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Spectropop - Digest Number 1646



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

Topics in this digest:

      1. Re: Mickey Mouse copyright laws
           From: nuzzster 
      2. RIP Joel "Bishop" O'Brien
           From: Eddy Smit 
      3. Re: Dave Davies
           From: Tom Taber 
      4. The  Night Shift
           From: Ed B 
      5. "Wide Awake In A Dream"
           From: Julio Niño 
      6. Dusty at The Greek and Grand Finale
           From: Birdie 
      7. drummer Kenny Buttrey Dead at 59
           From: Bob Wallis 
      8. Ramona King
           From: Lugee 
      9. Chicago session musicians
           From: Richard Williams 
     10. Shangs mauled by Tiger
           From: Guy Lawrence 
     11. TV series
           From: Phil X Milstein 
     12. Re: "Wide Awake In A Dream"
           From: Mike Miller 
     13. Re: The Star Spangled Banner
           From: Joe Nelson 
     14. New @ S'pop: The Dickens, You Say
           From: S'pop Projects 
     15. Re: Steve Alaimo / Horrell McGann
           From: Dan Hughes 
     16. Re: "Wide Awake In A Dream"
           From: Jeff Petschow 
     17. Al Kooper and Bobby Vee
           From: Clark Besch 
     18. Re: The Association
           From: Bob Rashkow 
     19. Re: Dusty at The Greek
           From: Mary 
     20. Chiffons Discography
           From: David 
     21. Ernie Ball
           From: Phil X Milstein 
     22. Re: Shangs mauled by Tiger
           From: Austin Roberts 
     23. What the Dickens....
           From: Country Paul 
     24. Re: Ramona King
           From: S'pop Projects 
     25. New @ S'pop: The Angelettes
           From: S'pop Projects 


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Message: 1 Date: Wed, 15 Sep 2004 00:55:44 -0700 (PDT) From: nuzzster Subject: Re: Mickey Mouse copyright laws And isn't the world's most well-known song, "Happy Birthday To You", still under copyright? Whenever it's featured in a movie, the writers are always acknowledged in the end credits. It was originally written as "Good Morning To All" by sisters Mildred Hill and Patty Smith Hill in 1893. You can read some background at: http://www.originals.be/eng/main.cfm?c=t_new_show&id=8900 Warner Communications bought the rights in 1988 for $25 million. So, next time you sing it, make sure you pay up! -------------------[ archived by Spectropop ]-------------------
Message: 2 Date: Wed, 15 Sep 2004 11:49:07 +0200 From: Eddy Smit Subject: RIP Joel "Bishop" O'Brien Regret to inform you about the death of Joel "Bishop" O'Brien, a drummer for Carole King and James Taylor amongst many other things. Please check out Moogy Klingman's site for his obituary on his friend and mentor, at http://www.moogymusic.com/ Eddy -------------------[ archived by Spectropop ]-------------------
Message: 3 Date: Wed, 15 Sep 2004 06:34:08 -0700 (PDT) From: Tom Taber Subject: Re: Dave Davies Mike McKay wrote: > "It's better to be first than to be better." The same phenomenon > obtains with The Kinks' "You Really Got Me" vs. "All Day And All > Of The Night." I agree about the superiority of both "She Loves You" and "All Day..." (But if Dave Davies could play that solo so well in the studio at 17, why did I never hear him come close to it after 10, 20, or 30 years of practice?) Dave was scheduled to play a date in Rochester in mid-October, but I read yesterday that although "he is nearly completely recovered from his stroke" the tour was being cancelled "just to be on the safe side." Tom -------------------[ archived by Spectropop ]-------------------
Message: 4 Date: Wed, 15 Sep 2004 15:28:55 -0000 From: Ed B Subject: The Night Shift I recently picked up a Jazz Dance album on Statler Records which includes music by the "Night Shift," popular East Coast musicians with the "New Sound", actually great instrumentals based on Gloria, Louie Louie, 96 Tears, etc., accompanied by voiceover with dance instructions, and one instrumental without vocals. Any info on The Night Shift? They might possibly be the same group with a release on Bell Records in I believe 1966. Ed B -------------------[ archived by Spectropop ]-------------------
Message: 5 Date: Wed, 15 Sep 2004 14:38:48 -0000 From: Julio Niño Subject: "Wide Awake In A Dream" Hola everybody. The mention of Steve Alaimo in some messages these last days has brought to my mind the Jamaican duo The Blues Busters, that recorded some nice tracks in the sixties, both in Ska and Soul style (Steve Alaimo recorded several of his songs like " You Don´t Know" and "Behold" among others). I've been listening today to an old compilation of the Blues Busters that included a song that I've always liked, "Wide Awake In A Dream" (which I first heard in the version of the ultrasoulful Alton Ellis, also Jamaican). In an interview with The B.B. included in the notes of the record, they say that they found the tune on a record of someone called Wallace, they liked it and recorded it, and thus the song is credited to that Wallace. Wanting to know more about the song and its composer I've been looking for information on the Internet, but I haven't been able to find anything. I searched finally in the BMI database, and there the song appears credited to Lloyd Osbourne Campbell and Phillip James, aka The Blues Busters). You can never trust Jamaican credits, and the lyrics of the song seems to me too sophisticated for Jamaican standards (it begins, "Even though you touch my hand, I can't believe you are real...."), so I suspect it could be a version of an American song. Maybe somebody can inform me about the song and its composer. Thanks, Julio Niño. -------------------[ archived by Spectropop ]-------------------
Message: 6 Date: Wed, 15 Sep 2004 16:13:31 -0000 From: Birdie Subject: Dusty at The Greek and Grand Finale I'm looking for recordings of Dusty Springfield at The Greek Theatre, 1980, when she opened for Peter Allen, as well as of her show a few months later at The Grand Finale in New York. Cheers! Birdie -------------------[ archived by Spectropop ]-------------------
Message: 7 Date: Wed, 15 Sep 2004 16:32:15 -0000 From: Bob Wallis Subject: drummer Kenny Buttrey Dead at 59 Another sad loss to the music world.... Influential drummer Kenny Buttrey dead Kenny Buttrey who made a career of literally pounding down barriers between country, pop, rock, R&B and folk music died late Sunday at his Bellevue home after a long battle with cancer. The drummer who played with Bob Dylan, Neil Young, Elvis, Simon & Garfunkel and more was 59. His wife of 20 years, Cheri, and their two daughters, Kenzie, 16, and Keri, 06 , were with him when he died. Because he worked in Nashville, some might call him a country session drummer. But that hardly tells his story. He was a member of groundbreaking Nashville groups, including Barefoot Jerry among the early ''Southern rock'' outfits and Area Code 615, a combination of Music Row aces. Both bands included guitarist Mac Gayden, who said he ''first met Kenny when he was 14 and he was playing clubs.'' Gayden said that ''the young genius'' grew to become ''probably, pound for pound, the most talented contemporary drummer that I ever played with in America. He could play any kind of music and he could take things to a level that is transcendental. He was born to play drums.'' Mr. Buttrey's credits include Dylan's genre-busting Nashville albums: Blonde on Blonde, John Wesley Harding and Nashville Skyline. Buttrey also played on Young's Nashville-flavored Harvest. His major R&B cuts included Robert Knight's Everlasting Love and Arthur Alexander's Anna. ''He told me the other day that the two songs that were his favorites were Lay Lady Lay with Bob Dylan and Heart of Gold with Neil Young,'' Cheri Buttrey said yesterday. If he had to pick one ''it was Lay Lady Lay. That surprised me, because I thought that it would be Rainy Day Women. You know 'everybody must get stoned' sounds like such a party.'' ''But he said Lay Lady Lay was the most fun because of what was happening, because it was so tasty, with the bongos and cowbells.'' Legendary L.A.-based drummer Jim Keltner, who has played with members of The Beatles, Rolling Stones, Randy Newman and more, said Mr. Buttrey was a major influence on him: ''(Kenny) was a great musician in that everything he ever played made such great sense. He wasn't known for flashy chops. ... He just had the ability to self-arrange what he played, such a way that made tremendous sense for a song.'' Aaron Kenneth Buttrey was born April 1, 1945, in Nashville, the son of the late Clinton and Sadie Buttrey. In addition to his wife and two younger children, he is survived by a son, Todd Buttrey, of White House; daughter Tina Spelta of Hendersonville; four grandchildren, two brothers and two sisters. Arrangements are being handled by Crawford Mortuary and Crematory. The remains will be cremated. A service will be held later in the week at Redeemer Lutheran Church in Bellevue, with a musical memorial planned. http://tinyurl.com/5zx2r -------------------[ archived by Spectropop ]-------------------
Message: 8 Date: Wed, 15 Sep 2004 17:41:01 -0000 From: Lugee Subject: Ramona King Does anyone have any information on Ramona King? Her version of "Oriental Garden" (Eden 3) is one of the great unheralded singles of the '60s. She also had a terrific record titled "What Have I Got To Cry About" that was released on Amy 989. -------------------[ archived by Spectropop ]-------------------
Message: 9 Date: Wed, 15 Sep 2004 20:02:46 +0100 From: Richard Williams Subject: Chicago session musicians James Holvay wrote: "I played guitar on a few sessions with Billy (Davis) as the producer. He was a perfect gentleman and a "master" in the studio. We were young musicians in Chicago, trying to make soul music and he was God to us." James, did you ever play a session with the drummer Al Duncan? If so, do you have any memories you might share? I loved his very distinctive playing on the early Impressions/Major Lance sessions. Maurice White, who succeeded him as Chess's house drummer, told me he drank himself to a premature death. Also I loved the playing of Floyd Morris, the pianist on that stuff. But does anyone know who played bass on those records? Might it have been Johnny Pate, who arranged most of them but was also a bass-player? Richard Williams -------------------[ archived by Spectropop ]-------------------
Message: 10 Date: Wed, 15 Sep 2004 22:15:47 +0100 From: Guy Lawrence Subject: Shangs mauled by Tiger Thumbing through the March '66 edition of Tiger Beat (as you do), I came across this little nugget from Derek Taylor's Group Scoop column: "Every so often something awful happens to the charts -- a sick song crawls in and slides, inexplicably, into the top position. It happened twice in 1965, first with "Laurie" by Dickie Lee, about the youth who found he'd been dancing with a girl who'd been dead for twelve months. The second was The Shangri-Las' "I Can Never Go Home Anymore", a heap of verbal rubbish. All about a spoiled brat who left home after a row with her neurotic mother. The mother died -- of a broken heart. The moral of the song is: don't leave home, because your mother may not be there when you want to go home again. Actually, the song had no moral or value -- it was simply a piece of commercial tripe." Oh Derek! How wrong you were! The same issue features this little snippet which is of topical interest here at Spectropop: "Two more creative songwriters, Artie Kornfield and Steve Duboff, have taken the familiar plunge and turned performers. The name they chose, The Changin' Times, was derived from a Bob Dylan tune. Artie has written many hits for such pop stars as Dusty Springfield, The Shirelles, Jan & Dean and Jay and The Americans. Steve, newer to the trade, has written for Teresa Brewer and The Exciters. After their meeting at a music publishing office, Artie and Steve decided to team up and collaborate on their writing. The results were hit records for Freddie Cannon, The Hullabaloos, Jimmy Jones, Jerry Butler and Betty Everett. When asked about his new career, Steve comments, 'Writing is a groove but there isn't a songwriter I've ever met who wouldn't fall down to be a hit recording artist'." Guy http://groups.yahoo/group/TweedleeDumsDriveIn -------------------[ archived by Spectropop ]-------------------
Message: 11 Date: Wed, 15 Sep 2004 18:37:01 -0400 From: Phil X Milstein Subject: TV series I'd like to kick off a new series of postings to musica, of prerecorded tracks lip-synced to on '60s TV music shows, but never (apparently) released. I've collected and digitized a few of these, and while the dubs are inevitably hissy (at best), until some better method comes along (or until the audio tracks are properly released!), it seems this'll have to do. Leading off the series is "Home Of The Brave," performed on Shindig by Linda Gayle in October of 1965. Enjoy, --Phil M. -------------------[ archived by Spectropop ]-------------------
Message: 12 Date: Wed, 15 Sep 2004 21:15:37 EDT From: Mike Miller Subject: Re: "Wide Awake In A Dream" Julio: > I've been listening today to an old compilation of the Blues Busters > that included a song that I've always liked, "Wide Awake In A Dream" > (which I first heard in the version of the ultrasoulful Alton > Ellis, also Jamaican). In an interview with The B.B. included in the > notes of the record, they say that they found the tune on a record of > someone called Wallace, they liked it and recorded it, and thus the > song is credited to that Wallace. This wonderful song, "Wide Awake In A Dream" was written in mid to late 1962 by Bob Gaudio (of the 4 Seasons) and Bob Crewe. It was first recorded by Jerry Jackson for Kapp records in October 1962. It was not a big hit here in the States, but gained quite a bit of popularity in some of the islands near the Bahamas. Mike Miller, doowopdaddy -------------------[ archived by Spectropop ]-------------------
Message: 13 Date: Wed, 15 Sep 2004 21:43:06 -0400 From: Joe Nelson Subject: Re: The Star Spangled Banner Phil X Milstein: > Meaning today is its 200th anniversary, on the nose. Wish I liked the > song more than I do! I've always sided with Ray Charles in his support > of making "America" the national anthem, on the grounds that a) a > celebration of our (once) beautiful landscape seems far more appropriate > than a celebration of a tattered flag (especially when you consider for > how long the country that tattered it has been our beloved ally), and b) > it's far more singable. Not so much a celebration of the flag as much as the author's realization of what it meant as a symbol (and by extension, the country as a whole. Take away the meter and the Key's intention becomes clearer: "Oh say, can you see by the dawn's early light (the thing that) so proudly we hailed at the twilight's last gleaming?" (A bit of historical perspective: Key was aboard a British war ship, negotiating the release of an American prisoner of war. Unable to leave due to the battle breaking out, Key was trapped in a holding cell, unable to see out of the window. During the heat of the battle the American flag flying over Ft. McHenry was clearly visible, but now that the fighting had subsided it wasn't so obvious. If the British had prevailed, they'd have taken down the flag and replaced it with a Union Jack. Now that dawn had come, Key was asking those able to see out of the window was the Stars and Stripes still flying,or had the English army won the battle?) "Whose broad stripes and bright stars through the perilous fight (that we were watching through the security of this fortress) were so gallantly streaming?" (Not really a question, but an extension of that first line.) "And the rockets red glare (and) the bombs bursting in air gave proof through the night that our flag was still there." (Again, now that the fighting had subsided one had to wait for dawn to see if the flag was still flying. The wait, considering that a British victory meant that the negotiarted prisoner release was most likely off and that Key himself would probably be taken prisoner, must have been intolerable.) leading to the climactic question: "O (tell me), does that star spangled banner (still) wave over (this great free nation)?" It was indeed still flying as we all know, the American's prevailed and all went ahead as set. In the following stanzas, Key celebrates the flag and the nation for which it stands. Thus the song celebrates not so much the flag as the nation it symbolizes, the unique freedoms enjoyed there and the terrible price paid to secure them and preserve them. It goes several steps beyond the "isn't this a swell place to live" sentiment of most patriotic songs: thus its selection as our national anthem. Joe Nelson -------------------[ archived by Spectropop ]-------------------
Message: 14 Date: Thu, 16 Sep 2004 00:46:20 +0100 From: S'pop Projects Subject: New @ S'pop: The Dickens, You Say New @ S'pop The Dickens, You Say by Phil Milstein ... In 1971 The Dickens whipped up Scepter Records #12322, 'Sho' Need Love'/'Don't Talk About My Music', a single that appears in both NRBQ-related and Scepter discographies, yet, except to those willing to shell out three-figured sums on eBay, remains utterly unavailable. Their one record was pressed only in a small quantity of white-label promo copies, most of which were apparently destroyed after its release was squelched, by executive fiat, at the last minute. The episode is an apt metaphor for the story of The Dickens, which is that of a spectral joke-band that bumbled its way into existence, yet in so doing drafted plans for two or three of the new rooms music was about to inhabit ... For the story in full, lavishly illustrated, and told as only Phil Milstein knows how, proceed directly to: http://www.spectropop.com/Dickens/index.htm Dig, The S'pop Team -------------------[ archived by Spectropop ]-------------------
Message: 15 Date: Wed, 15 Sep 2004 19:48:55 -0500 From: Dan Hughes Subject: Re: Steve Alaimo / Horrell McGann Al on Steve Alaimo: > ...He ran TK, Glades and Clouds Records, outa Hollywood, Fla. in > the '70s. I have an album on Clouds by Horrell McGann, produced by Steve and Michael Hurley. I used to play the cuts "Dem Bowling Blues" and "I Miss Philadelphia (Like a Hole in the Head)" on my radio show in Atlanta. Anybody know anything about Horrell? ---Dan -------------------[ archived by Spectropop ]-------------------
Message: 16 Date: Wed, 15 Sep 2004 20:27:28 -0500 From: Jeff Petschow Subject: Re: "Wide Awake In A Dream" Julio: > I've been listening today to an old compilation of the Blues Busters > that included a song that I've always liked, "Wide Awake In A Dream" > (which I first heard in the version of the ultrasoulful Alton > Ellis, also Jamaican). In an interview with The B.B. included in the > notes of the record, they say that they found the tune on a record of > someone called Wallace, they liked it and recorded it, and thus the > song is credited to that Wallace. I've got the original Jamaican release of the Blues Busters album Behold ...How Sweet It Is. It is on Sunshine Records from 1964. The composer credits are limited on this album. Five songs are credited to the two Blues Busters, Phillip James and Lloyd Campbell. Six songs give no songwriter credit but they do list publishing. Then there is "Wide Awake In A Dream" credited to Wallace. There is no mention of this song in the liner notes on the album. They do mention getting five songs on the Steve Alaimo album. I listened to the song and it quite good. Sorry but I was not able to find out who Wallace is. Jeff -------------------[ archived by Spectropop ]-------------------
Message: 17 Date: Wed, 15 Sep 2004 17:30:21 -0000 From: Clark Besch Subject: Al Kooper and Bobby Vee I was talking with a friend who thought "This Diamond Ring" was turned down by Bobby Vee. I know Al and Co. wrote it for the Drifters, but I don't remember it being offered to Vee and being turned down before the Gary Lewis version was made. Al, can you clear this up. This conversation led to the story on "Come Back When You Grow Up". When KOMA radio in Oklahoma City had their DJ reunion early this year, my fave KOMA DJ, Dale Wehba, talked about hearing a local band play the song live and he thought it would be good for Vee. Apparently, he was in the studio when Vee cut it. It appears with an intro on Vee's EMI Legendary Masters Cd and we wondered why they cut that and made the 45 start cold vith vocal beginning instead of having the original opening. I guessed it was to shorten the record to a more "normal" 45 running time. Anyone know why it starts with vocal? I'm guessing Vee and all thought it would be huge, since I remember being totally surprised by how fast it followed "Maybe Just Today" in being released. Seemed like "Today" had been out hardly a month and here was this new song! Thanks, Clark -------------------[ archived by Spectropop ]-------------------
Message: 18 Date: Wed, 15 Sep 2004 19:06:39 EDT From: Bob Rashkow Subject: Re: The Association Clark, I remember the All Time Request list from Super CFL and "Cherish" selected as No. 1 of 1965-68. I know The Association were extremely popular in Chicago, especially if you think in terms of senior proms and dance parties, but why didn't "Everything That Touches You" hit the top 10? Not a song most couples were smooching to, anyway! My personal favorite of their hit ballads is "Never My Love" which I think only clocked out of the WLS chart at #3 back in October (?) 67 if I'm not mistaken. Anyone remember a Chicago group called the North Syde ("Won't You Be Friendly With Me?")? Harvey Daniels and a group of local yokels. Their beautiful effort to emulate the Association, Cryan Shames, New Colony 6 et al (circa '68 I think) was picked by Musicor for a promo 45 but apparently never released. I have a near-mint copy of it, thank heavens. Bobster -------------------[ archived by Spectropop ]-------------------
Message: 19 Date: Thu, 16 Sep 2004 04:22:50 -0000 From: Mary Subject: Re: Dusty at The Greek Birdie: > I'm looking for recordings of Dusty Springfield at The Greek Theatre, > 1980, when she opened for Peter Allen, as well as of her show a few > months later at The Grand Finale in New York. At last I hear from a Dusty fan. I was at that concert when she opened for Peter Allen. As a matter of fact, my sis and I went to two concerts at the Greek Theater to see her. And yes, Peter was great also. I hope you find the music from that concert. I also saw her at Century City here in Los Angeles, also back in '72, I believe it was. Mary -------------------[ archived by Spectropop ]-------------------
Message: 20 Date: Thu, 16 Sep 2004 08:10:59 -0000 From: David Subject: Chiffons Discography Does anyone have a "complete" Chiffons song discography. I understand that at least one complete album and a few stray tracks are unreleased on CD but I'd like to collect as much as is available. Thanks ! David -------------------[ archived by Spectropop ]-------------------
Message: 21 Date: Wed, 15 Sep 2004 20:24:52 -0400 From: Phil X Milstein Subject: Ernie Ball Following on the heels of Donald Leslie comes the death of another innovator of the musical instrument industry whose name has become a brand name, Ernie Ball of guitar strings fame. I don't, though, have any details and the NY Times seems to be passing over this passing. --Phil M. -------------------[ archived by Spectropop ]-------------------
Message: 22 Date: Thu, 16 Sep 2004 00:15:10 EDT From: Austin Roberts Subject: Re: Shangs mauled by Tiger Guy: > Thumbing through the March '66 edition of Tiger Beat (as you do), > I came across this little nugget from Derek Taylor's Group Scoop > column: > > "Every so often something awful happens to the charts -- a sick song > crawls in and slides, inexplicably, into the top position. It happened > twice in 1965, first with "Laurie" by Dickie Lee, about the youth who > found he'd been dancing with a girl who'd been dead for twelve months. > The second was The Shangri-Las' "I Can Never Go Home Anymore", > a heap of verbal rubbish. All about a spoiled brat who left home after > a row with her neurotic mother. The mother died -- of a broken heart. > The moral of the song is: don't leave home, because your mother may > not be there when you want to go home again. Actually, the song had > no moral or value -- it was simply a piece of commercial tripe." If he didn't like Laurie or I can never go mome anymore, I'm sure he would've loved Honey and a record I had a bit to do with, called Rocky. He would've hated Dickie by then, since he did Patches, Laurie and the country version of Rocky. Best, Austin Roberts -------------------[ archived by Spectropop ]-------------------
Message: 23 Date: Thu, 16 Sep 2004 00:06:41 -0400 From: Country Paul Subject: What the Dickens.... Just discovered The Dickens article by the remarkable Phil Milstein on the Spectropop front page. It's a goodie! Great story, great writing. I never was "privileged" to see the group, or to hear the 45, but I did get NRBQ to play for my (first) wedding reception back in 1976. The marriage didn't last, but the band did! Country Paul -------------------[ archived by Spectropop ]-------------------
Message: 24 Date: Thu, 16 Sep 2004 01:37:36 +0100 From: S'pop Projects Subject: Re: Ramona King Lugee: > Does anyone have any information on Ramona King? Her version > of "Oriental Garden" (Eden 3) is one of the great unheralded > singles of the '60s. She also had a terrific record titled > "What Have I Got To Cry About" that was released on Amy 989. Hi Lugee, Ramona King is much appreciated and has been discussed here at S'pop many times before. If you haven't checked our archives, that would be a good place to look for information about her. Use the new search engine found at the top of the sidebar on the S'pop home page: http://www.spectropop.com Better yet, use this direct link: http://tinyurl.com/65wkl Enjoy, The S'pop Team -------------------[ archived by Spectropop ]-------------------
Message: 25 Date: Thu, 16 Sep 2004 12:31:36 +0100 From: S'pop Projects Subject: New @ S'pop: The Angelettes New @ S'pop The Angelettes by Julie Abbott Hammersley >From Ian Sleter's introduction... The Angelettes were a young British quartet from the Manchester area who played their own instruments. Too smooth, melodic and professional to be regarded as a "band", their beautiful harmonies were the most characteristic feature of their music. These are well displayed in most of their records, notably their first: "Don't Let Him Touch You", which should have been a big hit. But for the fault on their Top Of The Pops TV outing, maybe it would have been. This song, like much of their output, was written and produced by Jonathan King, the multi-talented extrovert who was behind so many British hits of the late '60s and the '70s. Later, they worked with Bryan Ferry, doing the vocal backings on his "These Foolish Things" LP. This is Spectropop's tribute to this talented early 1970s group. We are very grateful to original member Julie Hammersley (née Abbott) for most of the material in the article. Direct link: http://www.spectropop.com/Angelettes/index.htm Enjoy, The S'pop Team -------------------[ archived by Spectropop ]-------------------
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