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Spectropop - Digest Number 1407



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               SPECTROPOP - Spectacular! Retro! Pop!
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There are 11 messages in this issue.

Topics in this digest:

      1. Shirley Bassey in possible great record shock!
           From: Simon White 
      2. lives in legacy
           From: Phil X. Milstein 
      3. Re: Patty Lace & the Petticoats
           From: Mick Patrick 
      4. Cameo-Parkway NEWS!!!!
           From: S.J. Dibai 
      5. Re: magnificent 7 Al Caiolas
           From: max weiner 
      6. Re: Cameo-Parkway and ABKCO
           From: superoldies 
      7. Re: "Guess Who?"
           From: Lloyd Davis 
      8. Re: when they're 64
           From: Eddy Smith 
      9. Re: Jeanne Thomas
           From: Simon White 
     10. Re: the death of Shindig
           From: Steve Jarrell 
     11. Re: Let's Twist Again
           From: Paul Urbahn 


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Message: 1 Date: Mon, 22 Mar 2004 23:02:35 +0000 From: Simon White Subject: Shirley Bassey in possible great record shock! Ok then, who was Flip Cartridge? I was played a Shirley Bassey 45 last year "Don't Take The Lovers From The World" on United Artists, written by Hugo and Luigi and had to have it and soon did. Two days ago I was passing a record shop and just popped in for a browse - as you do - and there was a London American 45, "Dear Mrs Applebee/Don't Take The Lovers From The World" by Flip Cartridge. The U.S. label was Parrot - which of course was the U.S. home of British acts such as Elkie Brooks, Kathy Kirby, Tom Jones, Billy Fury and (gulp) Lulu, amongst others Of course we can ignore the horrible topside but as I understand it "Don't Take The Lovers From The World" may have been written for Ms Bassey. So this Flip Cartridge version must be the second one? It still has the tango rhythm but is taken at a slower pace. Was he a UK singer? -------------------[ archived by Spectropop ]-------------------
Message: 2 Date: Mon, 22 Mar 2004 18:55:35 +0000 From: Phil X. Milstein Subject: lives in legacy While searching online for some further information on the death of Priscilla Paris, I located a site that carries current and accurate mini-obits of prominent names. Reviewing the last few weeks of notices, I cut-n-pasted those I thought would be of interest here, and grouped the most Spectrocentric ones nearest the top. Priscilla's listing doesn't tell us anything more than we already knew, but I found the one below it to be especially sad -- if not for the music world than at least for the son Jordan. The site can be found at http://www.lifeinlegacy.com/ . --Phil M. ----------------------- Priscilla Paris -- Youngest sister of the pop vocal group The Paris Sisters, best known for their 1961 top 5 hit "I Love How You Love Me", who had several other hits including "He Knows I Love Him Too Much" and "Be My Boy", who in 1969 recorded a solo album of her own called "Priscilla Loves Billy", died unexpectedly on March 5 in Paris, France at age 59. Tule Livingston Dillow -- First wife of singer/songwriter Warren Zevon and mother to their son Jordan Zevon, who recorded with Zevon as Lyme & Cybelle and had a minor hit with "Follow Me" (#65 in 1966), died of breast cancer on March 3 in Brea, California at the age of 57. Steve Duboff -- Half of the singing, songwriting and producing duo with Artie Kornfeld, who as the Changin' Times, recorded and charted with their original version of "The Pied Piper" in 1965, a year before it became a big hit for Crispian St. Peters, who also wrote the 1960's hits "The Rain, the Park and Other Things" and "We Can Fly" for the Cowsills, died Feb. 28 in Malibu, California after a long illness at the age of 62. Vernon Williams -- Singer with the R&B vocal group the Satintones, one of the first groups signed to Barry Gordy's Motown label in 1961, who sang second tenor on their singles including "I Know How It Feels", who also sang with the groups the Royal Holidays, the Pyramids and the Four Sonics, died March 11 after a lengthy illness. His age and place of death were not available. Mary Ann Fisher -- R&B singer who toured in the 1950's and 60's with Ray Charles, B.B. King, James Brown, Jackie Wilson, Percy Mayfield and Bobby Bland, and who had a minor chart hit in 1961 with "I Can't Take It", died March 12 at a hospice in Louisville, Kentucky at the age of 81. J.J. Malone -- Blues singer, songwriter and guitarist, who toured with acts like Al Green, Joe Simon and Etta James, who as an executive at Fantasy/Galaxy records in the late 60's and early 70's worked with artists like Little Johnny Taylor, Big Mama Thornton and Creedence Clearwater Revival (he helped develop CCR's sound and allegedly wrote many of their tunes though he is not credited), who was rediscovered as a performer in the 1980's and continued to record until 2001, died Feb. 20 of cancer in Hawaii at the age of 68. Hank Marr -- R&B organist considered one of the world's masters of the Hammond B-3 organ, who performed at Caesar's Palace, The Johnny Carson Show, The Mike Douglas Show and The Merv Griffin Show, who recorded several records for the King and Federal labels, and had a minor hit with 1964's instrumental "The Greasy Spoon", died March 16 in Columbus, Ohio at the age of 77. Tony Lee -- One of Britain's best-loved and most popular jazz pianists, who played with such stars as Tom Jones and Dusty Springfield, and whose best known work was on recordings with big-band drummer Phil Seamen, as well as several solo albums, died March 2 in Esher, Surrey, England at the age of 69. Alf Bicknell -- Chauffer to the Beatles during the height of their fame, from the filming of the group "Help!" in 1964 until they quit touring in 1966, who became close to the group and was the inspiration of the song "Drive My Car", and whose autobiography written with Garry Marsh, called "The Original Baby You Can Drive My Car", was published in 1998, died March 9 at his home in Oxford, England at age 75. Edmund Sylvers -- Drummer and lead singer of the Sylvers, a Memphis family group of nine brothers and sisters best known for the #1 pop hit "Boogie Fever" in 1974 and the follow-up hits "Hot Line" (#5) and "High School Dance" (#17), who had a solo R&B/dance hit of his own in 1980 with "That Burning Love", who later backed such artists as Janet Jackson and The Whispers, and who was the voice of Marlon Jackson in the 1970's Jackson's cartoon, died March 11 of lung cancer at a hospital in Richmond, Virginia at the age of 47. Ruth Ellington Boatwright -- Sister of jazz's greatest bandleader Duke Ellington, who was the longtime president of Tempo Music, the company that managed Ellington's business affairs and owned most of Ellington's compositions, died March 7 in New York City after a long illness at age 88. Anna Carter Gordon Davis -- Country and gospel singer, and one of the original members of The Chuck Wagon Gang, a popular family quartet created in Texas in 1935, and who was the widow of former Louisiana Gov. Jimmie Davis, died March 5 in Fort Worth, Texas at the age of 86. Peggy DeCastro -- Oldest member and lead singer of the Cuban-born DeCastro Sisters (with sisters Babette --died 1993 -- and Cherie), who sang on their big hit "Teach Me Tonight" (#2 in 1955) as well as other songs like "Boom Boom Boomerang" and "It's Yours", who over the last 50 years were regular performers at Las Vegas casinos and who were inducted into the Casino Legends Hall of Fame, died March 6 at her Las Vegas home after a long illness at age 82. John McGeoch -- British punk rocker and guitarist who co-founded the band Magazine in the late 1970's, who was also a member of Siouxie & the Banshees, P.I.L. and Visage at various points in his career, and who did session work for such acts as Generation X and Ultravox, died in his sleep on March 4 at his home in London at the age of 48. Jack Sperling -- Noted jazz and big-band drummer who performed and recorded with Bunny Berigan, Tex Beneke, Benny Goodman, Charlie Barnet, and others, and who was the drummer on such NBC variety shows as those of Steve Allen, Dean Martin and Andy Williams, and on "Rowan and Martin's Laugh-In", died Feb. 26 in El Segundo, California at the age of 81. Charles Bailey -- Country musician who with his brother Dan performed as The Bailey Brothers, who were regular performers on WSM radio's Grand Ole Opry beginning in the 1940's, died March 12 in Bear, Delaware at the age of 88. J.J. Jackson -- Longtime Los Angeles disc jockey who made history as one of the original 5 MTV VJ's, who helped usher in the video music era when the cable network was launched on August 1, 1981, who introduced videos, did interviews with the biggest stars of the day and hosted several programs at MTV during his five year tenure, and who later returned to L.A. radio and worked at several stations, most recently as the afternoon host at KTWV, died March 17 of a heart attack while driving in Los Angeles. He was 62 years old. Chuck "Be-Bop Charlie" Niles -- Legendary jazz radio host known also as "Mr. Jazz" and the "Minister of Cool", whose legacy was often captured in the song titles of prominent jazz musicians, and whose smooth baritone voice and music knowledge helped him become the recipient of the only Hollywood Walk of Fame star awarded to a jazz radio host, died March 15 in Santa Monica of complications from a stroke at age 76. -------------------[ archived by Spectropop ]-------------------
Message: 3 Date: Tue, 23 Mar 2004 00:35:15 -0000 From: Mick Patrick Subject: Re: Patty Lace & the Petticoats Jimmy Bee wrote, referring to Patty Lace and the Petticoats: > Over the top and underappreciated. ... Who were they? Where > from? Sneaky Sue wanna know! Martin Roberts: > Who they were is fairly easy; the label lists them as Patty > Lace, Paula, Peppi and Pixie. As for the other questions... > I'm sure Mick Patrick has used Patty Lace tracks on various > CD and LP compilations. I bet if pushed he may be able to > provide further info, such as age, bra size, town of birth. 20, 20, 20 and 21. 34B, 34B, 34B and 36C. All from Orange, New Jersey. Alright, I made all that up. Dunno much about Patty Lace and her gang, except they were four good looking black chicks, as pictured on the cover of their to-die-for 4-track French EP. The group's records were produced by the Feldman/Goldstein/Gottehrer team, which I guess means they were New York-based. I think they were session singers and as such made records using other names. Isn't the fabulous "I Want You To Be My Boyfriend" by the Chic-lets supposed to be them with Diane Christian of the Darlettes singing lead? Reparata told me that they supplied backing vocals on some tracks on the Delrons' "Whenever A Teenager Cries" LP. None of their records are available on legit CD - shame! So I've played one of the best to musica: http://groups.yahoo.com/group/spectropop/files/musica/ Patty Lace and the Petticoats "Girls Don't Trust That Boy" (Kapp K-585, 1964). Written by Robert Spencer. Arranged by Leroy Glover. A Feldman-Goldstein-Gottehrer Production. Neb Rodgers wrote: > The Get your DJ Name Quiz! > http://quizme.stvlive.com/djname/quiz.php My result was DJ Divine Monster. I can live with that. I've never been called Divine before. Well, not to my face. Hey la, Mick Patrick -------------------[ archived by Spectropop ]-------------------
Message: 4 Date: Mon, 22 Mar 2004 23:51:39 -0000 From: S.J. Dibai Subject: Cameo-Parkway NEWS!!!! Ladies and gentlement of Spectropop! Someone told Jeff Tamarkin what I said about the possibility of the Cameo-Parkway compilations coming out this year. And he sent me one hell of an e-mail in response. He wrote: >>Hello SJ, Your email regarding the status of the Cameo-Parkway reissues was passed along to me. I can tell you with 100% certainty that the reissues will be rolling out this summer, with liner notes written by me (I've conducted thus far 25 interviews with C-P related artists, employees, producers, musicians, even family members). I can't tell you much about the actual content (look for announcements soon) but I can confirm that there will indeed be a multi-CD boxed set and several individual best-ofs. I can also tell you that I've heard some of the remasters and the sound is incredible--it is true that Jody wanted to wait until they could deliver these recordings in superb sound quality. You'll be pleased, I'm sure. We've all been hearing for years that these reissues were on the way, and so I can't blame anyone for thinking this is another false alarm, but it's not. As Southside Johnny sang, this time it's for real. Feel free to spread the word. Jeff Tamarkin<< Break out the champagne, everyone! S.J. Dibai -------------------[ archived by Spectropop ]-------------------
Message: 5 Date: Mon, 22 Mar 2004 10:03:36 -0800 (PST) From: max weiner Subject: Re: magnificent 7 Al Caiolas Dan Hughes joked: > No Mac, not the same guy. There are actually seven different Al Caiolas, > hard to tell apart because their styles are so similar. Thanks Dan, Didn't realize there were 7. Wow! Appreciate the info. -------------------[ archived by Spectropop ]-------------------
Message: 6 Date: Mon, 22 Mar 2004 17:49:16 -0000 From: superoldies Subject: Re: Cameo-Parkway and ABKCO previously: > ... and then maybe some compilations featuring Doo-Wop, Teen > Idols, '60s Dance Craze, Girl Groups, and Garage Bands. That would be the best idea since there are many low charting Cameo- Parkway releases that you'll never find anywhere, like Georgie Young & The Rockin' Boys ("9 More Miles") for example. A low charter, but a hit nonetheless, and it deserves to be released. Individual CDs as mentioned would be ideal. -------------------[ archived by Spectropop ]-------------------
Message: 7 Date: Mon, 22 Mar 2004 14:48:30 -0500 From: Lloyd Davis Subject: Re: "Guess Who?" Country Paul wrote: > Jim, while I don't remember "Sour Suite," I share your opinion of > Burt Cummings, whose vocal style I find to be as sincere as a three- > dollar bill. However, "Shakin' All Over" featured a different lead > singer: Chad Allen. The group had hits in Canada as Chad Allen & The > Exceptions. Unfortunately I'm not familiar with them. The group's name had been Chad Allan and the Reflections, but in 1964 the Detroit group the Reflections had a Top Ten hit with "Just Like Romeo and Juliet," so Allan's group changed its name to the Expressions. They were signed to Toronto's Quality Records, who didn't forward any money for studio time. The group had been paying out of its own pocket to record at Kay Bank Studios in Minneapolis (500 miles away), but this time around they were broke, so the host of a local TV show, "Teen Dance Party," smuggled them into the CJAY television studio after hours and bribed a station employee to engineer the recording. The studio had only one microphone, a mono recording deck, and no playback monitors. The guitars were plugged into and mixed through a single amp. When the drums were judged to be too loud, they were moved away from the mic. When the band wanted to hear a playback, they had to crowd into the control room while the engineer unplugged the mic's patch cables and plugged in the leads to the loudspeaker. At one point, the engineer goofed, and inadvertently created a tape-delay effect. It reminded them of the slap-back echo on Elvis's Sun records, as well as those by Cliff Richard and the Shadows. Still, they thought "Shakin' All Over" was the B side. The intended A side was "Where Have You Been All My Life," which had been recorded by Gerry and the Pacemakers and by Arthur Alexander (I think it was by Mann and Weil). The Expressions called their version "Till We Kissed," because they didn't have the record; they'd learned the song off a reel-to-reel tape that a friend of a friend had made off the radio in England. George Struth at Quality disagreed, and felt that "Shakin' All Over" was the hit. The problem was, how to get it played? In 1965, there were no Canadian content regulations. Even if there had been, it's doubtful that a Winnipeg record would have been anything more than a regional hit selling a few hundred copies. Struth decided that the record sounded British, so why not let everyone think it was from the UK? Bear in mind the British Invasion began earlier in Canada -- acts like the Shadows had sold well for years, a fact that convinced Capitol of Canada there might be a market for the Beatles in 1963. Promotional copies of "Shakin' All Over" were sent out with a plain white label that bore only the title, the time, and "Guess Who?" I think the plain label may have served two purposes. Not only did it disguise the origin of the band by not naming them, but it obscured the fact that the record was on Quality Records. Quality issued original Canadian recordings, but their bread and butter was the leasing of masters from independent US labels like Vee Jay, Swan, Specialty, and Motown. These American records tended to come out on "subsidiary" labels with names like Reo (my father's collection of 45s includes vintage Canadian pressings of Four Seasons and Miracles sides on Reo). The cream-and-red Quality label, known for records by the likes of the Beau-Marks ("Clap Your Hands") or Bobby Curtola, would have been a dead giveaway that "Shakin' All Over" was Canadian. Radio stations played the single, and the urban legends began. DJs and listeners swore that the record was by any number of British acts, or some kind of bootleg from a British "supergroup" session. Scepter leased the single, and the group later recorded at Scepter's studio in New York. They cut a cover of "Tossin' and Turnin'," which was a hit in Canada, as well as "Hurting Each Other" (later a hit for the Carpenters) and "Hey Ho (What You Do to Me)," which was an early composition by Ashford and Simpson. When their first album, "Shakin' All Over," came out on Quality, they were identified as "Chad Allan and the Expressions -- Guess Who?" Bob Ashley, the band's keyboardist, quit in the autumn of 1965, and was replaced by Cummings. Allan dropped out in mid 1966, and shortly thereafter got a gig in Winnipeg hosting CBWT-TV's "Let's Go." The Guess Who were hired as the house band on that show. Enter Jack Richardson of the McCann-Erickson ad agency, which had the Coca-Cola account. Richardson had produced radio spots for Coke featuring Canadian acts like Bobby Curtola, David Clayton Thomas, and the Staccatos (later the Five Man Electrical Band). He noticed the Guess Who on "Let's Go" and signed them to do a Coke commercial. Around 1967, Richardson formed a production company, Nimbus 9, and a label, Nimbus Records, to be distributed by RCA Victor. The Guess Who and the Staccatos each got one side of a Nimbus album, "A Wild Pair." (The Staccatos had recorded for Capitol of Canada since 1965; their one national hit, "Half Past Midnight," was released in early '67 on Capitol 72453. It peaked at number 10 on Toronto's CHUM chart in March 1967. A couple of years later, under their new name, they signed with Jimmy Webb's Lionel label.) Richardson bought the Guess Who out of their Quality contract, and recorded their "Wheatfield Soul" album. The first single, "These Eyes," hit #1 at 1050 CHUM in Toronto in mid February 1969, and a couple of months later peaked at #3 on the CKLW chart in the Detroit area. That support helped place it in the Top Ten in Billboard. Guitarist Randy Bachman dropped out of the Guess Who in 1970 and went on to form Brave Belt, which recorded a couple of albums on Reprise. Chad Allan was also in this group, along with Fred Turner and Robbie Bachman. Allan dropped out after the second LP, his place was taken by another brother, Tim Bachman, and the group became Bachman-Turner Overdrive. Bachman was a contemporary and an acolyte of the jazz guitar legend Lenny Breau, an influence that really comes through on the Guess Who's "Undun" and BTO's "Looking Out for Number One." The Guess Who weren't the same group after he left; personnel-wise, there was a revolving door, particularly at lead guitar. Lloyd Davis Toronto, ON -------------------[ archived by Spectropop ]-------------------
Message: 8 Date: Mon, 22 Mar 2004 17:57:07 +0100 From: Eddy Smith Subject: Re: when they're 64 Phil X. M. wrote: > I remember that in > the first-ever book of Beatles illustrated lyrics, accompanying "When > I'm 64" was an artist's fantasy version of what the boys would look like > in 2004. It was a sobering thing to see back when they were still in their > mid-30s, but now that that time is indeed upon us I'm curious to revisit > that illustration, to see how accurate the artist may've been It's in the photo section, Phil! Eddy -------------------[ archived by Spectropop ]-------------------
Message: 9 Date: Mon, 22 Mar 2004 17:31:02 -0000 From: Simon White Subject: Re: Jeanne Thomas Mention of Jeanne Thomas promts me to ask the following question. I have a 45, My Heart Has Told Me What To Do/ Say Something Sweet To Me (Strand 25026, 1961) by Jeanie Thomas. Does the team think this is the same person, or a different similarly named chantuese? Simon -------------------[ archived by Spectropop ]-------------------
Message: 10 Date: Mon, 22 Mar 2004 11:33:20 -0600 From: Steve Jarrell Subject: Re: the death of Shindig Freeman, Some of us even remember the Lloyd Thaxton show. Steve Jarrell -------------------[ archived by Spectropop ]-------------------
Message: 11 Date: Mon, 22 Mar 2004 12:14:19 EST From: Paul Urbahn Subject: Re: Let's Twist Again Billy wrote: > Still ABKCO's explanation for the holdup sounds like a lame excuse > to me. The technology for a proper remastering project was available > over 10 years ago. No kind of digital remastering or DVD storage > wizardry is gonna make "Lets Twist Again" sound better. Billy, I have long felt that the purpose behind ABKCO Records (that's what their letterhead says) but I figure it should be ABKCO Music) is to license music to others like the film industry. That way you are not actually pressing records (or CDs), sending them to distributors hoping you get your money for them, etc., but just licensing stuff to other people to use. You only have one customer to deal with, you have a written contract that will hold up in court, and you get your money up front. ABKCO licensed "Let's Twist Again" for use in a television series -- can't remember the title right now, but I have the soundtrack CD with the song. The producers must have paid ABKCO's fee. However, I also have a CD of Peter Noone's recording of "I'm Into Something Good", which was used in the movie The Naked Gun. I was told by someone in the industry that the film company had him do a sound-a-like of The Herman's Hermits version because they could get rights to use the song, but not the original recording, which ABKCO controlled. The only problem with that theory is why doesn't ABKCO license the Cameo- Parkway material -- and Herman's Hermits stuff, for that matter -- to other companies like Rhino and Collectables? I guess that question will never be answered. That's why I am thankful to Liberty Bell. -------------------[ archived by Spectropop ]-------------------
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