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Spectropop - Digest Number 1708

               SPECTROPOP - Spectacular! Retro! Pop!

There are 25 messages in this issue.

Topics in this digest:

      1. Re: New Kenny Lynch compilation
           From: Martin Roberts 
      2. Nashville cats
           From: Country Paul 
      3. John Peel and Greg Shaw RIP
           From: Jon 'Mojo' Mills 
      4. Outta Coventry - Beverley Jones
           From: Mick Patrick 
      5. Re: Kenny Young
           From: Barry Margolis 
      6. Re: Gregmark
           From: Mikey 
      7. Gregmark Records
           From: Austin Powell 
      8. Duane Eddy
           From: Frank Murphy 
      9. stereo mixing in the '60s
           From: George Schowerer 
     10. More from George S. on the Chiffons in stereo
           From: George Schowerer 
     11. re: Greg Shaw memorial gathering
           From: Gary Myers 
     12. Re: The Albert Hotel, New York City
           From: Richard Campbell
     13. Deni Lynn
           From: Brent Cash 
     14. Re: Hey Jughead, where are you?
           From: Laura Pinto 
     15. S'pop in New York
           From: Joe Nelson 
     16. Re: Third Booth, D-Men, Fifth Estate
           From: Clark Besch 
     17. Keith Allison @ musica
           From: Joe Nelson 
     18. Mark Lindsay Fansite
           From: Patty 
     19. Freddy Weller of the Raiders
           From: Joe Nelson 
     20. Jerry Fuller @ Columbia
           From: Al Kooper 
     21. The Eligibles on Shindig
           From: Sean 
     22. Touring Raiders
           From: Mikey 
     23. Re: The Albert Hotel, New York City
           From: Steve Harvey 
     24. Joe Tex riff
           From: Brent Cash 
     25. Re: Duane Eddy on Gregmark
           From: James Botticelli 

Message: 1 Date: Wed, 27 Oct 2004 22:20:18 +0100 From: Martin Roberts Subject: Re: New Kenny Lynch compilation Julio Niño he wrote: > These days I´m exploring the Kenny Lynch compilation issued recently > by RPM... Thanks Julio, I'd fallen behind with the new releases. Good also to see Harry Young's new Lou Christie MGM material CD, also on RPM. Two essential purchases on one page. I share Julio's appreciation of Kenny's vocal style, warm and rich with an involving way with the lyrics. In my youth it seemed impossible not to see Kenny on all the TV variety shows, sorta like a black Joe Brown. Kenny was not only a fine interpreter of other writers' songs and a very funny guy, he also wrote and produced. I guess his biggest success as a writer was with 'Sha La La Lee' by the Small Faces, co-written with Mort Shuman. He didn't only write with Mort. As well as recording a number of tracks written by Giant-Baum-Kaye, he also wrote with them. I only know the one record, but if you like jangly guitars, surfy harmony vocals and a strong beat it's a good 'un: The Trophies 'Leave My Girl Alone', Kapp 750, produced by Larry Weiss. (My record deck is busted, so Mick has kindly agreed to put the track on musica.) As a producer and solo writer, you've got to hear Kenny's Shangri Las pastiche, The Stockingtops' "I Don't Ever Wanna Be Kicked By You" on UK CBS. I'll play it another day. Martin -------------------[ archived by Spectropop ]-------------------
Message: 2 Date: Fri, 29 Oct 2004 23:11:16 -0400 From: Country Paul Subject: Nashville cats Ed Salamon: > Nashville S'poppers held another unofficial meeting on Sunday at > my place. Austin Roberts, beach music/northern soul legend > Clifford Curry, Steve Jarrell (Sons Of The Beach) and Nick Archer > gathered to quiz Jack Keller about his days at Aldon music and the > songs he wrote and or produced for the Monkees, Neil Sedaka, Connie > Francis, Little Eva, etc. etc.. A photo of the group can be found > at: http://photos.groups.yahoo.com/group/spectropop/lst Thanks for the pic, Ed; it's pretty interesting to see who we are (and have become). We ought to put something like that around here (NYC- northern NJ). We'd probably get a decent crowd. Something to think about when some of the busy-ness of the season eases back a bit. Country Paul -------------------[ archived by Spectropop ]-------------------
Message: 3 Date: Sat, 30 Oct 2004 14:15:30 +0100 From: Jon 'Mojo' Mills Subject: John Peel and Greg Shaw RIP JOHN PEEL The sad news of John Peel's death reached us just after the deadline for submissions at Shindig!. The press generally have and will give overviews on Peel's career and musicians have and will testify to his importance as a music broadcaster and launch pad for so many bands who owe him their initial media exposure (not forgetting his earliest and greatest deed, discovering The Misunderstood). Here however, with our limited space and time, I want to focus on the man's humility and everydayness. No other DJ of Peel's vintage has or could sustain his commitment to the new and championing of the left-field. Other DJs have been important, but none for so very long. Peel looked a decade younger than his 65 years and at heart he was no doubt still a teenager in love with rock 'n' roll. Whether you first encountered Peel via a Perfumed Garden show on Radio Caroline or a Top Gear session in the early '70s or his late night shows (as I did) in the late '70s, he was the consummate understatement of what you expect a DJ to be like and possessed none of the self-congratulatory egocentricity of some of his contemporaries, no sir. Listening to a John Peel show was like going round you mate's house and exploring his latest finds together. There was an essential dourness about Peel that almost disabled him from becoming overblown. In recent years of course, his unique vocal style got him numerous commercial voice-over work. On every interview I ever saw him give, he came across with a sincerity and urbanity which would place him in stark contrast to the self-obsessed celebrity cult of toady. For me, Peel's late night shows in the '70s were the only mainstream radio space I could hear new punk, new wave, or general out there sounds of any kind. Luxembourg was only partially audible in the UK (as it had always been) and along with perhaps Alan 'Fluff' Freeman's Saturday afternoon shows, Peel was my mentor as he was to so many others, be they music lovers in general or one-day will be musos. If ever the title "Mr Music" deserved to be bestowed on an individual (a non- player as it were), then Peel deserved it. As the estimable Andy Kershaw noted, Peel was the single most important and influential music broadcaster this country has ever had, period. Thoughts turn also to the future of his renowned record collection. It might be hoped with his family's endorsement, that it should become a national archive of popular music. Lottery or other funding should be found to enshrine it as such, making it an international resource for music research; such is the arcane nature and sheer rarity of some of it. Anyway God rest you Mr Peel, and I know that somewhere out there, no doubt in tandem with your trusty producer John Walters, you are broadcasting to the hipper spirits in the sky. Paul Martin ---------------------------------------------------------- GREG SHAW To those of us on the other side of the pond (the UK), Greg Shaw was a name that cropped up a lot, but there was seldom a picture to put it to. Although Lenny Kaye is rightly acknowledged with reviving interest in obscure US '60s rock 'n' roll bands, it was Shaw who picked up that baton and never stopped running with it. His record labels Bomp and Voxx ensured that a wealth of US neo-garage and psychedelic groups that weltered upwards in the '80s were recorded for posterity where they may otherwise have remained vague memories only for those who saw them live. He ran '60s based clubs and reissued '60s recordings, published his own magazine and website. And for the '60s garage revival Shaw was THEE man. With the sheer quantity of output, it is not surprising that cock ups sometimes happened, and in the early days, accurate info was intuitive as much as factual. None of these barbs diminish one jot the material and aural legacy that Shaw leaves behind him. The Pebbles series was the way in or back to the hipper side of the '60s for myself and numerous others. I discovered two odd looking CDs in the otherwise ordinary racks of the local Virgin megastore back at the end of the '80s. It was the groovy Rudy Protrudi artwork that attracted me first. After humming and haring for a couple of weeks, I found that these two CDs were still in the racks and such was my curiosity by that point, I grabbed 'em. They were the Best of Pebbles Vols. 1 & 2 on the short-lived UK Ubick label (ran by Cannibal and SD friend Mike Spenser) that Shaw had tried to start in order to spread the Pebbles word amongst the Limies. I never looked back. Within a few weeks I had cleaned out all the vinyl volumes I had found at the local HMV and was religiously playing these gems on rotation at the expense of everything else. The musical universe has only expanded for me ever since and it is too Greg Shaw that I am indebted for it having done so. An everyday tale of course, but one that so many other '60s fans could have told in much the same way, such was the importance of the Pebbles series. If he's not in the R&R Hall of Fame, he bloody well ought to be. Farewell then Mr Shaw and wherever you are keep on rockin' as I know you surely must. Like Paul I stumbled across the UBIK best ofs and then the rest of the Pebbles series, and for me they were life changing. But more importantly I will always remember my teenage garage band The Nuthins (a product of Pebbles inspiration) contacting Mr Shaw by the "old- fashioned" letter in 1990. We immediately received a reply and a wealth of helpful info. In hooking us up with Charlene Coleman and Joss Hutton's Merry-Go-Round records Greg landed us a deal for a single... and for young lads in Hicksville that was a BIG deal. Without Greg's guidance we'd have never rocked our way around Europe and released a slew of records... I wouldn't have attempted to start writing about garage and psych music... and I'd have most not been the person I am today (who in the footsteps of Shaw busts a gut to publish a mag and site and regularly lose my mind... all for the love of rock 'n' roll). It takes a lot to truly inspire a young kid from Wiltshire... and for me and countless others, Greg Shaw was the inspiration that made us kick out the jams! His memory and philosophy will live forever. Paul Martin & Jon 'Mojo' Mills -------------------[ archived by Spectropop ]-------------------
Message: 4 Date: Sat, 30 Oct 2004 16:21:14 +0100 From: Mick Patrick Subject: Outta Coventry - Beverley Jones Ian Slater: > A great new book has just been published about the music scene > in Coventry and surrounding areas of Warwickshire in England. > "Godiva Rocks" is written and published by Pete Chambers and > can be bought from him at: Pete Chambers, 110 Richmond St, > Coventry, CV2 4HY, UK for £7 inc. P&P within the UK. For > overseas rates, please contact Pete at: tencton@hotmail.com > It's a great read with articles on familiar names to S'poppers > such as Beverley Jones, Johnny B. Great and of course, my > favourites, the Orchids... Thanks for the tip, Ian. My seven quid's in the mail, so I I'll have a copy before you can say "Mouldy Old Dough". (I lived in Coventry for about a year. Unfortunately, it was at the time that pesky local record was around. Maybe that's why I left.) Newer S'pop members might not be aware of the S'pop page devoted to Beverley Jones, Coventry's very own Little Miss Dynamite. It's a good read, all in Beverley's own words. Find it right here: http://www.spectropop.com/BeverleyJones/index.htm It took me a while to get used to Beverley's version of Martha & the Vandellas' "Heatwave". A carbon-copy cover-version it ain't. One thing's for sure, though, she sings the hell out of the song. Check here http://groups.yahoo.com/group/spectropop/files/musica/ to listen. Hey la, Mick Patrick -------------------[ archived by Spectropop ]-------------------
Message: 5 Date: Fri, 29 Oct 2004 17:17:35 -0500 From: Barry Margolis Subject: Re: Kenny Young I wrote: > Kenny Young, who worked for Bobby Darin's T.M. Music with Art Resnick, > wrote "Under The Boardwalk", and actually recorded a ton of singles > under his own and various other names. Of course, he went on to write > such songs as "Just A Little Bit Better". They're all really cool teen > pop singles. In 1972, he signed to Warner Brothers and recorded two of > the best singer-songwriter albums, before forming the group Fox, which > had a giant European hit called "Only You Can". If anyone's interested, > I can post the singles I have by him. It's an interesting group of odd > teen pop singles. Here's the Kenny Young items I've got: 1963 THUMBLIN'/DON'T WASTE YOUR ARROWS (MGM K13136) (as Kenny Young) 1964 JUST A LITTLE BIT BETTER/SHAGA-ZOOMA (Atco 45-6322) (as Kenny Young) 1965 (Mrs. Green's) UGLY DAUGHTER/FREDDY'S STREET (Diamond D-183) (as Kenneth Young & The English Muffins) 1966 LITTLE SISTER/MY AIM IS TO PLEASE YOU (United Artists UA-50032) (as Kenny Young) 1967 WHO'S THE BIRD?/A GIRL'S IMAGINATION (RCA Victor 47-9127) (as The Squirrels) DON'T GO OUT INTO THE RAIN (You're Gonna Melt)/HITTING THE MOON WITH A SLING SHOT (Date 2-1536) DEATH OF A CLOWN/ANABEL (Date 2-1573) 1968? TWIGGS/CHARLIE NO ONE (Date 2-1551) (all 3 above as The Seagulls) FAIRY TALES CAN COME TRUE (Have You Heard About Lucy?)/SU SU (Smash 2-2157 (as San Francisco Earthquake) LOOKY, LOOKY, MY COOKIE'S GONE/GOOD MORNING, BABY (Atco 45-6624) (as The Rasberry Pirates) 1969 LOCK ME IN/THE GAME OF LOVE (UK CBS 4728) (by Faith Brown; Produced & Written by Kenny Young) BILJO/SPIDER (RCA Victor 47-9779) (by Clodagh Rodgers, Produced & Written by Kenny Young) WOLF/TANGERINES, TANGERINES (UK RCA 1966) (by Clodagh Rodgers, Produced & Written by Kenny Young) 1970 JUST A LITTLE MORE LINE/I AM THE TAIL (UK RCA 1954) (as Moonshine, issued in the US on A&M as Moonshyne) ROCKING HORSE MAN/NAYLI, NAYLI, GET ME DOWN TO WASHINGTON (UK RCA 2022) (as Moonshine) 1972 ROSALIS/SHAKE THE CITY (Warner Bros WB-7561) (as Kenny Young) 1973 WAKE UP NAVAJO/SOLITARY SING SONG (UK Warner Bros K-16268) (as Kenny Young) Clodagh Rodgers and Faith Brown are female singers. Kenny Young was prolific, wasn't he? Barry -------------------[ archived by Spectropop ]-------------------
Message: 6 Date: Sat, 30 Oct 2004 10:24:38 -0400 From: Mikey Subject: Re: Gregmark Phil M: > Legend has it that an entire Paris Srs. album was lost > in the shuffle of the Phil Spector-Lester Sill dispute.... The 'lost' Paris Sisters LP is truly lost. Lester Sills assistant was told to clean out the out-takes shelf, and mistakenly threw away the Paris Sisters tapes. They didn't want to spend the money to re-record them. Mikey -------------------[ archived by Spectropop ]-------------------
Message: 7 Date: Sat, 30 Oct 2004 10:35:05 +0100 From: Austin Powell Subject: Gregmark Records Country Paul: >I had no idea that three Jamie/Guyden artists migrated to this label: Duane Eddy, Don(nie) Owens and Ray Sharpe. Except for the Paris Sisters, >I've never heard anything else on Gregmark. Have any of you? And is it worth hearing? (I'm especially curious about Eddy and Owens. Duane Eddy played guitar on Donnie Owens' 1958 hit "Need You" on Guyden. Maybe Hazlewood produced this? He certainly produced Sharpe's "Linda Lu" on Jamie. As to Duane Eddy's "Caravan": this may have been an Al Casey recording which had Eddy's name put on it. That way it was more likely to grab sales on the back of his continued success on Jamie. It certainly earned Hazlewood and Sill a few dollars, as EMI picked it up for some foreign territories including the U.K. where it was issued on Parlophone. The only other Gregmark single to be released over here was The Paris Sisters "I Love How You Love Me" which came out on Top Rank. Austin P. -------------------[ archived by Spectropop ]-------------------
Message: 8 Date: Sat, 30 Oct 2004 19:46:04 +0000 From: Frank Murphy Subject: Duane Eddy Re: Duane Eddy's "Caravan" 45: I have this single on Parlophone R 4826. Duane is not on it. It's Al Casey who, of course, was one of Duane's Rebels along with Steve Douglas and Larry Knechtel. Frank Murphy -------------------[ archived by Spectropop ]-------------------
Message: 9 Date: Sat, 30 Oct 2004 12:49:09 -0700 (PDT) From: George Schowerer Subject: stereo mixing in the '60s Not having heard the redo of "He's So Fine" in stereo as of yet, I can only guess that [the engineer] had possession of all the overdub reels, which would have some instruments on one and not the other. To sync voice between the two would be easy enough, and the differences in the successive generations of mono overdubs would supply the feeling of stereo enough to please. Most of the stuff we did at Allegro was on two mono Ampexes. Although we later got to stereo, it was used strictly for overdubbing (multiple overdubs...all mono). I don't recall using the stereo unit on the Chiffons session. All stuff done in that era was done without the thought of stereo release. Later, even at Mirasound, I had a rough time convincing the producers to think in terms of stereo releasing material. Case in point, until Bob Crewe did "Music To Watch Girls By," I could never get to stereo, because there were soooo many overdub tracks, you couldn't keep them separated long enough to use as stereo. Even eight tracks on "Can't Take My Eyes Off You" (Frankie Valli)weren't enough and the mix, done at Bell, was not my idea of nice stereo. I did make myself mixes of that date that I considered far superior to the released album. Same with Mitch Ryder, on "What Now My Love." The closest take to stereo was "My Mother's Eyes" by Valli, where I suspect Crewe used my mix for the stereo. It was frustrating, but reality was what it was...get the single out and make money. When 16 track recording came along, that all changed. They could do all the overdubs they wanted. I still could keep a good stereo image... listen to "With This Ring" by the Platters, which was the very first 16 track session I did. It's my mix there as well, thanks to producer Luther Dixon, who left it to the engineer to get the best take he could. He was great about letting you do your work. He concentrated on the music, and let the engineer do whatever was needed. Regards, George S. -------------------[ archived by Spectropop ]-------------------
Message: 10 Date: Sat, 30 Oct 2004 12:52:33 -0700 (PDT) From: George Schowerer Subject: More from George S. on the Chiffons in stereo --- Mikey wrote: > But George......there exists a stereo backing track > for He's So Fine. > I have a copy of it!! Mikey: See my reply to Donny. Short of that, someone redid the tracks on a multichannel machine and they may have had the score to augment...but the original wasn't stereo. We simply didn't have the capability. This would be a good question to ask Hank Medress and the Tokens, since they produced the session at Allegro. Regards, George S. -------------------[ archived by Spectropop ]-------------------
Message: 11 Date: Sat, 30 Oct 2004 16:45:13 -0700 From: Gary Myers Subject: re: Greg Shaw memorial gathering Kim Cooper: > ... a chance to celebrate Greg off the digital map ... >Thursday, November 4, at 7pm ... >Location: Upstairs at The Red Lion Tavern, 2366 Glendale Blvd. LA 90039, >opposite Rockaway Records where Silverlake Blvd hits Glendale, phone (323) 662-5337 I didn't know Greg, and we communicated only once or twice, but I would enjoy meeting some fellow S'poppers. It's possible I may try to stop in, but I probably wouldn't make it until about 8:30. Gary Myers / MusicGem http://home.earthlink.net/~gem777/ -------------------[ archived by Spectropop ]-------------------
Message: 12 Date: Sat, 30 Oct 2004 12:48:09 -0000 From: Richard Campbell Subject: Re: The Albert Hotel, New York City Before The Lovin' Spoonful appeared, The Mugwumps were conceived at the Albert Hotel. This group was Zal Yanovsky, Cass Elliot, Denny Doherty and Jim Hendricks. Felix Pappalardi was their conductor. The Mugwumps, born in the spring of 1964, are arguably the first American folk rock group. They practiced in the basement. John Sebastian was around and played along with them some. So did a black drummer named Art Stokes who was Art Blakey's nephew. Richard Campbell Visit the Official Cass Elliot Website www.casselliot.com -------------------[ archived by Spectropop ]-------------------
Message: 13 Date: Sat, 30 Oct 2004 14:54:45 -0000 From: Brent Cash Subject: Deni Lynn Hi everyone, I've been digging the single by Deni Lynn: "The Lights Of Night"/"You Taught Me" on White Whale. What's the story on this lady? Mitch Ryder apparently has a version on one of the Crewe labels. This 45 is very much in the "Dusty In Memphis" mold and looks like it too may come from American Recording Studios. Best to all, Brent Cash -------------------[ archived by Spectropop ]-------------------
Message: 14 Date: Sat, 30 Oct 2004 14:57:41 -0000 From: Laura Pinto Subject: Re: Hey Jughead, where are you? Phil X Milstein asks: > Can someone please explain to me who the hell is drumming on > "Everything's Archie (Archie's Theme)." The whole point of the > song's lyric is to say that they can't find their drummer Jughead, > yet drums still can be heard. Yes, I realize that he does finally > show up before the song's end, yet there is drumming heard > THROUGHOUT the song. I am confused. What irritated me in 1968, and still does today, more than the invisible drummer, is the sudden sound of the tambourine when the 'camera' pans over to Betty. This is distracting and throws off the whole song. The tambourine should have either been present throughout the track or not at all. Wisely, it was left off the longer version of "Archie's Theme (Everything's Archie)" used on the debut Archies LP. The tambourine suddenly becoming audible only when Betty was visible, and not being heard at all when she wasn't, was a bit of an insult to the intelligence of kids like me! Laura Pinto :) P.S. Reminds me of something I heard years ago about Elvis Presley - I've forgotten most of the facts surrounding it, like the name of the movie being filmed, but the point is still intact. Elvis was lobbying for the Jordanaires to sing background vocals on a particular song. The director was trying to convince him that it wouldn't work for the scene. When Elvis asked why not, he was told, "Elvis, this song is being sung by you while you're cruising down the highway on a motorcycle, alone. Where would the additional voices be coming from?" Exasperated, Elvis snapped, "The same damn place the band is coming from!" -------------------[ archived by Spectropop ]-------------------
Message: 15 Date: Sat, 30 Oct 2004 12:20:37 -0400 From: Joe Nelson Subject: S'pop in New York Country Paul: > We ought to put something like that around here (NYC->northern NJ). > We'd probably get a decent crowd. Something to think about when > some of the busy-ness of the season eases back a bit. You almost have to do it in NYC proper in order to be most central in location. I live around the Poughkeepsie N.Y. area. I could probably drive into northern Jersey without too much problem, but it might be more difficult for some others. Renting a place in Jersey would be cheaper, though... Joe Nelson (whoever THAT may be...) -------------------[ archived by Spectropop ]-------------------
Message: 16 Date: Sat, 30 Oct 2004 18:05:25 -0000 From: Clark Besch Subject: Re: Third Booth, D-Men, Fifth Estate --- In spectropop@yahoogroups.com, Bill Mulvy wrote: > > Mike Dugo or our group, > Does a clean copy of the "The Third Booth's classic "I Need Love" > exist? I bought an import compilation CD that contained a very > scratchy version of the song... Any help would be > appreciated! Bill, November 7 holds the answer! That is the release date for Bob Stroud's "Rock n Roll Roots Vol. 6" CD in the Chicago area with first CD legit issue of "I Need Love!" The sound on that track, restored by Varese wizard Steve Massie, is great! Now ya gotta find someone who shops at Borders in Chicago to get it! Clark -------------------[ archived by Spectropop ]-------------------
Message: 17 Date: Fri, 29 Oct 2004 23:16:44 -0400 From: Joe Nelson Subject: Keith Allison @ musica John Berg: > ... Paul Revere & The Raiders ... in the late '60s the band members, > Columbia Records and their manager Roger Hart came up with a very > intentional plan to market the individual members to specific audiences, > apart from their continuing efforts as "the Raiders". Freddy Weller was > to be marketed to the country crowd, Keith Allison more as a rockabilly > type artist, and Mark Lindsay to those who like slick, "MOR" or "AOR" > type music ... Now playing at Musica: Keith Allison's vocal take on "Good Thing", sliding into Mark Lindsay's vocal booth while the Raider's track plays on. Enjoy! Joe Nelson -------------------[ archived by Spectropop ]-------------------
Message: 18 Date: Sat, 30 Oct 2004 11:47:48 -0000 From: Patty Subject: Mark Lindsay Fansite I'd just like to introduce myself... A good friend of mine informed me that you guys had been discussing my favorite topic: Mark Lindsay. I've known Mark for quite a while and also consider myself a "fan" of his music, etc. So anytime you guys want to fill me in on ML, please do! I still believe that The Raiders have been one of the most under- rated groups of the 60's early 70's and they deserve their spot in the Rock and Roll Hall of Fame. JMHO of course! For those of you who get the chance, please check out my website for Marcus and sign my guestbook. In the meantime, I'm going to enjoy looking back at all the posts I haven't read yet! I guess u guys heard about Freddy Weller's son. So sad. My website: http://www.marklindsayfansite.net I'm a fan of music, period!!! Love it! Patty -------------------[ archived by Spectropop ]-------------------
Message: 19 Date: Sat, 30 Oct 2004 08:50:34 -0400 From: Joe Nelson Subject: Freddy Weller of the Raiders John Berg: > ... Paul Revere & The Raiders ... in the late '60s the band members, > Columbia Records and their manager Roger Hart came up with a very > intentional plan to market the individual members to specific audiences, > apart from their continuing efforts as "the Raiders". Freddy Weller was > to be marketed to the country crowd, Keith Allison more as a rockabilly > type artist, and Mark Lindsay to those who like slick, "MOR" or "AOR" > type music ... It's unfortunate that the last time I checked Weller's country hits were all out of print. ISTR he was a substantial artist at the time, and it seems a CD is long overdue. Anyone got any inside infop on this? Joe Nelson -------------------[ archived by Spectropop ]-------------------
Message: 20 Date: Sat, 30 Oct 2004 01:30:17 EDT From: Al Kooper Subject: Jerry Fuller @ Columbia Previously: > ... Jerry Fuller, I am not sure if he was independent or a signed > producer to Columbia Records. Signed producer. At least while I was, 1968-1972. Al Kooper -------------------[ archived by Spectropop ]-------------------
Message: 21 Date: Sat, 30 Oct 2004 06:56:25 -0000 From: Sean Subject: The Eligibles on Shindig I was watching a Shindig tape that I have and I saw a group perform called "The Eligibles". They only sang one song but they weren't that bad of singers. Then they sang backup on the song "I Saw Her Standing There". Does anyone know any info on them? Like what were their names and which key did they all sing (like alto, 2nd soprano, soprano)? -------------------[ archived by Spectropop ]-------------------
Message: 22 Date: Sat, 30 Oct 2004 10:31:06 -0400 From: Mikey Subject: Touring Raiders Gary, is that true, that touring Raiders in 1975 were the original band from 1961 before Revere hired Smitty, Drake, Fang, etc? Mikey -------------------[ archived by Spectropop ]-------------------
Message: 23 Date: Sat, 30 Oct 2004 06:47:58 -0700 (PDT) From: Steve Harvey Subject: Re: The Albert Hotel, New York City As a big Spoonful fan I can remember being in 7th heaven when my aunt and uncle moved to Greenwich Village. Got to visit the Night Owl the first time. Oddly enough the next time I visited it it was no longer a nightclub, but a poster and button shop. Had my uncle take me over to the Albert Hotel so I could see where the Spoonful use to rehearse. Unforunately it was just a dark, damp basement. No stories to be found. -------------------[ archived by Spectropop ]-------------------
Message: 24 Date: Sat, 30 Oct 2004 14:38:58 -0000 From: Brent Cash Subject: Joe Tex riff Hi everyone, First, with the Angelettes feature update being mentioned again, I'd like to say great job on it, The Dickens, and (belatedly) The Front Porch pieces by Julie, Phil Milstein and Country Paul (repectively). And all the other (too many to list individually!) features present here. Now, Joe Tex's "Papa Was Too" (a companion piece to Lowell Fulsom's/ Otis & Carla's "Tramp") has a piano riff in the tune's opening that is very similar to Cream's riff in "Politician". Not a direct lift, but I think the DNA is there. I haven't actually heard Fulsom's original, is it there as well? Best wishes to all, Brent Cash -------------------[ archived by Spectropop ]-------------------
Message: 25 Date: Sat, 30 Oct 2004 10:43:22 -0400 From: James Botticelli Subject: Re: Duane Eddy on Gregmark Dave Heasman wrote: > I don't think Duane Eddy migrated to Gregmark exactly. "Caravan" came > out in England about then, on HMV I think, and we thought at the time > it was a pre-Jamie recording. Certainly sounded like it. The only question remaining is when is the definitive "Caravan" compilation comes out.....I love Bert Kaempfert's with that fuzz bass. But hundreds have recorded it... James Botticelli -------------------[ archived by Spectropop ]-------------------
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