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Spectropop - Digest Number 746

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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. Crewe & Spector
           From: Bobster 
      2. Re: Bob Crewe
           From: Mikey 
      3. U.S. Producers' Top 10s
           From: Monophonius 
      4. Kurt Harris
           From: Mike Edwards 
      5. Re: The two Penny Valentines
           From: Lou Bova 
      6. 4 Seasons' Little Boy
           From: Paul Urbahns 
      7. Re: 4 Seasons
           From: Javed Jafri 
      8. Re: 4 Seasons
           From: Billy 
      9. Re: Seasonal Similitude / Marcia Strassman
           From: Javed Jafri 
     10. Re:  Nick DeCaro on 45
           From: Mick Patrick 
     11. Re: Marcia Strassman
           From: Lou Bova 
     12. Lounge psych?
           From: Phil Milstein 
     13. Lou Christie / Jack Nitzsche
           From: Tom Taber 
     14. Re: Northern Soul Cover-Ups
           From: Peter Richmond 
     15. Help with the Caravelles
           From: FS 
     16. POWER, thinking out LOUD
           From: Martin Roberts 
     17. Re: Cool Edit Pro Tools learning curve
           From: James Botticelli 
     18. Re: Help with the Caravelles
           From: Richard Havers 
     19. Disbanded but not forgotten
           From: Justin McDevitt 
     20. Re: The 4 Seasons and The DynoVoice Story.
           From: Martin Roberts 
     21. Re: 4 Seasons
           From: Richard Havers 
     22. Re; Bob Crewe / Four seasons
           From: Artie Wayne 
     23. New DVD releases
           From: Mike Edwards 
     24. Memories of childhood
           From: Martin Roberts 
     25. Re: Marcia Strassman
           From: Mick Patrick 


Message: 1
   Date: Mon, 13 Jan 2003 19:39:14 -0500
   From: Bobster 
Subject: Crewe & Spector

Imagine Ronnie Spector belting out "Let's Hang On"--imagine 
Frankie Valli wailing "Be My Baby", "She's A Rebel" or "You've 
Lost That Lovin' Feeling"!!  (They actually may have covered 
tunes on various LPs "between the studios", as it were, altho'
I have no knowledge of it) Why not?  I like to think of Bob 
Crewe's team and Phil Spector's team as being two examples of 
the TREMENDOUS talent that gave us the 6Ts sounds (at the right 
time!), that made (make) us dance and speak to our hearts and 
souls. Choose between "A Lover's Concerto" (The Toys) and "Puddin 
'N' Tain" (The Alley Cats)?!!  Oh wow--I guess I'll just have 
to compromise and play them both at the same time. On second 
thought, let's not and.....


-------------------[ archived by Spectropop ]-------------------
Message: 2 Date: Mon, 13 Jan 2003 19:53:45 -0500 From: Mikey Subject: Re: Bob Crewe On the subject of Bob Crewe, I have to agree that Frankie and The Seasons owe their musical Life to this man. Sure they had lots of talent. But they had that talent for the 7 years that they played dive nightclubs in New Jersey, before they hooked up with Bob Crewe. What Bob brought to the Seasons was a unified, irresistible production sound that made their records instantly recognizable, and therefore "accepted" in the culture of radio stations and the record buyers' minds. Bob's records always had a happening backing track that was interesting, laden with hooks BEFORE the vocals were ever put on. This element, combined with Frankie "attacking" the high falsetto is what made the Seasons' records so DIFFERENT than the competition. The same way The Beach Boys records defined the West Coast, the Seasons defined the East Coast. The drums at the beginning of "Save It For Me", and the heavily echoed organ solo are a good example of the "hooks" I mentioned before. Those were "Vintage 4 Seasons" production touches that nobody else could really duplicate. The sound isn't really clean, it has a layer of "grit" on it, for lack of a better word (because of the studio's equipment) that suggested "New York" to record buyers. Without Bob Crewe, it's very likely that the Seasons might have had some minor chart action, but it was the COMBINATION of Bob's production intuition and Frankie's voice that made the Seasons' sound. Bob could do it with others too. Check out "Navy Blue" by Diane Renay.....those punchy horn figures suggest a ship's foghorn, slowly sailing away painting a picture of a lonely sailor leaving his babe (Diane). It's this kind of imagery, much like Spector's records, that strike a responsive chord with the public. That's TRUE record production, making a 2 minute soap opera. Nobody IMHO, could do that better than Bobby Crewe. Best, Mikey East Coast, USA -------------------[ archived by Spectropop ]-------------------
Message: 3 Date: Tue, 14 Jan 2003 00:54:39 -0000 From: Monophonius Subject: U.S. Producers' Top 10s Readers of my Bob Crewe post may wonder just how many Top 10s he produced. The following includes some of our most-discussed producers in this group. I chose the time period 1957-1969 as a basis of comparison because these producers all were active then. U.S. Top 10 Records: Holland & Dozier, 27; Bob Crewe, 24; Leiber & Stoller, 17; Snuff Garrett, 16; Phil Spector, 13; Smokey Robinson, 13; Shadow Morton, 04 . -------------------[ archived by Spectropop ]-------------------
Message: 4 Date: Tue, 14 Jan 2003 00:59:21 -0000 From: Mike Edwards Subject: Kurt Harris Ken Silverwood writes: > My own current favourites?....KURT HARRIS "EMPEROR OF MY > BABY'S HEART"..... Absolutely great title, Ken. Released in 1964 on New York's very collectible Diamond label and written by two of our heroes, Mark Barkan and Ben Raleigh. Anyone know anything about Kurt? Mike Edwards -------------------[ archived by Spectropop ]-------------------
Message: 5 Date: Mon, 13 Jan 2003 20:26:19 -0500 From: Lou Bova Subject: Re: The two Penny Valentines Lou Bova wrote: > As for Miss Valentine, she later went on to become student > teacher Alice Johnson on the hit comedy socially relevant > drama series "Room 222" which ran from 1969 - 1974. Phil M: > That was Karen Valentine. Perhaps she recorded under the > name Penny Valentine, or else you're confusing two different > people. Phil, you are so right!!! In the words of Sylvester the Cat's son...."oh father, I'm so ashamed!" I'm wiping the egg off as I write. Sorry everyone! Lou Bova -------------------[ archived by Spectropop ]-------------------
Message: 6 Date: Mon, 13 Jan 2003 22:59:22 EST From: Paul Urbahns Subject: 4 Seasons' Little Boy Mike Edwards wrote: > "Little Boy" is an interesting title. A great tune from > their Vee Jay days, it did not show up on their early albums > but appeared in 1965 on "Recorded Live On Stage" (VJ 1154), > a fake live album. The version from this album (with the > fake applause) was included on Rhino's 25th Anniversary > triple CD. Yes, but the original black label Vee Jay single (which I may still own, but haven't heard in ages) does not have the fake crowd noise. I wish Rhino had used the original single. Paul Urbahns -------------------[ archived by Spectropop ]-------------------
Message: 7 Date: Wed, 15 Jan 2003 00:08:10 -0500 From: Javed Jafri Subject: Re: 4 Seasons If I'm not mistaken the 4 Seasons are the only group to chart on the Billboard Hot 100 during the 50s, 60s, 70s, 80s and 90s. They first charted in 1956 as the Four Lovers and their last chart entry was a re-release of "Oh What A Night" in the mid 90s. Javed -------------------[ archived by Spectropop ]-------------------
Message: 8 Date: Tue, 14 Jan 2003 05:37:49 -0000 From: Billy Subject: Re: 4 Seasons JB: > Mine is a U.S. Philips stereo copy and sounds fine. The > record is quite good in fact. I have two American copies of the Seasons' "Dawn" LP in stereo - one that was pressed in the early 60s with a nice looking glossy label, and another copy that was pressed on a flat non-glossy label that I believe was made in the mid-to-late 60s. (I'm not sure when these albums went out of print.) The glossy label LP is mastered much louder and sounds better than the newer version, which leads me to believe that Philips/Mercury switched to cheaper vinyl for re-issued albums in the mid-late 60s. Their cheap shellac (hard plastic) 45s are very easy to scratch up with a heavy tonearm too! Record collector Billy. -------------------[ archived by Spectropop ]-------------------
Message: 9 Date: Wed, 15 Jan 2003 00:44:15 -0500 From: Javed Jafri Subject: Re: Seasonal Similitude / Marcia Strassman Guy Lawrence wrote: > I've been wondering about the Marcia Strassman single > since I saw it on an old KFRC radio survey a few months > ago. These surveys are a excellent way of finding great > regional hits for those of us who weren't there or weren't > born. The same survey (May '67) led me to discover the Sons > Of Champlin's sunshine pop extravaganza "Sing Me A Rainbow". > Can anybody tell me anything about "Flower People"? Has it > been reissued anywhere? I've got a soft spot for this kind > of "weekend hippie" record. I have "The Flower Children" by Marcia Strassman on Rhino's "Summer Of Love" Vol. 1. Also I'm not sure if anyone has mentioned Billy Joel's "Uptown Girl" as a great 4 Seasons homage, but I think that it most certainly is. Javed -------------------[ archived by Spectropop ]-------------------
Message: 10 Date: Tue, 14 Jan 2003 09:01:38 -0000 From: Mick Patrick Subject: Re: Nick DeCaro on 45 Bill Reed wrote: > While at the site I took the time to count the exact number > of entries I have for the arranger-conductor-singer-session > player-songwriter Nick DeCaro. Right now it tallies at 236, > mostly albums ... with only a handful of uncollected-on-album > singles thus far uncovered by me. I am sure that there must > be dozens that have eluded my discographical radar. If anyone > knows of any that I have overlooked I would appreciate their > contacting me with that info. I feel there must be a number > of Liberty and A&M 45s I still have not managed to track down. Hello Bill, I'll start the "Nick DeCaro on 45" ball rolling, if I may. I have at my side a rather delicious CD, "Time Is On My Side - The Best Of Irma Thomas", issued on EMI CDP-97988 in 1992. Producers are listed for each track. Huzzah! According to the CD booklet, the following three singles tracks were all produced by Nick: (I Want A) True, True Love - Imperial 66080, recorded Aug 5 '64. Times Have Changed - Imperial 66069, recorded Aug 12 '64. He's My Guy - Imperial 66080, recorded Aug 12 '64. This great set also contains the following three DeCaro-produced tracks which were all unissued prior to this CD: Think Again - recorded Aug 6 '64. Long After Tonight Is All Over - recorded Aug 6 '64. Maybe - recorded Aug 12 '64. All six of the above tracks were recorded at United/Western Studios in Hollywood. I'm sure Nick produced other tracks on Irma too. I shall pull out my 45s and check. But another time, eh? I'm rather engrossed trying to learn Cool Edit Pro at the moment. Old dog, new tricks, get the picture? I've not played this CD in ages. Perhaps it's time I did. I recall that another of the treasures it contains is the sensational previously unissued Bacharach & David number "Live Again". It's quite a finger-snapper. MICK PATRICK -------------------[ archived by Spectropop ]-------------------
Message: 11 Date: Tue, 14 Jan 2003 07:06:13 -0500 From: Lou Bova Subject: Re: Marcia Strassman Guy: > Can anybody tell me anything about "Flower People"? Has > it been reissued anywhere? I've got a soft spot for this > kind of "weekend hippie" record. The song "The Flower People" is currently available on Rhino's "Summer Of Love, Vol 1, Tune In - Good Times & Love Vibrations". (R2 71065): If you've got a heart...the summer of love is still here! Lou Bova -------------------[ archived by Spectropop ]-------------------
Message: 12 Date: Tue, 14 Jan 2003 10:52:22 +0000 From: Phil Milstein Subject: Lounge psych? Collectors of unusual Beatle covers may enjoy a new track played to musica, The Bobbi Boyle Trio's "lounge psych" version of "A Day In The Life". My little descriptor is somewhat misleading actually, as there's not much psych in this version, but it's meant to hint at what a strange song this is to take on in a straight lounge-trio setting. Whatever you wish to call it, I think it makes for a great listen. I don't have release info handy, but I believe it is from a self-released album from Los Angeles, c.1969. Enjoy, --Phil M. -------------------[ archived by Spectropop ]-------------------
Message: 13 Date: Tue, 14 Jan 2003 08:49:05 -0800 (PST) From: Tom Taber Subject: Lou Christie / Jack Nitzsche Spent the evening of Dec. 28th at the beautiful Shea's Buffalo (NY) theatre, and there saw, among others, Lou Christie. He mentioned his website, and that he often read the emails late at night. I decided, what the heck, I'll ask him a question or two. I asked if he knew why a great song like "Outside the Gates of Heaven" didn't get released on Roulette; and, while I consider Jack Nitzsche to have been an arranging genius, did Lou agree with me that his arrangement of "If My Car Could Only Talk" was all wrong for it, in that being able to understand the lyrics was so important. Today I received a response - "We have some answers for your questions from Lou... He doesn't know why it wasn't released on's one of his favorites too... "If My Car Could Only Talk"... he agrees with you that the lyrics are important; as for the production, as always, it's a matter of opinion." Hmm - I wonder - could Mr. Christie be getting ready for a career in politics? -------------------[ archived by Spectropop ]-------------------
Message: 14 Date: Tue, 14 Jan 2003 17:14:45 -0000 From: Peter Richmond Subject: Re: Northern Soul Cover-Ups My understanding of the Northern Soul cover-ups is that in some cases, after dealers had been to the States on record buying trips, buying up old stocks of records by unknown artists on unknown labels, any deemed to be potentially big on the Northern Soul circuit, had the labels covered, removed or defaced and were played by disc jockeys at various venues. If the track proved to be really popular, no-one would be aware of the identity of the artist or the record label by looking at the disc jockey's record deck. This would then enable the dealers to bootleg the record and satisfy in some cases, a massive demand, selling in bulk at the venues them- selves or through various networks. Selectadisc of Nottingham blatantly sold Northern Soul bootlegs in the music press in the 70s and 80s. Amazingly no-one appeared to ever question it - this included the Righteous Brothers Band's "Rat Race" on the Out Of The Past label, which was a well-known Northern Soul bootleg label. "Rat Race" had also been bootlegged using the original Verve regular and DJ copy labels but it was interesting that in 1977, the Phil Spector International 2010 022 release of "You've Lost That Lovin Feelin" by the Righteous Brothers, should have "Rat Race" by the Righteous Brothers Band as the B side in stereo format, as all of the bootlegs were in mono. This could have been a total coincidence of course. Polydor may have been totally unaware of what was going on with a track from their vast catalogue. Peter -------------------[ archived by Spectropop ]-------------------
Message: 15 Date: Tue, 14 Jan 2003 20:22:49 -0000 From: FS Subject: Help with the Caravelles Hi all, I've heard (and picked up) a few tracks by The Caravelles and after fruitless searching, I'm wondering if anyone on the list can help me track down the CD reissue of their 1963 album "You Don't Have To Be A Baby To Cry"? Or even tell me a little more about them that doesn't appear on AMG or UBL. Thanks FS -------------------[ archived by Spectropop ]-------------------
Message: 16 Date: Tue, 14 Jan 2003 21:08:15 -0000 From: Martin Roberts Subject: POWER, thinking out LOUD Phil M's posting re the vocal similarities between the 'soundalike' Song Spinners on Power and the Belmonts original recording of "Diddle De Dum" set me thinking. Nashville's Hit Records use of the services of respected musicians and vocalists such as Bergen White, Bobby Russell & Buzz Cason has been very neatly documented by Stephen McParland in "Sound Waves And Traction Vol. 2". But which musicians and vocalists were used in New Jersey on Power and its companion labels? The results of these recordings are not as polished as Hit - this adds to the fun! Do we know who owned and ran the label? Your guess is properly better than mine, but looking at the song titles covered, most of the releases are from '62. The Rome Label (most famous for the Earls) and its subsidiary, Power-Martin, had just closed its doors and Trade Martin moved to fame - but I doubt fortune - at Co-Ed. What about Johnny Power? If this was his group of labels, wouldn't it be perfectly natural to use guys like the Belmonts that he might have known? Or is it the case - as hinted in a previous post - of one Italian American vocal group being able to sound much the same as another? :) Phil M could very well be correct in his assumption but if not, who? And who are the female leads on "Sherry", "He's A Rebel" and "Stop The Music"? Questions, questions and more questions! Ain't life grand! Martin -------------------[ archived by Spectropop ]-------------------
Message: 17 Date: Tue, 14 Jan 2003 16:34:06 -0500 From: James Botticelli Subject: Re: Cool Edit Pro Tools learning curve Mick Patrick wrote: > I'm rather engrossed trying to learn Cool Edit Pro at the > moment. Old dog, new tricks, get the picture? Yes, we see.... Having just completed a remix for Hawaii-based exotica standard-bearers Don Tiki on their track "The Natives Are Restless Tonight", using Pro-Tools, I can appreciate what you're going through. But our results are funky to say the least.... And if you can trace the samples, Mr. you're a better man than I! JB -------------------[ archived by Spectropop ]-------------------
Message: 18 Date: Tue, 14 Jan 2003 21:47:32 +0000 From: Richard Havers Subject: Re: Help with the Caravelles > I've heard (and picked up) a few tracks by The Caravelles > and after fruitless searching, I'm wondering if anyone on > the list can help me track down the CD reissue of their 1963 > album "You Don't Have To Be A Baby To Cry"? Or even tell me > a little more about them that doesn't appear on AMG or UBL. FS This may have holes, but it's a start. Whenever I post one of these I usually get some 'input'. The Caravelles. Lois Ann Wilkinson (b.3.4.44 Sleaford, Lincolnshire) and Andrea Simpson (b.9.9.45 Finchley, London) both came from musical families and met while working together. Lois had guitar lessons from both her father and the legendary Ike Isaacs, which enabled her to tour the folk clubs, when she was still only sixteen; Andrea was already proficient at the clarinet. They decided to team up as a singing duo and soon agent Chris Peers heard their demo tapes. He signed the duo, suggested the name Caravelles (after the first French jet airliner) and secured them a recording contract with Decca. Alex Welsh's guitarist Tony Pitt introduced them to what was to become their only hit single in Britain, a ’50 hit for Tennessee Ernie Ford, "You Don't Have To Be A Baby To Cry". It climbed to No. 6 in the late summer of ‘63, but the follow-up "I Really Don't Want To Know" made little impression on the record-buying public, although it received extensive radio play. On its release in America "You Don't Have To Be A Baby To Cry" swept up to No. 3, which resulted in Lois and Andrea achieving a top ten album, as well as touring America with the Beatles, Bobby Rydell and the Coasters in ‘64. The US follow-up, a remake of a US hit for Ted Lewis in ’33, "Have You Ever Been Lonely (Have You Ever Been Blue)" just scraped into the top hundred at No.94 yet failed completely in the UK despite excellent radio support. Andrea Simpson continued with another singer, Lynne Hamilton, when Lois Lane (as she became)left at the end of '65. Lane appeared in the '69 film ‘Crossplot’ starring Roger Moore, singing her own composition "Westminster Bridge". During the mid 70s Lane appeared on Esther Rantzen's UK TV show ‘That's Life’ singing a different song each week over the 13 week series. She married former BBC Radio One producer Roger Pusey, and in the 80s and 90s sang on occasional jazz programmes as well as providing the voiceovers for many TV and radio commercials. You Don't Have To Be A Baby To Cry/The Last One To Know Decca F 11697 1963 No.6 I Really Don't Want To Know/I Was Wrong Decca F 11758 1963 Have You Ever Been Lonely?/Gonna Get Along Without Ya Now Decca F 11816 1964 You Are Here/How Can I Be Sure? Fontana TF 466 1964 I Don't Care If The Sun Don't Shine/I Like A Man Fontana TF 509 1964 True Love Never Runs Smooth/Georgia Boy Polydor NH 59034 1964 Hey Mama You've Been On My Mind/New York Polydor 56137 1966 I Want To Love You Again/I Had To Walk Home Myself Polydor 56156 1967 The Other Side Of Love/I Hear A New Kind Of Music Pye 7N 17654 1968 It's a start Richard -------------------[ archived by Spectropop ]-------------------
Message: 19 Date: Mon, 13 Jan 2003 22:42:03 -0700 From: Justin McDevitt Subject: Disbanded but not forgotten Hello Spectropoppers, It's a chilly two deg above zero(F) here in Minneapolis and a good night for being indoors, sharing some reminiscences about a couple of early 70s groups/artists, whose LPs I came across earlier this evening while rooting around in the vinyl vault, aka, my basement record room/lair. The 1st LP that I happened upon was Seatrain's self-titled LP from 1970, (favorite track, "Waiting for Elijah"). I've always liked the personnel ofthis group, some of whom, (as many of you know) were members of the Blues Project. Peter Rowan is a favorite of mine from this band and has played here in the Twin Cities in conjuction with invitations to share his music on the Prairie Home Companion American Public Radio program. The second LP that I dug out was "Later That Same Year", by Matthew's Southern Comfort. I recall being surprised in early 1971 when I was first introduced to this group, that they were English lads. Wonderful harmonies. Allmusicguide has a great bio of the group, and also covers Ian Matthew's extensive recording career. His 1988 LP is a favorite of mine as well. I also came upon a well-worn copy of the 1st or 2nd LP by Grin, one of Washington DC's local favorites in the late 60s--early 70s; (played often at the Emergency in Georgetown), or was it Mr Henry's, The Cellar Door, (A ,B and not C, all of the above). "White Lies" is a great track and also included on one of the Rock Artifacts comps. I am of the opinion that Nils Lofgren's work has been undervalued. I'd forgotten that I also own two Brian Auger and the Oblivion Express LPs, both of which are still in fairly good shape. Love the strong jazz overtones in this early music. As I remember, his collaborations with Julie Driscoll were more folk oriented. Last but not least, I found what I believe is their 1st LP, by none other than Batdorf and Rodney, a folk-rock band, (heavier on the folk. Not a great LP, but it brings back a lot of good memories.) One more (and I mean it), much to my surprise and pleasure, I stumbled upon the 2nd Lp by Lori Lieberman, (who wrote "Killing Me Softly"). Favorite Track on this LP, "House Full Of Women." I look forward to reading any comments/insights and factoids that any of you care to share. Justin McDevitt P.S. Anybody remember McGuinness Flint? -------------------[ archived by Spectropop ]-------------------
Message: 20 Date: Tue, 14 Jan 2003 21:01:15 -0000 From: Martin Roberts Subject: Re: The 4 Seasons and The DynoVoice Story. Mention of The DynoVoice Story reminds me of a rather good spoof email and scan that Jamie once sent me. Unfortunately lost when my PC crashed, the subject heading stated that the CD's cover HAD been changed for legal reasons. Clicking on the scan revealed a facsimile of the original cover bearing a certain Spectropopper's face - which does bear a frightening similarity to a young Bob Crewe - and name, where Crewe's had once been. I think the re-release could still work! Playing it again has reminded me how great a compilation it is. Some of the 45s featured I rarely play, but in the context of the CD they just fit so well. Bob Crewe's name might not be on every release but his presence is felt throughout the double CD, the glue that bonds the variety of styles together. Delighted to read about the work being made on cataloguing the recordings of Bob Crewe, but disappointed to hear it would take two years. I do hope the reason for the length of time expected to compile it is not in the vain hope that it will be complete! Similarly, the CD from Ken looks most appetizing, although I must confess surprise at them all being labeled "Season's" rather than "Crewe's". Two records which have absolutely no actual Four Seasons connection (bar the inspiration, song titles and tunes), are now playing on musica. I know we can't have the 4 Seasons' "No Surfin Today" on musica so how about the Haciendas' "Sherry Stole My XKE". It is as much fun as the title suggests. And from the Power group of labels, the Glitters' "Sherry". Promise these will be my last Seasons-related tracks, at least for a while! Martin -------------------[ archived by Spectropop ]-------------------
Message: 21 Date: Tue, 14 Jan 2003 21:23:18 +0000 From: Richard Havers Subject: Re: 4 Seasons Have I somehow been redirected to the Valli of the Crewepoppers? Worried of Scotland...... -------------------[ archived by Spectropop ]-------------------
Message: 22 Date: Tue, 14 Jan 2003 15:14:46 -0800 (PST) From: Artie Wayne Subject: Re; Bob Crewe / Four seasons After singing on a couple of demos for Bob Crewe, one of the most exciting producers I've ever watched, I was asked if I'd like to be in the "New 4 Seasons"...I passed ....but I was flattered [I wanted to be a solo artist]. As far as the reason for the "Dawn" LP sounding "different" ......I remember walking into Mercury studios in NY......Doug Hawkins, head of engineering, was quietly "remastering" the album because Crewe's version was "too hot"!!!! I never said anything until now.....regretfully, Artie Wayne -------------------[ archived by Spectropop ]-------------------
Message: 23 Date: Tue, 14 Jan 2003 23:15:15 -0000 From: Mike Edwards Subject: New DVD releases MGM Announces April Batch of "Midnite Movies" says the latest news section of: They will be released on April 15 and retail for only $14.95 each. Two double bills will be of great interest to Spectropop fans: 1) MUSCLE BEACH PARTY/SKI PARTY and 2) PSYCH-OUT/THE TRIP PSYCH-OUT includes a new featurette with director Richard Rush, producer Dick Clark, cinematographer Lazlo Kovacs and actor Bruce Dern. THE TRIP has three new featurettes with Director Roger Corman, actor Bruce Dern and Allen Daviau; commentary track with director Roger Corman; "Psychedelic Light Box" Featurette; excerpts from American Cinematographer article. This is the theatrical cut; unfortunately, MGM was unable to locate director Roger Corman's original ending for the film Mike Edwards -------------------[ archived by Spectropop ]-------------------
Message: 24 Date: Wed, 15 Jan 2003 00:07:51 -0000 From: Martin Roberts Subject: Memories of childhood Justin asked: > Anybody remember McGuinness Flint? My first (and only) band, "When I'm Dead And Gone", Frigid Pink "House Of The Rising Son" and Dave Edmunds "I Hear You Knocking", I sang and played on my organ. Martin -------------------[ archived by Spectropop ]-------------------
Message: 25 Date: Wed, 15 Jan 2003 00:15:57 -0000 From: Mick Patrick Subject: Re: Marcia Strassman Marcia Strassman's "The Flower Children" was almost a national hit, bubbling under the Billboard Hot 100 for nine weeks in May-July of (natch) 1967. I recall seeing her perform the song on TV quite recently in a nightclub scene on a re-run of (I think) an old Perry Mason. This may have been said before, but the b-side, "Out Of The Picture", is a rather fine throw-back girl group-style number, complete with snotty vocals and Crystals riffs. I love it to bits. Producer Jerry Goldstein (of the Strangeloves) had not yet shaken off his "Angelic" past, obviously. Unfortunately, I seem to have temporarily misplaced my copy of this 45. That's what tidying up does for you. I shoulda known better. MICK PATRICK -------------------[ archived by Spectropop ]-------------------

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