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Spectropop - Digest Number 1626



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               SPECTROPOP - Spectacular! Retro! Pop!
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There are 25 messages in this issue.

Topics in this digest:

      1. Tricia, Tell Your Daddy
           From: Phil X Milstein 
      2. Arrogance; All Night Workers; Jimmy Curtiss; Bag; Van Eatons
           From: Country Paul 
      3. Re: Keith / 98.6 / T.B.S.
           From: Artie Wayne 
      4. Re: Keith; Dickie Lee
           From: Austin Roberts 
      5. www.DocRock.us up and running!
           From: Dock Rock 
      6. another "Smile" sample
           From: Jens Koch 
      7. Re: Scott McKenzie
           From: Clark Besch 
      8. recently on musica
           From: Clark Besch 
      9. Re: Odessey and Oracle and Al
           From: Frank Uhle 
     10. Re:  Dan Fogelberg
           From: Gary Myers 
     11. Re: Jaynettes versions
           From: Billy G Spradlin 
     12. Re: Odyssey and Oracle and Al
           From: Al Kooper 
     13. Re:  Benny Gordon discography
           From: Jeff Lemlich 
     14. Re: All Night Workers
           From: Frank Uhle 
     15. Re: more on Brian Wilson-Larry King interview
           From: Mike Griffiths 
     16. Re: Elliot Kendall
           From: James Botticelli 
     17. Re: Samples and steals, how do you feel?
           From: Various 
     18. Re: Looking For Jaynetts
           From: Al Kooper 
     19. Joy Dawn on Swan
           From: Mick Patrick 
     20. Re: 98.6 / Eric Carmen
           From: Bob Rashkow 
     21. Re: Benny Gordon discography
           From: Gary Myers 
     22. Joe Barry, R.I.P.
           From: superoldies 
     23. Jackie Lee Radio Show
           From: Patrick Rands 
     24. Re: Unit 4 + 2 singles
           From: Scott Charbonneau 
     25. Re: "98.6" and Keith
           From: John DeAngelis 


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Message: 1 Date: Mon, 30 Aug 2004 18:58:28 +0000 From: Phil X Milstein Subject: Tricia, Tell Your Daddy In honor of this week's big GOP lovefest in New York City, I have played to musica one of my favorite Republican-themed records, Andy Kim's 1969 opus "Tricia, Tell Your Daddy." In this Jeff Barry-M. Sanders composition, Kim asks the eldest daughter of newly-inaugurated President Nixon to consider dropping such words as "love" and "peace" around the house every now and again, in the event the old man isn't hearing them from the likes of Henry Kissinger or Spiro Agnew. He's chosen Tricia to be his exclusive messenger because, after all, her daddy is now "everybody's daddy for a while." This hopeful gem, originally on Steed and then picked up by Dot, was arranged by Ron Frangiape. The following year saw a cover version by Jay & The Americans -- anyone have that one? --Phil M. -------------------[ archived by Spectropop ]-------------------
Message: 2 Date: Tue, 31 Aug 2004 01:11:42 -0400 From: Country Paul Subject: Arrogance; All Night Workers; Jimmy Curtiss; Bag; Van Eatons Matthew wrote: > Can anybody tell me about a group called Arrogance that featured > Don Dixon? I recently picked up sealed copies of their first two > albums, "Give Us A Break" (Sugarbush Records SBS103, 1974) and > "Prolepsis" (Sugarbush Records SBS112, 1975). Davie answered: > I might be wrong about this but years ago I had an album by a band > called Arrogance (on Vanguard) -- it's from around 73-74. I'm not > sure if it's the same group but I vaguely remember it as being > sorta country-rockish -- like innumerable bands from that period. > I may be doing it an injustice but it was one of those "play once, > file away" albums that I never missed when it "got lost" in a move. Although I agree with Davie that it wasn't a great album, the Arrogance LP on Vanguard had a solid track in the song "Open Window." With all the subsequent celebration of Don Dixon, I went back to listen to the LP a few years ago, but don't remember anything about it except that there "wasn't anything else" on it to my ears. Davie again, re: All Night Workers: > There may be two groups of that name. There's one on Round Sound, > which is tied in with Pickwick/Design. That group, a/k/a Otis & The All Night Workers, is the one with the pre- Velvet Underground Lou Reed. RS-1, "Don't Put All Your Eggs In One Basket," a great little soulful rocker, made it to #1 in Syracuse, NY. (I notice the flip side is posted to musica as of this writing.) Jeff Lemlich: > The lead Hobbitt was Jimmy Curtiss, the guy who cut the cult classic > 45 "Psychedelic Situation" on Laurie 3383. Curtiss, who goes back > to a doo wop group called The Enjays, also recorded under such > aliases as The Sweet Bippies (on A&M) and Changing Colours. I think you mean The Emjays, who were discussed here recently, answering my curiosity about them (great early stuff, waaaaay out of the early formulaic sounds -- odd chord inversions, no bass on the first 45, 02 -male 2-female line-up). Nice to know he kept recording. And good article on the Sandpipers, Jeff; I enjoyed it! Bobster: > Jimmy Curtiss penned for and produced lots of great groups in the > late 60s including the supergreat Bag.... Was this the same Bag that did "Incubatin' Middle-of-the-Night Gyratin' Blues" on Jerden 769 (1965)? (It's credited as a Jerden Production, which I always thought meant Jerry Dennon.) Or was there another Bag? Les Fradkin: > ... Lon Van Eaton (former Apple Recording Artist who George produced. > Lon sang the backgrounds on "Photograph" BTW). Lon & [brother] Derek Van Eaton had a good album on Apple; I believe the lead track was "What You Want" or "Maybe There's Another" (don't remember exactly). We played them a fair bit on WHCN -- thought they'd be bigger than they were. Country Paul (striving to catch up yet again) -------------------[ archived by Spectropop ]-------------------
Message: 3 Date: Mon, 30 Aug 2004 19:25:42 -0700 (PDT) From: Artie Wayne Subject: Re: Keith / 98.6 / T.B.S. Carlo ... Lindsay/Lyn ... How ya' doin'? Thanks for all the nice things you guys said about "The Teeny Bopper Song." It was one of the songs I wrote with my friend Jerry Ross, who was Keith's producer. I also got my friends The Tokens to sing background on the track, as well as on 98.6. If you listen closely you can hear me singing the high harmony part. Regards, Artie Wayne http://artiewayne.com/ -------------------[ archived by Spectropop ]-------------------
Message: 4 Date: Mon, 30 Aug 2004 04:38:17 EDT From: Austin Roberts Subject: Re: Keith; Dickie Lee C. Ponti wrote: > Keith was one of the definitive one-hit wonders, a description > which is not meant to demean, since it is no easy feat to achieve > one hit. Does anyone have rememberances or info on Keith or > this great cut? Actually Keith's first single Ain't Gonna Lie was a killer, though only Top 40. Joe Nelson wrote: > Listening to it now! Next up on the jukebox, Dickie's "9,999,999 > Tears", another WHN classic. Austin, if you ever need to pay tribute > to Dickey live for his role in making "Rocky" a hit, try your hand at > this. A masterpiece in Dickie's hands, bound to be a masterwork in > yours. Thanks for the kind words. Dickie and I are good friends, Recently I was singing it on stage here in Nashville, and I called Dickie to come up and sing Rocky with me. Unfortunately, we got into a little trouble in the chorus because I cut the song a l higher, yet we'd forgotten about that, so the chorus was a riot. We both had to squeeze body parts (not each others') for him to sing the melody and for me to sing the 3rd. Dickie is a great talent, believe me. We've been friends for 30 years. Bobster wrote: > Most of Dickie Lee's 1965-1969 output is on my want list. (I don't > think I've heard any of it though.) Check out Dickie Lee and Allen Reynolds' single called Impressions. They used the name The Jones Boys and I think it was on MGM, circa 1966. Great record. Shoulda happened. Best, Austin R. -------------------[ archived by Spectropop ]-------------------
Message: 5 Date: Mon, 30 Aug 2004 21:06:47 -0400 From: Dock Rock Subject: www.DocRock.us up and running! After months of planning and weeks of frustration, I am happy to announce that the Doc Rock website is finally up and running. http://www.DocRock.us includes a photo gallery (soon to grow) featuring Jan & Dean, Bobby Vee, and The Pixies Three. There's also a series of articles about Bobby Vee, Phil Spector, Bob Lind, Jan & Dean, and more. These articles feature primary source original interview material, with many inside stories told for the first time by Snuff Garrett, Gene Pitney, Lou Adler, Fanita James, Bones Howe, and others. Please visit me! Doc -------------------[ archived by Spectropop ]-------------------
Message: 6 Date: Tue, 31 Aug 2004 09:04:56 +0200 From: Jens Koch Subject: another "Smile" sample Another sample of the new Smile can be downloaded at http://lepers_n_crooks.tripod.com/Wonderful2004.mp3 Jens -------------------[ archived by Spectropop ]-------------------
Message: 7 Date: Tue, 31 Aug 2004 16:45:38 -0000 From: Clark Besch Subject: Re: Scott McKenzie Rob wrote: > Yes, "NO, NO, NO, NO, NO" is on Stained Glass Reflections, a 2001 > Scott comp CD from Raven Records. This comp contains his entire > 1970 LP, Stained Glass Morning, which is a true GEM! Scott was so > much more than just "San Francisco". The CD you speak of is nice because it ranges over 10 years, basically the '60s. From 1960 Kingston Trio-sounding songs of his days with The Smoothies and Journeymen to (as you said) his all self-written 1970 "Stained Glass Morning" LP tracks. Although I like his mid-'60s covers best, his 1970 had at least three songs that could have been Moody Blues songs in 1970 ("Dear Sister", "Illusion" and "Take A Moment") thanks to the guitar and lead vocal being similar to a quiet Moody's song of the day. I still like "No, No, No, No, No" best of his records. I have the 45 and LP versions, and, if I remember correctly, one was shorter for some reason. The 45 was on Epic, released before "San Francisco" hit. Not sure if the B side was non-LP or not. Although I did not find the early 1965 45 of "There Stands The Glass," with flip of "Look In Your Eyes," I do have a Capitol "cash-in" release (issued when "San Francisco" hit), "All I Want is You"/"Look In Your Eyes," if you need it. On the Capitol 45, he's listed as "Scott Mac Kenzie"! Typical of cash-ins, the idea was "don't worry about particulars, just get it out fast"! I think McKenzie's '60s versions of "What's The Difference" and "Like An Old Time movie" sound much like a P.F. Sloan style, and some of the CD songs remind me of Phil Ochs style too. Clark -------------------[ archived by Spectropop ]-------------------
Message: 8 Date: Tue, 31 Aug 2004 15:15:49 -0000 From: Clark Besch Subject: recently on musica I'd like to thank everyone who has posted to musica recently. Some great music. "My Birthday Party" was a cool tribute to Jackie De! "Honey And Wine" by The All Night Workers was cool -- kinda like The Wildweeds. The Myddle Class records were excellent -- they weren't ever released? What a shame! The "Love Child" demo was great, too! Shelley Fabares' P.F. Sloan cover was not as good as I had hoped, but I'm glad to hear it. Her vocals seemed quite buried, for some reason. I plan on posting another Sloan demo when space permits. Anyway, I thought all the songs were cool, and hope there are more Carole King demos to come. And Al Kooper, your two demos were great! Thanks to all! Clark -------------------[ archived by Spectropop ]-------------------
Message: 9 Date: Tue, 31 Aug 2004 15:46:07 -0400 (EDT) From: Frank Uhle Subject: Re: Odessey and Oracle and Al One other factor in getting the Zombies album, and single, released in the U.S., at least according to local (Ann Arbor, Michigan) lore, was the cover of "Time Of The Season" by a local band called The Thyme, on A-Square records. The story local collectors like to tell (I don't know the original source of this information) is that the 45 (I have a copy, so it definitely exists) started getting airplay in Detroit, and possibly elsewhere, and CBS noted that the cover of something they owned had become popular, and rushed out the original to capitalize on its success. This may well have been coincidental with Mr. Kooper's involvement in the release, but I wondered if he had any recollection of hearing that CBS wanted to put the Zombies' version out because of a cover that was getting airplay in the midwest? Thanks, Frank Uhle -------------------[ archived by Spectropop ]-------------------
Message: 10 Date: Tue, 31 Aug 2004 10:06:43 -0700 From: Gary Myers Subject: Re: Dan Fogelberg Clark Besch wrote: > I hope Dan Fogelberg can get thru. ... He certainly had '60s roots, > remembered with his remake of Hollies/Keith's "Tell Me To My Face" ... He also had a major A/C hit with his 1990 remake of "Rhythm Of The Rain". gem -------------------[ archived by Spectropop ]-------------------
Message: 11 Date: Tue, 31 Aug 2004 22:19:19 -0000 From: Billy G Spradlin Subject: Re: Jaynettes versions Michael Cose wrote: > 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. That's proably the fault of the tube-based recording deck (proably an Ampex 300) reverb chamber/unit, or mixer that allowed tracks to leak into one another. "Broadway Recording Studios" is listed on the LP. I have "Sally" on a MCA "Vintage Gold" CD, in a split-track stereo mix (vocals on the left, backing track on the right) and you can hear the vocals "leak" into the instrumental track, much as you can hear the vocals leak into the instrumental beds on the Beach Boys "Stack Of Tracks" LP. > 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. One of my favorite tracks from that LP! It should have been issued as a single. BTW was there an alternate cover for the "Sally" LP? One website mentions a picture of the group on the cover. My copy is a promo, and only has a picture of Roses. Here's what I have collected (and will be getting) so far: The original "Sally Go Round The Roses" LP bonus tracks: Patty Cakes: I Understand Them (Beatles tribute) (vocals & instr.) Clickettes: I Just Cant Help It (vocals -- looking for instr.) Jaynettes: Keep An Eye On Her (instr.) Jaynettes: Snowman, Snowman, Sweet Potato Nose (vocals and instr.) ...and four versions of Sally: 1) from K-Tel's "Girls Girls Girls" CD, which has the original six- second intro and a louder, more compressed mix that sounds closest to the original vinyl version. 2) Rhino's unedited mix from "Best of the Girl Groups Vol 1" CD, which has a longer 13-second intro, fade and less compression. 3) Stereo remix from Versese Sarabande's "Collector's Essential: Greatest Girl Groups" CD, with organ overdubs. 4) Stereo remix from MCA's "Vintage Music" CD, without the organ overdubs but with a wider vocals/instrumental spread -- not sure if I'm going to include this one. Anal Retentive Billy http://listen.to/jangleradio -------------------[ archived by Spectropop ]-------------------
Message: 12 Date: Tue, 31 Aug 2004 18:51:54 EDT From: Al Kooper Subject: Re: Odyssey and Oracle and Al S.J. Dibai asked: > 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? Edgar Broughton Band w/raw meat on the cover the famous Brian Auger-Julie Driscoll album coupla Downliners Sect LPs a blues anthology a soul anthology Autumn by Spencer Davis Group The Herd This is all by current memory so I did the best I could. AK -------------------[ archived by Spectropop ]-------------------
Message: 13 Date: Tue, 31 Aug 2004 20:08:12 -0400 From: Jeff Lemlich Subject: Re: Benny Gordon discography Davie Gordon wrote: > There's the album on Hot Biscuit to slot in here butI don't have details > of that one -- maybe Jeff can help here if he has the time. The album is "Tighten Up!" by Benny Gordon & The Soul Brothers, on The Hot Biscuit Company ST-9100. Tracks are Tighten Up, Hold On I'm Comin', Hang On Sloopy, Mercy Mercy Mercy, Soul At Sunrise, Ticket To Soulville, Putnintan [sic], Down Home, Anything Goes, Fly Me To The Moon, Don't Bother Me, and Soul Theme. The producers on the Shadow label 45 are Kevin McManus & David Hieronymus, both veterans of Florida bands. Hieronymus was formerly the drummer with the R-Dells/American Beetles/Razor's Edge. A version of "Give A Damn" also came out on Estill, but I don't have details. I have been told it was a different version than the one on Shadow. Jeff Lemlich http://www.limestonerecords.com -------------------[ archived by Spectropop ]-------------------
Message: 14 Date: Tue, 31 Aug 2004 15:40:05 -0400 (EDT) From: Frank Uhle Subject: Re: All Night Workers Here is more precise info about the All Night Workers 45 on Round Sound, from Olivier Landemaine's excellent Velvet Underground website (the best one anywhere, I believe), at: http://tinyurl.com/6um64. There are photos of the 45 label there, too. I got my own copy of this 45 from a guy who knew members of the All Night Workers, so they were definitely a real band. Frank Uhle ---------------- This single produced by Lee Harridan Productions has a B-side track - Why Don't You Smile - credited to Terry Philips, Jerry Vance (alias Jerry Pellegrino), Lou Reed and John Cale. This is the first known collaboration between Reed and Cale. Jerry Vance is credited as Music Director. Don't Put All Your Eggs In One Basket was a bit of a regional hit in a few regions. The All Night Workers feature Otis Smith with Lloyd Baskin and Mike Esposito - Syracuse-area mates of Lou Reed. Baskin went later on to Seatrain, and Esposito went to the Blue Magoos. It has been said that Peter Stampfel (from the Fugs, then Holy Modal Rounders, and a solo career) was part of the line-up but he's clearly stated that he doesn't play on the All Night Workers 45. Rumors persist that Lou and/or John play on this single. Why Don't You Smile was later covered by Donnie Burks on US Decca (Why Don't You Smile b/w Satisfaction Guaranteed, Decca 32134), and The Downliners Sect on their last UK Columbia album. The song finally re-surfaced in 1987 on Maureen Tucker's MoeJadKateBarry 12 inch EP (50 Skidillion Records MOE 1). It has also been covered by Spiritualized on their November 1991 Smiles/Sway single (7inch SPIRT 003, also available as 12inch), and now appears on the 2003 Spiritualized - The Complete Works - Volume One (2CD Spaceman/Arista OPM009CD). -------------------[ archived by Spectropop ]-------------------
Message: 15 Date: Tue, 31 Aug 2004 05:47:31 -0000 From: Mike Griffiths Subject: Re: more on Brian Wilson-Larry King interview I've just read through all the posts commenting on the Brian Wilson interview on Larry King and I feel I need to make a couple of points here. First off, I wholeheartedly agree with Bob Hanes. His observations strike me as well informed and compassionate. Melinda comes across as intelligent, knowledgeable and sensitive. She obviously loves Brian. When she interjects and disagrees with him it's to make important and relevant points - for example when they are discussing Landy: ***** KING: Have you sued him? B. WILSON: Oh no. I never had to sue him. M. WILSON: Oh yes, we did. B. WILSON: Well, I don't remember suing him, but I guess we did. She says so. M. WILSON: Actually, when I married Brian, we were in the midst of nine separate lawsuits. ***** Also, Melinda's explanation of Brian's condition is the most clear and concise I have heard and she really seems to have spent a lot of time learning about depression and the various permutations thereof. I ended up really liking Melinda and I feel a whole lot better now knowing that Brian is with someone like her. It's just too bad that the late great Del Shannon (also diagnosed with depression) didn't have a similarly informed and caring someone around, as this could have prevented his tragic suicide. As for Larry King, the fact that he doesn't seem to know anything beyond the most obvious facts about Brian and the Beach Boys (i. e. what the general public knows) means that he asks questions that none of us `experts' would even think of asking. Although I agree that Larry failed to follow up on many of Brian's most interesting asides, it is his so-called 'stupid' questions that bring out many new bits of information. Knowing what we know, I can't imagine any one of us pursuing this line of questioning: ***** M. WILSON: Because all of the sudden -- I mean, you're normal and all of the sudden you start hearing voices in your head and things start happening to you that you don't know whether to tell people or -- I think with Brian he went a long time without discussing it with... KING: Why not? B. WILSON: I was afraid to. I was afraid to. KING: Yes, I would imagine. I can understand. When you say you heard voices can you describe what that's like? Because we read stories like that about people who -- what happens? B. WILSON: Well, a voice is saying: "I'm going to hurt you, I'm going to kill you." And I'd say: "Please don't kill me." KING: It's an actual voice. B. WILSON: Actual voice in my head. Yes. KING: Not your voice? B. WILSON: No. No. M. WILSON: That's called auditory hallucinations and if somebody's depression is deep enough that's what happens to them. ***** O. K. let me interject - this is very specific and key information about what is going on in Brian's head - none of which I had heard before. Back to the transcript where Larry immediately asks a very interesting and relevant question (one I think we all hope we would be smart enough to ask): ***** KING: And at the same time you're still writing songs? B. WILSON: Yes, I could still write songs, yes, during that period. KING: Write hit songs? B. WILSON: Yes. ***** And later Larry wisely follows up on this line of questioning: ***** KING: All right, back to the hearing things. You could hear them now? B. WILSON: I can still hear things like, "I'm going to kill you," but I don't hear very many other kind of thoughts. Just usually negative thoughts or negative... KING: Ever hear them while you're singing? B. WILSON: No, not when I'm singing, no. KING: When you're writing? B. WILSON: No, not then, either. ***** Then Brian pulls off a very dry and hilarious joke: ***** KING: When, then, would you hear them? B. WILSON: When I'm not singing or writing. (Rim shot and cymbal crash!) ***** Again, very informative. So, Brian hears voices but never when he's singing and never when he's writing. This seems to explain a lot about why Brian is still able to be so creative. By the way, Phil Milstein, Melinda doesn't contradict Brian on this point. She says: "...when he goes out on tour I can look at him and I say to myself: "Oh my God, I can tell just by his face he's hearing voices." She doesn't say when he's singing, she says when 'he goes out on tour'. I assume she has gone out on the road with him and a lot of stuff happens on the road besides the show. And still later Larry asks more about the voices: ***** KING: Do they ever issue commands, these voices? B. WILSON: What? KING: Do they ever tell you to do things? B. WILSON: No. KING: Just, "I'm going to kill you," or... B. WILSON: Yeah, right. KING: That's all they -- it ever says? B. WILSON: Yeah. KING: Is that some sort of self-wish? M. WILSON: No. No. I don't think so. But -- they tell him other things as well, like... KING: Like? B. WILSON: They'll say, like... M. WILSON: You're no good, or... B. WILSON: Or something like that, yeah. M. WILSON: And then there are days that they might be good to him. B. WILSON: That happens every few days, they'll have... KING: Good to you by praising you, you mean? B. WILSON: Right. They'll say, "We love you, we love you, we can't live without you," stuff like that, yeah. ***** I don't know enough about Larry King to intelligently defend his credentials as a journalist or interviewer. However, maybe through his ignorance, Larry brought a lot of new information to light regarding Brian's mental condition. I am trying to think back to the famous Nick Kent piece in Rolling Stone many years ago (for those who don't know, Nick Kent was a 'gonzo' journalist who specialized in getting inside the heads of damaged geniuses like Syd Barrett and Brian Wilson) and I don't think Nick got anything close to this kind of stuff out of Brian. I know there are other examples during the interview of Larry's approach uncovering more gems. I suggest giving the interview another viewing/reading while keeping an open mind. Cheers, Mike -------------------[ archived by Spectropop ]-------------------
Message: 16 Date: Tue, 31 Aug 2004 11:07:00 -0400 From: James Botticelli Subject: Re: Elliot Kendall John Kirby wrote: > 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. Elliot did for Del-Fi what Scamp did for Martin Denny. JB -------------------[ archived by Spectropop ]-------------------
Message: 17 Date: Wed, 01 Sep 2004 21:25:13 +0100 From: Various Subject: Re: Samples and steals, how do you feel? Multiple posts on the same subject: I've been an admirer of samples for years. There is no pure and clean version of really any chord, note, riff, bridge, or melody that hasn't been influenced by someone anyway. Mose Allison once said there is only one real song in most musicians. Not sure if THAT'S true, but that being said, to hear something familiar in a whole new context bridges the gap between nostalgia for the older therefore 'better' daze and for today. The original question was about the use of the chords in 'Sugar Sugar'. As I recall that song was scorned by hipsters from the moment it was played. The Archies were not only not a group, they were just a cartoon and if this was good music, then the Monkees were as good as The Beatles. Perhaps its dismissal by the hipouisie (sp) in the day and its use today is a good example of post-irony. Maybe it was just an innocent cop of an ez riff to use. But I sure don't mind hearing it. But I haven't yet! Speaking of which, anyone using Mac OSX's Garageband application yet? I just got mine going and all I can tell you is that I'm playing every riff in the key of C I can use. You create your own baseline on the Midi, select the groove and tempo, and I'm wailing away on the "pop organ" motif, already utilizing "Work Song", "Comin' Home Baby", "Sunshine of Your Love", and "Mission Impossible" intro riffs to the same bass line! So I guess I'm doing a form of sampling too. Thanks for the space. James Botticelli ----------------------------------------- I more than anyone feel "urban" music is a plague upon us. Bereft of melody for the most part, governed by bass and drum frequencies, it contradicts all the aesthetics that make me put on The Beach Boys' FRIENDS late at night. Still, we writers DO get our names on the records that sample our old songs. I have actually received awards and some credibility from having my name on urban hits. I also see my royalty statements swell from urban usages. Since radio playlists have changed and there are less true "oldie" stations in every market, I welcome that income. Ultimately guys like me make our livings from radio play and when the radio isn't playing my original hit, at least they're playing a present day sampling that helps pay the rent.... C. Ponti ------------------------------------------ S.J. Dibai wrote: > 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. I couldnt agree with you more. The way Hip-Hoppers used samplers in the 80's was far more creative - the Beastie Boys "Paul's Boutique" was a masterpiece of using samples (over 100 samples) and they made it fun picking out what songs they used. Now lazyass rappers and producers take a basic hook and ram it into your head for 3 1/2-5 minutes and tack on a rap on top. Maybe they are too scared or untalented to sit down in front of a piano or pick up a guitar and come up with a original melody? I just hope MTV and the teenage community will eventully get sick of Hip Hop. I pray in 5-10 years today's gold-toothed "crunk" rappers will be about as cool as 80's hair metal bands are now. Billy http://listen.to/jangleradio -------------------------------------------- Regarding sampling of 6Ts pop in rap & hip-hop: as Chicago's own Torkays once sang on the B-side of their local hit "Karate": I Don't Like It (But What Can I Do?) Bobster -------------------------------------------- -------------------[ archived by Spectropop ]-------------------
Message: 18 Date: Tue, 31 Aug 2004 18:41:30 EDT From: Al Kooper Subject: Re: Looking For Jaynetts Previously: > I've heard a couple of the (Jaynetts') 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. It's actually not poor execution. It's leakage from the vocals into the instrument mics in the pre-overdubbing era of early multitrack recording. Be kind to the Jaynett engineers!! Al Kooper -------------------[ archived by Spectropop ]-------------------
Message: 19 Date: Wed, 01 Sep 2004 21:40:28 +0100 From: Mick Patrick Subject: Joy Dawn on Swan By any chance does anyone out there possess a copy of "Hang It Up" by Joy Dawn, released on the Swan label in 1963? If so, I'd love to know if there are any arranger or producer credits on the label. Joy Dawn was a pseudonym used by the one and only Claudine Clark, but you all knew that. Thanks in advance. Hey la, Mick Patrick -------------------[ archived by Spectropop ]-------------------
Message: 20 Date: Tue, 31 Aug 2004 18:57:44 EDT From: Bob Rashkow Subject: Re: 98.6 / Eric Carmen "98.6", undeniably a great moment in 6Ts pop sung by "the guy with the toothpaste-ad grin", was probably Fischoff & Powers' biggest moneymaker. The duo penned some really terrific songs for numerous artists. I may just check out "Marathon Man". Eric Carmen has had a very lengthy musical career and I don't know nearly enough about it. Bobster -------------------[ archived by Spectropop ]-------------------
Message: 21 Date: Tue, 31 Aug 2004 22:04:53 -0700 From: Gary Myers Subject: Re: Benny Gordon discography A little synchronicity here: I just received a sale list (from John's Boy in TX) that includes 3 Benny Gordon 45's. gem -------------------[ archived by Spectropop ]-------------------
Message: 22 Date: Wed, 01 Sep 2004 06:20:50 -0000 From: superoldies Subject: Joe Barry, R.I.P. JOE BARRY ("I'm A Fool to Care") has passed away. He suffered from rheumatoid arthritis, chronic asthma, bronchitis, emphysema, cariomyopic disease, diabetes, and an infected immune system. Born Joseph Barrios, July 13th, 1939, he released his last CD in April of 2003, info at: http://www.pershingwells.com/joe_barry.htm He lived in Cut Off, Louisiana. -------------------[ archived by Spectropop ]-------------------
Message: 23 Date: Wed, 01 Sep 2004 13:49:37 -0000 From: Patrick Rands Subject: Jackie Lee Radio Show Be sure to tune in this friday night (9/3/04) between 6-7 pm (Eastern Standard time) to hear my Jackie Lee radio show spotlight. I'll be spotlighting the British girl singer's output from the 1960s. She is best known for the songs The Town I Live In, White Horses and Rupert but her career was much more extensive than that, so due tune in for an hour of her best material solo, with her group, and her session work. You can tune in at 90.3 FM (Boston College radio in the Boston area, or online at http://www.zbconline.com - and the radio shows are usually archived at a later date on the same website. Read all about her at The World of Jackie Lee website: http://www.jackielee.freeserve.co.uk/ Has Jackie Lee been discussed here at Spectropop before? Chirpy chirpy cheep cheep! :Patrick -------------------[ archived by Spectropop ]-------------------
Message: 24 Date: Wed, 01 Sep 2004 16:36:15 -0000 From: Scott Charbonneau Subject: Re: Unit 4 + 2 singles Previously: > 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. Granted, their Fontana label stuff may not be as consistent overall as their Decca period but I count at least 4 killers from the 1967 to 1969 period which are well worth a listen: Butterfly - Lovely cover of a pre-UK period Bee Gees track, loaded up with wistful nostalgia for a younger, simpler time. You Ain't Going Nowhere - Taken from Dylan's "basement tapes" that were doing the rounds back then. To their credit they do not copy the Byrds arrangement. Very good treatment of the song although admittedly not as catchy or memorable as the Byrds' take on it. I Will - Their last 45 from '69; great catchy pop with a use of the acoustic guitar motif that reminds one of their brief mid 60s heyday. 3:30 - The other side to "I Will;" nice, slower paced offering. Both sides of this final 45 were deemed good enough to be included in Bam Caruso's "Rubble" series. "I Will" can be found on the Psychedelic Snarl and "3:30" is on the 49 Minute Technicolour Dream. As for the Repertoire singles comp: highly recommended as all of the tracks are in mono bar the final two which come from a 1974 45 billed as "Parker-Moeller Reunion." Scott -------------------[ archived by Spectropop ]-------------------
Message: 25 Date: Wed, 01 Sep 2004 17:47:43 -0000 From: John DeAngelis Subject: Re: "98.6" and Keith I'm enjoying the Keith compilation, but I have a beef with the CD's notes. Peter Doggett writes that: "Keith became the lead singer in Frank Zappa's band...to fill the hole left in the Mothers by the departure of former Turtles singers Mark Volman and Howard Kaylan. Sadly this...wasn't chronicled on any of Zappa's albums." On his website, Keith claims to have been with Zappa for at least a year. Keith did record at least one single for DiscReet, the label co- owned by Zappa and Herb Cohen, and may have auditioned for the Mothers or even sang with them for a gig or two (as Kin Vassey, formerly of Kenny Rogers' First Edition, did at around the same period). But the fact that there are no studio or live recordings of Keith singing with the Mothers casts a dubious light on such a claim. No one's career is more documented than FZ's so I gotta think that Keith is padding his resume. To make matters worse, in the Keith CD booklet, there's a picture of the Mothers that's captioned: "Frank Zappa's band with Keith singing lead." The picture shows Zappa, Volman, Kaylan, drummer Aynsley Dunbar, keyboardists Ian Underwood and Bob Harris, and bassist Jim Pons. No sign of Keith anywhere! All this from a guy who sang "Ain't Gonna Lie"! John DeAngelis -------------------[ archived by Spectropop ]-------------------
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