has Anybody Seen My Boyfriend (FGG + Saunders) Prod : Feldman,Goldstein,Gottehrer Patty Lace and the Petticoats (Kapp 585)'64 Girls Don't Trust That Boy Girls Should Always Look Their Best Prod : Feldman,Goldstein,Gottehrer Angie and the Chicklettes (Apt 25080)'64 Treat Him Tender Maureen (Now That Ringo Belongs To You) Tommy Prod : Feldman,Goldstein,Gottehrer The Concords (Epic 9697)'64 Should I Cry It's Our Wedding Day Prod : Feldman,Goldstein,Gottehrer Kenny Dino (Columbia 43062)'64 Show Me (FGG) Betty Jean (FGG + C. Kaplan) Prod : Feldman,Goldstein,Gottehrer Timothy Wilson (Veep 1223)'65 He Will Break Your Heart How I Wish You were Mine Prod : Feldman,Goldstein,Gottehrer The B-side of JACK & JILL (Josie 943) 1966 The Chase wr. FGG Prod : Feldman,Goldstein,Gottehrer My copy of this shows the writer credits as; Freddy Cannon (Swan 4139) 04/63 BB #65 Patty Baby FGG + C. Kaplan Betty Jean FGG + C. Kaplan I don't have the 45 but Patty Lace and the Petticoats (Kapp 667)'65 New Boy (FGG + Spencer) Say One (Is A Lonely Number)(FGG + Pegues) Prod : Feldman,Goldstein,Gottehrer Martin -------------------[ archived by Spectropop ]-------------------
Message: 11 Date: Tue, 03 Feb 2004 20:15:04 -0500 (Eastern Standard Time) From: Paul Balser Subject: Re: Outsiders tracks Jim Shannon wrote: > I'm also looking for the Ousiders "Girl in Love" (Tom King/Chet > Kelley) and "Respectable" Jim, I have the two Outsider songs you are looking for also I may have Sandy I'll have to check. Let me know how to get them to you. AJ -------------------[ archived by Spectropop ]-------------------
Message: 12 Date: Tue, 03 Feb 2004 20:18:06 -0500 From: Rat Pfink Subject: Re: great names Bob Rashkow wrote: > My favorite group names of the 6Ts include Dave Dee, Dozy, Beaky, > Mick and Tich; the Unrelated Segments; Fifty Foot Hose; The > Sensational Epics; and of course, Peanut Butter Conspiracy. One > of my favorite group names of the last decade (though I've not > heard their music) is The Not Quite. I always thought The Kitchen Cinq was a great name. RP -------------------[ archived by Spectropop ]-------------------
Message: 13 Date: Tue, 03 Feb 2004 20:40:09 -0500 From: Country Paul Subject: Bass mix; Cameo-Parkway treasures 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. Go back to some 50's and early 60's pop, and you'll find the bass playing in its upper register -- usually not hitting even the open D string. I think the reasoning was the same as you mention. A rummage through the vaults of Cameo/Parkway Records, re: Lightning's notes, may I also suggest Bobby Rydell's "Kissin' Time" and the Dovells' beautiful ballad "Happy Birthday Just The Same" (1963 or so), a definite Beach Boys derivative -- and gorgeous. Country Paul -------------------[ archived by Spectropop ]-------------------
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