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Spectropop - Digest Number 1753

               SPECTROPOP - Spectacular! Retro! Pop!

There are 25 messages in this issue.

Topics in this digest:

      1. Season's Greetings to all
           From: Gary Spector 
      2. Re: Ivanhoe
           From: Clark Besch 
      3. Re: Sonny Bono
           From: Rick Hough 
      4. Re: Augie Rios
           From: Michael Godin 
      5. Sandy Salisbury interview on KXLU last Saturday
           From: Mark 
      6. Caravelles
           From: Michael Edwards 
      7. Re: Gold Star/Sonny Bono/Spector
           From: Mark Wirtz 
      8. Saint Etienne; Sandpipers
           From: Michael Edwards 
      9. Tuff City
           From: Phil X Milstein 
     10. "Sick Manny´s Gym"/ Augie's " Ol' Fatso".
           From: Julio Niño 
     11. “He’s Raining In My Sunshine”
           From: Michael Edwards 
     12. Brill Building Larry
           From: Mike Rashkow 
     13. Re: There's A Moon Out Tonight
           From: Gary Myers 
     14. Capris; Five Satins; Spector-produced Cher
           From: Country Paul 
     15. Re: Harold Battiste/Sonny
           From: Richard Hattersley 
     16. Re: Worst/Best recording / Kenny Young / Jimi Hendrix
           From: John DeAngelis
     17. Re:  Terry Melcher Spector soundalike
           From: Martin 
     18. Monkee in the morning; old teen
           From: Country Paul 
     19. Re: TV commercials
           From: Don Syzmansky 
     20. Re: Who's ads
           From: Phil X Milstein 
     21. Re: Ivanhoe
           From: Gary Myers 
     22. John Townley to musica
           From: Clark Besch 
     23. Bob Lind @ musica
           From: Robert 
     24. new group for Colgems artists
           From: Larry Lapka 
     25. Re: returning the favor
           From: Phil X Milstein 

Message: 1 Date: Wed, 8 Dec 2004 03:00:52 -0700 From: Gary Spector Subject: Season's Greetings to all Hello and Season's Greetings to all. It has been a privilege (and still is) to read some of the comments about many of the legends of music, not just Rock & Roll. I continue to learn so much about what really goes on in this field. I really have to admit that I am, of course, always interested in the bits and pieces of what is said here about my father's work and what it was like working for or with him. I know so very little of what it was like in the studio despite my interest in his work while growing up. I have very fond memories of watching him on two occasions at Gold Star back in the 70's while my two brothers slept on the couch. I am so glad for chat groups such as this since I have not had any contact with my father in many years, despite my attempts. Keep on chatting and keeping the art alive and not just on the turntable but in the hearts. Happy Holidays, >From Gary P. Spector -------------------[ archived by Spectropop ]-------------------
Message: 2 Date: Wed, 08 Dec 2004 16:35:52 -0000 From: Clark Besch Subject: Re: Ivanhoe Gary Myers wrote: > Clark, it looks like you posted everything about #506 except > the artist. Who was it? Sorry guys! The 45 was by Long Time Comin'. Ever heard of em? The performance is less than stellar. They were amateurs and not tight at all, which in the case of "More & More" makes it a tough listen. Clark -------------------[ archived by Spectropop ]-------------------
Message: 3 Date: Wed, 08 Dec 2004 11:28:46 -0000 From: Rick Hough Subject: Re: Sonny Bono During my research for "Cher: The Vinyl Definitive" (Goldmine, 1981) Sonny mentioned how touched he was that "anyone even remembers the music I made." He had no idea that he had any fans, or that his production work was taken seriously by musicologists. (Sadly, a planned in-depth treatment of his work never came to pass at the time for a number of reasons.) Mark writes: > Far from being mere Spector mirrors, Sonny's production concepts > were in fact quite different from Spector's. Very true - from the ground up. By late '64 Spector was moving conceptually towards Soul Lite with "Lovin' Feeling" (the last Spector production Sonny worked on) and Sonny soon produced his own homage: Sonny & Cher's aural masterpiece "Just You". It flopped, as did Sonny's Spector/Girl Group knock-off, Cherilyn's "Dream Baby". He didn't revisit the Spector format until much later with "It's The Little Things". Sonny's grasp of the rock idiom was evident in 1965, but Phil Spector didn't catch up until the end of the decade. The music scene was shifting dramatically by mid-'64. Sonny's solid R&B credentials were as worthless and passe as Spector's Baroque bubblegum and he knew it. Sonny & Cher played the Top 40 game for the Russian roulette it really was, and delivered the trendier folk-rock and good-tyme sounds that were charting. (Their first Atco album "Look At Us" (1965) was a stylistically diverse compilation of pre-"I Got You Babe" tracks and Spectorian - but not Spector-like - covers. The Sonny & Cher sound would be defined a year later by the album "The Wondrous World of...". Sonny's vision was more about Beyond Spector than Just Like Phil.) By 1965, Cher was concurrently recording and charting as a solo on Imperial. Her first album, the rightly-praised (by Richard Hattersley) "All I Really Want To Do", is a folk-rock gem which caught the wave perfectly. (The LP incidentally featured a new remix of "Dream Baby" which stripped the original of its by then old-fashioned sound.) Cher's solo persona was The Moody Child of Pop, and Sonny pulled out all the stops with his most inventive productions culminating in the extraordinary "You Better Sit Down Kids" in 1968. The surprise 1966 smash - and now classic - "Bang Bang" had taught Sonny well that out-of-the-ordinary was the way to go with Cher. "Bang Bang" was tacked onto Cher's second - and slightly more "adult" - Imperial LP "The Sonny Side of Cher"; and on her third album "Cher (includes "Sunny and "Alfie")" (1966) Sonny's productions hit their stride magnificently. Cher's fourth Imperial Lp "With Love" may have bombed but the arrangements and production single it out as an enchanting masterpiece. But during 1965 thru 1968 Sonny had a secret weapon when it came to recording. Studio-wise, all the ususal suspects were on hand: Gold Star, The Wrecking Crew, Stan Ross and the well-learned craft of the master. Due credit must go to arranger/conductor/pianist Harold Battiste for much of the sheer originality of the Sonny Bono productions during this time. Whereas Jack Nitzsche's approach was fairly straight ahead, New Orleans jazzman Battiste brought a quirky funk to Sonny & Cher/Cher's recordings which stamped most of them as one-of-a-kinds. While some producers of the day dabbled with a harpsichord for grooviness, the Bono/Battiste world-music approach to selling singles saw everything from fiddles to accordions to bizarre tempo changes thrown into the mix. Nobody ever accused Sonny of churning out formula records, for good reason. Phil Spector taught Sonny Bono how to make records which sound good - a fact Sonny always acknowledged. With the education he went on to develop and create, if not an individual "sound", then a substantial legacy of unique recordings which deserve celebration. Sheesh, this just started out as a line or two of thanks to Richard, Mark, Claire and Brent... Rick Hough -------------------[ archived by Spectropop ]-------------------
Message: 4 Date: Wed, 08 Dec 2004 09:14:35 -0800 From: Michael Godin Subject: Re: Augie Rios Brian on Augie Rios: > Tom - I'm anxiously awaiting the posting of the flipside, > "Ol' Fatso". Haven't heard it in years, but I still torture > my siblings by singing it every year. Clark Besch: > I was surprised to see the talk of "Ol Fatso". I used to play > it on my radio show just because it was different than usual > airplay songs of the season. Had no idea anyone else knew of it! I remember as a kid being in an S. S. Kresgie five and dime store (think F.W. Woolworth) and hearing Donde Esta Santa Claus by Augie Rios and vividly recall seeing it play on the turntable, that blue Metro label spinning around at 45 rpm. I bought it and have played both sides for years ever since. One of my Christmas favourites. If you have a chance, please listen to my 8th annual Christmas Special live December 19th 6 to 10 p.m. Pacific or archived later on Merry Christmas. Michael Godin Treasure Island Oldies The Home of Lost Treasures -------------------[ archived by Spectropop ]-------------------
Message: 5 Date: Wed, 08 Dec 2004 11:59:45 -0500 From: Mark Subject: Sandy Salisbury interview on KXLU last Saturday Did anyone in the LA area happen to tape the interview Sandy did this past Saturday the 4th on KXLU? If so, I'd like to have a copy of it. Let me know... thanks! Mark -------------------[ archived by Spectropop ]-------------------
Message: 6 Date: Wed, 08 Dec 2004 19:44:56 -0000 From: Michael Edwards Subject: Caravelles Richard Havers wrote: > On its release in America "You Don't Have To Be A Baby to Cry" > swept up to No. 3, which resulted in Lois and Andrea achieving > a top ten album, as well as touring America with the Beatles, > Bobby Rydell and The Coasters in '64. And the song also achieved some notoriety for starting the British Invasion. After it entered the US Hot-100 in late '63, there was a British act on the Hot-100 for the next 30 years or so. It all came to an end a couple of years ago when Billboard pointed out that there were no British artists on the Hot-100, ending a span that started in 1963 with the Caravelle's "You Don't Have To Be A Baby To Cry". Way to go girls! Good record too. Mike Edwards -------------------[ archived by Spectropop ]-------------------
Message: 7 Date: Wed, 8 Dec 2004 07:42:42 -0800 (PST) From: Mark Wirtz Subject: Re: Gold Star/Sonny Bono/Spector Thank you, Phil, for responding with such generous explanations and specifics. What an extraordinary fountain Gold Star was, where so many profound creations were brought forth and baptised by so many passionate and talented pioneers. (To me, only Detroit Motown and Atlantic/Stax can tell a similar story). When I stated in my prior posting that I felt that Bono was more performer focused than Spector, I was not referring to prominence in terms of placement and overall balance, but simply in terms of objective and theatrical/dramatic context. Quite frankly, I can identify with both Bono and Spector, as I myself have conspicuously used both the "ensemble" approach, in which the "play" was the "thing" in some cases, and the "featured Star" concept in others, the latter in which everything was designed to enhance, not distract from, the front-liner's personality and rendered "message." In that sense, I would be the first to admit that in many of my earlier works, the performers were mere (though respected) puppets in the play. Nevertheless, sonically, I drew and defined them quite clearly. (No example demonstrates this point better than my own "Balloon" album, in which I intentionally under-lit myself close to the point of obscurity, because I wanted the music to be the "Star", not me, who I thought I was a shit vocalist. I learned, in retrospect, that I had made a big mistake in judgement and observation of priorities). Perhaps the best comparison to the above described difference in focus and priorities, would be the difference between a big budget action/special effects movie, in which even a celebrity actor is virtually peripheral, regardless of how many close-ups he's got, and a character-driven movie in which the starring actor and the dramatic premise is King. I completely share your observation about Sonny's tracks often sounding independently mixed and compressed and separated from the vocal performances that appear almost "pasted" on. That even annoyed me back when those records first came out, although it was subliminal since I didn't have a clue yet about sound or engineering (I was still a school kid). I do believe, however, that this exaggeration (gone too far perhaps) was part of Bono's intention to highlight and emphasise the lead vocalist. (There are some fake Spector stereo mixes that suffer from a similar placement incongruity). In quintessence, it might perhaps be appropriate to point out that Sonny DID succeed in his priority ambition. Even if not exactly fair to the Ronettes, or Crystals, or ..., Cher DID become an enduring "Star" in her own right, whereas Spector's "puppets" (but for the Righteous Bros. and ultimately Tina Turner) didn't fare quite so well. Regarding your question as to who engineered "Sha-La-Lee", it was Geoff Emerick. Recorded at Abbey Road in the wake of another Spector homage, "Make Time Stand Still". It was the last (and least authentic, yet most spirited) in a series of Spector emulations that I produced. My most successful attempts were "Lying Awake", "Even The Bravest Cry" and "Richest Man Alive" (the latter ruined by the repellent vocals), all recorded pre- Abbey Road at Levy's 3-track studio with Mike Ross-Trevor at the board. While Spector's influence remained forever apparent in my work, I gave up on trying to surpass him - with one exception: my final UK production before I left the UK for the US shores: Roger James' "Something Wonderful" - the most outrageously over-the-top bubble gum record ever put on tape. It symbolised my "farewell" like giving the "finger". Thank you again for responding, Phil, filling in more blanks in my reservoir of Spector knowledge. > My one regret, I never got to visit Gold Star before it was > demolished..... my other regret, that it was demolished! True to the adage "Never meet your idols", GS's humble layout was fascinating on a tech level, but disappointing to a fan. Same applies to the original Detroit Motown studio (I never could accept Motown's LA studio, the Poppy Studio incarnation, as authentic). One expected to find spacious, glamorous, tech parlours, but in reality, both studios were small, ordinary and close to primitive. They were not churches that inspired greatness, but only the prayers therein did. Prior to visiting Motown during the late 60's (together with an EMI colleague), I had heard all these rumours about strings of tambourines hanging from the ceiling, as well as a maze of magical chambers and booths. Hardly. Empty and not in action, the place felt like a bar after closing time. And if anything spirited the place, it was not a bouquet of sonics resonating, but a bunch of ghosts haunting. Come to think of it, you can catch a glimpse of what I'm talking about in the "Standing In The Shadow Of Motown" DVD which I recommend highly (together with a box of Kleenex or a razor blade at the ready). Gold Star, on the other hand, was hardly depressing, just simple and modest. In conclusion of this subject -- anybody who hasn't want to visit a studio that offers glamour and exceeds any of your romantic fantasies and preconceptions? Visit Abbey Road # 2 (sound-stage). Now THERE's a shrine! And I can confirm that every single instrument, microphone, screen, monitor, or whatever you find, is in exactly the same spot and position it was in in the 60's. Even the decor has not been touched (except for cleaning). It has become a museum in which people work... Warm best, Mark W. -------------------[ archived by Spectropop ]-------------------
Message: 8 Date: Wed, 08 Dec 2004 20:19:07 -0000 From: Michael Edwards Subject: Saint Etienne; Sandpipers Dave Monroe writes: > Just listening to the Saint Etienne (and if there's one contemporary > act the esteemed members o' this list might want to be up on, it's > St. E) selected installment of Family Recording's The Trip series, > featuring, among 46 tracks over 2 CDs/a few fewer over 3 LPs, The > Sandpipers doing The Jackson 5's "Never Can Say Goodbye" ... > Thanks for letting us know about this CD, Dave. I found a copy here in the US on for around $20 and it's on its way. You're right about St Etienne in that they're probably the best known contemporary act that should resonate with Spectropoppers. They used to do an annual gig in New York City at the Bowery Ballroom on Delancy, which is pretty close to where the New York Spectropop party was held. St Etienne's act was so good I had to lie down when I got home. And I hang the T-shirt I purchased at the gig next to my "Palisades Park" album sleeve – that's how high I rate them. What a joy to see a band doing out and out pop tunes with such enthusiasm. And isn't Sarah Cracknell just gorgeous? She writes some of their stuff too. Dave also mentions the Sandpipers' "Never Can say Goodbye", which is indeed a gem and gets a solid mention in the "Lounge" (Steve Knopper, Gary Graff Gale) edition of the Musichound book series. Love the way the Sandpipers repeat that "don't wanna let you go" line about three times at the end of their version. Can't wait to hear the other tunes that St. Etienne picked out for us on the "Trip" CD. Mike Edwards -------------------[ archived by Spectropop ]-------------------
Message: 9 Date: Wed, 08 Dec 2004 17:48:31 -0800 From: Phil X Milstein Subject: Tuff City While I was napping, Aaron Fuchs's Tuff City family of labels has been busy issuing a HUGE stack of amazing-looking vault packages. I checked in there today for the first time in months, and if I hadn't been wearing glasses my eyes would've certainly popped out of my head. Consisting largely of rare 45s for independent labels, the catalogue includes Ike Turner, Willie Tee, The Marvels, Huey Smith, James Booker, Johnny Otis, a (genuine) live at Myrtle Beach '65 session from Maurice Williams & The Zodiacs, Eskew Reeder's Eskewrettes, The Treniers' and other sessions from Hoss Allen's brief-lived Hermitage label, Andre Williams post-Fortune sides, Sax Kari ("Fumigate Funky Broadway"), and on and on it goes. Very N.O.-centric, true, but there ain't nothin' in the world wrong with that, plus it's just the tip of the iceberg they've got available to ding up your credit card right now. See for yourself at . An unpaid noncelebrity endorser, --Phil M. -------------------[ archived by Spectropop ]-------------------
Message: 10 Date: Wed, 08 Dec 2004 21:54:19 -0000 From: Julio Niño Subject: "Sick Manny´s Gym"/ Augie's " Ol' Fatso". Hola Everybody. I've been listening to "Sick Manny´s Gym" by Leo DeLyon and The Muscleman and it's fun. I love the female backing voices. It reminded me of "See Your Muscles" by the very pneumatic Richy Wayne, a Joe Meek production that always makes me laugh. Changing the subject, I want to thank Tom Diehl for playing Augie Rios' "Ol' Fatso" to musica. Talking about Augie, I was surprised when I read in a webpage mentioned by Country Paul that Augie was from Spain. His accent doesn't sound Spanish at all, so unless he left Spain being a baby I think it could be a mistake. Tomorrow I have to work again, after a five day super-weekend, I'm suffering a panic attack . Chao. Julio Niño. -------------------[ archived by Spectropop ]-------------------
Message: 11 Date: Wed, 08 Dec 2004 21:18:23 -0000 From: Michael Edwards Subject: “He’s Raining In My Sunshine” One of the very best recordings by Jay & The Americans is "He's Raining In My Sunshine", which came out as a 45 and as an album track on their "Try Some Of This" LP. J&TA were really peaking in the mid-60s with such top quality hits as "Sunday And Me", "Crying", Living Above Your Head" and "He's Raining In My Sunshine". The last title was a big favorite with U.K. pirate DJ, Kenny Everett who was never afraid to be adventurous. "..Sunshine" was written by S'pop member, Ron Dante along with his partner, Gene Allan. I hadn't realized that Ron and a version out too – on Mercury in 1968, apparently. Laura Pinto does a great job on Ron's behalf here on the site and I wondered if she knew whether or not Ron's version is available anywhere. An mp3 to musica would definitely be appreciated. As good as J&TA's version is, I'm very curious to hear Ron's version. Great song, Ron. Thanks, Mike Edwards -------------------[ archived by Spectropop ]-------------------
Message: 12 Date: Wed, 8 Dec 2004 20:03:55 EST From: Mike Rashkow Subject: Brill Building Larry O.K., I've been waiting and waiting for someone to bring up this unique Broadway legend. Larry from the Brill Building. We all know him--he'd be there on the sidewalk, in front of the Brill all day all the time, giving people the Bronx Cheer and being a general cut-up and annoyance. Insults to all--without discrimination. A really strange guy. I think he made his living by running packages from the Brill to other places, but I'm not sure. All hands on board with what they know of and remember of Brill Building Larry. Kingsley must have come up with something about Larry--yes? di la, Rashkovsky -------------------[ archived by Spectropop ]-------------------
Message: 13 Date: Wed, 8 Dec 2004 21:22:22 -0800 From: Gary Myers Subject: Re: There's A Moon Out Tonight Previously: > ... I noticed that the bass part (instrument, not voice) is > virtually never hitting anything close to a correct note for > the entire song! Tom Taber: > In that case, can any of you real musician types tell me why, > in spite of it all, to my untrained ears the record sounds so > over-all damned perfect? For one thing, because you're probably not hearing the bass. I can't even pick out any distinct bass notes on the tape copy I have. I guess I'd need a clean copy of the record, played over a good system to even hear it. Even when it's more audible, the bass part is typically the least likely to be distinguised by the untrained ear. gem -------------------[ archived by Spectropop ]-------------------
Message: 14 Date: Thu, 9 Dec 2004 00:47:29 -0500 From: Country Paul Subject: Capris; Five Satins; Spector-produced Cher John Fox, re: There's A Moon Out Tonight > Just wondering of any S'Poppers who were in on recording sessions > in New York in the late 1950s (or at least in the know) have any > perspective on this one: I was just listening, on a good sound > system, to the The Capris' "There's A Moon Out Tonight", and I > noticed that the bass part (instrument, not voice) is virtually > never hitting anything close to a correct note for the entire > song! Indeed, he plays the same four notes up, then down, occasionally landing within the chord, but never the right note at the right time. If this had been a union session, the bass player probably was the contractor - legend used to have it that the worst players became contractors, as the only way they could work was by contracting themselves for the session! You probably know the legend of this recording; I edited this capsule from,,411796,00.html#bio : "The group originally formed in 1957 in...Queens, NY, when all were teenagers. The original lead was Nick Santa Maria (aka Santo), Mike Mincelli (first tenor), Steve Reina (second tenor), Vinnie Narcardo (baritone), and John Apostol (bass)....By 1958, the group...attracted the attention of some independent record producers, and were soon in the studio cutting an original ballad called "There's a Moon Out Tonight" ...picked up for release by Planet, a small New York City label. Unfortunately for the Capris though, Planet was not able to effectively promote the record and it became an almost instant obscurity. Original Planet pressings of "There's a Moon out Tonight" can now fetch up to 1,000 dollars in collectors circles, when one of these rare platters surfaces.... "Soon thereafter, the group members all went their separate ways, and one would think that's where the story would end....As luck would have it, the Capris' record found its way in to the hands of Jerry Greene. At the time, Greene worked for Times Square Records, a legendary New York City "oldies" store that supplied DJ Alan Fredericks with material for his Night Train radio show. Fredericks played the record and now kids were looking to buy it. Greene was initially able to get a few hundred of the remaining copies of the record from Planet. With the demand exceeding the dwindling number of available copies, Greene finally purchased the masters from Planet [for $50, if memory serves --Paul], started his own label, and reissued "There's a Moon out Tonight" as Lost Nite 101. But the demand kept growing and so Greene turned to Hy Weiss, who released the disc again, now on his Old Town label. "By early 1961, the record had made the national charts and stayed there for over three months. With a national hit on their hands, the Capris reunited...." ...and a version of the group with original lead Nick Santo is still together ( Maybe someone should e-mail him and ask him! Gary Myers: > the bass player on In The Still Of The Night is mostly lost > throughout the song. One may assume that there were just bad bass players on the sessions, as these were probably low-budget "inspired amateur" events (e.g., The Five Satins' song was cut in a church basement in New Haven, CT) and there was no money and/or time to recut or get another bass man. Or maybe the original version just had "that feeling" despite the bass player. I join Tom Taber in the "that feeling" department re: the Capris; in my opinion, everything but the bass player is perfect, so the heck with him! And there's so much "off" in "In The Still of the Night" (unequal miking of the background group, for example, sounding more like four Satins) that it really doesn't matter; I just put aside the technical quibbles and get carried away by the sound. Brent Cash, thanks for the Kenny Young "Earth Love Fund"/"Gentlemen Without Weapons" reply. Adding it to my list of cool-sounding stuff to check out. Claire Francis: > I also agree that in most of Spector's records, he in fact was > the "Star" because he was such a brilliant producer... Indeed; to my ears, the proof is in both the artistry and the sales success. But even pre-Wall of Sound - Teddy Bears, Spectors 3, Paris Sisters - his production made what was already going on so much greater than the sum of its parts. I also have to agree with Phil Chapman: despite the greatness and/or density of Spector's production, the vocals always rang through. By the way, my favorite confluence of Spector/S&C is Cher's magnificent "A Woman's Story" c. 1976 - it's incredible how a record that slow and throbbing can also cook so well (granted, it's a deep simmer, but it's rock that rolls....). Country Paul -------------------[ archived by Spectropop ]-------------------
Message: 15 Date: Thu, 09 Dec 2004 09:37:23 +0000 From: Richard Hattersley Subject: Re: Harold Battiste/Sonny Phil C: > For me, the genius behind Sonny's productions was jazzer > Harold Battiste. Yes I agree, The arrangements are excellent. "You Better Sit Down Kids" stands out IMO as a great example. Richard -------------------[ archived by Spectropop ]-------------------
Message: 16 Date: Thu, 09 Dec 2004 21:17:08 -0000 From: John DeAngelis Subject: Re: Worst/Best recording / Kenny Young / Jimi Hendrix Artie Wayne wrote:... > you can't pick up girls in a three-wheel car! Sounds like a song title to me! John DeAngelis -------------------[ archived by Spectropop ]-------------------
Message: 17 Date: Thu, 9 Dec 2004 18:33:26 -0000 From: Martin Subject: Re: Terry Melcher Spector soundalike Kingsley Abbott wrote > I would commend a track called '(Maybe) I'm In Love' on the > Freeway album that TM produced in London in 1979....this > particular track is all Terry's work including lead vocal, > and is a very full Spector inspired production on a pretty > good song. Thanks Kingsley, Not one I know but sounds like I should! Thanks for the tip. While mentioning Terry do any S'poppers remember him around the songwriters dens and studios of New York in the early 60s? He has said that he spent up to a year watching and learning his craft at Aldon and other publishing houses. I don't suppose the name Terry Melcher meant much then but the son of America's sweetheart Doris Day might have raised an eyebrow even amongst New York's cool cats. Martin PS Hard for me to think about more than one thing at a time so whilst working on the Terry Melcher feature Jack Nitzsche's Record Of The Week might have to wait a fortnight. -------------------[ archived by Spectropop ]-------------------
Message: 18 Date: Thu, 9 Dec 2004 23:45:51 -0500 From: Country Paul Subject: Monkee in the morning; old teen Micky Dolenz will be the new morning DJ at WCBS-FM, New York's "oldies station" (that cut out the 50s this past year). Also, you probably have heard that Dick Clark, 75-year-old teenager, had a mild stroke. Country Paul -------------------[ archived by Spectropop ]-------------------
Message: 19 Date: Wed, 08 Dec 2004 14:11:08 +0000 From: Don Syzmansky Subject: Re: TV commercials I've been noticing Who songs all over TV in recent years, from Hummer ads (Happy Jack) to the Jerry Bruckheimer shows ("Who Are You" and "Won't Be Fooled Again") and another (can't remember what) that used phrases from "Tommy." I too was shocked at the Coltrane ad. Several years ago, the Weather Channel was playing Miles Davis over the scrolling local weather segments. I also like the VH-1 "Save the Music" ads, with the kid playing Monk on clarinet. don -------------------[ archived by Spectropop ]-------------------
Message: 20 Date: Thu, 09 Dec 2004 04:04:29 -0000 From: Phil X Milstein Subject: Re: Who's ads Dave Monroe wrote: > The Whotles, anyone? And then there's Roger Daltrey > shilling for some late night broadcast home shopping > operation or another. Actual quote: "I'd call that a > bargain. I just heard a really tame version of "Let My Love Open The Door" in the background of an ad for either a discount department store or a plug-in air freshener (I didn't quite catch which). Perhaps Townsend "opened the door" to the commercialization of his catalogue all at once. --Phil M. -------------------[ archived by Spectropop ]-------------------
Message: 21 Date: Wed, 8 Dec 2004 21:27:32 -0800 From: Gary Myers Subject: Re: Ivanhoe Upon a closer look at the previously posted Ivanhoe listings, I noticed that "Long Black Hair" was written by Norman Welch, whom I've known for about 18 years and worked with many times. He's been going by the name Norman A. Norman for many years, and he did not know about this record. He said the song was originally "Girl With The Long Red Hair", recorded by Nick Noble. Norman was a later member of '80s novelty band Big Daddy on Rhino. gem -------------------[ archived by Spectropop ]-------------------
Message: 22 Date: Fri, 10 Dec 2004 06:01:41 -0000 From: Clark Besch Subject: John Townley to musica Thanks to everyone for helping me again with those Welsh and harmonica songs/artists! I have quite a few to go with now! I will send all who responded a list of what I came up with and with your help when I get it done. Thanks again! Now, with the playing of the great Arkade song "Sentimental Lisa" to musica, I thought I'd see if I could squeeze a song onto musica by our newest Spectropop addition, John Townley of The Magicians. Obviously a good buddy of (That) Alan Gordon, I have not heard much of John's music outside The Magicians. Karl Baker tells me he had a "Family Of The Apostolic" LP in 1969, as well as two singles. Have heard none of these, but DO have the third and last 45 by John Townley & The Apostolic Family, titled "Just Another Day" on Vanguard 35122 (which I'd date at early 1970). It's really a great song and perfect for the 1970 era. In fact, he could have even fit in with Austin Roberts and The Arkade! Wouldn't that have been quite a S'pop story! Anyway, this 45 (mono here due to space on musica) came with a promo insert by Vanguard Records that reads: "This past year has shown a rising movement in pop music toward the 'new religion' of today's youth from the Beatles and Simon & Garfunkel to Stevie Wonder. We have the honor or recording a new artist that both typifies and transfigures this new trend. John Townley's writing and performance on 'Just Another Day' is a musical landmark that will not soon be forgotten by any young person who hears it. The Aquarian Age is here and John Townley is here with it, and with us all." A little wordy, but is quite a nice piece! Enjoy -- and John, let's hear from you again about your career! Clark -------------------[ archived by Spectropop ]-------------------
Message: 23 Date: Fri, 10 Dec 2004 07:36:48 -0000 From: Robert Subject: Bob Lind @ musica Now playing: Bob Lind's "Goodbye Neon Lies" (World Pacific 77879), the 1968 A-side of his last 45 before moving to New Mexico for three years. He returned in 1971 with the solid "Since There Were Circles" LP (Capitol). Rob -------------------[ archived by Spectropop ]-------------------
Message: 24 Date: Fri, 10 Dec 2004 05:27:01 -0800 (PST) From: Larry Lapka Subject: new group for Colgems artists I need some help from Spectropoppers. I have started a new Yahoo group dedicated to the Colgems record label, at . I would like to post a file with biographical data on the various artists that recorded for the short-lived label that was most famous for being The Monkees' home. I don't need anything on the Pre-Fab Four, but there are several other artists that I have run into dead-ends on, as far as data is concerned. I am looking for biographical data on the following performers who recorded for Colgems from 1966-1971: * Hung Jury * Fountain of Youth * Paula Wayne (I believe she was a Broadway actress of some renown in the 1960s, but I don't know if the Colgems singer and this actress are one and the same person) * P.K. Limited (I believe one member of this group was part of the Big Daddy project) * Alex Keenan * New Establishment Other who recorded for the label were actors Peter Kastner, Sajid Khan, Sally Field; all around music men Quincy Jones and Hoyt Axton; Michael Murphy's The Lewis & Clarke Expedition; "Birds and the Bees" singer Jewel Akens; and comic Rich Little. Of course, Colgems released a wealth of soundtracks during its short run, including those for Oliver, Casino Royale, Guess Who's Coming To Dinner and Lawrence Of Arabia. I would love to get versions of the music off of these soundtracks, and I am also looking to fill in holes in my Colgems collection by collecting files on the above-named artists. I also believe that the first promo 12-inch 45 was released on this label, a tie-in between its Casino Royale soundtrack and Dusty Springfield, but I don't know if this record was legit or not. To Spectropop's music biz people, did any of you have any dealings with the above artists, or any dealings with Colgems Records? I would love to hear about it, and maybe post some of these responses on the site. Any help would be appreciated, through e-mail, of course. Thanks. Larry Lapka __________________________________ Do you Yahoo!? Yahoo! Mail - You care about security. So do we. -------------------[ archived by Spectropop ]-------------------
Message: 25 Date: Fri, 10 Dec 2004 10:03:36 -0800 From: Phil X Milstein Subject: Re: returning the favor Michael Edwards wrote: > ... It all came to an end a couple of years ago when Billboard > pointed out that there were no British artists on the Hot-100, > ending a span that started in 1963 with the Caravelle's "You Don't > Have To Be A Baby To Cry". Way to go girls! Good record too. Y'all are welcome to claim Madonna as your own, if you'd like. --Phil M. -------------------[ archived by Spectropop ]-------------------
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