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Spectropop - Digest Number 1685



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               SPECTROPOP - Spectacular! Retro! Pop!
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There are 14 messages in this issue.

Topics in this digest:

      1. Re: Earl or Hal?
           From: Bob Celli 
      2. Re: I can hear music
           From: Andrew Hickey 
      3. Re: Beg, Borrow & Steal
           From: Orion 
      4. Hal & Earl
           From: Michael B Kelly 
      5. Bill Ballance
           From: Dave Feldman 
      6. Re: Gary Lewis / Love live
           From: Bill Mulville 
      7. Re: Defining genius
           From: Phil X Milstein 
      8. Skeet Bushor
           From: Gary Myers 
      9. Re: Hal & Earl
           From: Phil X Milstein 
     10. Re: L. David Sloane
           From: Bob Rashkow 
     11. Re: Dave Diamond / Find your fave 60's DJ's history!
           From: Clark Besch 
     12. Re: Searchers CDs
           From: Clark Besch 
     13. Re: Scopitones
           From: Clark Besch 
     14. Re: Razors Edge - "Let's Call It A Day Girl"
           From: Rich 


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Message: 1 Date: Sat, 09 Oct 2004 13:33:12 -0000 From: Bob Celli Subject: Re: Earl or Hal? I wrote: > I was reading some old posts from a few years ago and came across a > question that was never definitively answered in regards to who > drummed on Bobby Vee's hit, "The Night Has A Thousand Eyes". The > answer is Earl Palmer. Hal Blaine did session work on the "Live On > Tour" LP, which included a version of "The Night Has a Thousand Eyes", > but not the hit version. This may be where the confusion comes from. Mikey: > Keep in mind that on many of those songs, Hal AND Earl played. They > used double drummers sometimes to get a larger drum sound. Most of > the Jan and Dean tracks feature two drummers. I don't quite understand what you mean by Hal and Earl playing on many of those songs. What songs are you referring to? If you are referring to Bobby Vee songs, I've never heard any mention of those two guys playing together. The only mention of two drummers on any Vee session was on "Someday" from the "Meets The Crickets" session. I did extensive research on who played what on those sessions for the liner notes on the EMI reissue in 1990. On that song Jerry Allison and Earl Palmer played together. Earl played on the majority of Vee's sessions, with J.I. working the balance. After Snuff Garrett and Vee went their separate ways, many of the musicians changed. That's about the time Hal Blaine et al came on the scene in regards to Bobby Vee sessions. Bob Celli -------------------[ archived by Spectropop ]-------------------
Message: 2 Date: Sat, 9 Oct 2004 14:54:55 +0100 From: Andrew Hickey Subject: Re: I can hear music Richard Hattersley: > Was Brian really present at the session? I just assumed he wasn't > because Bruce Johnston says on the Endless Harmony Docu, "That was > the first record we made without Brian". I guess just because he > didn't play or sing on it, doesn't mean he wasn't there. For a long time it was accepted wisdom that Brian had nothing to do with I Can Hear Music, and I suspect that Bruce is just, as many people do, remembering things as they are in the books. Brian was definitely present at the sessions, and I *believe* I can hear his voice on the track. I think the first record they made with no Brian involvement was the slightly less illustrious How She Boogalooed It... > My fave part about that record is Mike Love's "Doh ray me fa so la > te do" bass line on the tag. Mine too :) -- Andrew Hickey and Trevor DeMont headline International Pop Overthrow, the Cavern, Liverpool Monday October 25 -------------------[ archived by Spectropop ]-------------------
Message: 3 Date: Sat, 09 Oct 2004 09:36:56 -0500 From: Orion Subject: Re: Beg, Borrow & Steal Welcome out of the lurker mode, Bill Pitzonka. It is good to have that issue resolved as it has been a matter of contention in a couple different groups. I have to say, I surely thought they were different versions. I guess it is in what one "wants" to hear instead of what one really hears. BTW since you are a bubblegumer, any idea who created that Bubblegum MF series? Peace my friend and again, welcome to the world of sharing :) Orion -------------------[ archived by Spectropop ]-------------------
Message: 4 Date: Sat, 9 Oct 2004 11:35:53 -0400 From: Michael B Kelly Subject: Hal & Earl Mikey: > Keep in mind that on many of those songs, Hal AND Earl played. They > used double drummers sometimes to get a larger drum sound. Most of > the Jan and Dean tracks feature two drummers. >From "Liberty REcords:" There was no music more exciting than Jan & Deanís Liberty records in 1964. The sound effects, the fast tempo, the tight harmonies all made for terrific music. One thing that made Jan & Dean records so energetic was that Jan used two trap sets for his sessions. Originally, he had tried having ace drummer Hal Blaine overdub his drums, playing the same licks twice, synchronized on tape. Not satisfied with the results, he had Earl Palmer come to the sessions as well as Hal. Together, they rehearsed until they were playing their drums in perfect synch. This pioneering effort on the part of Jan is just one of the things that set Jan & Dean records apart from other similar records of the era. Doc -------------------[ archived by Spectropop ]-------------------
Message: 5 Date: Sat, 09 Oct 2004 12:39:04 -0400 From: Dave Feldman Subject: Bill Ballance New York lost a radio giant when Scott Muni passed away last week. I wanted to acknowledge the death of another radio great, Bill Ballance. Although "Billo" was better known in talk radio from the 1970s-1990s, he was a giant at KFWB-AM in Los Angeles. I started listening to him when he came aboard in 1955, and he was one of the big stars of the dominant AM station in Los Angeles for many years. For those unfamiliar with Ballance's wit, I paid a little tribute to him on my website at http://www.imponderables.com/archives/000063.php More importantly, the page has links to a proper obituatry and three long air checks from 1959, 1960, and 1962. Dave Feldman -------------------[ archived by Spectropop ]-------------------
Message: 6 Date: Sat, 9 Oct 2004 09:09:21 -0500 From: Bill Mulville Subject: Re: Gary Lewis / Love live I don't want to sound mean-spirited, but Gary Lewis in concert these days sounds more like Jerry Lewis is singing on some of the songs. I love his songs. I just wish there was someway he could turn down the shrill factor in his voice. I saw Love and The Zombies at the Park West last night. I had seen Love last Year on the "Forever Changes" tour with string section. Arthur had thrown out his back and could barely stand up, but still gave a great show. This time it was just guitars bass, drums, harmonica and tambourine. The power of the performance was just incredible! It was great to hear what amounts to alternate "electric" takes of the "Forever Changes" material. Other sons included "Signed DC", Little Red Book", "Orange Skies" and an absolutely blistering version of "7 and 7 Is". Being new to the Spectropop group I can appreciate the passion for music info found here. I would second the motion that anyone who appreciates great music, get out from behind your keyboard and experience Love live in concert. It's a rare act that can perform their classic album in two completely different ways and succeed so brilliantly. This is music from that great era that thankfully has survived to this day, better than ever. For most groups, all we have left are the recordings and memories. For Love we have an experience that is a lot more. The Zombies were also very good. I am a huge Zombies fan, but Love is just so impressive. It's hard to follow an act like Love. Bill Mulvy -------------------[ archived by Spectropop ]-------------------
Message: 7 Date: Sat, 09 Oct 2004 09:20:45 -0400 From: Phil X Milstein Subject: Re: Defining genius Joe Nelson wrote: > Personally I tend to apply the Ray Charles model that a significant > measure of humility is absolutely necessary. Thus Charles, who > rejected the tag, qualifies, whereas Prince, who embraces it, doesn't. I guess that would leave John Lennon out. Sorry, not buying it -- I'm all for humility and all, but if a requirement for greatness is in not knowing that you have it, then it would disqualify James Brown, Little Richard, and any number of other geniuses who are able to look in the mirror* and appreciate what they see. --Phil M. *No slight on Ray Charles intended! -------------------[ archived by Spectropop ]-------------------
Message: 8 Date: Sat, 9 Oct 2004 20:55:23 -0700 From: Gary Myers Subject: Skeet Bushor Doug Richard: > ... The Rumbles ... recorded on several labels ... eventually released > five 45's ... The last three were "Dunwich Productions" produced by > Skeet Bushor and Jim Koss from the Indy group The Boys Next Door. Interesting to see Bushor's name pop up here. He was also involved in an LP (rec. in Chicago) by Judy Jae, an Indianapolis singer who had releases on a Milwaukee label, and hence, will be in my 2nd WI book. gem -------------------[ archived by Spectropop ]-------------------
Message: 9 Date: Sun, 10 Oct 2004 10:18:50 -0400 From: Phil X Milstein Subject: Re: Hal & Earl Michael B Kelly wrote: > ... Not satisfied with the results, he had Earl Palmer come to the > sessions as well as Hal. Together, they rehearsed until they were > playing their drums in perfect synch. This pioneering effort on the > part of Jan is just one of the things that set Jan & Dean records > apart from other similar records of the era. Wow, the thought of Blaine and Palmer playing side-by-side is terrifically exciting. Do you (Doc) know if any photos of this lineup exist? --Phil M. -------------------[ archived by Spectropop ]-------------------
Message: 10 Date: Sun, 10 Oct 2004 13:28:55 EDT From: Bob Rashkow Subject: Re: L. David Sloane I think under other circumstances "L. David Sloane" could have fallen into Nancy Sinatra's hands. I can just hear her saying "Get...off... my...BACK." (Not as sardonically as Michele Lee does, probably!) I missed Arthur Lee AND The Zombies. (Sob.) Bobster -------------------[ archived by Spectropop ]-------------------
Message: 11 Date: Sun, 10 Oct 2004 17:50:24 -0000 From: Clark Besch Subject: Re: Dave Diamond / Find your fave 60's DJ's history! Orion wrote: > Do you know if possibly this Dave Diamond could have worked at WHB > in Kansas City in the late '60s under the name Dan Diamond? I DJ'd > there part-time in '68 and '69, during the summer. It is probably > not the same guy, but Dan Diamond also called his show the "Diamond > Mine of Solid Hits". Orion, Hope you'll be at the record convention in Omaha on the 17th. Would be cool to meet you. If you haven't discovered this amazing site, here's a site that can keep any 60's radio nut (like me) busy for hours on end. If YOUR Dan Diamond was really R.T. Dan Hanchey, then they are different guys. You can find both Diamonds and their email addresses at this site: http://440int.com/440sat.html ANYONE who wants to know the history of their fave DJ of the time, I suggest this site. However, it is not updated too quickly, not all the email addresses are valid anymore and Orion, if you wish to get your info on here, I've been told it costs $25 to get your info on! Hope this helps more than just you at finding their old fave DJs! Clark -------------------[ archived by Spectropop ]-------------------
Message: 12 Date: Sun, 10 Oct 2004 18:15:49 -0000 From: Clark Besch Subject: Re: Searchers CDs Steve Harvey wrote: > > Just picked up two Searchers CDs. One is the live show > from the Star Klub (some of which came out on vinyl > years ago) and the other is the Iron Door demos (the > Searchers' version of the Cavern). Got the Star Klub > on Bear for $17 and the Iron Door was $12. While both > will prove interesting to diehard Searcher fans be > aware that the Iron Door CD is under 23 minutes! $12 > is alot to pay for such a short amount of playing > time. They should have combined with the Star Klub > stuff which easily would have fit under 80 minutes. 60's radio was so cool. I have a tape of the Searchers' "Sure Know A Lot About Love" from the Star Club Lp off radio from back then. I didn't have an artist mentioned on the tape, so I searched for a decade before I found that great obscure Lp! Proves that the Brit invasion did saturate US radio in those days! Funny, but I think I later noticed that the song was a B side of "Alley Oop" by the Hollywood Argyles or some other early 60's novelty record. Clark -------------------[ archived by Spectropop ]-------------------
Message: 13 Date: Sun, 10 Oct 2004 18:06:14 -0000 From: Clark Besch Subject: Re: Scopitones Eddy: > I'm really not that familiar with the making of these Scopitone > films, but judging by the clips I see on that site, I get the > impression they were not specifically filmed for Scopitone use. > To the best of my knowledge at least some of these clips were > filmed for TV originally (Nancy Sinatra, Procol Harum,...). Any > info on that? I have not seen any of the Scopitones on that site, but the Scopitones I have seen were done expressly for Scopitone usage. Fellow SPop Lincolnite, Doug Richard and I were lucky enough to see an actual Scopitone in operation in an arcade mall in the 80's whenever we went to the Old Market in Omaha. It was in an arcade and we were able to see how these were used. Pretty cool machine! Clark -------------------[ archived by Spectropop ]-------------------
Message: 14 Date: Sat, 09 Oct 2004 21:54:31 -0000 From: Rich Subject: Re: Razors Edge - "Let's Call It A Day Girl" Bill Mulvy wrote: > Can anyone tell me where I can find the song "Let's Call It A Day > Girl" by the Razors Edge. Copy of the song if you or anyone else is interested, has been posted at Tweedle Dumms Drive-In: http://launch.groups.yahoo.com/group/TweedleeDumsDrive-In/ Sixtieoldiesguy (Rich) -------------------[ archived by Spectropop ]-------------------
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