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Spectropop - Digest Number 1358

               SPECTROPOP - Spectacular! Retro! Pop!

There are 25 messages in this issue.

Topics in this digest:

      1. RIP Doris Troy
           From: John C 
      2. Doris Troy R.I.P.
           From: Mick Patrick 
      3. Artie Wayne song on Musica (another one!)
           From: Clark Besch 
      4. Re: re. lownly crowd
           From: Billy G Spradlin 
      5. SGC Records
           From: ACJ 
      6. Re: PP&F Prods
           From: Al Kooper 
      7. Re: Bogus Drifters
           From: John Fox 
      8. Re: Ray Peterson
           From: Dave O'Gara 
      9. Simonized
           From: Steve Harvey 
     10. Re: Eleven of the best
           From: Jon Adelson 
     11. Teacho and the Diplomats?
           From: Dan Hughes 
     12. Re: Bobby Freeman
           From: Al Kooper 
     13. Re: Valiant
           From: Austin Roberts 
     14. Re: Micky Monkee
           From: Phil Milstein 
     15. Re: Bogus Drifters?
           From: superoldies 
     16. Stu Phillips' personal appearance
           From: Stu Phillips 
     17. Re: John Simon
           From: Mike Rashkow 
     18. Al Kooper on NPR
           From: Phil Hall 
     19. Re: Johnny Cymbal
           From: Mike Rashkow 
     20. Re: Johnny Cymbal
           From: Al Kooper 
     21. Re: Ann-Margret
           From: Laura Pinto 
     22. Re: Connie Francis
           From: Austin Roberts 
     23. Re: Connie Francis Greats
           From: Steveo 
     24. Re: Modern Adventures
           From: Al Kooper 
     25. Re: Jeanette .
           From: Frank 

Message: 1 Date: Tue, 17 Feb 2004 17:15:45 -0500 From: John C Subject: RIP Doris Troy DORIS TROY Doris passed away yesterday, 16th June 2004, in her Las Vegas home. I'm not sure of the causes but she had suffered from breathing problems for a long while. Born Doris Payne in New York City in 1937, she was a truly great soul singer and songwriter who shot to fame in 1963 with her top ten Atlantic smash 'Just One Look'. She cut more soulful sides for the label; 'He Don't Belong To Me' and 'Tomorrow Is Another Day' are personal favourites. By 1964 she had visited the UK and enjoyed the Swinging London scene so much that she stayed (she recorded here frequently over the next ten years). In that year her 'Whatcha Gonna Do About It' single was a hit in the UK only and that as well as 'Just One Look' were covered to great commercial success by the Hollies. She then moved on to Capitol records for a great double sider, 'Face Up To The Truth' / 'He's Qualified', and then on to Calla for the Philly produced Northern Soul classic 'I'll Do Anything'. Lack of commercial success Stateside saw her return to the UK where she signed for the Beatles' Apple label for whom she cut an album and several singles. Her signing was down to the group themselves who had been big fans of hers for years, in fact the whole of the UK pop scene seemed to be captivated by her talent and unaffected charm. After Apple she cut for the UK People label and staged concerts with gospel choirs that she had worked with throughout her music business career. In the early 90s she wrote and performed in an autobiographical play about her career called "Mama I Want To Sing". When the show came to the West End she acted her own mother's role and Chaka Khan, Deniece Williams and Mica Paris acted her part at different times. The show ran for several months, and stars such as Prince and Stevie Wonder turned up to see it and meet the legend. At this time I was running my fourth Cleethorpes Northern Soul weekender and had been let down by an act I had booked for it. I rang Doris cold and asked her if she could come up and help me out with a PA at the event. She agreed to straight away (and very reasonably), even if it was on the only day she had off from the show. Her presence was tremendous and of course she was great with the fans. The meeting lead to me working as her agent, when she decided to stay on in London after her show closed. She performed many jazz and supper clubs and did a full soul show at the 100 Club where Van Morrison came down to see her as a fan, remembering her fondly from the 60s. She then appeared at another Cleethorpes weekender with full backing band and this was filmed by Channel 4 for a documentary they did about the event. Bad health forced her to return to the States where she lived in New York with her sister Vi, a top DJ over there. Eventually her health worries forced her to live in Las Vegas where the climate helped her breathing. Doris was one of the most understanding and kind hearted people you could ever wish to meet. Her approachability often made you forget what a talented artist she was. She would treat each fan as graciously as each megastar who came to see her. And when she referred to her friends as "Baby, Baby, Baby", they always felt very special. Ady Croasdell -------------------[ archived by Spectropop ]-------------------
Message: 2 Date: Wed, 18 Feb 2004 08:37:01 -0000 From: Mick Patrick Subject: Doris Troy R.I.P. Thanks to John Clemente for making Ady Croasdell's tribute to Doris Troy available to the group. Another nice obituary, this one written by her friend David Nathan, can be found here: Mick Patrick -------------------[ archived by Spectropop ]-------------------
Message: 3 Date: Wed, 18 Feb 2004 07:31:34 -0000 From: Clark Besch Subject: Artie Wayne song on Musica (another one!) Now playing to Musica is Tim Wilde's "Too Many Questions" written by Artie Wayne and Mark Barkan. It is the B side ("B" standing for "better" in this case) of Tower 353 "Popcorn Double Feature" from late 1967/early 1968. I documented the recording session in a post last year as it was presented in a teen magazine about Artie Wayne work as a record producer. The record was produced by Artie and Bob Halley for Extra Music. Altho' with Scott English and Larry Weiss writing the "A" side, I really think Artie's flip is a nice slice of pop! And for those who enjoyed the U.S. Males 45 I posted, it was on a subsidiary label of Abnak. Sundazed bought all the Abnak tapes a few years ago and I would relly love to see my buddy Bob Irwin do a various non-hits Cd with that and many others including the In Crowd's great "Hangin from Your Lovin Tree". Please email Sundazed and let them know we want these great Abnak obscurities!! Thanks, Clark -------------------[ archived by Spectropop ]-------------------
Message: 4 Date: Wed, 18 Feb 2004 06:41:11 -0000 From: Billy G Spradlin Subject: Re: re. lownly crowd Harvey Williams: > Instro version now uploaded to > Thanks for posting the instumental version. I love those handclaps at the fade (though a guitar amp spring reverb?) and now there is about 10 more seconds of them to enjoy. Has this 45 ever been comped? Billy -------------------[ archived by Spectropop ]-------------------
Message: 5 Date: Wed, 18 Feb 2004 00:48:09 -0500 (EST) From: ACJ Subject: SGC Records There was, in the mid- to late-Sixties, a label called SGC Records, which is best remembered today for singles by Todd Rundgren's early group, the Nazz. Did SGC, perchance, stand for Screen Gems-Columbia? ACJ -------------------[ archived by Spectropop ]-------------------
Message: 6 Date: Tue, 17 Feb 2004 23:04:01 EST From: Al Kooper Subject: Re: PP&F Prods Steveo: > I seem to recall Past, Present, and Future Productions > being David Mook, if my memory serves me from making > the publishing rounds with my songs in the 9000 > building (Hollywood). David Mook was in the employ of Aaron Schroeder at the time. -------------------[ archived by Spectropop ]-------------------
Message: 7 Date: Tue, 17 Feb 2004 21:48:02 EST From: John Fox Subject: Re: Bogus Drifters Martin Jensen writes: > I'd like to hear if anyone here can give an overview of > the Drifters' situation? About 5-7 years ago, our school district foundation brought The Drifters in for a fundraiser. They were backed up by a terrible 4-piece group from Cleveland who seemed to barely know their songs. They did all the hits, and to the uninitiated were quite good.. Most of the singers were under 40, there were no original Drifters or even names I recognized from any version of the Drifters, but one member of the group was proudly introduced as Louie Lymon, brother of Frankie! John Fox -------------------[ archived by Spectropop ]-------------------
Message: 8 Date: Wed, 18 Feb 2004 01:03:10 -0000 From: Dave O'Gara Subject: Re: Ray Peterson Laura Pinto > Here's the link to Ray Peterson's site: > > (I think it's an official one, anyway ...!) > > I saw him in Chapel of Love: Jeff Barry and Friends, the PBS > special from 2000 that's available on home video. He still > has that same voice. He sang my sentimental favorite, > "Tell Laura I Love Her." Just a quick footnote to the above comments on Ray Peterson. In the late 80's I had the good fortune to emcee an oldies show where Ray was the headliner. Of all the people in the recording industry I've worked with, Ray was by far the nicest! Between shows he sat and talked with me and others like we'd been friends for a long time. He patiently posed for photos and when it was time to go on stage, he belted out the hits as brilliantly as ever. I particularly remember being impressed with his rendition of "Fever". I hope he's doing well. He remains an all-time favorite with me. Dave 0' -------------------[ archived by Spectropop ]-------------------
Message: 9 Date: Tue, 17 Feb 2004 16:34:04 -0800 (PST) From: Steve Harvey Subject: Simonized John Simon wrote a really quirky tune called "My Name Is Jack". His version is kinda dull, but listen to how Manfred Mann redid it and it's great. Shows you how much an arrangement can change material. Somebody heard something in the demo (I think it's from the film "You Are What You Eat") and saw potential. Steve Harvey -------------------[ archived by Spectropop ]-------------------
Message: 10 Date: Tue, 17 Feb 2004 23:58:51 -0000 From: Jon Adelson Subject: Re: Eleven of the best Al Kooper wrote: > 9) Turley Richards - I Heard The Voice of Jesus (WB 7397) Not > unlike The Sounds Of Silence, this track was cut acoustically and > then a huge orchestra was overdubbed onto it. A blind, southern > white man will give you serious chills on this Edwin Hawkins cover. > Worth finding! In NYC the late 60s, I performed for a couple of years at The Back Fence in Greenwich Village. This was a true saloon, where patrons were encouraged to throw their peanut shells on the floor. I hear it's still there. Star attraction at the time was Turley Richards. Quite the talent. In addition to a remarkable four-plus octave voice and one of the best soul- screams around, his acoustic rhythm guitar playing was funky and mean. "I Heard the Voice of Jesus" was his show-stopper, this before the recording came out. I love the record, but hearing him live, solo, with his driving guitar and stomping foot gave equivalent goosebumps. About two years ago I was in Louisville and picked up one of the what's happening in town papers, and darned if performing the next night at a local club was Turley! In fact, he was listed in the phone book. I called him and caught his show and had the pleasure of rehashing old times at his home, where he has a recording studio and teaches voice. I received an email about a year ago from him saying he was getting ready to record again. When I saw him play at that informal venue, I of course asked for "Voice of Jesus." He said he doesn't do it very often because he'd lost a couple of notes from those 4 octaves, but "for old times sake 'cause Jon's here" he'd sing far as I know, he might sing it every show, but my ego convinced me to believe he was telling it straight. It sounded wonderful. Perhaps the very last high note did not ring quite like it did 30 years ago, but that note wasn't really meant to be sung by more than a select few of the males of our species. Turley also had his share of horror stories to tell about the industry. Thanks, Al, for including this on your Eleven From Heaven list. Jon Adelson -------------------[ archived by Spectropop ]-------------------
Message: 11 Date: Tue, 17 Feb 2004 17:48:49 -0600 From: Dan Hughes Subject: Teacho and the Diplomats? Al, you said you did a lot of work with Teacho Wilshire. I have a 45 that was arranged by Teacho, and I wondered if you did any work on it? It's on AROCK Records, AR-1000. A division of Arseroc Record Corp, 1650 B'way, NYC. The songs are "Cards on the Table" (writer Allen Davis, Sylvia Music) b/w "Unchained Melody". It also says "Elevator Productions" and "PHD Prod. Inc." on the label. ---Dan -------------------[ archived by Spectropop ]-------------------
Message: 12 Date: Tue, 17 Feb 2004 22:48:07 EST From: Al Kooper Subject: Re: Bobby Freeman Al Kooper: > Bobby Freeman - (I Do The) Shimmy-Shimmy (King 5373). This rocks > so hard. One of the few times a drummer actually steals the record > from the performer. Wish I knew who that drummer was, gang... Country Paul: > No help here with the drummer, but a big second on your rave. > Did Freeman do more on King, or was this a one-off? Not as far as I recall AK -------------------[ archived by Spectropop ]-------------------
Message: 13 Date: Tue, 17 Feb 2004 17:47:55 EST From: Austin Roberts Subject: Re: Valiant Mikey: > Yea, but Valiant's BIG hit was "The Rhythm of The Rain" by > The Cascades. That one really made a lot of money for Barry. Were the first couple of Association records on Valiant, with Gary Paxton recording at his house using the upstais bathroom for echo snd having mics for different things? I think that's the way "Along Comes Mary" was cut. Austin -------------------[ archived by Spectropop ]-------------------
Message: 14 Date: Tue, 17 Feb 2004 16:58:14 +0000 From: Phil Milstein Subject: Re: Micky Monkee Albabe Gordon wrote: > I think Mickey fits very easily on the list of the "top ten > most under-appreciated singers of all time." I love his voice. I'm with ya on that'n, Al. I think the reason he's been so underregarded over the years -- apart from the general disrespect given The Monkees by the rockwrite cognescenti -- is that he has a very weak voice. But he infuses it with so much feeling, and with such perfect appreciation of each mode he sings in, that he improved every single track he was featured on, essentially forcing de facto lead singer Davy Jones to the role of lead tambourine. --Phil M. -------------------[ archived by Spectropop ]-------------------
Message: 15 Date: Tue, 17 Feb 2004 20:35:30 -0000 From: superoldies Subject: Re: Bogus Drifters? I wrote an article for my station & The Lance Monthly specifically on bogus groups & who has the rights to ...Drifters, Platters, Coasters, etc. -------------------[ archived by Spectropop ]-------------------
Message: 16 Date: Tue, 17 Feb 2004 23:46:56 -0000 From: Stu Phillips Subject: Stu Phillips' personal appearance Hi Spectropop fans, For those of you in the Seattle/Tacoma/Portland/Vancouver area, I will be appearing in person at the Northwest Sci Fi Convention on March 20-21, 2004 in Fife, Washington. Would love to greet and talk to all of you. The entrance fee to the convention is under $10.00, so it's actually less than a movie. I'll have some old 45 RPM discs of many of the Colpix artists with me to autograph for you. Complete info at Stu Phillips -------------------[ archived by Spectropop ]-------------------
Message: 17 Date: Tue, 17 Feb 2004 14:51:12 EST From: Mike Rashkow Subject: Re: John Simon Phil M: > John Simon's name shows up on an awful lot of late '60s > faves of mine (and I don't mean The Band), yet he is rarely > spoken of in circles where great producers are discussed. I first heard of him when he produced Brute Force's "Confections Of Love". That was good enough for me. MR -------------------[ archived by Spectropop ]-------------------
Message: 18 Date: Tue, 17 Feb 2004 19:30:09 -0000 From: Phil Hall Subject: Al Kooper on NPR A little late, but here's a link to listen to the Al Kooper interview on NPR's "Fresh Air" Friday, January 30th. Phil Hall -------------------[ archived by Spectropop ]-------------------
Message: 19 Date: Tue, 17 Feb 2004 14:45:02 EST From: Mike Rashkow Subject: Re: Johnny Cymbal Country Paul: > I was impressed at how Johnny Cymbal did bass-like parts > in his tenor range; I thought that kind of counterpoint > was going to show up in more hit records after that, > but it never did. CP, surely you jest. That was Ronnie Bright I think. But, I have heard John do the song solo several times and he does a reasonable job of jumping octaves. John once produced a record with Stanley (Dino) Costa, Don Costa's nephew, on the Annie Get Your Gun show-tune "Anything You Can Do" (Ethel Merman/Ray Middleton duet). He conceptualized it like Mr. Bassman. He had Dino do his parts all in falsetto and yours truly, Rashkovsky, did the bass parts with a big assist from a VFO. Bert Keyes arrangement. In the fade where both of us were "singing", I spoke "you've got a lot of chutzpah, son". (For those not of the persuasion, "chutzpah" is Yiddish for "nerve".) John fell over backwards -- he left it in and if you listen real close, you can hear it -- but I don't recommend listening to it, even far away. Di latte, Rashkovsky PS There's a thread here -- Yiddish used on pop records in English. Etta James on the Jerry Wexler production of "Lovesick Blues", which happens to be a killer track, changes "sugar mama" to "meshuggah mama" in one chorus and Levi Stubbs does something in Yiddish on "Mean Green Mother" from Little Shop of Horrors.... That's a start. Jus4duhrekkid, I'm not accepting Nathan Lane's simple "so nu" in "Sue Me" from Guys and Dolls. "Nu" is Yinglish already. -------------------[ archived by Spectropop ]-------------------
Message: 20 Date: Tue, 17 Feb 2004 22:50:59 EST From: Al Kooper Subject: Re: Johnny Cymbal Mike Rashkow: > Rex Strother and I are working together (with a little help > from a certain Brit MP) to create a website for Johnny Cymbal. Country Paul: > Wish I had more to contribute besides a deep appreciation for "Mr. > Bassman," since I'm a bassman, too; I was impressed at how Johnny > Cymbal did bass-like parts in his tenor range; I thought that kind > of counterpoint was going to show up in more hit records after that, > but it never did. (Of course, one should never say "never" in this > group! I think I mentiooned b4 that the bass part on the Johnny Cymbal record AND the Greg Howard record was Ronnie Bright, who sang with The Cadillacs at the time and was well known as a profundo basso around 1650 B'way, the REAL Brill Building... -------------------[ archived by Spectropop ]-------------------
Message: 21 Date: Tue, 17 Feb 2004 21:38:25 -0000 From: Laura Pinto Subject: Re: Ann-Margret Country Paul wrote: > ....... with a style lifted from those oh-so-naughty > men's magazines of the same period with a dollop of > Walter Winchell-era press-agent lingo for flavor. > And the photos are gorgeous - but what would one > expect, considering the subject? Hi, I love your description of the prose used in the A-M article! Just trying to do the sexy sex kitten justice, that's all. I have Ann-Margret's "Lost Love" on the A-M box set. I don't know whether or not it appears on another CD. You can check out the box set on and listen to an audio sample of that particular track. Here's the link, which I converted to a more manageable URL: Thanks, Laura -------------------[ archived by Spectropop ]-------------------
Message: 22 Date: Tue, 17 Feb 2004 17:40:34 EST From: Austin Roberts Subject: Re: Connie Francis Mike: > US version of "Robot Man" by Jamie Horton didn't chart > but eventually found its way to CD courtesy of the recent > "Midnight Cryin' Time" triple set. Wasn't there an obscure release on Dodie Stevens called "Robot Man"? ...I wanna Robot man to hold me tight' etc. AR -------------------[ archived by Spectropop ]-------------------
Message: 23 Date: Tue, 17 Feb 2004 13:54:36 -0800 (PST) From: Steveo Subject: Re: Connie Francis Greats Mike Edwards wrote: >Where do you stop? There are so many others.. Mike, Let's not forget two of my personal Connie Francis favorites, both with great arrangements - "Dont Break The Heart" (arr. Don Costa) and "I'll Follow The Boys" (arr. Leroy Holmes). Steveo -------------------[ archived by Spectropop ]-------------------
Message: 24 Date: Tue, 17 Feb 2004 22:59:35 EST From: Al Kooper Subject: Re: Modern Adventures Jim Shannon: > Excuse the brain freeze here, but I was going over my music > database over the weekend and came across the song "The > Modern Adventures of Plato, Diogenes and Freud" by Al Kooper. > I don't recall which LP that was on but remember it being a > really nice arrangement almost British sounding with lots of > orchestration.  Seem to remember heavy airplay on  NEW-FM. > I'd like to find the CD version. Great almost forgotten song. It is Al Kooper but recorded under the nom de plume Blood Sweat & Tears on the debut Child Is Father To The Man album, easily available on CD and soon to be SACD 5.1 Al Kooper Kooperian Authority -------------------[ archived by Spectropop ]-------------------
Message: 25 Date: Wed, 18 Feb 2004 13:04:34 +0100 From: Frank Subject: Re: Jeanette . Julio: I've played to musica "Me olvidarás" (You will forget me) > / Hispavox H348, A side, 1968, by Picnic (a Spanish > ephemeral group featuring a young Jeanette as singer > and main composer). The song was composed by Jeanette > and produced by Rafael Trabuchelli. Lovely! What a nice little gem. Is there an album to this song? I only have two later albums by solo Jeanette. One is "Todo Es Nuevo" produced by Andre Popp. Even all the songs (except for one) are written by him. Thanks for posting. Frank J. -------------------[ archived by Spectropop ]-------------------
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