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Spectropop - Digest Number 1669

               SPECTROPOP - Spectacular! Retro! Pop!

There are 25 messages in this issue.

Topics in this digest:

      1. Lest we not forget Bubble Puppy!
           From: Austin Roberts 
      2. Re: Claude Francois and Katy Bodger
           From: Jens Koch 
      3. Are you a boy or are you a girl?
           From: Gary Myers 
      4. Re: "Hits"
           From: Gary Myers 
      5. MCA in the UK
           From: Austin Powell 
      6. The John Bull Breed
           From: Eddy 
      7. John Lennon and The Bleechers
           From: Andres 
      8. Re: French EP's
           From: Ludovic Delamare 
      9. Re: Arrangers - Harold Battiste
           From: Richard Hattersley 
     10. Re: "Hits"
           From: Joe Nelson 
     11. Re: Ravin' about (Genya) Ravan
           From: Joe Nelson 
     12. Re: RIP Scott Muni
           From: Clark Besch 
     13. Re: Ravin' about (Genya) Ravan
           From: Phil X Milstein 
     14. Re: wrong speed
           From: Phil X Milstein 
     15. Re: "Mr. Turkey" ... I mean, "Turnkey"
           From: Phil X Milstein 
     16. Re: When I worked at Polydor
           From: Tom K. White 
     17. Re: weighing in on Smile
           From: Eddy Smit 
     18. Re: The Blue Beats
           From: Gary Myers 
     19. Re: John Bull Breed
           From: Phil X Milstein 
     20. More Claire Francis @ Musica
           From: Mick Patrick 
     21. Re: weighing in on "Smile"
           From: Mark Wirtz 
     22. Re: Arrangers
           From: Austin Roberts 
     23. Louise Cordet - In a Matter of Moments
           From: Kees Van Der Hoeven 
     24. Sheep / Strangeloves
           From: Tom Taber 
     25. Tommy McLain...sigh...
           From: ModGirl 

Message: 1 Date: Thu, 30 Sep 2004 16:42:41 EDT From: Austin Roberts Subject: Lest we not forget Bubble Puppy! Guy Lawrence : > Jon & Robin's nattily attired "Elastic Event" album (Abnak 1967).... > The album was produced by Mike Rabon of labelmates the Five Americans > (who also contributes one song) and the Americans and fellow Abnak-ers > the In Crowd provide backing. Lest we not forget Bubble Puppy! AR -------------------[ archived by Spectropop ]-------------------
Message: 2 Date: Fri, 1 Oct 2004 00:13:19 +0200 From: Jens Koch Subject: Re: Claude Francois and Katy Bodger From: Frank: > My God! I never thought I would see the day Claude François is > mentioned or even worse played here at Spectropop. I had the exact same feeling when I saw Katy Bødger's name in musica ... still I suppose it's dead on topic .... Jens -------------------[ archived by Spectropop ]-------------------
Message: 3 Date: Thu, 30 Sep 2004 22:37:20 -0700 From: Gary Myers Subject: Are you a boy or are you a girl? Austin Roberts: > When I first heard You Were On My Mind, I thought it was a guy singing > ... Also, Lost in Love by Air Supply -- I was sure that Russell H. > was a girl ... Going back further, probably *everyone" thought that Laurie London (He's Got The Whole World ...") was female - even the name fit! gem -------------------[ archived by Spectropop ]-------------------
Message: 4 Date: Thu, 30 Sep 2004 22:32:15 -0700 From: Gary Myers Subject: Re: "Hits" Clark Besch: > Gary, again I feel the word "hit" is very subjective ... Yes. Actually, although my wording did not make it clear, I was thinking of people who have told me of making top in Billboard (etc.), yet the record never even made the Hot 100. gem -------------------[ archived by Spectropop ]-------------------
Message: 5 Date: Fri, 1 Oct 2004 08:41:39 +0100 From: Austin Powell Subject: MCA in the UK Joe Nelson: > I'm intrigued by the record company logo. MCA Records, but using > a Decca (US) arrow/New World Of Sound logo. Obviously this isn't > Stateside, but where was it. I wasn't even aware the Music > Corporation of America even was entertaining the idea of an MCA > label before the early 70's. Joe, This was used from early 1968 and onwards at a time when the company first set up on its own over here having always been represented via the Coral and Brunswick labels through UK Decca. It wasn't a very longlasting event, eventually MCA returned to being a licensed label through Decca. Later, EMI handled the label for a while before it then went independant again in the late 70's at a time when the ABC label was absorbed. The first 5 releases on the MCA label with that design were: MU 1000 John Rowles "If I Only Had Time" (a UK # 3) MU 1001 Brenda Lee "That's All Right" MU 1002 The Hobbits "Daffodil days" MU 1003 Joe Brown "Bottle Of Wine" (popular UK artist on a Fireballs cover) MU 1004 Louis Armstrong "Willkommen" I have 1001 and 1003 - both are on light blue labels with black print, though these are both promo copies. The singles series issued new material by British and American artists as well as several re-issues of material by Buddy Holly, Bill Haley and Bing Crosby (White Christmas MU 1048). Mike leander did a lot of producting for the label which worked out of the company's publishing offices on London's Piccadilly. In 1969 MCA also launched a short-lived MK singles series which issued only UK artists. MK 5036 was The Montanas "Let's Get A Little Sentimental", another leander production. This label had the same logo in red against a background of "orange/yellow swirls". Austin P. -------------------[ archived by Spectropop ]-------------------
Message: 6 Date: Fri, 1 Oct 2004 18:39:09 +0200 From: Eddy Subject: The John Bull Breed Claire Francis: > One of the first tapes that caught my attention was from a group > called The John Bull Breed. (I think they were from Birmingham. > Does anyone out there know about this group?) Hi Claire, Here's what I have on the John Bull Breed: they consisted of Graham Brockley (sax), Terry Guy (keys, harmonica, vocals), Mike Heard, (lead gtr), Graham Rose (drums), Mark Stuart (Brian Yeates) (vocals) and John Lodge on bass and vocals. And if that last name doesn't ring a bell, he is indeed the very same person who moved on to The Moody Blues. So at least you know what happened to him. No idea on the rest of the band tho'... But I've uploaded a picture of the band in the photo section, so that might ring some more bells. Eddy -------------------[ archived by Spectropop ]-------------------
Message: 7 Date: Fri, 01 Oct 2004 05:25:18 -0000 From: Andres Subject: John Lennon and The Bleechers That's what I have read about this group - The Bleechers (see below). John Lennon is mentioned in the last line. Did you hear anything about it? Was it just a rumor or joke? Google search showed that this song - Ram You Hard - is still credited to John Lennon on some sites in the Web. Did anybody actually see the original single, was it written there John Lennon and The Bleechers or was it just thought to be one of John Lennon songs? "Was this the same vocal group that thrilled children and their elders with their sublime version of "Farmer in the Den"? Indeed it was, but best to tuck the kiddies in and stuff cotton in their ears just to be safe, before giving this single a spin. There's not an even an attempt to veil the salacious nature of the lyrics, although perhaps Eddie Grant, who cleverly coached Max Romeo in an attempt to throw off the censors by claiming "Wet Dream" was about a leaky roof, would suggest that The Bleechers say "Ram You Hard" was about bumper cars. It's not, although it's unlikely they'd have had any more luck with that excuse than Romeo had with him.But censors apart, both Jamaica and Britain were panting for rude reggae, and producer Lee Perry, who had unleashed a fistful of his own sexy singles, was now encouraging some of his vocal groups to follow suit. The Bleechers are up for the job, and led by Leo Graham, the group are determined to lay to rest a girl's accusation that Graham's "no man." Well, one can see where this is going, and as The Upsetters bubble away behind them, the singers bring it on home. A rude classic from 1968, that was surreally credited in the UK to John Lennon and The Bleechers, go figure." -------------------[ archived by Spectropop ]-------------------
Message: 8 Date: Fri, 01 Oct 2004 09:05:05 -0000 From: Ludovic Delamare Subject: Re: French EP's French record companies released singles AND EP's. There wasn't any law regarding this at all. The fact is that in the early sixties the French economics were still recovering from WWII. People didn't have the money to buy albums. So record companies released EP's as substitutes for the albums, not for the singles. A well known example of the consequences of this is the early Rolling Stones French discography. Because some songs had already been released on EP's and to avoid duplication, the UK album "Rolling Stones N°2" became two French albums: "Around And Around" and "Rolling Stones N°3". -------------------[ archived by Spectropop ]-------------------
Message: 9 Date: Fri, 01 Oct 2004 09:58:13 +0000 From: Richard Hattersley Subject: Re: Arrangers - Harold Battiste Agreed, Harold Battiste's work on Cher's albums is great. "The Click Song" is great the way it effortlessly slips into 6/8 time in the middle. Richard -------------------[ archived by Spectropop ]-------------------
Message: 10 Date: Fri, 01 Oct 2004 07:00:45 -0400 From: Joe Nelson Subject: Re: "Hits" Dave the Rave: > One of my favs which I would call a shoulda-been-a-hit, or bigger > hit, was Austin Roberts Philips 45, Ricky Ticky Ta Ta. I would > assume that all on this board know that song well. Right? It was posted to Musica shortly after Austin joined the list. I can repost if demand warrants it. Great song, and a perfect template for the Scooby Doo phase in Austin's career. Joe Nelson -------------------[ archived by Spectropop ]-------------------
Message: 11 Date: Fri, 01 Oct 2004 07:02:57 -0400 From: Joe Nelson Subject: Re: Ravin' about (Genya) Ravan Austin Roberts: > Genya Ravan was also a terrific producer. She cut a song that John > Hill and I wrote about 30 years ago, it seems, that was well produced. > Consider me a fan. IIRC, she was supposed to produce a comeback LP for Ronnie Spector in the late 70's. Does anyone know what became of that project? Joe Nelson -------------------[ archived by Spectropop ]-------------------
Message: 12 Date: Fri, 01 Oct 2004 14:58:13 -0000 From: Clark Besch Subject: Re: RIP Scott Muni Country Paul on the passing of Scott Muni: > As someone who started listening to this man on the radio on WMCA in > the late '50s, this is sad news indeed. Paul, as a big fan of 60's radio, it was shocking to hear of this. I was not able to hear Scott first hand in the 60's, but heard him on Ticket to Ride and airchecks from 60's. No doubt, Reel Radio will have a tribute soon. You can already hear an hour check of Scott on WNEW's 18th anniversary from the 80's there. His voice will always be remembered. If I remember correctly, Roby Yonge died in the last 6 months too. It's really just as sad for me when a great DJ dies as when a great musician dies. Rest in peace. Clark -------------------[ archived by Spectropop ]-------------------
Message: 13 Date: Fri, 01 Oct 2004 10:57:52 +0000 From: Phil X Milstein Subject: Re: Ravin' about (Genya) Ravan Tony Leong: > Such a great evening with such interesting musicians! If Genya and > her band come to your town, GO SEE THEM! And her book is a must- > read for her fans! Does her book mention the fact that my very first concert experience, at Madison Square Garden c.1970, involved waiting three or four songs for the chick singer of Ten Wheel Drive to finally come out and join the band, only to find out that I was actually at a Ten Years After concert? Duh, --Phil M. -------------------[ archived by Spectropop ]-------------------
Message: 14 Date: Fri, 01 Oct 2004 12:25:34 +0000 From: Phil X Milstein Subject: Re: wrong speed Michael B Kelly wrote: > Play Debbie Reynolds 45 of "Tammy" at 33 and you get Mel Torme! Play the 45 of The Collins Kids' "Whistle Bait" at 33 and you get Led Zeppelin! --Phil M. -------------------[ archived by Spectropop ]-------------------
Message: 15 Date: Fri, 01 Oct 2004 12:26:03 +0000 From: Phil X Milstein Subject: Re: "Mr. Turkey" ... I mean, "Turnkey" David Coyle asked: > Never having heard "Mr. Turnkey," and assuming it's not explained in > the lyrics ... how does one go about nailing their own wrist to the wall > of a prison cell? It's his left wrist that's nailed in, so I assume he used his right wrist to do the nailing. --Phil M. -------------------[ archived by Spectropop ]-------------------
Message: 16 Date: Fri, 01 Oct 2004 16:50:59 -0000 From: Tom K. White Subject: Re: When I worked at Polydor Claire Francis wrote: > It was really great working at Polydor in the '60s. My job was to > help build the label. If my memory serves me correctly, "Watch us > happen" was our motto... One of the first tapes that caught my > attention was from a group called The John Bull Breed. (I think > they were from Birmingham. Does anyone out there know about this > group?)... What a great story Claire! Too bad that they were likely one of the many competent beat acts that fell by the wayside. It's great having someone like you around with all those interesting stories (and such a talented chanteuse too!) I would love to hear that record too, as Northern Soul is one of my favourite genres, and I LOVE that Ike & Tina song! (While I think about it, does anyone know if their Tangerine and/or Mala material is on CD anywhere?) Some day i will hopefully be in the music business myself and if I ever do half of what you've done, Claire, i'll be more than happy. Tom K -------------------[ archived by Spectropop ]-------------------
Message: 17 Date: Fri, 1 Oct 2004 19:01:37 +0200 From: Eddy Smit Subject: Re: weighing in on Smile With all due respect for Brian, but I think people are in the first place just glad he (sorta) survived his problems and are very much aware of the fact that he needs the support of his audience. That being said, in spite of the fact that Brian was the mastermind behind most of the Beach Boys catalog, his solo career has shown that the rest of the group is an essential part of the success formula. Basically I resent Brian for reducing the rest of the Beach Boys to a touring band and hiring studio musicians to satisfy his ego, for claiming that the Wondermints are superior to what he had at his disposition in 1966/67. Of course the live shows were great ! Just the fact that Brian is up there on the stage makes it great ! Look at Knebworth 1980... waving at somebody in the audience like a zombie. But who cares ! Everybody's just glad that he's there ! Smile is magic, but the 2004 version is way inferior to the 1967 version (based on the bootleg versions) ! But maybe Brian had a little birdy on his shoulder telling him that a 2004 version would be much more profitable to him than the 1967 version... Eddy -------------------[ archived by Spectropop ]-------------------
Message: 18 Date: Fri, 1 Oct 2004 10:28:18 -0700 From: Gary Myers Subject: Re: The Blue Beats Country Paul: > ... (the Blue Beats) were a mainstay for a moment of Connecticut rock > & roll; "Extra Girl" was a power pop monument .... Top ten in New > Haven and Hartford, virtually unknown elsewhere -- except Wisconsin? > Please explain. Guitarist Jack Lee was born in Milwaukee, but grew up in CT. About 1967 he returned to WI to attend UW-Madison and he recorded with a band there. (Details will be in my 2nd WI book ). One of the many interesting aspects of compiling all this WI stuff is many connections - like this one - that have turned up. gem -------------------[ archived by Spectropop ]-------------------
Message: 19 Date: Fri, 01 Oct 2004 13:28:00 +0000 From: Phil X Milstein Subject: Re: John Bull Breed Claire Francis asked about the John Bull Breed: > What happened to them -- does any one know anything about them? I'd never heard of this group before, but Claire's story about them got me curious, and I dug around and found a few interesting things about them. At least one of them did indeed go on to a long and successful career in the music industry, that being bassist John Lodge, who would reach the toppermost of the poppermost with The Moody Blues. Perhaps because of this association, there is a fair amount of John Bull Breed info available on the Web. I refer you to the following pages: * : a JBB lineup, with cool photo * : a text search here for "John Bull Breed" finds a link to the site of entertainment agent Brian Yeates, aka Mark Stuart, who was the JBB's lead singer; the page also lists many other links to "Brumbeat"-related sites ... does the phrase refer to rocknroll from the West Midlands region? * : Yeates' site itself * : a very detailed explanation of The Moody Blues' musical family tree (and including an indication that the JBB spent some time gigging in Germany) * : includes several JBB photos (click on the thumbnails to see enlarged versions), including a scan of a JBB bio questionnaire Yeah, --Phil M. -------------------[ archived by Spectropop ]-------------------
Message: 20 Date: Fri, 1 Oct 2004 22:29:31 +0100 From: Mick Patrick Subject: More Claire Francis @ Musica Owen Fegan: > My name is Owen Fegan - I'm the son in law Claire Francis, and > I have to say that all the feedback she has been getting from > you all, as well as all the soundclips have been incredibly > exciting for all of us... I would love to be able to hear more > of her music. So you shall, Owen, so you shall. Martin has raided his collection and made one more great track available; "Here I Go Again", another atmospheric epic. Find it playing @ musica right now: Details are: Claire Francis "Here I Go Again" (Polydor 56079, 1966) Written by Tony May, Arranged and Conducted by Nicky Welsh, Produced by Claire Francis. Tony May was a US songwriter whose name is known to me via numerous great soul records on RCA, frequently in conjunction with Larry Banks. Is there a US version of "Here I Go Again", I wonder? Hey la, Mick Patrick -------------------[ archived by Spectropop ]-------------------
Message: 21 Date: Fri, 1 Oct 2004 15:06:05 -0700 (PDT) From: Mark Wirtz Subject: Re: weighing in on "Smile" I, too, whole heartedly concur with Frumento and Havers. The fashion in which Mike, Carl, Dennis' Al and Bruce's crucial contributions to Brian's visions have been denigrated is downright shameful. The Beach Boys rose to fame and touched so many of us not merely because of Brian's composer notions, but, conspicuously, because of their glorious, collective vocals and harmonies. In fact, until Pet Sounds, the melodic substance of the compositions were rather simplistic - to the point at which they were close to nursery rhymes. Nothing wrong with that. It was, in fact, the simplicity of those melodies (and lyrics), juxtaposed by the complex chord changes of the harmonies, that made it all so deliciously seductive. Bottom line, the magic key to the Beach Boys' appeal was their synergy; their collective, distinctly characteristic whole that was far bigger than the sum of their individual parts. And then came Pet Sounds, inarguably a timeless master piece and composer's solo- rather than ensemble work. (Let's not forget, however, that it took the simple, more typically, "Beach Boys" ensemble track "Sloop John B" to serve as the album's can opener and give it its commercially crucial kick-start). So far, so good. Brian had forged ahead into a new territory, one which promised a downright musical Shangri-La. It made sense that Brian, uncomfortable on stage and in public, best served the collective cause by concentrating his continued efforts on studio work, rather than killing time in tour buses and Motels... The stage was set, brimming with infinite possibilities. The Dream could have gone on for a long time to come... But it didn't. Instead, it turned into a nightmare, soon metaphorically and paradoxically symbolised by the legend "Smile." What went wrong? Was it Brian's obsessive competition with the Beatles? In his quest of the latter, his resort to all kinds of external utilities, resources and gimmicks to equal Paul's child-like playfulness, or the enlistment of highly talented, alas pseudo-intellectual, Van Dyke Parks in order to lyrically challenge John's impulsive, natural wit, cleverness and surrealistic whims? Or, was it the drugs? Or was it the overwhelming pressure of living up to and fulfilling the expectations of his sudden appointment as "genius"? Or, was it the allegedly ego-conflict sourced "break away" from the other BB's? Except for the latter (I applaud Havers for putting into proper perspective, and rendering ridiculous, the seemingly immortal "break-up" rumour), my guess is that a culmination of all of the above applies (not to mention that Brian & Co. didn't have a George Martin to patiently and diplomatically keep it all together). As a result, sadly, Brian metamorphosed from puppeteer to puppet. A tortured one to boot. Ya can't come across like a million dollars (or create like it) when you feel like a scattered bunch of loose change. Whatever, IMHO (as a huge fan of Brian AS PART OF the Beach Boys), fact is (judging by the now complete work), that we got the most profound parts of "SmiLe" 40 years ago in their original and authentic form of singles and album tracks. What we are being served now in newly compiled/revised/recorded form, is merely a cranky ghost. I say 'recorded,' because, to me, there is a Grand Canyon-wide difference between the live concert presentations, even their taped versions, and the recently released studio re-incarnation. The concerts are not only a touching tribute to Brian's brilliance (in great part thanks to the extraordinarily skilled and loving efforts by Wondermints), but spectacular shows. Even the more mundane, some even pointlessly silly, elements of the studio work, shine and charm in context of what is nothing less than dramatic "theatre." (As such, Smile has become - go ahead, throw up on me - a 'musical.') Yet - can any visitor to any of the shows honestly say that they didn't feel and miss the presence of Mike, Carl, Dennis, Al and Bruce hovering in the ether (unless they are from a younger generation that wasn''t around yet at the time of the BB's heyday)??? Bottom line, "Smile" as a live stage presentation will, and deserves to, endure the passage of time, like a Mozart opera or concerto (certainly way beyond the lifetime of the new Smile studio album). To be sure, were Mozart alive still today, they'd cart him on stage and make him play his piano parts - alas, not in the best interest of his work: Mozart was a less than average piano player. Yet - he really *was* a genius, because he did stuff at an absurdly young age that defied all logic and normal human ability! That did not apply to Brian, nor did it, or does it, apply to anybody in pop music. Geez, get real, folks -- popular music is no more "(fine) art" than even the most skilfully painted graffiti is. It is not rocket science, or a religion, or a human condition altering phenomenon. It may even be a form of psychic medication, but it is not medicine! It's entertainment. That's all. And that's a lot! Every time you put that "genius" label on any entertainer, you mess with his/her internal emotional balance and equilibrium and curse that poor soul into certain defeat by condemning it into a battle it cannot possibly win! So, stop it!! If Mike L. and Bruce J. stand weeping in Brian's shadow, ignored, under-recognised and under-respected for their pivotal role in the Beach Boys legend, to moans from Carl and Dennis coming from their graves, I shed a tear in sympathy! Now, excuse me, while I console myself by listening to "Sunflower." Mark Wirtz -------------------[ archived by Spectropop ]-------------------
Message: 22 Date: Fri, 1 Oct 2004 23:14:41 EDT From: Austin Roberts Subject: Re: Arrangers Rob Pingel writes: > (Carole) King was on my initial first 10 list on the strength of her > work with Dimension and that unbelievably good string arrangement you > mentioned. She got replaced when the name Jimmy "Wiz" Wisner crossed > my mind. Fact of the matter is, those that didn't make the first 10 > could easily be on it without anyone taking any exception. The 60's > were truly a Renaissance of talented arrangers, producers, and > songwriters. I agree that there have been quite a few arrangers that should make the top ten and I'm sure they do on some folk's list. I worked more with Jimmie Haskel and have always loved what he does;same with Charlie Callelo and several others. Best,, Austin R. -------------------[ archived by Spectropop ]-------------------
Message: 23 Date: Sat, 02 Oct 2004 09:07:05 -0000 From: Kees Van Der Hoeven Subject: Louise Cordet - In a Matter of Moments I have uploaded to musica another Louise Cordet. The b-side of her 1962 hit I'm Just A Baby, she sings the John D Loudermilk song In a Matter of Moments (Decca 45-11476). The song was originally done in the US by Mark Dinning on MGM. I prefer Louise's cover, despite the excessive string arrangement, to the more spineless way Dinning treated the song. -------------------[ archived by Spectropop ]-------------------
Message: 24 Date: Fri, 1 Oct 2004 10:20:10 -0700 (PDT) From: Tom Taber Subject: Sheep / Strangeloves I attended the "homecoming" football game at my old high school last week. When the Albion Marching Band took the field at halftime, I was surprised/elated that two of their big numbers were Bruce Channel's "Hey Baby," and the Strangeloves' "I Want Candy" (which gave the color guard an excuse to throw candy into the stands!) And, thanks to any of you who may have helped my "The Skeletons 'LIVE' at the Amador" CD land at #4 on the Miles of Music weekly chart! Tom Taber -------------------[ archived by Spectropop ]-------------------
Message: 25 Date: Fri, 01 Oct 2004 18:14:33 -0000 From: ModGirl Subject: Tommy McLain...sigh... Dave O'Gara wrote: > Julio mentioned Tommy McLain in a recent post and it reminded me > how much I liked Tommy's version of "Sweet Dreams"....[T]he > mention of Tommy's name prompts me to ask S'pop folks what they > know about him. Was he country, pop or a little of both. "Sweet Dreams" (by Tommy McLain) is one of those tunes where I find myself hitting the replay button over...and over...and over... Another must-repeater for me is "Nothing Takes The Place of You" (by Touissant McCall) -------------------[ archived by Spectropop ]-------------------
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