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Spectropop - Digest Number 1579

               SPECTROPOP - Spectacular! Retro! Pop!

There are 17 messages in this issue.

Topics in this digest:

      1. Jack Nitzsche at Spectropop update
           From: Martin Roberts 
      2. Re: The Debs Cover Tony Hatch
           From: John H 
      3. Has anyone ever seen this movie?
           From: Louis Wendruck 
      4. Re: Brill Building questions
           From: Artie Wayne 
      5. Re: Brill Building questions / quick covers
           From: Joe Foster 
      6. new photos added
           From: Rob 
      7. Re: Brill Building era
           From: Al Kooper 
      8. UK covers
           From: Frank Murphy 
      9. Ronettes on What's My Line ?
           From: he4ler 
     10. All About Amber / "The Sun Is Gray" / Robert Wagner's "Chico's Choo Chao", etc.
           From: Julio Niño 
     11. Re: more on Triune
           From: Peter Lerner 
     12. licensing and just deserts
           From: Alan Zweig 
     13. Re: Ann-Margret
           From: Louis Wendruck 
     14. Re: "A Summer Song"
           From: S.J. Dibai 
     15. the Golden Throats of Rod & Rock
           From: Phil X Milstein 
     16. Re: arcane background singers
           From: S.J. Dibai 
     17. Re: The Brigati Curse
           From: S.J. Dibai 

Message: 1 Date: Sat, 24 Jul 2004 18:39:55 +0100 From: Martin Roberts Subject: Jack Nitzsche at Spectropop update Hard to keep up with all the wonderful new things on Jack Nitzsche's Magical World! Let's start with Magazines...Nitzsche On The Rack at Famed rock journalist and author Sylvie Simmons has made an apparently unpublished (at least in its entirety) interview available for the site. It was conducted at Jack's home while Sylvie was the LA correspondent for Sounds (a defunct UK rock weekly) and KERRANG! in June 1981. The interview covers what Jack Nitzsche was doing then, plans for the future and his work with Phil Spector, Neil Young, Rolling Stones, movies etc. etc. It's an essential read, click on the typed Q&A sheet to be taken to the first of the five page interview. And then there's Record Reviews...Nitzsche's Musical World Scroll to the bottom of the Paris Sisters article for a mini review of "The Paris Sisters Sing Everything Under The Sun" (Eric Records) CD. This has already deservedly been recommended on the site. Adding my two penny's worth in the form of a label scan and a link to the Eric Records site for further information and purchase And mustn't forget the Home Page The record playing this week is Roosevelt Grier's "To Her Terrace" (RIC), written by Resnick - Young, Produced by Bobby Darin and arranged by Jack Nitzsche. I'm shamelessly copying Country Paul's previous wheeze of a musical trailer for a new article. Rather than the Front Porch, next week's piece will cover Rosey and other celebrities' recordings with Jack. Martin -------------------[ archived by Spectropop ]-------------------
Message: 2 Date: Sat, 24 Jul 2004 17:32:21 -0000 From: John H Subject: Re: The Debs Cover Tony Hatch Previously: > Going through a box of recently purchased old 45s tonight I came > across a copy of the Tony Hatch penned "The Life And Soul Of The > Party" by The Debs on Mercury (72566). Flip side is "My Best > Friend". Produced by Joe Venneri. Both sides are nice; pleasant > little bouncy white girl pop fluff. Any info available on this > group? Originally recorded by the likes of Petula Clark and Mally Page, Pet's version wasn't released as a single in the States because her label didn't think listeners would know what the title meant. (Perhaps they were right, seeing as how I've never heard of the Debs!) -John H. -------------------[ archived by Spectropop ]-------------------
Message: 3 Date: Sat, 24 Jul 2004 19:01:43 -0000 From: Louis Wendruck Subject: Has anyone ever seen this movie? I have posted a photo of a movie poster in Spanish called "El Gran Espectaculo A Go-Go" in the Photo section of Spectropop at this link: Can anyone identify this movie? It has David McCallum, Petula Clark, Ray Charles, Ike and Tina Turner, Joan Baez, Bo Didley and the Modern Folk Quartet. Do you know the name of this movie in English? Is it available on video or DVD? Thanks, Louis Wendruck in West Hollywood, California -------------------[ archived by Spectropop ]-------------------
Message: 4 Date: Sat, 24 Jul 2004 10:42:08 -0700 (PDT) From: Artie Wayne Subject: Re: Brill Building questions Kerryanne.......How ya' doin'? I started writing and working for publishers during the early sixties and learned the value of recordings from countries other than the United States early on. I had my first international hit in Austrailia with "4,003,221 tears from Now" [Raleigh/Wayne] by Judy Stone (which was secured by an American publisher George Pincus). My second international hit was "Queen For Tonight" [Raleigh/Wayne] which was written for Helen Shapiro at the request of Arnold Shaw at E.B.Marks music. Before the English invasion hit the U.S. I was getting many records from aggressive publishers, that included covers by the Rockin' Berries, Brian Poole and the Tremeloes etc. After the invasion, I wrote songs for many artists directly, including the Troggs, the Fortunes, the Magic Lanterns, Cilla Black etc. If you check out my website there's a complete discography and dozens of stories and pictures that you might find interesting. regards, Artie Wayne -------------------[ archived by Spectropop ]-------------------
Message: 5 Date: Sat, 24 Jul 2004 09:51:54 +0100 From: Joe Foster Subject: Re: Brill Building questions / quick covers Previously: > I am wondering how someone like Helen Shapiro in England would have > had access to songs by Jeff Barry and Bacharach........... Will Stos: > I'm not terribly sure, but it seems sometimes writers would seek out > such artists. Dusty Springfield was able to look through songs for > her albums. A lot of times it seems British artists recorded these > songs after a US act had recorded it first.......... **I would think that the sub-publisher in the UK would tout these songs....B. Feldmans got scads of European covers of Dylan songs happening, some of them quite unlikely....Freddy Bienstock at Belinda Music looked after Hill & Range, Lieber and Stoller, and Phil Spector ...and on and on...that's what publishing was about, getting covers, getting plays....I'm sure there are experts in the field among us who could take it from here much more effectively than me..... best Joe -------------------[ archived by Spectropop ]-------------------
Message: 6 Date: Fri, 23 Jul 2004 17:20:22 -0000 From: Rob Subject: new photos added Photos added at Sonny & Cher and Dylan (just for fun). The cool Mark Eric soft-pop gem, Everly Brothers and Arthur (topics of recent discussion). Rob -------------------[ archived by Spectropop ]-------------------
Message: 7 Date: Sat, 24 Jul 2004 06:24:23 EDT From: Al Kooper Subject: Re: Brill Building era Previously: > In a related note, my work occasionally takes me to the Brill Building > - 9th floor. I was there the yesterday. It's the offices of Broadway > Video - very nicely done. As far as I know, only the bathrooms have not > changed. I am obsessed with the fact that not much went on in the Brill Building in the 60s. King-Goffin, Mann-Weil, Sedaka-Greenfield, Tony Orlando and the entire Aldon crew, Scepter Records, Beltone Records, January & Arch Music, Teddy Vann, Feldman-Goldtein & Gottehrer, Brass, Kooper & Levine, were all at 1650 BROADWAY, a building without a name. The only things going on at The Brill Building were Leiber & Stoller, Greenwich & Barry and Bacharach & David. No slouches, they, but they were far outnumbered by the minions at 1650 B'way. It's revisionism to call King-Goffin music Brill Building songs, but because of the media, the truth will die with me and a few others. A shame...... Old Anti-Revisionist Al Kooper -------------------[ archived by Spectropop ]-------------------
Message: 8 Date: Sat, 24 Jul 2004 11:35:24 +0000 From: Frank Murphy Subject: UK covers Will Stos: > I'm not terribly sure, but it seems sometimes writers would seek out > such artists. Dusty Springfield was able to look through songs for > her albums. A lot of times it seems British artists recorded these > songs after a US act had recorded it first. > ........Does anyone know what the turnaround time for these covers > was? I've often read on this list that acts like Dionne Warwick were > beaten to the British charts by domestic remakes. Did UK labels have > people "on the inside" scouting out releases, or would they wait until > a song became popular in the US before cutting a competing version? > If there were some artists who had consistent success, would they > immediately cut a cover version? There was often a three month gap between a record hitting the US charts and its release in the UK. Check out the sleeve notes to the Beatles #1 album or the Rolling Stones London years singles sets and you will find examples of this. British Music publishers of American material also got a bigger cut from a UK recording than from the UK issue of an american recording. British record companies employed good A&R who like their American counterparts could spot a song on an indie label and get it recorded by a major artist. The UK record companies were not doing anything different from what the American majors did in the fifties with covers of black R&B hits. Dionne is still complaining on UK tours of Cilla Black beating her out with "Anyone Who Had A Heart". Dionne's ire would probably be better directed at Pye who issued Wand/Spectre material in the UK. And I think if you examine the time line of the issue of Dionne's record in the States, its UK release and Cilla's release - there was no chart race. The real losers in this were British songwriters. FrankM reflections on northern soul Saturday's two thirty pm or listen to an archive show -------------------[ archived by Spectropop ]-------------------
Message: 9 Date: Sat, 24 Jul 2004 13:34:57 -0000 From: he4ler Subject: Ronettes on What's My Line ? With the surprise revelation this week on the Game Show channel that this was the first of two appearances by the Supremes on What's My Line, did the Ronettes ever appear on this show or any of the Spector artists? -------------------[ archived by Spectropop ]-------------------
Message: 10 Date: Sat, 24 Jul 2004 15:07:28 -0000 From: Julio Niño Subject: All About Amber / "The Sun Is Gray" / Robert Wagner's "Chico's Choo Chao", etc. Hola Everybody. Today it's resentlessly hot here in Madrid. I've been dreaming the whole day of a new Ice Age. I've tried all my old tricks to forget the heat like listening to Christmas songs, but no results. I've been reading Amber's article about the Doris Day twofer CD. Who is Amber?. Is she really a girl, or not exactly? I bet she's confined for something like being a member of a mad group of ecology terrorists, threatening people notorious for hairspray abuse in the fifties and sixties, such as pop and movie stars, because of their part in the destruction of the ozone layer. Changing the subject, I don't know if she is Nathalie Wood or not but I love the stylish "The Sun Is Gray" played in Musica by Phil Milstein. Talking about Nathalie reminds me that I've been searching for a long time the song "Chico's Choo Chao" by her husband Robert Wagner. Could somebody inform me about that track? Is it out on CD? Thanks. Finally, my two favorite songs these last days are "Heartbroken Memories" by Sheila Ferguson and "If You Ever Need Me" by Margaret Mandolph. Discovering songs like these makes me feel somehow new and happy. Chao. Julio Niño. -------------------[ archived by Spectropop ]-------------------
Message: 11 Date: Sat, 24 Jul 2004 16:57:35 +0100 From: Peter Lerner Subject: Re: more on Triune Gary Myers wrote: > Triune was the collective name for the three partners (or whatever > their relationship was) in Tide Records ... I wrote: > That's interesting. I have a couple of 45s on Triune by the bright > country-crossover singer Lynda K. Lance. Gary responded: > You mean Triune is the name of the label? I'm sure there is no > connection with the Tide people. I've looked at the 45s now - on the Triune label. One of them is dated 1972 and the label's address is Hendersonville, Tenn. Producer on both is Joe Melson and arranger is Ron Oates. One of the songs is published by Gary Paxton Music and what did I find next in my dusty 45s box? Another 45 by Lynda on the Gar-Pax label. Hope this helps! Peter -------------------[ archived by Spectropop ]-------------------
Message: 12 Date: Sat, 24 Jul 2004 13:13:20 -0400 From: Alan Zweig Subject: licensing and just deserts Shawn > but now everyone wants their $$ for its use, and deservedly so. "Deservedly" is a relative term. They deserve something but perhaps they don't deserve as much as they usually ask for. Many many potentially interesting films are simply not made because of what people think they deserve. Or the films are made but they can't really tell the story they want to tell because some people think they deserve more. Then you see the film and you think "They really missed the story there". And it's really just that they couldn't afford to tell the story. If you wanted to make a film about most of the artists discussed on this list, even if the artist themselves were cooperative, you probably couldn't afford it. The budgets for music-oriented documentaries are just not that high. So you wonder why no one's making a film about this or that artist. It's because they deserve themselves out of the market. AZ -------------------[ archived by Spectropop ]-------------------
Message: 13 Date: Sat, 24 Jul 2004 18:51:01 -0000 From: Louis Wendruck Subject: Re: Ann-Margret Dave O'Gara wrote: > I'm looking for some info on the following girl singer singles. > Since I've only heard them and not been able to look at a label > for writing/producing credits, I'm hoping someone here can help: > What Am I Supposed to Do - Ann-Margret Laura: > I have the Ann-Margret box set (1961-1966) and can help with that > part of your question........... Also, try to get the great book written by the multi-talented Ann Margret: "Ann-Margret - My Story", an autobiography by Ann Margret with Todd Gold. -------------------[ archived by Spectropop ]-------------------
Message: 14 Date: Sat, 24 Jul 2004 20:15:16 -0000 From: S.J. Dibai Subject: Re: "A Summer Song" Off the top of my head, I can think of at least one CD on which that alternate version of "A Summer Song" (the one with C&J singing solo on the first two lines) was released: Repertoire's 'Sing For You/Second Album' comp. It's a great CD for C&J fans because not only does it have the duo's first two British LPs (although with the weak mixes of "Like I Love You Today" and "From A Window", buried strings and all) but it also has a lot of rarities not available elsewhere. A truly interesting one is "The Nearness of You" which they did as a parody. The Repertoire CD has the first, and somewhat sloppy, take of it. There is a 'proper' take, but it was issued only on the extremely rare '5 + 10 = 15 Fabulous Hits' LP in 1965. The story of that album is too complicated to summarize in this message, but maybe it's worth starting a new thread about if anyone besides me actually has a copy of it! The Repertoire CD also has the original version of "Your Mama's Out Of Town" (mistitled "Your Mother's Out Of Town"), a rather bubblgegummy version of which was included as a bonus track on the 'Distant Shores' CD. The version on the Repertoire CD is much raunchier and, in my opinion, better. S.J. Dibai -------------------[ archived by Spectropop ]-------------------
Message: 15 Date: Sat, 24 Jul 2004 19:58:37 -0400 From: Phil X Milstein Subject: the Golden Throats of Rod & Rock Karen Andrew wrote: > I may be totally off here but this reminds me of another album > called "Golden Throats: The Great Celebrity Sing-Off!" Karen's reference to "Golden Throats" prompted me to play a similarly-styled version of "Love Of The Common People" by that unforgettable pop duo of Rod McKuen & Rock Hudson -- aka "Rod & Rock" -- to musica: "Enjoy", --Phil M. -------------------[ archived by Spectropop ]-------------------
Message: 16 Date: Sat, 24 Jul 2004 20:37:31 -0000 From: S.J. Dibai Subject: Re: arcane background singers Brent Cash: > And to me, in the mid-'60s, the "fifth Kink" would be Rasa > Davies (no sleeve credits that I know about). Supposedly > she's harmonizing on Waterloo Sunset-era things. Self-described "Kink kronikler" John Mendelssohn claims she's on earlier records than that: "You Really Got Me", "Sunny Afternoon" etc. She was singing on the Kinks records even before she married Ray Davies. S.J. Dibai -------------------[ archived by Spectropop ]-------------------
Message: 17 Date: Sat, 24 Jul 2004 20:33:36 -0000 From: S.J. Dibai Subject: Re: The Brigati Curse Steve Harvey: > A couple of years later Eddie Brigati is singing and the > Rascals singles are doing too much. Felix sings one and it's > a hit. Now Felix is the lead. Must be the Brigati curse. Eddie sang lead on their first single "I Ain't Gonna Eat Out My Heart Anymore". It was a middling national hit. Felix sang lead on their second single "Good Lovin'". It was a #1 national hit. So it's not like they tried a few times with Eddie before giving Felix the spotlight. And bear in mind that Eddie sang lead on "How Can I Be Sure", while Felix and Eddie shared the lead on "It's Wonderful" -- so Eddie was not totally pushed out of the center of attention, and his mark is on some of their classic records. And to be truthful about it, I feel that Felix was a better lead singer. He had a better voice, a definite presence, and his vocals projected true showmanship. Eddie sounded more vulnerable as a lead singer, making him less suited to the group's songs, and he actually added more to the group's backing vocals. So I don't think Eddie was cursed. I think they just did what worked best for them. I will admit I haven't heard the album tracks on which the lead vocal duties are more spread out -- but I've read that Gene Cornish was a lousy lead singer. By the way, as I'm sure some of you already know, "I Ain't Gonna Eat Out My Heart Anymore" was the subject of an unlikely cover version by The Primitives, the British R&B/Mod band who relocated to Italy and became big stars. It was their Italian market/language debut, and it was simply called "Yeeeeeeh!" As ridiculous as this may seem, their record of it is grrrrrrreat! (And a hit in Italy.) S.J. Dibai -------------------[ archived by Spectropop ]-------------------
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