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Spectropop - Digest Number 1943

               SPECTROPOP - Spectacular! Retro! Pop!

There are 25 messages in this issue.

Topics in this digest:

      1. Re: The Essex now playing at musica...
           From: Rodney Rawlings 
      2. Re: The Vogues Reprise overdubs
           From: Bill Mulvy 
      3. Compartmentalized media; Pet Sounds strange remix
           From: Country Paul 
      4. Re: Gaylord & Holiday; Soul Deep
           From: Gary Myers 
      5. Lesley Gore, "Small Talk"
           From: John H. 
      6. Re: re-make of Mr. Blue
           From: Eddy 
      7. Re: The Vogues - You're The One
           From: Fred Clemens 
      8. Gaylord & Holiday
           From: Peter Richmond 
      9. Re: re-make of Mr. Blue
           From: Steve Harvey 
     10. Re: Michael Wesley; Jimmy Ford on Stylo
           From: Country Paul 
     11. Oriole
           From: Ausitn Powell 
     12. Re: Smithsonian Institute
           From: Joop 
     13. Vanity Fare....On Soma?
           From: BillyG Spradlin 
     14. The Rivieras on the "Coed Records Story" CD
           From: Mike Edwards 
     15. Re: re-make of Mr. Blue
           From: Roy Clough 
     16. Re: Classically inspired pop
           From: Joop 
     17. Beach Boys landmark ceremony photos
           From: Kurt Benbenek 
     18. Re:  Gayle McCormick
           From: Nick Archer 
     19. Ed's lead to an e-resource
           From: Country Paul 
     20. Re: Theola Kilgore, R.I.P.
           From: Peter Lerner 
     21. Re: The Vogues
           From: Billy G Spradlin 
     22. Re: Trade Martin; pop classics; artist ID?
           From: Joop 
     23. Adan Wade; Burt Bacharach
           From: Mike Edwards 
     24. Theola Kilgore RIP; Candix; BBoys Lost & Found
           From: Country Paul 
     25. Re: The Utlimate Jackie DeShannon
           From: Peter Lerner 

Message: 1 Date: Sat, 21 May 2005 02:29:12 -0000 From: Rodney Rawlings Subject: Re: The Essex now playing at musica... This is a really excellent recording, and might have been a huge hit also. However, one of the best things about the actual hit version was how the male voices continue the last syllable of the word "easier-rrrrr" longer than the lead singer. This counterpoint is extremely interesting and appealing, and to my mind was a MAJOR factor in the record's going to the top. This effect is very slightly diminished (I THINK, anyway) by the males' note being just a bit curtailed in this recording. And in the original, didn't the long note occur in the first verse as well, unlike in this mix? I could be wrong--the contrapuntal effect is still there for sure. And, thank heaven, the "Western Union"-like rhythm evoking the teletype is still there--very, very engaging. That, I am quite sure, was another major factor. I'm not sure why it's so gripping, but it is. (It was, in fact, the inspiration for the song, as I am sure Mr. Nelson knows.) There are a few things I prefer in this version--it seems clearer to my ears. Could be wrong there, too, however--my radio was never very good and my 45 is not in good shape. Rodney Rawlings 416-960-0086 Website: "Music, Melody, and Songs" -------------------[ archived by Spectropop ]-------------------
Message: 2 Date: Fri, 20 May 2005 18:55:40 -0500 From: Bill Mulvy Subject: Re: The Vogues Reprise overdubs I vote the "Magic Town" overdub version as superior to the original. Why don't they just do a Vogues Greatest Hits with the overdubs as bonus tracks? Bill Mulvy -------------------[ archived by Spectropop ]-------------------
Message: 3 Date: Sat, 21 May 2005 01:17:26 -0400 From: Country Paul Subject: Compartmentalized media; Pet Sounds strange remix Austin Roberts wrote: > The way the different kinds of music are compartmentalized today, > it's a wonder anyone knows where to find what they really like! I agree, Austin. Sometimes I get in the mood for a particular "bag," but I also like to know more about the breadth and depth of what's out there. Most commercial stations just play one narrowly-focused sound. Granted, in the "classic radio" days of the 50s and 60s we did have to sit through a lot of stuff that wasn't our taste waiting for the things that were, but there was a shared common knowledge base that we were aware of, even if our interests didn't include all of it. I think the same problem is also true with visual media - narrowly-targeted cable services and demographically-focused movies. While I appreciate such services in my own areas of interest, I wonder if such fragmentation of media hasn't hastened the fragmentation of society, at least here in the US. You note: > Harlan Howard described country music as "three chords and the > truth". Today's country sounds a bit like '70s pop music to me. I think Ol' Harlan hit it on the head with the first sentence, and you hit it with the second and the rest of your comments as well. And now for something completely different: a bunch of re-mixers got into "Pet Sounds" and played with it - a lot - completely rethinking it over, under and sideways. I'm not saying it's great; some of the efforts are pretty strange, and the disclaimer under the track list takes pains to claim respect for the original. However, if you're curious, check out - Nybbl's "God Only Knows" at least has something to do with the source material, and God only knows how long this compendium will be posted. Country Paul -------------------[ archived by Spectropop ]-------------------
Message: 4 Date: Fri, 20 May 2005 22:43:42 -0700 From: Gary Myers Subject: Re: Gaylord & Holiday; Soul Deep Ed Salamon: > Gaylord and Holiday were members of The Gaylords, > who had many pop hits in the mid-fifies ... I worked opposite them at Harrah's Tahoe circa '74. At the time, the organ player was also the 3rd original Gaylord, but he didn't sing anymore. They had a very good show with a lot of comedy. Ronnie Gaylord wrote "I'll Never Pass This Way Again" (not the Seals & Crofts song), which charted for Glen Campbell in '72. gem -------------------[ archived by Spectropop ]-------------------
Message: 5 Date: Fri, 20 May 2005 23:52:40 -0000 From: John H. Subject: Lesley Gore, "Small Talk" I've always been delighted by this obscure Lesley gem [Small Talk]. Soft pop with a wistful touch. Sadly, it sounds so *quiet* amongst the surrounding songs on the Mercury Anthology collection. Does anyone know if there's a remastered, ie. louder, version on any other collections? Also, I know this song wasn't a hit for LG, but I believe it's one of her best and was wondering if anyone has any backstory on its recording. Thanks! John H -------------------[ archived by Spectropop ]-------------------
Message: 6 Date: Sat, 21 May 2005 09:13:16 +0200 From: Eddy Subject: Re: re-make of Mr. Blue Stew: > Can anyone help me?...I heard this very nice re-make of the > song "Mr. Blue" on the radio, but I don't know if I caught > the artist's name was something like David > Bromberg???... You could be right with your David Bromberg. He does it on his "Midnight On The Water" album. Eddy -------------------[ archived by Spectropop ]-------------------
Message: 7 Date: Sat, 21 May 2005 11:58:16 -0000 From: Fred Clemens Subject: Re: The Vogues - You're The One In a related vein, I've had this longtime theory (untrue?) as to how the Vogues chose their name. The Vogues first recorded as the Val-Aires with "Launie, My Love" on the Willett label in 1959, re-issued on Coral in 1960. Their first record as the Vogues came in 1965, when they took on a tune first written and recorded by Petula Clark, topically "You're The One", first released on Blue Star which became(?*) Co&Ce (*same record number:229). The key to my theory is the fact that the Petula Clark US release of the song (on a Warner Bros. LP) notes it as being "An Original VOGUE Recording". Vogue therein referred to the European label that handled Petula's home releases. Food for thought? (Hungry for more??) Fred Clemens -------------------[ archived by Spectropop ]-------------------
Message: 8 Date: Sat, 21 May 2005 14:21:12 +0100 From: Peter Richmond Subject: Gaylord & Holiday Simon asked about Gaylord & Holiday; Gaylord & Holiday began life as the Gaylords at the beginning of the 1950s, comprising Ronnie Fredianelli (later known as Gaylord), Burt Bonaldi (later known as Holiday) and Don Rea but later became a duo when Rea left. They recorded on Mercury Records and had a million seller with "Tell Me You're Mine", Ronnie Gaylord also had solo releases on Mercury. Gaylord & Holiday recorded a couple of singles with Bill Medley as producer for Verve Records in 1966. Verve 10441 Since You've Gone/She Verve 10446 Sweets For My Sweet/What's Your Name In addition to Mercury and Verve, they also recorded for Palmer, Prodigal and Natural Resources. They enjoyed a highly successful career as a comedy act, as the Gaylords or Gaylord & Holiday right up until this year when Ronnie Gaylord passed away. By a strange coincidence, a couple of days ago I got an Australian Verve issue of "Sweet's For My Sweet"/"What's Your Name" by Gaylord & Holiday that I wasn't aware of until I saw it for sale. There is a photo of them on the Bill Medley Outside Productions page on my website. Peter. -------------------[ archived by Spectropop ]-------------------
Message: 9 Date: Sat, 21 May 2005 08:31:24 -0700 (PDT) From: Steve Harvey Subject: Re: re-make of Mr. Blue Stew wrote: > Can anyone help me?...I heard this very nice re-make of > the song "Mr. Blue" on the radio, but I don't know if I > caught the artist's name was something > like David Bromberg David Bromberg lives down the road from me in Wilmington, DE. He did a version of Mr. Blue years ago. An almost spoken rendition. By the way, Tuesday nights David does a free bluegrass jam with the local pickers at the 4W5 Cafe. Pretty top notch pickers. Steve -------------------[ archived by Spectropop ]-------------------
Message: 10 Date: Sat, 21 May 2005 10:36:49 -0400 From: Country Paul Subject: Re: Michael Wesley; Jimmy Ford on Stylo Previously, I inquired about Michael Wesley's "Magic Lover" (Columbia, 1959) based on a Rachmaninoff theme - I didn't remember the artist's last name, but someone who did integrated it into the question, which thus answered itself, leading to a bit of strange wording. The unanswered part of my inquiry remains, and where better to ask it than Spectropop: did this artist record anything else? And was it in this style? Inquiring minds want to know.... Since I'm asking about thoroughly obscure things, I've asked this before, when the Spectropop universe had a smaller population: does anyone have a copy of Jimmy Ford's "Be Mine (Forever)" on Stylo (1962 or so; flip of "We Belong (Together)" - he was into parentheses) that I could listen to? On- or off-list replies are welcome. Thanks, fellow scholars! Country Paul -------------------[ archived by Spectropop ]-------------------
Message: 11 Date: Sat, 21 May 2005 08:39:02 +0100 From: Ausitn Powell Subject: Oriole Peter Lerner: > 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? Don't know about JN involvment but there was also "Dime A Dozen Kisses" c/w I'm Sincere". I remember hearing "You've Gotta See Your....". She sounded awfully young. The Oriole label was a fascinating thing. It issued lots of great, but totally ignored records, both British and American. Our Aussie readers will know Tony Sheveton's "Million Drums". Big down under, almost totally ignored here at home. Oriole held the rights to the Time catalogue for a while and did much to bring Motown to prominence via the oriole-American label. Although I got most of the Motown releases, I should have bought more of Oriole's releases. Some very talented people worked at Oriole - Frank Barber did a lot of arrangements for the label and John Schroeder was a proucer there before moving to Pye. Austin P. -------------------[ archived by Spectropop ]-------------------
Message: 12 Date: Sat, 21 May 2005 17:02:26 -0000 From: Joop Subject: Re: Smithsonian Institute Mike Bennidict wrote: > 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? Read all about them on next link: Why did they choose such a name ?? Why did Johnny Guitar Watson release an album called "Master Funk" under the pseudonym "Watsonion Institute"? Joop greets -------------------[ archived by Spectropop ]-------------------
Message: 13 Date: Sat, 21 May 2005 19:14:59 -0000 From: BillyG Spradlin Subject: Vanity Fare....On Soma? I was looking for information on Soma Records (Minneapolis label - famous for the Fendermen, Castaways, Gestures etc) and discovered a label scan of "Hitchin' A Ride" on Soma 5000. I thought Soma records stopped releasing records around 1967 so the appearence of a UK recording from 1969-70 is strange. Does anyone think this was a pressing plant label error, bootleg, or did Soma have first dibs on the USA release? Thanks! Billy G. -------------------[ archived by Spectropop ]-------------------
Message: 14 Date: Sun, 22 May 2005 01:07:22 -0000 From: Mike Edwards Subject: The Rivieras on the "Coed Records Story" CD Me: > "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. Country Paul: >Are The Rivieras on that collection, Mike? Hi Paul, yes they are, with "Count Every Star", "Moonlight Serenade", "Stay In My Heart" and "Moonlight Cocktail" I think UK Ace may have deleted this but it appears to be available on for about $12 and for around 7. A full track listing (or, at least, a good attempt at one) is available on both these sites. Good value for Spectropoppers on both sides of the Atlantic. Mike Edwards -------------------[ archived by Spectropop ]-------------------
Message: 15 Date: Sat, 21 May 2005 17:33:10 -0000 From: Roy Clough Subject: Re: re-make of Mr. Blue Stew wrote: > Can anyone help me?...I heard this very nice re-make of the > song "Mr. Blue" on the radio, but I don't know if I caught > the artist's name was something like David > Bromberg??? >From a album rleased in 76 called Midnight On The Water. Garth Brooks also reorded the song in the nineties. Roy Clough -------------------[ archived by Spectropop ]-------------------
Message: 16 Date: Sat, 21 May 2005 16:44:42 -0000 From: Joop Subject: Re: Classically inspired pop Dave Heasman wrote: > ........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", of "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. Dave, Marin Marais (1656-1728) wrote a piece called "Les Folies d'Espagne (La folia)", which certainly is the base of Stevie Wonder's "They Won't Go When I Go". Listen to the second "Les Folies d'Espagne (La Folia)" on this link and it becomes clear: Joop -------------------[ archived by Spectropop ]-------------------
Message: 17 Date: Sun, 22 May 2005 07:00:40 -0000 From: Kurt Benbenek Subject: Beach Boys landmark ceremony photos On Friday May 20th, I was very fortunate to attend the ceremony for the unveiling of The Beach Boys Official California Landmark. The large brick and stone monument was erected on the site of the old Wilson family home in Hawthorne, CA...basically in a cul-de-sac a few feet from the 105 Freeway (the monument will supposedly be moved to a more central location in Hawthorne sometime in the future) A couple thousand of us local devoted Beach Boys fans were in attendance, and there were quite a few fans who flew in from around the world. Before the ceremony started, early recordings of The Beach Boys goofing around at home and rehearsing in the studio were played on the PA During the ceremony, we got to hear short speeches by Beach Boys Al Jardine and David we heard some "interesting" renditions of Beach Boys hits performed by the Hawthorne High School band and choir. Last, but not least...we were treated to a brief performance by a smiling Brian Wilson and most of his current touring band. They did "Surfer Girl" and "In My Room". Seeing Brian performing in his own neighborhood is something I will never forget. A moment of silence was observed for Carl and Dennis Wilson, and their contributions to the group were noted throughout the day. Mike Love and Bruce Johnston did not attend. Us non-VIP Beach Boys fans were kept behind a metal barrier, far from the stage...however, I was able to take quite a few shots of the event from morning until it's conclusion...and the photos are posted here: Beach Boys landmark ceremony photo page, It was mostly an over-50 crowd, however I spoke with two kids behind me who'd ditched class at Hawthorne High to be there. They were both as thrilled as I was to be there and were familiar with all their music I came home with the worst sunburn in my life, but it was all worth it. Hope the photos provide some sense of what went on. Kurt Benbenek Long Beach, CA -------------------[ archived by Spectropop ]-------------------
Message: 18 Date: Sun, 22 May 2005 07:50:33 -0500 From: Nick Archer Subject: Re: Gayle McCormick Phil Hall: > Do any of our knowledgeable Spectropoppers know what happened > to Gayle McCormick and where she is today? ........I thought > that was a little bit of hype, but she did have a big voice. I saw Gail opening for Three Dog Night late 1971 in Winston-Salem, North Carolina. She definitely had a big voice. She had no problem rockin' a ten thousand seat house. Nick Archer Franklin, TN -------------------[ archived by Spectropop ]-------------------
Message: 19 Date: Sun, 22 May 2005 13:27:48 -0400 From: Country Paul Subject: Ed's lead to an e-resource Ed Salamon leads us to a very good Gaylords page at There's also an interesting "cover page" for several on-line publications including the "bridge" period between big band and rock (where Ed found the Gaylords), doo wopp, and Hawaiian music, and a few pages on 1959-1963, and era the author considers to be "Forty Miles of Bad Road" musically! It's all found at Marion-Net E-Zines: Country Paul (web-surfing when I should be working) -------------------[ archived by Spectropop ]-------------------
Message: 20 Date: Sun, 22 May 2005 21:23:34 +0100 From: Peter Lerner Subject: Re: Theola Kilgore, R.I.P. It's sad indeed to learn of Theola Kilgore's death, a fabulous voice. Mick's excellently written obituary suggests the existence of three 45s preceding one on Mercury in 1966. Well, I own four, which are as follows: The sound of my man (subtitled Chain Gang and composition attributed to Sam Cooke) / Later I'll cry - Candix 311 The love of my man / I know that he loves me - Serock 2004 This is my prayer / As long as you need me (want me, love me) - Serock 2006 I'll keep trying / He's coming back to me - UK Sue 4035, from KT records All 4 are produced by Ed Townsend, both sides, with Rene Hall named as arranger on three titles. Strange that the KT side had a release in the UK, but I don't recall that the biggest hit, "The love of my man", did, and it certainly remained a mystery to me for many years. How many other records reached as high as 21 on the US Hot 100 without gaining a contemporary release in the UK, I wonder? Those Stax / Holiday sessions would be wonderful to hear. Meanwhile listen again to Theola's wonderful "The love of my man", which knocks spots off all later attempts at the same song, of which there have been several. Peter -------------------[ archived by Spectropop ]-------------------
Message: 21 Date: Sun, 22 May 2005 22:22:35 -0000 From: Billy G Spradlin Subject: Re: The Vogues Bill Mulvy: > 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. The overdubbed "Five O' Clock World" was on the Warner Special Products "More Party Classics" CD from the late 80s. I have read that several Vogues albums were reissued on CD in Japan. Billy -------------------[ archived by Spectropop ]-------------------
Message: 22 Date: Sat, 21 May 2005 18:12:55 -0000 From: Joop Subject: Re: Trade Martin; pop classics; artist ID? > 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. Paul, I think the "Martha" you mean was composed in 1844 by the German composer Friedrich von Flotow (1812-1883). Larry Clinton had a no. 2 US hit with his cover-version of "Martha" in 1938. The Crew-Cuts renamed it "Mostly Martha" and had a hit in 1955. And then you had a question about the artist who did "Magic lover". Well that artist is MICHAEL WESLEY, who recorded his version in 1959 as the B-side of "Will you love me" (Columbia 4-41478) Joop greets -------------------[ archived by Spectropop ]-------------------
Message: 23 Date: Sun, 22 May 2005 01:52:54 -0000 From: Mike Edwards Subject: Adan Wade; Burt Bacharach Me: > "The Coed Records Story" features no tracks 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. Simon: > MMM nice thought Mike (how are you, BTW?). Adam is under-appreciated > 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. > 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? Me again: Hi Simon. Adam Wade is responsible for one of the very best Popcorn tunes, Bacharach-David's "Rain From Skies" (Epic, 1963). It ranks up there with Sam Fletcher's "I'd Think It Over Twice" (Tollie, 1964) and Nancy Wilson's superb take on Van McCoy's "Where Does That Leave Me" (Capitol, 1965). Other interesting items from Adam's catalog (apart from his hits) : "Them There Eyes" (Coed, 1961), maybe not the original but probably the inspiration for a great UK version by Emile Ford & The Checkmates. "Pencil And Paper" (Epic, 1964) covered in the UK by Mark Wynter. "A Lover's Question" (Epic, 1965) probably an attempt to get some soul out of that "not so soul voice". A good version but not as good as Clyde McPhatter's. Other great Bacharach-David Popcorn titles: Vi Velasco "That's Not The Answer" (VJ, 1965). This comes complete with a great Charlie Calello arrangement and drives you nuts wondering if this is better than Dionne Warwick's original version. Phil Colbert "Who's Got The Action" (B-Hilliard) (Philips, 1965). Supposedly a promo item for the film of the same name (a la "Liberty Valance") although Dean Martin did record a different song with the same title for the film. He also starred in it. Finally, thanks to Al Kooper for boosting Adam Wade's "Rain From The Skies" on this site. I recall he listed it in a playlist he drew up for a radio show he broadcast in the UK about a year ago. It amazes me that it doesn't seem to have made it to one of the many Bacharach CDs that have come out in recent years. Come to think of it, "Rain >From The Skies" was totally passed over by UK beat (and not-so-beat) artists who seemed to thrive on the Bacharach catalog back in the day. Mike Edwards (still missing Mr White's Sunday morning soul internet broadcast; it was the perfect segue into ESPN's NFL pre-game show) -------------------[ archived by Spectropop ]-------------------
Message: 24 Date: Sun, 22 May 2005 15:30:35 -0400 From: Country Paul Subject: Theola Kilgore RIP; Candix; BBoys Lost & Found Mick Patrick re: Theola Kilgore, R.I.P. > Her secular debut 'The Sound Of My Man', released on Candix in > 1960, was a distaff answer to her friend Sam Cooke's 'Chain > Gang'....Theola died in Los Angeles on May 15th. She was 79. R.I.P., Theola. I hadn't realized that she was so much older than most of the hitmakers of the era. "The Love Of My Man" still has unmatched power and passion. The Music Match guide has an expanded Theola Kilgore bio, with links but not yet updated with her passing, here: G I am amazed at the number of significant names who show up on the Candix roster - Ms. Kilgore, The Beach Boys, The Frogmen, and I seem to remember others "that mattered." Is there a 45 discography of the label available? And did the label release any albums? I know there are after-the-fact albums of material from the label. For example, in searching for a Candix discography on the net, I came across Paul Urbahns' excellent liner notes for the Beach Boys' Candix sessions "Lost and Found" reissue on DCC. Nice work, Paul! Here's the link: I'm assuming the album is out of print. I've got an LP reissue, but as Paul notes, it uses 4th-or-5th-generation dubs and is nowhere as complete as this appears to be. Country Paul -------------------[ archived by Spectropop ]-------------------
Message: 25 Date: Sun, 22 May 2005 21:35:28 +0100 From: Peter Lerner Subject: Re: The Utlimate Jackie DeShannon Pres drew attention to the interesting "new" Jackie DeShannon CD and didn't say that the compilers chickened out on Track 21 at the last minute, substituting "Put A Little Love In Your Heart" for "Crystal Clear", but forgetting to amend the sleeve listing. "Sunshine of your love" featuring Dr John and Barry White is interesting; girl singers with the imagination to try to cover the very male rock band anthems of the late 60s are few and far between, the only others I can think of just now are Billie Davis with "Living in the past", and Jackie again with "The weight". Pres mentions that the version of "When you walk in the room" on the album is "the faster version". I think it's the same version that we normally hear, speeded up; Liberty re-released the song in the USA when the Searchers' cover was starting to hit over there, pumping it up a few rpm to make it sound more breathless and less intense. I believe they also tried this on one or two other songs, even going back to the time of Eddie Cochran. Peter -------------------[ archived by Spectropop ]-------------------
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