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Spectropop - Digest Number 1940

               SPECTROPOP - Spectacular! Retro! Pop!

There are 25 messages in this issue.

Topics in this digest:

      1. A Wall Of Soundalikes Two
           From: Julio Niño 
      2. Re: Classically inspired pop
           From: Dave Heasman 
      3. Re: Rex
           From: Dave Heasman 
      4. Re: Classical pop; Denny Reed; country/soul; Trade Martin
           From: Country Paul 
      5. Re: C&W & R&B
           From: Peter Lerner 
      6. Re: Honey Ltd. picture gallery
           From: Country Paul 
      7. The Jack Nitzsche Story CD, feat. Kari Lynn
           From: Peter Lerner 
      8. Gaylord & Holiday; Soul Deep
           From: Simon White 
      9. Re: C&W & R&B
           From: Austin Roberts 
     10. Re: Vogues "She Is Today"
           From: Billy G Spradlin 
     11. Re: Vogues question
           From: Austin Roberts 
     12. Re: The Vogues
           From: Bill Mulvy 
     13. Re: Steve & Eydie's record label
           From: Phil X Milstein 
     14. Gayle McCormick
           From: Phil Hall 
     15. The Essex now playing at musica...
           From: Joseph R. Nelson Sr. 
     16. Kokomo>Kosovo
           From: Country Paul 
     17. Smithsonian Institute
           From: Mike Bennidict 
     18. Re: Trade Martin and other Beatles related rarities
           From: Andres 
     19. The Utlimate Jackie DeShannon
           From: Pres 
     20. Re: The Way Of Love / Kathy Kirby
           From: Rick H 
     21. Adam Wade
           From: Simon White 
     22. Obscure Bacharach-David search
           From: Robert Pingel 
     23. Re: Cook, Moore, and Goons
           From: Lobby 
     24. Re: The Vogues - You're The One
           From: Ed Salamon 
     25. Trade Martin; pop classics; artist ID?
           From: Country Paul 

Message: 1 Date: Tue, 17 May 2005 19:26:31 -0000 From: Julio Niño Subject: A Wall Of Soundalikes Two Hola, everybody. I've just seen in Ace's brand new webpage that the second part of "Phil's Spectre: A Wall Of Soundalikes" is scheduled to be released next month. Maybe Mick (who I suppose must be responsible for warping such an artifact) could give us an advance look at the track list. I love the delight of dreaming of upcoming pleasures (in fact I think sometimes I prefer this sensation to the materialization of the pleasure). Thanks, Julio Niño. -------------------[ archived by Spectropop ]-------------------
Message: 2 Date: Tue, 17 May 2005 22:27:19 +0100 From: Dave Heasman Subject: Re: Classically inspired pop Will Stos wrote: > I've been searching the old Spectropop threads and saw > numerous posts on pop songs that have adapted classical > melodies or "lifted them". There are a lot of obvious ones, like Jackie Wilson's "Night" and Elvis' "Tonight Is So Right For Love", but one I've never seen acknowledged, probably because it's so obscure, is the melody on Stevie Wonder's "They Won't Go When I Go", off "Fulfillingness". I was listening to France-Culture in 1978 when I heard that melody played by a consort of viols. The announcer said it was a piece by the French composer Marin Marais, who, I later found, was active in the 1600s. (The viol sound is captivating. There was a (fictional) film in the '80s about Marais and his teacher Ste Colombe called "Tous Les matins du Monde") By no means bilingual Dave in London -------------------[ archived by Spectropop ]-------------------
Message: 3 Date: Tue, 17 May 2005 22:41:33 +0100 From: Dave Heasman Subject: Re: Rex Warren asked: > any list member know a song by (or called) "Rex > Bob Lowenstein" which is all about a travelling DJ? This didn't seem to be answered from my search of the thread. In case anyone still cares, it's a song by Mark Germino, from his "Caught In The Act Of Being Ourselves" album from 1987. Rank & File did it too. Dave Heasman -------------------[ archived by Spectropop ]-------------------
Message: 4 Date: Tue, 17 May 2005 21:26:12 -0400 From: Country Paul Subject: Re: Classical pop; Denny Reed; country/soul; Trade Martin Will Stos wrote: > I've been searching the old Spectropop threads and saw > numerous posts on pop songs that have adapted classical > melodies or "lifted them". Immediately to mind comes "Magic Lover" by Michael Wesley, on Columbia from 1959, done as a slow 6/8 and lifted from a Rachmaninoff melody, I believe. Can anyone fill in the blanks, please? The S'pop Team asked: > Does anyone have any 45s by Denny Reed? If so, maybe > you could help with some label scans. Clark replied: > I have the Trey (3007) 45, "A Teenager Feels It, Too" > b/w "Hot Water". It's not the prettiest label, with a name > on one side and a sticker on other, but I can scan and > send if you wish. I have the follow-up, "No One Cares" on Trey, but no scanner. The label is quite clean, as is the vinyl. As I offered to the Admin folks, I'd be glad to send it to where it needs to go to be sampled and scanned for the article. Rob Pingel: > Just a general thought: Good country music and soul are > like fraternal twins: different, but cut from the same cloth. I've always regarded the best country as "white soul music." Case in point: listen to George Jones. Phil X. Milstein: > I've heard the name Trade Martin many times here and there > over the years, but don't know anything concrete about him > other than that he wrote the sublime "Take Me For A Little > While." Check out to see what he's up to lately, including a gung-ho tribute to President Bush and much work with B.B. King. Somewhere in my collection I have his first solo 45, "La Mer," an instrumental on Gee. He also had a pop hit 45 with "That Stranger Used To Be My Girl" c. 1960 or so, and an extensive career in many aspects of the music biz. He discovered The Earls; see the interview at . A good overall bio is at ; it reads like a who's who of New York music. I've also e-mailed Al Gorgoni, who worked on at least one LP together with him and Chip Taylor ("Taylor, Martin & Gorgoni") to ask him if he has any first-hand reminiscences. I asked him for permission to share his reply, and will post it if he does. Country Paul -------------------[ archived by Spectropop ]-------------------
Message: 5 Date: Wed, 18 May 2005 08:53:02 +0100 From: Peter Lerner Subject: Re: C&W & R&B Rob Pingel wrote: > Good country music and soul are like fraternal twins: > different, but cut from the same cloth. I second that. For those who haven't caught up with it, Barney Hoskyns wrote a superb book on the topic "Say it one time for the broken hearted -- the country side of southern soul". His list at the end of the book, "Forty masterpieces of country soul", contains some real magic. Some examples: Ivory Joe Hunter: City Lights Percy Sledge:Out Of Left Field Candi Staton: Stand By Your Man Betty Lavette: He Made A Woman Out Of Me You'll find, as well, that more modern country singers can do good work on classic R&B, for example Reba McEntire's take on "You're No Good". Peter -------------------[ archived by Spectropop ]-------------------
Message: 6 Date: Wed, 18 May 2005 12:19:06 -0400 From: Country Paul Subject: Re: Honey Ltd. picture gallery The S'pop Team: > The Team has assembled [the Honey Ltd. pictures] into a > nifty picture gallery, complete with captions and click-to- > enlarge option. View here: Thank you to all concerned for the pictures -- and the article. They fill in the knowledge chasm behind one of the most interesting singles in my collection ("Tomorrow Your Heart"/"Come Down"). It's a shame more people didn't know about this group at the time; they could have bridged the gap from "girl group" to "progressive pop" for the larger audience, instead of just us music junkies. Oh, well -- we'll take our pleasure where we can! In sincere appreciation, Country Paul -------------------[ archived by Spectropop ]-------------------
Message: 7 Date: Wed, 18 May 2005 09:22:16 +0100 From: Peter Lerner Subject: The Jack Nitzsche Story CD, feat. Kari Lynn It's certainly an impressive and powerful CD, beautifully presented -- congratulations to all! It wasn't till I read the (extensive and fascinating) notes that I learned that a little obscure 45 on the UK Oriole label, that I bought over 40 years ago, has Nitzsche involvement. Unlike the major labels in the UK at the time, who dominated the airspace of Radio Luxembourg, Oriole could only afford to buy 15 minutes of time, and, as they released some good music on that label, of both UK and US origin, for me it was a "must listen" quarter hour. I fell in love with Kari Lynn and "Summer Day" on first hearing, and bought it straight away, as well as her follow-up, "You've Got To See Mamma Every Night". Much later I obtained a third KL 45 on the original Auburn (not Autumn as it mistakenly says in the liner notes) label, "Joey I'll Be Around". Can anyone tell me anything about Kari? Did she make any further records? Was Jack N. involved at all with any of her other Auburn tracks? Peter -------------------[ archived by Spectropop ]-------------------
Message: 8 Date: Wed, 18 May 2005 17:44:43 +0000 From: Simon White Subject: Gaylord & Holiday; Soul Deep I notice in the Honey Ltd. photo feature that Gaylord and Holiday were appearing at Nero's Nook. Does anyone know any thing about them? There is (of course) a track by them that attracts some Northern Soul interest. On the subject of Soul, the BBC in the UK is showing a series called "Soul Deep", which at the time of writing is very good indeed. The first two programmes have centred around Ray Charles and then Sam Cooke, while the third, due this week, is on Motown and seems to be taking The Supremes as its cue. Well worth a look if you haven't seen it yet. Simon White -------------------[ archived by Spectropop ]-------------------
Message: 9 Date: Wed, 18 May 2005 17:29:25 EDT From: Austin Roberts Subject: Re: C&W & R&B Rob Pingel wrote: > Good country music and soul are like fraternal twins: > different, but cut from the same cloth. Harlan Howard described country music as "three chords and the truth". Today's country sounds a bit like '70s pop music to me. I have been fortunate to have had quite a few country hits as a writer, some of which crossed over to pop. I've had a few pop tunes cross over from pop to country. To me the bottom line is, a good song is a good song. Country used to be more C&W, but with the Urban Cowboy phase of the '80s and '90s and today, sometimes it's hard to pinpoint if a CD is more pop or country; it's usually decided by how it's merchandised. Sheryl Crow is a good example of a crossover artist today; also Alan Jackson, who is definitely country but popular with many audiences. The way the different kinds of music are compartmentalized today, it's a wonder anyone knows where to find what they really like! Just one man's opinion, Austin Roberts -------------------[ archived by Spectropop ]-------------------
Message: 10 Date: Wed, 18 May 2005 23:13:56 -0000 From: Billy G Spradlin Subject: Re: Vogues "She Is Today" Frank Jastfelder wrote: > It's written by Mann/Weil and is on the album "Turn Around, > Look At Me". Bergen White did a version too, on his album. > Don't know if the Vogues put it out as a single, but it sure > is a great number. I have heard another version of "She Is Today" besides Bergen's. I believe it was on one of Jeffrey Glenn's "Lost Jukebox" compilations. But The Vogues did it best. The huge orchestra, booming arrangement and vocal performance is terrific. It sure sounded like a single, and should have been one. I've played it to musica. Billy G. -------------------[ archived by Spectropop ]-------------------
Message: 11 Date: Wed, 18 May 2005 17:34:06 EDT From: Austin Roberts Subject: Re: Vogues question Mike Bennedict wrote: > Anyone heard of the song "She Is Today"? I read it was > from a 1968 album that featured the singles "Special > Angel" and "There Is Someone". Was this other song > released as a single? I think "There Is Someone" is actually called "Turn Around" and that The Vogues had a large hit with it. I think Glen Campbell had a version out as well. Best, Austin R. -------------------[ archived by Spectropop ]-------------------
Message: 12 Date: Wed, 18 May 2005 18:30:04 -0500 From: Bill Mulvy Subject: Re: The Vogues Mikey wrote: > Hal Blaine did not play on the original 1965 version of > "You're The One." He played percussion on the Reprise > overdub sessions in 1968, when Dick Glasser added strings > and and orchestra to "You're The One," "5 O'Clock World" > and "Magic Town." It's too bad those overdub versions were never released on CD. "Magic Town" sounds very powerful with the embellishments. I much prefer it to the "unadorned" version. Never the purist, Bill Mulvy -------------------[ archived by Spectropop ]-------------------
Message: 13 Date: Wed, 18 May 2005 21:03:18 -0800 From: Phil X Milstein Subject: Re: Steve & Eydie's record label Frank Jastfelder wrote: > ... Does anybody have an idea how to get in touch with the > label? Or does anybody own the CD, which is called "That > Holiday Feeling". Maybe there's a contact given. Hi Frank, G & L have an official website at . I haven't gone through it yet to search for any contact area, but I imagine there must be something of the sort on there somewhere. Happy holidays, --Phil M. -------------------[ archived by Spectropop ]-------------------
Message: 14 Date: Fri, 20 May 2005 14:40:28 -0000 From: Phil Hall Subject: Gayle McCormick Do any of our knowledgeable Spectropoppers know what happened to Gayle McCormick and where she is today? I know she had a few singles and albums in the early '70s after leaving Smith, but then she seemingly disappeared; at least from performing. I recall her being touted as another Janis Joplin and as a legitimate blue-eyed soul vocalist. I thought that was a little bit of hype, but she did have a big voice. Phil H. -------------------[ archived by Spectropop ]-------------------
Message: 15 Date: Wed, 18 May 2005 17:48:41 -0000 From: Joseph R. Nelson Sr. Subject: The Essex now playing at musica... Now at musica: my remix of the 1963 classic "Easier Said Than Done" This started as a fixup (mailed privately to a number of S'popers) addressing certain jumps in the vocal tracks. After pulling that off, I decided to go back to the song and remix it into another whole concept: less vocal group and more of a solo effort with backing vocals. My thought was that by bringing the backups in and out at different times it'd disguise the fact that the last forty five seconds of the original are a tape copy of the last half of the song! With apologies to the purists among us, enjoy! Joe Nelson -------------------[ archived by Spectropop ]-------------------
Message: 16 Date: Wed, 18 May 2005 22:29:28 -0400 From: Country Paul Subject: Kokomo>Kosovo Well, it had to happen - a satire of the Beach Boys' "Kokomo" ostensibly done by some Norwegian soldiers with too much time on their hands. It sounds too perfect for that to be the story, but you might find it entertaining, and I'd be glad to stand corrected. (I promise not to make a habit of forwarding these, but this did seem quite entertaining.) In-Country Paul -------------------[ archived by Spectropop ]-------------------
Message: 17 Date: Thu, 19 May 2005 02:50:02 -0000 From: Mike Bennidict Subject: Smithsonian Institute Just heard this group [Simthsonian Institute] for the first time tonight and a song called "Dream For Tomorrow". I know this song was released in 1968. anyone know anything about this group and why did they choose such a name? Mike. -------------------[ archived by Spectropop ]-------------------
Message: 18 Date: Thu, 19 May 2005 10:54:15 +0400 From: Andres Subject: Re: Trade Martin and other Beatles related rarities Phil writes - > I've heard the name Trade Martin many times here and there over > the years, but don't know anything concrete about him other than > that he wrote the sublime "Take Me For A Little While." .....Does > anyone know if he ever recorded his own version of "Take Me ..."? Hi, I've compiled another disc of the so called Flabby Road series. There is one song by Trade Martin (track 6, hope it is THE Trade Martin we are talking about). For those interested here is the whole track-list. Cheers, Andres BEATLES WE WANT OUR GIRLS BACK (Flabby Road Vol. 18) 1. Gene Moss - I WANT TO BITE YOUR HAND, 1964 2. The Insects - LET'S BUG THE BEETLES, 1964 3. Bobby Roberts and the Ravons - RINGO BELLS, 1964 4. The Defenders - BEATLES WE WANT OUR GIRLS BACK - NOW! 1964 5. The Beatle Maids - WHO CAN I BELIEVE, 1964 6. Trade Martin - LIVERPOOL BABY, 1964 7. Peter Alexander - WODKA BEATLE BOY, 1964 (Germany) 8. Dave King And The Royal Knights - THE BEATLE WALK, 1964 9. Bob Thomas & Shirlee - GRANNY'S GOT THE BEATLE BUG, 1964 10. The Chipmuncks - TWIST AND SHOUT, 1964 11. The Rajahs - CAN YOU KEEP A SECRET (from EP Beatlemania - Tribute To The Beatles), 1964 (Australia) 12. Tonia - POUR MON ANNIVERSAIRE JE VOUDRAIS UN BEATLE, 1964 (Canada) 13. Moon Mullican - I AIN’T NO BEATLE (BUT I WANT TO HOLD YOUR HAND), 1964 14. Jack Nitzsche - RINGO, 1964 15. John & Paul - I’M WALKIN’ (ALL ALONE), 1965 (presumably with Pete Best) 16. Allen & Rossi - WE LOVE YOU… (from the Ed Sullivan Show), 1965 17. Hetty Blok - IKVERANDER, circa 1966 (Holland) 18. Bob Terry & The Young Patriots - JESUS YES, JOHN NO, 1966 19. Viv Prince - MINUET FOR RINGO, 1966 20. Mike Douglas - TO JOHN AND YOKO, 1972 21. Forbes - BEATLES, 1977 (English version) 22. John Ferrara - DEAR JOHN, 1988 23. Jill Salkin - MCCARTNEY’S VOICE, 2000 24. Tom Cunningham - CHEMISTRY (JUST LIKE PETE BEST), 2001 (Germany) 25. Smythe & Taylor - BEATLES SONG (DON’T YOU KNOW NO BEATLES SONGS), circa 2002 26. Legend Heart - BALLAD OF JOHN LENNON, 2004 27. WE LOVE YOU BEATLES (by erupting fans at Shea Stadium), 1966 -------------------[ archived by Spectropop ]-------------------
Message: 19 Date: Tue, 17 May 2005 18:40:15 -0400 From: Pres Subject: The Utlimate Jackie DeShannon I just received the new UK EMI Jackie collection. A nice change of pace with at least half of the 24 tracks being covers that, to my knowledge, have not been on CD before. 1.Don't Let The Sun Catch You Crying 2.It's All In The Game 3.Love Will Find A Way 4.Lay Baby Lay 5.Sunshine Of Your Love 6.I Can Make It With You (edit) 7.Summertime 8.When You Walk In The Room (This is the faster version I've mentioned before) 9.You Don't Have To Say You Love Me 10.Needles And Pins 11.Hold Your Head High 12.He's Got The Whole World In His Hands 13.Will You Love Me Tomorrow 14.Call Me 15.Are You Ready For This 16.Music Man 17.A Proper Girl 18.You've Really Got A Hold On Me 19.Lonely Girl 20.Music and Memories 21.Crystal Clear 22.Down By The Riverside 23.Keep Me Warm 24.What The World Needs Now Is Love pres -------------------[ archived by Spectropop ]-------------------
Message: 20 Date: Thu, 19 May 2005 15:47:52 -0000 From: Rick H Subject: Re: The Way Of Love / Kathy Kirby Many thanks to Simon, Dave M, Frank, Roy, Gary M and David for the insights re lack of past /current interest in Kathy Kirby and Helen Shapiro. You certainly clarified things for me by defining their work (and all-important images) in context of the tastes and times. And I need to correct myself: Miss Lipgloss' Decca producer was Peter Sullivan; with Charles Blackwell, Ivor Raymonde, Mike Leander and others doing chores as Musical Director, whatever that means. Today I picked up KKs newie "My Thanks To You": the much-valued collector's item now on CD (with 16 bonus cuts) from her 1967-'73 Columbia era. Her vocals are amazing, some cuts are great, but many of the arrangements seem more geared to 1964 or to pubs. Thankfully, not to Woodstock. And there was divine intervention with the compilation: they couldn't locate the master of "Little Green Apples". Praise The Lord! I guess my gripe is that I was expecting more of a strip-joint sound. As I listened I was reminded of the Uber Eurobrat, Heintje. I always thought his inspiration was Connie Francis, but clearly it was Kathy Kirby circa 1970. Simon wrote: > Here's a personal Brit Girl top twenty-not in any particular > order: Thanks - I'll check 'em out. Perhaps Rhino needs to look into a Lipgloss'n'Lurex Nuggets Boxset. Thanks also for the insights re Kathy Kirby's image. I'll look forward to hearing the Bobby Sheen version of "The Way of Love". Frank M wrote re British female vocalists: > We just don't know what to do with them after the hits are over. > Lulu, Cilla, Sheena and a whole lot more. No wonder they head for > TV careers as there is nothing else for them to do. Yes Frank, it's always seemed that way to me also. I guess there's nothing much (in the UK) between Vocalist of the Year and seasonal pantomine or welfare. It's always shocking (and very saddening) when you find incredibly talented women like Kathy, Helen and Sandie Shaw surviving on welfare benefits. And speaking of Sandie Shaw, she touchingly describes a visit to an institutionalized Kathy Kirby in her interesting book. > The UK Rock press just could not take female vocalists seriously, > bar maybe Dusty. ..who's vastly over-rated IMHO. With all that goodwill (and resources) what exactly did she accomplish on record or in concert post-1969? re "Way of Love" Gary Myers writes: > I've always wondered why neither Kirby's or Cher's didn't make > a simple lyric change to avoid the gay implication. Seems that way - it was written by men. At the time (of Cher's version), Rolling Stone made a big deal of it: their implication being that it was virtually the anthem of the Gay Lib movement. (Three decades later and my dentist lets forth an unexpected gush-fest after parting with $500 to see her warble said anthem amongst others, so maybe they were right in a clairvoyant kind of way.) KK's version seems like an introspective talk-to-myself, Cher's version is anything but. Of course Cher got to do one of her beloved blasting modulations, she'd had previous chart success singing a guy's part ("You Better Sit Down Kids") and probably didn't give a rat's anyhow. But it went Top 3 and hippies could always recycle Rolling Stone as toilet paper. So I guess everybody was happy then and my dentist is certainly happy now! Thanks so much - you guys are amazing. Rick H. -------------------[ archived by Spectropop ]-------------------
Message: 21 Date: Thu, 19 May 2005 16:54:05 +0000 From: Simon White Subject: Adam Wade Mike Edwards wrote: > "The Coed Records Story" features tracks by Trade Martin, the > Duprees, the Crests and others but none by one of their biggest > hit makers, Adam Wade. I guess Adam must have taken his Coed > masters with him to Epic when he transferred labels in late' > 62/early'63. A pity, because his material in the hands of the > people at Ace is an uplifting thought for a Tuesday afternoon. MMM nice thought Mike (how are you, BTW?). Adam is unde-appreciated in in my opinion. He's often described as "blue eyed" which is to mean white but he is of course black but with a not *so* Soul voice. Don't know what colour his eyes really are. Maybe they mix him up with *Batman? Some great records though eh?- he sounds like Neil Diamond on "Old Devil Moon" and has a 70's Soul release called 'Keeping Up With The Joneses" which is superb although my personal favourite is "Half the World". Aren't there some "Popcorn" styled tracks too? Simon * Adam West. Try and keep up at the back there. -------------------[ archived by Spectropop ]-------------------
Message: 22 Date: Thu, 19 May 2005 17:16:42 -0000 From: Robert Pingel Subject: Obscure Bacharach-David search Would like some confirmation that the record "Living Without Love" by Art Smalley is Bacharach-David composition. It was released on Epic records in the early '60s. I need a copy of the recording for a project I'm working on. If anyone can help, please contact me off-line. Am also trying to find out if the song "Move Over and Make Room for Me" (Bacharach-David) was ever recorded. I discovered this title in a songbook of Bacharach-David material published by Aaron Schroeder enterprises. Perhaps an artist on Musicor gave it a shot. Rob Pingel -------------------[ archived by Spectropop ]-------------------
Message: 23 Date: Thu, 19 May 2005 11:06:56 -0000 From: Lobby Subject: Re: Cook, Moore, and Goons ha ha but... The Goons were known as The Goons as a 4 piece at the Grafton Arms- however the BBC first refused the name "Goon Show" and replaced it with "Crazy People" however the beeb then reverted to Goons at the end of '51 - Bentine left in 52 after the 2nd show... Spike played trumpet/sang/acted/ and comedy routines - Harry was primarily a comedian and singer. Spike Milligan and Harry Secombe did meet in Italy during WW11. However, Peter Sellers was stationed in India (they met at the Windmill Club?) and they met him after the war. Agreed my mistake on Cook/Moore NOT being in TWTWTW. It's the initals y'know NOBA Lobby -------------------[ archived by Spectropop ]-------------------
Message: 24 Date: Thu, 19 May 2005 18:50:12 -0000 From: Ed Salamon Subject: Re: The Vogues - You're The One Rex Patton: > Just to throw a Spaniard in the works, Hal Blaine lists > "You're The One" in his discography. When The Vogues signed with Reprise the label licensed the mono Co and Ce master, then overdubbed them (these are the horrible - to me - string versions you hear on a lot of radio stations)for their album. Hal probably played on the overdubs. I actually once talked to Hal about that, but he was not persuaded to remove the song from his credits. Mikey wrote: > Speaking of Gateway Studios in Pittsburg, they turned out some > rock and roll classics, the best being (in my opinion) "You're > The One" by The Vogues. Paul Urbahns: > According to Bill Inglot, who examined the tapes, the backing > tracks for the Co&Cee Vogues hits were recorded in Nashville > then the tapes were sent to Pittsburgh where the backing tracks > were played and the Vogues added their vocals. I understand in > some of the two track versions out now you can hear the monitor > speaker in the vocal track. "You're The One" was done at Gateway Studios in Pittsburgh, with The Vogues backed by The Fenways. My buddy Tony Moon produced "Five O'Clock World" backing track in Nashville. The vocals were added in Pittsburgh. Tony points out that this was the first time a demo session from Nashville was ever permitted to be used as a master session. Ed Salamon -------------------[ archived by Spectropop ]-------------------
Message: 25 Date: Thu, 19 May 2005 19:52:25 -0400 From: Country Paul Subject: Trade Martin; pop classics; artist ID? Mike Edwards re: Trade Martin: > As a performer, he had an earlier hit with "That Stranger > Used To Be My Girl" on Coed. I erred in earlier citing this as being on Gee. His first 45, the instrumental "La Mer," was indeed on Gee. > "The Coed Records Story" features tracks by Trade Martin, the > Duprees, the Crests and others but none by one of their biggest > hit makers, Adam Wade. Are The Rivieras on that collection, Mike? Phil M on classical themes in pop music: > Ostin Allegro's "Pop Meets The Classics" might be just what the > Will ordered: - The > presentation is in a simple spreadsheet format, listing, in > chron. order, "pop title and artist," source "composer and work," > and a "comments" box in which Mr. Allegro identifies some > surprising swipes, while dispelling rumors of others. Many are fascinating; I had no idea the Mindbenders' "Groovy Kind Of Love" was a classical theme. Same reaction for Perry Como's "Catch A Falling Star." I noticed one glaring omission that was a hit: "Mostly Martha," by the Crew Cuts (Mercury, 1955), from the opera or aria "Marta" (my classical musicology is failing me here - I forget the composer). (The song also lent its name to a German chick-flick from 2002.) Perhaps it was omitted because of the UK charts as the list's basis. Speaking of classical, I'm still trying to identify the artist on "Magic Lover" from c. 1960-61 - Michael somebody, on Columbia. Help, please.... Country Paul -------------------[ archived by Spectropop ]-------------------
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