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Spectropop - Digest Number 1532

               SPECTROPOP - Spectacular! Retro! Pop!

There are 7 messages in this issue.

Topics in this digest:

      1. Re: "Words Of Love" and other Ms & Ps differences
           From: Richard 
      2. Re: basslessness
           From: Joe Nelson 
      3. Re: Garfunkel & Simon (& Everlys)
           From: Robert 
      4. Re: go West
           From: Eddy Smit 
      5. Re: Bobby Vee's "I Can't Hear You"
           From: Ken Silverwood 
      6. Randy Bachman reports on Shadows reunion
           From: S Jones 
      7. Re: Randy Bachman reports on Shadows reunion
           From: Mikey 

Message: 1 Date: Tue, 22 Jun 2004 11:41:46 -0000 From: Richard Subject: Re: "Words Of Love" and other Ms & Ps differences Rodney Rawlings wrote: > I'm just listening to the version of "Creeque Alley" with the extra > piano and horn bits on an aircheck of The Real Don Steele recorded > on June 17, 1970. I think this is the version available on "The Magic > Circle: Before They Were the Mamas and the Papas," which Varese > Sarabande released in 1999. It's out of print, but still appears on > the V.S. website. > There's a mono single mix of "Words of Love" on the "All the Leaves > Are Brown" reissue that MCA released in 2001 (it consists of the > first four albums, plus a few bonus tracks). That might be the one > you're thinking of. I was a consultant and contributor to All The Leaves Are Brown. Rodney is correct -- The Magic Circle is the best source for the original single version of Creeque Alley. The one used on All The Leaves Are Brown is actually a yet still different (yes, third!) version -- the mono album rendition. That one and the single version did have more horns and piano. And no, you never hear it on the radio. Words Of Love's single was quite different sounding than the album one. Cass' voice was far more upfront, and there is the whole horn element already mentioned. Basically it was mixed different. I Saw Her Again's single version can be heard on All The Leaves Are Brown, as well as on one of Varese Sarabande's Dick Bartley compilations several from years ago. The harmonies and separation of voices is far superior on the mono/single version "Even If I Could," "For The Love of Ivy," "Free Advice" and Cass' "A Song That Never Comes" are other Ms and Ps/Cass singles with differences. Some are subtle nuances, others are quite distinct. Visit the Official Cass Elliot Website, Richard -------------------[ archived by Spectropop ]-------------------
Message: 2 Date: Mon, 21 Jun 2004 18:35:23 -0400 From: Joe Nelson Subject: Re: basslessness Phil X Milstein wrote: > The Cramps have never used one, instead keeping one of their guitars > buzzing around in the lower register, a la Duane Eddy. Other groups, > such as Patti Smith and Velvet Underground, never kept a dedicated > bassist, but did have their musicians switch instruments often enough > that they managed to include bass on many of their songs, and filled the > bottom in other ways (usually keyboards) most of the rest of the time. If you really want to stretch it, you could put Paul McCartney in this category. Technically the bass is his instrument of choice, but he spends so much time playing other instruments that his rhythm guitarists Denny Laine and later Hammish Stewart became the second most important members of the band. The use of keyboards to fill the bottom is obviously the most common (and convenient) alternative to bass guitar. It's always fascinating to hear what happens when people try to find a way to avoid using that heavy stringed guitar. My personal fave in this category is probably Prince's "When Doves Cry", which gets its sole bottom from the kick drum. It takes a great musician to make the most notable part of a song be something that isn't there -- if less is more, then nothing is everything. I think it's interesting how to this day Jack White of The White Stripes keeps telling the fans he sees no need to add a bass player. Being a bassist myself you'd think I'd be offended, but when you think about it it makes perfect sense. I try to imagine myself trying to fill the slot, trying to decide whether to pattern my playing after Jack's masterful guitar work or Meg's smashing away at the drum kit like she's Courtney Love coming out of withdrawl -- okay now, play something that fits. I wouldn't have a clue. Jack started experimenting with bass lines on the new album, and came up with some interesting ideas (the bass line on "Seven Nation Army" is the dominating aspect of the whole track), but now that the supposedly vital ingredient has been added something's missing. What can you do? Joe Nelson -------------------[ archived by Spectropop ]-------------------
Message: 3 Date: Tue, 22 Jun 2004 05:48:16 -0000 From: Robert Subject: Re: Garfunkel & Simon (& Everlys) I agree totally that Art is as much an artist as Paul. The way you can feel from the great SOUND of a song is no less important than the way you can feel from great lyrics. But having said that, I also think Paul is an extremely effective singer. As for the Everlys, why are they only doing four songs? Is this by choice? My mouth has remained permanently agape since recently discovering their '60s Warner Bros. catalog. This is some of the most amazing music ever made! I can't believe they had so few hits during this time. Much love and respect to the Everlys for all their astoundingly timeless music. -------------------[ archived by Spectropop ]-------------------
Message: 4 Date: Tue, 22 Jun 2004 10:56:34 -0000 From: Eddy Smit Subject: Re: go West Don wrote: > I just posted a country version of that song to musica, by Albert West. > I don't know much about him but he also did "Halfway To Paradise". Would that be Albert West, ex-lead singer for Dutch band The Shuffles? After he went solo in 1973 he basically made a career out of covering '60s songs like Tell Laura I Love Her, Put Your Head On My Shoulder, Ginny Come Lately, and many more. Eddy -------------------[ archived by Spectropop ]-------------------
Message: 5 Date: Mon, 21 Jun 2004 23:58:50 +0100 From: Ken Silverwood Subject: Re: Bobby Vee's "I Can't Hear You" My favorite version is the one by Betty Everett, on Vee Jay in 1964. I think there's one by Dusty Springfield, on an album as well. Ken On The West Coast. ----- Original Message ----- From: Bob Celli To: Sent: Monday, June 21, 2004 12:47 PM Subject: Bobby Vee's "I Can't Hear You" & Other Carole King Demos Previously: > On the topic of Mr. Velline, his "I Can't Hear You" is interesting - > I know it well by The Newbeats, who I thought did a superb job with > it, but about halfway through, I "got" the Vee version, sped up as > it is. Nice to have an alternate on this. I haven't had the opportunity to hear another version of this song so I don't know what Carole had in mind when she wrote it. I can tell you that Lincoln Mayorga did the arrangement if that helps. As far as the other demos I mentioned, I will eventually put them up, so keep an eye out! Bob Celli SPECTROPOP - Spectacular! Retro! Pop! Yahoo! Groups Sponsor ADVERTISEMENT ------------------------------------------------------------------------------ Yahoo! Groups Links a.. To visit your group on the web, go to: b.. To unsubscribe from this group, send an email to: c.. Your use of Yahoo! Groups is subject to the Yahoo! Terms of Service. -------------------[ archived by Spectropop ]-------------------
Message: 6 Date: Tue, 22 Jun 2004 01:06:09 -0000 From: S Jones Subject: Randy Bachman reports on Shadows reunion Standing in The Shadows from Winnipeg Free Press (June 19, 2004) Legendary U. K. band inspired a thousand sound-alikes, a million fans, including Randy Bachman By Randy Bachman I first heard The Shadows when I auditioned for Allan & The Silvertones. I was 17 or 18, The Silvertones were the best band in Winnipeg, and their guitar player was leaving. Bassist Jim Kale set up a meeting, and someone handed me a Shadows 45. It had four songs on it. I learned every note. I was auditioning for rhythm guitar, but in the middle of our first rehearsal days later, the lead guitarist broke a string. So I switched over to lead to finish the song. When we were done, everyone in the band was staring at me. Allan Kobel, who later became Chad Allan, said, "Well, you can certainly play lead better than I can. How would you like to play lead all the time?" That was it. I learned the Shadows LP and several more of their EPs and singles and we were off. In the '60s in Winnipeg, everybody played The Shadows. It was the ultimate thing, to get one of their records. Once you learned it and played it around town, you were different and cool. And lead guitarist Hank Marvin's sound was like no one else's: I used an old Korting tape recorder into Jim Kale's Fender amp to get that sound, with an orange Gretsch Chet Atkins Model 6120. Chad Allan & The Reflections/Expressions (which later became The Guess Who), Neil Young & The Squires, The Fifth, The Quid, The Galaxies and many others -- we all played The Shadows. We were not alone: The Shadows' signature instrumental sounds were copied by every early '60s band in the world. Besides their material, we covered other U.K. Shadow sound-alikes -- Shane Fenton & The Fentones, Johnny Kidd & The Pirates, Mike Berry & The Outlaws, and so on. We caught the British Wave before The Beatles. In fact, The Shadows' influence on musical culture was only equalled in later years by The Beatles and Elvis. The Shadows stopped recording and dissolved their partnership a few decades ago, but their legend and music lived on in repackaging, classic-rock radio, CDs, commercials, TV, movies and in the hearts of millions of fans. The announcement of a Shadows U.K. reunion tour had every guitar player in the world dreaming of seeing them, and clamouring for tickets for the May and June concerts. I was determined to be there. I persuaded a friend months ago to wait in line overnight outside the Hammersmith Apollo in London to buy tickets. He got me six, at 65 apiece, in row M, which wasn't too far back -- on the aisle for view and in the middle for great sound (too close is never good; you can't hear the sides). To see Hank Marvin on lead guitar, Bruce Welch on rhythm guitar and Brian Bennett on drums would be a teenage dream realized that I had never thought possible. But finally, last Saturday, June 12, at 5:30 p.m., there I was. The Shadows were doing a sound check, and I was ushered into the auditorium and allowed to sit in the front row to watch and listen. It was amazing; my own little private performance. After a few songs, they came down and greeted my family and me. A true fan, I had brought things to autograph. I had a huge trophy, The Shadows 20 Greatest Hits Gold Record award, and the back panel of a Vox AC 30 amplifier that used to belong to Hank Marvin. They were quite amused and flattered and signed everything. Then Marvin took me up on stage and showed me his guitar setup, handed me his Strat to play, show me some of his tricks, and told me how to obtain his special pickups and tremolo-bar setup. At 7:30, they took the stage and played for more than three hours. They performed every A and B side, every album cut of note, and songs from Cliff Richard movies. They looked and sounded fantastic. Every note they played was exactly like the record in sound and performance. Marvin's lead guitar sound could best be described as beautiful, rich, unforgettable -- and unattainable by the thousands of guitarists who've tried to copy it. In reality, his guitar/amp setup is no different than that of Mark Knopfler, Chris Rea, Vince Gill, Eric Clapton, myself and many others. It's the player's hands that make the difference. A standout of the evening was when Brian Bennett did a 10-minute drum solo. It was Little B (from Out Of The Shadows) but performed and magnified to the nth degree. Never in my lifetime have I experienced a drum solo like this. Brian's own children and grandchildren had never seen him play with The Shads, and for them to witness his incredible solo and five-minute wild standing ovation with the crowd chanting "Brian ... Brian ... Brian" was a moment he had waited for all his life. During the standing ovation, his grandkids rushed the stage with their hands in the air and their fingers showing a "V" sign for granddad. Brian May from Queen was sitting a few rows in front of me. We met up after the show in the Shads' dressing room and agreed it was the most incredible concert either of us had ever experienced. To be so influenced in one's lifetime by an artist or band, to shape one's own sound and career from that influence, and then to get to see them perform after waiting over 40 years -- and have it be even better than we could have imagined -- was a highlight in our lives that we will never forget. On the way home, it all seemed like a dream. I relived so many memories and flashbacks to earlier, more innocent times when I had played all those songs on stage. I'm sure I could have played alongside them. Every single song. The Shadows played their last show at London's Palladium on Monday. There are plans for a DVD and CD of the live show. Their current compilation release, The Shadows -- Life Story, is on the U.K. Top 10. -------------------[ archived by Spectropop ]-------------------
Message: 7 Date: Tue, 22 Jun 2004 13:05:58 -0400 From: Mikey Subject: Re: Randy Bachman reports on Shadows reunion Previously: > The Shadows played their last show at London's Palladium on Monday. > There are plans for a DVD and CD of the live show. Their current > compilation release, The Shadows - Life Story, is on the U.K. Top 10. I'm waiting anxiously for the DVD.....I hope it's a full 2 hours. Since it's the last word on the second greatest Instrumental Group in the world (after The Ventures, of course) I hope they did it right. -------------------[ archived by Spectropop ]-------------------
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