Mystery Island Banana Train Ride presented by Friends of Spectropop

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

Spectropop - Digest Number 1805

               SPECTROPOP - Spectacular! Retro! Pop!

There are 21 messages in this issue.

Topics in this digest:

      1. Debbie Schow
           From: Blake Xolton 
      2. Jack Nitzsche at Spectropop update + Jimmy Griffin R.I.P.
           From: Martin Roberts 
      3. Re: Teardrops
           From: Simon White 
      4. Johnny Maestro and the Del Satins
           From: Tom Diehl 
      5. Re: James Griffin R.I.P.
           From: Martin Roberts 
      6. Re: The Montanas
           From: Barry Margolis 
      7. Thank you!
           From: Martin Roberts 
      8. Re: The Teardrops / Saxony Records / Paul Trefzger
           From: Rex Strother 
      9. Re: "Whiter Shade Of Pale"
           From: Richard Havers 
     10. Marcie and the Cookies
           From: Peter Lerner 
     11. Re: "Groovin' With Mr. Bloe"
           From: Richard Havers 
     12. Re: The Montanas
           From: Barry Margolis 
     13. Re: The Buddy Holly Story (movie)
           From: Austin Roberts 
     14. The Real Bert Daché
           From: Artie Wayne 
     15. Re: "Whiter Shade Of Pale"
           From: Lyn Nuttall 
     16. Shangri-las to Dixie Cups - Help Please
           From: Lex Cody 
     17. varied & miscellaneous
           From: Dave Monroe 
     18. Re: a degree or two of separation
           From: Phil X Milstein 
     19. Re: Buddy Holly Story
           From: John Fox 
     20. Re: Bert Dache's "Anchors Aweigh Girl"
           From: S.J. Dibai 
     21. Re: Thane Russal
           From: Scott Charbonneau 

Message: 1 Date: Mon, 17 Jan 2005 18:25:52 -0000 From: Blake Xolton Subject: Debbie Schow Hello: Blake Xolton here. I am a songwriter, recording artist and production coordinator for/with the Kessel Bros; Dan and David. Dan read a comment in Spectropop by photographer Debbie Schow, in praise of Harvey Kubernik's tribute article about his father, Barney Kessel. Dan lost contact with her many years ago which he would like to re- establish. She or anyone in contact with her, kindly contact me at Thank you. I remain Xolton -------------------[ archived by Spectropop ]-------------------
Message: 2 Date: Mon, 17 Jan 2005 18:36:20 -0000 From: Martin Roberts Subject: Jack Nitzsche at Spectropop update + Jimmy Griffin R.I.P. In tribute to Jimmy Griffin the Record of the Week on the Home page is "Summer Holiday". Not a hit and perhaps it was a good thing, he might have found himself being labelled 'Whistling' Jimmy Griffin: The second of the KHJ radio jingles is being played, On The Radio ...Don't Touch That Dial: Martin -------------------[ archived by Spectropop ]-------------------
Message: 3 Date: Mon, 17 Jan 2005 19:17:01 +0000 From: Simon White Subject: Re: Teardrops Mick Patrick: > As I said previously, Paul Trefzger's Saxony label is still > active. They released a Teardrops CD in 2001, containing both > versions of "Here Comes Loneliness". I have the CD. Before that, > during the mid to late 1990s, the label released a few 45s, > featuring 1960s recordings. Among them was: The Teardrops "Here > Comes Loneliness" (northern version)/ "Walking Down Main Street" > (Saxony 3003). So, mystery solved then. I wonder what else was released by Saxony in the 90's? And as you say Mick, flip the Kent 45 over for another great track, discussed on this very board some time back - in the archives I guess? Simon White -- Rilleh ! -------------------[ archived by Spectropop ]-------------------
Message: 4 Date: Mon, 17 Jan 2005 19:25:23 -0000 From: Tom Diehl Subject: Johnny Maestro and the Del Satins Hey Gang, I know that Johnny Maestro was a member of the Del Satins, but how long was he with them for? I have a copy of their single Love, Hate, Revenge (If I Want You To Cry) / A Little Rain Must Fall (both sides written by Ritchie Adams and Irwin Levine) on Diamond D-216, and I'm curious who the singers were on either side of this record, since on the top side one of the lead singers sounds like Johnny but not on the B side (though im still curious who is on there), they definitely made the A side a lot better than the B side, probably to make sure it got more airplay but it was probably greatly ignored by radio....can anyone help? Tom "Diamonds are a record collector's best friend" Diehl -------------------[ archived by Spectropop ]-------------------
Message: 5 Date: Mon, 17 Jan 2005 18:54:18 -0000 From: Martin Roberts Subject: Re: James Griffin R.I.P. Anita Walls, who I've quoted in the intro to Jack Nitzsche's ROTW @ emailed this letter to me: ------------------------------- I attended the memorial on Friday here in Nashville. There were many musicians and friends there. .... probably around 400.... It was a very sad day for many people. He had many friends who loved him. It touched my heart when they played a piano/vocal version of Amazing Grace with Jimmy singing it. I spent the night before with Rick Yancy of the Remmingtons, another long time friend and my friend, Dan Borgers a producer here in Nashville. Dan called me today to tell me that he attended the funeral in Memphis today. Around 60 people attended the graveside service. ------------------------------ The memorial must have been a sad occasion but a lovely way to say goodbye. I mentioned the two Jimmy Griffin records that have been PROTWs but I didn't mention that he is also featured as co-writer (with Mike Gordon) of The Cascades version of "Main Street". The hit was by the Astronauts. Martin -------------------[ archived by Spectropop ]-------------------
Message: 6 Date: Mon, 17 Jan 2005 13:40:13 -0600 From: Barry Margolis Subject: Re: The Montanas Me: > Everyone should able to find a copy of the US Independence single > "You've Got To Be Loved". Gary Myers: > It was also covered by the 4 Freshmen on one of their Liberty LP's. But it's nowhere as good.....besides, the B side "Difference Of Opinion" is one of the coolest songs released from the UK. gem -------------------[ archived by Spectropop ]-------------------
Message: 7 Date: Mon, 17 Jan 2005 19:35:29 -0000 From: Martin Roberts Subject: Thank you! As usual I've been getting much pleasure from reading the posts, listening to the tracks on musica and admiring the recent articles. Thanks to all and in particular: John and Phil for the wonderful "Lavender Girl - The Patty Michaels Story": Brent for "Under The Boardwalk - an interview with Kenny Young" Excellent story and many, many excellent songs: Jeff for "All Over But The Crying - The Sandpipers Story": Julie Abbott Hammersley and Ian Slater for "Don't Let Him Touch You - The Angelettes Story": Mick for "Walk Tall With The 2 Of Clubs": and "Bobby's Girl - The Marcie Blane Story": And thank you to anybody I've temporarily forgotten! Martin -------------------[ archived by Spectropop ]-------------------
Message: 8 Date: Mon, 17 Jan 2005 12:20:18 -0700 From: Rex Strother Subject: Re: The Teardrops / Saxony Records / Paul Trefzger I stay in pretty close contact with Paul Trefzger of Saxony Record "fame" - indeed, I helped write the liner notes for his upcoming Rollie Willis CD and his 2-CD "Saxony Vaults" CDs. I know he has also actively pressed 45s of the Saxony back catalog (including previously unreleased tracks by various artists) Anyone who has a question about the Teardrops, or the release of various recordings by Saxony, etc. - I'm sure Paul would love to hear from you. He can be reached at: -------------------[ archived by Spectropop ]-------------------
Message: 9 Date: Mon, 17 Jan 2005 19:43:39 +0000 From: Richard Havers Subject: Re: "Whiter Shade Of Pale" Frank Murphy wrote: > I think both songs ("A Whiter Shade..." and "Je T´Aime..") have a > certain classic flavor, I don´t know if they are based on some > classical piece. At the time several critics felt it had been > influenced by Jacques Louissier and his Play Bach albums, but I > gather the band were listening to Percy Sledge more than Johann > Sebastian. This is from an interview I did with Gary Brooker a couple of years ago...... GB. We played what we thought was kind of Rhythm and Blues, we did a lot of Ray Charles songs, we did a lot of Jerry Lee Lewis, we didn’t do many Chuck Berry really. We kind of tended to do things which had a bit of piano in them, the sort of American, mostly American black music anyway. I quite liked Skiffle when it came out, when I was very young and I particularly liked Lonnie Donegan, I thought he sung, he just was a great singer, with good material but one day I heard 'What I Say', I think and then another day I heard 'Rip it Up' by Little Richard and I thought oh what's going on here and never looked back really, I mean what you had on offer here was Cliff who was great but I mean nothing to me compared with 'What I Say' by Ray Charles, there was something going on there that was very different. So how did this progress to what you were doing in the late 60's? GB. Well I mean actually I used to play, I learned classical piano at one point when I was younger, but then discovered Elvis songs and that and started playing different sort of piano but throughout that period I learnt every soul song, blues song and R & B song that there was and I also had to play some classical music and somewhere along the line I heard a bit of jazz but eventually I got fed up with covering things and thought I'd try and write some of my own things and if you take Whiter Shade of Pale it is rather, in fact I think at the time it was quite off the wall, there was nothing quite like it but if you take those influences of you know of a little bit of, I mean I was trying to play Air on a G String.......plays......still can't play it.......Take 2........ At the time I was trying to play Air on a G String but it all went wrong!.......Plays......... There's a little bit of classical in that but the vocal over the top is just a straight blues really. The words are very different of course so it was really a mixture of all of the things I'd heard up until then. -------------------[ archived by Spectropop ]-------------------
Message: 10 Date: Mon, 17 Jan 2005 20:50:16 -0000 From: Peter Lerner Subject: Marcie and the Cookies I've recently returned from a splendid trip to Australia with the family (including an 80 year old and a 5 year old), and managed to get into just one second hand vinyl emporium - where I picked up a rather tasty demo of Marcie and the Cookies singing "I would if I could" - composed by Madara-White-Gilmore, coupled with Sawyer- Burton's "All or nothing", of which I have an alternative (original?) version by Patti Labelle and the Bluebelles. The 45 is on the Australian Columbia label and I assume the group hail from Australia. It's a nice single. Can anyone tell me anything about Marcie and the girls, or indeed about any original recording of "I would if I could"? Another excellent 45 in the small collection of purchases was Johnny Rivers' "Going back to Big Sur" - one I had never heard before but full of Californian atmosphere. Speaking of California I stopped off on the way in San Fransisco. We were vasttly entertained by a middle aged hippie busker who had three songs and a lot of chat in his repertoire. The three songs were Scott Mackenzie's "San Francisco" of course, Van Morrison's "Brown eyed girl" and ...... can anyone guess the other one? Of course, some of you spectropoppers must live in San Francisco and actually know this guy...... Biggest disappointment of the trip? Spending two hours in Los Angeles airport and not bumping into Jackie DeShannon. Oh well, next time. Belated happy new year everyone Peter -------------------[ archived by Spectropop ]-------------------
Message: 11 Date: Mon, 17 Jan 2005 19:48:59 +0000 From: Richard Havers Subject: Re: "Groovin' With Mr. Bloe" Dave Monroe: > I just spun Wind's version of "Groovin' with Mr. Bloe" last night!  > Anyone have any info on either Wind or Mr. Bloe? The harmonica on 'Groovin with Mr Bloe' was one Harry Pitch. He also plays the theme tune to a well known, and long running, British TV comedy series 'Last of The Summer Wine', and another less well known UK TV detective series called 'Shoestring'. He also played the harmonica on Level 42’s 1987 top 10 single 'It’s Over'. Richard -------------------[ archived by Spectropop ]-------------------
Message: 12 Date: Mon, 17 Jan 2005 13:43:35 -0600 From: Barry Margolis Subject: Re: The Montanas Orion: > All of these are available on a "Best of Montanas" CD that I purchased > a few years back just because O "You've Got To Be Loved". It is a great > song but there are actually several songs on the CD that imho are better. Not quite all of these..... For some weird reason, "Heaven Help You" was not issued in the UK and was not (apparently) known to the compilers of the CD in question: "You've Got To Loved" (Singles A's & B's) - UK Sequel NEMCD-994 readily available. The only other things 'wrong' with this CD, is 1) there was no attempt to mix and these into stereo (Tony Hatch was known for recording all of his acts in multi-track), and 2) The 'remix' of "Difference Of Opinion" is horrible. The original mix was perfect. Barry -------------------[ archived by Spectropop ]-------------------
Message: 13 Date: Mon, 17 Jan 2005 15:58:01 -0500 From: Austin Roberts Subject: Re: The Buddy Holly Story (movie) Odd story re: The Buddy Holly movie. The original production of the movie had Jerry (J.I.) Allison as advisor. He was a great friend of Bob Montgomery, who had just produced Rocky on yours truly. Anyway, he called J.I. in L.A. and asked him if I could audition for the part of Buddy, since I could sing like him when called upon, was skinny (at THAT time), was willing to color my hair black (what was I thinking of), wear big black glasses and could play guitar. Jerry said 'Send him out (from Nashville) and we'll pay expences', so out I went. (I got to know J.I. pretty well in the last 30 years and he's a trip). After a few beers and a lot of fun, we both admitted that they needed a real actor to play Buddy. Not long after that, another company took over production and Gary Busey gave a fabulous Oscar nominated performance. I'm happy to say, it never got far along enough that I had to make my hair black! Best, Austin R. -------------------[ archived by Spectropop ]-------------------
Message: 14 Date: Mon, 17 Jan 2005 13:58:20 -0800 (PST) From: Artie Wayne Subject: The Real Bert Daché Tom...How ya'doin'? Sorry, but Tony Orlando wasn't Bert Daché. Bert was a singer/writer signed to Aldon music the same time I was in 1960. regards, Artie Wayne -------------------[ archived by Spectropop ]-------------------
Message: 15 Date: Mon, 17 Jan 2005 22:13:00 -0000 From: Lyn Nuttall Subject: Re: "Whiter Shade Of Pale" Ostin Allegro, at his "Pop Meets Classics" site gives the supposed classical source as JS Bach's "Air from Orchestral Suite in D" [also known as "Air on (for) the G String"], but notes: "The band always denied that this song was directly based on Bach's Air. It's just the first bar of the organ introduction which resembles the Bach. Otherwise the connection is, for me, rather slight." (If you don't know the site already, it's the place to check the classical origins of numerous pop songs from the 50s on.) Lyn -------------------[ archived by Spectropop ]-------------------
Message: 16 Date: Sat, 15 Jan 2005 03:02:08 -0800 (PST) From: Lex Cody Subject: Shangri-las to Dixie Cups - Help Please Hey there... Lex here, I built the website, which is grooving along nicely. Well, I've just started working on a dedicated website to The Dixie Cups (it will bw at I was at a 60's boat cruise dance party last night here in Melbourne, and a Dixie Cups song came on straight after Great Big Kiss, and it's been in my head all day. I saw there was no website up, so have decided I'm gonna build one. If anyone has anything they can contribute, or help with please email me. The site won't be a profit one or anything like that, just basically loaded full of memorabillia, info, pics, and anything related to the group. And links to amazon, ebay etc for those wishing to buy cds and stuff. I'm only in it for the music. Many thanks to anyone who can help. Lex If anyone can help me here it would be great. -------------------[ archived by Spectropop ]-------------------
Message: 17 Date: Sat, 15 Jan 2005 17:28:12 -0800 (PST) From: Dave Monroe Subject: varied & miscellaneous Lyn Nuttall wrote: > A song that Ben wrote with Mark Barkan, 'Do The Blue > Beat (The Jamaican Ska)', was a bit of a hit down > here by Dinah Lee, also in '64. The original version > seems to have been by either Ray Rivera or Jerry > Kennedy. I actually have that Dinah Lee 45. I'd love to hear a Ray Rivera version, or whatever that Ray Rivera track might be. I spin the Ray Rivera Orchestra "I Got My Mojo Working" all the time, it's a killer. > (There are also songs called 'Blue Beat'/'Do the > Blue Beat' by Mark Thatcher [!], Virginia Lee and > Los Sonor that may or may not be the same song.) And don't forget "The Blue Beat" by The Beazers, but I see you know that already. > Covered en Francaise by Myriam Martin (b/w "Dansons le blue beat"). But this reminds me ... Julio Niño wrote: > Hola Dave, Los Buenos were a Beat or Psychedelic > group that released 4 singles on the label Action > in 1969. I find their records rather boring but > they are quite prestigious. If you want more info > about them or want to listen to some of their > tracks let me know. I have three out of four of them, then. Boring?! "Groovy Woovy" is fantastic! One of my favorite sequences is to, er, "riff-match" it with "Funky Funky" (a.k.a. "I'm Gonna Dance All Night") by The Equals. Their "Looking Back" (did The Spencer Davis Group record this orginally? Or does it go back further?) is good, but the B-side, "De mi nina," is killer crunchy pop psych. The other one I have, however, I can't recall anything about, but vocalist Julian Granados' "Donkey" hath its charms as well. > Los Salvajes were a beat group that recorded 8 EPs, > 5 singles and an LP between 1964 and 1967. They > released some interesting tracks, most of them > versions, some of their originals are quite > fun, with rather surrealistic lyrics. I've been spinning their cover of The Equals' "Baby Come Back" (as well as, on occasion, their "Paint It Black" and their "With A Girl Like You"), as well as what I assume is an original, "Vivir sin ti." I need "El Don Juan," however, from what I hear, so ... > The Satin Bells? Are you sure they were a Spanish > (from Spain) group? I have their "Toros en Mexico" c/w "Come C'mon" on Accion. The A-side lifts the analogous riff from The Temptations' "I Can't Get Next To You," on the verses, while the choruses break out into full-on Benny Hill-era Ladybirds-like "Spanish" pop. The B-side, however, is sublime, breathy girl vocals over a slinky, fuzzy "Heard It Through The Grapevine" riff. But they look more like the A-side: That may actually be my copy, even. > Talking about Spanish beat groups, my favorite by > far were Los Brincos. I do have their "El Tren." Very "Substitute"-y. What else by them? Howzabout Los Sirex? "Los Gritos" (?) always seems to get playlisted. Any and all recommendations much appreciated, thanks again. Stephane Rebeschini wrote: > Few french pop/yeye tracks were released in the US > then, and it's quite easy to understand as lots of > french ye-ye were covers of US hits. Apart from > Francoise Hardy, one of the few was Michel > Polnareff, whose records were released by Kapp/Four > Corners Of The World in the US circa 1966/68. Great > tracks, but commercial flops in the US. Polnereff I love, have been spinning alternately either his frantic "La Mouche" or "Le roi des fourmis." "La poupee qui fait non," however, is my absolute favorite track by him. I've also covers by The Birds, Dana Gillespie and Saint Etienne (two of 'em by St. E). > There's also Claudine Longet, who is French, but her > records were recorded/released in the US and she was > unknown in France ... ... a.k.a. Mrs. Andy Williams. I bet she was better known at homes apres l'affaire "Spider" Sabich: Thanks for all the info on French, Spanish, whatever recods, and, of course, please keep it coming, but, in the meantime, I was also reminded of a couple of favorite American records that I know very little about. I found one while looking for the other. The first is "Come On And Ska" by The Pussycats, who seem to be an NYC girl group. The record is from 1963, on Keetch, with a nifty "pussy cat" label. I have it in both white and light purple. Written by "Tommy" Dowd, and produced by Bert Berns. I'm sure y'all know 'em. The other is "I Want Your Love" by a presumably (very) different Pussycats. On Columbia (have both red and white labels), c/w "The Rider," most recently compiled on Where The Girls Are Vol. 5. Pure angelic wall of reverb fuzz 'n' trumpets sleaze. A real crowd-pleaser. They've come up before here: ... but there wasn't a lot of info past what's on the labels, so ... Josie and the Pussycats you all know as well, I'm sure, but, recording the Atlantic back to the hexagon, then there's Pussy Cat. I know this much: ... but I'd love to know who was in her band, and what else they might have recorded, and with whom. Propulsive covers of Small Faces' "Sha La La La Lee," The Moody Blues' "Stop," The Cat's Meow's "La La Lu" (?!), "You're No Good" (Dee Dee Warwick et al.). There's a handful more on her Magic Records comp, plus what I presume are some "original" tracks. But speaking of covers, she also does covers of "Have Courage, Be Careful" (J. Madara, D. White, R. Gilmore, C. Righi, you can write off Righi as having written the French lyrics) and "Never Gonna Love Again" (G. Thibaut, B. Pettican, T. Mahoney). Who did Anglophone versions? The latter is my favorite by her, "Ba ba ba ... bouf!" Anyone have any info on "My Orange Room" by Clair, on Marlo Records (orange label), ca. 1972? I don't have the record with me at the moment, so I can't say what the other side is (it either wasn't of particular interest to me, or it's the same track), but the name "Tony Henninger" [sic?] comes to mind. >From what little I can google, both Marlo (if it's the same one) and (at least a) Tony Henninger appear to have C&W connections, but the 45 I have is vaguely, I don't know, funk psych or somesuch. Feamle vocalist (presumably Clair), who reminds me a bit of Brook Hall on "I Had A Dream" (and does anyone have any info on her as well?). As always, any/all help appreciated. Thanks. Jim Fisher wrote: > I envy you for having seen Roy in such fine voice, > esp. doing "It's Over". Anyone happen to see the > movie "Little Voice" a few years back? The last > scene has Michael Caine doing a version of > "It's Over" that simply has to heard to be > believed. I loved Little Voice! I didn't want Jane Horrock's character's debut performance to end. She actually impersonated all those voices herself. AND that breakdown scene -- her Judy Garland in particular is eerie. But I'd forgotten about Michael Caine's number. I can't recall, however, if Ben Gazarra actually sings "his" bit in Buffalo 66, or if it's a recording of Vincent Gallo, Sr. I think I've heard both. Barry Margolis wrote: > The Montanas are one of my favorite obscure UK pop > groups. Everyone should able to find a copy of the > US Independence single "You've Got To Be Loved". > It was a huge local hit in California and Chicago, > and this tiny label pressed up TONS of copies. > Both sides are first-rate. The two Warner Brothers > singles, "That's How Happiness Begins" and "Ciao, > Baby" are also excellent. There's also more US > Independence singles, "Run To Me", "Heaven Help > You", and "A Step In The Right Direction" also are > great. The Decca single is less so. Check 'em out > ....most of these singles are not particularly > rare..... Ditto! Copies of "You've Got To Be Loved" c/w "Difference Of Opinion" in particular abound. "A Step In The Right Direction" is a particular favorite, and, again, not difficult to pin down (and a DJ tag-team partner of mine spun it off a comp as well the other night). "That's When the Happiness Began" I need, however, so if anyone out there ... but I may just have located the 45 that started this thread. I'll let you all know. Jesse wrote: > I wasn't born when it charted and I didn't grow up > in France (although I live here now). Still, I thought > I knew all the hits. Somehow, I'm glad I was wrong -- > It's always nice to discover 'new' stuff. Hits, shmits, I say. Not only do I love one-hit wonders -- how many people can put together even one great record, much less get it across to a taste- challenged public? -- I love no-hit wonders even more. Great records unspoiled by over-exposure. I think I and my friends and, very likely, perhaps even all of you take that as a challenge, digging up all that buried treasure. Pretty much all I hear is what either I or the people I go out to hear spin these days (this is not an inconsiderable variety, by the way, anything from C&W to doo-wop to R&B to soul to beat to garage to freakbeat to ye-ye to Latin soul to funk to ska to rock steady to reggae to dub to disco to hip-hop to electro to techno to ambient to drum 'n' bass to glam to punk to new wave to post-punk to indie to ...), or what gets played at me otherwise (clubs, cars, coffee shops, wherever there's a soundtrack of some sort). The only radio I much listen to is NPR, UNLESS they're playing music (which is generally awful). And I don't think I'm missing much of anything. I (quite fortunately, I think) spent years without hearing, only hearing about, say, "The Macarena" or "Achy Breaky Heart" (while I seem never to be able to escape 4 Non Blondes' "What's Up?" -- worst record EVER, to my ears), while in the meantime having to "discover" tracks like "I Can't Stop Dancing" (Archie Bell & The Drells) or "Skate" (Dean Parrish), and by working backwards from French covers, at that. That might be my blessing and my curse these days, listening largely to records that were recorded before/around my birth. I love listening to something at work, say, and having people who came of age during the '60s ask what it is: "We never heard it back in the day, but we should have." (The United States of America LP has been a particular revelation in this regard). In the meantime, I hear people a decade or more younger than me spinning '70s and '80s tracks I wish I would have picked up way back when (especially if you take note of the price of post-punk vinyl these days). At any rate, I'm at any given moment oblivious to most of the hits of any given time and/or place, or, at least, to their "hit" status. And, while I realize it's likely far easier for me to find something that had been a hit (though, again, some of those Montanas 45s might be the exceptions that prove, well, the exception), I also figure there are plenty of records which have millions of fans to love them, but there are plenty more who might actually still need me. A lot of you guys (I don't notice a lot of ladies here, though that Australian pop site is fantastic, thanks for drawing me into that via Dinah Lee, of all people) not only grew up with, but grew up making this stuff, and at any rate know frighteningly WAY too much about all of this. So go easy on us young 'uns (if, say, late thirty-something can still be considered "young" here), but also be prepared to learn a little something as well. At any rate, perenially replenished enthusiasm sure doesn't hurt. Mick Patrick wrote: > Now playing @ musica: Sonny Childe & the TNT "Two > Lovers" (UK Polydor BM 56108, 1966); written by > Sonny Childe; arranged and conducted by Alan Tew; > produced by Claire Francis. It's a different song > to the Mary Wells classic, btw. Click here to > listen: Fantastic track, thanks! By the way, quick research suggests that the vocalist is none other than R.B. "Take A Letter Maria" Greaves, who is indeed a nephew of Sam Cooke. If so, he apparently also spent some time in the Carribean, which I think you can hear in his voice (cf., e.g., Desmond Dekker's precision lilt on "You Can Get It If You Really Want"). Must ... get ... copy. Some record dealer somewhere thanks you (as do I). Frank Murphy wrote: > I think both songs ("A Whiter Shade..." and "Je > T´Aime..") have a certain classic flavor, I don´t > know if they are based on some classical piece. > At the time several critics felt it had been > influenced by Jacques Louissier and his Play Bach > albums, but I gather the band were listening to > Percy Sledge more than Johann Sebastian. Check: > . Of course Percy did a > great version of a Whiter Shade Of Pale. I don't know of a classical source for "Je T'aime ..." offhand, but on "A Whiter Shade Of Pale": "Procol Harum's renowned 1967 hit 'A Whiter Shade Of Pale' (henceforth AWSOP) is widely known for its baroque-styled organ solo, composed by the group's organist, Matthew Fisher. (Gary Brooker is responsible for the rest of the music, and Keith Reid the lyric.) Fisher, an admirer of Bach, has cited in interviews two very well-known Bach works as inspiration, the Aria from Bach's Orchestral Suite in D, BWV 1068, more popularly known as the Air for the G String, and the chorale prelude BWV 645, Wachet auf, ruft uns die Stimme, known auf Englisch as Sleepers, Wake. Nevertheless, debate continues over to exactly what extent Procol Harum's piece is indebted to these works, whether it is a "copy" or a "quote", and what exactly the resemblances, if any, are." Anyway, here's a source for more info than anyone will ever hopefully need on "AWSOP": But Percy Sledge and Jacques Loussier, indeed ... Dave M. -------------------[ archived by Spectropop ]-------------------
Message: 18 Date: Sun, 16 Jan 2005 14:09:25 -0500 From: Phil X Milstein Subject: Re: a degree or two of separation Country Paul wrote: > Also departed: Spencer Dryden, drummer for Jefferson Airplane, age 66. > Obit here: I believe this was the obit that mentioned that Dryden's father was the half-brother of Charlie Chaplin. Small world, no? --Phil M. -------------------[ archived by Spectropop ]-------------------
Message: 19 Date: Mon, 17 Jan 2005 17:30:14 EST From: John Fox Subject: Re: Buddy Holly Story Joe Nelson wrote: > ... these and other careless inaccuracies put the film in > the Worst R&R Movie of All Time category for me. Agreed, as far as accuracy. But I've never laughed as hard at any line in a movie as when The Crickets first show up at the Apollo Theater, and the theater manager, who thinks they're black, says, "If you're The Crickets, then I'm Joe Schmuck", to which Charlie Martin Smith (playing the bass player) replies, naively, "Nice to meet you, Mr. Schmuck!" -------------------[ archived by Spectropop ]-------------------
Message: 20 Date: Mon, 17 Jan 2005 23:11:45 -0000 From: S.J. Dibai Subject: Re: Bert Dache's "Anchors Aweigh Girl" Tom Diehl wrote: > Tony Orlando also cut a few releases as Bert or Bertell Daché ... > A pair of them appeared on a Diamond label 45 and I've posted > the A-side of this hard-to-find 45 to musica. Thank you very much! I never thought I'd hear an "Opus 17" soundalike, but here's one! I also like this record because it's sort of a belated prequel to "Navy Blue." Ed Rambeau, have you downloaded this one yet? S.J. Dibai -------------------[ archived by Spectropop ]-------------------
Message: 21 Date: Mon, 17 Jan 2005 23:53:26 -0000 From: Scott Charbonneau Subject: Re: Thane Russal Margaret G. Still asked: > Was it common for '60s British musicians to go to Italy to make > money? I'd heard of going to Hamburg for that, but not Italy. I've > wondered if "going to Italy" meant something else. Any clues? While Germany was indeed the main port of call for many English '60s bands, Italy was not that far behind. It was easier to find success in another country rather than continue to struggle in a highly competitive, wall to wall scene like England. The Rokes may be the best-known example of an English band finding success in Italy; the Sorrows of "Take A Heart" fame made their way over there as well around '67/'68, after they had exhausted their 15 minutes in the UK. Scott -------------------[ 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.