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Spectropop - Digest Number 1550

               SPECTROPOP - Spectacular! Retro! Pop!

There are 12 messages in this issue.

Topics in this digest:

      1. Re: Roosevelt Grier's "Fool, Fool, Fool"
           From: Lyn Nuttall 
      2. Re: "Witchy Tai To"
           From: Charles 
      3. Beach Boys' "She Knows Me Too Well"
           From: Phil X Milstein 
      4. Jerry Cole vocals?
           From: Martin Roberts 
      5. Eveything Is Witchy
           From: Country Paul 
      6. Close to Gary; Six o'Clock Train; Congress label
           From: Country Paul 
      7. Re: Downtown - Uptown
           From: Phil Hall 
      8. Re: This Diamond Demo
           From: Al Kooper 
      9. Re: Beach Boys' "She Knows Me Too Well"
           From: Charles Ulrich 
     10. Re: Marlon Brando and his influence on pop music
           From: Steve McClure 
     11. Re: Marlon Brando and his influence on pop music
           From: Frank Murphy 
     12. Odd-track tape decks
           From: Charles Ulrich 

Message: 1 Date: Sun, 04 Jul 2004 04:20:36 -0000 From: Lyn Nuttall Subject: Re: Roosevelt Grier's "Fool, Fool, Fool" I wrote: > Is it the same song recorded by the Clovers and Elvis As it turns out, the answer to this was staring me in the face in several places. So, answering my own question, just for the record: Two different songs called "Fool, Fool, Fool,": 1. Written by Rudy Clark, recorded by Roosevelt Greer ('64, arr. Jack Nitzsche), Australia's Ray Brown ('65) and other artists. 2. Written by Ahmet Ertegun as "Nugetre", recorded by the Clovers ('51), Kay Starr ('52) and by Elvis at Sun. -------------------[ archived by Spectropop ]-------------------
Message: 2 Date: Sun, 04 Jul 2004 01:52:52 -0000 From: Charles Subject: Re: "Witchy Tai To" I've always loved the hit version of "Witchy Tai To" by Everything Is Everything, and would love to hear any other version out there - can anyone post one of the rarer versions to musica. Charles -------------------[ archived by Spectropop ]-------------------
Message: 3 Date: Sun, 04 Jul 2004 00:36:21 -0400 From: Phil X Milstein Subject: Beach Boys' "She Knows Me Too Well" Who is the lead singer on "She Knows Me Too Well"? I have trouble discerning Brian's voice from Carl's. Thanks, --Phil M. -------------------[ archived by Spectropop ]-------------------
Message: 4 Date: Sun, 04 Jul 2004 21:05:44 +0100 From: Martin Roberts Subject: Jerry Cole vocals? Gary Myers: > While at the site to hear the Hodges song, I also noticed the Jerry > Cole item saying he had no more vocal 45's released. In the 70's > Jerry had releases on Happy Tiger, Midget and Warner Bro. I haven't > heard any of them, but I'm pretty sure some, if not all, were vocals. Go on then Gary, get hunting down those vocals! If Jerry's 70s 45s don't set your blood surging perhaps another S'popper could confirm later vocals? I noticed a few entries on the Previous ROTW page: that have been overtaken by new information (i.e. mistakes!) I don't wish to cheat and alter the original text, so I'll add corrections. If any other S'popper spots something that isn't correct or has something to add, please do. If this should turn into a mountain of mail, perhaps write off list. :-) Martin -------------------[ archived by Spectropop ]-------------------
Message: 5 Date: Sun, 04 Jul 2004 01:24:04 -0400 From: Country Paul Subject: Eveything Is Witchy That Alan: > Hello Country Paul, NOW you did it!!!! Don't you know when you > mention "Witchy Tai To" it's like saying Niagra falls in an Abbott > and Costello skit. For some strange reason "Witchy Tai To" strikes > a deep nerve with many Spectropoppers. Yes, John Townley produced > that song at his studio, and now let the "Witchy Tai To " threads > begin!!! Not sure I get the Abbott & Costello reference, Alan; I just know the "E Is E" version to be one great record, the Jim Pepper was sorta close, and Brewer & Shipley's version never got into thesame room, in my opinion. "E Is E" was major musical news when we first heared it. Yahoogroup Nanny isn't letting me hear anything on musica tonight; keep the "new" Carole King up a while, please - and I'd love to hear more acetates from you gentlemen who have them! And Alan, I love your comment: "What dreams went into each session, and some even came true." With concepts like that, no wonder you're such a successful writer! Country Paul -------------------[ archived by Spectropop ]-------------------
Message: 6 Date: Sun, 04 Jul 2004 01:06:42 -0400 From: Country Paul Subject: Close to Gary; Six o'Clock Train; Congress label Gary Myers: > I'm probably one of the few people who actually used to do > "Close To Cathy" on gigs. :-) Which makes you one class act. ModGirl, thank you for reminding me of one of John Hartford's early greats. The phrase before with the title, "So much depends on the Six O'Clock Train and a Girl with Green Eyes," was magic to me when I first heard it; I thought the song would catch on and somehow the phrases's structure would become a buzzword. Guess I was wrong. John Hartford was indeed a mega-talent - and a true gentleman. I'm glad to have known him. (But I confess - I have a hard time imagining fess Parker singing that song!, But then again, a subsequent post identifies a different title, so....) Bob Rashkow: > Chris, I know nothing about John Summers....I have "Don't Fool > Yourself" (1966, I believe) on the Congress label. I believe > Congress was out of Pennsylvania or possibly New York.... Congress was a subsidiary of Kapp, out of New York. Who has the masters - MCA, perhaps (or whichever musical megalith bought it)? You might check there. Country Paul -------------------[ archived by Spectropop ]-------------------
Message: 7 Date: Sun, 04 Jul 2004 12:29:52 -0000 From: Phil Hall Subject: Re: Downtown - Uptown Previously: > Second, to Al Kooper: Did I read that you actually lived in the > Village at one time? What street did you live on? Al Kooper: > Well, first I lived at 140 Waverly Place with no a/c and rats. That > was my Blues Project and BS&T domicile from 1966-68. Than I moved > to 101 West 12th Street, a highrise, where I lived while I worked > at Columbia Records from 1968-1971. What a coincidence. I was in the village 2 weeks ago, and one of the few pictures I took must have been within a couple of doors of your old address on Waverly. I'll post the pic on another site and send you a link. The area looks fairly clean. There's no more rats; even they can't afford to live in the Village anymore. You could have almost fallen off your steps and landed in Washington Square. And right around the corner from Gray's Papaya, too. Did you know that Buddy Holly used to live just a few blocks from there at the Brevoort? Phil H. -------------------[ archived by Spectropop ]-------------------
Message: 8 Date: Sun, 04 Jul 2004 07:57:09 EDT From: Al Kooper Subject: Re: This Diamond Demo Phil Milstein: > More seriously, I assume you played three different instruments via > the miracle of overdubbing, yet it surprises me to learn of much in > the way of multi-track decks being used at demo studios as early as > 1963. Did they use sound-on-sound ("ping-pong")? I was always the ping pong champ at A Schroeder Music. Jack of all trades, master of none at the time, I'd take a shot at ANY instrument to get a job done. 99% of all our demos were cut at Regent Sound owned by Bob Lifton. This was at 25 W56th Street in NYC as Schroeder had the Penthouse and Regent, I believe the 3rd Floor. In the early 60's, there were no multi-track machines in MY life. Bill Szymczyk was the engineer on many of my demos. This is where we first forged our friendship. Old Al Kooper -------------------[ archived by Spectropop ]-------------------
Message: 9 Date: Sun, 04 Jul 2004 05:42:55 -0700 From: Charles Ulrich Subject: Re: Beach Boys' "She Knows Me Too Well" Phil M.: > Who is the lead singer on "She Knows Me Too Well"? I have trouble > discerning Brian's voice from Carl's. According to the liner notes of The Beach Boys Today, it's Brian. --Charles -------------------[ archived by Spectropop ]-------------------
Message: 10 Date: Sun, 04 Jul 2004 21:54:06 +0900 From: Steve McClure Subject: Re: Marlon Brando and his influence on pop music Concerning the vexed question of how the Fab Four got their name and what Marlon Brando may have had to do with it, here is a relevant passage from The Beatles "Anthology" print edition: GEORGE: It is debatable where the name came from. John used to say that he invented it, but I remember (early Beatles bassist) Stuart (Sutcliffe) being with him the night before. There was The Crickets, who backed Buddy Holly, that similarity; but Stuart was really into Marlon Brando, and in the movie The Wild One there is a scene where Lee Marvin says 'Johnny, we've been looking for you, the Beetles have missed, all the Beetles have missed you.' Maybe John and Stu were both thinking about it at the time, so we'll leave that one. We'll give it fifty/fifty to Sutcliffe/Lennon. PAUL: In the The Wild One, when he says, 'Even the Beetles missed ya!' he points to the motorcycle chicks. A friend has since looked it up in a dictionary of American slang and found that it's slang for 'motorcycle girls'. So work that one out! -------------------[ archived by Spectropop ]-------------------
Message: 11 Date: Sun, 04 Jul 2004 13:31:30 +0000 From: Frank Murphy Subject: Re: Marlon Brando and his influence on pop music The Wild One was effectively banned in England but it was left to the Local watch Committee of the various local councils to decide whether it could be shown or not in their town. Several cinemas did run it. It was not banned in Scotland although I'm not sure if any of The Beatles visited Scotland before 1960. It was eventaully given an 18 certificate in 1968 on its re issue. Check this for who was in which gang and which other band took their name from the film: FrankM reflections on northern soul Saturday's two thirty pm: or listen to an archive show: -------------------[ archived by Spectropop ]-------------------
Message: 12 Date: Sun, 04 Jul 2004 05:56:46 -0700 From: Charles Ulrich Subject: Odd-track tape decks Phil M.: > Another aspect of early multitracking that I'm curious about are > tales of the early three-track units, a brief-lived graduation > from two-tracks. All subsequent evolutions in the field were by > factors of two, so the idea of a three-track deck stands out like > a ... three-dollar bill? Paul Buff built a five-track deck in the early 1960s. The original versions of the Surfaris' Wipe-Out and the Chantays' Pipeline were recorded at his Pal Studios in Cucamonga, though I believe the hit versions of one or both may have been re-created in more upscale studios. In 1963, Buff sold the studio to Frank Zappa, who renamed it Studio Z. --Charles -------------------[ archived by Spectropop ]-------------------
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