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Spectropop - Digest Number 1625

               SPECTROPOP - Spectacular! Retro! Pop!

There are 14 messages in this issue.

Topics in this digest:

      1. Zombies
           From: Al Kooper 
      2. Easy Does It
           From: Al Kooper 
      3. Samples and steals, how do you feel?
           From: Al Kooper 
      4. Re: Northern Soul & Beach Music
           From: Michael Coxe 
      5. Re: Tommy Vann & The Professionals
           From: Gary Myers 
      6. Re: Looking For Jaynetts
           From: Michael Coxe 
      7. Unit 4 + 2 singles; new Sloan-Barri ditty on musica
           From: Frank Young 
      8. The Argonauts from Boston
           From: Niels 
      9. Re: Dickie Lee / Lee Arnold / The Ravers
           From: Ed Salamon 
     10. Brill Building
           From: Phil Hall 
     11. Re:  Dan Fogelberg
           From: Clark Besch 
     12. Elliot Kendall
           From: John Kirby 
     13. Re: Odessey and Oracle / Al Kooper's Garden
           From: S.J. Dibai 
     14. Re: Samples and steals, how do you feel?
           From: S.J. Dibai 

Message: 1 Date: Sun, 29 Aug 2004 18:41:10 EDT From: Al Kooper Subject: Zombies Rob: > Did a Zombies search in the message archive and saw that 6 months > has gone by since Mr. Al Kooper has been thanked for helping bring > the still amazing Zombies Odessey and Oracle LP to a wider audience. > Thanks again Mr. K! You're welcome, Rob. I am as big a fan as you are of that band. When they play live or are interviewed, 09 times out of 10, THEY STILL thank me. They certainly put the nice in Zombie. ........ wait a second....what a weird band that would be, The Nice & The Zombies !!!! Too many keyboard players!! AK -------------------[ archived by Spectropop ]-------------------
Message: 2 Date: Sun, 29 Aug 2004 18:36:47 EDT From: Al Kooper Subject: Easy Does It Eddy: > Easy Does It was released *before* the Landlord soundtrack. So wasn't > the Landlord version the re-recorded one? Colin Escott told me Dylan & I made two separate trips to Nashville to record Blonde on Blond because he read the session sheets. If he knew that sessions sheets could be created if acetates were ordered and no session took place or mixing was done perhaps we wouldn't have all HIS revisionism. EDDY, TRUST ME!!! The Easy Does It version is the re-record. John Hall of Orleans fame played a blistering ending guitar solo on the original version, only available on the Landlord soundtrack. Al 'not senile YET' Kooper -------------------[ archived by Spectropop ]-------------------
Message: 3 Date: Sun, 29 Aug 2004 18:50:30 EDT From: Al Kooper Subject: Samples and steals, how do you feel? Me: > The Love Theme from The Landlord was sampled by JayZ two albums back > and helped get my master bath renovated. Joe Nelson: > On which note I've meant to revisit an old post: Those who are exposed > regularly to teenagers are aware that the Archies' (hi Ron!) "Sugar > Sugar" was somewhat sampled and liberally borrowed from on the current > hit "Nasty Girl" by Nitty. I was going to approach Ron Dante privately > about this re: how he feels to hear such a cute song "dirtied up" so > badly, yet it seems to me that Andy Kim and Jeff Barry are probably > going to see more money from this one track than they've gotten in > years. So a show of hands: given the popularity of both sampling and > "tribute theft" (for lack of a better term), how does the list feel > when older songs get twisted up for representation to a contemporary > audience that may or may not know the originals? I had among others, The Beastie Boys sample Flute Thing as well as the Jay Z sample. Not a rap afficionado, I don't "understand" either cover and cannot sit down and voluntarily enjoy either one. But I do applaud The Beasties for pioneering the paying of people who were sampled and I thank Jay Z for the attention, but his accounting left a lot to be collected. White Al Kooper -------------------[ archived by Spectropop ]-------------------
Message: 4 Date: Sun, 29 Aug 2004 23:08:21 -0700 From: Michael Coxe Subject: Re: Northern Soul & Beach Music Andy wrote: > Myrtle Beach, SC is still a "HUGE" beach music spot. They live and > breathe this stuff. Steve Harvey: > That explains why it was the setting for the film "Shag". (English > readers may stop smirking now!) Myrtle Beach just happens to be the largest beach resort metropolis north of Florida. Insufferable like Honolulu is insufferable. You can dance to Carolina style beach music on a regular basis throughout the Carolinas - coast to mountains, & up & down the coast itself from Delaware to northern Florida. I say dance because it's meant to be danced-to as opposed to doing the stand (as the very-un-beach Swinging Neckbreakers call it). In North Carolina we called it the Bop, never Shag. This Shag thing must be revisionist, or some insidious South Carolina plot, just the sort of thing to expect from a state where at 14 you could marry your 2nd cousin ;> . On a contemporary note, The Tams are about ready to issue their first *new* record in ages called "Main Squeeze". Keep an watch @ if interested. - Michael, Raleighite for the 1st half of my life. -------------------[ archived by Spectropop ]-------------------
Message: 5 Date: Sun, 29 Aug 2004 18:41:30 -0700 From: Gary Myers Subject: Re: Tommy Vann & The Professionals Pres: > Have you come across any mention of Tommy Vann & The Professionals? Vaccarino's book (sorry for the previous misspelling) devotes nearly 1-1/2 pages to Tommy Vann & the Echoes, and T.V. & the Professionals. He says Vann returned to Baltimore and did some club gigs in the 90's. gem -------------------[ archived by Spectropop ]-------------------
Message: 6 Date: Sun, 29 Aug 2004 23:18:49 -0700 From: Michael Coxe Subject: Re: Looking For Jaynetts Billy G. Spradlin wrote: > I'm looking to hear the Jaynettes' instrumental b-sides, and any rare > non-LP singles the group recorded as The Z-Debs, Hearts, Patty Cakes, > Clickettes and Poppies. If anyone can help please e-mail me off list. I've heard a couple of the instrumental b-sides and they sound like the same recording with a poorly executed attempt to remove the vocals. I.e., you can hear faint vocals. As for the alternatively named singles, I urge anyone possessing such sounds to please post to musica. The Jaynettes' "Pick Up My Marbles" is a slice of heaven. - Michael -------------------[ archived by Spectropop ]-------------------
Message: 7 Date: Sun, 29 Aug 2004 23:21:10 -0700 (PDT) From: Frank Young Subject: Unit 4 + 2 singles; new Sloan-Barri ditty on musica To S. J. Dibai's query about the quality of Unit 4 + 2's singles, they follow a classic pop music pattern: first label=good, second label=yecch. The nine singles U4+2 waxed for Decca from '64 to late '66 all have their moments. The first two are rather wussy folk- flavored efforts, with the second one showing some pop songwriting potential, despite the intense whininess of both songs. >From "Concrete and Clay" on, their singles are a strong, original body of work. Their best single, IMHO, is "You've Never Been In Love Like This Before"/"Tell Somebody You Know." It's a perfect example of British pop c. 1965. Other gems from this period include "Hark" and "Baby Never Say Goodbye." When they left for Fontana, they were starting to get way into MOR leanings, and while U4+2 were never gravel-voiced teddy boys, the Fontana material makes the earlier Decca singles seem positively rugged. Brian Parker and Tommy Moeller were great pop songwriters. I'm certain their work must have influenced Elvis Costello. **** Now go to Musica and hear Shelley Fabares' classy rendition of the Phil Sloan folk-rock gem "See Ya 'Round On The Rebound." This is one of Phil's best lyrics, and it deserved better than its banishment to B-side and album filler territory. Frank -------------------[ archived by Spectropop ]-------------------
Message: 8 Date: Mon, 30 Aug 2004 09:34:44 +0200 From: Niels Subject: The Argonauts from Boston One more question up for this great group. This one might prove difficult, but I'll try anyway. I'm looking for info on Paul McDonald of The Argonauts, which was a British Invasion band from Boston around 1965 and 1966. The group made one vox organ dominated demo produced by Barry Tashian of The Remains at Ace Recording Studio in Boston. I'd like to know what happened to Mcdonald. Niels. -------------------[ archived by Spectropop ]-------------------
Message: 9 Date: Mon, 30 Aug 2004 15:33:22 -0000 From: Ed Salamon Subject: Re: Dickie Lee / Lee Arnold / The Ravers Joe Nelson: > Yet my brother insisted Lee recorded the song that way in tribute > to his employer,while I said it was a re-recording made to give WHN > an exclusive.Well, the record proves me right.It seems to me putting > WHN's call letters in from the start would have doiomed the song > outside of New York, but I have to ask: did anyone else play this > record? Thanks for being one of WHN's 1.6 million listers (said because current conventional wisdom says NY can't support a Country station, which is total BS). The custom version of "Trucker's Christmas" was recorded and "released" at the same time as the national version. The record was done by Gary Allen and Gene Knight, two former members of the Tempos (a Pgh area group best known for "See You In September"), then working for Kirshner. My buddy Joe Rock (Skyliners, Jaggerz, Johnny Daye, etc.)hooked me up with them. I still have the WHN custom tape we dubbed the cart from, as well as several copies of Lee's nationally released record. Lee is now in the Country D J Hall of Fame at the Nashville Convention Center, where I drop by frequently to dust his plaque. When I was acting GM at top 40 10-Q in LA for a short time in the late 70's, I found that The Ravers on Zombie had done a similar custom Xmas record for them, re-lyricing "There's Gonna Be A Punk Rock Christmas This Year" to "TGBA 10-Q CTY", mentioning all the jocks. Unlike Lee's record, this one was pressed on vinyl. probably as a givaway. Unfortunately we could no longer play the record on 10-Q, as some of the Jocks had changed, whereas Lee's was played on WHN for a number of seasons. Ed Salamon -------------------[ archived by Spectropop ]-------------------
Message: 10 Date: Mon, 30 Aug 2004 19:38:31 -0000 From: Phil Hall Subject: Brill Building Have you ever wondered what the inside of the Brill Building looks like? I've just posted a picture of the entrance hallway to the Brill Building, taken last Friday. There was a guard there; presumably because of the Republican convention, but he was around the corner when I snapped the shot. Phil H. -------------------[ archived by Spectropop ]-------------------
Message: 11 Date: Mon, 30 Aug 2004 16:38:59 -0000 From: Clark Besch Subject: Re: Dan Fogelberg Eddy wrote: > With the recent postings on Dan Fogelberg, I thought I'd let you > know that he has cancelled his fall tour due to advanced prostate > cancer. This is a sad thing that I hope Dan Fogelberg can get thru. His music was some of my favorite music in the late 70's and early 80's and I saw him live around 1980/1 here in Lincoln. He certainly had 60's roots remembered with his remake of Hollies/Keith's "Tell me to my Face" in fine form as well as the Coachmen 45 I posted recently. If I remember correctly, he did "Day Tripper" as an encore at the concert I was at, oddly enough. With Laura Brannigan's death yesterday, we don't need Dan added. Laura was YOUNGER THAN ME! That's always a strange thought, like when Randy VanWarmer died last year at I believe, 44. It's one thing that Elmer Bernstein died at his age, but when 80's singers start passing, that seems really strange to me. Anyway, I hope Dan gets well. Clark -------------------[ archived by Spectropop ]-------------------
Message: 12 Date: Mon, 30 Aug 2004 20:24:23 -0000 From: John Kirby Subject: Elliot Kendall Elliot Kendall wrote: > I'll admit it, I'm a lurker. I scour the text of Spectropop to find > topics of my liking or to discover a new release by some obscure, > undiscovered 60s soft pop legend, rarely contributing commentary of > my own -- I have the great great pleasure of calling Elliot Kendall my friend... In the few years I have known him Elliot has astounded me as a consumate musician, an authority on 60's music, a raconteur and a very valid member of LA's music community who is always welcoming visiting musicians and introducing them to everyone he can. But more than anything else he is one of the best friends I have ever made in my life......A LURKER, you are not my friend you deserve to be up there with those artistes you constantly champion... Elliot you are one of those rare people in the music industry...100% GENUINE. JK -------------------[ archived by Spectropop ]-------------------
Message: 13 Date: Mon, 30 Aug 2004 20:27:16 -0000 From: S.J. Dibai Subject: Re: Odessey and Oracle / Al Kooper's Garden Robert wrote: > Did a Zombies search in the message archive and saw that 6 months > has gone by since Mr. Al Kooper has been thanked for helping bring > the still amazing Zombies Odessey and Oracle LP to a wider > audience. A timely message, Rob, because this morning I was just thinking about some idiot I used to know who taught a course on the history of rock. God only knows how that came about--he got at least half of his facts wrong, one example being his assertion that Eric Burdon got "Odessey" released in the US! I repeat, Eric Burdon! Of course it was Al Kooper, and the band's US publisher Al Gallico has been credited as well. I may have said on S'Pop that I don't like "Odessey" as much as The Zombies' earlier work, but it would still have been a damn shame if the album had never seen release in the US. A question for Al Kooper: Al, you've said that you went to the UK, bought 40 LPs, and "Odessey" stood out "like a rose in a garden of weeds." Do you recall what some of those "weeds," er, other LPs were? S.J. Dibai -------------------[ archived by Spectropop ]-------------------
Message: 14 Date: Mon, 30 Aug 2004 20:51:15 -0000 From: S.J. Dibai Subject: Re: Samples and steals, how do you feel? Joe Nelson asked: > given the popularity of both sampling and "tribute theft" (for > lack of a better term), how does the list feel when older songs > get twisted up for representation to a contemporary audience that > may or may not know the originals? Excellent question. I'm about two weeks shy of my 23rd birthday, so this topic hits home to me because the contemporary audience of which you speak consists largely of people from my generation. And as a member of said generation whose tastes tend toward the retro, I can say with passion that I loathe the excessive sampling and outright stealing that takes place in today's music. When hip hop first started out and people began sampling, it was an alternative form of expression. It may have been questionable in terms of copyrights and ethics, but at least it was merely a practice with limited range. It was sort of a modern-day response to musique concrete--taking pre-existing sound recordings and making something new out of them. But like all alternative forms of expression that become popular, hip hop became co-opted into the mainstream, commercialized and mass-marketed, and elements of it oozed into other forms of music. As a result, we have ended up with way too much sampling, way too many hits (in several genres) that borrow a main riff, rhythm track, or chorus from an oldie. It's sickening. It points to the lack of originality and creativity that pervades the entertainment industry today. It took a once meaningful form of artistic expression and turned it into something crass. And, most annoyingly, young people hear these songs and most of them haven't got a clue that what they're hearing is really an old song in revamped form. It happened to me. When I was younger I didn't know that "Can't Touch This" was actually "Superfreak" or that "Gansta's Paradise" was based on a Stevie Wonder song. I just thought, "Hey, this sounds good" and was shocked--and lost some appreciation for those hits--when I learned that they were ripoffs. As you pointed out, the upshot is that the writers of the original songs do make money off of this stuff. But wouldn't recognition be great, too? Wouldn't it be good for the kids listening to these recordings to know what they're really digging? And is it just me or do I sound a lot older than my age right now??? S.J. Dibai -------------------[ archived by Spectropop ]-------------------
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