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Spectropop - Digest Number 646



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______________        S  P  E  C  T  R  O  P  O  P        ______________
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                        Jamie LePage (1953-2002)
                   http://www.spectropop.com/Jamie.htm
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There are 17 messages in this issue.

Topics in this digest:

      1. Goffin - King
           From: Bill Reed 
      2. Sunday Papers
           From: Mick Patrick 
      3. Re: TTG Studios in Hollywood
           From: Lou Bova 
      4. Thanks to Ronnie Allen
           From: John Clemente 
      5. Keystone Record Collectors Show 11/10/02
           From: John Cemente 
      6. The Reflections
           From: Bill 
      7. The Continental Co-Ets
           From: Will Stos 
      8. Re: Goffin - King
           From: Richard Tearle 
      9. Ramona King
           From: Phil Milstein 
     10. Re: Ramona King
           From: Mick Patrick 
     11. An Oldie But A Goodie
           From: Lynn 
     12. made to be bad
           From: Phil Milstein 
     13. Re: made to be bad
           From: Richard Tearle 
     14. Paul Williams on Dexter's Lab?
           From: Jack Madani 
     15. Re: made to be bad
           From: Dan Hughes 
     16. Re: made to be bad
           From: Steve Harvey 
     17. Playing catch-up
           From: Country Paul 


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Message: 1
   Date: Sun, 27 Oct 2002 01:30:01 -0000
   From: Bill Reed 
Subject: Goffin - King

For the "record," here's a CD collection of Goffin-King 
penned tracks that I picked up today at my "local" 
Amoeba Records in L.A. 

Masterpieces V.1

1.  Oh! Neil  - Carole King
2.  Dreamin' About You - Annette and the Vonnairs 
3.  Don't Ever Change - The Crickets
4.  When My Little Girl is Smiling - Jimmy Justice
5.  Where Do I Go - Little Eva
6.  Chains - The Orlons
7.  Up on the Roof - Kenny Lynch
8.  Go Away Little Girl - Donny Osmond
9.  I was Only Kidding - Ann-Margret
10. Take Good Care of My Baby - Bobby Vinton
11. Hey Girl - Freddie Scott
12  I Can't Stay Mad at You - Skeeter Davis
13. Why'd You Make Me Wanna Cry For
14. They're Jealous of Me
15. He's in Town - The Tokens
16. Some of Your Lovin' - The Honey Bees
17. Every Breath I Take - Gene Pitney
18. Good Buddies - The Crawford Brothers
19. Halfway to Paradise - Tony Orlando
20. Heaven is Being With You - Jackie DeShannon
21. Oh No Not My Baby - The Shirelles
22. The Old Crowd - Lesley Gore
23. Easy to Love (So Hard to Get)- The Chiffons
24. Will You Still Love Me Tomorrow - Helen Shapiro
25. I Don't Wanna Lose You - James Darren
26. Softly in the Night - The Cookies
27. He Hit Me and It Felt Like a Kiss - The Crystals
28. Love Eyes - Tony Orlando
29. This Little Girl - Dion
30. Some Kind of Wonderful - Idalia Boyd

"All songs by Goffin and King except for "Oh! Neil" by 
Greenfield-Sedaka-Goffin". Some of the info - copied directly 
from the insert - might be incorrect. No label name or any 
other info except for "Made in EEC". Very little doubt this 
is a boot. I always feel a pang of conscience when I buy these 
things, but who?, I ask you now, WHO? could resist. Perhaps 
only Our Lady of Perpetual Royalties.

Bill Reed
http://www.pinkywinters.com



-------------------[ archived by Spectropop ]-------------------
Message: 2 Date: Sun, 27 Oct 2002 13:24:08 -0000 From: Mick Patrick Subject: Sunday Papers From Ugly Things #20: http://www.ugly-things.com ... The best thing we did was a version of "Bewitched, Bothered And Bewildered" which was really, really beautiful. It sounded like a SHANGRI-LAS' record from 1965" ... (Producer Andy Paley talking to Phil Milstein about the Shangri-Las' comeback sessions of 1977) From In The Basement #28: http://www.basement-group.co.uk Former Crystals' lead singer, LA LA BROOKS, has been back to college - not as a student but as a guest speaker at Temple University College in Philadelphia recently, as part of their Legendary Female History Month. La La, whose musical career has included appearing on Broadway in Hair alongside Melba Moore, as well as having parts in a number of movies, shared with students of black history her personal encounters and experiences in the show business world. Feedback reports she excited the class as she talked about the ups and downs of life on the road and in the studio with other recording stars, divas and especially other female groups, throwing in snippets of juicy gossip ... From Vanity Fair #507, November 2002: http://www.condenast.co.uk I was a great friend of JACK NITZSCHE, and from him I got a different perspective of the British Invasion - that American music was on the verge of changing into something incredible. They were all working away - him, Phil Spector, the 4 Seasons, Brian Wilson - and the visions they had, what they were trying to do with American music, were completely f####ed up by the British Invasion. In the wake of those bands which were actually good (like the Beatles and the Stones) - real musicians with some kind of vision - came all this other crap like Herman's Hermits, the Dave Clark Five, et cetera. And I actually agree with him. (Marianne Faithfull talking to David Kamp in The British Invasion - The Oral History) MICK PATRICK -------------------[ archived by Spectropop ]-------------------
Message: 3 Date: Sun, 27 Oct 2002 08:52:19 -0500 From: Lou Bova Subject: Re: TTG Studios in Hollywood Stu Phillips http://stuwho.com : > Berry Gordy decided to try a studio called TTG on Highland Ave. in Hollywood. Phil Milstein: > Same studio the Velvet Underground recorded much of their early material at. The Velvets' connection to TTG was via Verve Records' Director of Engineering Val Valentin & producer Tom Wilson. Before the Velvets, Tom & Val brought The Mothers Of Invention to TTG to record their debut album, "Freak Out". Lou Bova -------------------[ archived by Spectropop ]-------------------
Message: 4 Date: Sun, 27 Oct 2002 10:30:45 -0500 From: John Clemente Subject: Thanks to Ronnie Allen Hello All, Thanks to Ronnie Allen for his kudos and for his enjoyable interview earlier this year on M-Pak Radio with Diane Renay. Mike Mickels does a marvelous job with the station and it certainly was a pleasure being on to talk about "Girl Groups". Ronnie mentioned The Echelons, a group I helped form in the late 1980s. In answer to Ronnie's question, yes, we did record for songwriter/producer Eddie Brian's BAB Records. Eddie was a member of The Ducanes, who recorded a version of Louie Lymon's "I'm So Happy" for George Goldner's Goldisc Records in 1961. As you know, that was one of three singles produced by Phil Spector in the short period of time that he decided to form his own record company. Spector had that single, "The Bells" by The Creations and "There's No Other" by The Crystals. Of course, we know which one he ran with. Eddie later became a producer, which he is to this day. More on The Echelons in another post. See ya. Regards, John Clemente -------------------[ archived by Spectropop ]-------------------
Message: 5 Date: Sun, 27 Oct 2002 10:34:23 -0500 From: John Cemente Subject: Keystone Record Collectors Show 11/10/02 Hello All, For those of you who live in NY/NJ/PA, I will be a guest at the Keystone Record Collectors Club show in Lancaster, PA on November 10. I was asked to come and sign copies of "Girl Grouips" and talk about the book. I would like very much to meet those of you with whom I have communcated on this site. Hopefully, you can make it. It is a great place to get records. For more info and directions, contact Steve Yohe, . Regards, John Clemente -------------------[ archived by Spectropop ]-------------------
Message: 6 Date: Sun, 27 Oct 2002 17:38:32 -0000 From: Bill Subject: The Reflections I've been asked to forward this bit of information from a friend of mine about the ongoing Reflections tread. My friend's father, Al Rosner, was the Reflections' manager the whole time they were on GW. He also has info on Ric-Tic and Palmer Records. He has been in touch with Tony Micale, lead singer of the Reflections, and they have a regular gig every week at one of the Detroit casions every Sat. night. They no longer have to use the Laradoes name, though the new group is a combo of ex-Laradoes and ex-Reflections. The only two original Reflections still inthe group are Tony and John, the bass man. Contact me off-list for al's email address. The tell him Bill sent ya. Better yet, invite him to join the group. -------------------[ archived by Spectropop ]-------------------
Message: 7 Date: Sun, 27 Oct 2002 17:45:25 -0000 From: Will Stos Subject: The Continental Co-Ets I was visiting a record show today and found a 45 by the Continental Co-Ets that had been reissued. I bought it not because I like their music so much but because it had a nifty picture sleeve. I first heard about this group in Cha Cha Charming, but I didn't think they were terribly popular or well-known. Was this group well known enough on their own to have a 45 reissued, or was it part of the Girls in the Garage series that found an appreciative audience? By the way, the 45 is "Let's Live For The Present b/w Ebb Tide" from 1994 on the Get Hip Archive Series GHAS-3 Will : ) -------------------[ archived by Spectropop ]-------------------
Message: 8 Date: Sun, 27 Oct 2002 20:10:46 -0000 From: Richard Tearle Subject: Re: Goffin - King Bill Reed: > ... a CD collection of Goffin-King penned tracks that I picked up > today at my "local" Amoeba Records in L.A. What a great cd - hope it's available in the UK! Some strange choices though - Helen Shapiro singing Will you still love me tomorrow?? (Helen was a 'schoolgirl' songstress in the early 60s and the Beatles were even below her on the bill on one tour! She had hits with Walking back to Happiness and Please don't treat me like a child...she is now quite an accomplished Jazz singer..) Back to G/K: In my humble opinion, the best song they ever wrote was Going Back. I don't know how old they were then, but the lyrics are very mature and the tune structure is terrific. I heard an unplugged version of it on the radio by Bon Jovi, of all people! Cheers. Richard -------------------[ archived by Spectropop ]-------------------
Message: 9 Date: Sun, 27 Oct 2002 11:53:55 +0000 From: Phil Milstein Subject: Ramona King Anyone know of any pix of or b.g. info on Ramona King? --Phil M. -------------------[ archived by Spectropop ]-------------------
Message: 10 Date: Sun, 27 Oct 2002 22:39:31 -0000 From: Mick Patrick Subject: Re: Ramona King Phil Milstein: > Anyone know of any pix of or b.g. info on Ramona King? Ramona King has always seemed a bit of a mystery figure, despite her lengthy recording career. See my attempt at a discography below - additions and corrections very gratefully received. The only picture of her that I have ever seen is on her hideously rare 4 track French Warner Bros EP of 1964. And I only have a small illustration of that item in a book. Her full name was Ramona Ruth King and she wrote many of her own songs, frequently with one Cleo King Jr, perhaps her brother or husband? She also co-wrote one of Sugar Pie De Santo's sides. A West Coast artist, many of her 45s are quite marvellous. "Oriental Garden", for example, arranged by Jack Nitzsche for Lee Hazlewood's Eden logo, is to die for. "What About You", on the same label, was also recorded by the Cannon Sisters and Charlotte O'Hara - it's hard to choose between the three versions. Ramona's version of "It's In His Kiss" falls between the original by Merry Clayton and Betty Everett's hit rendition. Again, it's a tough call to choose a favourite of the three. Jerry Riopell(e) was her producer at Warner Bros. It's tempting to assume that it was these great records which brought him to the attention of Phil Spector. I have no evidence to support my theory that Ramona is related to Clydie King, just a gut feeling. As many of you know, I named my pet cat after Ramona. Ramona King Discography Ramona King & Cleo: Dream On/Soul Mate (Arvee 5041, 1961) Ramona King: Oriental Garden/Soul Mate (Eden 3, 1962) Mind Reader/What About You (Eden 5, 1963) Ballyhoo/I Wanna Dance (Eden 6, 1963) It's In His Kiss/It Couldn't Happen To A Nicer Guy (Warner Bros 5416, 1964) You Say Pretty Words/Blue Roses (Warner Bros 5432, 1964) Run Johnny Run/It Couldn't Happen To A Nicer Guy (Warner Bros 5452, 1964) Hey Everybody/Make The Night A Little Longer (Warner Bros 5602, 1965) Stay Away From The Fire/What Have I Got To Cry About (Amy 989, 1967) Everybody Knows/It's You That I Want (Action 1053) A Few Years Later/I Choose You (Soul Set 104, 1975) Sugar Pie De Santo: That Lovin' Touch (Brunswick 55375, 1968) Written by Peylia Parham (aka Sugar Pie De Santo) and Ramona King MICK PATRICK -------------------[ archived by Spectropop ]-------------------
Message: 11 Date: Sun, 27 Oct 2002 22:48:13 -0000 From: Lynn Subject: An Oldie But A Goodie Hi! I guess that pretty well sums me up (an "oldie but a goodie!"). This may not be the right place to post a question like this, but I am getting a little desperate. Sure hope someone can help me out. I am looking for the title and artist of a song from the late 1960s. I remember a version done by Marilyn Maye that changed the gender of some of the lines. The original was sung by a man - or maybe by a group. The sound was a folk/easy listening sort of thing. (The Sandpipers come to mind, although I don't think it was them.) Anyway, here is what I remember of the lyrics: It was written on my mind like the back of an envelope, Rehearsed and very carefully ________ My ___________ was out of reach That I wrote while hanging out down at the beach. And then your father (?) asked if I had money for a haircut And I realized my hair was ________ Suddenly I wished I'd changed my shirt, And darling then your face was full of me, And then your eyes were too. And I knew that you knew that I knew that You knew that I knew that you knew. For some reason, the words Every Now and Then stick in my mind. Maybe this was the title, but I can find no reference to it anywhere. Does anyone remember this song? I hope so! Thanks! Lynn -------------------[ archived by Spectropop ]-------------------
Message: 12 Date: Sun, 27 Oct 2002 19:25:43 +0000 From: Phil Milstein Subject: made to be bad A call for title submissions: I'm considering compiling a CD-R of B-sides made to prompt programmers' to air only the A's. I'm not sure who invented this practice, but it appears to have flourished in the early to mid '60s, and inspired a lot of bent creativity. Methodologies included deliberately bad songs, off-key singing and playing, studio noises, idiotic titles, offensive lyrics, etc. My willingness to pursue the project will depend on how many of the songs I may have at hand or can easily acquire, but if I do go ahead with it I'll be happy to send a copy to anyone who contributes a selection idea or two. --Phil Milstein -------------------[ archived by Spectropop ]-------------------
Message: 13 Date: Mon, 28 Oct 2002 01:22:52 -0000 From: Richard Tearle Subject: Re: made to be bad I don't know if these were deliberate, but the B side of 'They're coming to take me away ha ha' by Napoleon XIV was the same song as the A side but played backwards. And there was a Beach Boys single of which the B side was about 1.00 long, but I'm afraid I can't remember either A or B side... These were, of course, UK releases. Cheers, Richard -------------------[ archived by Spectropop ]-------------------
Message: 14 Date: Sun, 27 Oct 2002 20:40:22 -0500 From: Jack Madani Subject: Paul Williams on Dexter's Lab? I just caught a "Prime Cut" on Cartoon Network, which is one of those music- video-ish sort of things that they slip in when there's a little time left over before the next program. This one featured Dexter of Dexter's Laboratory, and who should visit him but some professor who looked exactly like (and sounded sorta like) Paul Williams. And then they broke into a duet of a number that sounded like a cross between a Schoolhouse Rock number and an early Randy Newman song. The upshot of the song was "we can make music when we work together", and the final line of the chorus was "breathe in the bright sunshine". The video was entitled "Just An Old Fashioned Lab Song". I'm assuming it was really Paul Williams? -------------------[ archived by Spectropop ]-------------------
Message: 15 Date: Sun, 27 Oct 2002 20:15:36 -0600 From: Dan Hughes Subject: Re: made to be bad Phil, I'd go with two from Nino and April: 1-45 (flip side of Stardust), and I've Been Carrying a Torch For You So Long That I Burned a Great Big Hole In My Heart (flip side of Deep Purple). ---Dan -------------------[ archived by Spectropop ]-------------------
Message: 16 Date: Sun, 27 Oct 2002 19:27:59 -0800 (PST) From: Steve Harvey Subject: Re: made to be bad Hey Phil, The sax solo on the Jones Girl on the back of In the Still of the Night never changes. Same note through out the entire solo. Don't forget that many B sides end up becoming A sides. Kiss Him Good-Bye by Steam was deliberately written so it would not be played instead of the intended B side. Oh well! -------------------[ archived by Spectropop ]-------------------
Message: 17 Date: Mon, 28 Oct 2002 00:53:14 -0500 From: Country Paul Subject: Playing catch-up Just coming back from a hiatus - there will be a little catching up.... Phil Milstein discussed cool music in commercials. As someone commented, thanks to Volkswagen, Nick Drake has sold more records [CD's] dead than alive. My two cents, for what it's worth: "selling out" is one thing, like Led Zeppelin for Cadillac(? or is it Lincoln?) and the Clash's "London Calling" (although from the article Patrick cited, they don't seem to mind). There was a Devo track, "It's A Beautiful World," which some client also (mis) used in the same manner. However, lately commercials and college radio are about the only places left (without paying for it) that you can hear a cool new (or older) song and be actually turned on for a few seconds. I'm in favor of the trend until radio - or whatever follows it - gets a lot better or until (inevitably) the music choices get way too "stoopid" and it will be time for something else. (And it's good that some artists who wouldn't otherwise are getting some royalties - the manufactured pop machine types are rich enough already....) JB called "electronica a sadly maligned and disrespected (by older folks) new music." Hey, good music is timeless, no matter what the style. Bring it on. (I'd comment further but I don't want to wander way off topic.) And I commend all to the article JB linked to from theBoston weekly paper re: DJ's and requests, http://www.weeklydig.com/?ContentId=1567. The salient quote: "...{T}he general public, the great unwashed out there, is comprised mostly of people who've never learned to think for themselves or try to discover anything that hasn't been force-fed to them." That's why they rejoice at wedding-band toons and we S-poppers and others with broader tastes run for the door. (And yes, indeed, at a charity ball last Friday Night, "Dancing Queen" got 'em up and dancing while I went in search of earplugs!) Tim was looking for Christmas songs. Some less conventional suggestions: - Carnegy Hall [spelling correct], The Bells of San Francisco (Atco, 1967) - hippie satire, but like the best satire, well-played, produced and performed. I sent a dub to Brian Linds who used it on his Christmas show last year. - Pure Gold, Chase These Christmas Blues (a small label from Pittsburgh, late '80's) - neo-doo-wop, but beautiful and credible, and a really nice song. - Gene Autry, The Three Elves (Hardrock, Coco and Joe) - early 50's - I remember a cartoon video that went with this song. Anyone know where to find it (the song - video optional) without breaking the bank? Welcome to the group, Tim. And Jeffrey Glenn, I never thought of Tommy Roe's "It's Now Winter's Day" as a Christmas song - just as a masterpiece. (Your albums are certainly eclectic, and considering the context, "The Holly and the Ivy League" has to take some kind of prize. Of course, "Bob Sled & the Toboggans" is another winner....) Back to instrumentals for a moment - for the Brits in our gang, who was Monty Kelly who did "Summer Set" (on Carlton, US)? Was it his band, or was he the clarinetist, or was that the earlier-mentioned Mr. Bilk? And was Reg Owen, who did "Manhattan Spiritual" (on Palette, US), a big deal beyond that one record? Both tracks were hits of some size in the states, usually getting airplay when DJ's deadrolled up to the hour to meet the news. Hans Ket: As a Yank, I always thought the Ivy League were a one-hit wonder, too, but the hit was "Funny How Love Can Be," a beautiful song released here on Cameo. Stephen Braitman and Jeff Lemlich: thank you for the Nooney Rickett/Joni Lyman histories. Much appreciated. (Cricket Rickett?!?!? Pretty good, actually; up there with another of the best real names I ever heard, a New York theatrical agent who goes by Biff Liff. Really.) Louise: thank you for you (once again) thoughtful comments, this time on my "hippies" treatise. The term has come in for lots of bashing, especially in recent years by contemporaries who one would hope might know better, but I'm grateful for my experiences in the era, and for what I learned and have been able to carry forward. I'm not nostalgic for the times - who would want to re-live that "wonderful" Nixon era - but I love the music and what it meant, and hopefully I've learned from history and won't have to repeat it (unless some political leaders who haven't learned drag us into it again). Phil, thanks for your insight, too. I did see Hendrix's first headlining tour, not the Monkees opener. Even with the college gym's horrendous acoustics, he made the audience completely his own right up to the fateful guitar-smashing, which divided the crowd neatly in two. Also in thank-you mode, much appreciated leads to the Shirley Ellis and Bob Welch websites. I'd always been curious about Lincoln Chase, too - another great name as well as a talented writer. And to hear that Tom Rapp is alive and well - now there's an artist who deserves a few more pennies in royalties from someone using his music in a commercial! Neil Hever: regarding a very good hillbilly/rockabilly musaic site, Spectropop correspondant Stephen Canner hosts hillbilly@yahoogroups.com. I'm on it, too - some very erudite individuals there, and knowledge you wouldn't believe. There's more "stuff" to have to cut through there, but the trip is usually worth it IMHO. "Zombie," I didn't know of any other spelling for Alzo's partner, but Alzo as a solo artist and Alzo & Udine were faves of one of our jocks at WHCN in Hartford, CT in the early '70's. While I never really developed a taste for their jazz/r&b influencedrock, they actually sold a few copies of their albums in central Connecticut. Interesting to see them mentioned here. BTW, with a name like Uddin, I'd probably modify it to a stage name, too! John Clemente: "Girl Groups" is cool. Your critic isn't. Thanks for the labor of love. Love counts a lot here - as does your accuracy and passion. Way to go. And on the subject of girl groups and DCP Records, they had a fine one with the Crampton Sisters, "I Didn't know What Time It Was." Definitely of its time - early 1964 - first 45 on the label. Got to the bottom of the Hot 100, if I remember right. Finally, re: "no" songs, the pinnacle (or is it nadir) must go to the politically incorrect "No, No, No" by the Chanters on Deluxe, an otherwise very fine little-boy-sound doo wop group (who released this 45 twice and had a small r&b hit with it both times): "No, no, no - don't kiss me anymore, no, no, no - I told you once before, no, no, no - don't kiss me anymore. 'no, no, no' means 'yes, yes, yes!'" So I've made it all the way up to a week ago - and "I bid you goodnight, goodnight, goodnight". (from the Incredible String Band on Elektra, with a pop cover by Condello on Scepter[!]) Country Paul -------------------[ archived by Spectropop ]-------------------
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