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Spectropop - Digest Number 1889

               SPECTROPOP - Spectacular! Retro! Pop!

There are 19 messages in this issue.

Topics in this digest:

      1. Mary Ann Fisher
           From: Mick Patrick 
      2. Re: Arthur Lee Harper
           From: Rob 
      3. "C'mon, Let's Live A Little" soundtrack LP
           From: Nick Archer 
      4. Re: bad splicing of "Crimson And Clover"
           From: Bob Radil 
      5. Re: Bob Crewe Productions
           From: Bob Radil 
      6. "Wake Up Sweet Mary", etc
           From: John Beland 
      7. Re: Bob Crewe productions
           From: George Schowerer 
      8. Re: Paul Petersen; Lobo
           From: Jeff Lemlich 
      9. Big Guitars
           From: John Beland 
     10. Sunflower, the label
           From: Gary Myers 
     11. Re: R. B. Greaves
           From: Einar Einarsson Kvaran 
     12. Re: Crewe sessions
           From: George Schowerer 
     13. Re: Jack Larson, Paul Petersen
           From: Austin Powell 
     14. Re: CD reissues
           From: Mike Rashkow 
     15. Re: The bad splice of "Crimson And Clover"
           From: Billy G Spradlin 
     16. Sunflower, the label
           From: Clark Besch 
     17. more on Twins Hits
           From: Simon White 
     18. Thank You
           From: Claire Francis 
     19. Re: Mary Ann Fishers
           From: Phil X Milstein 

Message: 1 Date: Wed, 30 Mar 2005 01:27:37 +0100 From: Mick Patrick Subject: Mary Ann Fisher Interesting statistic: Mary Ann Fisher is the second most searched for artist in the S'pop archives. Obviously, people out there are interested, which is good to see. Mary Ann adorns the cover of "Early Girls, Volume 4", on which she has a featured track. Find Country Paul's review of that CD here: And here's what is written about Mary Ann in the booklet, enjoy: According to his autobiography, Ray Charles' songs 'Mary Ann', 'What Would I Do Without You' and 'Leave My Woman Alone' were all inspired by MARY ANN FISHER. She was 32 in 1955 when he hired her to join his entourage as featured vocalist. They soon became lovers. "He had a woman in every town," Mary Ann rued many years later. "If he had told me he was married, I would never have left Kentucky. Country girl like me?" A native of Henderson, Kentucky, where her father was shot to death by white racists when she was 4 years old, Mary Ann spent a year in a Louisville orphanage before being adopted by a family in nearby Russellville. After winning some talent shows, she began her career in the 1940s singing in local nightclubs and at the Army base at Fort Knox, where she was billed as Little Sister. Eventually, Ray Charles caught her act and asked her to join his band. She was given a feature spot in his show and in 1958 provided the lead vocals on his recording 'What Kind Of Man Are You'. Inevitably, the romance of Mary Ann and Ray ran its course and, with the coming of Margie Hendrix and the Raeletts, she embarked on a solo career, signing with Fire Records in 1959. Switching to the Seg-Way logo, Mary Ann found herself in the pop charts in 1961 with 'I CAN'T TAKE IT', a curious no-shower on the R&B lists. She lived in New Jersey for a while with her boyfriend, Little Jimmy Scott, the fabled jazz vocalist. In 1962 Mary Ann waxed for Imperial and continued touring for a few years before retreating to Kentucky, where she dropped out of showbiz. A return to gigging in the 1980s eventually earned her a reputation as the area's top female blues singer, with the Mayor of Louisville declaring February 26, 1998 Mary Ann Fisher Day. Some sixty-five years into her career she released her first album, "Songbird Of The South", titled after her local nickname. Mary Ann Fisher died in 2004, less than a month after her final public performance. Had she lived a while longer, she would have been able to witness herself portrayed in the movie version of Ray Charles' autobiography. Shame. Hey la, Mick Patrick -------------------[ archived by Spectropop ]-------------------
Message: 2 Date: Wed, 30 Mar 2005 20:31:15 -0000 From: Rob Subject: Re: Arthur Lee Harper Phil X Milstein wrote: > What's the story with the Arthur Lee Harper song "Wintertime" > currently play at musica? It's a beautiful number! Who is he, and > where can one find more? Glad you like it. Arthur had two LPs, "Dreams And Images" (1968), produced by Lee Hazlewood, and "Love Is The Revolution" (1969). Unfortunately, he's no longer with us. There's a hard to find 2-on-1 CD of these two albums (Papa's Choice, 2002), which is one of my favorite recent acquisitions. Rob -------------------[ archived by Spectropop ]-------------------
Message: 3 Date: Wed, 30 Mar 2005 15:42:29 -0600 From: Nick Archer Subject: "C'mon, Let's Live A Little" soundtrack LP I visited my sister who just moved back to town recently, and realized she still has all of the albums that I had given her during my radio program director days, including a promo copy of the "C'mon, Let's Live A Little" soundtrack. It's LRP-3430-1 on the disc edge, and says "also available in stereo", which I assume means that it's mono. I borrowed this one to burn to CD, so if anyone is dying to hear a song from this album, email me off-list. Nick Archer -------------------[ archived by Spectropop ]-------------------
Message: 4 Date: Wed, 30 Mar 2005 22:00:23 -0000 From: Bob Radil Subject: Re: bad splicing of "Crimson And Clover" Austin Roberts wrote: > Speaking of 'odd' splices on past records, I've always been curious > about the strange splice in Tommy James' Crimson And Clover where > it goes from one sound to an entirely different one by, what seemed > to be a strange splice. Hi, Austin. Your ears are not alone. I'm assuming you're refering to the LP version. That has to be one of the worst splice jobs in history. The parts joined together just don't fit. I believe it was the single version that was recorded first, and then the psycho-delic segment was inserted later for the LP. I understand that this edit has since been fixed. Another similarly poor edit was done to "Timothy" by The Buoys. This was done to insert alternate lyrics that were supposedly more "radio friendly". I was able to fix this myself on my computer. Bob Radil -------------------[ archived by Spectropop ]-------------------
Message: 5 Date: Wed, 30 Mar 2005 22:33:56 -0000 From: Bob Radil Subject: Re: Bob Crewe Productions George Schowerer wrote: > As for the Crewe stuff, we would complete the mix at Allegro or > Mirasound, and Bob would take the dam tape to Bell Sound where > they would add everything you could think of -- sometimes echo, > sometimes eq. Who determined how the reverb was used? For example, "Candy Girl" was heavy on reverb, but "Ronnie" was quite dry. Another thing I've noticed with many of the Four Seasons' records is that the reverb goes up on the fades, unlike most recordings that just simply fade out. > I must get out some safeties of the original mixes from Bob's > sessions, which included Mitch Ryder, Frankie Valli & the Seasons, > and Freddie Cannon. I can assure you that they are pristine ... Could these possibly end up on some future release? Bob Radil -------------------[ archived by Spectropop ]-------------------
Message: 6 Date: Wed, 30 Mar 2005 23:03:14 -0000 From: John Beland Subject: "Wake Up Sweet Mary", etc Clark Besch wrote: > John Beland, so good to have you here. I emailed and talked with > you a few years ago about one of your first ... Hi Clark and everyone. It's good to be here. Let me get to your questions; The song you recorded off of Bandstand, "Wake Up Sweet Mary," was a demo of the first professional solo recording session I ever did. It was recorded at Hollywood Central Studios on Selma Avenue in Hollywood in 1967. Somehow, my manager Rob DeMars happened to get it over to Dick Clark's offices at Bandstand and lo and behold they contacted him to say that they would be reviewing it on Rate-A-Record. I was thrilled, needless to say, until it actually was broadcast and became painfully clear that the record was too fast and nobody could dance to it. It got a bad score, much to my humilliation (lol). Fortunately for me I had better success in 1969 with a record called "Baby You Come Rollin Cross My Mind." Re: Lobo -- I never met him, but I did play on a number of sessions for his producer, Phil Gernhard, who also produced the Bellamy Brothers and Jim Stafford. You can catch up with Lobo at I believe. He still performs oldies shows. "Kyle" who you mentioned is Kyle Lennign, who produced England Dan & John Ford Coley before moving to Nashville and producing hits on Dan Seals (England Dan) and many other top acts. He's a great producer. For those of you who may be interested, you can catch up to my adventures by logging into my website at . I have some new CDs, Burritos CDs, instrumental stuff -- check it out. Good to hear from you, Clark! John Beland Austin, Texas -------------------[ archived by Spectropop ]-------------------
Message: 7 Date: Mon, 28 Mar 2005 19:47:32 -0800 (PST) From: George Schowerer Subject: Re: Bob Crewe productions I wrote: > Gentlemen: I am the engineer on much of the Seasons and Valli's > sessions. When Rhino put out the "Silver anniv." multiple disc set, > I called Rhino to complain about the distortion present on many of > the tracks. I have no idea what tape they used, but I can guarantee > you that they didn't leave Mirasound studios sounding like that. Al Kooper: > I have been close to Charlie Calello since 1966, when he arranged a > song I wrote called "Stormy" for the wonderful 4 Evers. Charlie and > I became a team on my first solo album "I Stand Alone" in 1968, and > pretty much worked together until 1995 including stints with > Michael Mann, John Waters, and Ray Charles. George's name, to the > best of my knowledge, had never come up. ......Here is Charlie > Calello's reply re: engineers on the Four Seasons and Frankie Valli > records. Charlie, as most of you recall, was the lone arranger on > 90% of those sessions: > "When we worked at Stea-Phillips (all the early hits) it was Gordon > Clark, when we went to Atlantic and recorded "Dawn" it was Tom > Dowd, we then moved to Olmstead on 40th St. and it was Bill > McMeekin. "Rag Doll" was recorded at the demo studio Allegro. > "Can't Take My Eyes Off You" was recorded at MiraSound and I don't > remember who the engineer was." > > ........I'm sure George did not intentionally mean to take credit > away from the above hard workers. In earlier replies to other S'pop members I stated that Gordon Clark (who I shared many hours with at Allegro and who threw my bachelor party) had done many of their sessions. Gordon was a very dear friend to the end. Lenny Stea also engineered sessions along with Gordon. Bill Mc Meekin will surely remember me. Don't forget, my contact with Crewe, was at Allegro from 59-62 and again at Mirasound from 67-70. But during those times, I recorded most of Bob's stuff unless he couldn't get into Mirasound because we were working around the clock (literally) after the 16 track first MM-1000 was delivered. I virtually lived in the studio with 3 to 5 hours sleep between sessions. Many of the sessions for Crewe at Mira were arranged by Hutch Davie, who was Crewe's arranger of choice during that latter period. I have never implied that I had done all of the Seasons recordings, but I will stack those sessions I did as some of the best sounding stuff they did, sans the much later stuff, which was done (for stereo) while I spent ten years with Dolby. I will make a list in the coming days of the songs I did. Notice that the earlier recordings done at Stea Phillips are not full range. That is because the sync (record head) playback response for overdubbing was terrible ... and adding equalization to correct that impaired response was lacking in true fidelity. At Mirasound, I pioneered using the playback head for full range response. This required me to bounce all tracks by the end of the session, except for the final vocal track. Although that required much more effort, the recording retained full response to the final mix without having to cause the recording to suffer less than full fidelity ... if you listen to "Beggin'" and the other sessions done this way, you can clearly hear the difference. Don't forget, these sessions were all done with monaural as the final mix, hence the sort of ping pong mix for stereo, made at later times. Better sounds yet, came from the later recordings because they were done for stereo as the final product. "Beggin'", and most of the other dates done at Mirasound on an 8-track Ampex AG-300 and if you've ever worked for Bob Crewe, you'll instantly understand why an engineer needed 16 & 24 tracks. Crewe and Gaudio routinely did more overdubbing than Phil Spector ever dreamed of. I stand by my "fingerprint" on those sessions. We all put our hearts into our work....and Al, you didn't suffer from your engineer's efforts, of which I'm very aware. Contrary to your belief, Al, we have met ... to my distinct pleasure. I think it was at Columbia, where I was employed for three years before becoming frustrated that according to union seniority, I would have been an old man before getting back into the studio as a mixer, which is why I left to do my own work at Mirasound including helping to design the first 16-track machine, and recording the first 16- track session with producer Luther Dixon, for the Platters "With This Ring" and other sessions with the Skyliners. It truly was a great time to experience art of recording with all the artists I've worked with ... from Every Mother's Son up through Mahler's Third Symphony. Regards, George Schowerer -------------------[ archived by Spectropop ]-------------------
Message: 8 Date: Thu, 31 Mar 2005 01:51:21 -0000 From: Jeff Lemlich Subject: Re: Paul Petersen; Lobo Phil X. Milstein asked: > Is the Paul Petersen of "Donna Reed Show" and Colpix Records fame > the same as the Paul Petersen who recorded two singles for Motown > in the late 1960s? 'Tis him. Paul did the original version of "Chained" (before Marvin Gaye). I really like "Don't Let It Happen To Us", an old favorite spin of mine from when I used to host the Soul Coal Factory. Clark Besch asked: > Whatever happened to Lobo? He's back home in Florida now, and still writing and playing music. Jeff Lemlich -------------------[ archived by Spectropop ]-------------------
Message: 9 Date: Wed, 30 Mar 2005 03:01:19 -0000 From: John Beland Subject: Big Guitars Here's a shameless self promotion, but because Im new here I thought "what the heck??" Ive seen my name pop up here from time to time ...very cool site. I have a few new CDs out..I think you may dig the latest, "JOHN BELAND'S BIG GUITARS VOLUME ONE." Rock and roll instrumental classics that inspired me as a player. I also have "Burrito Works" best stuff with the Flying Burrito Brothers. You can get them both by accessing my website at: I'll be happy to sign each copy if desired. Great to see old buddies and fellow soldiers in arms like Austin Roberts and Al Kooper here. Glad to be aboard. See Ya John Beland Austin, Texas -------------------[ archived by Spectropop ]-------------------
Message: 10 Date: Wed, 30 Mar 2005 21:05:14 -0800 From: Gary Myers Subject: Sunflower, the label Leslie Fradkin wrote: > I recorded for Sunflower as their first artist back in 1970 ... Sunflower had a 1972 release by Storm titled "This I Find Is Beautiful", which I love. It got some airplay in SoCal. gem -------------------[ archived by Spectropop ]-------------------
Message: 11 Date: Wed, 30 Mar 2005 17:14:10 -0800 (PST) From: Einar Einarsson Kvaran Subject: Re: R. B. Greaves Les Fradkin asked: > Whatever happened to R. B. Greaves? I worked with him on "Take A > Letter Maria". Always wondered what became of him. I feel a little bit like I'm playing Abbott to someone else's Costello, but is this the same "ex" that the song is about? Or is "Maria" now an "ex" too? Einar -------------------[ archived by Spectropop ]-------------------
Message: 12 Date: Wed, 30 Mar 2005 20:43:48 -0800 (PST) From: George Schowerer Subject: Re: Crewe sessions Billy G. Spradlin asked: > Any reccolections on a recording where Crewe really tampered with > what you did? One of my favorites is Tracey Dey's "I Won't Tell," > where Crewe went crazy with the reverb, volume, compression, etc. > It sounded like he added those effects in the final mastering stage. I didn't do Tracey Dey's sessions, I think that was after I started with Dolby in '70. You have to understand the psyche of Bob in that he was always noodling stuff, whether in the studio via overdubs or in the final cutting stage. Thankfully, I have preserved some of my own mixes of his sessions. One I recall was "What Now My Love" with Mitch Ryder, where I did a separate mix for my own collection. Also on the "Girl Watchers" album, I ran some of my own tastes in mixes for myself. I really have to get to pulling out the library I have stored and log those efforts once and for all. There's all sorts of goodies buried at the moment. Funny, no one seems to remember the two or three really big orchestra sessions (albums) that Bob did at Columbia's 30th Street studios, arranged by Ralph Burns. They were really quite good -- not rock stuff, though. Regards, George Schowerer -------------------[ archived by Spectropop ]-------------------
Message: 13 Date: Thu, 31 Mar 2005 08:50:41 +0100 From: Austin Powell Subject: Re: Jack Larson, Paul Petersen Phil X Milstein asked about Larson and Petersen: The Fraternity/Dot Larson is not the same as the actor Larson. The former was an artist introduced to the label by John Gary. I have no further bio info on him. Paul Petersen is the same P.P., however. His "Chained" was the first recording of that song. Bit of a collectors' item that one. His other Motown release was straight "pop". Just for the "time-line", Chuck Jackson joined Motown at the same time. Austin P. -------------------[ archived by Spectropop ]-------------------
Message: 14 Date: Wed, 30 Mar 2005 21:08:33 EST From: Mike Rashkow Subject: Re: CD reissues Billy G. Spradlin wrote: > So true and sad - there's been so many classic tracks tampered with. > Some of today's remastering engineers weren't even born when these > songs were recorded. Most have no clue and wont take the time or > have the money to find out how they sounded on the orginal vinyl. Well, I've been doing a bit of work on some of my own lousy recordings and mixes from back in 1967-69. I'll bet you a dollar to a donut they sound better coming out of CoolEdit now than they did back in the day. At least most of them do -- some seem beyond help and should be euthanized. But, there are better hands than mine out there, and maybe they can rescue the disasters. Di la, Rashkovksy -------------------[ archived by Spectropop ]-------------------
Message: 15 Date: Thu, 31 Mar 2005 11:04:00 -0000 From: Billy G Spradlin Subject: Re: The bad splice of "Crimson And Clover" Austin Roberts wrote: > Speaking of 'odd' splices on past records, I've always been curious > about the strange splice in Tommy James' Crimson And Clover where > it goes from one sound to an entirely different one by, what seemed > to be a strange splice. The way I've heard it is that Tommy James recorded "Crimson" as a 3:26 single, but Roulette or Tommy wanted a longer LP version for FM airplay, so they spliced a guitar solo into the middle section, bring it up to around five minutes. It's a really bad splice, sounds like a rush job. Billy -------------------[ archived by Spectropop ]-------------------
Message: 16 Date: Thu, 31 Mar 2005 16:44:19 -0000 From: Clark Besch Subject: Sunflower, the label John Beland wrote: > Whatever happened to R. B. Greaves? I worked with him on "Take A > Letter Maria". Always wondered what became of him. Leslie Fradkin wrote: > One interesting thing that happened to R.B. is that he did a single > for Sunflowere (MGM) Records called "Margie, Who's Watching The > Baby?" I recorded for Sunflower as their first artist back in 1970 > and always thought RB's disc quite cool. Les, I had no idea you or RB recorded for Sunflower. I have NEVER seen any records on this label but Frank Mills' great 45 "Love Me Love Me Love". I have an RB Greaves record from 80's I believe on a small label. Clark -------------------[ archived by Spectropop ]-------------------
Message: 17 Date: Thu, 31 Mar 2005 08:59:52 +0100 From: Simon White Subject: more on Twins Hits I'm sure this all came up before but pressing on regardless, I have a "Twin Hits" 45 by the previously metioned Val Palmer, singing The Supremes' "Back In My Arms Again" b/w "Uptight" credited to Ritchie Brown. Val is not even close to sounding like Ms. Ross and has more of an R & B feel about her voice but she's obviously an accomplished singer which prompts me to ask: who was she? -------------------[ archived by Spectropop ]-------------------
Message: 18 Date: Thu, 31 Mar 2005 00:06:49 EST From: Claire Francis Subject: Thank You Dear Groovy S'pop Nation, Even though I have been so busy taking care of what is needed for my April 7th surgery date....I still read the digest every few days because as you all know S'pop is totally ADDICTIVE.... it is so great!! The thing that makes it great is that we all love the music and the legend so much, music is such an important part of our lives...the past..the present...and the future...but not only the music...the S'pop people that make up this site are really such beautiful and kind and generous souls... I want to thank you all for all your e-mails, and good wishes...from my heart to your hearts..Thanks and bless you. I want to thank Phil M. for making me cd's of my work to listen to while I am recuperating ...I want to thank Mick, and Martin and Phil C. for all the cd's they have sent to me over the months... and Dear Eddy (the kollectionist) for making a discography for me with out my even knowing he did this...(which you can see on my website;) I especially love the Emails from Artie Wayne who is one of the most Spiritual Cats on this planet...I know this web site is about the music, but I really can't help but feel this connection with you all...even though I have never met most of guys are such a bunch of good hearted guys, and it is so wild how some of us that have never met are so connected on many levels now,.... based on the work we did in the past...for example..."It's Only The Dog"...written by our dear Artie Wayne and produced by me....and "The Last Two People on Earth" produced by me...written by our very funny and really hip cat Al Kooper and man oh Manashevwich, I would have never met these cats if it weren't for S'pop and a post written about me by our dear Ian Chapman that I found when I "googled" my name 7 months ago... I could go on and on...but the orchestra is giving me the cue to cut it again thanks for bringing it all back to me..I listened to "I've Got My Own Thing Goin" the other day (thanks Phil M!! for reminding me)..I had so much fun making all these records...I loved every minute of it...and I really and grateful to you all for accepting me into your site and treating me so special. I just thought I would let you know how I feel before next week just in case I am not able to write for a while. So April 7th, the day of my surgery is Buddah's birthday...and hopefully my lucky day. Love & Light, ClaireFrancis -------------------[ archived by Spectropop ]-------------------
Message: 19 Date: Thu, 31 Mar 2005 13:13:39 -0800 From: Phil X Milstein Subject: Re: Mary Ann Fishers Mick Patrick wrote: > Interesting statistic: Mary Ann Fisher is the second most searched > for artist in the S'pop archives. Obviously, people out there are > interested, which is good to see. Mary Ann adorns the cover of > "Early Girls, Volume 4", on which she has a featured track. Find > Country Paul's review of that CD here: > > Mary Ann Fisher died in 2004, less than a month after her final > public performance. Had she lived a while longer, she would have > been able to witness herself portrayed in the movie version of Ray > Charles' autobiography. Shame. What a cool chick -- shacked up (at different times, natch) with both Ray Charles and Jimmy Scott, not to mention being a recording artist in her own right (who, I ruefully admit, I have yet to hear). I wonder if she was the go-between who brought Jimmy to Ray's Orange Records for his ill-fated "Falling In Love Is Wonderful" album. Anyhow, just for grins and giggles (or however that expression goes), and because I happened to find myself with a spare 10 minutes on my hands yesterday, I went on a bit of a Photoshopping spree with the cover of "Early Girls 4." With apologies to Betty Johnson, whose inset photo was tossed to the curb like a used hanky, the modified cover displays the movie version of Mary Ann Fisher (as played by actress Aunjanue Ellis) alongside the flesh-&-blood version who graces the actual cover. See both Mary Ann Fishers now at the Photos section. Dig, --Phil M. -------------------[ archived by Spectropop ]-------------------
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