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Spectropop - Digest Number 1723

               SPECTROPOP - Spectacular! Retro! Pop!

There are 21 messages in this issue.

Topics in this digest:

      1. Re: Toussaint McCall / Kenny Young
           From: Mark 
      2. Thank You, Al Kooper!
           From: Mark 
      3. Zombies/Love
           From: Mark 
      4. Ron Dante/Stones
           From: Tony Baylis 
      5. Re: Dalida '65
           From: Steve Crump 
      6. Re: Eddie Hodges
           From: Rodney Rawlings 
      7. Re: Ron Dante/Bo Cooper
           From: Joe Nelson 
      8. Re: My White Bicycle
           From: Mark Wirtz 
      9. Re: Brian Hyland
           From: Mike Griffiths 
     10. Re: Eddie Hodges
           From: John Berg 
     11. Dan Penn and Buzz Cason
           From: Mark 
     12. Austin, "IOU" Thanks for Writing a Great Song!
           From: Mark 
     13. Re: Eddie Hodges
           From: Tom Taber 
     14. Re: Austin, "IOU" Thanks for Writing a Great Song!
           From: Austin Roberts 
     15. Re: Kenny Young - no, not that one
           From: Robert Pingel 
     16. Re: Sonny Childe
           From: Phil X Milstein 
     17. Re: Eddie Hodges
           From: John DeAngelis 
     18. Re: Eddie Hodges
           From: Bob Rashkow 
     19. Re: "Wonder Where The Boys Go (When They Want To Cry)"
           From: Gary Myers 
     20. Re: Mark Wirtz's White Bicycle
           From: Barry Margolis 
     21. Bob Feldman
           From: Tom Adams 

Message: 1 Date: Wed, 10 Nov 2004 02:34:56 GMT From: Mark Subject: Re: Toussaint McCall / Kenny Young Hey Guys! Running behind as always! Anyhow... We were talking about "Nothing Takes the Place of You" by Toussaint McCall on CD a few weeks back. Fuel 2000 issued the complete Ronn recordings by McCall on CD not too long ago, containing the entire "Nothing Takes..." LP plus non-LP singles and a couple of unreleased tracks. I recommend this disc highly. Re Kenny Young: there's a single on the Share label (#105), from about 1970, by Kenny ("Ain't It Funny What Love Can Do"/"Leave Those Young Girls Alone (Old Men)"). Is this the same Kenny Young, or might this be a different guy? Both sides were produced by the late, great Van McCoy. Best, Mark -------------------[ archived by Spectropop ]-------------------
Message: 2 Date: Wed, 10 Nov 2004 02:42:35 GMT From: Mark Subject: Thank You, Al Kooper! Hello again! This is a bit late, but I got to see the great Al Kooper October 6th at a venue about a mile from my house in Cleveland, the Beachland Ballroom. If you haven't seen Al in concert, GO! You'll be totally pleased as he not only sings the best of his solo material (as well as some of his BS&T material), but he also tells some hilarious stories (the one about the song he wrote for the Shangri-Las, "Junior Was a Heavyweight" was priceless!) and does some cute musical bits as well (after hearing "One of a Kind Love Affair" played on a mandolin, I don't think I'll ever hear that song the same way again without laughing!). I got his autograph on a CD booklet after the show, and my brother presented him with some pics that he took of Al, circa 1967, at a local department store. We had a great night. Thank you, Al, for coming to the Beachland--if you come back, we will be there! Best, Mark -------------------[ archived by Spectropop ]-------------------
Message: 3 Date: Wed, 10 Nov 2004 02:47:48 GMT From: Mark Subject: Zombies/Love Hello again! I too saw the Zombies and Love when they came to the Beachland (five days after Al Kooper)--both acts still have what it takes! Love did everything you'd want to hear...well, almost everything. How could they NOT play "My Little Red Book"? Still, they were fantastic. And the Zombies? Man, Colin's voice still sounds great! They came out for three encores, including "Beechwood Park", which they hadn't performed in years, according to Rod Argent. They even sang a couple of Argent songs and one of Colin's solo tunes. Another concert worth checking out if it's in your area. Best, Mark -------------------[ archived by Spectropop ]-------------------
Message: 4 Date: Tue, 09 Nov 2004 18:20:50 -0000 From: Tony Baylis Subject: Ron Dante/Stones >From the Spectropop article .. "For reasons Ron still can't fathom, The Detergents were always the next-to-last act to go on, which effectively made them The Stones' opening act. Audiences anticipating the performance of Mick and the guys with their sexually charged repertoire were understandably not pleased at having to sit through the preceding groups, who were about as far removed from The Stones as the man on the moon;" Now this is funny .... back in 1962/63, I toddled off to Southend to see the Everly Brothers on tour ... naturally they, as the Stars, closed the show. However, their opening act was this absolutely 'orribly ghastly' group who by no stretch of the imagination were playing ('playing' ? - I'm being very generous here) music that would appeal to Everly fans ... Yep, it was the Stones .. and even now I fail to understand the reasoning behind putting them on with the Everlys .... Even the Stones at one point were in the same position as The Detergents in having to open for an act that was worlds apart music-wise !! Tony Baylis -------------------[ archived by Spectropop ]-------------------
Message: 5 Date: Tue, 09 Nov 2004 23:53:37 -0000 From: Steve Crump Subject: Re: Dalida '65 Frank Murphy wrote: > I picked up a copy of "Dalida '65", which has a mix of French > originals and covers of US hits. Anyone care to have a guess at > what the US originals were? Je ne sais Plus - You Don't Own Me Le Cha Cha Cha - The Cha Cha Cha Ce Coin De Terre - This Land Is Your Land La, Il a Dit - Loddy Lo Ding Ding - Green Green Je Taime - It's Over I knew some of these because I did a bit of reserach on Dalida when I was hunting some of her EPs. But I did have help - the Allmusic website has quite a comprehensive discography of Dalida CDs with both French & English titles listed. I like her material from 1965 - 1966 the best. Cheers, Steve -------------------[ archived by Spectropop ]-------------------
Message: 6 Date: Wed, 10 Nov 2004 00:51:01 -0000 From: Rodney Rawlings Subject: Re: Eddie Hodges This is what is so great about Spectropop. Until I looked up that info for Mark Wirtz, I had had no idea Eddie Hodges had done anything of significance apart from "I'm Gonna Knock on Your Door." Now I know he was on Broadway and TV, and did other records. And now I know that it was Eddie Hodges who did another lost favorite of mine: "Girls Girls Girls Were Made to Love." What serendipity. -------------------[ archived by Spectropop ]-------------------
Message: 7 Date: Tue, 09 Nov 2004 18:46:48 -0500 From: Joe Nelson Subject: Re: Ron Dante/Bo Cooper Tony Baylis: > In fact one store, when I asked for Bo Cooper, informed me that I > must mean Ry Cooder (yeah, right!). That makes up (maybe) for the idiot clerk in 1979 who, when I asked for Ry Cooder, presented me with a John Cougar disc. At least he didn't start looking for Al Kooder. Joe Nelson (try the lingerie section...) -------------------[ archived by Spectropop ]-------------------
Message: 8 Date: Wed, 10 Nov 2004 16:51:38 -0000 From: Mark Wirtz Subject: Re: My White Bicycle Richard Hattersley wrote: > Mark, I was listening to a Psych CD in my car today which has "My > White Bicycle" by Tomorrow on it, which I believe you produced. I > have to say it's a fabulous record. I wonder if you could give us > some of your memories of the making of the single. Richard, My first reaction to your question was, "... Well, it was all very exciting and we had a lot of fun... bla bla bla..." and not much more. Like, "business as usual." Then, as I turned up the intensity mode on my time machine and traveled back to that early Spring morning (!) in 1967 at Abbey Road #3 -- virtually my and Norman Smith's "home room" for our respective projects including Pink Floyd and The Prettry Things on Norman's part, while George Martin and Norrie Paramour preferred #2 for their projects, including the Beatles and Cliff Richard and The Shadows -- it occurred to me that the MWB session was far from usual, or even typical of all later Tomorrow sessions. To begin with, MWB was specifically a "single" project, not part of Tomorrow's album sessions that didn't take place until quite a few months later and only made possible by the success of TO. Whereas Tomorrow and I always enjoyed a terrific synergy, virtually having no conflicts at any time, Keith West, Steve Howe, "Twink" and "Junior" put themselves totally into my hands and my vision for the production of this particular track. As such, it became not only the most, but also my only idiosyncratic, "studio-produced" work with the band, layering track upon track and applying heavy processing and sound manipulation. In fact, the first track (of the 4 available), in the absence of click-tracks or such back then, consisted of nothing but the driving, metronomic high-hat pattern, which, on the second track, I reversed, then combined with the first signal onto a "sub-master" third track (erasing the first two). >From then on we added instrument after instrument, bouncing from track to track, some (i.e. Steve's electric rhythm guitar) recorded at a lower speed in order to give that precise, "robotic," pattern impression at normal speed. Further, I used tape reverse on cymbal accents and guitar solo passages to lend that "dreamy/trance" feel. It was on MWB, that engineer Geoff Emerick and I used Abbey Road's ground-floor toilet for the first time as the vocal booth to avoid Abbey Road's "too clean" echo chambers. Without doubt, the highlight of the MWB session was when Keith walked out onto Abbey Road and dragged a "Bobby" back into the studio to authentically blow his whistle. Due to shortage of tracks, the Bobby had to do so at the same time as Keith recording that particular lead vocal passage (in the toilet). If that wasn't funny enough, the fact that ALL the guys were stoned out of their heads, with joint butts liberally strewn about, made it downright hilarious -- BECAUSE the cop (chuffed to be on a record) never blinked an eye, or said a word. It was a riot. In contrast to that first, MWB, session, all the later album tracks were recorded live (even though "Revolution" was recorded in "segments," and, regrettably, at De lane Lea studios not Abbey Road), with me sitting in on keyboards - for a spell letting me feel like the 5th member of the band :) This is a good opportunity to explain that I had great ambitions for the "Incredible Journey Of Timothy Chase" track - way beyond what ended up on the album. I had to edit my ideas down to mere basics, because EMI's sudden rush to complete and release the album to cash in on Tomorrow's TO-related publicity. At the conclusion of the Tomorrow album production, Keith wanted to go solo as an intimate, small combo, acoustic-only artist. Even though I fully supported Keith's changed ambition, Keith wanted to produce himself as it was clear that I was no longer the right producer for him. We parted company. There was never, however (contrary to public perception), any conflict or animosity between us. While Steve Howe remained with Keith at that time, Twink and Junior and I stuck together and recorded the "Aquarian Age" project (my favourite of all the Tomorrow related stuff). When that failed, as did Keith with his new direction, everybody scattered. Twink joined The Pretty Things, Steve eventually joined "Yes," and Junior, disgusted, left the business... And I continued with studio-musicians-only projects, not producing any self-contained Rock bands until last year, when I produced Spain's Les Philippes' debut album "Philharmonic Philanthropy." Far more info than you asked for, Richard, but I thought that, while I'm at it, I might as well pre-guess other questions that might come up in response to the principal answer. Best, Mark W. -------------------[ archived by Spectropop ]-------------------
Message: 9 Date: Wed, 10 Nov 2004 07:02:13 -0000 From: Mike Griffiths Subject: Re: Brian Hyland 3 Brian Hyland album tracks that shoulda been hit singles: "One Night Jimmy" (Joker Went Went Wild album - Phillips) Speaking of James Holvay songs this is an incredible pop gem that is co-written by Hyland. It has a great arrangement, especially the drums and falsetto vocals (not Phil Sloan - he says). The lyrics are perfect, a singer on the road where the girls he meets call him one night Jimmy. "Rainy April Morning" (Stay And Love Me All Summer album - Dot) Written by Brian alone, it has the most amazing drum track performed by Russ Kunkel. Check it out! "On The East Side" (Brian Hyland album - UNI) This sounds more like Del Shannon than Brian Hyland and since Del co- wrote it, doubled the vocal and produced it, why not? There is a demo of this with Del singing the lead vocal(hopefully to be on the second Bear Family box). Wonderful song, in the classic Shannon mold of unrequited love in a minor key. Cheers, Mike -------------------[ archived by Spectropop ]-------------------
Message: 10 Date: Tue, 9 Nov 2004 23:34:35 EST From: John Berg Subject: Re: Eddie Hodges Just a note to remind all that we had a fairly thorough discussion about Eddie Hodges on this very site within the last year, including mention of his superb "Shadows & Reflections" single, apparently his final 45. Guess this latest round simply indicates that the Spectropop group is constantly growing. Newer members might care to read more in the S'pop Archives at this UR: John Berg -------------------[ archived by Spectropop ]-------------------
Message: 11 Date: Wed, 10 Nov 2004 03:03:03 GMT From: Mark Subject: Dan Penn and Buzz Cason Yet another great performance I saw recently (October 20th) was that of Dan Penn and Buzz Cason at the Rock and Roll Hall of Fame. It cost $5, but was worth every penny. It was styled as a question/answer session with music (both Penn and Cason brought their acoustic guitars) --Warren Zanes asked Dan or Buzz about a certain song, then they would play an acoustic version and even tell a little story about it. Dan mentioned the first song he ever wrote, "Is a Blue Bird Blue", which was a chart hit while he was still in high school. He played a bit of it, and also played "I'm Your Puppet" the way it was originally envisioned, "Do Right Woman--Do Right Man", and "Dark End of the Street". With regards to "Do Right Woman", he mentioned how Jerry Wexler and Aretha helped him finish a line in the song (the line about "have some respect for me" and the preceding line). Neither of them are credited for that, however. He also said that that was the only track Aretha ever cut down at Muscle Shoals, as her husband and Rick Hall got into a fight and that ended the session. Dan also told the story about the Box Tops and "The Letter": he mentioned that the original lead vocalist was the nephew of the group's manager or something like that, and that the guy was difficult to work with. He advised them to get another vocalist, they brought in Alex Chilton, and the rest is history. Buzz talked about his first band, the Casuals, and also about backing Brenda Lee and performing with the Crickets. He performed a number of songs he had written, like "Soldier of Love", "Everlasting Love" and "Love's the Only House" (the recent hit by Martina McBride that he co- wrote). Again, autographs were signed afterward: I brought 45s for each to sign. Buzz signed a promo copy of Robert Knight's "Everlasting Love" and Dan signed a promo of his Atlantic single "Nice Place to Visit". Both were pleasantly surprised to see those hard-to-get 45s! For those of you in the Cleveland area, like myself, these events will be held the third Wednesday at the Rock Hall. The next behind-the- scenes man who will be appearing is Richard Gottehrer, and I'm sure it will be as entertaining as the Penn/Cason event. Miles Copeland will be the guest for the December affair. Check it out! Best, Mark -------------------[ archived by Spectropop ]-------------------
Message: 12 Date: Wed, 10 Nov 2004 03:08:01 GMT From: Mark Subject: Austin, "IOU" Thanks for Writing a Great Song! Hi Austin! Just have to tell you--I went up at one of my karaoke haunts and tried the great song, "IOU", by Lee Greenwood, and was pleasantly surprised to see that you co-wrote this song with Kerry Chater (miscredited as 'Charter' on screen). I was telling everybody, "The guy who co-wrote that song is on one of my Yahoo Groups!". I knew you wrote a lot of country tunes, but I didn't know that was one of yours. Great song! Thank you for writing such a cool tune. Best, Mark -------------------[ archived by Spectropop ]-------------------
Message: 13 Date: Wed, 10 Nov 2004 11:21:16 -0800 (PST) From: Tom Taber Subject: Re: Eddie Hodges I don't believe it's been mentioned that Eddie Hodges also appeared on a CBS game show circa 1959 - was it "Name That Tune"? Anyway, he was partnered with some Air Force guy - oh, yeah - John Glenn! Tom Taber -------------------[ archived by Spectropop ]-------------------
Message: 14 Date: Wed, 10 Nov 2004 14:50:39 EST From: Austin Roberts Subject: Re: Austin, "IOU" Thanks for Writing a Great Song! Hey Mark, Thanks for the kind words. Glad you liked IOU. It put 3 kids thru College and hopefully some grandchillun someday. We were lucky with that song, in that it was top 5 country and AC and mid top 100 pop. Austin R. (and of course Kerry `Charter' was a member of the Union Gap as you probably know). -------------------[ archived by Spectropop ]-------------------
Message: 15 Date: Wed, 10 Nov 2004 12:05:20 -0800 (PST) From: Robert Pingel Subject: Re: Kenny Young - no, not that one Mark: > Re Kenny Young: there's a single on the Share label (#105), from > about 1970, by Kenny ("Ain't It Funny What Love Can Do"/"Leave > Those Young Girls Alone (Old Men)"). Is this the same Kenny Young, > or might this be a different guy? Both sides were produced by the > late, great Van McCoy. Different guy entirely. This is a soul record whose singer sounds like a cross between Chuck Jackson and Tommy Hunt. "Ain't It Funny What Love Can Do" is a good song that borrowed heavily in places from the Mann-Weil classic "Looking Through the Eyes of Love." Rob Pingel -------------------[ archived by Spectropop ]-------------------
Message: 16 Date: Wed, 10 Nov 2004 19:14:36 +0000 From: Phil X Milstein Subject: Re: Sonny Childe Claire Francis wrote: > Sonny Childe is R.B. Greaves. He is also my ex-husband! I hope you weren't the wife he wasn't comin' home to, 'cause he had to start a new life ... When I was a kid, I actually thought for a moment that song might be about my father, as he had a secretary at the time named Maria. On another matter, a tip of the Jughead crown to Laura Pinto for her "Ron Dante Remembers The '60s" article, which was a gas-and-a-half to read. Congratulations, thanks, and keep up the good work! Yeah, --Phil M. -------------------[ archived by Spectropop ]-------------------
Message: 17 Date: Thu, 11 Nov 2004 02:52:38 -0000 From: John DeAngelis Subject: Re: Eddie Hodges John Fox wrote: > Going way back, Hodges was the original Winthrop in "The Music Man" > on Broadway (the part played by Ron Howard in the movie). So > somewhere there's probably an LP with him lisping his way through > "Gary, Indiana" and "Wells Fargo Wagon". Eddie Hodges is definitely on the Original Broadway Soundtrack Recording of "The Music Man", which was issued on CD by Sony. I love his performance of "Gary, Indiana." I can't wait to track down some of his other recordings. Thanks for bringing these to light, folks! John DeAngelis -------------------[ archived by Spectropop ]-------------------
Message: 18 Date: Wed, 10 Nov 2004 23:33:08 EST From: Bob Rashkow Subject: Re: Eddie Hodges Hodges was little Winthrop in the Broadway production of Meredith Willson's The Music Man, the role that little Ron Howard won in the '62 film version. Bobster -------------------[ archived by Spectropop ]-------------------
Message: 19 Date: Wed, 10 Nov 2004 22:35:20 -0800 From: Gary Myers Subject: Re: "Wonder Where The Boys Go (When They Want To Cry)" Mick Patrick: > 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? Sorry, Mick. I don't have the capability for that. (But Rose will be included in my 2nd Wisc. book ). gem -------------------[ archived by Spectropop ]-------------------
Message: 20 Date: Wed, 10 Nov 2004 17:15:22 -0600 From: Barry Margolis Subject: Re: Mark Wirtz's White Bicycle One question: why is My White Bicycle and Revolution in such annoying pseudo stereo? The rest of the Tomorrow recordings are such well mixed stereo. Barry -------------------[ archived by Spectropop ]-------------------
Message: 21 Date: Thu, 11 Nov 2004 04:23:53 -0000 From: Tom Adams Subject: Bob Feldman Hi folks! I just received a call from the elusive Mr. Bob Feldman. He's now hosting a live internet radio show every Saturday from 2 to 3 p.m EST on WNN Radio ( He's not listed in the online schedule yet, but he's already done his first one (he's booked for 13 shows). This week his guest will be Jack Keller, and I believe that Ernie Maresca is on deck for the following week. It's streamed live (just hit the "listen live" link on the page) and he said he'll welcome all your calls during the show at 888-565-1470. As you know, he's not great with computers, but he LOVES to talk! Take care. Tom Adams -------------------[ archived by Spectropop ]-------------------
SPECTROPOP - Spectacular! Retro! Pop! End

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