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Spectropop - Digest Number 1518

               SPECTROPOP - Spectacular! Retro! Pop!

There are 14 messages in this issue.

Topics in this digest:

      1. Re: Americanized Bossa Nova
           From: Al Kooper 
      2. Re: Multiple versions
           From: Michael Fishberg 
      3. Re: Americanized Bossa Nova
           From: Joe Foster 
      4. Re: Nancy & Lee 3
           From: Frank Jastfelder 
      5. Re: Cheap CDs source
           From: Paul Woods 
      6. Re: Multiple versions
           From: Al Kooper 
      7. Re: The Water Is Over My Head
           From: Al Kooper 
      8. The Water Is Over My Head
           From: Kingsley Abbott 
      9. Re: new CD - Nancy & Lee 3
           From: Peter McCray 
     10. Halos to Musica
           From: Clark Besch 
     11. Timothy redux
           From: Phil X Milstein 
     12. Re: multiple versions
           From: Phil X Milstein 
     13. Re: Ronnie Dove
           From: Gary Myers 
     14. Jack Nitzsche at Spectropop update
           From: Martin Roberts 

Message: 1 Date: Tue, 08 Jun 2004 03:55:48 EDT From: Al Kooper Subject: Re: Americanized Bossa Nova > Were there any other Americanized Bossa Nova acts from the mid-60s > who aren't remembered today? Well I gotta Bossa Nova skeleton in my closet. On Child Is Father To The Man I wanted to cover my favorite song at the time "Without Her" by the brand-new mysterious Harry Nilsson. But the arrangement on his recording was untouchable, so I came up with the Bossa Nova idea for our arrangement. And later, Jack Jones nicked our arrangement on Kapp. I believe. I never ventured into Bossa Nova territory again, but I do remember corrupting Eydie's record and singing to close friends: "Blame it on your Jewish Mother!!!". -------------------[ archived by Spectropop ]-------------------
Message: 2 Date: Tue, 08 Jun 2004 01:05:03 -0700 (PDT) From: Michael Fishberg Subject: Re: Multiple versions Previously: > Can someone explain the reasoning behind a double release of the same > song at almost the same time? Ooh, this is ahot subject! Here too in the UK it occurred. There are many examples to cite - I'll give just one - "Only 16". This was of course a big Sam Cooke hit, but was covered here by Craig Douglas and Al Saxon. Interestingly, Douglas had the #1 hit version, and it both launched his pop career (The Singing Milkman From The Isle Of Wight) and that too of the fledgling Top Rank label. But it was not all "spoilers". As well as using existing hits from the U.S., it also served to conserve precious foreign exchange at a time when restrictions applied to sending dollars out of our country. By covering a record, the foreign originator's (licensee and singer) dues were severely cut back. Another, and far more interesting element comes from that touched on by you. The covering by a white artist of a blaack aartist's hit. It was not uncoimmon when a black singer had a hit, to have it covered by a white artist (there were no 'croissovers' in the 50's) - frequently from the same label - with exactly the same arrnger and conductor! No doubt other Spectropop will expand on this hugely fascinaating topic... Michael Fishberg -------------------[ archived by Spectropop ]-------------------
Message: 3 Date: Tue, 08 Jun 2004 09:05:30 +0100 From: Joe Foster Subject: Re: Americanized Bossa Nova > And she is from Latin America anyway, quite possibly Brazil. But > Trio Janeiro, which was just reissued by Rev-ola & Bossa Rio. > I think you mean Triste Janeiro. **That's the one....and I have both Wanda de Sah and The Carnival coming up, if that helps! I especially like Triste Janero....some kids from Texas who should have had a garage band, but wanted to be Brasil '66.....I just love the insane ambition of it.... it works though! Joe -------------------[ archived by Spectropop ]-------------------
Message: 4 Date: Tue, 08 Jun 2004 10:10:20 +0200 From: Frank Jastfelder Subject: Re: Nancy & Lee 3 For more details about the album check out There´s also a duet album in the can called "To Nancy, with Love". Produced by Brit-Pop legend Morrissey and featuring a bunch of contemporary artists. It´s gonna be released this summer. Does anybody attend her concert in London btw? Frank -------------------[ archived by Spectropop ]-------------------
Message: 5 Date: Tue, 08 Jun 2004 09:17:51 +0100 From: Paul Woods Subject: Re: Cheap CDs source Howard told us: > Don't know if anyone has heard of this great source of CD's at > bargain prices, so I'd like to recommend you give them a try. ... > Send SAE (or International reply coupons) for his catalogue, there > are lots of great CD's at good prices on it: FINBARR INTERNATIONAL > (CD DEPT), Folkestone, Kent CT20 2QQ, UK. (Yes, the address is > complete). Definitely seconded! In fact, I almost wrote to recommend them a month or so back when someone on this list was asking for sources of doo-wop music and early rock and roll. Finbarr specialises in this. I sent off a few stamped addressed envelopes for catalogues, as requested, quite a few years back, and _still_ get them regularly even though my supply of envelopes has long expired (though, of course, I've purchased many a fine CD from them in the meantime!) Best wishes, wudzi -------------------[ archived by Spectropop ]-------------------
Message: 6 Date: Tue, 08 Jun 2004 04:46:32 EDT From: Al Kooper Subject: Re: Multiple versions > This one is directed to members of the promotion/record industry. Can > someone explain the reasoning behind a double release of the same > song at  almost the same time? "Help Me Girl" was released in late '66 > by both The Outsiders and The Animals, each on a different label. I  > always thought the Animals' version was better. "Cover battles" were a fixture of the fifties and sixties. Probably the most egregious was the Gladiolas/Diamonds contest on "Little Darling. Gladiolas had the original, raw version. Diamonds slicked it up and beat the hell outa the Glads. Indie versus major had a lot to do with that. But, I used to enjoy looking at the battles on the Top 100's in Billboard & Casshbox magazine. In those days, both versions would chart, with the winner usually at least 30 points ahead. Those wrere the days, my friend. How about a thread of famous cover battles ????? Al Kooper PS Now that I've had a bacxkwards think, the wackiest were the black versus white records with Pat Boone & Georgia Gibbs kicking Fats Domino, Little Richard and Etta James' asses. No justice in the Naked City. -------------------[ archived by Spectropop ]-------------------
Message: 7 Date: Tue, 08 Jun 2004 04:50:08 EDT From: Al Kooper Subject: Re: The Water Is Over My Head JJ: > Just picked up the FABtastic Eddie Hodges 45 "Love Minus Zero" b/w > "The Water Is Over My Head"(UK Stateside, '65). Is this the original > version of "The Water ..."? The Rockin' Berries did a great version, > the same year, but since it's a US written track, I assume Hodges > recorded it first. True? I believe The Berries got it from The Hodge. Tokens did a nice one too on that song on BT Puppy in the States. Al Kooper -------------------[ archived by Spectropop ]-------------------
Message: 8 Date: Tue, 08 Jun 2004 10:55:52 +0100 From: Kingsley Abbott Subject: The Water Is Over My Head The water was also over The Tokens' heads - a very fine album track version that can now be found on Varese's recent collection The Very Best Of The Tokens 1964-67 (Varese 302 066 547 2). I LOVE that song Al. Nice comp that includes a couple of lesser known ones like Breezy and You're My Girl, plus some commercials. Kingsley -------------------[ archived by Spectropop ]-------------------
Message: 9 Date: Tue, 08 Jun 2004 22:21:04 +1000 From: Peter McCray Subject: Re: new CD - Nancy & Lee 3 Phil M.: > if you have any suggestions for online ordering from afar, I'm sure > many of us would welcome it. Even a label name would help. The CD was released on Warner Bros here at the end of April. The way Nancy told it on the radio interview I heard, she doesn't have a recording contract these days, that she (and maybe Lee) had self- financed this album, and the guys at Warner Music set-up in Australia had heard of the project and liked what they heard. So they released it here, and any further release internationally would depend on how it sold in Australia. I have seen it in stores here, and it can also be picked up online. Sanity is quite a big music chain here with a huge online setup, as well as standard storefronts. The link to their site to get hold of the Nancy & Lee 3 CD is: Incidentally, I also came across a link to another radio interview that Nancy did here recently in support of the album (different to the one I heard), and maybe a few people could be interested. This interview is at Hope all this helps! Peter -------------------[ archived by Spectropop ]-------------------
Message: 10 Date: Tue, 08 Jun 2004 14:40:38 -0000 From: Clark Besch Subject: Halos to Musica Well, there was plenty of room on Musica and I decided to "unvacate" some of it. Now playing for Dusty or Flirtations (of fans of that sound_ fans, "Just Keep On Loving Me" by the Halos on Congress from mid 65, if I remember correctly. I first heard this cool record from a friend's radio tape off WLS in Chicago. I tracked down the artist from a radio chart from California and then hunted down the 45. They had at least 3 or 4 45s on Congress. I am not sure who the Halos were, but they had a great sound on this one. Enjoy! Clark -------------------[ archived by Spectropop ]-------------------
Message: 11 Date: Tue, 08 Jun 2004 12:20:34 +0000 From: Phil X Milstein Subject: Timothy redux I believe I have found the final coffin-nail in the story of The Buoys' "Timothy." Wayne Jancik's 1998 (rev. from 1990) "The Billboard Book Of One-Hit Wonders," a fascinating (if not 100% accurate) collection of anecdotes about every record by every artist to hit Billboard's pop Top 20 between 1955 and 1992, includes an interview with Rupert Holmes, in which he explicitly details the meaning and motivation of "Timothy." Because this story has been the subject of a lot of interest and discussion here over the past year or so, as well as to give you a taste of the book's approach, I'm including the complete text of Jancik's "Timothy" entry. There is also a group photo, which I can post to the photos section if there's any interest. Dig, --Phil M. -------------------------------------- THE BUOYS: TIMOTHY (Rupert Holmes) Scepter 12275 No. 17, May 1, 1971 "'Timothy' is not about cannibalism,' said Florence Greenberg, owner of Scepter/Wand Records, in an exclusive interview. "The writer assured me it was about a mule, or something. Frankly, I don't know of the record. It must have been done in the office without me. I can't remember the thing at all. I must have been out of the country to let that thing out." Cannibalism! Surely a song about the bodily consumption of a poor fellow narned Timothy would not be tolerated on the top reaches of Billboad's Hot 100. A call to Rupert Holmes -- the tune's creator, and previously a writer/arranger for artists like the Drifters, the Platters, and Gene Pitney -- seemed in order. "The Buoys were from Wilkes-Barre, Pennsylvania, and were so named to conjure images of cleanliness, like Lifebuoy soap. Michael Wright, a junior engineer at Scepter Recording Studios, discovered them. Mike and I were buddies, so he came to me for advice. He really liked the group and wanted to record them, but he told me that Scepter didn't take the group seriously. I said, 'I think you should record a song that will get banned -- that way, you can take the Buoys to another label and say, "This is the band that everyone is talking about!" Mike asked me if I could write some thing that would get the group banned. "I wasn't going to write about drugs, and everything that could be said on the air about sex had been said already. At the time, I was working on an arrangement of '16 Tons' for Andy Kim, in this kind of 'Proud Mary' guitar groove. In the other room there was this TV on. The show was 'The Galloping Gourmet', with Graham Kerr. I started singing the lyrics: 'Some people say a man is made out of mud / A coal man is made out of muscle and blood / Muscle and blood and skin and bones.' I thought, 'God, that sounds like a recipe.' I said, 'Yeah, muscle and blood and skin and bones: bake in a moderate oven for three hours.' That's it! Cannibalism and mining. "I just turned out this story song about three boys who were trapped in a mine. And when they're pulled out, there's only two of them left. They don't know what happened to the third one, but they know that they're not hungry anymore!" The Buoys -- which consisted of Fran Brozena (keyboards), Chris Hanlon (guitar), Gerry Hludzik (a.k.a. Joe Jerry, bass), Bill Kelly (lead vocals), and formerly of Glass Prism, Carl Siracuse (drums) -- gathered in the studio. Rupert played piano on the track. Bill Kelly sang lead. Scepter issued the disk and no one noticed, not even the label, for 14 months. A part-time promo man at the company finally took it into his own hands to drum up interest in the disk, particularly on college stations. In short order, gatherings of the "Timothy for Lunch Bunch" were being reported in university tabloids. "The label copped out on the cannibalism" said Holmes. "They started this rumor that Timothy was actually a mule, so it wasn't so bad for these survivors to eat him. I was offended at the very idea of this pure defenseless mule being eaten. To this day, people come up and ask me, 'Was Timothy a mule?' I tell them, 'No, he was a man -- and they ate him." The group formed in the summer of 1964 in Wyoming, Pennsylvania; they were first the Escorts, then the Moffets. When Bill Buchanan, DJ at WBAX in Wilkes-Barre, became their manager, they were relabeled The Buoys. Their line-up changed some. With the brief addition of Bob O'Connell (keyboards) in 1969, the Buoys got the chance to affiliate with Michael Wright and to record for Scepter. The Buoys followed their Top 40 hit with other tall tales of death and what not. There was "Give Up Your Guns" (#84, 1971), about a Tex-Mex showdown, followed by "Bloodknot," about some reform-school ritual. Both were written by Rupert, who likewise penned most of the tunes for the Buoys' 1971 Portfolio LP. After Scepter folded in 1972, the Buoys and Rupert signed with Polydor, where two further singles were issued ("Don't Try to Run" and "Liza's Last Ride"). Holmes, however, wrote neither of these numbers and neither was noticed by the media, even a mite. One final effort, "Don't Cry Blue" -- produced by Michael Kamen, of the New York Rock and Roll Ensemble -- was put out by Ransom in 1977. With an ever-changing line-up, the Buoys name carried on into 1987. Rupert Holmes continued writing, producing, and arranging. He also launched a solo career that eventually led to chart success -- with singles like "Escape (The Pina Colada Song)" (#1, 1979) and "Him" (#6, 1980), and the "Partners In Crime" album (1980). His 1986 Broadway musical, "The Mystery of Edwin Drood," won five Tony Awards, including Best Musical. The following year, the Jets topped the Adult-Contemporary charts with his "You Got It All." In 1978, Bill Kelly and Gerry Hludzik resurfaced as Jerry Kelly with an album on Epic, "Somebody Else's Dream"; two years later, as Dakota and with a self-titled LP on Columbia, they worked as the opening act for Queen's "The Game" tour. A second album was issued in 1984. Dakota called it quits in 1987. Kelly and Hludzik had success as producers of Jimmy Harnen's "Where Are You Now?" Both continue as tunesmiths; two Hludzik compositions have been cut by the Oak Ridge Boys. Incredibly, it is reported that the Buoys' follow-up flop, "Give Up Your Guns," became a Top 10 hit in Holland in 1979, after extensive use in a tire commercial. -------------------[ archived by Spectropop ]-------------------
Message: 12 Date: Tue, 08 Jun 2004 11:45:38 +0000 From: Phil X Milstein Subject: Re: multiple versions Dan Hughes wrote: > In the fifties, it happened with just about every hit. Every big label > had a stable of singers, and whenever a new blockbuster-to-be song was > written, every label put out a version by one of their artists. I think this phenomenon was a vestige of the pre-recording era, where "hit" songs were measured by sheet music sales, and families would create their own musical entertainment in their parlors. When the record industry began, some performers were able to build loyal audiences for their releases, yet the song itself was still usually a more important ingredient to a record's popularity than the sound or name of the artist doing it. Thus, competing versions of the same song was a common industry strategy. Over time the balance between the dominance (in driving sales) of performer to song shifted, but it wasn't until the arrival of The Beatles, which initiated the dynamic of a large number of star performers composing their own material, that the phenomenon of near-simultaneous release of more than one version of a hitbound song finally collapsed. With singers now more often than not doubling as their own composers, the association of singer with song is complete. --Phil M. -------------------[ archived by Spectropop ]-------------------
Message: 13 Date: Tue, 08 Jun 2004 10:13:41 -0700 From: Gary Myers Subject: Re: Ronnie Dove Dave O'Gara: > ... wondering if any of our contributing artists have ever worked > with Ronnie Dove? I never personally worked with him, but I saw him sit in with the Knickerbockers at the Red Velvet in Hollywood in late '65 and sing "Right Or Wrong". (Many of the guests for the Shindig Show would come in there at the time). Then, circa 1974, we worked opposite him at Harrah's Tahoe. He sounded good and had a young band backing him. The one odd thing was an older guy playing rhythm guitar. He sat in the back and was the only one reading charts (and all of Dove's songs were pretty simple). He was pretty much un-needed and I guessed that it must be someone whom Dove was more or less supporting, maybe a relative or someone who helped him in his early days or something like that. gem -------------------[ archived by Spectropop ]-------------------
Message: 14 Date: Wed, 09 Jun 2004 09:00:57 +0100 From: Martin Roberts Subject: Jack Nitzsche at Spectropop update A bit later than usual, work getting in the way with play, but Gary Crosby's Gregmark release, "That's Alright Baby" is playing on the home page, The penultimate Hazlewood/Nitzsche track and the only release(?) to feature Phil Spector, Jack Nitzsche, Lee Hazlewood and Lester Sill sharing a record label. The label maybe of more interest than the music but check it out! Martin -------------------[ archived by Spectropop ]-------------------
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