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Spectropop - Digest Number 654

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______________        S  P  E  C  T  R  O  P  O  P        ______________
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                        Jamie LePage (1953-2002)

There are 25 messages in this issue.

Topics in this digest:

      1. Re: AMERICA AND THE BRITISH INVASION....  a more serious view...
           From: Neil Hever 
      2. Re: AMERICA AND THE BRITISH INVASION....  a more serious view...
           From: Shawn Baldwin 
      3. Re: AMERICA AND THE BRITISH INVASION....  a more serious view...
           From: Louise Posnick 
      4. AMERICA AND THE BRITISH INVASION.... thread closed
           From: Spectropop 
      5. Phil Spector
           From: Eddy Smit
      6. Re: made to be bad B sides
           From: Barry Green 
      7. Re: Cryin'
           From: Lynn 
      8. Re: made to be bad B sides
           From: Mick Patrick 
      9. Re: Lounge Legends, Lee Hazlewood, Revola
           From: Guy Lawrence 
     10. CD players
           From: Keith Beach 
     11. Re: Mystery instrumental
           From: Lynn 
     12. Shaggs
           From: Stephen M.H. Braitman 
     13. why we like what we like
           From: Don Lonie 
     14. Vari-CD players
           From: Phil Chapman 
     15. Re: Joyce Webb/Dean Christopher/Jeff Barry
           From: Stuffed Animal 
     16. Re: Dave Clark Five's Greatest Hits
           From: Billy G. Spradlin 
     17. Re: Bob Lind etc
           From: Leonardo Flores 
     18. The Ballad Of Lucy Jordan
           From: Dan Hughes 
     19. Re: the Shaggs
           From: James Botticelli 
     20. Re: Bob Lind
           From: Dan Hughes 
     21. Re: the Shaggs
           From: Phil Milstein 
     22. Re: Velvet Underground . . . No, not that one!
           From: Javed Jafri 
     23. Shaggadelick!
           From: Steve Harvey 
     24. Re: Cutie Pop and beyond... Suggestions?
           From: Kent 
     25. Re: so bad it's good...
           From: Xavier 


Message: 1
   Date: Fri, 01 Nov 2002 18:03:22 -0000
   From: Neil Hever 
Subject: Re: AMERICA AND THE BRITISH INVASION....  a more serious view...

Richard Tearle wrote:
> But knowing that many bluesmen came over here and couldn't 
> understand why they had adulation here and nothing in their 
> own country rings true. Also, one of my favourite artists, 
> Bonnie Raitt, has often championed the cause of (mainly) 
> blues artists who have been denied royalties; again, this 
> lends a little credence (no pun intended) to what Louise 
> has said. 

Richard et al, In the US there was a well documented revival 
of interest in American roots music including blues artists 
sparked no doubt by the British invasion and by great American 
bands like CCR. Indeed, many people took the time to re-trace 
the roots of the current rock offerings and found artists like 
Muddy Waters and Howlin' Wolf again. Regarding royalty payments 
for black blues men and proto-rockers, the history of it is 
truly shameful.  However, I still do not see any kind of 
conspiracy there - just poor business acumen on the part of many 
musicians, who through no fault of their own, were fleeced by 
unscrupulous managers and handlers.  Even Jimi Hendrix fell prey 
to this kind of outrage.  A conspiracy?  No. Unfortunate and 
very wrong?  Yes. Even Willie Dixon, one of Chicago's most savvy 
blues men, took over 20 years to bring Led Zeppelin to task for 
Best wishes, 

Neil Hever

-------------------[ archived by Spectropop ]-------------------
Message: 2 Date: Fri, 01 Nov 2002 17:56:01 -0600 From: Shawn Baldwin Subject: Re: AMERICA AND THE BRITISH INVASION.... a more serious view... Louise: > the British invasion, as it was called then, did an outrageous > amount of damage to the, finally, recognized black artists of > the times like Marvin Gaye..... Marvin Gaye was one of the few artist that prospered during the British Invasion, most of the major Motown artists were not affected by the British Invasion; Martha Reeves and The Vandellas, Diana Ross and The Supremes, The Temptations, Marvin Gaye, The Four Tops had most of their biggest hits during the British Invasion. You know, very little is said about The Soul Music Invasion of Britain. Yes, some blacks acts suffered, but so did some non-black acts. Steve H: > Motown got a boost as well when groups like the Beatles > started covering their tunes. > It was also during this era that a lot of blues artists > found their main income coming from white audiences as > well. As Muddy Waters once said, "The only black faces > I see at my gigs are mine and the band's". Motown didn't need any help from the Beatles in bolstering their records. Most of those artists ran neck and neck with the Beatles. Another thing about black support for their artists in the 60s, the majority of blacks didn't have money for concerts and such as did their white counterparts. It wasn't because blacks didn't want to support their artists - they certainly do now. Shawn -------------------[ archived by Spectropop ]-------------------
Message: 3 Date: Thu, 31 Oct 2002 19:54:59 -0800 From: Louise Posnick Subject: Re: AMERICA AND THE BRITISH INVASION.... a more serious view... Steve Harvey: > Regarding the idea that the British Invasion was some > conspiracy to keep black music off the air: The first > record label to release a Beatles album wasn't Capitol > Records, but Veejay, a black-owned label out of Chicago. If you listen to what happened to Marvin, Chuck Berry, the Temptations, and so many others, the real story would be revealed to you... the only way a black-owned label was going to be mainstream was to get on the gravy train and record a white group... Americans were so prejudiced in those days, that those with MONEY... not the white audiences you mentioned (those were the kids)... were influencing music ... this is historical and artists suffered long before they made any money... like I said, the Brit rockers saw these folks as their role models and you has not changed much in some ways... the difference is now people of color have some money too and can be influential... but in America, rarely allowed to be powerful... it includes the music business... right now, EMINEM is earning more money than any of the original rap groups... this has always been the way... and always will, I am embarrassed to say. Richard: > knowing that many bluesmen came over here and couldn't > understand why they had adulation here and nothing in > their own country rings true. You said it... the artists couldn't believe their adulation in Europe... that was because mostly the young would publicly applaud their accomplishments.. I am not, at all, talking about Europe.. only America... and what I am saying is true... I wish I could remember the name of the documentaries I saw on Public Television, last year... but they were long and disheartening... our music history revealed... why do you think so many jazz musicians moved to Europe... respect and acceptance. Neil Hever: > .. One might say with little reference to any scientific study > that popular black music in America experienced its greatest > growth both artistically and economically during the 1960s. Not according to the black artists... they were still there, but they were struggling... I did not say they were not recording, I am saying that just as they were making money... here came the Beatles... we would love to believe it was all artistic, but being in the music business for 30 years of my life in one form or another, I can assure you, there was a lot to bringing those guys over here... not just about them... a lot about the American right...Americans know, more now than ever before, how our government hurt black folks moving up... Malcolm X, Martin Luther King, the... remember the song Night Train... listen carefully... it was meant to have us never forget the different reasons why our heroes were killed... some for passion, some for politics... sorry but true... so don't be puzzled... we always kept black folks down, even in the music business...remember, I am talking about money here, not the faithful. Those of you who have commented on my remarks about the British Invasion are making valid points... and I keep reading, in your comments, over and over again, how the white artists made sure to bill the black artists on their tours and how the interest in black artists was REGAINED through the British invasion... The original artists of blues and then rock had to be INVITED to tour with the groups that admired them... should it not have been the other way around? Well, it wasn't... the white groups, especially the British groups, did indeed, pay homage to the originators and the reason they did that was because the originators were left out in the cold by the record companies... the artists had compassion and demanded black groups be represented... and because of their strength at the time, they could call the shots... few black artists ever got to call the shots when it came to their music... Berry Gordy pioneered that ability for black artists, but even he suffered losses during the British invasion... this discussion started because of the ongoing discussion about who was better than whom in British rock... I just wanted to say... to many of us it did not matter...we did not listen or purchase or go to concerts... not that we had anything against the artists... we just knew what the deal was and we did our best to continue to support the American artists, both black and white, but mostly the black artists, as they were the foundation... Elvis was not the king of rock... there were kings of rock... Chuck Berry, Little Richard, Fats Domino... even Elvis knew that... maybe that is why he had such a hard time... he knew he didn't deserve all he got... but what could he do but live the life and feel guilty... as many rich white artists do... this is a tough discussion to have... as you are all such cool folks, loving all the music.. but really, whether you believe me or not, you can see by who made the bucks and got outrageous fame... compared to the Beatles, the real heroes of Rock and Roll were barely heard... we listen NOW, 'cause we are more aware... thanks guys... I don't think I can say much more on this subject. Best Regards. Louise -------------------[ archived by Spectropop ]-------------------
Message: 4 Date: Sat, 02 Nov 2002 11:26:10 -0000 From: Spectropop Subject: AMERICA AND THE BRITISH INVASION.... thread closed Admin. Note Once in a while, Spectropop declares closed a particular discussion thread. The recent "America & the British Invasion" debate has been very stimulating. Indeed, your moderators have talked about little else between themselves these last few days. However, we feel the topic is just too deep and political to remain within the Spectropop ambit. Our declared area of interest is, after all, pop music, not politics, ingrained racism or blues musicians. The discussion is extremely valid and important, and should continue, but in a more appropriate place. So, dear members, please sustain the discourse elsewhere, or among yourselves, but as far as the Spectropop Forum is concerned, the "America & the British Invasion" discussion thread is now closed. The Spectropop Team -------------------[ archived by Spectropop ]-------------------
Message: 5 Date: Sat, 02 Nov 2002 10:06:36 -0000 From: Eddy Smit Subject: Phil Spector Apparently Phil Spector is back in business. Not only does he seem to be producing the new Starsailor album, The Vines seem to have him lined up for their next album as well. Eddy -------------------[ archived by Spectropop ]-------------------
Message: 6 Date: Sat, 02 Nov 2002 07:16:41 EST From: Barry Green Subject: Re: made to be bad B sides I thought i'd throw in some examples from the 'Immediate' label, the sixties brainchild of Andrew Loog Oldham and Tony Calder. Andrew being a big fan of Phil Spector took a leaf out of his book by placing instrumental tracks on many of the early single 'B' sides. Most of these were also credited to Oldham as the writer. They sound in fact like backing tracks and the 'A' side artist clearly did not feature on these tracks. Some examples of the artists with the relevant 'B' sides are below IM004 Gregory Philips - That's The One IM009 Factotums - Run In The Green & Tangerine Flaked Forest IM010 Golden Apples of the Sun - Chocolate Rolls Tea & Monopoly IM025 Charles Dickens - Our Soul Brother Th Then the was the spoken 'B' side with Rick Derringer introducing the members of the McCoys and only lasted 1 min 37 secs IM076 The McCoys - This Is Where We Came In There was also a 'reversed' backing track used as the 'B' side to the Marquis of Kensington single IM052 Marquis of Kensington's Minstrels - Reverse Thrust 1 min 56 secs Then there was the 'B' side of Fleetwood Mac's 'Man of the World' which gave Jeremy Spencer the chance to 'shine' in his finest Rock and Roll parody. Which in fact is so bad that it's good. IM080 Earl Vince and the Valiants - Somebody's Gonna Get Their Head Kicked In Tonite And finally the USA only single release by 'The Hill' which must have one of the strangest names for a 'B' side instrumental ZS7 5016 The Hill - The Fourth Annual Convention Of The Battery Hen Farmers Association Part II..(not sure what happened to Part 1?) All in all Immediate seem to have covered most bases during their 4 years in business from 1965 to 1969. All the best Barry -------------------[ archived by Spectropop ]-------------------
Message: 7 Date: Fri, 01 Nov 2002 21:00:10 EST From: Lynn Subject: Re: Cryin' I continue to be in awe of some of the discussions here. Just when you think you must be the only person in the world who likes a certain little-known song or has some inane/ profound thought about life or music or whatever, you find another person who shares the same taste or has had the same thought. And amazingly, it is not just ONE person here that I seem to have things in common with, but SEVERAL! Hmm... I have spent a good deal of time in recent years trying to pinpoint WHAT it is about the songs I am especially fond of that makes me so fond of them. I even made a list of no less than 10 things that have appealed to me about one song or another - things like harmony or lyrics or even the "underdog factor". I guess at one time I had hoped to use this list to determine what my very favorite song of all-time is. I guess it's not surprising that I never found one song that had all 10 things on my list, but there are many that had 8 out of the 10. In retrospect, I don't think one can really quantify something like this. I decided to say that I have lots of "favorite songs", many of which have moved me to tears. I hesitate to mention any by name, since they are sort of personal and I doubt that many other people would feel the same about my choices. However, I have so many kindred spirits here, I doubt anyone would respond with an "Eeeeew! You like THAT song???" So, here are a few in my "Beautiful/Move Me To Tears" category: "A Friend of Mine Is Going Blind" by John Dawson Read, "Dust in the Wind" by Kansas, "Vincent" by Don McLean, "If I Fell" by the Beatles, "Brooklyn Roads" by Neil Diamond. ::sticking my fingers in my ears to avoid any stifled guffaws that may be escaping someone's well-meaning lips:: Of course, I have other categories, such as the "Rockin'/Kick Ass Numbers", "Silly/Demented", and the "So Bad That I Actually Like It" topic discussed earlier this week. Like a few others who have posted here, I have the DC5's Greatest Hits ("Because" is one of my all-time faves)and the Royal Guardsmen's Greates Hits ("Baby, Let's Wait"). And I always liked "Leaning on the Lamp" and "Just A Little Bit Better" by Herman's Hermits. Okay, Spectropoppers, I have another "Name That Tune" sort of question for you. This is difficlut because it is an instrumental, either 50's or 60's. It is basically a piano piece, although there is a part with strings in the middle. The overall effect is of raindrops, with the melody moving down the scale. It must have been used in a movie at some time, but I have no idea which one. The best I can do to explain it is to give you the first line using piano notes, for the Key of C, in 2/4 time: 1 and 2 and 1 and 2 and 1 and 2 and A G G F F E 1 and 2 and 1 and 2 and 1 and 2 and E B C E D D I hope this isn't as idiotic as it looks! Lynn -------------------[ archived by Spectropop ]-------------------
Message: 8 Date: Sat, 02 Nov 2002 12:17:55 -0000 From: Mick Patrick Subject: Re: made to be bad B sides Phil Milstein: > A call for title submissions: ...B-sides made to prompt programmers' > to air only the A's...bent creativity...deliberately bad songs, off- > key singing and playing, studio noises, idiotic titles, offensive > lyrics, etc. Jeff Lemlich: > Allow me to add "(Love Me) Now" by the Angels to the list. The flip > side of "My Boyfriend's Back" supposedly features the lovely sounds > of trash cans being flipped over among other creative bits of percussion. A perfect example. An unbastardized version of "(Love Me) Now" was contained on the Angels' "My Boyfriend's Back" long-player, proving that the 45 release was deliberately spoiled to prevent broadcast. The un-wrecked version is featured on the group's great "Best Of" CD released by Mercury/Chronicles a few years back. The UK issue of that CD, on Universal's budget Spectrum logo, is a great bargain at about 5 or 6 quid. But you all knew that, right? The rendition with added bangs and crashes is to be obtained only on the original single, not a tough one to find. Peggy Santiglia, what a goddess! I very clearly spotted her singing on a track by the Toys just recently. MICK PATRICK -------------------[ archived by Spectropop ]-------------------
Message: 9 Date: Fri, 18 Oct 2002 05:05:38 -0700 From: Guy Lawrence Subject: Re: Lounge Legends, Lee Hazlewood, Revola Vincent Degiorgio wrote: > Any idea where a complete list of the Lounge Legends > series can be found ? Hi Vincent, try I've checked with the UK distributor and Ace's Lee Hazlewood CD should definitely be in the shops on Monday. The Ace website has yet to be updated at the time of writing. As well as the Blades Of Grass (out now) and the Moon CD (due in two weeks) there are four more exciting releases due from Revola on November 25th. Details should be at Joe has been busy! Regards, Guy Lawrence. -------------------[ archived by Spectropop ]-------------------
Message: 10 Date: Sat, 02 Nov 2002 14:58:58 -0000 From: Keith Beach Subject: CD players I've looked through recent postings but I can't find the one where Phil Chapman suggested 2 CDplayers that would adjust the speed of a CD without changing the pitch etc....I'm not going mad am I? Anyway. Today I found this bit of software which would seem to fit the bill cheaply. It's called 'Amazing Slow Downer' and can be found at keith beach -------------------[ archived by Spectropop ]-------------------
Message: 11 Date: Sat, 02 Nov 2002 11:11:49 EST From: Lynn Subject: Re: Mystery instrumental Oops! I just read my post about the "raindrop" instrumental and my lame attempt to write the notes beneath the measure didn't work. I'll try again: 1 and 2 and 1 and 2 and 1 and 2 and A_______G___G_______F___F_______E 1 and 2 and 1 and 2 and 1 and 2 and E_____B_C___E_______D___D Maybe someone can decipher it and help me. Lynn -------------------[ archived by Spectropop ]-------------------
Message: 12 Date: Sat, 02 Nov 2002 10:00:21 -0800 From: Stephen M.H. Braitman Subject: Shaggs Oh man, The Shaggs. Found a copy of the original LP for $2 some years ago at an SF record store. Inside was a tear sheet review of the Rounder Records reissue - they obviously thought they were selling the reissue! -------------------[ archived by Spectropop ]-------------------
Message: 13 Date: Sat, 02 Nov 2002 12:20:07 -0800 From: Don Lonie Subject: why we like what we like If I could figure out why I like what i like, maybe I could teach myself to dislike things that I feel like I shouldn't like so much. For instance, I joined this list originally years ago because of The Free Design. I still can't figure out why music with such insipid lyrics is so addictive. I do listen to a fair bit of music without lyrics but there are large areas of my taste where lyrics are pretty important. Generally the only time I can handle bad lyrics is when I can't really hear them, which is often the case with me. But that doesn't work with The Free Design because the lyrics are very clear. And while I'm on the topic of lyrics, there are many mysteries there. I tell myself that I don't like lyrics that are too obvious. A good example would be "Sometimes when we touch". The next line "The honesty's too much" gets my vote for the worst lyric of all time. On the other hand, I love classic country music of the fifties and sixties in spite of the fact that those lyrics are often "on the nose" or a bit too obvious. I wonder if Johnny Cash could have gotten away with a lyric like "the honesty's too much". If he'd somehow slipped that line into the song "I still miss someone", could he have made it work? This is way too big a topic to be definitive but it's nice to try anyway. DL -------------------[ archived by Spectropop ]-------------------
Message: 14 Date: Sat, 02 Nov 2002 18:48:47 -0000 From: Phil Chapman Subject: Vari-CD players Keith: > CD players that would adjust the speed of a CD > without changing the pitch etc.... Hi Keith, of the two links I posted only one of them actually says it will time-stretch (i.e. change pitch not tempo, and vice versa) I can't ascertain if the others have that feature: Here's some other software that will enable computer-housed CD players to do what you want. Phil -------------------[ archived by Spectropop ]-------------------
Message: 15 Date: Sat, 02 Nov 2002 19:05:49 +0000 From: Stuffed Animal Subject: Re: Joyce Webb/Dean Christopher/Jeff Barry From: Davie Gordon, Subject: Joyce Webb: > I've been researching the career of Joyce Webb and noticed that > she recorded "I Don't Wanna Be Left Outside" (Greenwich - Rashkow) > for Columbia ( 44845, 1969). Production is credited to "Dean > Christopher for LK Productions. Joyce Webb also released a great Jeff Barry/Ellie Greenwich two-sider on ABC Records' Probe subsidiary: "I Don't Want Nobody If I Can't Have You" b/w "I Believe In Love." It was issued between 1968 and 1970. Dean Christopher (brother of Jeff Barry's wife Nancy Cal Cagno), produced this one, too. DC worked as a staff arranger at Steed Records, and I know of two other records he produced: "You Made Me A Man" by the Neal Ford Company (ABC) and "Mister Music Man" by The Mission (Ranwood). Speaking of Jeff Barry-related music, can anyone tell me who produced a wonderful UK cover version of "Wait 'Til My Bobby Gets Home?" The label, I believe, was either HMV or Columbia, and the artist was Beverley Jones. Also, who produced Ricky Valance's chart-topping UK cover of "Tell Laura I Love Her?" Stuffed Animal -------------------[ archived by Spectropop ]-------------------
Message: 16 Date: Sat, 02 Nov 2002 20:18:46 -0000 From: Billy G. Spradlin Subject: Re: Dave Clark Five's Greatest Hits On the Audities mailing list we had a thread about "What was the First Power Pop Song" and while The Who's "I Can't Explain" was my choice I put "Any Way You Want It" on my Honorable Mention list. The DC5's Greatest Hits on Epic is an excellent album! My only gripe is that it's only around 23 minutes long, but my copy the grooves were mastered W-I-D-E to cram all that noise onto the vinyl. -------------------[ archived by Spectropop ]-------------------
Message: 17 Date: Sat, 02 Nov 2002 20:27:30 -0000 From: Leonardo Flores Subject: Re: Bob Lind etc Previously: > I think it was entitled "The Elusive Bob Lind". When we got home I > remember my brother and I searching high and low for "Elusive > Butterfly" and being disappointed on it not being included. I found that LP at the thrift store and was quite confused by that title as well, because I already had the World Pacific LP. One of my favorite Bob Lind songs "White Snow" is on that Lp, even tough the rhythm is off a bit, but it kind of adds to the somberness of the songs. Bob Lind's music was creepy to begin with and even without Jack Nitzsche production it still had that Bob Lind sound. Jack and Lind made a great pair for producing and writing music, they fit together so well. I've been dying to hear the 4th LP on Capital but it's very tough to find. The good thing is that a lot of people covered his songs, Thanks! Leonardo Flores -------------------[ archived by Spectropop ]-------------------
Message: 18 Date: Sat, 02 Nov 2002 14:42:39 -0600 From: Dan Hughes Subject: The Ballad Of Lucy Jordan CP sez: >...[I find Marianne Faithfull's] "Ballad of Lucy Brown" chilling and > brilliant. This fabulous Shel Silverstein song was actually the Ballad of Lucy Jordan. Gotcha! ---Dan By the way, have you heard the version by Dr. Hook? Wonderful stuff. -------------------[ archived by Spectropop ]-------------------
Message: 19 Date: Sat, 02 Nov 2002 14:50:16 -0500 From: James Botticelli Subject: Re: the Shaggs Phil Milstein: > Their name, by the way, was in reference not to a > hairstyle but to the Disney movie The Shaggy Dog. The Shag was an early 7T's haircut, also a cult dance on the Beach Music scene. Weren't the Shaggs mid 6T's? -------------------[ archived by Spectropop ]-------------------
Message: 20 Date: Sat, 02 Nov 2002 16:31:16 -0600 From: Dan Hughes Subject: Re: Bob Lind Don't remember if anyone mentioned this, but the Elusive Bob Lind album was a bunch of tracks he recorded long before he did Elusive Butterfly. When he had his hit, suddenly there was a market for the earlier recordings. So clever to purposefully mislead the public (with that Elusive Bob Lind title) into thinking this was the new album rather than tapes from the beginning of his career. -Dan -------------------[ archived by Spectropop ]-------------------
Message: 21 Date: Sat, 02 Nov 2002 20:01:25 +0000 From: Phil Milstein Subject: Re: the Shaggs James Botticelli wrote: > The Shag was an early 7T's haircut, also a cult dance > on the Beach Music scene. Weren't the Shaggs mid 6T's? I believe Philosophy Of The World was recorded in '69. It received a fair amount of airplay at the time on WBCN in Boston, until a DJ there played it for a visiting Frank Zappa, who was impressed enough to steal the station's only copy, stopping its airplay dead in its "tracks." Who knows where, absent that criminal event, the 'BCN momentum might have led! Only kidding, of course; in fact, it was a moot point, as the pressing was so small (the family believes the 25 or 50 that they received were the only ones made, although that account was recently disputed by the label owner) that no copies were available for sale. Following the Zappa caper the album went even deeper under ground, enjoying only very minor cult interest, primarily in the Patti Smith Group camp, until the early '80s, when NRBQ reissued it via Rounder Records. Upon that reissue it became an instant cult classic, and has been regaining its lost momentum ever since. A New Yorker article about two years ago stimulated Tom Cruise's production company to buy the film rights attached to the article. With uncharacteristic boneheadedness, however (as Cruise is ordinarily nothing if not savvy about choosing projects), the company promoted that largely unnecessary licensing deal before securing the rights to either The Shaggs' story directly or to their music. Outwitting Cruise, the family rode a small bidding war until finally licensing the properties to a competing company, Artisan Entertainment, of Blair Witch Project fame and wealth. A writer-director was hired, and the project was moving forward until the events of Sept. 11 '01 knocked it off-course. I don't know where it stands now, and personally I'd be thrilled if it never got made. By the way, the Shag dance actually dates to the late '40s! --Phil M. -------------------[ archived by Spectropop ]-------------------
Message: 22 Date: Sun, 03 Nov 2002 21:35:04 -0500 From: Javed Jafri Subject: Re: Velvet Underground . . . No, not that one! From Phil Milstein: > The Land Down Under appears in some ways to have been an alternate > pop universe, at the same time both attached to and detached from > the wider Western pop world. In the late '60s they too had a > Velvet Underground, a band which has since claimed (and no one's > disputing it) that they were unaware of the existence of the U.S. > band of the same name. How they came up with their's, however, I > don't know. Wasn't The Aussi VU an early incarnation of ACDC ? Javed -------------------[ archived by Spectropop ]-------------------
Message: 23 Date: Sat, 02 Nov 2002 18:50:28 -0800 (PST) From: Steve Harvey Subject: Shaggadelick! Yes, the Shag was a various of the jitterbug done on southern states like the Carolinas and Georgia. Like the jitterbug (which continued with 50s rock and roll)it transcended the big band era and ended up being done to what is now known as "beach music". -------------------[ archived by Spectropop ]-------------------
Message: 24 Date: Sun, 03 Nov 2002 03:02:46 -0000 (GMT) From: Kent Subject: Re: Cutie Pop and beyond... Suggestions? Previously: > About seven years ago, seven separate "Cutie Pop" volumes were issued. > Each was on a seperate Japanese label (lets see: King, Nippon Columbia, > Tokuma, I'm forgetting the others). I have a broader question about Japanese 60s/70s pop. Any Spectropoppers have recommendations of material from this period? I'm specifically looking for 60s/70s Japanese "equivalents" (even loosely) to: French ye-ye/go-go girl pop (ie: France Gall, stuff on the Ultrachicks collections). Lusher, orchestrated Euro (esp. French) pop (esp. moodier stuff like Francoise Hardy circa late 60s-early 70s or Iranian singer Googoosh) Girl groups (Shangri-Las) or quieter, breathy Spector style (a la Paris Sisters). Are there any good info sources (websites or mailing lists) dealing with older Japanese pop? Most Japanese music sites seem to concentrate exclusively on modern J-Pop sadly. Any tips in this realm would be highly appreciated. There's not a lot of (English) information out there. Cheers, Kent -------------------[ archived by Spectropop ]-------------------
Message: 25 Date: Sat, 02 Nov 2002 19:03:12 -0800 (PST) From: Xavier Subject: Re: so bad it's good... Indeed, who knows why people do like things they shouldn't, or don't like things they should...I actually can't stand The Shaggs, despite many of my sensible friends loving them. However, I love Mrs. Miller and Shooby Taylor to death, and get a sadistic thrill in subjecting people to them (provided they aren't armed at the time). And who can forget the Portsmouth Sinfonia's take on "Pinball Wizard"?? Or...anything by Harvey Sid Fisher? Does anyone remember the group Bowser and Blue who did "Polka Dot Undies"? Legend has it that it was actually Bob Dylan doing a Bob Dylan parody... Dementedly, Xavier ===== "Extraordinary how potent cheap music is." --Noel Coward -------------------[ archived by Spectropop ]-------------------

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