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Spectropop - Digest Number 2062

               SPECTROPOP - Spectacular! Retro! Pop!

There are 25 messages in this issue.

Topics in this digest:

      1. Moonshot Records - early Delfonics
           From: Davie Gordon 
      2. Bobby Schafto
           From: Justin  McDevitt 
      3. Re:  Slippin' and Slidin'
           From: Anthony Parsons 
      4. Re: I Spy Shelby Flint
           From: Frank Jastfelder 
      5. Re: Mark Wirtz on Sounds of the Sixties
           From: Alan 
      6. Re: Jigsaw - One Way Street?
           From: Joop 
      7. Re: Jigsaw
           From: Austin Powell 
      8. Re:  Keep A Knockin'
           From: Phil X Milstein 
      9. Ilanga (Ilonka Biluska)
           From: Dave Monroe 
     10. Susan Rafey's "The Big Hurt"
           From: James Botticelli 
     11. Re: Eric Clapton & Mark Wirtz
           From: Mark Frumento 
     12. Re: 'He Don't Really Love You' / Philly Producers
           From: Hans Huss 
     13. Re: New Orleans Musicians Update
           From: Kees van der Hoeven 
     14. Re: Moonshot Records - early Delfonics
           From: Eric Charge 
     15. Scram #21 - The Swamp Issue out now
           From: Kim Cooper 
     16. Jack Nitzsche at Spectropop update
           From: Martin Roberts 
     17. Re: Ventures
           From: Gary Myers 
     18. Re: Bobby Schafto
           From: Roberto Lanterna 
     19. Re: Vogues on Reprise
           From: Bryan 
     20. Re: Moonshot Records - early Delfonics
           From: Hans Huss 
     21. Gary U.S. Bonds
           From: Dennis Hoban 
     22. Caroline Munro
           From: Dennis Hoban 
     23. Gonna Get Along Without You Now
           From: Diane 
     24. Philadelphia Soul
           From: James Botticelli 
     25. Ernie Johnson, Robert Moog, Laurel Aitken - R.I.P.
           From: S'pop Projects 

Message: 1 Date: Mon, 12 Sep 2005 16:16:50 -0000 From: Davie Gordon Subject: Moonshot Records - early Delfonics Moonshot Records ================ Here's a listing of the label's releases with some observations. Dating the releases hasn't been easy as only two of them were ever reviewed / listed by Billboard. Logically from it's numbering series the company was set up in '67 but that may not be the full story but I'll get to that in the notes about the Delfonics. Who owned it is another mystery - with releases originating in Los Angeles, Chicago, New York and Philadelphia it's probable that Moonshot was just an outlet for masters that had been shopped around - it's certainly possible that Nate McCalla was behind it. 6701 THE DIPPERS Honey Bunch - PT. 1 (N. Nathan) Honey Bunch - PT. 2 (N. Nathan) Prod : Rose Productions Apparently a West Coast record - "N. Nathan" was well known DJ The Magnificent Montague and Rose Productions was his company. I haven't heard this but I suspect it's another of his studio instrumental groups (like the Packers and The Romeos). Montague would finance sessions by ghost "groups" then try to sell the finished tapes to other labels. Exactly who played on these records is still a bit of a mystery but the musicians involved include future members of both WAR and the Watts 103rd Street Rhythm Band. 6702 THE VONTASTICS Lady Love (Bobby Newsome) When My Baby Comes Back Home (Bobby Newsome) Prod : Burgess Gardner, Bruce Scott, Chuck Bernard [A Chicago record - the group had been recording for the Satellite / St. Lawrence group of labels but the company had folded around late '66 / early '67 - the Moonshot release was probably recorded for St. Lawrence then the tapes were shopped around before Chess stepped in and bought up the remaining artists' contracts. Issued in the UK on Stateside SS2001 in March '67 when EMI had a short-term licensing deal with Calla. Does anybody remember this being played on "Juke Box Jury" or is my memory playing tricks on me ?] 6703 THE DELFONICS (BB Apr 13,1968) He Don't Really Love You (Thom Bell, Wm. Hart) Without You ( ) Prod : Thom Bell, arr : Thom Bell [I've seen copies of this with and without a "distributed by Calla Records" label credit. See below for more detail.] 6704 UNISSUED ? 6705 VIRGIL BLANDING Birth Of A Man (Teddy Vann) Little Girl's Gonna Be Trouble Prod : [AKA Gil Blanding on Ready, he'd had an earlier (1966) single on Verve and would resurface on Jerry Ross' Colossus label in the early seventies] 6706 THE SUBWAY RIDERS Adam (Teddy Vann) After The Session Prod : Teddy Vann [Probably a studio group] 6707 THE SUB-DOMINANTS Anyone Can Do It (Major Lance) Bang Bang (Joe Cuba, Jimmy Sabater) Prod : Major Lance [Probably a studio group - "Bang Bang" was a version of the 1966 hit for the Joe Cuba Sextet] 6708 JIMMIE RAYE (BB June 1,1968) It's Written All Over Your Face (Jimmie Raye) That'll Get It (Jimmie Raye) Prod : Abner Spector ? [Had earlier releases on Abner Spector's Tuff label (1964) then on Garrison (1967) - there were other singles on labels like KKC but I don't have the info. handy] 6709 UNISSUED ? 6710 CLIFF NOBLES Pony The Horse (Jimmie Rodgers) Little Claudie Prod : Jimmie Rodgers These were old tracks issued to try to catch some sales on the back of Nobles' huge hit with "The Horse" which just missed making # 1 on the Billboard R&B chart. Moonshot's only album was Nobles' "Pony The Horse" a rare but, from what I remember, pretty unmemorable release. There's no "distributed by Calla" credit on the label but McCallas's JAMF Music gets a co-publishing credit. JAMF means Jive Ass Mother F****** :) 6711 LANDY Doctor Good Soul (Landy McNeal) Mama Dear (Landy McNeal) Prod : Abner Spector ? This is Landy McNeal who'd been lead for the "Smokey Places" Corsairs in their final days on Tuff. So it looks as if both 6711 and 6708 came from Abner Spector who'd by this time joined Chess as a staff producer (Wayne Cochran) 6712 TONY FOX Say What You Mean, Mean What You Say Powerful Love Prod : Teddy Vann ? [Teddy Vann had produced The Sandpebbles and Tony Fox releases on Calla - maybe Calla didn't want these tracks so they got hived off to Moonshot] Archaelogy dept - the Delfonics' early days Tony Cummings interviewed both Thom Bell and William Hart of The Delfonics for his book "The Sound of Philadelphia" (Methuen, 1975) Thom : "In 1966 I was doing a little work for Cameo Records ..... Stan Watson brought the group to me I listened to them. Stan asked "Can you do anything with them ?" and I said I thought I could do the job. So I did a thing with the group called "He Don't Really love You". William : "When Thom played it to Cameo they didn't like it. They were looking for a Motown kinda dance sound and our thing was a slow harmony ballad. So they took our record and sold it to another company called Moonshot Records who were distributed by Calla. ..... With better distribution "He Don't .. " could have been a big hit. But it DID do well in Philadelphia and Cameo said "We'll take over from here" and the next record came out on Cameo" ["You've Been Untrue"/ "I Was There", Cameo 472, 04/67) 6703 was issued to cash in on the success of of "La La Means I Love You" which was still on the charts - "He Don't Really Love You" entered the Billboard R&B charts on May 2nd, 1968 two weeks before the chart debut of their official followup "I'm Sorry". 6703 was the only Monnshot release to make the charts peaking at # 92 on the Hot 100 but doing considerably better on the R&B chart where it peaked at # 33. What puzzles me is the original release - Jay Warner's "The Billboard Book of American Singing Groups" says it was first issued in August 1966 which makes sense but doesn't quite square with the 67XX numbering series - there may have been an earlier series but I've yet to find any supporting evidence. So here's the chronology 08/66 "He Don't Really Love You" (Moonshot) 04/67 "You've Been Untrue" (Cameo 472) 01/68 "La La Means I Love You" (Philly Groove 150, dist. Bell) BB 01.27.68 04/68 "He Don't Really Love You" (Moonshot 6703) BB 04.13.68 04/68 "I'm Sorry" (Philly Groove 151) BB 04.20.68 Another mystery - here's Stan Watson (Philly Groove's owner) quoted in Tony Cumming's book "When we put out "La La ..." it got picked up by radio and pretty soon was the hottest record around. We couldn't handle a national distribution thing so Larry Utall got in contact and Philly Groove became a Bell-distributed label, Then it REALLY started to happen ..." So there's a pre-Amy-Mala-Bell release of "La La .." presumably with a different number to the AMB issue (150) - has anybody ever seen one? This has puzzled me for years - none of the standard reference works ever mention "La La..." as anything other than Philly Groove 150 but Stan Watson sounds very definite that there WAS an earlier issue. I'm puzzled that in all these years I've never come across any definite details of an earlier issue which is all the more surprising in that "La La..." is hardly an obscure record. This little epic has probably raised more questions than it has answered so any additional input would be most appreciated. It would make an aging discographer really happy to see scans of the original issues of The Delfonics' "He Dont Really Love You" and "La La Means I Love You". I've been busy on a massive release dating project from which I've been reluctant to get sidetracked so I haven't had time to post more regularly but I've decided to take a bit of a break from that before I get brain burn-out. Thanks to all my Spectropop friends for the continuing stream of fascinating posts. A final word on the Delfonics - I've always loved their "Funny Feeling" an astonishing fusion of sweet soul and psychedelia which was so far away from their usual sound that it barely managed to chart at all (# 94 on the Billbaord Hot 100). Hearing it always make think of the soundtrack for "Barbarella" as it could've slotted in there and not been too out of place. It's a pity nobody's ever seemed to have asked Thom Bell about it as it's one of the most intriguing records he ever worked on. Sunshine pop aficionados should try to hear it as as it's got more "ba ba ba ba" vocal backgrounds on it than, say, The Love Generation. Are you feeling groovy, baby? Are you feeling good? Davie Gordon -------------------[ archived by Spectropop ]------------------- Message: 2 Date: Sat, 10 Sep 2005 23:20:33 -0500 From: Justin McDevitt Subject: Bobby Schafto Hello Spectropop, Some minutes ago I was listening to a Reelradio spot from Wbz Boston, (circa spring-Summer 1964) featuring Bruce Bradley. Along with song snipets of Billy J. Kramer, Gerry and The Pacemakers and Don't Worry Baby by the Beach Boys, BB played a song called She's My Girl by Bobby Schafto, (not sure of correct spelling). With a 6 second song snipet, I didn't get to hear much, yet the song captured my interest. I think Schafto has been covered in past postings. Nonetheless, can one of the many experts on this list, provide some info about this track and the artist. By chance, (and I doubt it), is She's My Girl on any compilations? Justin In Saint Paul -------------------[ archived by Spectropop ]------------------- Message: 3 Date: Sun, 11 Sep 2005 00:29:14 -0500 From: Anthony Parsons Subject: Re: Slippin' and Slidin' Simon White: > ...Much better is "Slipping and Sliding" by Spic & Span on V Tone > from 1961, which is in a rough Everly Brothers style. How about my favorite non-Little Richard version of Slippin & Slidin by Wanda Jackson? Re the Everlys: To me, Cathy's Clown is pure Spectropop. I've come to a whole new respect for the Everlys this past year by delving into their lesser known and later material. Talking To The Flowers, which I just recently heard on the Rhino Soft Pop Nuggets CD "Come To The Sunshine" is incredible, as is that whole CD. And by the way, Wanda Jackson rocks AND rules! Antone -------------------[ archived by Spectropop ]------------------- Message: 4 Date: Sun, 11 Sep 2005 11:13:44 +0200 From: Frank Jastfelder Subject: Re: I Spy Shelby Flint Anthony Parsons wrote: > I don't know if (Shelby Flint's) The Voice In The Wind is on either > LP, but I'm sure someone else here could verify. I have no idea if > a 45 was ever released. "TVITW" is at least included on the Capitol LP albeit as an instrumental. It's a ballad with a slight oriental touch. Frank Jastfelder -------------------[ archived by Spectropop ]------------------- Message: 5 Date: Sun, 11 Sep 2005 10:31:47 +0100 (BST) From: Alan Subject: Re: Mark Wirtz on Sounds of the Sixties Frank M wrote: > Brian Mathews read out a letter from Mark (Wirtz) explaining he > could not add much to the story of Caroline Munro that Brian had > attached to the playing of Caroline's single "Tar and Cement". Mark > did point out that whilst Clapton was on the session Bruce and > Baker were not. Several web sites will now have to be changed. > Brian played the B side "This Sporting Life". You can catch it at > CLICK on Listen Again and select sounds > of the sixties. I was the one who sent an extract of an e-mail that Mark Wirtz had posted on the Interweb to "Sounds Of The Sixties" (phew!). I am always contacting SOTS if they fail to mention any contribution made by "Big Jim Sullivan" who actually played lead bango on the Caroline Munro record. You can download the song (it's on Caroline's own web site). -------------------[ archived by Spectropop ]------------------- Message: 6 Date: Sun, 11 Sep 2005 09:41:25 -0000 From: Joop Subject: Re: Jigsaw - One Way Street? Bob Radil wrote: > RE: The MP3 posted in Musica, Jigsaw - One Way Street. Is this the > same act that in 1975 had a hit with "Sky High"? Hello Bob, Here's what I have said on message # 30780 about Jigsaw: Joop greets -------------------[ archived by Spectropop ]------------------- Message: 7 Date: Sun, 11 Sep 2005 10:45:46 +0100 From: Austin Powell Subject: Re: Jigsaw Jigsaw are a band very close to my heart, having worked with them and their management/production/publishing team in the late sixties and early seventies. The group's first releases were on MGM UK's short- lived Music Factory label in '68. Mister Job/Great Idea was Cub 4, Let Me Go Home/ Tumblin' was Cub 5...Then they switched to MGM proper for One Way Street,which was re-issued in 70 on Philips.They stayed with Philips until 73 when they moved to BASF Records before the Splash label was started by their management. Their act did include comedy most notably the hilarious "Sittin' On A Bomb" which drummer Des Dyer performed sitting centre stage, on a toilet ! The track is on their Aurora Borealis album from 1972. A much underrated group, high on musicianship and creativity - nice guys too ! Austin P -------------------[ archived by Spectropop ]------------------- Message: 8 Date: Sun, 11 Sep 2005 10:39:28 -0400 From: Phil X Milstein Subject: Re: Keep A Knockin' Simon White wrote: > You may be thinking of "Keep a Knockin'", which is spliced from a > short radio station recording (with a line "I'm drinking gin and you > can't come in" removed) .... Perhaps that explains the little moment of slippin' and slidin' that occurs about 2/3ds of the way into the song, where the tape wobbles as if an engineer accidentally brushed his hand against the take-up reel. No?, --Phil M. -------------------[ archived by Spectropop ]------------------- Message: 9 Date: Sun, 11 Sep 2005 08:40:52 -0700 (PDT) From: Dave Monroe Subject: Ilanga (Ilonka Biluska) Country Paul wrote: > By the way, Fred Clemens has an extensive list of covers of > "Mbube"/"The Lion Sleeps Tonight" at > I was glad to see They Might Be Giants' "The Guitar" on that list (and note TMBG's appropriation as well of the opening bars of Frank Sinatra's recording of "Downtown" as "Minimum Wage," on their Flood album). But here's another one of those times I wish I had ready access to the technology to upload something to Musica. Anyone familiar with South African singer Ilanga? E.g., ... ILONKA BILUSKA After a stay in South Africa, Biluska returned to the Netherlands, where she became a popular girl singer in the 1960's. However, the tunes 'Aniva?' and 'Jikele Maweni' were only released in Belgium. Both tunes were recorded in Brussels in 1969 with a mix of Western and African musicians. Some parts of 'Aniva?' have a strong bluebeat rhythm. It seemed like it was to become a hit. Even a clip was shot, with Ilonka in a leopard catsuit. It never appeared on TV, because just after the release there was a months long strike on Belgian radio and television and that brought an end to this project. The record disappeared into the vaults of music history. Biluska had to wear a wig on the sleeve, she was originally blond. The photo was shot to make her look like a black girl. Selective discography Ilanga (Ilonka Biluska), 'Aniva?/Jikele Maweni', Decca 95/23.921X (Belgium) (1969) Unfortunately, there aren't sound clips here, but ... The chorus features the title sung a la "Wim-o-weh," accenting the middle syllable a la "Wim," i.e., "aNIva aNIva aNIva aNIva aNIva aNIva aNIva aNIva." The b-side ("Retreat Song"?), which seems to be a traditional Zulu (or, pehaps, Xhosa?) song which y'all might know via Miriam Makeba's version. Interesting note here ... -------------------[ archived by Spectropop ]------------------- Message: 10 Date: Sun, 11 Sep 2005 12:11:50 -0400 From: James Botticelli Subject: Susan Rafey's "The Big Hurt" Sorry to intrude with this, but a member asked me for an MP3 of Susan Rafey's "The Big Hurt". I have now digitized the song from the LP and am willing to forward it to that member, but I've forgotten the name of the member. Please step forward. JB -------------------[ archived by Spectropop ]------------------- Message: 11 Date: Sun, 11 Sep 2005 18:02:54 -0000 From: Mark Frumento Subject: Re: Eric Clapton & Mark Wirtz Frank M wrote: > Well Brian Mathews read out a letter from Mark explaining he could > not add much to the story of Caroline Munro that Brian had attached > to the playing of Caroline's single "Tar and Cement". Mark did > point out that whilst Clapton was on the session Bruce and Baker > were not. It would be good to have a Clapton expert chime in on this. It seems odd to me that he was doing session work, especially in 1967, with all of his Cream activity. I'd also like to hear from Mark Wirtz. I think we've been through every one of his EMI period tracks and Mark never once mentioned Clapton. I thought I remember him saying that Jimmy Page played on just one of his tracks and I'm pretty sure he said it was one of the Caroline Munro songs. On the other hand, Mark has a good memory and he's generally clear on the major names with whom he worked. Mark F. -------------------[ archived by Spectropop ]------------------- Message: 12 Date: Sun, 11 Sep 2005 13:55:24 -0700 (PDT) From: Hans Huss Subject: Re: 'He Don't Really Love You' / Philly Producers Simon White wrote: > I suspect ['He Don't Really Love You'] was actually recorded for > Cameo/Parkway but the label went down before it was released. > [...] I'm currently giving myself a headache trying to thread > through all the Philly connections with Gamble and Huff, Thom Bell, > Stan Watson, Billy Jackson, Jimmy Wisner et al. What a supremely > gifted and talented group of people. "A supremely gifted and talented group of people" - you're absolutely right. Philadelphia in the late 60's and early 70's sure gave New York, Detroit and Chicago a run for their money. And not just the famous names either, labels like Harthon, Blackjack and Jimmy Bishop's Arctic are all well worth investigating! According to Tony Cummings, the Delfonics, a foursome at the time, and Thom Bell recorded 'He Don't Really Love You' for Cameo/Parkway. They thought the recording was too soft and sold it on to Moonshot. The record was hit in Philadelphia, however, and Cameo released the follow-up. After the demise of Cameo/Parkway, when all the contracts were handed back to the artists, Stan Watson formed Philly Groove, and the career of the Delfonics, now down to a trio, took off in earnest. A copy of Tony Cummings's rare book, The Sound of Philadelphia, is on eBay at the moment (the auction closes on September 14). Although I think his verdict on Cameo/Parkway's artists is unnecessarily hard, on Philly soul, mid 60's up to around 1973, he is excellent. The book is worth getting for the pics alone: Kenny Gamble at the breakfast table, Bobby Martin conducting a group of string players at Virtue Studios, Gerri Grainger and Bunny Sigler at Sigma Sound; and has many candid anecdotes, such as the one about Bobby Eli being offered to submit his biography to the first edition of Who's Who of Black Americans 1974-75. Some of the more obscure Philadelphia labels, Academy, Del-Val, Pentagon, Womar, and Blackjack, are represented on CDs. Check the Philly Archive Soul CD's at this link: Hasse Huss -------------------[ archived by Spectropop ]------------------- Message: 13 Date: Sun, 11 Sep 2005 21:47:22 -0000 From: Kees van der Hoeven Subject: Re: New Orleans Musicians Update Willie C wrote: > The following people are reported to be okay: > Jeff Albert (...) Linnzi Zaorski. And Bobby Charles, my #1 New Orleans favourite...? Kees -------------------[ archived by Spectropop ]------------------- Message: 14 Date: Mon, 12 Sep 2005 19:43:34 +0100 From: Eric Charge Subject: Re: Moonshot Records - early Delfonics Davie Gordon on Moonshot Records: > Who owned it is another mystery - with releases originating in Los > Angeles, Chicago, New York and Philadelphia it's probable that > Moonshot was just an outlet for masters that had been shopped > around - it's certainly possible that Nate McCalla was behind it. I have a copy of a 1973 interview with Thom Bell in which it's reported: Stan [Watson] had already started his own label called Moonshot and Thom was chosen to come up with the material and production [for the Delfonics]... Moonshot folded soon afterwards and Stan went into business completely on his own. He started Philly Groove records and Thom was again hired to record the Delfonics. There had been one release [by the Delfonics] prior to Moonshot and that was on Cameo... -------------------[ archived by Spectropop ]------------------- Message: 15 Date: Sun, 11 Sep 2005 22:14:51 -0700 From: Kim Cooper Subject: Scram #21 - The Swamp Issue out now Gentle reader, In light of recent events, Lark Pien's cover image is entirely too eerie: a swamp scene in the pitch darkness, gators, frogs, fishes, turtles and egrets rocking out without a hint of human presence to be seen. It is our Swamp Issue, with a funky air blowing through it. We hope it harkens a healthy bayou by and by, O. Features include Nathan Marsak's rude and hilarious interview with Dwarves leader Blag Dahlia, Gene Sculatti on that brief moment "When MOR went Hip," Phantom Surfer Mike Lucas in a valiant attempt to interview Blowfly, Ron Garmon on the lurid early 70s Skywald Horror-Mood magazines, Tony Sclafani investigating Baroque rockers The New Society, Michael I. Cohen digging deep in Kenneth Anger's music archives to find the mysterious Andy Arthur, Deke Dickerson's history of hillbilly "eefing" records, Jonathan Donaldson talking with High Llama Sean O'Hagan, plus scads of reviews, pin-ups and fun. Scram #21 is $6 postpaid by mail to PO Box 31227, LA, CA 90031 or $7 when paying online at Subscribe now and get one of the very last copies of the MC5 or Dead Boys live DVDs or Denny Eichhorn's fantastic comics anthology. The DVDs are going fast, so email to confirm availability. And don't forget the Bubblegum Achievement Awards in LA on October 7. Much more info is at yrs, Kim Editrix Scram -------------------[ archived by Spectropop ]------------------- Message: 16 Date: Sun, 11 Sep 2005 23:16:40 +0100 From: Martin Roberts Subject: Jack Nitzsche at Spectropop update As topical as it is regular(!), the new Record of the Week (week? who am I kidding!) is an obscure Nitzsche production of a Victorians' track, "Happy Birthday Blue", sung by Joni Lyman. Quite fun, I think you'll like it. Give it a listen on the home page: The reviews of Nitzsche's "Hearing Is Believing" (which I'm sure you've all bought a copy) are still dribbling in. One goodie to read has been added to the 'ACE CD Web Reviews': Enjoy Martin -------------------[ archived by Spectropop ]------------------- Message: 17 Date: Sun, 11 Sep 2005 15:37:01 -0700 From: Gary Myers Subject: Re: Ventures Joop: > The Ventures had been listening to the records of Chet Atkins and > came across "Walk don't run", but Chet on his turn had listened > closely to Johnny Smith's original version of the song. > Interesting site, Joop. Thanks for that link. Yes, I've had Smith's orig on a compilation LP since about 1964, and I finally sat down to figure it out about 6-7 yrs ago. I was amazed at the differences, and I've been curious about Chet's version ever since. I'm sure he did it far more correctly than the Ventures did. gem -------------------[ archived by Spectropop ]------------------- Message: 18 Date: Mon, 12 Sep 2005 11:53:07 -0700 (PDT) From: Roberto Lanterna Subject: Re: Bobby Schafto Justin McDevitt on Bobby Shafto: > By chance, (and I doubt it), is She's My Girl on any compilations? I have Bobby Shafto's "She's My Girl" on an UK Various Artists LP called "60's Back Beat".I don't know if it was ever issued on CD or if the song is on any other compilation. This is what the notes of the LP say about Shafto: "Boyish good looks, a lack of controversy, consistent photo spreads in magazines such as 'Rave', 'Fabulous', 'Jackie' and a good spot on several package tours was one way of hoping to break an artist and was the path chosen for Bobby Shafto. All in he recorded about seven singles, including 'Over and Over', 'The Same Room' and 'See Me Cry', all of which showed a fine ear for commercial pop. The best, however, was 'She's My Girl', stylistically and in essence, a typical 1964 beat single. Shafto was never an innovator, but was always closer to Tin Pan Alley than the essential records of, say, the Kinks, the Stones etc. 'She's My Girl' is a good single, with a ringing guitar and the driving feel of the Honeycombs 'Have I The Right'. It wasn't, however, enough for a hit." I hope this bit of info will be useful, ciao, Roberto -------------------[ archived by Spectropop ]------------------- Message: 19 Date: Mon, 12 Sep 2005 19:09:12 -0000 From: Bryan Subject: Re: Vogues on Reprise Paul Urbahns wrote: > Warner Brothers in Japan did include the three Reprise versions of > the Co & Ce hits on a legal CD, which I have and it sounds great! Hi, how did you get that CD? I looked all over for this CD for my Vogues collection and tried to order it from dealers and they said nothing turned up. Thanks for any info... -------------------[ archived by Spectropop ]------------------- Message: 20 Date: Mon, 12 Sep 2005 12:14:17 -0700 (PDT) From: Hans Huss Subject: Re: Moonshot Records - early Delfonics Davie Gordon wrote: > So there's a pre-Amy-Mala-Bell release of "La La .." presumably > with a different number to the AMB issue (150) - has anybody ever > seen one? This has puzzled me for years - none of the standard > reference works ever mention "La La..." as anything other than > Philly Groove 150 but Stan Watson sounds very definite that there > WAS an earlier issue. Just a few additions to and comments on David's wonderful piece of vinyl archaeology. Yes, the Dippers' 'Honey Bunch' is an instrumental (vaguely Latin- sounding with a fake live audience). 'After The Session', too, is an instrumental. No composer on the label, but it's published by Unbelievable Publ. Corp., BMI. I listed some of the other recordings using this rhythm track in a previous post - the best are Frankie & the Classicals 'What Shall I Do' (Calla 127), and the two versions of 'Moonlight, Music And You' by the Essex and Laura Greene (Bang 537 and RCA 9164 respectively), but there were many others. Checking the release dates (as far as I'm able), it seems the Essex's version may actually be the original. Jimme Raye had two releases on KKC, 'Philadelphia Dawg' / 'Walked On, Stepped On, Stomped' (KKC 1), and 'Philly Dog Around The World' / 'Just Can't Take It No More' (KKC 2), the latter a very in-demand and expensive Northern Soul record. And yes, it appears there is a pre-Bell release of 'La La Means I Love You', though I have never seen a copy. Beckman, Hunt & Kline's "Soul Harmony Singles 1960-1990" (Three-On-Three, 1998) lists it as number 1001/2 (no date). I have the Delfonics on Moonshot somewhere. If it's the early one, I'll scan it. Hasse Huss -------------------[ archived by Spectropop ]------------------- Message: 21 Date: Mon, 12 Sep 2005 13:10:20 -0700 From: Dennis Hoban Subject: Gary U.S. Bonds How about Gary (U.S.) Bonds? Is he still alive? I saw him in "Blues Brothers 2000" in 1998 and haven't heard of him since. -------------------[ archived by Spectropop ]------------------- Message: 22 Date: Mon, 12 Sep 2005 13:14:26 -0700 From: Dennis Hoban Subject: Caroline Munro Frank M wrote: > Well Brian Mathews read out a letter from Mark explaining he could > not add much to the story of Caroline Munro that Brian had attached > to the playing of Caroline's single "Tar and Cement". Mark did > point out that whilst Clapton was on the session Bruce and Baker > were not. Is this the same Caroline Munro, the "Scream Queen" of 1980's slasher movies fame? -------------------[ archived by Spectropop ]------------------- Message: 23 Date: Mon, 12 Sep 2005 22:06:25 -0000 From: Diane Subject: Gonna Get Along Without You Now Hi Poppers, I am trying to find the name of the female artist who did a version of "Gonna Get Along without You Now" probably @ early sixties. It wasn't Teresa Brewer, Patience & Prudence or Skeeter Davis, but someone else. Her version had a great arrangement. (And it wasn't Viola Wills!) Thanks! HurdyGurl, aka Diane -------------------[ archived by Spectropop ]------------------- Message: 24 Date: Mon, 12 Sep 2005 17:52:10 -0400 From: James Botticelli Subject: Philadelphia Soul Hans Huss wrote: > Philadelphia in the late 60's and early 70's sure gave New York, > Detroit and Chicago a run for their money. And not just the famous > names either, labels like Harthon, Blackjack and Jimmy Bishop's > Arctic are all well worth investigating! The Temptones were on Arctic, a Temptations-like group that featured a teenaged Daryl Hall who later joined Executive Suite in their infancy. 1968's "Christine" features Hall on false tenor vocals and Executive Suite eventually signed to Babylon records following Hall's exit according to my hearsay lore where they practically defined the essence of the sound of Philadelphia. Then there's The Philly Devotions..... Meanwhile North Bay Records, 70's Philly's indie label, had artists like Little Dooley, and Talk of The Town, eventually stripped down to duo McFadden & Whitehead of "Ain't No Stoppin' Us Now" fame. What a history! Dee Dee Sharp married Kenny Gamble and re-emerged as a 70's Philly Soul singer. The Tymes, formerly of Parkway, ended up recording elsewhere but became big beach music guys. And of course the O'Jays jumped off the Bell bandwagon leaving Cleveland in the dust. Even the Jacksons whose finest LP was made in Philly for Epic Records featuring the sublime "Let Me Show Ya (The Way To Go)" in '76... JB/dismounting pulpit now -------------------[ archived by Spectropop ]------------------- Message: 25 Date: Tue, 13 Sep 2005 08:35:35 +0100 From: S'pop Projects Subject: Ernie Johnson, Robert Moog, Laurel Aitken - R.I.P. One of the less pleasant tasks of the S'pop Team is the all too regular updating of the Remembers section. Three more obituaries have just been added. Click the links below to read them. Ernie Johnson Of the soul duo Eddie & Ernie died on August 20th aged 61: Robert Moog Inventor of the Moog synthesizer died on August 21st aged 71: Laurel Aitken "The Godfather Of Ska" died on July 17th aged 78: R.I.P. The S'pop Team -------------------[ archived by Spectropop ]------------------- SPECTROPOP features: End

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