The Spectropop Group Archives presented by Friends of Spectropop

[Prev by Date] [Next by Date] [Index] [Search]

Spectropop - Digest Number 2071

               SPECTROPOP - Spectacular! Retro! Pop!

There are 8 messages in this issue.

Topics in this digest:

      1. Re: The McKinleys U.S.
           From: Phil X Milstein 
      2. Re: The Mob
           From: Gary Myers 
      3. Teenage Opera, "Münchener Freiheit"
           From: Michael 
      4. Re: The Mob
           From: James Holvay 
      5. The Swan label
           From: Phil Hall 
      6. Muenchener Freiheit
           From: Billy G Spradlin 
      7. Re: Caroline Munro / Teenage Opera
           From: Mark Wirtz 
      8. new Jackie DeShannon reissue
           From: Bill George 

Message: 1 Date: Sun, 18 Sep 2005 13:38:00 -0400 From: Phil X Milstein Subject: Re: The McKinleys U.S. Billy G Spradlin wrote: > 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? I turn up info on just two, both from 1964: Swan 4185: Million Miles Away / Someone Cares For Me Swan 4194: Then I'll Know It's Love / When He Comes Along Dig, --Phil M. -- How I Spent My Summer Vacation: -------------------[ archived by Spectropop ]------------------- Message: 2 Date: Sun, 18 Sep 2005 12:33:07 -0700 From: Gary Myers Subject: Re: The Mob Mark: > this the same Mob group that did a rare version of "Open the > Door to Your Heart" for the Daylight label? Yes. I show that as 1969, and the label was apparently the same co. as Twilight, for which the Mob also had a previous release. The only unrelated Mob I show on record is on Fraternity and Scarab. gem -------------------[ archived by Spectropop ]------------------- Message: 3 Date: Sun, 18 Sep 2005 14:30:16 -0000 From: Michael Subject: Teenage Opera, "Münchener Freiheit" Mark Wirtz wrote: > 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 I have to admit that itīs a really pathetic song. Perhaps that was the reason why I thought, Roy Black would have tried to conquer the British Music biz. But the vocalistīs timbre reminded me of his voice. Besides, many 60īs compositions tended to be pathetic - one reason why I love most of them. I was born in 1964, but I do not enjoy todayīs anger and lack of harmony in temporary music. > 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"? The two albums of your work I checked out yet were the upper mentioned "The fantastic story of..."-sampler and "The Go-Go-music of Mark Wirtz". Discovering the "Excerpts of a Teenage Opera"-twin "Sam" led me to look for other songs of your production. I really enjoy your instrumentals on the Go-Go-sampler. Itīs a firework of instruments, harmonies and off-beat. I even published a review of that album in a German group. Unfortunately, the server went down in August, so I canīt put in a link here. As I listen to Sixties- music most of my time, I didnīt already check out your new album. Amazon, which offers the best way to listen to short samples, doesnīt have links to music-samples of "Love is eggshaped" yet. Somewhere else I found a 30-second-link to "Learning 2 live with love". Itīs delightful to hear that you kept your style in your arrangements, even if the sign of the times goes right the other way. Itīs a pity that thirty seconds canīt give an expression of the whole song. Valuing from this limited point of view, Iīd say the style reminds of the early seventies. > "Muenchener Freiheit"... what a blindfolded choice THAT was -- > they might as well have called themselves "The Bavarian Nazis. The name of this band derives from a famous place in Munich, more precisely in Schwabing. Itīs the meeting point of the "Munich Bussi-society" (as this people are called in Germany). I donīt think they wanted to spread their fame to America. If they did, they would have had to keep in mind that the name seems to remind foreigners of some cynical Nazi sentences. All the Best, Michael -------------------[ archived by Spectropop ]------------------- Message: 4 Date: Sat, 17 Sep 2005 20:38:14 -0700 From: James Holvay Subject: Re: The Mob Mark: > 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. Mark: Yes we did. Over the years, I've been told by numerous Northern Soul fans that it was an underground hit in the UK. If I had it to do all over again, we would've packed our bags and moved to England in '65. Thanks. Jim Holvay -------------------[ archived by Spectropop ]------------------- Message: 5 Date: Sun, 18 Sep 2005 16:44:16 -0000 From: Phil Hall Subject: The Swan label Billy G Spradlin wrote: > Speaking of Swan Records, is there a discography listing anywhere > online? Try this: Phil H. -------------------[ archived by Spectropop ]------------------- Message: 6 Date: Sun, 18 Sep 2005 20:34:23 -0000 From: Billy G Spradlin Subject: Muenchener Freiheit Mark Wirtz: > 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 Wow they are still around? - They did have a minor USA hit in the late 80's - the wonderful McCartney sound-a-like "Keepin' The Dream Alive" from the "Say Anything" soundtrack. They were listed as just "Freiheit", as "Muenchener" would have tripped up most USA DJ's! Billy -------------------[ archived by Spectropop ]------------------- Message: 7 Date: Mon, 19 Sep 2005 04:17:16 -0000 From: Mark Wirtz Subject: Re: Caroline Munro / Teenage Opera Alan wrote: > Mark, Was it Jimmy Page or Ritchie Blackmore in Caroline Munro's > Lamb's Navy Rum Adverts? LOL No idea - I had nothing to do with that. Besides, guys, one of the reasons why my memory blurs when it comes to CM sessions, is because I had a big crush on Caroline and was far more interested in her than who was playing on her session - so long as they played the right parts. Nothing came of my "admiration," because Caroline was my lawyer's daughter. And you just don't mess with your lawyer's daughter, do you! LOL > My real questions are: Who played Lead Guitar on "Theme From > Teenage Opera"? Steve Howe > Who were the guitarists on "Grocer Jack" and "Sam"? With the exception of "Theme from a T.O." (hurriedly recorded as a one-take B-side, not intended to be part of a later, official, T.O. album in this form), all three, bona fide, T.O. tracks were recorded in separate, movie-like, scene segments on a variety of different sessions: Guitar: Jim Sullivan (also banjo and 12-string), Brian Daly (accoustic), Alan Parker, John McLaughlin Piano: Nicky Hopkins Drums: Clem Cattini, Rex Bennett Bass: Russ Stableford (also Stand-up Bass), Eric Ford (6-string bass guitar), John Paul Jones (also Hammond B-3) Percussion: Dennis Lopez (LA percussion), Ray Cooper (tuned percussion) > 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 realized how > prolific he was. Many have asked me through the years why I dropped Jim Sullivan from my regular studio band. After all, he had been like family to me since my earliest sessions as a producer/arranger. Well, the true reason is quite embarrassing. Towards the end of 1997 (or was it '98?), Jim dropped his Gretsch and adopted a Rickenbecker as his regular "ax." Rather dry and to me nasal and lifeless, I did not like the Rickenbecker for my stuff other than for electric rhythm parts. Alas, I didn't have the balls to tell Jim and ask him to bring his Gretsch again instead (or whatever). And so I took the coward's way out and, other than putting him on some rhythm-only parts on a few sessions until it felt a bit ridiculous, I stopped asking him to my sessions and replaced him with Chris Spedding, later adding Joe Moretti and, eventually, Martin Kershaw to the reconfigured band (which, post-EMI, also included Les Hurdle on bass). Though loving what Chris, Joe and Martin did, I never stopped missing Jim, and I cringe remorsefully to this day, when I think about having let Jim go back then... Ah well... Did I miss anything? Thanks for your interest, Alan. Best, Mark -------------------[ archived by Spectropop ]------------------- Message: 8 Date: Mon, 19 Sep 2005 03:00:34 EDT From: Bill George Subject: new Jackie DeShannon reissue Hi all, Just got the word that Jackie DeShannon's "Breakin' It Up on the Beatles' Tour" LP is to be released on CD the end of the month (Sept 27 I believe) on RPM. The track listing on Amazon is incorrect. That was the originally intended listing, but since BGO announced they were releasing virtually the same album (in its UK form) as a two-fer with "This Is Jackie DeShannon" RPM decided to change its bonus tracks. Good news for us, because it now contains several unreleased tracks! These include a non-demo version of "Takin the Long Way Home" as well as her incredible version of the blues standard "Mean Ole Frisco" and a rocker co-written with Zelda Samuels called "Give Me A Break." There are two more re-issues on RPM slated for the coming months. If these sell well enough, there WILL be more. So buy one for yourself and buy several more and give em as presents! Bill -------------------[ archived by Spectropop ]------------------- SPECTROPOP features: End

Click here to go to The Spectropop Group
Spectropop text contents Đ copyright 2002 Spectropop unless stated otherwise. All rights in and to the contents of these documents, including each element embodied therein, is subject to copyright protection under international copyright law. Any use, reuse, reproduction and/or adaptation without written permission of the owners is a violation of copyright law and is strictly prohibited. All rights reserved.