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Spectropop - Digest Number 1712

               SPECTROPOP - Spectacular! Retro! Pop!

There are 25 messages in this issue.

Topics in this digest:

      1. Re: Where The Girls Are, Vol 6 / Barbara Mills @ Musica
           From: Mick Patrick 
      2. Greg Shaw Joe Meek Shadows Flamin' Groovies
           From: Greg O. 
      3. Re: Kenny Young
           From: Phil X Milstein 
      4. Re: Chiffons stereo
           From: Al Kooper 
      5. Re:Andrew Loog Oldham Productions
           From: JK 
      6. Re: stereo mixing in the '60s
           From: Clark Besch 
      7. Re: Someone To Talk To - The Breakaways & "Darling"
           From: Greg O. 
      8. Re: Zombie Jamboree
           From: Al Kooper 
      9. Re: Claire Francis back @ musica
           From: Claire Francis 
     10. Pet Sounds Stereo
           From: Al Kooper 
     11. Re: stereo mixing in the '60s
           From: George S. 
     12. Re: The Mark IV
           From: Al Kooper 
     13. Re: Andrew Loog Oldham productions
           From: Bill Craig 
     14. Re: Caravan
           From: Gary Myers 
     15. Rock Critics tribute to Greg Shaw
           From: Mark 
     16. "Wonder Where The Boys Go (When They Want To Cry)"
           From: Mick Patrick 
     17. Re: Andrew Loog Oldham Productions
           From: Al Kooper 
     18. The Eligibles
           From: Various 
     19. Re: S'pop in New York
           From: Claire Francis 
     20. Re: S'pop in New York
           From: George Schowerer 
     21. B-side Royalties
           From: Al Kooper 
     22. Bill Reed RIP; Sandie Shaw and other catch-up items
           From: Country Paul 
     23. Paul Evans
           From: Ed Salamon 
     24. Merseybeats USA release
           From: Don 
     25. Re: Columbia - closed shop
           From: Al Kooper 

Message: 1 Date: Mon, 1 Nov 2004 22:33:13 -0000 From: Mick Patrick Subject: Re: Where The Girls Are, Vol 6 / Barbara Mills @ Musica Vlaovic B: > I'm so used to getting my import copies of these things so > late, I was shocked when I got a call from my vintage vinyl > /CD store telling me they had a copy of ("Where The Girls Are, > Vol 6") on hold for me....3 days into listening and already a > number of the songs are repeating in my head! Marvellous stuff. > Nice to have a clean copy of The Darlettes 'Lost' (what about > the lovely B-side 'Sweet Kind of Loneliness'?) We can thank my lovely pal Samski for that. She located the mastertape in the President warehouse and made it available to Ace. Bless. Ace Records are now the owners of the Mirwood /Mira catalogue. I hear they have some soul compilations in the pipeline. With any luck, the Darlettes' flip will be on one of those. I'll put a word in, shall I? > I'd never heard of Barbara Mills but now I'm intrigued, > t'rrific vox! I agree, Barbara was a terrific singer. "(Make It Last) Take Your Time" is by far the best of her records. (Hark, is that a chorus of disapproval I hear from irate Northern soul fans?) Her other five Hickory decks weren't bad, either. I've posted one to musica. Lend a shell-like to Details are: Barbara Mills "Little Things Like That" (Hickory 1347, 1965) Written by Russ Titelman and Larry Kolber. Some members might be familiar with versions of this excellent song by Suzy Wallis, Linda Lloyd and Little Pattie. They're all good. > Good to have another Goodees track; tell me is the LP worth > searching out? Well, I do currently have the hots for their rendition of "He's A Rebel", but (not counting the amazing singles "Condition Red" and "Jilted") the best track on the album is their great version of the Swingin' Medallions' "Double Shot (Of My Baby's Love)". To hear those lyrics sung by girls is utterly jaw-dropping. Read more about "Where The Girls Are 6" at the Ace website. It's updated monthly and well worth checking regularly. Also featured this month is a tribute to Dave Godin: Glad you liked the booklet. We try our best. Hey la, Mick Patrick -------------------[ archived by Spectropop ]-------------------
Message: 2 Date: Mon, 01 Nov 2004 00:54:20 -0000 From: Greg O. Subject: Greg Shaw Joe Meek Shadows Flamin' Groovies I closed my weekly email missive about London's Rapiers with this note in remembrance of Greg Shaw, who helped cross-linked all my consuming rock 'n' roll passions. RIP Greg. [*] CHOPPIN' & CHANGIN': Finally, it's a safe bet I wouldn't be composing Rapiers email newsletters were it not in part for Greg Shaw, who passed away suddenly last week at the age of 55. Editor of "Bomp!" magazine, the finest, smartest and liveliest pop music fanzine I ever read, founder of Bomp! Records, which almost single -handedly kick started the '60s music revival in the States during the dark ages of the mid-'70s, and rock 'n' roll historian ahead of his time -- imagine flying the flag for Johnny Kidd & The Pirates, Joe Meek and The Shadows for us clueless Yanks way back in 1975 in his extraordinary liners to Sire Records' "The Roots of British Rock" -- Greg taught me it was OK to wear passion on your sleeve, buck off naysayers and champion daddy-o-cool stuff (like San Francisco's Flamin' Groovies, who had the audacity to re-do Cliff's "Move It" in 1978) no matter if it was 180 degrees out of whack with the pop charts. Mentor, writer, producer and visionary, Greg will be sorely missed. Greg O. Full newsletter is linked off or at: -------------------[ archived by Spectropop ]-------------------
Message: 3 Date: Mon, 01 Nov 2004 01:46:28 -0500 From: Phil X Milstein Subject: Re: Kenny Young Barry Margolis wrote: > Here's the Kenny Young items I've got: > DEATH OF A CLOWN (Date 2-1573) Was this a cover of the Dave Davies song? --Phil M. -------------------[ archived by Spectropop ]-------------------
Message: 4 Date: Mon, 1 Nov 2004 06:11:11 EST From: Al Kooper Subject: Re: Chiffons stereo George Schowerer: > I was the engineer on Chiffons "He's So Fine,"........... > The tracks done at Allegro are in monaural only as we didn't > have a stereo machine at that time............ Mikey: > But George......there exists a stereo backing track for > "He's So Fine". I have a copy of it!! George, You've backed into a room of bloodthirsty music fans here Choose your words carefully or you'll be walkin the plank!!!! But seriously, George, if you're as old as me, we confuse some tracks with other tracks occasionally and that is so FORGIVEABLE on these premises. So relax, while we adjust the gallows...... Long John Kooper -------------------[ archived by Spectropop ]-------------------
Message: 5 Date: Mon, 1 Nov 2004 07:06:12 EST From: JK Subject: Re:Andrew Loog Oldham Productions Andrew was responsible for Tony Rivers and the Castaways' wonderful version of Brian Wilson's "Girl Don't Tell Me" on Immediate.... JK -------------------[ archived by Spectropop ]-------------------
Message: 6 Date: Mon, 01 Nov 2004 14:06:43 -0000 From: Clark Besch Subject: Re: stereo mixing in the '60s Joe Nelson: > I've been trading messages offlist all day between Mike Rashkow > and Bob Celli (acting as courier for Bobby Vee), both claiming > what I should have figured out earlier: not only were the singers > and orchestra performing at the same time, but more often than not > the whole session was a single live take and overdubbing was quite > rare beyond doubletracking. I found it interesting and disappointing when I listened to the Bobby Vee legendary masters Cd for the first time. It was great to hear all those Vee songs in great sound quality and even tho it seems a slight problem, I was surprised to hear on one of my fave Vee songs, "Look at me Girl", that the song was sounding perfect until the end fade when the vocal overdubs were GONE! There may not have been much overdubbing later, but in this case, there was a little. It's like hearing the alternate of "Cherry Cherry" or "Solitary Man" or "Catch Us if You Can" with the wrong incidental vocal overdubs. Just bugs me, y'know? Yet, "Look at me Girl" is great with or without the overdubs. Clark -------------------[ archived by Spectropop ]-------------------
Message: 7 Date: Mon, 01 Nov 2004 16:24:49 -0000 From: Greg O. Subject: Re: Someone To Talk To - The Breakaways & "Darling" Steve Crump: > I picked up a record the other day: Epic album (USA pressing) > - Triple Feature. It contains soundtrack music from "important > European films"; sveral tracks from Casanova 70 by Armando > Trovaioli; several tracks from Divorce Italian Style by the > same chap; a couple of tracks from the film Darling, one of which > is a song "Someone To Talk To" sung by a bunch of girls. I'm > pretty sure it's the Breakaways, does anyone else know about this? Steve, I looked for that record for 10 years and finally found it this year, too. Yes, it's the Breakaways, but either it's a remix or a slower take than what's used in the film, a bit more sultry on vinyl, whereas the film take is louder, faster -- after all, it's background to a party scene with Julie Christie and Laurence Harvey. I was sad the track wasn't included on the recent Breakaways compilation. Greg O. -------------------[ archived by Spectropop ]-------------------
Message: 8 Date: Mon, 1 Nov 2004 05:53:17 EST From: Al Kooper Subject: Re: Zombie Jamboree Previously: > By the way, wasn't it Al Kooper, frequent contributor to this > group, the person instrumental in getting "Odessey and Oracle" > released in the States? Being a fan, when I heard that album, I surely swooned. Fortunately, I was in a position at the time, where I could professionally further the reach of that album. Any of us would've done the same thing given the chance. It just happened to fall into my lap that time. Al "Care of Cell 44" Kooper -------------------[ archived by Spectropop ]-------------------
Message: 9 Date: Mon, 1 Nov 2004 11:44:53 EST From: Claire Francis Subject: Re: Claire Francis back @ musica Thanks for playing "If You Don't Know". I enjoyed producing that record. It certainly did bring back memories and yes, I wrote that song because that was a time in my life that was painful - but hey, that's show biz. Was that an "A" side or a "B" side? What was on the other side. Please let me know. I found the track to be very muddy. I am sure it was the way it was produced. I probably was not in the best of moods when I was working on it. I can hear the chicks in the background, but not very clearly. I think this was on two tracks? I am not sure. Oh, what I would do to remix that one now. Or, could it be the fact that I am playing it from my computer? Anyway, thanks for playing it in musica, I listen to it hoping it will jog my memory even more. What a Blessing to have my mind go back in time and hear what I did. Love & Light Claire Francis -------------------[ archived by Spectropop ]-------------------
Message: 10 Date: Mon, 1 Nov 2004 09:33:05 EST From: Al Kooper Subject: Pet Sounds Stereo Previously: > ...I guess this is why the stereo remix of Pet Sounds surprised > me so much - since Brian Wilson obviously wasn't concerned with > stereo in 1966 I figured he'd lead my follow and use a similar > layout, which turned out not to be the case - his stereo turned > out to be not unlike most stereo at the time... >From the brief discussion I had with him, Mark Linett, who mixed Pet Sounds in stereo & 5.1 Surround, claims there was mucho synching of mono tracks involved and that it took centuries to do it. Mark, BTW, would be a GREAT interview........... Al Kooper -------------------[ archived by Spectropop ]-------------------
Message: 11 Date: Mon, 1 Nov 2004 08:59:16 -0800 (PST) From: George S. Subject: Re: stereo mixing in the '60s Joe, 16 Candles was all done live, no o/d. On the other hand Bob Crewe NEVER recorded everything live. There were always zillions of overdubs (at times, just the tambourine). Streisand was live, with an occasional return for vocal redo. Most Columbia stuff done three tracks was so well recorded, that you literally could throw up a three to two mix and let it go by itself...this goes for classical as well as pop. All of us doing sessions in those days had to know what you would expect on the final product and mix accordingly. Most of what I did was not all in one take. The demos for Artie Butler, Carol King, Neil Sedaka, etc. were all overdub upon overdub and, in Carol's tapes, she played all the instruments herself, while Goffin broke her chops during the sessions. Regards, George S. -------------------[ archived by Spectropop ]-------------------
Message: 12 Date: Mon, 1 Nov 2004 05:58:11 EST From: Al Kooper Subject: Re: The Mark IV Gary Myers: > There were at least a few "Mark IV's". I believe that one was > a Chicago band. In fact, I'm seeking info on yet another one > that had a 1968-9 release on Wisconsin's Tee Pee label. I believe there was a Mark IV that had a late 50's single called "(Make With) The Shake". If the 60 year old memory's gone, I stand busted. Old Al Kooper -------------------[ archived by Spectropop ]-------------------
Message: 13 Date: Mon, 01 Nov 2004 19:12:21 -0000 From: Bill Craig Subject: Re: Andrew Loog Oldham productions Mick Patrick: > Oldham's autobiographies, Stoned and 2Stoned, are very highly > recommended, especially the latter. He's a brilliant writer, > with a very original style. Both tomes are now readily > available in remainder stores. Mine cost less than three > quid each. Bargains, or what? In August while on vacation(holiday?) in London I bought 2Stoned at that bargain price at the HMV store in Covent Garden. I agree it was a great read. ALO is a gifted story teller, and most of the people and eras that he writes about are the people and eras I've always been most fascinated by. As soon as I finished his second volume I bought a copy of the first and devoured that also. While in London I dragged my family out to Holloway Road to see the site of Joe Meeks'legendary digs.(This for some reason is not on any of the rock & roll walking tours of the city.) There were apts. for rent in the building, the sign for them being right next to the plaque commemorating Joe's Studio.I noticed the cycle shop on the ground level is now Holloway Cycle as opposed to Cycle Logical as it was at the time of the John Repsch book. My wife took a picture of me that managed to get the plaque in it, but my digital camera somehow malfunctioned and it got lost. Ghost in the machine? What would Joe have said? Cheers, Bill Craig -------------------[ archived by Spectropop ]-------------------
Message: 14 Date: Mon, 1 Nov 2004 11:27:06 -0800 From: Gary Myers Subject: Re: Caravan Phil Milstein: > I just came across a vocal version of Caravan, by Sy Oliver > & Orch., from mid-'40s. Writing credit there is to Ellington > & Tizol, so I assume the latter, whoever he was, was the cat > responsible for the so-called special material. The latter is Juan Tizol, who, IIRC, was one of Ellington's trombonists. I've heard two different melodies for the bridge of Caravan (same chords, however). I believe Billy Eckstine sang a melody different from the common instrumental one. gem -------------------[ archived by Spectropop ]-------------------
Message: 15 Date: Mon, 01 Nov 2004 20:09:56 -0000 From: Mark Subject: Rock Critics tribute to Greg Shaw Just to let everybody know that Scott Wood over at Rock Critics ( has put together an excellent tribute to the late great Greg Shaw in words and pictures. Mark -------------------[ archived by Spectropop ]-------------------
Message: 16 Date: Mon, 1 Nov 2004 20:22:31 -0000 From: Mick Patrick Subject: "Wonder Where The Boys Go (When They Want To Cry)" Gary Myers: > I don't that it's on any CD, but "Wonder Where The Boys Go > (When They Want To Cry)" is, IMHO, an excellent 60's girl > record on Milwaukee's Raynard label, but produced in Nashville. By Rose Du Bats, yes? I've never heard it, but would snap it up on your recommendation. Maybe you could make it available for hearing via musica? Hey la, Mick Patrick -------------------[ archived by Spectropop ]-------------------
Message: 17 Date: Mon, 1 Nov 2004 16:38:53 EST From: Al Kooper Subject: Re: Andrew Loog Oldham Productions Mick Patrick: > Oldham's autobiographies, Stoned and 2Stoned, are very > highly recommended, especially the latter. He's a brilliant > writer, with a very original style. Both tomes are now readily > available in remainder stores. Mine cost less than three quid > each. Bargains, or what? I've never seen an Andrew Loog Oldham > discography, but I'd like to. Anyone? First off, one of my favorite ALO stories is from Peter Riegert, the actor. Until I corrected him recently, he had thought for all these years that his name was Andrew Lou Goldman. I told this to Andrew and now I have nicknamed him "Lou". Enclosed is his his reply to your request for a discography which I copied to him: al; Gene Pitney; Andrew Oldham Orchestra; Estus < Epic >; Sunday Funnies < Rare Earth >; Repairs < Rare Earth >; Peter James < Reprise >; Jimmy Cliff "live - the best of"; Donovan "Essence To Essence"; Francesco di Gregori < RCA Italia >; Anna Oxa < RCA Italia >; Compania Ilimitada < CBS Colombia >; Ratones Paranoicos < Sony Argentina >; Charly Garcia < Sony Argentina >; are some Mick Patrick might be unaware of. saludos, a-lo. -------------------[ archived by Spectropop ]-------------------
Message: 18 Date: Mon, 1 Nov 2004 22:38:37 -0000 From: Various Subject: The Eligibles The Eligibles - a compendium of new posts: Mikey: > ...The Eligibles were a well known three man harmony group that did > TONs of sessions in LA as backing singers. Ron Hinclin was their lead > singer. In 1965/66 they were signed to appear every week on Shindig > as regulars. This is where America really saw them. They sang on, > literally, hundreds of songs that came out of California in the 1960s. > If you listen VERY closely to "This Diamond Ring" by Gary Lewis, you > will hear Ron's voice alongside Gary's to keep him on pitch. They also > had some hits of their own, "Car Touble" and, under the name "The In > Crowd", a great lost track called "Questions and Answers", which > sounds like, if Gary Lewis had recorded it, it would have been a hit. Thanks for the info! Just one question before I go...was Ron one of the short guys or the tall one? Thanks again. Sean ------------------------------------------------------------------- The Eligibles also sang the "Gilligan's Island" theme song for one of the seasons (I think the Black and White one (64))!!). They were usually on Shindig if the Wellingtons were not there, but not EVERY week. I think I may have read somewhere that one of them may have gone on to do session work as the Partridge Family along with Robin Ward. Tony Leong ------------------------------------------------------------------ I have to say that in my LA period 74-89 (approx) I never did a bg session w/o Ron Hicklin being involved. Either he sang or he contracted the session. He NEVER failed me. I always got whatever I was looking for ...from Temptation singing to Beach Boy emulation, Ron could do anything I needed. He was also a great person and I truly miss not working with him anymore due to geography, although I'm sure he's retired and living the good life. Al Kooper ------------------------------------------------------------------- In Pittsburgh, we had an oldies dance scene comparable to Beach Music or Northern Soul. The only Bobby Vee record in that canon was "Where Is She" with the Eligibles. I highly recommend it. Ed Salamon ------------------------------------------------------------------- Gary Myers: > Did they also do "Save Your Heart For Me"? I love that 4 Freshmen > sounding line in the last chorus. I believe so, yes. Actually, only Ron Hinclin represented The Eligibles on "This Diamond Ring". The backround vocals were first done by the Johnny Mann singers, then after a year or so, The Eligibles took over the job. Mikey ------------------------------------------------------------------- I always thought The Eligibles' main claim to fame was singing the first version of the GILLIGAN'S ISLAND theme...before the lyrics "Professor and Mary Ann" were added. That later version - for the color episodes - was sung by The Wellingtons - another band that appeared regularly on SHINDIG. Mike Dugo ------------------------------------------------------------------ Ron Hicklin was a "member" of the PARTRIDGE FAMILY- credited with, "vocal arrangements". Sang with PF SLOAN, GRAHAM PARSONS (1973 LP), JOHNNY CASH, DONOVAN (1976 Epic LP), GRIN (w. The Ron Hicklin singers/Cry Tough 1976), ELTON JOHN Blue Moves (1976 LP), KEITH MOON 1975 LP, contributed to THE BRADY BUNCH LPs (Paramount label). Also: SQUIDDLEY DIDDLEY'S SURFIN' SAFARI (Hanna Barbera label) with studio singer and ex-Eligibles Singer, Stan Farber. Mark R. Hill ------------------------------------------------------------------ Bob Celli: > Also, Ron Hicklin was the guy that Gary Lewis sang along with on most > of his records to keep Gary on key. That's info directly from one of > many conversations I've had with Snuffy (Garrett). >From Liberty Records: Hal Blaine: “I was Snuff Garrett’s drummer. I did Gary Lewis and the Playboys, I worked on his father’s things, so it was like a family thing. And I did Bobby Vee, Johnny Burnette, Dick and Deedee, the Rivingtons, the Ventures – I know that I did every record Gary Lewis ever did. Ron Hincklin did the vocal arrangements and sang background and lead along with Gary. I don’t think anyone ever knew that, or even know it today. “Ron Hincklin was one of the great studio singers. He could sing higher than anybody. And he could match anybody’s voice. For years, whenever we’d go into a Beach Boys’ session, I mean a sound-a-like, Orange Crush or some product where they wanted a Beach Boys’ sound, they always hired Ron Hincklin. Ron and Tom and John Baylor, the Baylor Brothers, very big producers in LA. today, they could match anything vocally. It was beautiful. Gary Lewis: “The Playboys played on all of the basic tracks. Snuff would call in session musicians to do overdubbing, but yeah, the Playboys did the basic tracks on all this hits, they were definitely on the records. Leon may have mixed it down a little bit, but they were on them. Good people were called in to do overdubs, like Hal Blaine on percussion, Tommy Tedesco would do guitar things, real good people. Ron Hincklin sang harmony or shared the lead with me on everything. He was great. Sloan and Barri sang background on some album things.” Doc Rock ------------------------------------------------------------------ -------------------[ archived by Spectropop ]-------------------
Message: 19 Date: Mon, 1 Nov 2004 18:37:33 EST From: Claire Francis Subject: Re: S'pop in New York Mikey wrote: > Guys, if we have the get together in Manhattan, I would like to > have my band "Mr Action and The Boss Guitars" play. We are a guitar > instrumental band and play instro versions of 60s Pop classics. Can I sing? (I'm only joking!) Claire Francis -------------------[ archived by Spectropop ]-------------------
Message: 20 Date: Mon, 1 Nov 2004 14:29:54 -0800 (PST) From: George Schowerer Subject: Re: S'pop in New York Mikey: > Guys, if we have the get together in Manhattan, I > would like to have my band "Mr Action and The Boss > Guitars" play. We are a guitar instrumental band > and play instro versions of 60s Pop classics. Mikey: Joe Venneri of the original Tokens gave me his guitar (Barney Kessel Custom 1959 with PAF pickups) if you would like make the occasion really authentic. Regards, George Schowerer -------------------[ archived by Spectropop ]-------------------
Message: 21 Date: Mon, 1 Nov 2004 06:14:53 EST From: Al Kooper Subject: B-side Royalties Previously: > Since royalties are based on record sales, did B side artist, > songwriter, etc. make as much as the A side release. Not really. The airplay money was the deciding factor that B side guys & gals did not really share in. But record sales generated a free ride for B side surfers. Lets go Surfin......NOW Al (I co-wrote the B side of It Hurts To Be In Love) Kooper -------------------[ archived by Spectropop ]-------------------
Message: 22 Date: Tue, 2 Nov 2004 00:45:02 -0500 From: Country Paul Subject: Bill Reed RIP; Sandie Shaw and other catch-up items Michael Coxe: > Diamonds founder & bass extroadinaire Bill Reed passes on. > A bit out of the Spectropop range, but certainly a precusor > worthy of note and remembrance....[G]great bass pop singers > are like great rhythm guitarists; I never tire of the sound > & effect. Listening back to their hit output, they had a remarkable sense of humor and true musicality, yet were able to rock out when allowed. (The rest of the time they seemed forced to cover some stuff not worthy of their talent, IMO.) The lyrics to "The Stroll" may be a bit on the stoopid side, but they delivered the track with true doo-wop soul. "She Say" - again saddled with limp lyrics - is brought to life by Reed's amazing bass and by the commitment the group gave the song (great falsetto work, too). And to my ears "Little Darlin'" is one of the rare covers that totally eclipses the original - they're serious about both doing a good job musically and having a good lauigh at the song - a laugh we're all in on. (Listen to it with "fresh ears" if you can.) RIP, Bill. Norm D.: > There's a full-length story about Sandie Shaw in The Guardian > newspaper today (28 Oct. '04).... >,,1337736,00.html Knowing only her hits ("Girl Don't Come" has always been a favorite) it was interesting to see more of her story. Thank you. Just as a postscript to the Beach Boys/Brian Wilson posts of late, one of my favorite Dennis Wilson songs is "Cuddle Up." The depth, sensitivity and intense musicality make it truly a standout. With Brian's newly-roughened voice, this could be a great asset to their next tour; no doubt his current band would make it soar. Fascinating to hear Lincoln Chase's original author's version of "Jim Dandy". It's much "cuter" than I would have expected both from Laverne Baker's original and from Chase's bass work on Shirley Ellis' "Nitty Gritty", but yes, I do like it. This and Eddie Cooley's "Fever" have been revelations; I wonder how much of the arrangement of each came from the author and how much from the producer, whoever it was. More from this album, please! Me: > Also, Mike Nesmith's post-Monkees solo work contains some of the best > ("Joanne," "Tumbing Tumbleweeds," "The Partisan" at the time) and some > of the most unlistenable stuff he ever recorded, IMO. Austin Roberts: > Don't forget Different Drum and Some Of Shelly's Blues! Two great songs, to be sure, but weren't they written pre-Monkees? Bill Mulvy re: Zombies "Odessey & Oracle" review > ...It's one of the best [albums] of the sixties era. See the > review I have posted to the S'pop Files Section: > Some of my friends from my radio days have seen the tour and raved as you do. Sorry I missed it. Thanks to the folks who have contacted me off-list about the Gregmark material. Norm again: > There was a flurry of interest in Dean Reed a few weeks ago on S'Pop. > There's more on him in a newspaper review of a forthcoming book - The > Guardian, 29/10/04: >,,1337866,00.html Totally fascinating - he seems to have occupied an entirely parallel universe. Go to to see pictures and further illustrative detail. The Angelettes' story is very interesting; they really could sing beautifully. But what were Jonathan King and Johnny Arthey thinking with the inappropriate rhythm? It undermines the entire recording! The full string section is very nice, though. Thanks to all involved with putting this together. Country Paul -------------------[ archived by Spectropop ]-------------------
Message: 23 Date: Mon, 01 Nov 2004 16:44:22 -0000 From: Ed Salamon Subject: Paul Evans Occassional S'popper Paul Evans wrote and recorded a couple of novelty records that went to #1 on WHN in the 70s; "Happy Birthday America" and "Hello This Is Joanie". He just wrote and recorded another, "The Curse Of The Bambino", which you can hear on his website @ Ed Salamon -------------------[ archived by Spectropop ]-------------------
Message: 24 Date: Mon, 01 Nov 2004 20:25:26 -0000 From: Don Subject: Merseybeats USA release I just found a compilation CD called "Fuzz Flaykes and Shakes Volume 3" that has "Nobody Loves Me That Way" by the Merseybeats USA. Has anyone heard the CD and know the quality of the recording? I still have the original 45 but it is very scratchy. I listened to the version on musica and it is fairly distorted. Just curious as to where they got their copy for the CD. Also in this series are several tunes by a Louisville group called "Soul Inc.", which recorded in the same studio as we did. Just wonder if somehow they got hold of some of the mixed tapes. thanks Don -------------------[ archived by Spectropop ]-------------------
Message: 25 Date: Mon, 1 Nov 2004 16:49:44 EST From: Al Kooper Subject: Re: Columbia - closed shop Frank Murphy: > I always understood that Columbia artists had to use Columnia > Studios and could only work with Columbia producers. Is this > correct? I recall the Byrds recording "Eight Miles High" at RCA > and then having to re-record. It was a union shop for many years and the above was true. Then at the tail end of the 60's, they let us (artists) work in other studios, but a Columbia engineer had to be present. He didn't have to engineer; mind you - just be present. Columbia producers were NOT allowed to touch the console. That was the most annoying part. I used to pay off the engineers so I could mix the albums I produced. The other great union rule was the engineers had to break for an hour every three hours on the dot. If you had a forty piece session going from 10-1 PM , no matter WHAT point the session was at, they'd pull the plug at 1 PM AND you had to leave the studio. Boy did they piss people off! Al Kooper -------------------[ archived by Spectropop ]-------------------
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