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Spectropop - Digest Number 1639

               SPECTROPOP - Spectacular! Retro! Pop!

There are 25 messages in this issue.

Topics in this digest:

      1. Gillian Hills
           From: Ian Slater 
      2. Re: The Kingsmen's "Louie Louie"
           From: Billy G. Spradlin 
      3. Re: The Kingsmen's "Louie Louie"
           From: Eric Predoehl. 
      4. Re: Boom Records
           From: Austin Roberts 
      5. Bob Lind website
           From: Rob 
      6. Re: The Frank Guida Sound
           From: Austin Roberts 
      7. Chuck Alaimo; Ersel Hickey aka Mickey Evans; Chevrons; Kenny Rankin
           From: Country Paul 
      8. Julie Driscoll & Brian Auger
           From: Mike Page 
      9. Re: Steve Alaimo, Latimore and  Al Kooper
           From: Paul Underwood 
     10. Re: Steve Duboff
           From: Jeff Lemlich 
     11. Re: songwriting within groups
           From: Phil X Milstein 
     12. Montanas & P.F. Sloan to Musica
           From: Clark Besch 
     13. Re: Robin Ward's "Wonderful Summer"
           From: Billy G. Spradlin 
     14. Welcome Ron Dante
           From: Mick Patrick 
     15. Re: Billy Davis, R.I.P.
           From: Bob Rashkow 
     16. Back To Mono
           From: Chris King 
     17. Dutch pop in the sixties  - online encyclopaedia
           From: Davie Gordon 
     18. Evie Sands
           From: Mike McKay 
     19. Re: David Anderle
           From: Bob Hanes 
     20. Re: The Cowsills
           From: Mike McKay 
     21. Re: The Frank Guida Sound; John Lennon's Jukebox
           From: Phil X Milstein 
     22. Re: The Kingsmen's "Louie Louie"
           From: Eric Predoehl 
     23. Re: "Every Little Bit Hurts".
           From: Julio Niño 
     24. Kenny Rankin sings Dion at musica
           From: Country Paul 
     25. Re: Billy Davis, R.I.P.
           From: M. G. Still 

Message: 1 Date: Thu, 09 Sep 2004 20:19:21 +0100 From: Ian Slater Subject: Gillian Hills Will Stos said: > I just got "Dream Babes, Vol. 5: Folk Rock and Faithfull," and I > love it. But "Tomorrow Is Another Day," by Gillian Hills, > absolutely makes me melt! I think she has such a beautiful voice. > Is this track a good representation of her other recordings, and > can anyone recommend a collection of her songs on CD or any other > good comps with her songs? I thought the same and hunted around on the web for other records. On Amazon France I found two CD albums "Twistin' the Rock vol. 9" (a double CD album on Barclay 549 905-2) and the imaginatively titled "Gillian Hills" (Barclay 076 071-2). There were other records too. Accompanied by Paul Mauriat and his orchestra. The CDs were issued in 2002 and 2003 respectively but the (rather tasty) cover pictures and her voice make it clear these are 60s recordings. They are all sung in French, of course. However, they are in the French "Yeh Yeh girl" style rather than the US "girl group" sound, so I was disappointed. But that's just my opinion. Gillian was more well known as an actress. Her most relevant appearance from our point of view was in "Beat Girl" with Adam Faith, but there were others like the children's mystery series "the Owl Service", of blessed distant memory, and her well known short raunchy appearance in Antonioni's "Blow Up". Ian Slater -------------------[ archived by Spectropop ]-------------------
Message: 2 Date: Thu, 09 Sep 2004 21:03:19 -0000 From: Billy G. Spradlin Subject: Re: The Kingsmen's "Louie Louie" Mikey wrote: > The story about Louie Louie is a an old wifes tale. It was done > insateges at a real recording studio, bounching mono to mono. The > organ riff and the crazy guitar solo were overdubs. Tom Moulton had > copies of all stages and he was able to sync it all up nicely in > stereo. Is the stereo synch-up of Louie Louie available on CD anywhere? Billy -------------------[ archived by Spectropop ]-------------------
Message: 3 Date: Thu, 09 Sep 2004 13:33:55 -0700 From: Eric Predoehl. Subject: Re: The Kingsmen's "Louie Louie" > Joe Nelson asked: >> Can anyone comment on the claim that the Kingsmen's "Louie >> Louie" was recorded with a single microphone? It sounds too >> clear to me to me anything but multimiced. Here's some specific information on the session from someone that was there- Jack Ely, original vocalist of the Kingsmen: * * * * * * * * * * * * * * Hi Eric:   Tell Joe Nelson that the Kingsmen's version was primarily recorded using one overhead telephunkin (?) mike, with a ribbon mike on the bass drum, a shure directional under the snare drum and some sure 58's in front of the guitar and bass amps for definition.  However, Mike Korgan could have told him that.   Jack Ely Crooked River Ranch, OR * * * * * * * * * * * * * * I can also tell you that this recording was not over-dubbed. While it may have been multi-tracked, the performance was a live take, featuring all the instruments playing along in real-time as you hear it. ..... otherwise they would have probably taken care of that "mistake" where Jack starts to sing over the little drum solo. to be continued.... Eric Predoehl of (somewhere between Los Angeles and Seattle) -------------------[ archived by Spectropop ]-------------------
Message: 4 Date: Thu, 09 Sep 2004 17:09:31 EDT From: Austin Roberts Subject: Re: Boom Records Mikey: > I have what may be the rarest Boom 45, "Pretty Face" by Terry Cashman > & The Men, who were really The Chevrons, a very popular NYC doo-wop > group. Do you know what year that was? Austin R. -------------------[ archived by Spectropop ]-------------------
Message: 5 Date: Fri, 10 Sep 2004 02:30:31 -0000 From: Rob Subject: Bob Lind website Since the original message was grouped in with other postings, I'd just like to remind everyone that there is now an official Bob Lind website. features info AND message board postings by Mr. Bob himself. This has made my WEEK, as I've always considered Bob a terribly underrated artist. He's so much more than just Elusive Butterfly. Check it out! Rob -------------------[ archived by Spectropop ]-------------------
Message: 6 Date: Thu, 09 Sep 2004 16:29:41 EDT From: Austin Roberts Subject: Re: The Frank Guida Sound Country Paul: > By the way, Guida ego really runs wild on his comment regarding 1959's > "High School USA" by Tommy Facenda: "The most versions of the same > song released simultaneously! With 28 initial releases, it should be > included in the Guinness Book of World Records. Writing uder the name > of 'Leader,' Frank dreamed this one up trying to make a million before > he was 30." Guida's ego and lawsuits against numerous labels, producers, artists and songwriters (including Runaround Sue as I remember) is legendary, especially around the Va. Beach area where there seems to be an awful lot of Guida talk between musicians and radio folks. Frank did, and possibly still does, well with a couple of record shops called Frankie's Got It in Norfolk. As far as mere overdriving recording equipment, think what you want, but I'm inclined to think there was more method than lucky madness to his productions. Austin Roberts -------------------[ archived by Spectropop ]-------------------
Message: 7 Date: Fri, 10 Sep 2004 01:02:29 -0400 From: Country Paul Subject: Chuck Alaimo; Ersel Hickey aka Mickey Evans; Chevrons; Kenny Rankin Al Kooper at al, re: Steve Alaimo: There was a Chuck Alaimo who recorded on MGM in the 50's - "How I Love You" (MGM 12508) was as close to a hit as he got in 1957, but it was a decent doo-woppy swamp-rock ballad as I remember it. Were Steve and Chuck brothers, or otherwise related? I got the label and year info from the "Whole Lotta Shakin'" website, . On the page where I got the info, , is the following note, regarding another record from 1957: "You're No Good !!" b/w "I Want To Know Where You'll Go (Then I'll Be Happy)" Mickey Evans (aka Ersel Hickey) Fine 45-4M2657 (both sides available on:Rebel Rockabilly Rock, Vol. 10-Jim Jam LP, Netherlands, 1996; A-side also available on Grand Daddy's Rockin', Vol. 5-Lenox LP (France) 1995) Anyone heard this track? Is it anywhere near the magic of "Bluebirds Over The Mountain" (Epic 54-9263, 1958)? Mikey, I had no idea Terry Cashman was in the Chevrons. Their "Lullaby" (Brent) is one of the great forgotten doo-wop tracks. In fact, there was a lot of great stuff on that label, including Bertha Tillman ("Oh My Angel") and Skip & Flip, among others. Country Paul -------------------[ archived by Spectropop ]-------------------
Message: 8 Date: Fri, 10 Sep 2004 08:30:41 +0100 From: Mike Page Subject: Julie Driscoll & Brian Auger > ... the famous Brian Auger-Julie Driscoll album ... > But ... which one?  Open?  Streetnoise?  Jools and Brian (later > retitled If Your Memory Serves You Well -- one of the tracks was > Dylan's Wheels on Fire)?  There's a world of difference -- they > cover the gamut from sublime to awful. > When I was in England buying those LPs, every shop on Carnaby Street > and every boutique on Kings Road was playing that record. It had > Season Of The Witch on it (that's where I got it from) and Wheels On > Fire. It was 1968. The album in the UK was 'Open', which I still have. One side of the album was Julie Driscoll with Brian Auger, and the other side was the Brian Auger Trinity. Wheels on Fire was out as a single, but was not on the album. A pretty good album in my opinion. Mike P -------------------[ archived by Spectropop ]-------------------
Message: 9 Date: Fri, 10 Sep 2004 15:25:01 +0200 From: Paul Underwood Subject: Re: Steve Alaimo, Latimore and Al Kooper Al Kooper wrote: > I'm so glad somebody else mentioned Steve Alaimo. One of the greatest > guys I've known in the music biz. We're still yakkin it up today. He > was way ahead of the white people who embraced reggae and ska. His > versions probably outdated all other white covers. I just got an > import best-of, and it's ska-heavy. He ran TK, Glades and Clouds > Records, outa Hollywood, Fla. in the '70s. KC was the coffee boy when > I first started hangin' there in '72. Went out and got coffee for > everybody. Humble beginnings. Anyway, he can still sing his ass off > and his sense of humour is always on 10. Al, I've long wondered how you came to produce (with Steve Alaimo) and write two very fine tracks on Latimore's first UK album, "Jolie" and "Be real". Forgive my ignorance, but were they released as a single at the time (around 1973) and is there a story behind them? The album itself is a strange collection of differing styles, as if they weren't sure in which direction to go, in marked contrast to what was to follow. Paul -------------------[ archived by Spectropop ]-------------------
Message: 10 Date: Fri, 10 Sep 2004 11:47:12 -0000 From: Jeff Lemlich Subject: Re: Steve Duboff Andy wrote: > Originally from Miami, Duboff lived in New York City, and moved to > Malibu about 20 years ago, where he was involved with Malibu real > estate. Duboff is survived by his mother, two nieces and ex-wives > Janet Oseroff and Maureen Stevens. I had no idea Duboff had been married to Janet Oseroff. She was the promotions person for TK Records back in the 70s. Jeff Lemlich -------------------[ archived by Spectropop ]-------------------
Message: 11 Date: Fri, 10 Sep 2004 10:22:41 +0000 From: Phil X Milstein Subject: Re: songwriting within groups Stu Phillips wrote: > ... It is not unusual for groups to put everyone's name on a song > so that peace and harmony can reign within the group. That idea begins with good intentions, but the peace and harmony rarely lasts through the group's first flush of success. As soon as they've had that first hit, whichever member actually wrote it tends to starts thinking that he's been cheated out of his fair share. On the other hand, successful groups based around one primary songwriter suffer from an imbalance of income, provoking resentment anyway. (As wealthy as Roger Daltrey must be, for instance, imagine how much richer Pete Townshend is.) In other words, ya can't win for trying. No wonder artists tend to romanticize the "good old days" when they were broke and struggling, and loved making music for its own sake so much they "would've even done it for free." --Phil M. -------------------[ archived by Spectropop ]-------------------
Message: 12 Date: Fri, 10 Sep 2004 16:42:21 -0000 From: Clark Besch Subject: Montanas & P.F. Sloan to Musica I about fell over when I saw John Kirby post that he was road manager for the Montanas! He says he's a SPop "lurker", but I hope he sees this message. John, the Montanas are in the top 10 groups of all time in my book. Ever since I first heard "You've Got to be Loved" on WLS in Chicago, I was hooked. The big Tony Hatch production made their sound great. I next listened as "Run to me" went top 10 also in Chicago. After that, it was sparce hearings such as "Heaven Help You" charting in Omaha on KOIL and "Let's Get a Little Sentimental" on KRAV Tulsa. I was soon searching for their 45s and found an incredible amount of great 45s in Britain releases and US both. Finally, "Loved" appeared on a Dick Bartley Cd in stereo after I'd had it on tape from a Brit "Best of 68" Marble Arch Lp for decades. It has since appeared on many Cds in mono and stereo and is soon about to make another various artists Cd I am involved with (I think). I was shocked when the UK "Best of" Cd came out a few years ago. I was disappointed at the mono, but BONUS CUTS of unreleased stuff was terrific! Some of those songs are as good as some of their 45s. What a range of sounds the Montanas had. Seemed like they were either trying all directions to see what caught on, or they just wanted to do all these styles. I was surprised when the Cd left off some releases, tho. If I remember correctly "Heaven Help You" was not on it, despite being a US release on Independence. The song was an Everlies cover that they had on a Warner Brothers 45 in 67 or so titled "Devil's Child". Both versions are terrific. By coincidence, the Barry Lee Show had "I Don't Want to Love You" on Independence too, which I think was an Everlies release too (written by Addrisi's, no?). Back to the Montanas. There is alot more stuff they had that could be on Cd. John, is there more unreleased? Is there stereo tapes that can be licensed on all their great stuff? Did they ever play with big artists in the UK? Did they ever come to US and perform? Any stories you can tell would be terrific! Thanks for posting that you were the road manager for the group. On Musica, you'll hear them as YOU heard them--sans the big production and still sounding great! They did a few other songs on that BBC show too that day in early 1968. Were you there, by chance? How did the BBC show happen? In other words, did all these artists come in and sit and perform "live" or did they come in and record it and post-produce the show? Also to Musica is another unreleased P.F. Sloan acetate, "Cry Over You". This time, it is much more the mid-60's sound he had as the Grassroots. To me, it has a lot of the things found in his great acetate of "I Know That You'll Be There" from the Varese Cd as well as a little bit of "Hushabye" thrown in. Jay and the Americans coulda done this quite well, but I'll take Flip's. Classic Sloan, fer sure. Take care, Clark -------------------[ archived by Spectropop ]-------------------
Message: 13 Date: Fri, 10 Sep 2004 07:18:05 -0000 From: Billy G. Spradlin Subject: Re: Robin Ward's "Wonderful Summer" I found my Dot 45 of "Wonderful Summer" and it thuds like Godzilla compared to the stereo mix. The main differnce is the beginning, the ocean sound effects arent faded in until :03 and the background vocalists and strings are buried until Robin (Jackie) sings "It Was So Heavenly" at :26. On the stereo version everything is mixed equally at the beginning. The mix has more reverb and the low end BASS on this 45 is monsterous. I wonder who played bass on this record, Carol Kaye? Joe Osborne? Billy -------------------[ archived by Spectropop ]-------------------
Message: 14 Date: Fri, 10 Sep 2004 20:00:14 +0100 From: Mick Patrick Subject: Welcome Ron Dante Ron Dante on Pat Benatar: > Bob, I didn't get to work on Battlefield for Pat but I did > like working with her. Really good singer and person. Hey Ron, welcome to S'pop! Expect to be bombarded, in a good way. :-) I had a question for you the other week. In case you didn't get to see it, here it is again: When I like an old record, I find myself wanting to know as much as I can about it. I can't help it; it's just the kind of guy I am. Occasionally, it's possible to get a behind the scenes story direct from those involved; the artists, songwriters, producers, etc. I devour that stuff. A platter that I've been returning to a lot recently is an in-yer-face little girl group number by the What Four entitled "I'm Gonna Destroy That Boy", released on Columbia 43843 in 1966. The group was the subject of an article in Record Collector magazine a few years back, so I know all about them, thank you very much. I just noticed that the song is written by Artie Resnick, Kristin Resnick and Ronnie Dante. I'm hoping Mr Dante gets to see this message and can remember the song. How did the three scribes share their songwriting duties? Does Ron like the song? What does he think of the record? Was he at the session? Where was it recorded. What relation was Kristin Resnick to Artie? These are some of the things I'd like to know, plus whatever else Ron can remember and would like to share. Hey la, Mick Patrick -------------------[ archived by Spectropop ]-------------------
Message: 15 Date: Fri, 10 Sep 2004 17:53:45 EDT From: Bob Rashkow Subject: Re: Billy Davis, R.I.P. Billy Davis gave us The Dells and Minnie Riperton (once she broke free of the incredibly brilliant Rotary Connection). This in itself would have been enough! I tip my nonexistent hat to a great producer and Chicago legend. The If Only It Had Been department: Austin R, I bet you would not only have SUNG a great Coke commercial but would have written a great one too! My life goes better with Spectropop, Bobster -------------------[ archived by Spectropop ]-------------------
Message: 16 Date: Fri, 10 Sep 2004 18:10:09 +0100 From: Chris King Subject: Back To Mono 60s GIRLY SOUNDS A-GO-GO! DA DOO RON RON @ The SUSSEX ARTS CLUB, BRIGHTON - SAT 18th SEPTEMBER "A summer-flavoured selection of class female acts from the Ronettes to the Flirtations, the Supremes to Shirley Bassey and more besides. Time to get with the girls and frug". The Guardian - Clubs 'Pick Of The Week' - June 2004 Da Doo Ron Ron - the one & only 60s girl group club - return for their monthly sashay through the femme-centric side of the swingin' Sixties on SATURDAY18th SEPTEMBER @ the Sussex Arts Club, 07 , Ship St, Brighton, East Sussex, BN1. Tel:-01273-778020 / 727371. 9pm to 2am. Pay a fiver before 11pm. £6 after. E-mail:-me or Web-site:- Established in October 1998 (in North London), Da Doo Ron Ron is a 60s orientated club night with a unique slant. In a tribute to original 'girl power', DDRR DJ Chris 'Da Doo' King only spins female-fronted tracks from the swingin' sixties and (occasionally) early seventies. You will never hear a male lead vocal at DDRR! The club's musical menu is a femme-centric celebration of 60s girl groups such as The Supremes, Ronettes, Marvelettes, Shangri-Las, Chiffons, Crystals etc, sassy soul sisters like Aretha, Dusty, Maxine Brown, Brenda Holloway and playful popstrels in the vein of Petula Clark, Lesley Gore, Lulu, Cilla and Helen Shapiro. "A 'femme-centric' selection of back-combed harmonizing". The Guardian - Number 1 Clubs 'Pick Of The Week' November 2003 -------------------[ archived by Spectropop ]-------------------
Message: 17 Date: Fri, 10 Sep 2004 20:08:57 -0000 From: Davie Gordon Subject: Dutch pop in the sixties - online encyclopaedia While trying to track down a photo of Artie Kornfeld and Steve Duboff as The Changing Times I came across this site which may be of interest to more than a few of you I'm no expert on Nederbeat but this looks very thorough and well worth bookmarking. Davie -------------------[ archived by Spectropop ]-------------------
Message: 18 Date: Fri, 10 Sep 2004 16:13:38 EDT From: Mike McKay Subject: Evie Sands Julio wrote: > I'm enjoying the first signs of autumn, playing with my cats and > listening to Evie Sands' "Picture Me Gone" , which I've just discovered. > I like very much Madeline Bell's version , but Evie's is unsurpassable, > she has a rare intensity in her voice, listening to her almost leaves > me breathless. And speaking of Evie, by coincidence I received an Email today from Adam Marsland, late of the power pop band Cockeyed Ghost. Adam is now recording and touring with his Chaos Band, one of whose members is...Evie Sands! Details here: (P.S. -- I really liked her almost-hit of the 70s, "You Brought the Woman Out in Me.") Mike -------------------[ archived by Spectropop ]-------------------
Message: 19 Date: Fri, 10 Sep 2004 13:15:18 -0700 From: Bob Hanes Subject: Re: David Anderle You will hear from him. David Leaf interviewed Mr. A for the SMiLE doc. It should be quite good. Buy the DVD, I'm sure you won't be disappointed. Leaf talked to everybody that could still talk. As usual, with these things Wilsonian, it is not that there is too little, there is so very much. Never say too much when speaking of Brian! The Right Reverend Bob, dumb angel chapel, Church of the Harmonic Overdub -------------------[ archived by Spectropop ]-------------------
Message: 20 Date: Fri, 10 Sep 2004 16:18:53 EDT From: Mike McKay Subject: Re: The Cowsills Peter Lerner wrote: > Most of the Cowsill talk has been about John, and I don't think > anyone has mentioned the superb vocal contributions of Susan Cowsill > to the work of the Continental Drifters, particularly their lovely > album of Fairport Convention / Sandy Denny covers. A great and > distinctive voice. Indeed. "The Rain Song" from the Vermilion album is an all-time classic! I'm also surprised that with all this Cowsills talk, no one has mentioned their fine "Global" album from just a few years ago. Superb power pop with great vocals, and most importantly, great songs. Talk about a classic conflict. They call themselves "The Cowsills" because it has name recognition (and because, after all, they ARE The Cowsills). But then they get a whole bunch of (inaccurate) associations with what they must be like now. I believe I recall reading that they had a hard time getting gigs on the L.A. club scene for that very reason, despite the fact that they're a truly dynamic band with no nostalgia underpinnings whatsoever. Mike -------------------[ archived by Spectropop ]-------------------
Message: 21 Date: Fri, 10 Sep 2004 15:45:27 +0000 From: Phil X Milstein Subject: Re: The Frank Guida Sound; John Lennon's Jukebox Mike Rashkow wrote: > Maybe it wasn't intentional. I did stuff that sounded that way > because I was incompetent. The Guida/Norfolk Sound is even cited in "Mashed Potato Time," out of Philly, where Dee Dee Sharpe, who knew a good thing when she heard it, wails, "They even do it to 'Dear Lady Twist'." Hellfire, if I didn't know that the chronology doesn't quite back me up on this, I'd swear that "One For My Baby" was Frankie Sin's take on Gary Bonds's "Quarter To Three," instead of the other way around. Bonds, by the way, makes a present-day appearance in the "John Lennon's Jukebox" documentary that debuted on PBS earlier this week. The premise of the show is that the producers drag around (what I assume is a replica of) Lennon's lovely portable jukebox to some of the artists whose records were still on it when the machine was taken over by its next owner*. These people, who also include such long-time-no-hear-from luminaries as Bobby Parker, Fontella Bass, Bruce Channel with Delbert McClinton, Steve Cropper and Ritchie Barrett, then listen to their respective records and ruminate on its specific influence on Lennon and The Beatles. (Also speaking, despite having less than nothing to say, is Sting, who is to "John Lennon's Jukebox" what Adam Ant was to the Motown 25th Anniversary special.) Interview audio, some of which seem to have been taken from one or more guest DJ slots he did on radio, of Lennon discussing his favorite records helps frame these pieces. Despite a few patches of corny filmmaking, the show is riveting, and I hope all those who would like to see it will be able to find a way to do so. It's still got a few runs left in its rotation on my local station, so perhaps it will on your's, as well; see for scheduling information. It was fortuitous that all of The Beatles were raised well enough that they were able to be such great and open fans of the music they loved. Less secure performers than they might've taken pains to disguise just how much they drew from their predecessors (most of whom, of course, were still active at the time), but The Beatles, along with certain other superstars (Elvis, for one, comes to mind), were never less than gracious and supportive to those whose work influenced and affected them. That sensibility forms a strong presence in this show, and is a breath of fresh air in contrast to all the stories we hear of celebrity haughtiness and hissyfits. Yeah yeah yeah, --Phil M. *I haven't seen the show all the way through yet, so don't yet know some of the particulars, such as the machine's make and model, ownership history, etc. -------------------[ archived by Spectropop ]-------------------
Message: 22 Date: Fri, 10 Sep 2004 13:36:57 -0700 From: Eric Predoehl Subject: Re: The Kingsmen's "Louie Louie" Mikey, With all due respect, I don't see any inconsistencies of what I've reported. The original recording was released in mono, and this was the source for all future re-releases and re-mixes. The tape master supplied by Mike Korgan to Jerry Dennon was a mono recording. As far as I know, Jerry Dennon never even saw the original multi-track recording, which remained in the possession of Mike Korgan until the early 1990s. The fact that Mike Kogan had a falling out with both the Kingsmen and Jerry Dennon might have complicated things a bit. In terms of overdubs, everything I've heard from producer Mike Korgan, recording engineer Robert Lindahl, and members of the Kingsmen (Jack Ely, Mike Mitchell, Lynn Easton, Don Gallucci, Bob Nordby) seems to confirm that this was a live recording without any over-dubs. I wasn't there, but all my information is direct from those that were. I don't know Tom Moulton, but I'd love to hear what he's got. I can't comment on something I haven't heard. sincerely, ERIC PREDOEHL -------------------[ archived by Spectropop ]-------------------
Message: 23 Date: Fri, 10 Sep 2004 21:05:17 -0000 From: Julio Niño Subject: Re: "Every Little Bit Hurts". Hola Everybody. I´ve just read Mick Patrick´s post about "Every Little Bit Hurts", with Ed Cobb comments about the song (and listened to the version in musica, which is great). There is another version( with a different backing track) of the song by Brenda Holloway included in a Del- Fi Girl Groups compilation. I can´t consult the liner notes of the CD right now, but I think I remember the notes indicate that that version was previous to the Motown recording. Am I mistaken?. Chao. Julio Niño. -------------------[ archived by Spectropop ]-------------------
Message: 24 Date: Fri, 10 Sep 2004 18:49:51 -0400 From: Country Paul Subject: Kenny Rankin sings Dion at musica Now playing at musica, the beautiful "Knowing I Won't Go Back There" Columbia 4-43201 (recorded November 6, 1964, released January 18, 1965), written by Dion DiMucci, prod./arr./cond. by Robert Mersey, and sung by Kenny Rankin, who possessed what a fellow DJ once called "the most beautiful voice ever put into a male." (Dion also recorded the song himself with The Wanderers on September 26, 1965, produced by Tom Wilson; it eventually came out on the 2 CD anthology "The Road I'm On: A Retrospective" (Columbia/Legacy C2K 64889.) This Rankin performance is one of my all-time favorite records; upon discovering it when new I remember putting the record changer on "repeat" and letting it play about 20 times or so. Why this was never a hit still defies logic, in my opinion. (The "B" side, "There'll Be No Other Love For Me," is a lush jazz/pop arrangement with a vocal that indicated the jazz direction Rankin headed in later in his career.) By the way, this wasn't the first time the pair joined forces. In 1963, Kenny Rankin recorded "Baby Goodbye" b/w "Soft Guitar," Columbia 4-42881, both sides produced but not written by Dion (and arranged and conducted by Mersey). On March 24, 1964, Rankin recorded "Where Did My Little Girl Go" (Columbia 4-43036, released May 16, 1964), which the pair co-wrote. I've never heard any of these. Sources for the facts quoted above: Andrew Sandoval, and Steve Islip,; also Country Paul -------------------[ archived by Spectropop ]-------------------
Message: 25 Date: Sat, 11 Sep 2004 01:14:58 -0000 From: M. G. Still Subject: Re: Billy Davis, R.I.P. > Billy Davis produced and wrote many of the Coke commercials. Looking at a 45 of The New Seekers' 1971 Coke ads, I see that "Becker, Davis, Cook and Greenwawy" are credited on "Buy the World A Coke" and "Little Bit of Sunshine" - and that Bill Backer is the only one credited with "It's the Real Thing" - would you know what the story is here? M. G. Still -------------------[ archived by Spectropop ]-------------------
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