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Spectropop - Digest Number 1950



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               SPECTROPOP - Spectacular! Retro! Pop!
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There are 16 messages in this issue.

Topics in this digest:

      1. Re: Jerry Ross
           From: Dave Heasman 
      2. Re: "Easier Said Than Done"
           From: Joe Nelson 
      3. Re: "Image, Pt. 1"
           From: James Botticelli 
      4. Re: "Easy Evil"
           From: Gary Myers 
      5. Re: borealis
           From: Eddy Smit 
      6. Re: The Vogues and The Skyliners
           From: Mario 
      7. more Northern Lights
           From: Kevin Kern 
      8. Re: lingering labels
           From: Phil X Milstein 
      9. Re: Kathy Kirby
           From: Frank M 
     10. Re: Adam Wade, Sam Fletcher; Johnny Morisette, Sam Cooke; Richard Snow, Sara Radle; Alan O'Day
           From: Country Paul 
     11. British Invasion pic sleeves
           From: Unsteady Freddie 
     12. Re: Keith's "I Can't Go Wrong"
           From: Clark Besch 
     13. Re: Pro-Files Discographies
           From: Al Pavlow 
     14. Kaddish for Mr. Kicks
           From: M Rashkow 
     15. Flo Ballard; Daring Dan Hutton; the McKenzies; Monkees; "that" David Marks
           From: Phil X Milstein 
     16. Oscar Brown, Jr.
           From: Phil X Milstein 


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Message: 1 Date: Mon, 30 May 2005 00:49:18 +0100 From: Dave Heasman Subject: Re: Jerry Ross Artie Wayne wrote: > S.J. How ya'doin'? I'm glad you like "I Can't Go Wrong", > which I co-wrote with Jerry Ross, Keith's producer. I'm > glad it's getting some attention. Would that be the Jerry Ross who did the great 1959 rockabilly song "Everybody's Tryin' (To Steal My Baby)"? -------------------[ archived by Spectropop ]-------------------
Message: 2 Date: Sun, 29 May 2005 20:02:33 -0400 From: Joe Nelson Subject: Re: "Easier Said Than Done" Paul Uhrbans asked: > Are there two different versions of "Easier Said Than Done"? > Are the lyrics different? I don't think I have the original > Roulette single but I have several reissues on CD. Seems to > me I read where there was an alternate version. You're in familiar company. I do know that the track was recorded very quickly, so much so that they actually had to lengthen the final product for release. It seems like they wouldn't have had time to cut an alternate take. I used the Rhino Billboard Top R&R 1963 CD as the source material, but what I did ended up sounding nothing like the version on that CD. Joe Nelson -------------------[ archived by Spectropop ]-------------------
Message: 3 Date: Sun, 29 May 2005 20:59:17 -0400 From: James Botticelli Subject: Re: "Image, Pt. 1" Country Paul: > Image Pt. 1 was my theme song on my first radio program! > It's now used by Bob Brainen on WFMU (www.wfmu.org, > Saturdays 6-8pm Eastern Time. If you find it in stereo, > please let me know. (Was it ever on an LP? If so, that > might be a stereo source.) It did appear on a Kent UK LP, from about '85, of reissued 6T's soul hit and misses. I believe the LP was called "Shoes". I'm not sure if it was stereo, though. But what a tune, and what a great theme! What year did you start doing your first program? -------------------[ archived by Spectropop ]-------------------
Message: 4 Date: Sun, 29 May 2005 10:47:08 -0700 From: Gary Myers Subject: Re: "Easy Evil" Alan O'Day wrote: > There were eventually over 50 releases on Easy Evil ... And I know Larry Carlton also did it -- with a vocal, too. gem -------------------[ archived by Spectropop ]-------------------
Message: 5 Date: Mon, 30 May 2005 07:05:37 +0200 From: Eddy Smit Subject: Re: borealis Gary Myers wrote: > "Midnight Sun" is a great song, and probably the only > one to use "aurora borealis" in a rhyme. I replied: > Does Carole King's Chalice Borealis count? The song is called "Chalice Borealis," and it's off her 1983 album "Speeding Time." It was written by Carole and Rick Sorensen. They make "Chalice Borealis" rhyme three different times in the song: - No wonderland for Alice - Molly don't work in Dallas - Your mother bears you no malice Eddy -------------------[ archived by Spectropop ]-------------------
Message: 6 Date: Mon, 30 May 2005 13:46:03 -0000 From: Mario Subject: Re: The Vogues and The Skyliners I had a good pal back in the '80s named Tony -- we called him Big Tony. I feel a bit embarrassed to say that I don't remember his last name. Anyway he was the bass player for The Skyliners in the period 1962-'68 (approximately). He was from Philadelphia, and he told me he was friends with The Vogues who were named after The Vogue Theater (as he called it). I remember he also told me of Jimmy Beaumont's pride that "Since I Don't Have You" was the first white RnR group record to have strings. I never really challenged or checked his assertions, as he was too much fun to rap with. He loved the song "Tell It Like It Is" by Aaron Neville. mo -------------------[ archived by Spectropop ]-------------------
Message: 7 Date: Mon, 30 May 2005 10:56:29 -0400 From: Kevin Kern Subject: more Northern Lights Gary Myers wrote: > "Midnight Sun" is a great song, and probably the only > one to use "aurora borealis" in a rhyme. Hi Gary, I have two more for you: - Aurora Bori Alice, by Cotton Mather, on Kon Tiki - Northern Lights, by Walt Kelly, on Songs of the Pogo Both fine songs. "Oh roar a roar for Alice, Nora Alice in the night; for she has seen Aurora Borealis burning bright. Hoo-roar a roar for Alice...." Cheers, Kevin -------------------[ archived by Spectropop ]-------------------
Message: 8 Date: Mon, 30 May 2005 17:54:28 -0400 From: Phil X Milstein Subject: Re: lingering labels Country Paul wrote: > Phil M. and Rex S. (among others), is Paul Trefzger the original person > behind Saxony who has now resurrected his own label? I know (from Yes, indeed. > reading it here) that Henry Stone has done the same with the TK family > of labels, B. T. Puppy continues with at least some original Tokens at > the helm, and Jamie/Guyden continues under the guidance of Hal Lipsius' > son, Frank. Does anyone know of any other labels from the 50s-early 70s > era that have either the original owner or have stayed in the family? One difference, though, is that Saxony was smaller, more regional and more "indie" than the others you cite, thus making the achievement, in my eyes at least, just a bit more noteworthy. Another in the same general category that you bring up is Kent Morrill and Buck Ormsby's (of The Wailers) Etiquette -- I don't know if it's STILL active, but it sure was for QUITE a while. I suppose you could toss Abkco into the mix, as well, but that rogue company's story doesn't seem to fit any known pattern. Dig, --Phil M. -------------------[ archived by Spectropop ]-------------------
Message: 9 Date: Mon, 30 May 2005 23:17:18 +0100 From: Frank M Subject: Re: Kathy Kirby Simon White asked: > One of the most popular, you say? She was certainly popular with TV and radio producers. She was on a different show each week. According to this short bio she had four Top 20 hits: http://www.45-rpm.org.uk/dirk/kathyk.htm Frankm -------------------[ archived by Spectropop ]-------------------
Message: 10 Date: Tue, 31 May 2005 00:42:30 -0400 From: Country Paul Subject: Re: Adam Wade, Sam Fletcher; Johnny Morisette, Sam Cooke; Richard Snow, Sara Radle; Alan O'Day Thanks to Mike Edwards, I've had a chance to hear and enjoy Adam Wade's "Rain From The Skies" and Sam Fletcher's "I'd Think It Over Twice." Defined as "popcorn" by Mike, they sound to me like Dionne Warwick early-60s tracks, sung by males; Wade, in particular, sounds like Gene McDaniel. Both are very nice, though I give the nod to Wade. Ken Silverwood, re: Top Teen Dances: > My reason for getting it was for the Sam Cooke produced Meet Me At > The Twistin' Place by Johnnie Morisette which I'd not heard before. > Anyway, I've posted said EP cover to the photo files for all to > observe: http://tinyurl.com/a4f3o Ken, the Morisette track was a medium-sized hit in the US, more in some markets than others. I've always loved it, and think it's one of Cooke's best productions without singing it himself, although there's a version called "Meet Me At Mary's Place" with Cooke's vocals. Richard Hattersley re: Richard Snow -- Tuesday Music > I know a few Spectropoppers have already bought my album > "Tuesday Music". Just thought I'd mail and let you know, > It now has UK distribution and will get a "Proper" release > on 11.7.05 and be available from any good record store.... > http://www.myspace.com/richardsnow Deservedly so. "Real," at your website above, is delightful; I've enjoyed several other tracks of yours along the way too. Congratulations. (By the way, is that really from *the* Paul McCartney in the "Friends' Comments" space? Cool! By the way, one of the artists linked to Richard's website is Sara Radle: http://tinyurl.com/cssjy. I've heard one of the songs posted there, "Sleep It Off," which rocks out a bit -- very nice. Is she by any chance a relative of Carl Radle of Derek & The Dominoes? Alan O'Day: > At Artie Wayne's suggestion, I have uploaded my original > 1970 demo of "Easy Evil" to musica. Very nice, Alan; thanks for the post. I like the naked emotion of the demo -- and the story that goes with it. Country Paul -------------------[ archived by Spectropop ]-------------------
Message: 11 Date: Mon, 30 May 2005 23:47:07 -0000 From: Unsteady Freddie Subject: British Invasion pic sleeves I've posted some more of my U.S. 1960s 45rpm picture sleeves, this time from the British Invasion. Artists include: Dave Clark 5 The Zombines The Yardbirds Tom Jones The Hollies Billie J. Kramer & The Dakotas Dig it! Unsteady Freddie http://www.readyunsteadygo.com -------------------[ archived by Spectropop ]-------------------
Message: 12 Date: Tue, 31 May 2005 13:08:46 -0000 From: Clark Besch Subject: Re: Keith's "I Can't Go Wrong" S.J. Dibai wrote: > It looks like Keith's "I Can't Go Wrong" is a favorite of > slightly adventurous oldies deejays these days, but did it > become a hit of any kind in the '60s? A regional success, > perhaps? The song hasn't turned up as an A-side in my chart research, but that doesn't mean it wasn't a hit. Artie Wayne strikes again with a goodun! > I wonder also about the release info. The liner notes to Keith's > "Ain't Gonna Lie" CD claim this track was issued as the B-side of > "Tell Me To My Face," while Top Pop Singles 1955-1999 lists "Pretty > Little Shy One" instead. I know the latter sometimes misses alternate > B-sides, so is this one of those cases? Also, someone posted a message > on Keith's website claiming to have found a promo single of "There's > Always Tomorrow" with "I Can't Go Wrong" on the B-side -- a single > that is not mentioned at all in the "Ain't Gonna Lie" CD liners. This is correct. It is the B-side of Keith's last 45, "There's Always Tomorrow," but I cannot find my copy to compare. I DID find three copies of "Tell Me To My Face," and none have "Wrong" as their B-side. > Said fan suspected that the mono single version of "Wrong" had some > parts that were mixed out of the stereo version, but Keith himself > wasn't sure either way. Can any of you say for sure? And if there > is indeed a difference, which version is on the compilation "Yo! > Philadelphia Look What I Found"? I have a stereo mix on the "Ain't" > CD. In an A/B comparison between the "98.6" CD and the "Yo Philly" CD, they sound to me to be the same except that the "Yo Philly" CD had a better stereo mix. In it you can clearly hear Keith starting to break into laughter near the end on his harmony vocal track, which is abruptly cut off. In the "98.6" CD version, it is not as obvious. The Tokens are listed as backing vocalists, so instead it could be one of them starting to laugh. For those unfamiliar with the "Yo Philadelphia" CD, it brings to mind Bob Feldman's "Son of SOB" LP. "Yo" is all Jerry Ross productions from Philly, has some previously unreleased tracks, and includes both sides of the first Cyrkle 45, when they were called The Rhondells. Great notes by Rollye James, a Philly DJ, and lots of pictures. It was released in 1999, and can't be too easy to find these days, but watch eBay. It has all kinds of music, with artists like The Swans, Kenny Gamble, The Larks, The Tams and The Superbs, as well as "The 8l" by Candy & the Kisses. While you're at it, look for Jerry Ross's comp on James Holvay's "The Mob" -- another great CD. Clark -------------------[ archived by Spectropop ]-------------------
Message: 13 Date: Tue, 31 May 2005 12:22:24 -0400 From: Al Pavlow Subject: Re: Pro-Files Discographies Phil Milstein wrote: > I think we'd ALL like to hear a bit more about it, for instance the > book's range and depth of coverage, whether it includes illustrations > (and if so of what type), how many pages it runs, how much $ it'll > sell for, etc. "Pro-Files Discographies, Vol. 1" is the first in a projected series of books that will offer discographies of the key behind-the-scenes players in popular music from the late '50s and '60s. I'm organizing the series by region, with the first one covering mostly East Coasters, and featuring what we now call "Brill Building pop." Among the Pro-Filers included in vol. 1: Goffin-King (400+ entries) Mann-Weil (380+) Barry-Greenwich (400+) Paul Evans (100+) Teddy Randazzo (250+) Bob Crewe (600+) Artie Butler (300+) Pomus-Shuman (280+) Barkan-Raleigh (300+) Leiber-Stoller (600+) Bacharach-David (550+) and many more. Each entry will include year, title, artist, label & catalogue number, writer(s), publisher, producer and arranger (to the extent that this data was available to me). The book is set in landscape style (so that eight columns will appear on one page), 292 pages, and spiral bound, which was necessary to keep the cost down to $29.95 + postage. Volume 1 contains over 12,000 entries! If you send me their snail-mail address, I will send you the advertising copy for the book when it is ready to roll (sometime in June), to see what the cover and pages actually look like, and there will be ordering instructions as well. I've been a long-time fan and collector of writers, producers and arrangers. As I've noticed that there are a lot of others out there like me, I decided to make this information, which I have been gathering for years, available to all. It will be eye-opening! Best, Al -------------------[ archived by Spectropop ]-------------------
Message: 14 Date: Tue, 31 May 2005 11:26:12 EDT From: M Rashkow Subject: Kaddish for Mr. Kicks Oscar Brown, Jr., a songwriter, singer and performer who, in the 1960s was a shooting star of some consequence, died Sunday at 78. His musical, "Kicks And Company" ( for which he wrote the book, music and lyrics, as well as play the lead), opened on Broadway with great fanfare, but then ran into the invisible wall. Brown continued to write and perform throughout his life, penning the lyrics to the Bobby Timmons jazz classics "That There" and "This Here," among other compositions. His political activism was an impediment to his reaching the success his talent deserved. Though he may not be known at all to our younger members, and I really did not follow his career closely, I am sending this in as recognition of his impact on me as a youth. He was unique, and I remember seeing him on shows like Jack Paar, Playboy's Penthouse, etc. Those that know more about him please fill in the details. Meanwhile I've played "World Full Of Grey" to musica. My gift to OBJ. and hopefully to those who check it out. R.I.P. He was cool. Rashkovsky -------------------[ archived by Spectropop ]-------------------
Message: 15 Date: Tue, 31 May 2005 10:59:08 -0800 From: Phil X Milstein Subject: Flo Ballard; Daring Dan Hutton; the McKenzies; Monkees; "that" David Marks This 'n' that: * A friend told me recently about a Florence Ballard album, on ABC, and that it's available on CD. I'd never heard about it before. Is it something that had gone unreleased until recently? Recommended? * Anyone know of the 45 of "Why Don't You Love Me Anymore" / "Home In Pasadena," by "Daring Dan Hutton," on Almo from '65? I assume it's the same Danny Hutton as of Three Dog Night and etc. Is it available anywhere? * Was McKenzie Phillips named after Scott McKenzie? And, a couple of website recommendations: * http://www.psycho-jelly.com/monkees -- excellent Monkees fansite, especially strong on photos. Don't miss the Henry Diltz section! * http://www.3rdearmusic.com/hyarchive/hiddenyearsstory/turtletour.html -- the website of South African folksinger, songwriter (including "Master Jack" and "Mister Nico") and sound engineer David Marks. The link goes directly to the start of his tales of working the final Turtles tour (of the U.S.), in 1968, but the rest of the site holds a lot of interesting stuff, as well. Dig, --Phil M. -------------------[ archived by Spectropop ]-------------------
Message: 16 Date: Tue, 31 May 2005 12:17:01 -0800 From: Phil X Milstein Subject: Oscar Brown, Jr. I was saddened to read this morning of the death over the weekend of Oscar Brown, Jr., the multitalented Chicago-based artist, at age 78 of complications from a blood infection. Just a few weeks ago he was on the Tavis Smiley show to chat and perform, and he seemed fine. Brown was immensely talented, but was hampered commercially by having situated his music at an uncategorizable intersection between jazz, blues, soul, folk, musical theater and pop. Likewise, what he DID at that spot also defied easy labeling, as he was equally talented as a songwriter (specializing in writing lyrics to popular jazz instrumentals, such as Mongo Santamaria's "Afro Blue" and Nat Adderley's "The Work Song"), singer, actor, and probably another half-dozen or more things, as he was a pure artist. In fact, Brown spent much of his career mentoring Chicago's inner-city youths in theatrical work; and the AP's obit considered him as much a political activist as performing artist. He'd also done quite a lot of TV work over the years, including a couple of seasons in the early '60s hosting the Steve Allen-produced "Jazz Scene, U.S.A.," which remains one of the best extended presentations of music ever on American TV. I don't believe he toured much outside of the Chicago area, but I was fortunate to see him perform here in the Boston area, about 10 years ago (at Johnny D's in Davis Square, to be precise). With his thrilling repertoire, stentorian voice and total command of a stage, it was a mesmerizing and memorable show. (His son, Oscar III, was his bassist at the time, and I was equally sad to read, in the same obit, that he died not long after that, in a car crash.) Besides the show itself, I will always treasure his quick retort to my oh-so-clever comment of "Ah, a southpaw, eh?," as I saw him autograph my CD cover left-handed: "I'm the southest paw you ever saw!" I only hope he didn't die without knowing how much his work meant to so many people. --Phil M. -------------------[ archived by Spectropop ]-------------------
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