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Spectropop - Digest Number 1457

               SPECTROPOP - Spectacular! Retro! Pop!

There are 25 messages in this issue.

Topics in this digest:

      1. Re: arrangers
           From: Alan Iris 
      2. Re: arrangers
           From: Bonnie B. 
      3. Ricky Lancelotti & Banana Splits
           From: Charles Ulrich 
      4. Re: Neil Sedaka
           From: Bonnie B. 
      5. Re: The Big Hurt
           From: Bonnie B, 06 . Re: track layering in reverse order
           From: Joe Nelson 
      7. Re: Ray Pilgrim
           From: Ken Silverwood 
      8. Re: Runaway and "that instrument"
           From: Phil X. Milstein 
      9. Re: Girls With Guitars
           From: Gary Myers 
     10. Re: C. Carson Parks & Somethin' Stupid
           From: Art Longmire 
     11. Re: L.I. / Bronx / N.J. / Knickerbockers
           From: Various 
     12. Re: Donnie Brooks
           From: Gary Myers 
     13. Re: The Razor's Edge
           From: Various 
     14. The Shaggy Boys
           From: "markt439" 
     15. Re: Accuracy of Top 40 Playlists
           From: Dan Hughes 
     16. Murray the K
           From: Paul Levinson 
     17. 1910 Fruitgum Company (and a question for Austin)
           From: Peter McCray 
     18. Re: Girls With Guitars - The 2 Of Clubs
           From: Joe Nelson 
     19. Re: Kit Kats / New Hope
           From: markt439 
     20. Re: the price of love
           From: Joel Sanoff 
     21. New Old 45s Purchase Questions
           From: David Coyle 
     22. Re: "Roses Are Red (My Love)"
           From: John Fox 
     23. Re: "Roses Are Red (My Love)"
           From: Ronnie Allen 
     24. Re: The Magicians Reunited
           From: Gary Myers 
     25. Re: December's Children / Grass Roots
           From: Billy G. Spradlin 

Message: 1 Date: Sun, 25 Apr 2004 13:28:41 -0700 (PDT) From: Alan Iris Subject: Re: arrangers Bob Celli wrote: > Hi, I agree wholeheartedly! Guys like Ernie Freeman, Dick Jacobs, > Lincoln Mayorga, Artie Butler, et al. All major talents lending their > genius to some of the best recordings ever made! Let's not forget the leading arranger at the time, Alan Lorber. -------------------[ archived by Spectropop ]-------------------
Message: 2 Date: Sun, 25 Apr 2004 21:27:15 -0000 From: Bonnie B. Subject: Re: arrangers Alanl22000 wrote: > It makes no sense that thr Hall of Fame doesn't even approach > the subject of arrangers. Taking two from Al Kooper's list I'd nominate Don Costa, Alan Lorber, and decide on three more. -------------------[ archived by Spectropop ]-------------------
Message: 3 Date: Sun, 25 Apr 2004 14:38:44 -0700 From: Charles Ulrich Subject: Ricky Lancelotti & Banana Splits I'm a new member. Kim Cooper of Scram! magazine pointed me in this direction. My main obsession is Frank Zappa. But there are numerous connections between his career and the subject matter of this group, starting with the session musicians on the first Mothers Of Invention album (Carol Kaye et al). I'm writing a book on FZ's recorded works. One of the things I'm trying to do is to provide some background on the contributing musicians -- especially long-time band members, but also those who made more limited appearances. Ricky Lancelotti, who sang lead on several FZ songs in 1973, is said to have sung for The Banana Splits. I'm not sure whether this was on the TV series or the records. Perhaps the most likely is the The Banana Splits In Hocus Pocus Park, which appeared on the ABC Saturday Superstar Movie in 1972. Can anyone verify or refute that Lancelotti recorded with the Banana Splits? Or provide any additional information about his (non-Zappa) recording credits? --Charles -------------------[ archived by Spectropop ]-------------------
Message: 4 Date: Sun, 25 Apr 2004 22:13:02 -0000 From: Bonnie B. Subject: Re: Neil Sedaka There's a new Beqar Family 8cd box set on Neil Sedaka. It lists Aaln Lorber as arranger of the great hists of his Don Kirshner Al Nevins day, including Breaking Up Is Hard To Do, Next Door To Angel, Happy Brithday Sweet 16, let's Go Sye=tead Aagain and about 10 others. In neils bio he credits Aaln Lorber as his arranger. -------------------[ archived by Spectropop ]-------------------
Message: 5 Date: Sun, 25 Apr 2004 22:25:42 -0000 From: Bonnie B, Subject: Re: The Big Hurt Peter Lerner wrote: > Miss Toni's version of The Big Hurt an all time classic, but Del Shannon's > Liberty version is also sensational. Have you ever heard the Susan Rafey version on a verve album in the 60's -------------------[ archived by Spectropop ]-------------------
Message: 6 Date: Sun, 25 Apr 2004 19:17:06 -0400 From: Joe Nelson Subject: Re: track layering in reverse order Phil M. wrote: > Perhaps the producers among us can offer some thoughts on SOS > having been done as voices and acoustic guitar first, with drums, bass > and electric guitar added in a later session. Do they think it'd really be > as difficult to pull off well as I imagine it would be? I'm not a producer but I am a musician, and I can tell you it's as nightmarish as it sounds. The hired musicians are following a drummer who is used to setting time rather than following it, and since Paul Simon played without a click track he's all over the place tempo-wise. You hear the drummer trying to hold a tempo that shifts abruptly, then overcorrects when he realizes something has changed, and the rest of the group follows him. The end result is about as good as it was going to get under the circumstances, but anyone doing the same thing today would have time compressed the track to get everything more even. Getting way out of the '60s here, but I can't touch on the subject without mentioning the posthumous output of contemporary Christian legend Keith Green. After Green was killed in the summer of 1983, his producer, Bill Maxwell, created two new albums out of piano/vocal demos and live recordings. This obviously presented the same difficulties as SOS, yet the timing is flawless. (It should be noted that Maxwell was also the drummer on Keith's albums, Keith preferring to tour solo with just his own piano for accompaniment.) It wasn't untill the release of the Ministry Years boxed set in 1987 that Maxwell revealed the secret. Although Keith had been active in the music industry for most of his life, he'd never achieved a meaningful notice until he became a Christian and signed with Sparrow in 1977. Maxwell quickly figured out what was wrong with Keith's earlier work -- you couldn't record him the normal way, cutting basic tracks and overdubbing vocals. He was a very emotional performer who played according to the moment, and, chained to the feeling on the tape, he couldn't give you the performance. So Maxwell took a gamble -- he cut Keith singing and playing live, laid down the drums himself, and had the session players follow him following Keith's lead. So when the usual suspects went to create fresh recordings after the fact, they were already used to playing that way. BTW, one of the posthumous tracks, "When There's Love", was written with Tommy Boyce. Joe Nelson -------------------[ archived by Spectropop ]-------------------
Message: 7 Date: Mon, 26 Apr 2004 00:19:58 +0100 From: Ken Silverwood Subject: Re: Ray Pilgrim Howard wrote: > Would anybody be interested in hearing more on Woolies' Embassy > label? Howard, the only name I can recollect off of the labels was probably Ray Pilgrim, usually with his Travellers. I think he also got onto Easybeat, or some such radio programme. Come to think of it, I bet it was Workers' Playtime, from a munitions factory just outside Crewe. He would have been on right after Dorita Y Pepe, the flamenco dancer, just think of it a dancer on the radio -- nearly as good as a ventriloquist, eh? Ken On The West Coast. -------------------[ archived by Spectropop ]-------------------
Message: 8 Date: Sun, 25 Apr 2004 21:11:10 -0400 From: Phil X. Milstein Subject: Re: Runaway and "that instrument" Al Kooper wrote: > I never had the pleasure of working with DS but I sure was a > fan - and I was always charmed/mystified by that solo instrument > in "Runaway". Lots of Musitron info, and some new CDs for sale, at --Phil M. -------------------[ archived by Spectropop ]-------------------
Message: 9 Date: Sun, 25 Apr 2004 18:18:11 -0700 From: Gary Myers Subject: Re: Girls With Guitars Mick Patrick: > CD is subtitled "All-Girl Bands, Axe-Backed Babes and the like . . ." > Get the picture? Here's what's on it: > Girls With Guitars (Ace CDCHD 989) > 17. Lonnie Mack and the Charmaines - Sticks And Stones (Trip LP 9522) 1976 Apparently this is not the "Memphis" Lonnie Mack? gem -------------------[ archived by Spectropop ]-------------------
Message: 10 Date: Sun, 25 Apr 2004 20:19:37 -0000 From: Art Longmire Subject: Re: C. Carson Parks & Somethin' Stupid Wow, Phil-I just read your post and realized that I have the C. Carson Parks-Gail Foote LP. I'd forgotten all about it and haven't listened to it in at least four years. I've had it for about eight years now and wasn't aware that C.Carson was related to Van Dyke. I wish I could post their original "Something Stupid", I don't have the technology...meanwhile I've got to dig this album out and give it another listen. As you say, C.Carson's site is very informative-I love the record scans. Art Longmire -------------------[ archived by Spectropop ]-------------------
Message: 11 Date: Mon, 26 Apr 2004 18:57:40 +0100 From: Various Subject: Re: L.I. / Bronx / N.J. / Knickerbockers A compendium of message regarding Long Island, The Bronx, New Jersey, and The Knickerbockers: --------------------------------------------- > Peter Grad: I didn't realize there was Knickerbockers/Jersey connection, thanks for that bit of info! Sure, Tenafly is in Bergen County, and I know Knickerbocker Road, though never thought for a moment it was related to, or may have influenced, the group. I lived in the Bronx most of my life til just a few years ago, when I moved to Ridgewood, NJ, just a couple towns away from Tenafly. If there are any other Bronxites here, I probably don't have to mention that barely a mile south of the Pelham Parkway/Allerton Avenue/White Plains Road section of the Bronx is our borough's own Little Italy, including Arthur Avenue (Dominic's Italian Restaurant may be the best eatery in NYC) and Belmont Avenue, where a guy named DiMucci used to sing on street corners. --------------------------------------------- > Phil Milstein: Peter Grad wrote: > Actually, I once thought they named themselves after an old beer... I thought they named themselves after an old basketball team. --------------------------------------------- > Paul Levinson: I went to Columbus High School, 1960-63 ("Hail the silver and the blue!"), lived on Adee Avenue then. In the summer of 63 -- after graduating Columbus, and before I starting going to City College in Harlem -- I worked in Krum's, an ice-cream parlor on the Grand Concourse. I met Stu Nitekman and Ira Margolis there, we formed The Transits (along with a guy from Pelham Parkway, another guy from Allerton Avenue, and a lead singer, Dave, from I can't remember where). We played at Bronx House, too, and also at the Y on 167th Street and the Grand Concourse. By 1965, it was just Stu, Ira, and me, and we were The New Outlook. Mike Rashkow and Ellie Greenwich discovered us singing in Central Park two years later, changed our name to The Other Voices, and we recorded "Hung Up On Love" for Atlantic -- released last month on Andrew Sandoval's Come To The Sunshine compilation for Rhino Handmade. Amazing we never ran into each other, Peter. By the way, did you know that a few of The Excellents came from Columbus High School, and recorded "Coney Island Baby" (a doo-wop regional hit in the late 1950s)? That Allerton Avenue area was sure cookin! (As fate would have it, I'm now a Professor of Communication and Media Studies at Fordham University -- just across the park from Allerton.) All best, Paul --------------------------------------------- > Peter Grad: Paul, I know exactly where you lived! I remember watching the coal trucks pour coal into the basement through the ground floor windows into those buildings on Olinville Ave. Also used to be an old Italian man who sold fruit off a fruit truck, used to stand on Britton STreet and Olinville Ave.! Did you go to PS 96, JHS 135, Columbus High? And I know Adee well -- I witnessed the chimney toppling over during construction of the huge towers from my 7th floor window during a terrible storm... and we used to call that strreet Suicide Hill.. some daring souls used to go sleigh riding down there, but it fed right into Bronx Park East, a heavily traveled road... I was crazy as a kid, but not that crazy... Peter --------------------------------------------- > David Coyle: Gene Simmons of Kiss started out in such Long Island bands as The Missing Links and The Long Island Sounds, apparently unrelated to any bands by those names that recorded. There are photos in his autobiography of those bands, with Gene playing a Hofner violin bass around 1964. -------------------[ archived by Spectropop ]-------------------
Message: 12 Date: Sun, 25 Apr 2004 19:00:08 -0700 From: Gary Myers Subject: Re: Donnie Brooks Martin Roberts wrote about: > Donnie Brooks' "If I Never Get To Love You" (Reprise)... Did news of Donnie's car accident a few months ago get posted in here? (I was not yet in the group at that time). gem -------------------[ archived by Spectropop ]-------------------
Message: 13 Date: Mon, 26 Apr 2004 19:08:19 +0100 From: Various Subject: Re: The Razor's Edge A compendium of messages on Ed B.'s request for information on "Let's Call It A Day Girl" / "Avril (April)," by The Razor's Edge: --------------------------------- > Gary Myers: Always liked that one. It charted up to #77 during a seven-week run, and I'm sure Jeff Lemlich can add more detail. We (The Portraits) were told that our "Runaround Girl" was played briefly on WBZ, but I've never been able to confirm that. --------------------------------- > Jim Shannon: Ed, "Let's call it a Day Girl" was a great one. We could probably add "Mrs. Bluebird" and "Baby, You Come Rollin' Across My Mind" to that list. --------------------------------- > Joe Nelson: Not Top 40 nationally but a considerable hit, although I don't have the numbers at hand. --------------------------------- > Jeff Lemlich: This was a band from West Palm Beach, Florida that had been together since 1959. They were originally The R-Dells (aka Ardells), with their name changed to The American Beetles in '64, and then The Razor's Edge in '66. A complete discography of the group (including their one-off single as The Tones) can be found in my book "Savage Lost". Jeff Lemlich -------------------[ archived by Spectropop ]-------------------
Message: 14 Date: Mon, 26 Apr 2004 02:29:59 -0000 From: "markt439" Subject: The Shaggy Boys Any info on this group with 1 single on Red Bird and 2 on UA, all of them good. -------------------[ archived by Spectropop ]-------------------
Message: 15 Date: Sun, 25 Apr 2004 21:28:13 -0500 From: Dan Hughes Subject: Re: Accuracy of Top 40 Playlists I grew up in Indianapolis, and the local top 40 station WISH (became WIFE in late '63) printed a weekly survey that was 7 inches square. In other words, the same size as a 45 jacket! So it fit right in with the singles you bought each week (nobody bought albums yet--this was pre-Beatles). One side of the survey had a picture of a 45 rpm record on it; the other side had the chart, which consisted of, if I remember correctly, the week's top 50, plus a couple of Picks to Click, plus the Album of the Week (which for the longest time, I remember, was the Limeliters Tonight In Person). ---Dan -------------------[ archived by Spectropop ]-------------------
Message: 16 Date: Mon, 26 Apr 2004 05:09:38 -0000 From: Paul Levinson Subject: Murray the K Peter Grad wrote: > ... It happens that I was a big Murray the K fan in 65-66, and was > devastated when WINS, where he as at the time, switched from rock > to all-news. I was a big Murray the K fan, too -- started listening to him on WINS right after Alan Freed's show, saw Murray at Freedomland, followed him to WOR-FM. When Murray came back to New York for the July 4th weekend show on WNBC Radio in 1972, I wrote an article about it for the Village Voice ("Murray the K in Nostalgia's Noose" -- the article was much more positive than that -- the editor plucked that phrase out of context and a longer sentence, and made it the title). Murray read the article, and invited me to work on his new NBC Radio show, which he started doing in the Fall of 72. I did that for almost year. One of the high points for me was writing, performing, and recording a song celebrating Murray's return -- "Murray the K's Back in Town" -- Murray played the song from time to time as his theme song. I have an MP3 of the acetate, would be happy to e-mail to anyone would like to hear it. Murray's son Peter Altschuler contacted me a few years ago. He was putting together an archive for his father, and we've been in contact a few times since. (Hey, Peter G -- if you like, I can put you in touch with him -- he might be interested in your tape of WINS' last rock beat.) All best, Paul -------------------[ archived by Spectropop ]-------------------
Message: 17 Date: Mon, 26 Apr 2004 18:43:36 +1000 From: Peter McCray Subject: 1910 Fruitgum Company (and a question for Austin) Hi again to all I came across a website for these guys recently - not sure how many original members are still with the group, but good luck to them anyway. This is the link to 1910 Fruitgum Company, 21st centruy style: Could I ask a question of Austin Roberts on this topic as well? Austin - did I read here a while back that you recorded one track under the 1910 Frutigum Company 'banner' at one stage, back in the late 60s/early 70s when the band was at their height of popularity? Any reminisces of the track or the session? I'd be real interested to hear more. Thanks Peter -------------------[ archived by Spectropop ]-------------------
Message: 18 Date: Sun, 25 Apr 2004 23:05:51 -0400 From: Joe Nelson Subject: Re: Girls With Guitars - The 2 Of Clubs Mick Patrick: > CD is subtitled "All-Girl Bands, Axe-Backed Babes and the like..." > Get the picture? Here's what's on it: > Girls With Guitars (Ace CDCHD 989) > 12. The 2 Of Clubs - Heart (Fraternity) 1965 Interesting choice, since their biggest hit "Walk Tall" remains unavailible on CD AFAIK. Nevertheless this is a WAY cool cover of the Pet Clark track. Will be on the lookout. Joe Nelson -------------------[ archived by Spectropop ]-------------------
Message: 19 Date: Mon, 26 Apr 2004 02:29:14 -0000 From: markt439 Subject: Re: Kit Kats / New Hope There's a New Hope single on MGM, around 1972 or 1973. Just wondering if this is the same group. I know they had a record on Paramount but I've never heard if this is them on MGM. -------------------[ archived by Spectropop ]-------------------
Message: 20 Date: Mon, 26 Apr 2004 13:31:55 +0000 From: Joel Sanoff Subject: Re: the price of love Kingsley et al, I was born in 1947, and started buying 45s around 1956, with the advent of Elvis, Chuck Berry and Little Richard. Those first singles were purchased at E. J. Korvettes, a discount chain, and if I remember correctly ran about 49 cents each. At the local record store in my home town, 45s went for 69 cents. I bought my first album in 1963. It was by Dick Dale, whom I'd just seen on the Ed Sullivan show. It was either $2.99 or $3.99 back then. For a 16-year-old kid, that was a lot of money, considering I'd only heard one song of his, but Dick didn't have any singles out on the East Coast. My circle really didn't buy many LPs because they were too expensive and we usually only recognized a couple of songs on them since those were the only ones we'd heard on the radio. Of course, with the advent of The Beatles, all that changed. Here's a factoid: according the the US recording industry, 1968 was the first year that the sales of albums outpaced the sale of singles. Hope that's of interest. Joel >From: Kingsley Abbot >Reply-To: >To: >Subject: Re: the price of love >Date: Thu, 22 Apr 2004 17:49:19 +0100 > >Ah!!! The memories of prices of British records! For what it's worth >I'll put in my twopenneth ... > >In 1962 I'd say that singles were 6s 3d -- they went to 6s 8d (3 for a >pound) circa late '63 ish. Full-price albums were 32s 6d, with budget >ones (eg Ace of Glubs, etc.) at about 21s 6d, and imports (Transat in >Lisle street -- oh happy days!) at 42s 6d. (For non-British members: >20s = one pound then.) > >My memory is that Woolwoths' Embassy range was exactly half-price, >at 3s 4d -- anyone confirm? This lower price was also roughly the price >of deleted discs, if you could find them at the time, tho they could also >be cheaper -- I recall finding a big batch of US singles in the Holloway >Road for 2s 6d. > >Can some kind US member of a certain age give US equivalents of the >time?? > >Kingsley (happily pedantic) Abbott > >P.S. For obscure girl groups, I love the Inspirations' version of 'What >Am I Gonna Do With You (Hey Baby)'. > _________________________________________________________________ FREE pop-up blocking with the new MSN Toolbar get it now! -------------------[ archived by Spectropop ]-------------------
Message: 21 Date: Mon, 26 Apr 2004 06:36:06 -0700 (PDT) From: David Coyle Subject: New Old 45s Purchase Questions Went to my first yard sale of the year the other day. Scored a bunch of 45s including a stack of Hit Records appropriately priced at what amounted to 12 cents apiece (the others in the boxes were a quarter each). The Hits include a number I didn't already have, a couple of inferior duplicates, and probably the worst version of a Stones song I've ever heard ("Have You Seen Mother, Baby, Standing In The Shadow" by the Chords). Others included the Bruce and Terry single of "Summer Means Fun," "Sophisticated Boom Boom" by the Goodies, "Should I" by the Stringalongs, "Sleepwalk" by Santo and Johnny and "You're The Love" by The Sixpence on Impact. "Sophisticated Boom Boom" is on the Blue Cat label, and is a Shadow Morton production. What is the story on this? It sounds like a Hit Records version (a good one, at least) of The Shangri-Las song, on what I understand to be a subsidiary label of Red Bird. The real surprise to me was hearing "Should I" by the Stringalongs, which taken by itself is pretty much a "Wheels" rewrite. But the beginning of the melody sounded awfully familiar! It's the "Itchy And Scratchy Show" theme from "The Simpsons"! ("they fight, they fight, they fight and fight and fight...") Is it possible that the creators of the Simpsons got their inspiration from a long-forgotten instrumental group from the 50s? Also got the "Deep Purple" LP on Atco by Nino Tempo and April Stevens (including the all time great b-side "I've Been Carrying A Torch For You So Long I Burned A Great Big Hole In My Heart"), as well as a reissue LP of Herb Alpert and the TJB's "Greatest Hits." Not a bad haul for less than a tenner... David -------------------[ archived by Spectropop ]-------------------
Message: 22 Date: Mon, 26 Apr 2004 10:39:06 EDT From: John Fox Subject: Re: "Roses Are Red (My Love)" Question for Paul Evans: Is Floyd Cramer playing piano on "Roses Are Red"? The style is unmistakable. Would that mean that the song was recorded in Nashville? In my opinion, Floyd Cramer is the unsung hero of the country crossover era of 1961-1963. He seems to be on every record of that genre from that era, plus country-flavored records from pop singers that crossed over the other way (Johnny Tillotson, Brenda Lee, even Walter Brennan!). John Fox -------------------[ archived by Spectropop ]-------------------
Message: 23 Date: Mon, 26 Apr 2004 11:16:42 EDT From: Ronnie Allen Subject: Re: "Roses Are Red (My Love)" Paul Evans: > By the way, the original demo of "Roses...." can be found on a > couple of my CDs. You might find it interesting to compare the demo > with the Vinton recording. Joe Nelson: >> Vinton has said numerous times how he found that demo in a stack of >> rejects at Epic, but never mentioneed you were the singer. I wonder >> if he ever knew... I did a live-by-phone radio interview show 10 months ago with Paul that was heard in my area and on the Internet. For that show I pre-recorded an interview with Bobby Vinton and he told me that story about how he found "Roses" in a "reject pile," as he called it. When I mentioned this to Paul he was a bit "surprised." I'm not sure whether Paul has subsequently discussed this with Bobby, but if he has, I'd sure love to know the gist of that conversation. On a personal note, let me say that "Roses Are Red" is one of the few successful ballads from that period of time (specifically the year was 1962) which I have never gotten tired of. I think it's a timeless song that deserves never to grow old. As for Paul, I'd like to add here that he was an extremely interesting interview subject (our allotted hour just FLEW by!) and anyone who ONLY knows Paul through "Seven Little Girls (Sitting In The Back Seat)" and/or "Roses Are Red" is missing a lot! You can easily catch up and take the "Paul Evans 101" course material (my terminology) at ... it's WELL WORTH a visit! Ronnie Allen -------------------[ archived by Spectropop ]-------------------
Message: 24 Date: Sun, 25 Apr 2004 18:58:19 -0700 From: Gary Myers Subject: Re: The Magicians Reunited Christian Gordon: > I asked if they remembered an AG favorite (Once Upon A Time by > Rochelle and The Candles) ... I was in a doowop group for a short time around '89 and one of the other guys knew Johnny Wyatt, the lead singer of that group. We went to his house one day so my friend could introduce me, with the possibility of doing a future story, but Wyatt didn't want to have anything to do with any stories of the group, and he wouldn't come out of the house or let us in. gem -------------------[ archived by Spectropop ]-------------------
Message: 25 Date: Mon, 26 Apr 2004 16:35:56 -0000 From: Billy G. Spradlin Subject: Re: December's Children / Grass Roots Never heard the Decembers Children's version of "Lovin Things", please post it if you can. I prefer the Maramade's excellent version, it has a different last verse than the Grass Roots and should have been a hit in the USA. I think its interesting while the Roots had a wealth of great material from Sloan/Barri (and the band-written LP originals) they were always on the lookout for overseas and non-hits they could cover. The Roots version has a excellent backing track but it sounds like Grill and company were half alseep or not "into it" when recording the vocals. A bit too much "California Cool". Billy -------------------[ archived by Spectropop ]-------------------
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