The Spectropop Group Archives presented by Friends of Spectropop

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

Spectropop - Digest Number 1873

               SPECTROPOP - Spectacular! Retro! Pop!

There are 25 messages in this issue.

Topics in this digest:

      1. Stella + Keren Ann
           From: Dave Monroe 
      2. Re: Jimmy Page Myths
           From: Various 
      3. Re: Bob Lind
           From: Phil X Milstein 
      4. "Girls Go Zonk!"; Bob Lind; early Paul Simon
           From: Country Paul 
      5. Re: "Love Is Strange"
           From: Frank Wright 
      6. Motown UK 1965 Tour
           From: Frank Murphy 
      7. Re: UK Motown Revue info
           From: Peter Lerner 
      8. Re: The Turtles' "Guide For The Married Man"
           From: Various 
      9. Re: Jeff Barry's "Welcome Home"
           From: James Botticelli 
     10. Re: Premier Albums
           From: Mikey 
     11. Re: Early Paul Simon
           From: Phil X Milstein 
     12. Re: Penny Valentine  -  Recently on Ebay
           From: Steve 
     13. Re: Wayne Newton
           From: Steve Jarrell 
     14. Chubby Checker - Northern Soul
           From: Austin Powell 
     15. Motown in the UK
           From: Richard Williams 
     16. Re: The Grasshoppers
           From: Dave Monroe 
     17. Re: Rare Breed: "Come And Take A Ride On My Boat"
           From: David Coyle 
     18. Re: original Crystals
           From: Phil X Milstein 
     19. Re: Ohio Express 1st LP
           From: Ingemar Gustafsson 
     20. At The Discowhat?
           From: Norm D.  
     21. Re: The Grasshoppers
           From: Ed Salamon 
     22. Re: Do The Freddie's
           From: Phil X Milstein 
     23. Re: The Mugwumps
           From: Various 
     24. Re: a slap for Lou Christie
           From: Robert 
     25. Las Chicas De España
           From: Dave Monroe 

Message: 1 Date: Thu, 17 Mar 2005 21:01:30 -0800 (PST) From: Dave Monroe Subject: Stella + Keren Ann Recommended: An Interview With Stella Trouble In Yé-Yé By Pink Frankenstein "My uncle and I poked fun at the French yé-yé songs- we thought they were more funny than serious. So we tarted writing songs to capture that irony. He said, "You sing because it looks like singing comes easy to you." So I sang and he played guitar. We made a demo and sent it to the record company closest to where we were living. We didn't search for the biggest or best record company, just the nearest one." It was in those simple, matter-of-fact terms that Stella explained the start of her pop music career. She was a vocal critic of the pop music establishment- France's defiant tomboy who, together with her uncle Maurice, wrote dozens of songs that went against the grain of the nouvelle vague- the new wave of '60s French singers. I interviewed Stella in the fall of 2003 in the basement studio of her suburban house, located just north of Paris.... Full story: Keren Ann A Gift Wrapped From Paris By Sheila Burgel Keren Ann didn't arrive in Paris until the age of 11, but the French capital is at the very heart of her elegant folk sound. In the quiet "L'onde Amére" and the jazz-shuffle "Ailleurs," you'll hear Paris- not the real city, but the chic, romantic utopia where daylight is spent in cafes, sipping Cabernet and blowing smoke over discussions about existentialism. You'll hear the city that was once inhabited by the cultured and creative elite- Coco Chanel, Jean-Luc Godard, Serge Gainsbourg- who defined Paris as much as Paris defined them. Although Keren Ann is Dutch and Israeli by birth, her music originated in Paris. And like her idol Françoise Hardy, it all began with just a voice, an acoustic guitar, and an instinctive need to put the two together. Full story: -------------------[ archived by Spectropop ]-------------------
Message: 2 Date: Wed, 16 Mar 2005 20:14:03 -0000 From: Various Subject: Re: Jimmy Page Myths A selection of posts on the same subject, painstakingly gathered into one easy-to-browse compendium, for your convenience. ----------------------------------------------------------------- Artie Wayne: > How ya'll doin'? If I may elaborate on the Jimmy Page myth ... > > I became friendly with Jimmy Page when he was a session musician > in London in 1964. He was collaborating with Jackie DeShannon at > the time, who introduced us. During one of the times we were > hanging out, he told me he played on "Hard Days Night" and "You > Really Got Me". I didn't think much of it at the time, since it > was a common practice to bring in studio musicians to "enhance" a > track. Since there were no credits given to players on albums, I > had no reason not to believe him. > > Years later, at a party, I asked my friend Shel Talmy, who > produced The Kinks, if Jimmy had played on "You Really Got Me". > He got angry, and said, "I'm tired of hearing that rumour. I used > Jimmy on sessions before, but he DID NOT PLAY ON THAT SONG!" I > quickly changed the subject, and never brought it up again. > > As far as Jimmy playing the intro on "Hard Days Night", it seemed > possible, since the guitar figure was so intricate. In retrospect, > I can see that I didn't give George Harrison enough credit for > coming up with the riff himself. > > I haven't been in touch with Jimmy in 30 years. Why did he say > those things? Who knows? In the music business we didn't call it > lying, we called it "bullshitting". The opening chord is not mystical or magical or difficult to play. I use a Gsus chord with echo on a Rickenbacker 12 string to replicate it and it is most certainly Harrison. I can understand all the misconceptions with Page. I have talked to him and others and they are always getting sessions and songs mixed up. With the multitude of session work, it is not difficult to understand why they may incorrectly reference a song. I have talked to Dave, as well as, Shel and they both agree that it is Dave Davies playing the solo. I don't slight Page, as I am sure he is not trying to steal the notoriety of the solo. A lot of the solos get attributed to Page by other people and not by Page himself. It is Phil Sawyer and not Page on the Fleur De Lys cover of the Who's "Circles" as well. As for thievery and being a magpie, rock n' roll was built on people nicking ideas and tidbits here and there. As for not crediting Willie Dixon, who knows. I am sure he thought they could get the publishing and Willie and the others might never know. I know they thought they had really changed the songs anyway. Mark ---------------------------------------------------------------- To me, the biggest mystery is why *anyone* -- especially a guy of Page's abilities -- would claim credit for a solo that, albeit enjoyable in its manic energy, is nothing more than a crude pastiche of Berry-derived cliches. One thing I *do* know about that song (having heard it from Ray Davies in one of his solo "storyteller" shows), is that just before the solo Ray can be heard telling brother Dave "Oh, f*** off!" -- no doubt not for the first or the last time. Jim Cassidy ----------------------------------------------------------------- No, no, no..... Shel Talmy has stated in a recent interview that Jimmy Page DID play on "You Really Got Me", but he played the second guitar and not the solo. End of story. Mikey ------------------------------------------------------------------ Some of the Beatles' guitar figures were played by George, but invented by John or Paul. However, I doubt that there was anything on "Hard Day's Night" that George couldn't have played. He'd been into playing Chet Atkins stuff for a while at that point. Steve Harvey ----------------------------------------------------------------- I'm confused! The intro to "A Hard Day's Night" is one chord. Granted, it's a strange one, because the guitar is playing one chord and a piano is simultaneously playing a different chord, but one chord does not equal a "riff". Pardon the pun, but I wanted to make sure we all on the same Page. ;-) John DeAngelis ---------------------------------------------------------------- I think Artie was talking about the solo. That's actually George Martin on piano (I can't tell if George H. doubled the part on guitar). That solo is an absolute PIA to play on the guitar, especially at that speed. Yet George was capable of playing it as he repoed it live, so even if that's what Artie was talking about it's not like George wasn't up to it. As far as the sound analysis behind that chord, it's because nobody seems quite sure of what the chord was. As far as I can figure it's a Gsus2/F (the F bass diqualifies the Dsus4 tag: the same triad but you can't name the bass line after a note that's being altered in suspension), but I'm not sure and George Harrison isn't answering my phone calls. Joe Nelson ---------------------------------------------------------------- This is JP's official website: The CD I was on about is actually 2, "Jimmy Page - Session Man" Pts 1 + 2 - probably a European CD though. Obviously there are big egos in The Rock world, The Who history is forever beiing rewritten, JP was definately at the sessions for "I Can't Explain" with his Fuzzbox Pedal, (at the time, Townshend didn't have one). Lobby ----------------------------------------------------------------- Einar Einarsson Kvaran: > Jimmy Page is listed as a co-author of the song "Revenge" on the > Kinks' first album, so he was there. It's more a question of what > he played at these sessions. That's LARRY Page, not Jimmy! Eddy ------------------------------------------------------------------ Actually, the song was written by Larry Page (The Kinks' manager). But the cryptic "Page" writing credit sure went a long way to mislead people into thinking Jimmy's contribution to that album was more significant than it was. Nonetheless, I do believe Jimmy was present when that song was recorded, as he later adapted the song's chord structure for his own recording "She Just Satisfies". Artie Wayne: > As far as Jimmy playing the intro on "Hard Days Night", it seemed > possible, since the guitar figure was so intricate. Gary Myers: > I'm not sure what you're referring to here, Artie, as there is no > real "figure", just one (sus4) chord. Some guy recently did some > kind of scientific sound analysis to try to figure out how they > got that exact sound, but it's still just one chord (albeit, a > chord that was new to most of us at the time ). A Canadian mathematics professor recently did a computer analysis of the chord and concluded that something else *besides* Harrison's 12-string contributed to that sound. He says the sound was produced by a combination of: Harrison on 12-string (a2/a3/d3/d4/g3/g4/c4/c4) McCartney on bass (d3) Lennon on 6-string (c5) George Martin on piano (d3/f3/d5/g5/e6) story: But I suppose it's *possible* that the extra sounds were due to an overdubbed guitar courtesy of a session man. It's also conceivable that Martin brought Page in for overdubs but then scrapped Page's parts and left the original recording intact. Regards, Scott Swanson ----------------------------------------------------------------- Jimmy Page is not the co-author. That belongs to Larry Page, then one of the Kinks' managers. Les Fradkin ----------------------------------------------------------------- Actually, that credit is to *Larry* Page ("who adored my instrumentals and so he gave half to a foreign publisher"). Charles Ulrich ----------------------------------------------------------------- The page who gets the credit on Revenge is Larry not Jimmy. FrankM ----------------------------------------------------------------- Speaking of Jimmy Page, maybe you can answer this question: I know Page was a session man for a number of years. Is it true that it was he that did the guitar work on "Can't You Hear My Heartbeat?" by Hermans Hermits? Max Weiner ----------------------------------------------------------------- -------------------[ archived by Spectropop ]-------------------
Message: 3 Date: Thu, 17 Mar 2005 17:32:17 -0500 From: Phil X Milstein Subject: Re: Bob Lind Robert wrote: > Bob Lind needs a Producer. He's got many new fine demos completed, > but apparently needs a producer and musicians to record this great > new stuff properly. I'm afraid I can't help there, but I recently learned some news about Lind that might interest the membership. (Although, then again, it's possible everyone here already knew about this but me.) It seems he's been working, for a number of years now, as a staff writer for the infamous tabloid Weekly World News. For those unfamiliar with the rag, the WWN makes the National Enquirer read like the New York Times, specializing in stories along the lines of "Space Aliens Have Bush's Ear," "Bigfoot Ate My Baby," or "Bin Laden Plans Invasion Of Vatican." However, I've noticed that it's recently taken a surprisingly satirical turn (including a "guess the fake story" contest!), and I'd like to imagine that Lind has had something to do with that. For further info, see: Elusively, --Phil M. -- Cover Art Gallery: lotsa new posts: -------------------[ archived by Spectropop ]-------------------
Message: 4 Date: Fri, 18 Mar 2005 01:22:35 -0500 From: Country Paul Subject: "Girls Go Zonk!"; Bob Lind; early Paul Simon Mick Patrick: > Thank goodness, mention of a girl group! Sorry, I don't > know the whereabouts of the Three Bells. If I did, I'd > invite them round to watch Desperate Housewives. Mick, glad you like "You." It's a bit "cute" for my taste, but.... But, allow me to celebrate your knowledge of all things GG: At about 10:45 or so this morning (Eastern Time, US), a DJ (female) who goes by the name of "Trouble" on WFMU ( for streaming audio) was doing a CD raffle as part of their annual fund-raising marathon, and she was giving away "Girls Go Zonk." She "name-checked" you several times, calling you "a master of this kind of music" and "the expert," and praising the album for its excellent content. I forget the track she played - I hadn't heard it before - but it was indeed really cool. With WFMU's very large web presence, your name was broadcast all around the world. Congratulations - you've earned it! Robert, Subject: Bob Lind needs a Producer > Bob Lind needs a Producer. He's got many new fine demos > completed, but apparently needs a producer and musicians > to record this great new stuff properly. Can someone make > some phone calls? Have any ideas? I'll volunteer. Seriously. But: I have no track record whatsoever, I just think I know what sounds good, and was Music Director of many radio stations in my career. Also, I produced three of my own 45s, all very small scale, but two made a little bit of money. I'll bet he's looking for a bigger name than me, though.... But if not, as Joan Rivers says, "Can we talk?" Please pass the word. (And yet, I'd be glad to partner with one of the great pro's in this group.) By the way, his demos are posted on his website. The potential title track of the new one is lyrically right-on. Julio Nino: > ....I finally got the CD of Paul Simon´s early recordings > and demos, and it´s full of nice cute songs....The record > includes a track by The Cosines, "Just To Be With You", a > demo of the song popularized by The Passions in 1959, in > which Carole King can be heard singing with Paul. Any chance of playing this to musica, seeing as the release might be "gray" in nature? Country Paul -------------------[ archived by Spectropop ]-------------------
Message: 5 Date: Wed, 16 Mar 2005 21:35:03 -0000 From: Frank Wright Subject: Re: "Love Is Strange" Phil M: > I'm hoping one of y'all can help me ID the M/F duo singing the > version of "Love Is Strange" I posted there a few days ago. I'm surprised that nobody has identified this record. It is by Chubby Checker and Dee Dee Sharp, from their duet LP - "Down To Earth" (Cameo C/SC 1029). It is part of a long medley titled "What A Combination". In it, they do Brook & Dinah's hit of "A Rockin Good Way", then go into "Love Is Strange" and finally, "Let The Good Times Roll". This album would be a good candidate for the 2nd or 3rd wave of Cameo/Parkway reissues because it's in wide stereo. Frank Wright -------------------[ archived by Spectropop ]-------------------
Message: 6 Date: Wed, 16 Mar 2005 23:11:03 -0000 From: Frank Murphy Subject: Motown UK 1965 Tour Richard Williams asked: > Can anyone out there help me with the precise dates of the > Motown Revue's first UK tour, and with the exact personnel > of the Earl Van Dyke Sextet which accompanied The Supremes, > The Miracles and Martha & The Vandellas? Bankhousedave on suppplied the following information: "Jack Ashford lists them in his book [Motown: The View From The Bottom] as - himself, Robert White, Tony Newton (bass), Eli Fountain (alto), Bobby Cousar (trombone). There is some doubt about who played drums. We all thought it was Uriel, but he says he only went on the earlier Kim Weston tour. I've asked Tony if he remembers. Will pass on his answer. Judging from the pictures I've seen, I'd say it was the same guy that played with the Supremes at the Copa (on cover shot), if that gives anyone any clues. Also I'm hoping the exhibition of photographs from the tour to be shown in London this spring will provide further illumination." FrankM -------------------[ archived by Spectropop ]-------------------
Message: 7 Date: Thu, 17 Mar 2005 10:12:32 -0000 From: Peter Lerner Subject: Re: UK Motown Revue info Austin comments regarding the first Motown Revue to tour the UK: > Although the tour was a critical success, it was far from being > a financially successful one - turnout was by no means high. I'll second that. I was there in the audience when the tour hit Chester, along with no more than 100 people as I recollect, even though the panicking promoters had by then added currently chart-topping Georgie Fame to the bill. I have the tour programme somewhere. Peter -------------------[ archived by Spectropop ]-------------------
Message: 8 Date: Thu, 17 Mar 2005 19:40:22 -0000 From: Various Subject: Re: The Turtles' "Guide For The Married Man" One question, several replies: ----------------------------------------------------------------- ACJ wrote: > As most of us know, the Turtles were hired circa 1967 to record the > theme for the movie "Guide for the Married Man." As part of the deal, > White Whale was supposed to print up 1000 singles of the song. I've > read that those singles were never released and eventually destroyed; > but I've also seen the single listed in some discographies (most > notably on the Turtles / Flo & Eddie website), which would seem to > indicate some copies of the single got out. Anyone know if they did? I asked my Nashville neighbor, Mark, who provided the following detailed info. I've suggested that Mark join Spectropop. Ed Salamon ----------------------------------------------------------------- If you recall that movie was released by 20th Century Fox. The music was written by John Williams who also wrote movie scores Daddy-O, Because They're Young, Diamond Head, John Goldfarb Please Come Home, Gidget Goes To Rome and Many Others. The Lyrics were written by friend and co-worker Leslie Bricusse who wrote songs like "Can You Read My Mind", from Superman and others. In the liner notes of the film music re-release on Silver Age Classics. It says "While several musical motives recur during the film, The Title song is the only melody used throughout the picture. With the exception of The Turtles' version of the title song, which was issued as 45 RPM single at the time of the film's release and soon after included on their LP Happy Together, none of the music on this album has ever been released." So there it is I think the deal our label had was that it had to release a single of the song so we would get the song at all. They did but it was a small release, perhaps 1000 copies and I actually believe it never had a B side and was only released as a DJ presentation. If you find out any more info please let me know. As you know The Turtles were kept in the dark about the business dealings going on at the time but as far as the production of the song. It was a hard song to record. They had brought The Turtles a "CLICK" track to play to because the credits were already shot so we had to play exactly to the tempo. At one point the Click slowed down and that took hours to play around, because we as a band played on all our songs. We also did on this song and being young musicians this was a hard process to deal with. It finally happen and the song is a great version of a great song for a really great film. Mark Volman, The Turtles ----------------------------------------------------------------- I've owned the 45 for years (commercial, not DJ), and never thought it particularly rare, but maybe it is. I thought it was rapidly withdrawn, and one of their biggest hits promptly issued. I'm not right now where I can look anything up, such as record #s. Tom Taber ----------------------------------------------------------------- I've got a copy of this 45. It's on White Whale 251. Mine is a regular stock issue, not a DJ copy. Unfortunately, mine has a "cutout" hole in the label. Jeff Mlinscek ----------------------------------------------------------------- -------------------[ archived by Spectropop ]-------------------
Message: 9 Date: Thu, 17 Mar 2005 15:20:53 -0500 From: James Botticelli Subject: Re: Jeff Barry's "Welcome Home" Robert Pingel wrote: > "Welcome Home" is such a terrific song. Was not aware that > Jeff Barry recorded it. I like the version by Shelley Fabares, > but have a vague recall that it was also recorded by another > female artist/group that gave it a slower, more soulful reading. I can tell you that the Welcome Home by Jeff Barry is the one by Shelly Fabares which I believe came out on the Rhino re-issue of about a decade ago or so. JB -------------------[ archived by Spectropop ]-------------------
Message: 10 Date: Thu, 17 Mar 2005 15:50:05 -0500 From: Mikey Subject: Re: Premier Albums Paul Urbahns > I have quite a few albums on the Coronet label which was > a divison of Premier Albums. Coronet (and everything else I have > seen affilitated with Premier) was promotionally priced elcheapo > Lps that sold in stores for about 77 cents to 99 cents retail. > Never seen one priced over a dollar. Those Premier and Coronet LPs were a great place to get the artists' previous recordings for the small labels. Some that come to mind: Johnny Rivers "Hole In The Ground" The 4 Seasons "Coma Si Bella" The Rascals "Do The Syracuse" Lou Christie "Have i Sinned" The Tokens "Tonite i Fell in Love" Neil Sedaka "The Taste Of a Tear" Micky Dolenz "huff puff" Mikey -------------------[ archived by Spectropop ]-------------------
Message: 11 Date: Thu, 17 Mar 2005 17:52:24 -0500 From: Phil X Milstein Subject: Re: Early Paul Simon Julio Niño wrote: > I'm drowning in a sea of endorphins. First of all because I'm > already on Easter holidays. Second because I finally got the CD > of Paul Simon's early recordings and demos, and it's full of > nice cute songs, many of them previously unreleased. Sounds like a fun record, Julio. Can you tell us, for those who'd like to pursue a copy for ourselves, the title of the album, where Bonus is from, and whether (as far as you know) they are legit or not? Thanks, --Phil M. -- Cover Art Gallery: lotsa new posts: -------------------[ archived by Spectropop ]-------------------
Message: 12 Date: Thu, 17 Mar 2005 23:39:08 -0000 From: Steve Subject: Re: Penny Valentine - Recently on Ebay Mick Patrick: > If so, could you please tell me who wrote the song, and who > are the accredited arranger and producer, if any? Better yet, > a label scan would be most welcome. Thanks in advance. In the > meantime, I have my Beattle-ettes (sic) 45 set on repeat. Hello Mick, This record was just recently on Ebay. There is a scan of the label but it's at an angle (not reader friendly) Composers - Dick Stirling and Carl Stevens ?? Producer - Chuck Sagle ?? Check it out - Item # 4705831849 Hope this helps Steve -------------------[ archived by Spectropop ]-------------------
Message: 13 Date: Thu, 17 Mar 2005 21:00:15 -0600 From: Steve Jarrell Subject: Re: Wayne Newton Mikey: > Austin, thanks for your memories about Wayne Newton. From other > people I have met that know Wayne, they only have the very best > things to say about him. Hi Mike, I have a Wayne Newton story for you. I was spending my first year here in Nashville when I was feeling a little homesick for Virginia around the Christmas holidays. Wayne, as you know spent much of his youth in Va. He doesn't mention it much, but he did live for a while around Fredericksburg actually in Stafford County. I had read in the paper that he was in Nashville recording with Tom Collins producing. I called the studio to ask Tom if I could say "Hello" to Wayne and wish him a Merry Christmas on the phone. Tom said "No" then he said wait a minute and left the line. He came back on and said that Wayne would be taking a break soon and if I could get down to the studio, I could wish him a Merry Christmas in person! It didn't take me long to get there! Wayne talked with me for over an hour about "back home". We talked about eating crabs from the Chesapeake Bay and he treated me like he had known me for years. He gave me his home address in Vegas and said to come by if I'm ever out that way. So, when others say he's a great guy, they aren't just being nice! Hope you're lucky enough to meet him someday. Steve Jarrell -------------------[ archived by Spectropop ]-------------------
Message: 14 Date: Fri, 18 Mar 2005 07:49:25 +0000 From: Austin Powell Subject: Chubby Checker - Northern Soul I seem to remember Northern Soul fans in my neck of the woods also playing "Cum Ma La Be Stay", B side of "Everything's Wrong". Austin P -------------------[ archived by Spectropop ]-------------------
Message: 15 Date: Fri, 18 Mar 2005 09:29:19 +0000 From: Richard Williams Subject: Motown in the UK Many thanks to all who replied, on and off list, to my request for information on the Motown tour of the UK in 1965, which began 40 years ago on Sunday with two shows at the Astoria, Finsbury Park -- which was later known as the Rainbow, and is now the headquarters of a religious sect. I still haven't sorted out the personnel of the Earl Van Dyke Sextet (apart from Jack Ashford), but retain hopes of unearthing further facts. Richard Williams -------------------[ archived by Spectropop ]-------------------
Message: 16 Date: Wed, 16 Mar 2005 12:59:37 -0800 (PST) From: Dave Monroe Subject: Re: The Grasshoppers Clark Besch: > ... a Milwaukee group (Gary Myers can correct this if I'm wrong), > The Grasshoppers, did a nice version too. Gary Myers: > Clark, I've never heard of the Grasshoppers! What makes you connect > them with Milwaukee? Tell me more about them! Okay, I'm working my way backwards to the original post here, but are we talking about the same Grasshoppers who did "Mod Socks" on Twin Beat? Killer track, opening drum assault recently sampled by 54 40, but it looks like they were from Cleveland, and featured an young Ben Orr (ne Orzechowski), later of The Cars. -------------------[ archived by Spectropop ]-------------------
Message: 17 Date: Thu, 17 Mar 2005 00:40:53 -0000 From: David Coyle Subject: Re: Rare Breed: "Come And Take A Ride On My Boat" I've always loved the Every Mothers Son version of this pop classic, but I've never heard the Rare Breed's version. Haven't run across a copy of "Bubblegum Classics" in years. Could somebody possibly post it to Musica since it's being discussed on the list so much? Thanks -------------------[ archived by Spectropop ]-------------------
Message: 18 Date: Wed, 16 Mar 2005 14:50:51 -0800 From: Phil X Milstein Subject: Re: original Crystals Anthony Arena wrote: > ... And of course Darlene Love sang lead on two Crystals hits > as well, and she often perfoms those Crystals hits in concert. It surprises me that Darlene has become famous enough in the U.S., a country hardly noted for its attention to the details of music history, to be able to do such things under her own name. In fact, I think it's fair to say that her name has by now reached "household word" status, without ever having had the primary-era success (under her own name, at least) as that enjoyed by, for instance, Diana Ross or Cher. It strikes me that the attention she's come to earn is due, besides her obvious talent, largely to the force of her personality, as well as her unwillingness to settle for anything less. Citing Diana Ross reminds me that Mary Wilson also falls into this category, although I'm not sure too many others do. Whatever it takes, it seems a great thing to me that such dynamic pesonalities have finally achieved their moments in the sun under their own names, and I only wish the same could be said for Lala Brooks and Dee Dee Kennibrew, among many others. Respectfully, --Phil M. -- NEW new posts: -------------------[ archived by Spectropop ]-------------------
Message: 19 Date: Thu, 17 Mar 2005 10:22:51 +0100 From: Ingemar Gustafsson Subject: Re: Ohio Express 1st LP Thanks for the interesting info reg. Ohio Express. I liked them quite a lot in the 60's. As a matter of fact I choose between one of their albums and Beach Boys "20/20" in a local record shop (and I bought O.E.) I have some of their albums on CD (believe they're Japanese). Their commercial sound appealed me, liked the singer's nasal sound and sometimes they used good harmonies. I really hope a DVD/CD will be released from the Infernofest. Ingemar -------------------[ archived by Spectropop ]-------------------
Message: 20 Date: Thu, 17 Mar 2005 03:31:02 -0800 (PST) From: Norm D. Subject: At The Discowhat? One thing I've always wondered about Chubby Checker's song (great to hear it again, thanks) is his pronunciation of discotheque, as "disco-tay", rather than "disco-tek". I realise the latter wouldn't rhyme so well with "hey, hey, hey" (though he could possibly have got away with "what the heck", but that would have been all licence and no poetry), but is this how the word was pronounced at the time? I know the discothèque was, effectively, a Transatlantic import of the then-new French club phenomenon, and is spelled with an è, but "..o-tay" was not the way the French pronounce it, as far as I'm aware. Or was that how they said it in Philly? Any philology / language / disco historians out there? Or other musical examples to prove / disprove? Norm D. -------------------[ archived by Spectropop ]-------------------
Message: 21 Date: Wed, 16 Mar 2005 21:30:38 -0000 From: Ed Salamon Subject: Re: The Grasshoppers Clark Besch: > ... a Milwaukee group (Gary Myers can correct this if I'm wrong), > The Grasshoppers, did a nice version too. Gary Myers: > Clark, I've never heard of the Grasshoppers! What makes you connect > them with Milwaukee? Tell me more about them! We used to play "Mod Socks" by the Grasshoppers on Sunburst at the rcord hops in Pittsburgh. That being a Cleveland label, best known for another dance favorite "Happy Feet Time" by the Montclairs, I thought those Grasshoppers were from Cleveland. Ed Salamon -------------------[ archived by Spectropop ]-------------------
Message: 22 Date: Thu, 17 Mar 2005 14:49:42 -0500 From: Phil X Milstein Subject: Re: Do The Freddie's Einar Einarsson Kvaran wrote: > Surely "Let's Do the Freddie" was written for Freddie & the > Dreamers? It's odd that anyone else would even try it. Different song. --Phil M. -- Cover Art Gallery: lotsa new posts: -------------------[ archived by Spectropop ]-------------------
Message: 23 Date: Thu, 17 Mar 2005 19:40:21 -0000 From: Various Subject: Re: The Mugwumps One question, several replies: ----------------------------------------------------------------- Phil X Milstein wrote: > Does anyone know if the Mugwumps who weigh in with a song "Sunset > Sally" on Tower's "Riot On Sunset Strip" soundtrack LP are the same > Mugwumps of Cass Elliott / Denny Doherty / Jim Hendricks fame? If > not, did that group record (and release) at all? Phil. The "Sunset" Mugwumps are NOT the Elliot-Doherty-Hendricks- Yanovksy group which preceded The Mamas and The Papas and The Lovin' Spoonful. The "Sunset" Mugwumps was a Mike Curb creation in the 1966- 67 time period. Cass & Denny's Mugwumps existed from June 1964- November 1964. They were based primarily out of Washington, DC, but did record a series of 9 demos in New York, and made their last appearance at The Peppermint Lounge there too. The nine tracks came out in the summer of 1967 on the album An Historical Recording. Some of the songs from this album have appeared on Mamas and Papas compilations and on Varese Sarabande's "Before They Were The Mamas and The Papas" CD. The entire album has yet to be rereleased. The only record released by The Mugwumps during their actual existence was a single in August-September 1964. Richard ----------------------------------------------------------------- Not the same band. They did issue at least one 45 for Capitol subsidiary Sidewalk. Their version of Bald Headed Woman is pretty cool and appeared on one of Greg Shaw's "Highs In The Mid Sixties" LA volumes. Scott Charbonneau ----------------------------------------------------------------- Not sure of any Tower connection (doubt it), but the Mugwumps in question did record. Their first release was in 1964 on Warner Bros., "I'll Remember Tonight"/ "I Don't Wanna Know". Their next release was on Sidewalk in 1966, "Bald Headed Woman"/ "Jug Band Music". Once the Mama's and Papa's happened, both labels issued two more sides each in 1967, on Sidewalk, "Season Of The Witch"/ "My Gal", and on Warner Bros., "Searchin'"/ "Here It Is, Another Day". Plus Warner Bros. released a Mugwumps album after the fact in 1967. I have the '64 Warner Bros. issue only. Fred Clemens ---------------------------------------------------------------- As far as I know, the Mugwumps only put out one single while they were at WB; however, after they split up and became famous in other ways, WB did release a nine-track LP (which I have). ACJ ---------------------------------------------------------------- Here's the entry from Fuzz, Acid & Flowers: The Mugwumps 45s: 1 Bald Headed Woman/Jug Head Music (Sidewalk 900) 1966 2 My Gal/Season Of The Witch (Sidewalk 909) 1967 3 Bo Weevil/I Can't Keep From Cryin' (Sidewalk 931) 1967 NB: (3) released as by The Mugwump Establishment. All the best, Stephane Rebeschini ----------------------------------------------------------------- -------------------[ archived by Spectropop ]-------------------
Message: 24 Date: Fri, 18 Mar 2005 04:47:21 -0000 From: Robert Subject: Re: a slap for Lou Christie Julio Niño wrote: > I laughed a lot reading Sheila Burgel´s review of the Lou Christie > compilations just posted in the "S´pop recommends" section: > > I have schizoid feelings towards Lou Christie sixties songs, > sometimes I love them and sometimes they drive me crazy. I find > some of them so hysterical that sometimes they make me feel like > giving him a slap to calm him down. But when I see a photo of him > in the sixties, with those black eyes and especially those > pneumatic lips I immediately find his attacks of hysteria totally > charming. Consider most of them camp, and it'll ALL make sense.......same with Scott Walker. For me, all the extreme singers are the ones that I mostly want to keep coming back to.......well, except for Lee Hazlewood...he's pretty controlled, but always amazing...never boring.............Rob -------------------[ archived by Spectropop ]-------------------
Message: 25 Date: Thu, 17 Mar 2005 21:06:14 -0800 (PST) From: Dave Monroe Subject: Las Chicas De España Recommended: Las Chicas De España Spanish Girl Singers from the '60s & '70s By Lex Marsh During the last ten years of General Franco's regime, the dictator's grip on Spanish culture and society was loosening quickly. As Spain's population celebrated their new freedoms, and popular culture was given room to grow, young women across the country were casting off their long Spanish names, replacing them with short, catchy new ones, and enthusiastically throwing themselves into the world of song. Born soon after the end of the Spanish Civil War (early '40s thru the early '50s) this new generation of female vocalists enchanted the nation through sound and image. And while absorbing the musical repertoire of their counterparts in Britain, America, and the vast European continent, the ladies of Spain maintained a sound that was inherently Spanish.... Full story: Dave Monroe -------------------[ 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.