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Spectropop - Digest Number 1437

               SPECTROPOP - Spectacular! Retro! Pop!

There are 7 messages in this issue.

Topics in this digest:

      1. Re: Comfortable Chair
           From: Gary Myers 
      2. Re: Bacharach not Bach - Music not Math(s)
           From: Gary Myers 
      3. Re: Brooklyn Bridge / Del-Satins
           From: David Coyle 
      4. Re: UK Oriole
           From: David Coyle 
      5. "Brand New Day"
           From: Al Kooper 
      6. Re: Del-Satins / Brooklyn Bridge
           From: Fred Clemens 
      7. Re: Chartbusters' "She's The One"
           From: Rich 

Message: 1 Date: Mon, 12 Apr 2004 10:27:18 -0700 From: Gary Myers Subject: Re: Comfortable Chair Me: > Comfortable Chair ... this is Bernie Schwartz *after* his solo > work, rather than before. Country Paul: > ... I did make a mistake: the original 45rpm is Ode ZS7-109, not > 105. However, its release date is 1968; the CoBurt album turns > out to be 1970 or 71, and the single from it, "Peace on Earth" > (from "The Magic Garden of Stanley Sweetheart" is dated 1971, > which I wrote on it when filing it. But you're also partly right: > I believe this release as Adrian Pride, "Her Name Is Melody"/"I > Go To Sleep," comes from 1966. Are you considering the CoBurt LP to be his solo work? I was not, as I thought "The Wheel" was considered to be the name of the group, and that Schwartz was not on every cut. And, I didn't know there was a single from "Magic Garden .. ". Is it shown as by Bernie Schwartz? All the releases that I considered to be his solo work were between '63 - '66, as Don Atello, Bernie Schwartz, and Adrian Pride gem -------------------[ archived by Spectropop ]-------------------
Message: 2 Date: Mon, 12 Apr 2004 09:53:55 -0700 From: Gary Myers Subject: Re: Bacharach not Bach - Music not Math(s) > I tried a university's Music 101 once and had to drop because > it was too much like math. Well, music *is* a lot like math. However, I completely agree that music often seems to be taught from a totally dry and non-creative aspect. So many teachers teach the technique of the instrument and reading music, with little or no emphasis on rhythm, ear and understanding, all of which I consider to be the *most* important aspects. I do a little teaching at the music store where I work and I've recently taught an adult woman student who has been strictly a "reader" and teaches kids, but realized that she didn't want to teach the kids to be like her, and wants to learn improvisation, etc. More traditional teachers could use that kind of realization. (There is a story that a music professor once told Jim Webb he should probably try something other than music). Shameless promo: For info on my book "Understanding and Using Chords and Chord Progressions", see my website. :-) Gary Myers / MusicGem -------------------[ archived by Spectropop ]-------------------
Message: 3 Date: Mon, 12 Apr 2004 11:45:08 -0700 (PDT) From: David Coyle Subject: Re: Brooklyn Bridge / Del-Satins Al Kooper: > Please forgive my possible ignorance, but what did the Del-Satins > have to do with The Brooklyn Bridge? As far as I knew, they were > their own group on Laurie, that sang back-up on a few Dion > sessions after the Belmonts didn't. I thought that a late '60s lineup of the Del-Satins had originally performed the nucleus of the Brooklyn Bridge, combined with some obscure soul group that decided to merge with them. Johnny Maestro was in the Del-Satins at the time, with the Crests having been broken up for several years. The idea of a 12-member group comprised of doo-woppers and a soul band, the story went, would be "as easy to sell as the Brooklyn Bridge," hence the name. Did Joel Whitburn's "One-Hit Wonders" get its facts wrong, or did I get Joel Whitburn's facts mixed up? David -------------------[ archived by Spectropop ]-------------------
Message: 4 Date: Mon, 12 Apr 2004 12:38:03 -0700 (PDT) From: David Coyle Subject: Re: UK Oriole I think British beat and pop would be a great place for Sundazed to branch into. Their garage and psych offerings are becoming kind of lackluster. I'm trying to figure out why I should buy their "Garage Beat '66" series with so many songs that have already been reissued to death. Just a thought. David -------------------[ archived by Spectropop ]-------------------
Message: 5 Date: Mon, 12 Apr 2004 16:16:44 EDT From: Al Kooper Subject: "Brand New Day" Clark Besch: > Subject: Al Kooper and a Shade of Difference > > Hi, just wondering about the Shade Of Difference's great version > of Al Kooper's "Brand New Day", on Decca 32894. It says it was > from the United Artists movie "The Landlord". Was Al's or Shade > Of D's version in this movie? The group does a great job, I think. > Wondering if Al knows this version, or of its use in the movie? > Who were the Shade Of Difference?Studio group? The 45 was produced > by Joe Porter, arranged by Haskell & Omartian and engineer was > Garrry Ulmer. Anyone want this one played to musica? Ahhh I got that one, Clark. It wasn't used in the movie. My version (from the s/track album as opposed to a re-recorded version on my album EASY DOES IT) and a version I produced by The Staple Singers are the two versions used in the movie. Thanks for offering to post it though. What I'm REALLY dying to hear is "A Tear For Tommy" by Linda Lawrence on Epic. Someone....H E L P ! Al "Grateful Live" Kooper -------------------[ archived by Spectropop ]-------------------
Message: 6 Date: Mon, 12 Apr 2004 21:41:30 -0000 From: Fred Clemens Subject: Re: Del-Satins / Brooklyn Bridge Al Kooper: > Please forgive my possible ignorance, but what did the Del-Satins > have to do with The Brooklyn Bridge? As far as I knew, they were > their own group on Laurie, that sang back-up on a few Dion > sessions after the Belmonts didn't. Mikey: > The answer is that two of the current members of The Brooklyn > Bridge were in The Del-Satins, and that's why they do the songs > that the Del-Satins sang on. More precisely, Johnny Maestro, upon leaving the Crests, went solo briefly and eventually became a part of the Del-Satins group. The Del- Satins, at that time, were made up of Johnny, Les Cauchi, and Fred Ferrara. (They had no recordings issued during that brief period, though they did make public appearances.) Shortly after their partnership, it was that trio who teamed up with an instrumental group called the Rhythm Method to become the Brooklyn Bridge. Of the original Brooklyn Bridge, Johnny, Les, Fred, and Jimmy Rosica (bass guitarist from the Rhythm Method) still perform with the group. As a sidenote, Johnny Maestro (Mastrangelo) is cousin to the Belmonts member, Carlo Mastrangelo. Fred Clemens -------------------[ archived by Spectropop ]-------------------
Message: 7 Date: Mon, 12 Apr 2004 21:54:22 -0000 From: Rich Subject: Re: Chartbusters' "She's The One" Billy G Spradlin wrote: > ...the original Chartbusters recording of "Shes The One"... > I have yet to find it on CD. Just for your info Billy, it is on cd. On "Hey Look What I Found Vol. 6. Marvis MSCD-4506 Rich -------------------[ archived by Spectropop ]-------------------
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