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Spectropop - Digest Number 1725



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               SPECTROPOP - Spectacular! Retro! Pop!
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There are 25 messages in this issue.

Topics in this digest:

      1. Re: Brian Hyland
           From: James  Holvay 
      2. Al Kooper/New Morning/Three Angels
           From: Denis Gagnon 
      3. Re: unlikely concert pairings
           From: Larry Lapka 
      4. Re: Ron Dante/Stones
           From: Scott Swanson 
      5. Re: Mark Wirtz's White Bicycle
           From: Mark Frumento 
      6. Re: Al Capps
           From: Sean 
      7. Re: Blossoms
           From: Sean 
      8. Re: Aliases, pseudonyms and nomes de plume
           From: Mark Frumento 
      9. Re: Dan Penn and Buzz Cason
           From: Mantanhattan 
     10. Anders and Poncia questions
           From: Martin Jensen 
     11. Big Jim Sullivan
           From: Eddy Smit 
     12. Re: more on Eddie Hodges
           From: Rob Pingel 
     13. The Lemon Pipers
           From: Gerry House 
     14. Re: Tomorrow
           From: Bill Mulvy 
     15. Brian Smiles at the  LA Weekly article
           From: Steve Harvey 
     16. Re: Mark Wirtz's White Bicycle
           From: Richard Hattersley 
     17. Re: Eve of Destruction
           From: John Fox 
     18. SMiLE on UK TV
           From: Martin Roberts 
     19. Re: Big Jim Sullivan
           From: Mark Wirtz 
     20. Goldie Zelkowitz
           From: David Bell 
     21. Re: Mark Wirtz's White Bicycle
           From: Mark Wirtz 
     22. Re: Mark Wirtz's White Bicycle
           From: Joe Nelson 
     23. The Box Tops
           From: Don 
     24. Blossoms on Ode
           From: Barry Margolis 
     25. Re: Eddie Hodges
           From: Barry Margolis 


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Message: 1 Date: Thu, 11 Nov 2004 08:47:11 -0800 From: James Holvay Subject: Re: Brian Hyland Mike Griffiths wrote: > Three Brian Hyland album tracks that shoulda been hit singles: > "One Night Jimmy" > "Rainy April Morning" > "On The East Side" Ditto to all the Spectropop fans' positive comments about Brian Hyland. I did numerous tours with Brian, and he's a very good singer, a good songwriter and a funny guy; I only wish that cassette recorders had been invented in those days! We wrote about 15 songs together on those Greyhound tour buses and motel rooms, although forgotten most of them except for "Stay Away From Her" and "One Night Jimmy". I'm pretty sure there some other good tunes in that pile, and if I was smart I'd have them into more Buckingham releases. -------------------[ archived by Spectropop ]-------------------
Message: 2 Date: Thu, 11 Nov 2004 13:38:57 -0500 From: Denis Gagnon Subject: Al Kooper/New Morning/Three Angels I read on Al Kooper's website that he produced Bob Dylan's "New Morning" album. One of my favorite songs of all time, "Three Angels," is on that record, and I'm wondering if Al might please tell us how and where that one came about. Denis -------------------[ archived by Spectropop ]-------------------
Message: 3 Date: Thu, 11 Nov 2004 10:20:28 -0800 (PST) From: Larry Lapka Subject: Re: unlikely concert pairings Tony Baylis wrote: > 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. Of course, the most unimaginable pairing was Jimi Hendrix opening for The Monkees. I have heard so many stories about this, I wish someone could tell me authoritatively who set this up (Chas Chandler?) and whether it was intentionally created so that Hendrix would garner headlines once he left (or was kicked off) the tour. How many shows did he actually play with The Monkees? Was Forest Hills the last straw, and who made the decision to remove him? Anything on this subject would be appreciated. Larry L. -------------------[ archived by Spectropop ]-------------------
Message: 4 Date: Thu, 11 Nov 2004 14:18:25 -0800 From: Scott Swanson Subject: Re: Ron Dante/Stones Tony Baylis writes: > ... 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 music that would appeal to Everly fans > Yep, it was the Rolling Stones. That must have been the 10/3/63 show at the Odeon Theatre, with Bo Diddley and Little Richard as the co-headliners. Four days later the Stones recorded "I Wanna Be Your Man". It's amazing what info you can find on the 'net! Regards, Scott -------------------[ archived by Spectropop ]-------------------
Message: 5 Date: Fri, 12 Nov 2004 01:14:19 -0000 From: Mark Frumento Subject: Re: Mark Wirtz's White Bicycle Mark Wirtz wrote: > I had nothing to do with any of those fake stereo mixes. I've looked into this issue of the the Tomorrow mixes but haven't been able to confirm the real deal. As far as I can piece it together: Stereo mixes of most of the LP were done after Mark finished his role in the project. The two singles "My White Bicycle" and "Revolution" must have been reduced to mono, leaving no option to make stereo mixes later. Hence fake stereo mixes were done for those tracks when the new stereo mixes were done. Somewhere along the line, some bright spark figured phasing would help "Revolution" (Steve Howe seems to have subscribed to this theory at some point, as well). Luckily for most of the tracks, the stereo mixes are as good as the mono and every bit as punchy, which I can only attribute to the way Mark recorded the LP. Unfortunately, it appears to me that the mono masters have disappeared. If not, EMI has chosen to ignore them. The last reissue of the Tomorrow LP was excellent, and the fact that no one bothered to find the mono versions of the two singles seems odd to me. The only way to get the mono versions is from the LP or the original singles. Both are superior in every way to the reissued versions. I've interviewed some of Mark's coworkers and one of them, Peter Eden (Donovan's original producer), pointed out that when "My White Bicycle" was finished the other producers took notice. Peter attributed the competition among other EMI producers to make "strange sounding records" to that track in particular. Of course, the story goes that John Lennon was a big fan of the record as well. Interesting, it's the stereo mixes of some of Mark's other "Tomorrow" period recordings that are most commonly reissued. Tracks like "10,000 Words In A Cardboard Box" are nowhere to be found in the original mono. To share one opinion about that track: to me everything that is special about Mr Wirtz's producing abilities is wrapped into that track. If anyone out there has contacts in the archive department of EMI, I'd be very appreciative of help researching what tapes still exist. Mark F. -------------------[ archived by Spectropop ]-------------------
Message: 6 Date: Thu, 11 Nov 2004 21:54:35 -0000 From: Sean Subject: Re: Al Capps Thank you to everyone who gave me information on The Eligibles. I just want to know when Al Capps came to the group, I don't think he was with them in the early '60s. And was he the tall one in the group? -------------------[ archived by Spectropop ]-------------------
Message: 7 Date: Thu, 11 Nov 2004 21:52:41 -0000 From: Sean Subject: Re: Blossoms "Our" Charlie Sheen wrote: > I just talked to Fanita James a few weeks ago. I can send a message > to her if you would like. Her nephew is doing a book on the Blossoms, > and his father, who was a member of the Cadillacs. Please ask Fanita if she was on "Be My Baby," and if she can offer us any of her memories of doing "Shinding!". Thanks! Sean -------------------[ archived by Spectropop ]-------------------
Message: 8 Date: Fri, 12 Nov 2004 01:21:50 -0000 From: Mark Frumento Subject: Re: Aliases, pseudonyms and nomes de plume Mark Wirtz enumerated: > Mark Rogers > J. Ferdy > Philwit > Mood Mosaic > The Sweetshop > Elmer Hockett's Hurdy Gurdy > The Matchmakers > Happy Confusion > Fickle Finger > Astronaut Allen & The Planets > Marc Peters > I bet Mark Frumento knows of even more. Two more: Cellophane MOP and The Cab Drivers. John Carter sings both sides of the single by The Cab Drivers, but side A is a Philwit & Pegasus period track. Mark F. -------------------[ archived by Spectropop ]-------------------
Message: 9 Date: Fri, 12 Nov 2004 01:58:11 -0000 From: Mantanhattan Subject: Re: Dan Penn and Buzz Cason Mark wrote: > 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. According to Ron Hall's book "A History Of Garage & Frat Bands In Memphis 1960-1975" (published, with accompanying CD, by Shangri-La Projects), The Box Tops were originally known as Ronnie & The Devilles ("Oh Love" b/w "Tragedy" (Youngstown 605) and "Cindy's Carousel" b/w "I'm Just Waiting" (Youngstown 607)). Lead vocalist was Ron Jordan. The band lost and added additional members and changed their name to The Box Tops. Jordan left the band and formed a terrific little quasi-Lovin' Spoonful garage band, The Honey Jug ("Warm City Baby" b/w "Honey Say So" (Hip 106)). According to Hall's book, after Ron Jordan's departure the group decided to find someone who could "sing black". Popular Memphis DJ (WMPS) Roy Mack -- the group's manager and Ron Jordan's uncle -- introduced them to 16 year old Alex Chilton. -------------------[ archived by Spectropop ]-------------------
Message: 10 Date: Fri, 12 Nov 2004 12:23:08 -0000 From: Martin Jensen Subject: Anders and Poncia questions I recently came across a collection of Pete Anders and Vinnie Poncia's '60s recordings as The Tradewinds and The Innocents, and was blown away! Catchy songs, nice harmonies and of course beautiful vocals by Anders. I was so pleasantly surprised by the sheer quality of their output that I'd like to look into what they may have produced for other artists. So far, I've only heard The Lovelites' track "When I Get Scared", which was played to musica a while back, and was really promising. So my question is, have any of Anders and Poncia's post-Philles productions, such as the stuff they did while on Buddah, ever been issued? (I believe some sort of collection entitled "Mynd Excursions" or something similar was issued at some point, but I don't know how many Anders and Poncia related songs are on it.) In my Anders and Poncia frenzy, I have also looked through the archives and noticed that some Tradewinds songs apparently didn't end up on the 'Excursions' album, but only made it out on singles. Any thoughts on those? Are they top-notch material like 'New York's a Lonely Town'? OK, I'd better stop rambling and put "Small Town Bring Down" on the stereo. With regards, Martin, Denmark -------------------[ archived by Spectropop ]-------------------
Message: 11 Date: Fri, 12 Nov 2004 09:52:11 +0100 From: Eddy Smit Subject: Big Jim Sullivan I am trying to compile a listing of Big Jim Sullivan's session work. The list I have uploaded to the Files section is what Jim has on his website, but obviously there's much more! I have a few more titles myself already, but info on any records that are not on the list would be appreciated. Off-list replies only, please. Heap o' thanks! Eddy -------------------[ archived by Spectropop ]-------------------
Message: 12 Date: Fri, 12 Nov 2004 16:20:00 -0000 From: Rob Pingel Subject: Re: more on Eddie Hodges Eddie Hodges is the child actor who sang "High Hopes" with Frank Sinatra in Hole In The Head. Sort of the Andrea McCardle of his day, only bigger. (Younger S'poppers are probably saying, "who is Andrea McCardle?") Hodges's early success as a kid may have gotten in the way of his rock and roll career. Most teens at the time were aware of his ubiquitous childhood presence. Fair or not, he was most closely associated with the establishment's idea of the type of music that passed for entertainment. Rob Pingel -------------------[ archived by Spectropop ]-------------------
Message: 13 Date: Thu, 11 Nov 2004 21:10:50 -0000 From: Gerry House Subject: The Lemon Pipers I grew up in Cincinnati, Ohio. Now live in Nashville. I used to go to the Round Table in Cincy in the '60s and see the Lemon Pipers. I've been to the website, but it's been non-updated for quite a while. Any word on where they are, anybody? Also, I recently paid a fortune for the 2 CD set of The Left Banke. I haven't been able to find out whatever happened to Michael Brown. As a songwriter myself he always knocked me out. I'd appreciate any info at all.. Especially if he has blended into another band or has a solo work out. thanks Gerry House -------------------[ archived by Spectropop ]-------------------
Message: 14 Date: Thu, 11 Nov 2004 19:34:35 -0600 From: Bill Mulvy Subject: Re: Tomorrow Mark, I have the 1999 EMI CD reissue of the "Tomorrow" album. It has an "impossible to listen to" version of "Revolution" which is such a shame since the song is a psychedelic masterpiece. The contrived stereo version, (I like that phrase), is about the worst case of sound tweaking I have ever heard. It is so shrill, it makes the "Sgt Pepper Inner Grove" sound pleasant, in comparison! Do they really expect anyone to listen to this? Why couldn't they have included the mono version as well? "My White Bicycle" can be found on CD in it's "true mono" form on "Nuggets Vol 2". A live in-studio version of "Revolution" from a Top Gear radio session can be found on "Tomorrow 50 Minutes Technicolor Dream". The quality is very good. This CD also has a live version of "Revolution", but the singer sounds like he's singing into a megaphone. My favorite song on the Tomorrow album is "Hallucinations" which sounds as good as it is, if you know what I mean. Bill Mulvy -------------------[ archived by Spectropop ]-------------------
Message: 15 Date: Thu, 11 Nov 2004 18:59:22 -0800 (PST) From: Steve Harvey Subject: Brian Smiles at the LA Weekly article LA Weekly Child Is Father of the Man by John Payne Brian Wilson sees himself and Smiles: http://www.laweekly.com/ink/04/51/features-payne.php -------------------[ archived by Spectropop ]-------------------
Message: 16 Date: Thu, 11 Nov 2004 20:41:35 +0000 From: Richard Hattersley Subject: Re: Mark Wirtz's White Bicycle Thanks Mark for those interesting memories. I didn't realise Geoff Emerick was the engineer on that record, did you use Geoff for the T.O. tracks as well? Amazed you got a real copper in on the session as well :-) Did he provide the "Oi!" as well as the whistle? Barry wrote: > 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. That was another question I meant to ask, did you ever attempt a true stero mix of MWB? If not, do the 4 track masters still exist to allow a remix, should a retrospective re-issue label wish to attempt it? cheers again Richard www.wiz.to/richardsnow -------------------[ archived by Spectropop ]-------------------
Message: 17 Date: Fri, 12 Nov 2004 13:52:54 EST From: John Fox Subject: Re: Eve of Destruction Joe Nelson writes: > The "Eve of Destruction" stereo mix is very peculiar: I wasn't there, and this has nothing to do with Barry's "grumbling", but there are two things I've always noticed about the recording (probably the mono version): On the last chorus, there is clearly an overdub of one Barry McGuire singing "Tell me..." followed quickly by another Barry McGuire singing "...over and over and over and over again my friend." I always figured that this was because the line was so long that he couldn't do it in one breath, but who knows? Also, the harmonica solos between the last few verses cannot be played on one harmonica, given the way a typical chromatic harmonica is tuned. I have played this song with my band, and to make is sound "just like the record" you need a harmonica in G for the first measure and one in D for the rest of it. I always wondered who played harmonica on this, and wrote that two-harmonica solo. Probably not McGuire. John Fox -------------------[ archived by Spectropop ]-------------------
Message: 18 Date: Fri, 12 Nov 2004 18:16:50 -0000 From: Martin Roberts Subject: SMiLE on UK TV Harvey Kubernik dropped a line; ...On December 1st on the BBC a 75 minute version of "SMiLE" will screen, and later in the year the longer version on another BBC outlet. On December 10th, a theatrical showing will happen at the ICA venue... Thanks Harvey, Martin -------------------[ archived by Spectropop ]-------------------
Message: 19 Date: Fri, 12 Nov 2004 19:10:05 -0000 From: Mark Wirtz Subject: Re: Big Jim Sullivan Eddy Smit wrote: > I am trying to compile a listing of Big Jim Sullivan's session work. > The list I have uploaded to the Files section is what Jim has on his > website, but obviously there's much more! I have a few more titles > myself already, but info on any records that are not on the list would > be appreciated. Jim Sullivan played on virtually all of my productions (except for the Tomorrow recordings) between 1965 and 1969. Except for very few key CDs and current projects, I don't keep records or archives of any of my stuff, but Mark Frumento will probably be able to give you a complete listing. Jim was also a great arranger, and it might be of note to mention that he arranged several tracks for me, including that awesome fiddle chart for Zion De Gallier's "Dream, Dream, Dream." Best, Mark W. -------------------[ archived by Spectropop ]-------------------
Message: 20 Date: Fri, 12 Nov 2004 15:51:39 EST From: David Bell Subject: Goldie Zelkowitz My pal, Malcolm Maumgart, told me that Goldie Zelkowitz has had an autobiography published but I can find no trace of it and amazon.com. Can anybody help out with its title and/or its ISBN number, please? David -------------------------------------------------------------------- S'pop replies: Lollipop Lounge: Memoirs Of A Rock'n'Roll Refugee by Genya Ravan (Goldie's real name) is published by Billboard Books. It's available at amazon.co.uk: http://tinyurl.com/5sycc And at amazon.com: http://tinyurl.com/5ag4n S'pop ------------------------------------------------------------------- -------------------[ archived by Spectropop ]-------------------
Message: 21 Date: Fri, 12 Nov 2004 22:26:03 -0800 (PST) From: Mark Wirtz Subject: Re: Mark Wirtz's White Bicycle Richard Hattersley wrote: > I didn't realise Geoff Emerick was the engineer on > that record, did you use Geoff for the T.O. tracks > as well? Geoff and I worked together on most of my productions from Jan '97 (including TO), until my departure from EMI in '69. In 1973, Geoff and I recorded my "Balloon" album for Capitol at Apple Studios in London. In 1974, Geoff flew to Hollywood to record my follow-up Capitol "Hothouse Smiles" LP with me there. We then mixed and sweeteneed the album together at AIR London > Amazed you got a real copper in on the session as > well :-) Did he provide the "Oi!" as well as the > whistle? Yep :) Barry wrote: > That was another question I meant to ask, did you > ever attempt a true stero mix of MWB? I was never asked. > If not, do the 4 track masters still exist to allow > a remix, should a retrospective re-issue label wish > to attempt it? Yes. Thanks for your interest, Best, Mark W :) -------------------[ archived by Spectropop ]-------------------
Message: 22 Date: Fri, 12 Nov 2004 14:10:58 -0500 From: Joe Nelson Subject: Re: Mark Wirtz's White Bicycle Mark Wirtz: > I had nothing to do with any of those fake stereo mixes. I think > they suck, some more so than others... This is fascinating. Generally, fake stereo mixes are created when it's impossible or impractical to make a genuine stereo mix and there's nothing workable to use but the mono mix. If one can make "signals and performances that were added during the original (and authentic) mono mixes" *missing*, is this the secret to turning mono into stereo? Or are these mixes psuedo *true* stereo, made from the original multi but mixed down to a single output with fake stereo processing added to that single channel? Can anyone think of examples where the fake sound was intentionally used? I always thought the specific process used on "I Am The Walrus" contributed sound of the finished record, but even that would have been true stereo if someone had suggested to Lennon to start mixing it in stereo when he decided to work in that BBC radio feed. I'm just wondering how the process strips things naked and points out things not apparent in the true mono, since to these ears at least it still sounds mono to me, just muddier and more distorted. Joe Nelson -------------------[ archived by Spectropop ]-------------------
Message: 23 Date: Fri, 12 Nov 2004 19:52:34 +0000 From: Don Subject: The Box Tops The Boxtops played here in Louisvile in 1968. Our agent was the one that booked the show and found out their drummer had been called to service (can't remember if he was drafted or nat. guard). Anyway, the agent was trying to arrange an audition for me. That week I got my draft notice. Another missed opportunity. Don -------------------[ archived by Spectropop ]-------------------
Message: 24 Date: Fri, 12 Nov 2004 17:16:30 -0600 From: Barry Margolis Subject: Blossoms on Ode Is it just me?....or do other Blossom fans also consider the three tracks recorded for ODE to be three of the all-time greatest girl group records of all time? Tracks: "Wonderful" "Cry Like A Baby" "Stoney End" Barry in Minneapolis -------------------[ archived by Spectropop ]-------------------
Message: 25 Date: Wed, 10 Nov 2004 17:16:49 -0600 From: Barry Margolis Subject: Re: Eddie Hodges John Berg: > 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. Shadows & Reflections was covered by the wonderful UK mod band THE ACTION. -------------------[ archived by Spectropop ]-------------------
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