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Spectropop - Digest Number 1850

               SPECTROPOP - Spectacular! Retro! Pop!

There are 25 messages in this issue.

Topics in this digest:

      1. Dawn's Early Light
           From: Eddie Black 
      2. Re: Muscle Shoals Studios gone?
           From: Anthony Parsons 
      3. Compatible Stereo
           From: Paul Urbahns 
      4. Re: Best Of Their Love
           From: James Botticelli 
      5. Shy Limbs - Greg Lake
           From: Margaret Still 
      6. Bass-less; WKBW; 1st generation groups; Hit; Russ>Amber Tamblyn; re-branding; correction
           From: Country Paul 
      7. Re: Bobby Hart
           From: Gary Myers 
      8. Luther, organically; "Vanilla Pop"; unReal player; non-musical notes
           From: Country Paul 
      9. Re: Best Of Their Love
           From: Gary Myers 
     10. Re: Lance Fortune
           From: Scott Swanson 
     11. Re: Johnny Fortune
           From: Gary Myers 
     12. Re: McCracken up
           From: Mike Rashkow 
     13. Dodie Stevens
           From: Gary Myers 
     14. Re: Best Of Their Love
           From: Robert R. Radil 
     15. Re: The Teddy Bears
           From: Phil Chapman 
     16. Dick Campbell
           From: Gary 
     17. Muscle Shoals Sound
           From: Richard Williams 
     18. Re: "It's Only The Dog"
           From: Tom Taber 
     19. Re: Johnny Fortune
           From: Scott 
     20. Re: "Low Grades" demo.
           From: Jeff Lemlich 
     21. Re: McCracken up
           From: Artie Wayne 
     22. Re: Bobby Hart
           From: Austin Roberts 
     23. Bass-less
           From: Steve Harvey 
     24. Re: Sound Judgment - Happy Without You
           From: Lyn Nuttall 
     25. Re: Muscle Shoals Studios gone?
           From: Mike Rashkow 

Message: 1 Date: Fri, 25 Feb 2005 06:39:57 -0000 From: Eddie Black Subject: Dawn's Early Light Dawn's Early Light (aka The Five Sharks), who recorded "Monday Kind Of Friday" for Diamond Records, are having a reunion. Talks of recording and doing some shows are in the works. So stay tuned. Eddie Black -------------------[ archived by Spectropop ]-------------------
Message: 2 Date: Fri, 25 Feb 2005 20:53:36 -0600 From: Anthony Parsons Subject: Re: Muscle Shoals Studios gone? Country Paul: > Welcome to Spectropop, Antone. I'm sure you'll have some great > stories to tell. Did I just hear that the Muscle Shoals studios > are closing due to lack of business? Ouch. Sad if true. By the > way, we played the Jack Tempchin version of "Peaceful Easy > Feeling" on the radio a few times; very nice. Thanks for the welcome, Paul. I'm absolutely amazed that Jack Tempchin's Peaceful Easy Feeling got radio play. I figured that most of the stuff I played on, with the exception of the sessions for the female trio Hot, was relegated to total obscurity. Even the stuff I did for Tony Orlando, Wilson Pickett and The Staple Singers wasn't very successful. In fact, a lot of the sessions I played on were never released. I do have an interesting story about the flute overdub for Jack's Peaceful Easy Feeling. A few days before that session, I had participated in a marathon 12-hour session with the Muscle Shoals Horns which resulted in my eyes drying out and getting corneal scratches from my contact lenses. So when Pete Carr called me up to do the overdub, my eyes were bandaged. My dad actually took me to the session and I played with my eyes still bandaged, as the bandages weren't due to come off for several more days. The flute lines were a mix of me improvising and being coached by Pete. I just pulled out the album again (Arista AB 4193, 1978) and looked it over. Although the back of the LP says "recorded at Fame" and mixed at Muscle Shoals Sound, my overdubs were definitely recorded at MSS. As I said previously, it was my first AND last session at the new facility by the river. But I did eventually get to actually see the inside of the new place, as I stopped by there after the bandages were off to visit with Pete Carr and thank him for hiring me for the session. I may have also signed the union contracts then as well, since I couldn't see at the time of the session. I'm very sad at Muscle Shoals Sound closing down. I guess it's the final death knell for the Muscle Shoals recording scene. And as to my musings on what my life would've been like had I stayed in Alabama, no doubt I would've long since fled to Nashville, Atlanta, or maybe even Chicago where I am now. No regrets at all! Sincerely, Antone -------------------[ archived by Spectropop ]-------------------
Message: 3 Date: Fri, 25 Feb 2005 22:18:32 EST From: Paul Urbahns Subject: Compatible Stereo Joe Nelson wrote about some companies using Compatible: > Some, but not all. A handful of labels, such as Atlantic and A&M. > preferred the Haeco C(ompatable)S(tereo)G(enerator) system. That was a specific brand name of a company that made equipment. But they all accomplished it the same way. Columbia used Compatible. The first pressings of stereo records (that say playable on mono) are compatible as Clive Davis wanted to elimate the double Inventory. Also I have a Billboard article where Buddah was introducing compatible stereo singles, they called theirs "Dual 45". Paul Urbahns -------------------[ archived by Spectropop ]-------------------
Message: 4 Date: Fri, 25 Feb 2005 22:04:18 -0500 From: James Botticelli Subject: Re: Best Of Their Love Phil X Milstein wrote: > I always thought "Best Of My Love" was by The Eagles! Just fueling, > but didn't both "Best"s come out around the same time? It can't be > all that common for two songs of a substantially similar (if not > identical) title, even if such an innocuous one as this, to both > hit big within a short period of time. Add to that Mariah Carey's song "Emotions" from the early '90s featuring virtually the same chords and riddim as "Best of My Love" (Emotions version of course). JB -------------------[ archived by Spectropop ]-------------------
Message: 5 Date: Sat, 26 Feb 2005 04:08:43 -0000 From: Margaret Still Subject: Shy Limbs - Greg Lake Who is Shy Limbs? A Google search showed that Greg Lake was in this band, and they are referred to as a "London-based DUB BAND". I know Shy Limbs through one song - "Reputation" - on a British Psych compilation which lists it as having been released in 1969. What a perfect confection of sound and odd, introverted lyrics that go unresolved. Who was in Shy Limbs? Who produced this song? Is the original flip side "Love" anything like it? Did Robert Fripp have anything to do with this band? And what is a "London-based Dub Band" circa the late 60's? Best, Margaret G. Still -------------------[ archived by Spectropop ]-------------------
Message: 6 Date: Sat, 26 Feb 2005 00:59:58 -0500 From: Country Paul Subject: Bass-less; WKBW; 1st generation groups; Hit; Russ>Amber Tamblyn; re-branding; correction John Fox: > One other big hit without a bass is "Bristol Stomp". I'll never > understand this, because the bass is so prominent (and so good) on > virtually every other Cameo-Parkway record (witness anything by The > Orlons). But, true to Cameo-Parkway's copycat approach, it worked so > well for The Dovells that Kal Mann & Co. left the bass off of > "Bristol Twistin' Annie" as well. No bass on The Knight Owls' "Goody Galuptious," produced by Wes Farrell on Cameo. To my ears, it killed what would have been a great stompin' record despite the bubble-gummy lyrics. And let's not forget The Fendermen's big hit "Muleskinner Blues" - two guitars, no bass or drums. Einar: > I believe that the Santo & Johnny's 1959 hit "Sleepwalk" was > recorded with out a bass. It's mixed down, but its there - the bass player does get to the D below the guitar's bottom E string. And I believe the same is true for "To Know Him Is To Love Him," "Gem" - something's playing that low D. Javed wrote: > I was listening to WKBW from Buffalo, NY and heard them play a song > called "Bad Motorcycle" by a group called the Storey Sisters. A > really rocking late 50's tune. An example of female rockabilly. Good record, and a decent-sized hit for them. By the way, I may have posted here that WKBW Radio was back using those call letters. I was informed by my friend Don Berns, who does many of their promos, that those calls are owned by WKBW-TV, and despite the similarity (and some of the same personnel) of the great days of WKBW, the station's calls remain WWKB. Sad to hear about Joe Martin of the Willows and Smokey Vandy Hampton of the Impressions passing. A lot of the first-generation folks are no longer with us, or else not in the best of health. I recently heard that Pookie Hudson of the Spaniels is fighting cancer. I'm told he sang a number at a concert on February 12th in New Jersey, but that he's pretty weak from the battle. Catch these classic groups while you can, folks; their current tours may be their farewells, intentionally or otherwise. The Hit label thread has made me wonder how many copies of a typical release they sold - dozens? hundreds? thousands? And were there any releases on the label that proved to be significantly more popular than others? Chris Schneider wrote: > Only [Russ] Tamblyn and [George] Chakiris supplied their own > singing voices [in West Side Story]. And now Tamblyn's daughter, Amber, is starring in "Joan of Arcadia," which is a pretty high-quality TV show for those who haven't caught it. (They use great background music and even often credit the artists, but no, Amber Tamblyn doesn't sing.) By the way, having seen "West Side Story" on Broadway, as well as the movie a couple of times, the movie doesn't hold a candle to the original Broadway cast. (For one thing, it almost completely cuts "Somewhere," for my taste the most exquisite song Bernstein ever wrote.) Play the albums side by side; I'm sure you'll hear the difference. Steve Propes: > Any other examples of this tactic anyone can think of, and what > is a good name for this tactic of picking up a master and renaming > the act (re-grouping, maybe)? Perhaps re-branding. Strange when it happens on the same label - my quest for information about "When The World Changes," recorded in Nashville and issued first by The Younger Generation and then re-issued by The Velvet Hammer, both on Epic. (I'd still like to find out more about who they were; in the future, as soon as I can digitize, I'll play it to musica.) Correction: Apparently Skip Spence was the second drummer for Jefferson Airplane; the first was Gus Duffy, now an architect in LA: In an interview, Duffy says: "I had quit Webster's New Word to play drums with the Signe Anderson-era Jefferson Airplane and even taught Skip Spence how to drum." Full text: Thanks, Ted L., for catching my error. Country Paul (now just two digests behind) -------------------[ archived by Spectropop ]-------------------
Message: 7 Date: Fri, 25 Feb 2005 22:05:17 -0800 From: Gary Myers Subject: Re: Bobby Hart Autsin Roberts: > I talked at length with Bobby Hart today ... If you talk to him again, and if you think of it, tell him I have "I Think It's Called A Heartache" on tape. That should surprise him. gem -------------------[ archived by Spectropop ]-------------------
Message: 8 Date: Sat, 26 Feb 2005 00:06:40 -0500 From: Country Paul Subject: Luther, organically; "Vanilla Pop"; unReal player; non-musical notes Mick, great story re: Luther Dixon and "Baby, It's You." And Phil, the organ sounds as though it could be a Hammond on one of its harsher settings, without the typical Leslie cabinet that was used with it. (That's an audio-based guess, not spoken with authority.) JB wrote: > I just got my hands on the new book by Joseph Lanza (author of > "Elevator Music") called "Vanilla Pop". Mr. Lanza provides all > the intellectual evidence one needs as he persuasively argues > that Non-Jazz/Non- R&B/Non-'Driven' music embraced by > Spectropoppers is not only valid, but the actual 'thesis' of > which the above mentioned musical forms are the antithesis. I heard an interview with him on WFMU, conducted by Irwin Chusid who is no slouch in this area as well. I'm glad to hear the book is a good read, although I thought Lanza was a bit selective in artists he chose to make his thesis. Nonetheless, I'll keep an eye out for it. Thanks for the review! Eddy wrote: > Since there seems to be a bit of a demand, I've uploaded the > Nightriders 45 up to Musica. Unfortunately it's still in Real > Audio. However, the much discussed Ebay auction was won by a > friend of mine, so an mp3 is in the works ! But do note that > the track has been released on the UK OOP Idle Race 2cd set ! Musica material in RealAudio format usually seems to translate well to my Windows Media Player; but ever since I "upgraded" my RealPlayer it won't open anything, yet wants to hijack my computer. I'm thinking of "uninstalling it" and downloading a fresh free one. Is this recommended behavior? Any tech advice from anyone who knows what they're doing? Off-list replies welcome. Non-musical notes: Lyn Nuttall: > For those outside the UK, this will explain the reference: > Typing "Mark Thatcher" into > Google News search will throw up a flurry of similar pages. He's only 51? Darn - he looks 71! Guess being the ex-PM's son ages one. Steve Harvey: > Drugs have a way of eating you up inside for a long time > before they kill you later. I look at friends that did > booze and drugs in their youth. You look at them now and > they look older than their parents. True enough for many; look at Keith Richard (if you can). But I have some friends who I think were "pickled" by their ingestion, and still look impossibly young for their ages. Maybe some people's genes are strong enough to stand up to it all.... Country Paul -------------------[ archived by Spectropop ]-------------------
Message: 9 Date: Fri, 25 Feb 2005 23:13:34 -0800 From: Gary Myers Subject: Re: Best Of Their Love Phil Milstein: > I always thought "Best Of My Love" was by The Eagles! Just fueling, > but didn't both "Best"s come out around the same time? It can't be > all that common for two songs of a substantially similar ... to > both hit big within a short period of time. And BMI and ASCAP hate it when that happens, as it's probably nearly impossible to track the proper song to the proper writer(s). I recall Tommy Boyce saying that he was asked to change the title of "Angel Eyes" to "Pretty Little Angel Eyes" for that reason- and those songs are completely different in style and time period. I also believe that the Spinners' "Games People Play" was changed to "They Just Can't Stop It" for the same reason. And, it's my understanding that the Sheena Easton's original UK release was titled "9 To 5", but switched to "Morning Train" because of Dolly's hit. gem -------------------[ archived by Spectropop ]-------------------
Message: 10 Date: Fri, 25 Feb 2005 20:28:08 -0800 From: Scott Swanson Subject: Re: Lance Fortune Peter Lerner on Lance Fortune: > He did not turn up in 1963 leading a Mersey style beat group Oh but he did! Sorta. ;) In 1963 he joined a group called The Staggerlees and apparently stayed with them through 1968. The group recorded an EP with producer/drummer Bobby Graham in 1965, and they may have also made a record in 1967, but I don't think anything was ever released. I have no idea what happened to him since then. There's a brief write-up on the band here: Hope this helps, Scott -------------------[ archived by Spectropop ]-------------------
Message: 11 Date: Fri, 25 Feb 2005 23:23:42 -0800 From: Gary Myers Subject: Re: Johnny Fortune Country Paul: > "'Soul Surfer' by Johnny Fortune (4/6/63)...." ... who was he? Steve Propes has already provided his real last name (Sudetta). Here's a bit more: I show 18 single releases, plus the Soul Surfer LP on my discog. Originally from Warren, OH (1946). Recorded Soul Surfer at an El Monte studio owned by by the brother of Mary Ford (Les Paul's wife & singer). Al Wilson was once his drummer. Johnny took the part of Johnny Farina in a KRTH Legends of R'n'R show - with Santo - around the late 80's. gem -------------------[ archived by Spectropop ]-------------------
Message: 12 Date: Sat, 26 Feb 2005 09:36:00 EST From: Mike Rashkow Subject: Re: McCracken up Phil M: > Should I assume this was the same Hugh McCracken as the session > guitarist of that name? I don't recall seeing his name on other > writing credits -- was this his one-and-only? Hughie was also the person primarily responsible for the revitalization of Dr. John's career back in the 70's. He once did a wonderful strings and horns arrangement for me on a R&B version of Glory Road. If I knew how to play it to Musica I would do it. It baffles me. Any volunteers? I'll send you the mp3--just contact me off-line. Di la, Rashkovksy -------------------[ archived by Spectropop ]-------------------
Message: 13 Date: Fri, 25 Feb 2005 23:35:07 -0800 From: Gary Myers Subject: Dodie Stevens Country Paul: > another mature voice, Dodie Stevens ... I checked out what happened > to her at It could have also mentioned that her real first name is Geraldine. The "Temple, CA" mentioned in the piece is actually Temple City, which is near Pasadena. A woman who used to work at the music store where I work (also in that area) knew her at T.C. High. I saw Stevens in an oldies show in the 80's and also in a small L.A. club, on a night when Robert Blake also happened to be in the audience. A few years ago I acquired her version of "Trade Winds, Trade Winds" which, for many years, I thought had been Gogi Grant's 1961 attempt to bring back the feel of "Wayward Wind." gem -------------------[ archived by Spectropop ]-------------------
Message: 14 Date: Sat, 26 Feb 2005 16:34:26 -0000 From: Robert R. Radil Subject: Re: Best Of Their Love Phil X Milstein wrote: > I always thought "Best Of My Love" was by The Eagles! Just fueling, > but didn't both "Best"s come out around the same time? It can't be > all that common for two songs of a substantially similar (if not > identical) title, even if such an innocuous one as this, to both > hit big within a short period of time. The Eagles song was on the charts in early 1975. The Emotions song was on the charts around Sept. 1977. A short period of time compared to the age of the universe but a long time if you're sitting on the stove! But, back on topic, one of my favorite examples is back in the fall of 1968 Mary Hopkin had a hit titled "Those Were The Days". At the same time, Cream had a hit titled "White Room". The "B" side was a song also titled "Those Were The Days". A completely different song. But what happens when the *same* act records 2 songs with the same title? The Dave Clark 5 did 2 different songs titled "Everybody Knows" and The Rascals did 2 different songs titled "I Believe". Bob Radil -------------------[ archived by Spectropop ]-------------------
Message: 15 Date: Sat, 26 Feb 2005 16:27:52 -0000 From: Phil Chapman Subject: Re: The Teddy Bears Gary Myers: > I'm pretty sure that "To Know Him Is To Love Him" has no bass Einar: > And I believe the same is true for "To Know Him Is > To Love Him," "Gem" - something's playing that low D. The story goes... after graduating from Fairfax High School in '58, Phil raised $10 each from his mother and schoolfriends Marshall Leib, Harvey Goldstein and Annette Kleinbard to pay for his first Gold Star session recording of "Don't You Worry My Little Pet", on which he played all the instruments himself. On the strength of this they signed a four record deal with Dore Records, named themselves the Teddy Bears after Elvis' hit, and went back into the studio twice to record the b-side "Wonderful Loveable You". On the latter session, Goldstein was absent and drummer Sandy Nelson was there to help with the instrumental backing. Nearing the end of the session, Spector coaxed Annette & Marshall to try "To Know Him Is To Love Him", which became the flip to "Don't You Worry My Little Pet" released August '58 on Dore 503. There was no initial reaction, and that may have been that had it not been for a DJ in Fargo, North Dakota, flipping the single...... read the complete story at the History Of Rock 'n' Roll Annette Kleinbard is better known to S'poppers as Carol Connors. Read her own story as told to Country Paul. Listening to scratch tapes of the "To Know Him...." session, as far as I can deduce, the bed track was Phil & Marshall on acoustic & electric guitars playing different inversions, and singing backups, plus kick-drum, hi-hat (no snare!), and lead vocal. They used the first complete run, (take three) and dubbed two further layers going tape-to-tape, on which they tracked the backing vocals, added piano (providing a bass), a rather loosely played snare......and echo! For me, this track displays all the raw ingredients of what was to come. According to my mother, whenever this record was played, I stopped whatever I was doing and just stared at the radio. FYI I've played the initial track to musica. Languish in the sublime vocal performance first-generation. PC -------------------[ archived by Spectropop ]-------------------
Message: 16 Date: Sat, 26 Feb 2005 19:21:44 -0000 From: Gary Subject: Dick Campbell Surfing the net I ran into some auctions on ebay from someone from Dick's home town selling all his origonal 45's. All these 45's have never been played and they are going for dirt cheap. A lot of the earlier 45's were limited to 100's of prints and so are some of the rarest 45's around. I look on the net all the time and these auctions are selling these 45's for a fraction of the price they are avaiable for at other places on the net when you can find them available at all. Some as cheap as $2.99. Dick's first album ever is for sale in mint condition for $25.00. Here is some back ground on that 45: RECORDED: 1960 in a barn on a farm near Janesville, Wisconsin. RELEASED: Leaf Records C-234, same year. ARTIST: Dick & Roger. A SIDE: Greatest Girl (C-234). WRITER: Dick Campbell-Roger Hesseling. B SIDE: Happy-Go-Lucky (C-235, instrumental). WRITER: Dick Campbell. PRODUCER: Campbell & Hesseling (uncredited). MUSICIANS: Roger Hesseling, lead and background vocal, tenor drum. Dick Campbell, background vocal, lead and rythmn electric guitar DETAILS: Campbell, 16 years old, was unfamiliar with the importance of bass on his first record and totally ignored the need for one. Mort Armstrong, a drummer, had been scheduled to play, but a dispute ended that. Instead Hesseling banged along on a rented tenor drum while Campbell played rythmn guitar. Then both sang along with the track while Campbell added lead guitar and the combination was recorded on a second tape machine. Except for the tenor drum, the instrumentation and use of a vocal on one side with an instrumenal on the other was inspired by the Fendermen from Wisconsin who had released a hit on Mule Skinner Blues b/w Torture (instrumental) in the summer of 1960 using only two guitars too. Only the rythmn guitar was in a bass tone and the Fendermen were way better. The Dick & Roger record sold 100 copies. I have nothing to do with the sale of these items. My interest is that Dick was my father and I try to do everything to make his music live on. I have copies of all the stuff for sale so am not buying any myself. for more information on these rare 45's and other info on Dick Campbell you can visit the discography page on Dick's web site. You will also be able to listen to sound bytes from the 45's. Click on ths discography listings to bring up more info, photos, and sound bytes. and the main web site: you will also find links at the sight to find other music of Dick's like the stuff he was doing with Gary Usher in the late 60's and early 70's. Hope this info is helpful to some of you fellow collectors and fans. Gary Campbell -------------------[ archived by Spectropop ]-------------------
Message: 17 Date: Sat, 26 Feb 2005 20:52:53 +0000 From: Richard Williams Subject: Muscle Shoals Sound Personally I can't get too worked up about the demise of Muscle Shoals because it wasn't the original studio, having moved from the Jackson Highway address in 1978. But I was interested in the note that the two Neve desks had been sold to other studios. One day there'll be a collectors' market in such things (maybe there is already?). I seem to remember that the Neve set-up in Island's Basing Street No 2 studio, where many classics of the late 60s and early 70s were recorded, was sold to Stephen Stills. What happened to the historic desks at Gold Star, Abbey Road, Columbia's 30th Street facility, Nola's Penthouse, Radio Recorders, Western, etc, once they had become obsolete? Incidentally I was driving down Great Cumberland Street to Marble Arch in London the other day and noticed that the old ATV House is in the process of being demolished; it was the site of Pye's studios, where lots of important stuff was done in the '60s. A hundred yards away on Bayswater Road, in an elegant stucco house now used for something else, was the old Philips studio, of the same vintage. Richard Williams -------------------[ archived by Spectropop ]-------------------
Message: 18 Date: Sat, 26 Feb 2005 07:48:42 -0800 (PST) From: Tom Taber Subject: Re: "It's Only The Dog" Can someone tell me what other recording sounds so much like that early Jeff Lynne "Dog" song? Was it by the Shadows of Knight? Tom Taber -------------------[ archived by Spectropop ]-------------------
Message: 19 Date: Sat, 26 Feb 2005 07:31:56 EST From: Scott Subject: Re: Johnny Fortune Previously: > 'Soul Surfer' by Johnny Fortune (4/6/63) ... By the way, who was he? > (I doubt his birth certificate said "Fortune" - or did it?) I picked up a copy of this LP at a yardsale about a year ago (mostly for the cover). I think I paid $1.00 for it even though it was in great shape. Unfortunately I've never gotten around to hearing it. Any good? Is it worth anything? Scott -------------------[ archived by Spectropop ]-------------------
Message: 20 Date: Sat, 26 Feb 2005 17:05:39 -0000 From: Jeff Lemlich Subject: Re: "Low Grades" demo. Julio Niño: > Changing the subject. Thanks again to Jeff Lemlich for another > wonderful demo. As it has already been pointed out the singers of > "Low Grades" remind one a lot of The Orlons. By the way where was > the Bradley Recording Studio located?. The label reads "Bradley Recording Studios, a division of Columbia Records, 804 16th Ave. South, Nashville, Tennessee". I have another tasty Bradley Studios demo that will follow in the next few days. Jeff Lemlich -------------------[ archived by Spectropop ]-------------------
Message: 21 Date: Sat, 26 Feb 2005 13:54:12 -0800 (PST) From: Artie Wayne Subject: Re: McCracken up Phil...How ya'doin'? Yes...Hugh McCrackin, with whom I wrote "It's Only the Dog" is the famed session guitarist who also played with each of the Beatles on their solo albums. I'm sure he's had many of his songs recorded...but I know of one, "Go on Home", which I got Ray Charles to cover. regards, Artie Wayne -------------------[ archived by Spectropop ]-------------------
Message: 22 Date: Sat, 26 Feb 2005 17:40:54 -0500 From: Austin Roberts Subject: Re: Bobby Hart Mikey: Both Bobby Hart and Tommy Boyce, when he was alive, were very nice and talented people. Both were great friends and Bobby still is to this day. And by the way, I think music keeps us all like goofy 15 year olds. Austin -------------------[ archived by Spectropop ]-------------------
Message: 23 Date: Sat, 26 Feb 2005 16:11:05 -0800 (PST) From: Steve Harvey Subject: Bass-less Despite what some may say the Chantays were the source for their lack of bass on "Pipeline". It seems a lot of surf bands were bassless. In the Chantays' case they just used one of their guitars and turned up the bass and down on the treble. Just reading about the Belairs auditioning for a label and were told "The bass is weak". "That's because there is none!" was their reply. Their guitarist, Paul Johnson, played on "Baby Don't Go". He made the connection with Sonny when Sonny remixed a tape of theirs while he was still doing A&R work in his pre-Cher days. -------------------[ archived by Spectropop ]-------------------
Message: 24 Date: Sun, 27 Feb 2005 00:30:04 -0000 From: Lyn Nuttall Subject: Re: Sound Judgment - Happy Without You Margaret G Still wrote: > KAPP K-914 > HAPPY WITHOUT YOU (Laguna-Pinz) This has tied up another of those little mysteries for me, although it's unclear which version was actually issued earlier in '68, Sound Judgment's in the US or the Strangers' in Australia. The US version would seem most likely except for the fact that the Strangers accessed the song via an acetate so it's possible theirs came first. I've replied to Margaret off-group but for anyone else who's interested in the background of 'Happy Without You', including details from Peter Robinson on his arrangement of the Strangers' Australian version, my page is at: Lyn at -------------------[ archived by Spectropop ]-------------------
Message: 25 Date: Sat, 26 Feb 2005 19:50:57 EST From: Mike Rashkow Subject: Re: Muscle Shoals Studios gone? Previously: > I figured that most of the stuff I played on, with the exception > of the sessions for the female trio Hot, was relegated to total > obscurity. Nice memories and anecdotes. Where do you live these days? Di la, Rashkovsky -------------------[ archived by Spectropop ]-------------------
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