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Spectropop - Digest Number 2070



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               SPECTROPOP - Spectacular! Retro! Pop!
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There are 14 messages in this issue.


Topics in this digest:

      1. S'pop message format
           From: The S'pop Team 
      2. Podcast: A Trip to Bubblegum Land
           From: Kim Cooper 
      3. Session players, etc
           From: Mark Wirtz 
      4. Re: Kim Fowley's "Lights"
           From: Mark Frumento 
      5. Re: Colossus Records / The Mob / Jerry Ross
           From: James Holvay 
      6. Re: The McKinleys
           From: Billy G Spradlin 
      7. Re: Kim Fowley's "Lights"
           From: Karl Ikola 
      8. Re: unknown artist on Teenage Opera sampler
           From: Mark Wirtz 
      9. The Association New Memories album
           From: Paul Urbahns 
     10. Re: Patti Dahlstrohm "Emotion"
           From: Bill George 
     11. Re: The Mob
           From: Mark 
     12. Norrie Paramor; John Schroeder
           From: Mike Edwards 
     13. Re: Kim Fowley's "Lights"
           From: Joop 
     14. Re: Caroline Munro / Teenage Opera
           From: Alan 


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Message: 1 Date: Wed, 14 Sep 2005 21:46:48 +0100 From: The S'pop Team Subject: S'pop message format For better or worse, Spectropop is a moderated group. Every message is checked and approved before appearing on the board. Consequently, posts are routinely edited for format and content by our moderators, all of whom are unpaid volunteers. To keep their workload to a minimum, may we remind you to PLEASE make sure your posts are as close as possible to the following layout: START OF SAMPLE MESSAGE = = = = = = = = = = = = = = = = = = = = = = = = = = From: Name < email address > Date: Mon Jan 01, 2004 0:00am Subject: overview of message [OR Re: existing thread] [but NOT "Spectropop Digest Number xxxxx"] Previous sender's name: > The relevant part of the message to which you are > replying. Your reply or supplementary question. And please always put your name at the end. = = = = = = = = = = = = = = = = = = = = = = = = = = END OF SAMPLE MESSAGE Many thanks, The S'pop Team -------------------[ archived by Spectropop ]------------------- Message: 2 Date: Sat, 17 Sep 2005 08:19:38 -0700 From: Kim Cooper Subject: Podcast: A Trip to Bubblegum Land The Bubblegum Queen took editrix Kim on a psychedelic trip to Bubblegum Land, and that evil L'il Chewy secretly recorded every word! Pay special attention and you'll hear about a SECRET SPECIAL GUEST STAR at the Bubblegum Achievement Awards whose attendance has not yet been announced anywhere else! Tune in, tune on, drop out and dig: http://tinyurl.com/dpe3v -------------------[ archived by Spectropop ]------------------- Message: 3 Date: Sat, 17 Sep 2005 06:08:03 -0000 From: Mark Wirtz Subject: Session players, etc Kurt Benbenek wrote: > Mark, You've aroused my curiosity... I know Clapton played lead > on "While My Guitar Gently Weeps" and Lennon (and McCartney) > often played lead guitar parts in the studio. But...exactly what > other "ghost performers" played "idiosyncratic, lead guitar parts > and solos" on Beatles records? This is the first time I've heard > this. Whoa... The point of my post was not to reveal "secreted" player identities, be it Eric Clapton, or anybody else, but, by referring to examples that I believed to be common knowledge, I simply meant to demonstrate the practice of hiring ghost musicians (and sometimes singers) to stand in for presumed performers. If anybody was hiding anything back then, it was not the substituted artist or performer who did so for reasons of ego or vanity, but because the contractual politics of the times did not allow for disclosure. What has further obscured the true identity of participating musicians back then, was that, as a rule, only featured artists, producers and MD's were given formal credit on non-classical recordings (even by the time the Beatles released "Sgt. Peppers," no credit was given to any guest musicians, or engineers such as Geoff Emerick). Contrary to that industry-wide custom, I was, for a long time, an exception when, from my first ever album production onward, I persistently credited all principal musicians, singers and engineers, even cover designers.) If I, unwittingly, made any careless or misleading remarks that have given erroneous impressions, or raised undue suspicion, I apologize profusely. I have always been proud of my integrity and public discretion, and I have no wish to mess with that now, not, ain't, none (chuckle). Thank you. Cheers, Mark -------------------[ archived by Spectropop ]------------------- Message: 4 Date: Sat, 17 Sep 2005 13:27:28 -0000 From: Mark Frumento Subject: Re: Kim Fowley's "Lights" Karl Ikola wrote: > Was Kim upfront with you, or did you already know, that "Lights" > (later titled "Lights The Blind And Lame Can See" on his "Good > Clean Fun" LP from '70) borrowed the melodic hook from the Hep > Stars' "Wedding"? Has Kim actually confessed to stealing that from The Hep Stars? Isn't it just part of the melody from "The 1812 Overture" or another classical melody? In fact I always thought of "Wedding" as a direct knock-off of "Night of Fear" by the Move. The Hep Stars were not exactly a highly original band. Be interested to hear form you on this. Mark F. -------------------[ archived by Spectropop ]------------------- Message: 5 Date: Fri, 16 Sep 2005 20:27:07 -0700 From: James Holvay Subject: Re: Colossus Records / The Mob / Jerry Ross Previously: > Also, did Colossus release records by acts OTHER than Dutch ones? Rob Pingel: > How about The Mob? Chicago group, right? Rob: You are correct. The MOB formed a year or two before the "horn group era" became popular. Our first single was on Cameo Parkway, the second was on Mercury, #3 and #4 were on Twinight/ Daylight. My co-writer (Gary Beisbier), our then manager and I, were producing the group with no success. After The Buckinghams (who had no horns in the group), BS&T and local, fellow musicians CTA (formerly The Missing Links, The Exceptions, The Big Thing) and The Ides Of March hit, we were all about to commit harri kari with a dull knife, in some dismal, combination truckstop/motel, in the freezing midwest. Fast forward to 1970, we had a 4 week engagement in San Juan, Puero Rico. We were following Lou Rawls into the Americana Hotel show room. On the very last day and last show of the engagement, Jerry Ross and his wife April (who were on vacation at the time), came in to see us. Our show was non- stop, high energy and we consistently received standing ovations every night. Jerry approached me after the show and asked if we were signed to a label. Lucky for us, we weren't. I was very aware of Jerry's credentials, having been a small record collector at the time. I was extremely flattered that he wanted to produce the group and jumped at the opportunity. Thirty days later, we flew to New York and recorded the first of two albums at Bell Studios, for his label, Colossus. There's not enough room on this email, to say all the great things about Jerry Ross that I'd like to, other than "THANKS Jerry". -------------------[ archived by Spectropop ]------------------- Message: 6 Date: Sun, 18 Sep 2005 05:40:25 -0000 From: Billy G Spradlin Subject: Re: The McKinleys Phil Hall wrote: > One 60's group I really enjoy that I NEVER hear about is the > Scottish girls, The McKinleys. I only have five songs by them. > "Someone Cares For Me" should have been a hit, and some of the > others are very good also. I have the "Someone Cares.." and "When He Comes Along" (promo copy) 45's on Swan. Were any other McKinleys singles released by Swan and other labels here in the USA? Speaking of Swan Records, is there a discography listing anywhere online? Billy G. Spradlin http://listen.to/jangleradio -------------------[ archived by Spectropop ]------------------- Message: 7 Date: Sun, 18 Sep 2005 00:21:50 -0700 From: Karl Ikola Subject: Re: Kim Fowley's "Lights" Mark Frumento wrote: > Has Kim actually confessed to stealing that from The Hep Stars? > Isn't it just part of the melody from "The 1812 Overture" or > another classical melody? In fact I always thought of "Wedding" > as a direct knock-off of "Night of Fear" by the Move. The Hep > Stars were not exactly a highly original band. Be interested to > hear form you on this. Kim never "confessed" so much as alluded to it in the notes to one of his retrospective CDs, saying that Benny from Hep Stars/Abba gave him sh*t about the theft. Lifting public domain "classic" melodies was rampant in the '60s, and would merit a thread all its own, I would think. "Night Of Fear" might make a nice segue with "Wedding", but it's not quite the same hook 'n' drive. Kim certainly did a fair amount of public domain "use" to grab some chart action. "Nutrocker" (original cut by Jack B. Nimble and the Quicks on the Del Rio label, picked up by Dot, and then made into a smash hit by B. Bumble and the Stingers), "Emerald City", cut by Elephant Graveyard and the Seekers (and Lord Sitar!) is another example. Hep Stars were not a great band in my estimation, but I love "Wedding", and like it better than Kim's "Lights" or the Move song fwiw... KI -------------------[ archived by Spectropop ]------------------- Message: 8 Date: Sun, 18 Sep 2005 01:33:11 -0000 From: Mark Wirtz Subject: Re: unknown artist on Teenage Opera sampler Michael wrote: > I have a question about the unknown artist on the "Fantastic > story..." collection. He was the vocalist who sang "Love will > always find a way" (the demo of the instrumental version "Theme > from a Teenage Opera"). In the booklet of this sampler is > written that you can't remember the artists name... Hello Michael, Nonsense. I know exactly who it was -- (and it was only a demo vocal! That track, like so many others that have surfaced as releases, was NEVER intended to be made public!) -- but honor prohibits me from revealing the singer's name (he, as much as I, felt that the performance was dreadful to the point of pathetic -- the very reason why I trashed that version, even though it was only a test. God knows how r.p.m.'s Mark Stratford managed to unearth it - he didn't get it from me! LOL). Roy Black? Oh yes, I am familiar with his work. He was actually a pretty good performer! By the way, since you live in Germany, it might interest you that, to this day, the criminally under- celebrated German harmony band "Muenchener Freiheit" is one of my top three favorite bands of all time! Their recent, new, release "Geile Zeit" is yet another gem! I LOVE their stuff! By rights and virtue, MF should have become an international success, alas, the name probably killed them. "Muenchener Freiheit"... what a blindfolded choice THAT was -- they might as well have called themselves "The Bavarian Nazis." LOL By the way, since you appear to have appreciated my past stuff, have you checked out my new CD on Revola/Cherry Red Records, "Love Is Eggshaped"? I hardly ever blow my own horn, but I need to put in a plug for myself every now and then, darn it! (Chuckle). Thank you for your interest. All the best, Mark -------------------[ archived by Spectropop ]------------------- Message: 9 Date: Sat, 17 Sep 2005 17:27:10 -0400 From: Paul Urbahns Subject: The Association New Memories album Ron Sauer wrote: > The Association version of "Walk Away Renee" was produced by > Curt Becher (Boettcher) and I think it is a great version. Mike Love also issued on Hitboaund an Association album in 1983 titled, New Memories. The Association does 7 songs and the other 3 are one each by Mike Love, Mary Macgregor, and Bobby Vee. It was also sold exclusively at Radio Shack stores. Kingsley Abbott: > I believe that The Association (with quite a changed lineup at > that stage) also cut a whole album at the time, but I have > never seen this and heard that it was poor by comparison to > their earlier work. The New memories album lists the group as Terry Kirkman; Julius Alexander; Larry Ramos; Rus Giguere; Ted Buechel, Jr. and Rick Ulsky. The liners state that Brian Cole died in 1972, and therefore was not available. The Association songs were produced by the Association and when any artist redoes and oldie most folks compare it with the original. The remake always sounds "different" and these do. The arrangemnts are totally but I can't say bad, just more harmony which you would expect from that many singers. Paul Urbahns Radcliff, Ky -------------------[ archived by Spectropop ]------------------- Message: 10 Date: Sat, 17 Sep 2005 14:12:47 EDT From: Bill George Subject: Re: Patti Dahlstrohm "Emotion" I just listened to this great track. I've never heard the song or Patti before. Thanks for posting it. The verse reminds me VERY MUCH of the title track of Buffy Sainte-Marie's great 1992 album "Coincidence & Likely Stories." Bill -------------------[ archived by Spectropop ]------------------- Message: 11 Date: Sun, 18 Sep 2005 00:07:43 -0000 From: Mark Subject: Re: The Mob Hi Gary! This question is for either you or Jim Holvay--is this the same Mob group that did a rare version of "Open the Door to Your Heart" for the Daylight label? Thanks in advance. Best, Mark -------------------[ archived by Spectropop ]------------------- Message: 12 Date: Sun, 18 Sep 2005 00:06:25 -0000 From: Mike Edwards Subject: Norrie Paramor; John Schroeder Mark Wirtz writes: > why, oh, why is one of the UK's most influential, creative, > arranger/producer's of the 60's -- Norrie Paramor - not more > remembered and celebrated? Think... countless hits with Cliff > Richard, The Shadows, Helen Shapiro, to name but a few of his > milestone roductions... Wasn't Norrie, in fact, the one who > REALLY pioneered the Abbey Road Studio Rock sound He probably was, but his biggest failing: no US hit. Back in the day when UK artists were occupying 25% of the US Hot-100, Cliff, Helen and the Shads were not among them. It's not that they made bad records; they just didn't have enough British Invasion quotient to find a market with US audiences. I remember a US dealer commenting to me a few years back: "can you imagine how pissed Cliff Richard must have felt when Chad & Jeremy were moving boat loads of records in the US?". You state that: "Norrie has always stood tall as UK's Don Costa". No argument there but it's worth noting that UK thrush, Danny Williams, from EMI's stable did have some US success but with recordings arranged and conducted by Don Costa. "White On White" (UA, 1964) probably being the best example. (We do so badly need a decent Danny Williams' compilation CD, by the way) Moving on, "John Schroeder wrote a bunch of great stuff for Helen Shapiro" and he was the producer and director of Sounds Orchestral who had two US hits on Parkway, "Cast Your Fate To The Wind" and "Canadian Sunset" in 1965. The latter from their LP, "The Soul Of Sounds Orchestral" is now playing in musica because we need a little mood music every now and then. The great piano playing was by another John; Mr. Pearson and what a fine job he did on those records. Enjoy, Mike Edwards -------------------[ archived by Spectropop ]------------------- Message: 13 Date: Sun, 18 Sep 2005 09:26:30 -0000 From: Joop Subject: Re: Kim Fowley's "Lights" Mark, "Night of fear" is surely derived from "1812 Overture" (Op.49) from Pyotr Ilich TCHAIKOVSKY (1840-93). You can listen to a midi here: http://www.classicalarchives.com/tchaikovsky.html Mark wrote: > In fact I always thought of "Wedding" as a direct knock-off of > "Night of Fear" by the Move. But the Hep Stars "Wedding" (written by ABBA's Benny Anderson) was a Swedish nr 1 hit in 1966. So that's before The Move hit with "Night of fear". You can download an MP3 of "Wedding" here: http://www.freewebs.com/andra-sidan/ I never heard "Lights" by Kim Fowley. I hope someone can deliver me an MP3 or post it to musica, so I can compare the 3 songs. Joop greets -------------------[ archived by Spectropop ]------------------- Message: 14 Date: Sun, 18 Sep 2005 09:09:20 -0000 From: Alan Subject: Re: Caroline Munro / Teenage Opera Dennis Hoban wrote: > Is this the same Caroline Munro, the "Scream Queen" of 1980's > slasher movies fame? Mark Wirtz: > She most certainly is -- a regular in them golden olden "Hammer" > films. And don't forget Caroline as one of the fabled "Bond (007) > girls"...! Caroline, by the way, continues to be active, looking > fabulous, and appearing regularly at Sci-fi - and horror film > conventions. Mark, Was it Jimmy Page or Ritchie Blackmore in Caroline Munro's Lamb's Navy Rum Adverts? LOL My real questions are :- Who played Lead Guitar on "Theme From Teenage Opera"? Who were the guitarists on "Grocer Jack" and "Sam"? I have often wondered who played on the classic pop records from the sixties and thanks to you Mark I now have some insight. I was in the lucky situation of living near Big Jim Sullivan in Hounslow at that time but it is only this year that I realised how prolific he was. Alan -------------------[ archived by Spectropop ]------------------- SPECTROPOP features: http://www.spectropop.com End

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