Spectropop Home

[Prev by Date] [Next by Date] [Index] [Search]

Spectropop - Digest Number 1748



________________________________________________________________________

               SPECTROPOP - Spectacular! Retro! Pop!
________________________________________________________________________


There are 14 messages in this issue.

Topics in this digest:

      1. Re: Tracey & Kirsty
           From: Jim Allio 
      2. Spectropop Party Gathering
           From: Claire Francis 
      3. TWNHA
           From: JD Doyle 
      4. Re: bogue Shangri-Las
           From: Phil X Milstein 
      5. Rita Martinson ?
           From: Stephane Rebeschini 
      6. Re: Peter Noone for Thanksgiving/Tracey Ullman
           From: Clark Besch 
      7. Bubbling under ...
           From: Phil X Milstein 
      8. Brian Wilson to Be Honored as MusiCares 2005 Person of the Year
           From: Jens 
      9. Help with searching for two 45s
           From: Peter McCray 
     10. Bobby Gregg; Stone Poneys; Bert Sommer; Vells
           From: Country Paul 
     11. Back to Mono...seriously
           From: Rick H. 
     12. Re: Ivanhoe Records
           From: Davie Gordon 
     13. Mann/Weil/Spector
           From: Dave OGara 
     14. Re: Donnie Elbert
           From: Hans Huss 


________________________________________________________________________
________________________________________________________________________
Message: 1 Date: Tue, 30 Nov 2004 16:18:19 -0800 (PST) From: Jim Allio Subject: Re: Tracey & Kirsty Phil Chapman: > Tracey's version ["They Don't Know"] is a semitone up on Kirsty's "They Don't Know" is such a great record and song. It always sounded to me like the Lost Lesley Gore Hit. When Tracey did it on "Solid Gold" I felt very sure of it. Jim Allio -------------------[ archived by Spectropop ]-------------------
Message: 2 Date: Wed, 1 Dec 2004 10:59:16 EST From: Claire Francis Subject: Spectropop Party Gathering Attention Spectropoppers: Hear Ye Hear Ye .... "February is too cold (brrrr)...." "....not enough notice." "Let's make it when it's warmer.." "I Don't know if I can make it." "I can make it if he can make it..." "Al Kooper already played Joe's Pub on Feb 5th 2004!" (Oops I read the website of live dates wrongly.) So I guess you have gotten the picture by now, my groovy S'pop memers. It seems that it would be better to have the party in spring. Bundle up February, stay warm, and we will aim for another date after the holidays, with a window of up to five months' notice. That should give everyone who wants this party enough time to plan for it. All comments and suggestions welcome off-list....have a dynamite holiday. Love and Light, Claire Francis http://www.clairefrancis.com -------------------[ archived by Spectropop ]-------------------
Message: 3 Date: Wed, 01 Dec 2004 22:32:51 -0000 From: JD Doyle Subject: TWNHA Hi, This is not my auction, but I noticed a copy of 'That Will Never Happen Again' on eBay. For those who do not have this wonderful magazine, any of its issues are worth their weight in gold...:) http://tinyurl.com/4jz94 JD Doyle http://www.queermusicheritage.com -------------------[ archived by Spectropop ]-------------------
Message: 4 Date: Tue, 30 Nov 2004 20:52:16 -0800 From: Phil X Milstein Subject: Re: bogue Shangri-Las Country Paul wrote: > I found a "Shangri-La's" page at a booking company that claims to have > "original artists" -- http://www.2bproductions.net/artists/shangrilas.html. > Obviously, we know better, but does anyone have any idea how these folks > get to use the group name, and how they are connected to it? I covered a similar situation in my Spectropop article on the SL's aborted reunion in 1977 ( http://www.spectropop.com/Shangri-Las ), in footnote #8, to be precise: ----------- 8. A disenchantment [with their original material] which may partly explain why, apart from a few dates scattered across a three-year period following their official breakup in 1968, The Shangri-Las never put themselves out on the oldies circuit. After the 1977 reunion they performed together only once, at a 1989 Palisades Park remembrance at the Meadowlands Arena in New Jersey. In a display of chutzpah profound even by music industry standards, oldies promoters Dick Fox and Larry Marshak, who included an ersatz Shangri-Las among their stable of bogus acts, had sought a court injunction to prevent the original group from performing the Palisades Park show under the Shangri-Las name. The promoters argued that since it hadn't been used in so long the name had lapsed into the public domain, and they had by now established themselves as the owners of the trademark. Their request was wisely denied, and the girls were able to do the show. ----------- The way I've heard the denouement of this story, the Weiss sisters eventually agreed to license the rights to the Shangri-Las name to Mars Entertainment (or something along those lines), Fox and Marshak's concert production company. Last I heard, that agreement was still in effect. That said, I don't know that the info I've offered here quite covers the legal situation of the act Paul refers to. So, as always, Caveat emptor, --Phil M. -------------------[ archived by Spectropop ]-------------------
Message: 5 Date: Thu, 02 Dec 2004 00:21:12 +0100 From: Stephane Rebeschini Subject: Rita Martinson ? Hello from France - I recently got these two singles: Rita Martinson - "I Can't Make It Alone" / "Yesterday's Mornings" VMC V720, 1968 USA, one Carole King & Gerry Goffin song and The Two People - "You're Gonna Hurt Me"/"I Really Don't Want To Know" Liberty 55916, 1968 USA, US pop duet, produced by Dallas Smith. One Rita Martinson song Does anybody know who Rita Martinson was? One japanese friend wrote me that she also worked with the Association, but I'd like to know more! Best regards Stephane Rebeschini -------------------[ archived by Spectropop ]-------------------
Message: 6 Date: Wed, 01 Dec 2004 19:26:25 -0000 From: Clark Besch Subject: Re: Peter Noone for Thanksgiving/Tracey Ullman Larry Lapka wrote: > Peter Noone: One word: terrific! This guy is real good -- no > one should knock him at this point. This guy knows his place > in rock history and just goes with it. He's as exuberant as my > nine year old is. Karen and Larry are right on and so is the Noone man's music. I've been listening to the new Abkco CD and those songs are so-o-o good! He needs a box set with the great B sides as well! His "End of the World" is tremendous and the musicianship of the Hermits (and studio musicians) is great as well. Besides the hit stuff, "Sunshine Girl" seems like a serious take off on Dave Dee etc singing and music of the period to me. Anyone hear that? Maybe that's why it was big in the UK, but flopped in the US? "Sleepy Joe" was almost like a Kinks song to me, singing wise. "Something's Happening" is great with its' Jamaica-sounding approach. Of course, "Oh You Pretty Things" was tremendous for the period and shoulda been a hit here as well as there! The Hermits get knocked too much. They deserve "rock n roll hall of fame" as much or more than many, but I can't start again on that ridiculous theory. Phil Chapman: > Yes, I recorded and mixed most of Tracey Ullman's tracks. I did a > lot of '60s covers at that time and I was determined to capture > the same excitement and 'magic' that the originals had, despite > my apparent disregard for technical quality being frowned upon. Phil, All I can say is that "They Don't Know" by Tracey Ullman is one of the best songs of the 80's! Clark -------------------[ archived by Spectropop ]-------------------
Message: 7 Date: Wed, 01 Dec 2004 17:25:44 -0800 From: Phil X Milstein Subject: Bubbling under ... A few miscellaneous items: * I came across a great line, which I thought most of you would equally enjoy, in, "Last Night A DJ Saved My Life", Bill Brewster and Frank Broughton's very satisfying history of the club DJ. Referring to pirate radio in England following the 1967 law banning the practice, they write: "If a station got raided by the authorities, a DJ could face up to six months in jail. Worse, he could have his records confiscated." Thanks to DJJimmyBee for tippin' me to this tome. The research behind it is incredible. I can imagine a writer being able to retrace steps unto DJ Zero of a particular old-school scene, but these cats did that with a whole SLEW of such scenes, including a-go-go, Northern soul, disco, hip-hop and house. In addition, they do an admirable job of explaining each of those forms various descendents, tributaries and substrata, many of which, of course, lead into one another, and also hip the befuddled reader to the origins of nearly any obscure tradition of the club DJ tradition. Thus, even though my musical interests expire pretty early into the (chronologically arranged) book, I've found myself hanging in there well beyond that just to understand some of the later terminology. Apparently, I am the last person on Earth to find out what in the hell a "breakbeat" is! * For those who, like me, often find themselves needing to mark notes of various types onto CD covers, an indispensable tool is the humble China marker (aka grease pencil), available for mere shillings (aka shekkels)at any half-decent art or office supply store. The waxy substance writes handily on CD (or cassette) plastic cases and, better still, wipes right off with a tissue. Don't stay home without it! Mick: > I do have (on cassette) a track that definitely IS about the > legendary model, although not in a particularly complimentary > fashion. I've posted it to musica. Details are: Barbara Windsor > "Don't Dig Twiggy" (Parlophone R 5629, 1967); Arranged by Mark > Wirtz. Our dear pal Mark W. denies all knowledge of this track. Very cool record, Mick. Then again, I'm a sucker for virtually ANY song that includes measurements (of the "36-24-36" variety) in its lyrics. If only I'd thought to be making a LIST of them over the years ... Yeah, --Phil M. -------------------[ archived by Spectropop ]-------------------
Message: 8 Date: Wed, 01 Dec 2004 17:08:56 -0000 From: Jens Subject: Brian Wilson to Be Honored as MusiCares 2005 Person of the Year SANTA MONICA, Calif.--(BUSINESS WIRE)--- The 15th Annual Gala Tribute Benefiting the MusiCares(R) Foundation's Financial Assistance Program will be held Feb. 11, 2005 GRAMMY-nominated composer Brian Wilson will be honored as the MusiCares 2005 Person Of The Year, it was announced today by Neil Portnow, President of the MusiCares Foundation and The Recording Academy. Wilson -- chosen for his accomplishments as a musician and humanitarian -- will receive the honor at a special tribute dinner, concert and silent auction held Friday, Feb. 11, 2005, at the Palladium in Hollywood. The MusiCares tribute dinner is one of the most prestigious events held during GRAMMY Week, a celebration that culminates with the 47th Annual GRAMMY Awards on "GRAMMY Sunday", Feb. 13, 2005. The telecast will be broadcast on the CBS Television Network at 8 p.m. (live in the East, tape delayed in the West). "We take great pride and joy in saluting Brian Wilson during MusiCares' milestone 15th anniversary of providing a safety net for musicians everywhere," said Portnow. "He embodies the positive spirit that comes from dedication, perseverance and creative brilliance; his contributions to the evolution of music are both legendary and profound. Brian and his music have the power to reach listeners across generations and deliver a musical experience that is timeles and unforgettable -- and that's exactly how this year's Person Of The Year event will be on February 11." A songwriter, producer, arranger and composer, it is no exaggeration to call Wilson one of pop's most influential creators and one of music's most revered figures. Starting in 1961 in his family living room in Southern California, Wilson, his two younger brothers Dennis and Carl, cousin Mike Love and friend Al Jardine first came together to create what would become the quintessential soundtrack to the California Dream -- and more than two dozen Top 40 hits, including "Surfer Girl," "I Get Around," "Don't Worry Baby," "Fun, Fun, Fun," and "California Girls." By 1966, the Beach Boys emerged as America's preeminent pop group and also proved to be one of the best-produced groups of the '60s thanks to Wilson's continually evolving studio proficiency. It was this legacy that resulted in the Beach Boys' induction into the Rock and Roll Hall of Fame in 1988. By the mid-'60s, Wilson opted not to tour with the Beach Boys to focus solely on studio productions. In 1966, he produced three records that would forever change the course of pop music. The first was Pet Sounds, his musical autobiography, which is considered by many to be one of the greatest albums ever made. The second record was the worldwide No. 1 single "Good Vibrations," a "pocket symphony" deemed one of the seminal singles of all time. His third creation was Smile, a collection of songs that combined classical composition, multipart harmonies, rock rhythms and an avant-garde sensibility, which unquestionably became one of the most anticipated works ever. However, a combination of circumstances, both personal and professional, forced Wilson to shelve the project -- and during the subsequent 37 years, Smile became the most famous unfinished, unreleased album in music history. Throughout the '70s, '80s and '90s, Wilson continued to write, record and produce sonic masterpieces, with the Beach Boys, as a solo artist, and in collaboration with other musicians ("Til I Die," "Love & Mercy," Orange Crate Art with Van Dyke Parks, Brian Wilson, I Just Wasn't Made For These Times, Imagination, Gettin' In Over My Head); and in 2000, he was inducted by Sir Paul McCartney into the Songwriters Hall of Fame. Even as he battled personal demons and professional ups and downs, he never lost sight of his "holy grail," Smile. Finally, in 2003, Wilson and his chief Smile collaborator Van Dyke Parks reunited to complete the work, which has been greeted with enthusiastic response from both fans and critics alike. Earlier this year, Wilson and his band performed Smile to sold-out audiences across Europe, recorded an all-new studio version of the album, and then toured the U.S. Since its release this past September, Smile has garnered rave reviews and already is topping 2004 year-end critics' lists. Wilson gives generously of his time and talent to worthwhile causes that are near and dear to his heart and the music community. His philanthropic efforts are evident in his ongoing support (through concerts and private donations) of the Carl Wilson Foundation for cancer research (his younger brother succumbed to the disease in 1998), as well as performances at the Adopt-A-Minefield benefit (appearing with Paul McCartney) and Neil Young's Bridge School concert (which raises funds to help ensure that individuals with severe speech and physical impairments achieve full participation in their communities through the use of augmentative and alternative means of communication and assistive technology). The Person Of The Year event features a star-studded concert of tribute performances by many of today's biggest music stars. Also among the highlights of the MusiCares Person Of The Year gala is its prestigious auction featuring collectibles such as music and sports memorabilia, artwork and luxury items. Proceeds from the annual Person Of The Year tribute provide essential support for MusiCares' Financial Assistance Program, which ensures that music people have a place to turn in times of financial, medical and personal need. Established in 1989 by The Recording Academy, MusiCares provides a foundation of critical assistance for music people in times of need, while treating each case with integrity and confidentiality. MusiCares also focuses the resources and attention of the music industry on human service issues that directly impact the health and welfare of the music community. For more information, please visit http://www.grammy.com. For information on purchasing tickets, tables or recognition in the souvenir program for the MusiCares Person Of The Year tribute to Brian Wilson, please contact Dana Tomarken at MusiCares, 310-392-3777. Jens -------------------[ archived by Spectropop ]-------------------
Message: 9 Date: Tue, 30 Nov 2004 22:43:54 +1100 From: Peter McCray Subject: Help with searching for two 45s Wonder if I could ask if anyone might, by some remote possibility, have spare copies of either of these two venerable 45s from 1971 that they would be prepared to sell: Arkade - Where You Lead / Sentimental Lisa ( Dunhill 4277) 1971 Horizon - Every Day In My Life with Linda / What We Got Between Us (Jubilee 5715) 1971 I have been scouring every online source I can find, as well as Ebay, for more than a year now, without even a glimmer. The closest I've got is a stereo / mono copy of Where You Lead. But that aside - nothing. I've also been in contact with the regularly helpful House of Oldies in New York and tried to email Bleecker Bobs, also in NY, but emails to Bob just bounce. I really don't expect too many spares to be floating around - though I'd be delighted to be proved wrong - but any other suggestions (off-list) for likely places I might try beside all the usual online options would be much appreciated. Thanks Peter -------------------[ archived by Spectropop ]-------------------
Message: 10 Date: Wed, 1 Dec 2004 23:53:18 -0500 From: Country Paul Subject: Bobby Gregg; Stone Poneys; Bert Sommer; Vells Once again, trying to catch up. Dennis Diken: > Did anyone ever find out more info on drummer Bobby Gregg? I > believe he played on a fair amount of Cameo/Parkway sessions.... > Would love to know more about which records he played on. It may have already been mentioned, but he had a small-to-moderate hit with his own "The Jam" on Cotton in 1962. Billed as "Bobby Gregg & Friends," the track featured Roy Buchanan on guitar. In defense of Linda Ronstadt, who went through a round of ribbing re: the Stone Poneys, I saw her with them playing with Tim Buckley at the Bitter End in NYC way back when. Both acts were just fine, as I remember, with Buckley being emphatically the more idiosyncratic of the two. Beyond that, time has erased the memory - except that Ronstadt was really pretty (one doesn't forget that kind of stuff!). Bob Brown: > For any Bert Sommer fans out there, I would highly recommend > http://www.bertsommer.com a tribute website by Bert's friend, > Victor Kahn. Well worth perusing; there are also some fine obscure tracks which accompany it. I hadn't realized Sommer played Woodstock - "Jennifer", which he wrote for Jennifer Warnes (called (Warren at the time), is very fine and worth hearing. Phil M., thank you for the Genya Ravan/Goldie & The Gingerbreads websites. Very informative and fun; http://www.genyaravan.com has links to get you around. Declan Meehan, thanks for the Dani Sheridan info. I've since heard the song - very different from Glen Campbell. (And forgive me if I'm repeating myself....) Me, earlier: > Frank Murphy, about The Velvelettes' Motown Anthology album, > is "You'll Never Cherish A Love So True" on there? What a > great song -- especially the drummer's roll-around with the > rimshot at the end. If it is there, is the version at least > close to the original recording? Davie Gordon corrected me: > "You'll Never Cherish ..." is by The Vells, a different group > than the Velvelettes. The Vells were an early grouping of Martha > & The Vandellas. I thought the Vells had become the "...velettes." Mea culpa - and I used to play it on the air, too! Country Paul -------------------[ archived by Spectropop ]-------------------
Message: 11 Date: Wed, 01 Dec 2004 23:58:28 -0000 From: Rick H. Subject: Back to Mono...seriously I'm happy to share "10 Top Tips for Back To Mono Using Wave Editor" for digitally restoring monomix 45s and so-called "Stereo mixes" (and otherwise)to punchy Mono. Interested Spectropoppers can mail me offsite - feedback would me most appreciated as I intend adding to the project. If you can do a halfway respectable needle-drop you can do a Dynamic Monomix. My list of offending "Stereo Versions" is sorta like the NYC 'phone books, but the limp (and unavoidable)"24 Hours From Tulsa" by Geno is what finally pushed me over the edge...enough already! I need to hear tympani blasting thru the center of my living room rather than from next door or down the street. Finally hearing Neil Diamond's "Two Bit Manchild" as the 45 I remember, could be likened to gazing upon one's firstborn. Or something like that. Rick H. -------------------[ archived by Spectropop ]-------------------
Message: 12 Date: Thu, 02 Dec 2004 00:37:49 -0000 From: Davie Gordon Subject: Re: Ivanhoe Records It's prety sketchy but here's what inf. I have on Ivanhoe releases in my database. Additions / corrections / comments welcomed. Can anybody tell me the B-side and matrix numbers for the Thunderbirds' single ? Davie IVANHOE label(s) listing ---------------------------------------- this appears to be a Los Angeles label - probably completely unconnected to Mascari & Wenzlaff 5018 WALTER SCOTT (1965) I Want To Thank You / ? 5019 DOLLY AND THE FASHIONS (03/65) Just Another Fool (Cliff Goldsmith)/ The Right One Prod: none credited arr: James Carmichael ----------------------------------------------------------------- distributed by Amy-Mala-Bell 50001 THE THUNDERBIRDS Cindy, Oh Cindy / ? [this mght be a version of the old folkie warhorse ] 50001 THE DISCIPLES 08/66) Only The Blind Can See / Junior Saw It Happen [this one's interesting in that "Junior .." is the same song as the one on the first Steve Miller Band album - also recorded by a number of other garage bands.] ----------------------------------------------------------------- I-500 VINCE McCULLOUGH (1970) Long Black Hair (Mascari, Norman Welch) / I Wanna Be Around I-501 RAYMOND JOHN MICHAEL Feel Free (Ray Graffia, Greg Kempinski) / Let There Be Love I-502 EDDIE and DUTCH My Wife, The Dancer (Mascari, Wenzlaff) / Can't Help Lovin' That Girl ["My Wife" was also done by Engelbert Humperdinck - try to control your excitement] I-503 VON RUDEN (08/70) The Spider And The Fly (Jagger, Richards) / Judy (Von Ruden) Prod : Woody Ano for Ivanhoe Productions I-504 BOBBY TREND (1970) Good Day / Judy (Von Ruden) ["Judy" is the same as on I-503, has same matrix number ZTSC142700] I-505 EDDIE and DUTCH (1970) My Mother In Law Came Out Of Retirement / Bambino (Mascari, Wenzlaff) I-506 unissued ? I-507 EDDIE and DUTCH Ah-Choo, Gesundheit (Mascari, Wenzlaff) / Right In My Own Backyard (Mascari, Wenzlaff) I-508 CONNIE FRANCIS Don't Turn Around / I Don't Wanna Walk Without You I-509 CREAM VALLEY Love Is Slipping Away / Back toSchool (Mascari, Wenzlaff, Vickery) I-510 EDDIE and DUTCH Mama Morelli (Mascari, Wenzlaff) / ? -------------------[ archived by Spectropop ]-------------------
Message: 13 Date: Wed, 01 Dec 2004 23:50:11 -0000 From: Dave OGara Subject: Mann/Weil/Spector I caught a litte snip of an interview on the radio recently with Barry Mann and Cynthia Weil. While talking about the Ronette's song "Walking in the Rain", they said, and I'll paraphrase here; "with all due respect to Phil Spector, on this track and many others, Larry Levine and the Goldstar studio echo were as much responsible for the sound Spector got on many of the tracks recorded there." I may not have the quote exact but I was wondering if anyone could expand on the general tone of the remarks concerning Larry Levine, who I took from their comments to be a studio engineer; and of the "magic" in those Gold Star studios. I hope I'm fairly accurate as to what I heard and maybe one or more of you S'poppers know what they were talking about. Thanks.. Dave 0' -------------------[ archived by Spectropop ]-------------------
Message: 14 Date: Wed, 1 Dec 2004 16:14:10 -0800 (PST) From: Hans Huss Subject: Re: Donnie Elbert Ed Salamon: > Donnie's Deluxe sides, including "Have I Sinned" and "What Can > I Do", were huge for slow dances at Pittsburgh record hops. That's great! Donnie Elbert's slow tunes of the late fifties were massive in Jamaica, too, resulting in some fine cover versions, most notably 'What Can I Do' by Derrick Harriott (circa 1963), and 'Have I Sinned' by Ken Boothe (1972), also on his classic "Black Gold, and Green" album (1973). A few American soul artists covered 'What Can I Do' with good results, Bobby Marchan for Stax/Volt in 1963, and, in particular, Marvin L. Sims for Charles Colbert's Mellow label in 1966. Donnie Elbert's success with 'Where Did Our Love Go' no doubt influenced Reuben Bell to have a go at 'Baby Love' in 1972 (Deluxe 140). An unreleased British recording by Donnie Elbert from circa 1968, 'So Soon', was given a limited release (in a striking picture sleeve) by Joe Boy (JBV 1) in 1997. May be hard to find, there were only 300 copies pressed, but it is lovely. HH -------------------[ archived by Spectropop ]-------------------
SPECTROPOP - Spectacular! Retro! Pop! End

Click here to go to The Spectropop Group
Spectropop text contents copyright 2002 Spectropop unless stated otherwise. All rights in and to the contents of these documents, including each element embodied therein, is subject to copyright protection under international copyright law. Any use, reuse, reproduction and/or adaptation without written permission of the owners is a violation of copyright law and is strictly prohibited. All rights reserved.