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Spectropop - Digest Number 1699

               SPECTROPOP - Spectacular! Retro! Pop!

There are 25 messages in this issue.

Topics in this digest:

      1. Re: Phil Kaye
           From: Austin Roberts 
      2. Re: Mark Lindsay Levi's ad
           From: John Berg 
      3. Re: Greg Shaw, R.I.P
           From: MopTopMike 
      4. Re: Melba Moore
           From: Al Kooper 
      5. "Please Love Me" by Betty Everett
           From: ACJ 
      6. Re: Greg Shaw, R.I.P.
           From: Kingsley Abbott 
      7. Re: Greg Shaw, R.I.P.
           From: Mike Griffiths 
      8. Dusty demos
           From: Al Kooper 
      9. Re: Greg Shaw, R.I.P.
           From: Davie Gordon 
     10. Re: Greg Shaw, R.I.P.
           From: Barry Margollis 
     11. Lewis and Clarke Expedition/Mark Lindsay
           From: Lapka Larry 
     12. Re: Spanky & Our Gang
           From: Pres 
     13. Re: Dance with Claire Francis
           From: Claire Francis 
     14. Re: Mark Lindsay Levi's ad
           From: Frank Jastfelder 
     15. Andrew Loog Oldham Productions
           From: Al Kooper 
     16. Wayne Newton And Bobby Darin
           From: Mark Hill 
     17. Re: Spanky & Our Gang
           From: Barry Margolis 
     18. Re: Greg Shaw, R.I.P.
           From: James Botticelli 
     19. Mark Lindsay Comments
           From: Stephanie 
     20. Re: Smoke Ring vs. Vogues
           From: Clark Besch 
     21. Fever / I Just Wanna Dance / Al Kooper´s demos.
           From: Julio Niño 
     22. Re: Mark Lindsay
           From: Phil X Milstein 
     23. Jack Kerouac
           From: Claire Francis 
     24. Hey Schoolgirl
           From: Don 
     25. Re: "Please Love Me" by Betty Everett
           From: Various 

Message: 1 Date: Sat, 23 Oct 2004 21:52:42 EDT From: Austin Roberts Subject: Re: Phil Kaye Previously: > Still looking for Phil Kaye. Contact Mix Magazine who can probably tell you how to reach Roger Nichols, who I'm pretty sure can tell you where Phil Kaye is (tell Roger hello from me). As far as Ben Benay is concerned, I worked with him a lot in LA, especially with Steve Barri. I hope he's still around. Best, Austin Roberts -------------------[ archived by Spectropop ]-------------------
Message: 2 Date: Sat, 23 Oct 2004 16:52:38 EDT From: John Berg Subject: Re: Mark Lindsay Levi's ad "Is there a Mark Lindsay CD out there?" was the question. To discover part of the answer, why not just do a simple Google search -- you will find plenty about Mark, both as a solo artist and with Paul Revere & the Raiders. Mark has a number of CDs available, whether via online shops or the old fashioned stores where you have to get in your car (or take the bus or tube or whatever) and walk in and check out what is in the racks. John Berg -------------------[ archived by Spectropop ]-------------------
Message: 3 Date: Sat, 23 Oct 2004 21:28:10 -0000 From: MopTopMike Subject: Re: Greg Shaw, R.I.P Located this post from Greg's family. MopTopMike <> -------------------[ archived by Spectropop ]-------------------
Message: 4 Date: Sun, 24 Oct 2004 05:14:25 EDT From: Al Kooper Subject: Re: Melba Moore Geroge Schowerer: > Gentlemen: Just a note regarding Melba Moore.... She and Valerie > Simpson (Ashford & Simpson) sang background vocals for the James & > Bobby Purify sessions at Mirasound. Gentlemen: Just a note regarding Melba Moorman (actual name) ....she & Valerie Simpson sang bg vox on the BS&T Child Is Father To The Man sessions at Columbia Studios. Valerie was also early-married to the late keyboard session ace Paul Griffin, from whom she appropriated much piano stuff and his broken heart... Regards, Al K. -------------------[ archived by Spectropop ]-------------------
Message: 5 Date: Sat, 23 Oct 2004 18:07:21 -0400 From: ACJ Subject: "Please Love Me" by Betty Everett I'm looking for info about "Please Love Me," an early track by Betty Everett. It was first released as a B-side on Chicago's One-derful label, then included in several U.S. budget compilation LPs in the '60s. Does anyone know who wrote this song, and published (publishes) it? The BMI and ASCAP sites both list many "Please Love Me" songs, and neither indicates which is the Everett song (if any); and as far as I know, the track isn't on any in-print anthology. Thanks! ACJ -------------------[ archived by Spectropop ]-------------------
Message: 6 Date: Sun, 24 Oct 2004 10:26:00 +0100 From: Kingsley Abbott Subject: Re: Greg Shaw, R.I.P. So sad to read about Greg - His wondeful Bomp mag is still one of the most often referred to my shelves - The Surf issue re-ignited my enthusiasm for that genre at the time, The Girls issue alerted me to several new things and the on-going reviews were tantalising for UK readers. And he was in the forefront of Powerpop....and the Bomp sales lists were, well... lets just say they were the best ever for what I wanted. Kingsley Abbott PS Where The Girls Are Vol 6 is absolutely wonderful - don't hesitate in getting it! -------------------[ archived by Spectropop ]-------------------
Message: 7 Date: Sat, 23 Oct 2004 23:22:47 -0000 From: Mike Griffiths Subject: Re: Greg Shaw, R.I.P. This is very sad news... According to The Mercury News: "He had been in declining health in recent years and had undergone a pancreas/kidney transplant in 1999." Chartattack says: "According to an online message posted by his wife Phoebe, Bomp Records founder Greg Shaw passed away earlier this week. After a mysterious rise in his blood sugar, Shaw was admitted to hospital last week. On Tuesday night Shaw went into cardiac arrest and, after a fight, passed away. He was 55 years old." This is as big a blow to me as the passing of Alan Betrock 41/2 years ago. There were many parallels between the two. Alan published sixties fanzines JAMZ and The Rock Marketplace in the early seventies before starting New York Rocker in 1977. He also was instrumental in the early careers of Blondie, Marshall Crenshaw, the dB's, Richard Hell, the Smithereens and others. And he wrote some great books like Girl Groups: The Story of a Sound. Like Alan, Greg turned me on to a lot of great music. I bought some of the early Bomp singles i.e. "You Tore Me Down" - the Flaming Groovies, "Tomorrow Night" - The Shoes and The Choir EP. About fifteen years ago I bought some stuff from his huge tape list - the first Billy Nicholls album way before it was reissued and some Jackie DeShannon demos among other things. I ended up phoning him out of the blue and that turned into several great conversations on various musical topics and an on-going connection. In Oct. of 2002, I emailed him to make sure he knew about the just printed Magnet magazine parody/tribute to the Bomp Power Pop issue. In his reply he said: "I've had a very rocky year too. Fortunately music always cheers me up. Stay well." My last email (from March of last year) was not answered. Now I know why. I'm sure there are probably many on this list with similar stories about Greg. Mike Griffiths -------------------[ archived by Spectropop ]-------------------
Message: 8 Date: Sun, 24 Oct 2004 05:05:06 EDT From: Al Kooper Subject: Dusty demos Me: > We wrote TONS of songs for Gary. The producer turned them all down. > Really?  Snuffy Garrett didnt like them? Al, what kind of songs were > they? Did anyone else ever record the ones that were turned down? > Is there a chance we could have you post a couple to musica... > maybe what you intended the follow up to "This Diamond Ring" to be? When I was a S'pop toddler, I might have done that (and DID BTW). But now I am working on putting together a CD or two of ALL the dusty demos with a UK label, and it would decrease the debut magic to put any more into circulation. I hate when business crosses passion, however...... Al Kooper -------------------[ archived by Spectropop ]-------------------
Message: 9 Date: Sun, 24 Oct 2004 15:16:32 -0000 From: Davie Gordon Subject: Re: Greg Shaw, R.I.P. Phil X Milstein wrote: > To quote from the Bomp press release, "However you choose to honor > Greg's memory, do it with anything but a moment of silence." God what a depressing week - first we lose Dave Godin and now Greg. I dread to think how much poorer my life would be if it hadn't been for these two people. Both of them working tirelessly to make us aware that there was AMAZING music out there if we just followed where they were pointing. I can still remember that adrenalin rush when I'd get a new issue of Bomp! because you just knew that inside you were going to hear about hundreds of great records that you never even knew existed. I remember a postcard in 1979 from my late friend, Dan O'Grady, telling me that I should "do everything in your power to get these albums" - he was talking about the first two volumes of "Pebbles". I could always trust Dan's judgement and we both trusted Greg's. I feel a terrible sense of loss, and a huge sense of gratitude to both of them. Dave's funeral is to be followed by a dance where they'll play both his Northern and deep soul faves. It would be a nice idea if some of the bands who'd worked with Gteg did a tribute concert for him. I'm playing the Flamin' Groovies "I Can't Hide" repeatedly - the rock'n' roll equivalent of a Tibetan prayer wheel. The Bomp! label will live on as Greg's legacy - if you aren't familiar with many of the groups on the label I can do no better service than tell you get the "Destination Bomp!" 2-cd set - 48 tracks, 24 page booklet and it's a budget price release. You may not like everything on it - but if you don't find at least a dozen tracks that you think are absolute killers I'd be very surprised. That was one of Greg's most admirable qualities - he wasn't just a historian, he went out of his way to record great current bands. Rock on, Greg - we never met but I felt that I'd known you all my life. Davie Gordon -------------------[ archived by Spectropop ]-------------------
Message: 10 Date: Sun, 24 Oct 2004 10:03:26 -0500 From: Barry Margollis Subject: Re: Greg Shaw, R.I.P. I guess it's a good time for me to put in my 2 cents. I was in San Francisco between 1969-1971, and though I don't remember how, I ran across Greg Shaw and was even invited to his Marin home. We had a number of really nice listening sessions. Later on, when he was working for United Artists in LA, in 1972, I got back in touch with him (I was back in Minneapolis by then). We used to talk on the phone occasionally, and he was amazingly nice about sending me a reel-to-reel tape of the second ELO album on one side and the Roy Wood solo album "Boulders" on the other....neither of which had been released at that time!! (The ELO was coming out soon, but the Roy Wood was held back for a few months...) He also sent me all of the press kits and promotional stuff from these two projects....really cool. I lost track of him again, but bought a lot of his quasi-legal albums of obscure 1960's Garage and Punk albums (Pebbles, High On The Sixties, etc.) which really helped put my collection into prospective and started my interest in research of the 1960's music that didn't ever get airplay. I learned from Greg: THERE'S A LOT OF AMAZING MUSIC THAT NEVER BECAME HITS...... Barry Margolis (in Minneapolis) -------------------[ archived by Spectropop ]-------------------
Message: 11 Date: Sun, 24 Oct 2004 08:33:34 -0700 (PDT) From: Lapka Larry Subject: Lewis and Clarke Expedition/Mark Lindsay Dear All: I regularly post material from the Lewis and Clarke Expedition at my Alternative Top 40 site. "Daddy ..." is currently up their for members' listenings. On Mark Lindsay, I found his solo career (at least on Columbia) extremely disappointing. I guess he was going for the "serious and sensitive" musician mode with his solo material during this period, and the stuff is real hard to listen to today. There is some magic there, though. "Arizona" is a truly great song, and "Silver Bird" could still be picked up by a major airline for a promotional campaign. However, his other material from that time is really drippy, and his cover versions are even worse. I guess he wanted to make a clear separation between his Raider work (more rocking, although even their stuff at that time was pretty bland) and his solo material. I guess I just expected more from Lindsay than what I got. This begs a question: did anybody who was a main fixture of a band have solo material that just drove you off the deep end, like Lindsay's did/does to me to this day? Larry Lapka P.S.: LCE recorded a terrific version of "Indian Reservation" on their only album--this kind of melds them with Lindsay, I guess, in some way. -------------------[ archived by Spectropop ]-------------------
Message: 12 Date: Sun, 24 Oct 2004 10:50:23 -0400 From: Pres Subject: Re: Spanky & Our Gang J.K. wrote: > One of my top 5 albums of all time, Spanky and Our Gang -- Anything > You Choose b/w Without Rhyme Or Reason, is apparently coming out as > part of a Spanky And Our Gang 4CD Boxset -- The Complete Mercury > Recordings. Richard wrote: > 'Tis true. I worked on this package, and it will also have single > versions and their first Mercury single, which was not on any album. > Enjoy ... and I agree completely about the "yellow album". I love that album so much and am thrilled to hear about the box set. Especially that the single versions will be on it. One question: Did the single version of "And She's Mine" (one of my favorite songs) start with the tale end of "Anything You Choose? as it's been presented on the two hits compilations? I've wanted to use this song on various compilations I make for "background music" but that intro always blows my "flow". I couldn't help being a bit disappointed that the Japanese CD issue of "Without Rhyme Or Reason" did not recreate the original sleave packaging. As a kid, I was thrilled with the whole giant 45 concept. pres -------------------[ archived by Spectropop ]-------------------
Message: 13 Date: Sun, 24 Oct 2004 11:54:34 EDT From: Claire Francis Subject: Re: Dance with Claire Francis Mick Patrick wrote: > Now playing @ musica, another small gem from the Claire Francis > canon, kindly supplied by Martin: Dave Rich "I Just Wanna Dance" > Listen here: > I'm not sure which I prefer, this or the other side, Dave's version > of "The Last Two People On Earth". How 'bout you, Claire? How well I remember: "Claire, ya wanna go to Sybil's to dance tonight?" "Sure Philly, I'm dyin' to dance - let's go." That's what Philly Verso, my dancing best friend and I did every night when we could at Sybil (Richard's ex) Burton's disco in 1960. The line to get in went on and on around the corner but Philly and I never had to wait on line because Philly's brother, Eddie, was a famous dancer and everybody at Sybil's knew us. Philly and I would start dancing the minute we got in and we didn't stop until after midnight. I didn't drink and Philly nursed one beer for most of the night so all we did was dance - besides we rarely had money to spend anyway. It was one of the best times in my youth because as you guessed by now I just loved to dance - and still do! So you ask "what side do I like better?" "I Just Wanna Dance" evokes such great memories and when I heard it I jumped up and started to do the Monkey and the Jerk (I am sure you S'pop members know what I am talking about), and I just loved "Disco" sound and 60's sound on the record. When Norman, my "old man" heard it, at first he thought it was me singing because it sounded so much like a female. I knew Dave's voice was a bit unusual and he also had a noticeable accent because he came from Germany. He was a relative or friend (I forget which) of one of the then owner's of Deutche Gramophone Geshalt Shaft which was the parent company to Polydor. Dave could not speak English as well as he could sing in English. I don't know if this had anything to do with the fact that Dave's voice sounded effeminate, but he was in fact gay, and his drop-dead gorgeous mate, who was a well known actor at the time, always came to his sessions with him. The sessions with Dave were hard work and if you read one of the posts I made when "The Last Two People On Earth" was recorded, Dave actually fainted onto the studio floor from trying so hard to hit the last few notes of that song. I really loved the production part of "The Last Two People On Earth" because I enjoyed the big session sounds. I loved working with Nicky Welsh as well because he listened to my musical input and my ideas and made them happen. He was also a very good arranger. So if I had to choose which one I "prefer", I would have to say that even though "I Just Wanna Dance" brings back great memories and it is so much fun to listen to, I prefer "The Last Two People On Earth" because I just loved producing those "big sound sessions". Besides, it is an AL (THE GREATEST) KOOPER SONG! Also, thanks again to Mick & Martin and Phil for playing my songs in Musica. And thanks to all the S'pop members who have written to me. Today I am answering alot of the emails that I wasn't able to since the last big hurricane damaged one of the phone lines and for the last three weeks I kept having a terrible time getting on line because of the static and noise in the line. FINALLY, THE PHONE WAS FIXED ON FRIDAY!! So beware I might be flooding the message board with lots of emails. Love & Light Claire (blessed to know ya) Francis -------------------[ archived by Spectropop ]-------------------
Message: 14 Date: Sun, 24 Oct 2004 11:33:39 +0200 From: Frank Jastfelder Subject: Re: Mark Lindsay Levi's ad Paul Richards: > Mark Lindsay Levi's ad: Really love this track, great song. I assume > he wrote it himself, fantastic stuff. His version of 'First Hymn from > Grand Terrace' is also a great favourite of mine. Yeah, his solo albums from the late sixties and early seventies hide some true gems. Listen to "Bookends" written by Jerry Fuller and fellow spectropopper Artie Butler and you know what I mean. BTW Jerry produced it and Artie arrnaged and conducted the song (and the rest of the album). Simply beautiful. Frank J. -------------------[ archived by Spectropop ]-------------------
Message: 15 Date: Sun, 24 Oct 2004 05:28:48 EDT From: Al Kooper Subject: Andrew Loog Oldham Productions Previously: > 2. Any other artists from the 60's that have a similar sound - > particularly artists I might not be familiar with. Andrew, who lives in Bogota (!) and Vancouver, remains a close friend. One of his best little known productions is a live Jimmy Cliff record with amazing singing & playing on it IMHO. Al Kooper -------------------[ archived by Spectropop ]-------------------
Message: 16 Date: Sat, 23 Oct 2004 23:38:40 -0400 From: Mark Hill Subject: Wayne Newton And Bobby Darin Mike Rashkow wrote: > According to a Wayne Newton interview I saw on TV, Bobby Darin > produced all his early records including "Danke Schoen". Mikey added: > Yup, Wayne was NOT signed to Capitol, he was signed to Bobby Darin's > Company, RWC Productions. The company had an open deal with Capitol > Records. Dr. Mark adds: During this period, Bobby Darin was recording for Capitol- 1962 to 1965. Between engagements at Atco and Atlantic. I always noted a similarity of "Danka Schoen" and Bobby Darin. I just figured it was one of those songs every artist down the pike recorded, as they did in the 60s. And that Wayne threw in a little of the Darin style because it was currently popular. -------------------[ archived by Spectropop ]-------------------
Message: 17 Date: Sun, 24 Oct 2004 11:54:17 -0500 From: Barry Margolis Subject: Re: Spanky & Our Gang Pres: > One question: Did the single version of "And She's Mine" (one of my > favorite songs) start with the tale end of "Anything You Choose? as > it's been presented on the two hits compilations? I've wanted to use > this song on various compilations I make for "background music" but > that intro always blows my "flow". I have promos of both singles. "Anything You Choose" ends with the trumpet fanfare....cold, early cool. "And She's Mine" starts with the beat. I can't imagine that Hip-O will separate any parts of the 3rd album, though. Hope this helps. -------------------[ archived by Spectropop ]-------------------
Message: 18 Date: Sun, 24 Oct 2004 12:35:49 -0400 From: James Botticelli Subject: Re: Greg Shaw, R.I.P. Mike Griffiths wrote: > Like Alan, Greg turned me on to a lot of great music. I bought some > of the early Bomp singles i.e. "You Tore Me Down" - the Flaming > Groovies, "Tomorrow Night" - The Shoes and The Choir EP.  Also released on Bomp was Stiv Bators' "This Is The Last Year Of My Life", a great sneering Beatle imitation.. JB/loves obvious Beatlesque tunes -------------------[ archived by Spectropop ]-------------------
Message: 19 Date: Sun, 24 Oct 2004 17:45:05 -0000 From: Stephanie Subject: Mark Lindsay Comments Im shocked there are so many people who remember Hymn From Grand Terrace...LOL His gem from the 70s to ME is Arizona but I have to say I like Been Too Long on the Road which IM sure no one here probably cares for. I think Lindsay was trying to be like Burton Cummings but I think Burton had a bit more talent than he did in rendering a lyric. Miss America is hard to listen to now but I think for its time it should have been a much bigger hit. Its a shame Lindsay didnt hit it big because he could have held his own with balladeers like Barry Manilow I think if Lindsay had been under his tutelage he could have had more MOR hits like Silverbird and Arizona. Lindsay had a great radio voice like Cummings and Manilow and he definitely fit the mode he had the looks and the fans. Its hard to break away from the Raider stereotype though for some fans. Stephanie -------------------[ archived by Spectropop ]-------------------
Message: 20 Date: Sun, 24 Oct 2004 17:31:30 -0000 From: Clark Besch Subject: Re: Smoke Ring vs. Vogues Mikey, I am a Vogues van too, but I don't think there's any way the Vogues recorded "No Not Much" before the Smoke Ring. Being that they were a Nebraska band, the Smoke Ring's version first charted on Golddust records on KLMS on their 11/2/67 top 50, eventually peaking the last week of 68 at #6. During this time, the Vogues' "Till" was entering the Hot 100 on 11/23/68. That was their single BEFORE "Woman Helping Man"! Buddah picked up the Ring's version and it was charting in February, 1969 nationally. In the meantime, "Woman Helping Man" debuted on the Hot 100 2/1/69. After a month of the Ring's airplay nationally and the faltering of the Vogues' A side, the Vogues quickly overtook the Ring in March. The facts do not lie. The Ring version was first, but the Vogues was best. Gary, indeed the Ring's version was "simpler". Who can argue with the Vogues big production trademark endings to their songs? They worked. The Vogues' version made # 50 something on WLS 1969 year end chart! The Vogues always did well in Chicago, even after their national charting had dropped off. In some cases, both versions charted on a station, but more often one or the other. In Billboard, one week they were listed one position above the other on the Hot 100 and on the easy listening chart, you can really tell what happened, as the Smoke Ring was in top 25 and suddenly the Vogues swept pass to the top 10. Clark -------------------[ archived by Spectropop ]-------------------
Message: 21 Date: Sun, 24 Oct 2004 18:27:14 -0000 From: Julio Niño Subject: Fever / I Just Wanna Dance / Al Kooper´s demos. Hola Everybody. I´ve got the flu. I´ve always liked the sensation of having a little bit of a fever (by the way, Eddie Cooley´s version of "Fever" played in musica is great, I love the chorus; it reminds me of some Cuban boleros of the fifties, thanks to Michael Greenberg and Phil for playing it). I also like the flavor of aspirins, so the flu gives me the opportunity to reunite with some of my little pleasures. I´ve been listening to Dave Rich´s "I Just Wanna Dance", currently playing in Musica, and although I like a lot the majestic sonic tide of "The Last Two People On Earth", maybe I prefer the less grandiose "I Just Wanna...". It sound excitingly hysterical and it transmits an instant feeling of enjoyment (a moment ago, I was listening to it in pyjamas and I couldn´t help dancing a little). I find Dave´s voice very sexy (I often find very seductive slightly out of tune voices). Maybe it´s the effect of the flu. I was intrigued by Claire's words about his (then) handsome boyfriend (yes, I know I´m a gossiper). I going to bed again. Chao. Julio Niño. PS: Al (kooper), which UK label is going to release the CD of your demos?. This is great news, I loved the two you posted in musica some months ago. -------------------[ archived by Spectropop ]-------------------
Message: 22 Date: Sun, 24 Oct 2004 14:47:09 -0400 From: Phil X Milstein Subject: Re: Mark Lindsay Larry Lapka wrote: > There is some magic there, though. "Arizona" is a > truly great song, and "Silver Bird" could still be > picked up by a major airline for a promotional > campaign. However, his other material from that time > is really drippy, and his cover versions are even > worse. Yes, great sides, and good point about the advert possibilities of "Silver Bird." I also remember a song he had from that period about Miss America, but can't conjure it musically in my head -- was it one of the "really drippy" ones? > I guess I just expected more from Lindsay than what I > got. This begs a question: did anybody who was a main > fixture of a band have solo material that just drove > you off the deep end, like Lindsay's did/does to me to > this day? I love The (Dutch) Outsiders, but Wally Tax's solo singles are virtually unlistenable. --Phil M. -------------------[ archived by Spectropop ]-------------------
Message: 23 Date: Sun, 24 Oct 2004 17:21:07 EDT From: Claire Francis Subject: Jack Kerouac I mentioned: > ...a poem written to me by Jack Kerouac... Richard Williams: > Now THAT sounds like a story worth telling. More, please! Dear Richard and S'pop members: Please forgive the delay in my getting back to you about my Jack Kerouac tid bit. I cannot believe how many emails I am getting since I joined Spectropop. I am enjoying this new friendship so much and all the wonderful information about one of the finest eras in music. I certainly would never have remembered any of the stories and facts if it weren't for the emails. As far as meeting Jack Kerouac, here is what happened. >From "A Song For Every Journey" ©1981. The following text cannot be reprinted or used in any way without the express permission from the author, Claire Francis Brightwater. All rights reserved. My book will be out soon and I hope all enjoy this little excerpt. Chapter Three There was a very famous club called The Half Note in New York on Hudson Street. All the hipsters and beatniks would go there to dig the incredible jazz. One night Norman, who was this real cool guy who played tenor in the band I sang with in the Borsht Belt in the Catskill Mountains of New York, and whom I had a mad crush on, asked me if I wanted to go hear Clark Terry on trumpet and Bobby Brookmeyer on Trombone, Zoot Sims and Al Cohn on Tenors, all of whom were appearing that night. Of course, I said "yes." I loved the jazz, but honestly, if a monkey was playing the piano I would have gone just to be with Norman, because that's the kind of crush I had on him. The bar was really cool because you could sit on the stool and face the stage so the music was right in your face so to speak. While Norman and I stood at the bar bobbing our heads up and down and snapping our fingers just like real cool beatniks, a young handsome young man who was staring at me came over and said "Hi." I tried to ignore him and kept digging the music. But he was a bit persistent. He was wearing Brooklyn Union Gas Company Uniform. He leaned toward my ear and said "you have such a beautiful face." Now he had my attention. He told me his name was Jack. "Are you with someone?" he asked. I didn't want to be rude to him but I told him "I'm with my friend Norman," who was totally oblivious to me because he was so digging the music. Besides Norman never knew I had a crush on him anyway. Jack asked me if I wanted to stand outside for a while?? "I don't know" I told him, "maybe later after the set." He put his hand to my cheek and told me my eyes "looked Spanish." I told him he looked like a "boxer" and we both laughed. After a few moments Jack said "I'll be right back" and disappeared somewhere. The set ended and I moved closer to Norman to tell him about the guy Jack that was trying to pick me up. The bartender came over to me and said "hey sweetheart do you know who that man is that you were talking to?" "No, not really, but he has nice vibes." The bartender laughed at me and said "how old are you?" I lied and told him I was twenty-one. "yeah right, if you're twenty-one you would know that the man you were talking with is Jack Kerouac and he is one hell of a writer." Norman almost choked on his drink. "Are you kidding me? Norman asked the bartender, "he is my favorite writer!" Norman looked at me with different eyes for a moment. Like he noticed me for the first time really. A little later Jack came over to me again. Norman leaned toward him and said, "Jack, you are my favorite writer, and I love you man, you are IT for me man." "Thanks man" Jack said and he and Norman shook hands. Jack turned his attention toward me and said "I've written a haiku, a special kind of poem for you. A special poem for the beautiful young woman who is breaking my heart." He handed me his poem. It was written on the black and white Half Note bar card in black ink. I read his poem. It was sad. It was about a Pinto pony, a woolen blanket and an Indian girl walking on a snowy winter trail. Jack tried to explain to me that the poem was something about the French Canadian Indians when all of a sudden the horns began to blast their music and it was impossible to hear him, but I leaned over and kissed him on the cheek and thanked him for his poem. I got a peek at Norman and this time I had his attention. He was watching me closely. When it was time to leave, I said good-bye to Jack and again thanked him for his beautiful haiku poem. Norman and I parked in front of my house and spent a long time talking about Jack Kerouac and his writings. When Norman kissed me good-night with a very long kiss I was convinced that the "Nam Yoho Renge Quo" Zen chant that Herbie Hancock taught me was working on the "Norman" situation. I promised myself to keep chanting. I carefully put my Jack Kerouac poem in my "special" box along with my Beatle pictures and the tape Lenny Bruce gave me of his Chicago trial. When Lenny gave me his tape he said "here Claire, show this to your grandchildren someday". I would show them the Jack Kerouac poem as well I told myself. Love & Light, Claire Francis -------------------[ archived by Spectropop ]-------------------
Message: 24 Date: Sat, 23 Oct 2004 21:20:52 -0000 From: Don Subject: Hey Schoolgirl I was going through some things the other day and came across a 45 by Tom & Jerry called "Hey Schoolgirl". I think this was the first recording by Simon & Garfunkel. Any idea on its rarity? Just curious ... -------------------[ archived by Spectropop ]-------------------
Message: 25 Date: Sun, 24 Oct 2004 16:24:15 +0100 From: Various Subject: Re: "Please Love Me" by Betty Everett Andrew C. Jones inquired: > I'm looking for info about "Please Love Me," an early track by Betty > Everett. It was first released as a B-side on Chicago's One-derful > label, then included in several U.S. budget compilation LPs in the '60s. -------- Ray: Details as taken from a Grapevine (UK) CD "One-derful Mar-V-Lus Northern Soul": writers: Higgins-Boler producers: L Austell & La Maja -------- Sebastian Fonzeus: It was released in 1963 as One-Derful 4823. Written by Monk Higgins (a.k.a. Milton Bland) and Johnnie Boler. It has got BMI Work #1182897. An absolutely fantastic track! It is included on Goldmine Soul Supply's "One-Derful, Mar-V-Lus, Northern Soul" (GSCD 102), which is a superb compilation CD that is still in print. Heavily recommended if you're into gritty '60s soul. -------- Gary Myers: Andrew, please let me know if you do find info. If it happens to involve the name James Bryant (aka Bartelme), I'm interested, too. He will be in my 2nd WI book, and he reportedly produced an early Everett session. -------------------[ archived by Spectropop ]-------------------
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