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Spectropop - Digest Number 1649

               SPECTROPOP - Spectacular! Retro! Pop!

There are 12 messages in this issue.

Topics in this digest:

      1. Re: Del Shannon Box Set
           From: o-wriedt 
      2. Re: Supremes' back-ups
           From: Ken Silverwood 
      3. "Tinkerbell's Mind"
           From: John D. 
      4. Re: The Association
           From: Bob Rashkow 
      5. Re: Martha Sharp
           From: Austin Roberts 
      6. Re: Del Shannon box set
           From: Richard Hattersley 
      7. Re: The Angelettes
           From: Phil X Milstein 
      8. Re: Del Shannon Box Set
           From: John Berg 
      9. PF Sloan or Gary US Bonds??  ... etc
           From: Clark Besch 
     10. Re: Vogue Records UK
           From: Frank 
     11. Re: Phoenix, AZ question
           From: Dan Nowicki 
     12. Re: Supremes' back-ups
           From: Todd 

Message: 1 Date: Fri, 17 Sep 2004 22:50:06 +0200 From: o-wriedt Subject: Re: Del Shannon Box Set Ken Silverwood; > Just heard that Bear Family are due to release a 8 CD Box-set on Del > Shannon soon, track listing not available to press, though the title > is 1960-70. Yum-yum. Oh, and 120 page hard back book is in the price. This is correct. If anybody needs details upfront, please ask. -------------------[ archived by Spectropop ]-------------------
Message: 2 Date: Fri, 17 Sep 2004 20:28:03 +0100 From: Ken Silverwood Subject: Re: Supremes' back-ups Jim Fisher: > Discussing with someone about the male singer/singers indentities > doing the background call-outs on the Supremes' "Someday we'll be > together"...I say Four Tops, or part thereof, they say no. Any > ideas to clear this unseemly squabble up? Michael Babbino: > Johnny Bristol? I'd also say Johnny Bristol & I think he had a hand in the composition. Ken On The West Coast -------------------[ archived by Spectropop ]-------------------
Message: 3 Date: Fri, 17 Sep 2004 20:27:40 -0000 From: John D. Subject: "Tinkerbell's Mind" Brent Cash wrote: > ..."Tinkerbell's Mind" really reminds me of "Four Sail"-era Love. I couldn't agree more! I've always loved that song, and the vocalist sounds just like it Arthur Lee. John D. -------------------[ archived by Spectropop ]-------------------
Message: 4 Date: Fri, 17 Sep 2004 17:09:25 EDT From: Bob Rashkow Subject: Re: The Association Gary Myers re Everything That Touches You: > It did (hit the top 10)......9 weeks in Whitburn. But in Chicago? On WLS perhaps? Don't think it cracked it on CFL--Clark? Would you know? I would guess that spring '69's big prom "cuddle-upper" was Crimson & Clover (Tommy James/Shondells), with New Colony 6's "Things I'd Like To Say" and BS&T's "You've Made Me So Very Happy" honorable mention. Mercy's "Love Can Make You Happy" debuted right about then, too, in May or so, also a popular slow-dancer. (I didn't graduate high school until 1974, and my private-school prom was with a local funk band that basically played their own stuff, very R&B. Ironically enough all 28 of the seniors were white, so the entire Upper School was invited to prom.) Bobster -------------------[ archived by Spectropop ]-------------------
Message: 5 Date: Fri, 17 Sep 2004 17:58:29 EDT From: Austin Roberts Subject: Re: Martha Sharp Phil M: > ... I don't believe it's ever been totally, definitively and finally > confirmed before that Martha Sharp and Sandy Posey are two entirely > different ladies... What I wouldn't give for a crack at interviewing > Miss Sharp about her experiences in the record business! Martha and Sandy ARE two different women. I know Martha well, but it would probably be best to get in touch with Paige Levy at WB Records in Nashville (if she's still there). She can find out if Martha is up for it. She has had a lot to do with Faith Hill's career for the last few years, but from a distance. Martha was a super song person; wish she was still at WB. Austin R. -------------------[ archived by Spectropop ]-------------------
Message: 6 Date: Fri, 17 Sep 2004 23:44:33 +0000 From: Richard Hattersley Subject: Re: Del Shannon box set Ken Silverwood: > Just heard that Bear Family are due to release a 8 CD Box-set on Del > Shannon soon, track listing not available to press, though the title > is 1960-70. Yum-yum. Oh, and 120 page hard back book is in the price. Thats Great news, and about time! This box set has been in the pipeline for ages. It's been along wait but I think it's gonna be worth it. Apparently, Bear Family have gone to great lengths to get the earliest generation tapes for this set and I also read that it will include some unreleased tracks. Can't wait! Richard -------------------[ archived by Spectropop ]-------------------
Message: 7 Date: Fri, 17 Sep 2004 19:36:31 +0000 From: Phil X Milstein Subject: Re: The Angelettes S'pop Projects wrote: > The Angelettes were a young British quartet from the Manchester > area who played their own instruments. ... > Direct link: Allow me to be the first to thank and congratulate the principals behind this wonderful story. It's really a delight to hear about a successful experience, whether "group" or "band," which the members treated with no ambitions greater than to make some good music and to enjoy themselves as much as they can in the process. The Angelettes' story reminded me, in that way, of the tradition of taking a year abroad following college graduation, only with appearances on Top Of The Pops, Radio Luxembourg and Bryan Ferry albums tossed in as part of the bargain. "Don't Let Him Touch You" is way out there at the head of the pack of psychedelic girl group records, yet until now I knew absolutely nothing of its provenance. I now know a lot, and all of it is utterly charming. My only complaint is the absence of any photos of them in the outfits they wore behind Ferry promoting his "It's A Hard Rain" single on TOTP! Yeah, --Phil M. -------------------[ archived by Spectropop ]-------------------
Message: 8 Date: Fri, 17 Sep 2004 19:48:44 EDT From: John Berg Subject: Re: Del Shannon Box Set A friend of mine has a cassette tape of early '60s live Del Shannon that he got several years ago from Del's keyboard playerof that era. I think this is one of those "do not copy for anyone" deals, but I wonder if Bear Family would go for something like this? Or do they only seek out studio recordings? If they were interested, I would put them in direct contact with my friend (I have no financial interest in this at all, just an awareness of this tape existing.) John Berg, Seattle area -------------------[ archived by Spectropop ]-------------------
Message: 9 Date: Sat, 18 Sep 2004 05:29:19 -0000 From: Clark Besch Subject: PF Sloan or Gary US Bonds?? ... etc New to Musica is P.F. Sloan's unreleased demo acetate "Hey There Mary May". With all the talk of the techniques used to do Gary Bonds' music, I thought this would be fun to hear at this time. Certainly NO attempt was made by Sloan to capture the sound of the recording techniques of U.S. Bonds', but it certainly is a ripoff of his big hit "New Orleans". Altho I have no info to support this, it could easily be another Johnny Rivers/P.F. Sloan connection had Johnny recorded it--perfect for his 1964 "party atmosphere" sound with a nice twangin' surf guitar break ta boot! Sundazed put a previously unreleased demo of this song by Don & the Goodtimes on their Lp, "Original Northwest Sound", which lists Sloan and Barri as producers too! Phil M, I enjoyed your idea of Tv soundtrack songs. It's not that easy to dub those for me for this purpose, but I did it with Jackie and Gayle once. Good idea. How many want to hear my tape of Mrs. Miller singing "Downtown" live on Ed Sullivan? Hey, I'm serious! Thanks to Joe Nelson for posting "Mbube". I was shocked to say the least. How that turned into "Lion Sleeps Tonight" is amazing, yet they certainly deserve writing credits and the money that goes with it. Country Paul, the Kenny Rankin song is very beautiful!! Mick Patrick, your "Every Little Bit Hurts" is better than the released version--very strong vocally!! Bobster, your talk about a 45 on Musicor by the North Syde has me drooling. Can you play to Musica? "Everything That Touches" made #6 on WLS, but when I was a kid (without the help of pristeen stereo sound of today), hearing that song for awhile made it hard to figure out the title. Could be why it didn't sell as well. I love it! I also wanted to give a note of thanks for the recent posts on the Star Spangled Banner and the Bobby Vee questions I asked. I apologize for my incorrect comment on "Maybe Just Today". I looked and it was when "Hey Girl/My Girl" came out that I was suprised, as "Maybe Just Today" had been out such a short time. Amazing about the flip side story on "Come Back...". As for Mike McKay's comments about the Kinks' "You Really Got Me" over "All Day and All the Night", yes, the latter gets slighted by oldies radio today because of the former in the same way as "She Loves You" and "Hold Your Hand", except that it is hard to go with one being better than the other in the Kinks' case, IMO. Nuzzster, I knew there was a reason why I never wanted to sing "Happy Birthday". Best version I know is by the Idle Race, I believe. Take care, Clark -------------------[ archived by Spectropop ]-------------------
Message: 10 Date: Sat, 18 Sep 2004 07:33:02 +0200 From: Frank Subject: Re: Vogue Records UK Tom: > ... does anyone know anything about the Vogue label in the UK and > how and why it ended up putting out so much French material and why > it's almost impossible to find any of it that isn't by Francoise > Hardy? Austin: > The UK Vogue label was the UK end of Disques Vogue of France (now I > believe owned by BMG). Its records were issued through Pye's > facilities at the time and the association was strong particularly > in relation to Petula Clark who's recordings in French were issued > by Disques Vogue. It also had a big jazz catalogue I believe. It had > nothing to do with the Vogue label that Decca operated in the '50s > and early '60s. Any help? This is exactly what is was like, Austin,. The British Vogue was a subsidiary of the French Vogue. The reason why it had a large jazz catalogue was just because the founder of Vogue (Leon Cabat) was a huge jazz fan and he signed every jazz artist he could get his hands on. Sydney Bechet on of the major jazz names in France was just one of his numerous finds. On the pop side Vogue discovered a large number of the French artists who were to become household names over here, from Johnny Halliday to Françoise Hardy and Jacques Dutronc... Frank -------------------[ archived by Spectropop ]-------------------
Message: 11 Date: Sat, 18 Sep 2004 05:31:21 EDT From: Dan Nowicki Subject: Re: Phoenix, AZ question Gary Myers: > I have a Phoenix question. My continuing Wisconsin research leads > all over and, because of a 1963 Wisconsin release with a Phoenix > band, I'm searching for a singer/piano player known as Chico Vance. > The record in question was with the Nocturnals, but he apparently > was not actually a member of that band. I've found a couple of the > Nocturnals, but no leads on Vance. He also had an earlier release > as "Cheek-O-Vass" and his real name was something like Vasilio. He > may have worked as a barber. I welcome any clues or guesses. Sorry for the delay in answering this . . . Apparently the real name of Chico Vance/Cheek-O-Vass was Concetto Vasile. I'm told he was "very Italian." As Cheek-O-Vass (with the Sola Tears) he did the great Arizona rockabilly number "Bo Peep Rock" backed with "Desert Party Blues" (Twy-Lite 752, 1961). The record in question here ("My Linda Jo" by Chico Vance with the Nocturnals b/w "The Twister's Stomp" by The Nocturnals) was recorded at Audio Recorders of Arizona on North Seventh Street in Phoenix. Jim Musil produced it and put with Audio Recorders head Floyd Ramsey issued it on his Bat label in 1962. They sold the record at the Phoenix nightclub where the Nocturnals played. The session was bankrolled by a car salesman named Lee Pace because Musil didn't have any money at the time. Musil liked the name Bat for a record label because "bats fly by sound." The Nocturnals were perhaps better known in the Phoenix area as the Mike Metko Combo. According to Musil, who starting in 1964 managed the legendary nightclub JD's, Chico Vance was indeed a member of the Nocturnals. (The Metko group was the house band at JD's for a while.) Metko, a sax player, previously had played in the Pacific Northwest band the Checkers. Musil and Ramsey made a deal with John Dolan of Chicago-based Stacy Records to reissue the Bat record. Dolan put it out as Revive 101. "Dolan came to Phoenix, heard the song and wanted it," Musil told me. "I thought he was putting it out on Stacy. Then, all of a sudden, he sent me 10 or 15 copies on 'Revive.' I think he put his home address in Wisconsin on it. The day I got it, I took it over to (Phoenix restaurant-nightclub) Jeb's and I handed Metko several of them for the guys in the band who played on it. Mike had a good sense of humor: 'We've come back to life. We've been revived.'" They did another record with Chico Vance: "Ghost of Your Love" b/w "Why Wait For Winter" (Stacy 967 1963). Musil said the joke name "Cheek-O-Vass" was meant to sound like "Piece of Ass!" Hope this helps . . . Dan Nowicki Phoenix, Arizona, U.S.A. -------------------[ archived by Spectropop ]-------------------
Message: 12 Date: Sat, 18 Sep 2004 00:24:57 -0000 From: Todd Subject: Re: Supremes' back-ups Jim Fisher wrote: > Discussing with someone about the male singer/singers indentities > doing the background call-outs on the Supremes' "Someday we'll be > together"...I say Four Tops, or part thereof, they say no. Any > ideas to clear this unseemly squabble up? Johnny Bristol is the male voice heard on "Someday"; he also co-wrote (with Harvey Fuqua) and produced the record. The female backgrounds, incidentally, are supplied by erstwhile session singers Maxine and Julia Waters--aside from Diana Ross, no other Supremes are heard on the song. The Four Tops DID provide the grunting male chorus on "When the Lovelight Starts Shining Through His Eyes"--the Supremes' very first Top 40 hit in October '63. TJ -------------------[ archived by Spectropop ]-------------------
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