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Spectropop - Digest Number 759

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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: Weekends
           From: Simon White 
      2. Re: Villard / Morali / Belolo
           From: Frank 
      3. Re: Joe Melson
           From: Peter Lerner 
      4. Re: Ketty Lester / 4 Seasons
           From: Ron 
      5. Re: Famous Last Wirtz
           From: Paul Richards 
      6. Re: Falsettos
           From: Stuart Miller 
      7. Re: The Strangeloves
           From: Marc 
      8. Finders Keepers
           From: Mike Edwards 
      9. Re: Ian Whitcomb
           From: Stewart Mason 
     10. Frank Ifield
           From: Norman 
     11. Re: Pretty Lies, Pretty Make Believe
           From: David Bell 
     12. Re: Bagley / Villard etc
           From: Vincent Degiorgio 
     13. Jesse Gee / Ronnie Milsap
           From: Matt 
     14. Re: Frank Ifield
           From: Mike Edwards 
     15. Re: Eddie Holman/Stevie W
           From: James Botticelli 
     16. Re: Falsettos
           From: Vincent Degiorgio 
     17. Re: On The Real Side
           From: James Botticelli 
     18. Falsetto class
           From: Kingsley Abbott 
     19. Ian Whitcomb
           From: James F.  Cassidy 
     20. Weekends
           From: Ian Chapman 
     21. Falsettos etc.
           From: Bob Rashkow 
     22. Barbara Mills
           From: Ian Chapman 
     23. Phil Spector now...
           From: Alias 
     24. Re: Quotes, and also Ronnie Springsteen
           From: Jack Madani 
     25. Be My Multilingual Baby
           From: David A. Young 


Message: 1
   Date: Thu, 23 Jan 2003 09:10:15 +0000
   From: Simon White 
Subject: Re: Weekends

Ian Chapman wrote:
> And talking of the Newbeats-styled falsettos, is anyone
> going to put in a good word for the Weekends' copycat
> version of "Canadian Sunset"?  So close to "Run Baby Run",
> you couldn't slip a plagiarism suit in between 'em.

Well, Ian, it gets the nod from me for it's sheer audacity.
Didn't you say it was the same lead?

-------------------[ archived by Spectropop ]-------------------
Message: 2 Date: Thu, 23 Jan 2003 10:36:58 +0100 From: Frank Subject: Re: Villard / Morali / Belolo Leonardo Flores: > In my quest to find pre-Richie Family/ Village People (pre-73) music > written by French producer Jacques Morali, I recently discovered that > he wrote music for French artist Herve Vilard. does anybody know > about this artist? His co producer Henri Belolo... Herve Villard was a very very big French singer who had lots of hits in the 60's and 70's. He was particularly popular too in Brasil. He still does the odd nostalgic concert with amazing success. Henri Belolo is still a very important record producer here in France, and still specializing in disco and club stuff doing very well indeed. Morali who was a long time friend did write many songs prior to Village People but his main income job was writing stuff for the strip tease club "Crazy horse Saloon". Frank -------------------[ archived by Spectropop ]-------------------
Message: 3 Date: Thu, 23 Jan 2003 11:47:16 -0000 From: Peter Lerner Subject: Re: Joe Melson Dan wrote: > I'd love to know more about Mr. Joe Melson. Is he still with us? > Did he write the lyrics to Roy (Orbison)'s tunes? Did he ever put out > any of his own records? There's a song by Joe Melson on the recent (and excellent) Bear Family compilation "The Drugstore's Rockin' Volume 1". It's "Barbara" from the Hickory label, recorded 1960. The usual impeccable BF liner notes say that Joe is best known as a co-writer with Orbison around 1960/1 (Uptown, Only the Lonely etc), later writing "Run Baby Run" as we know, and later still re-uniting with the Big O for MGM and Virgin albums. "Despite the fact that he looked like a star and sounded like a star, his story remains yoked to the half-dozen classics written long ago with Roy Orbison". "Barbara" is what I would call a pleasant light rocker. Peter -------------------[ archived by Spectropop ]-------------------
Message: 4 Date: Thu, 23 Jan 2003 12:48:20 -0000 From: Ron Subject: Re: Ketty Lester / 4 Seasons I have an album by Ketty Lester called "Anthology" on the AVI label from 1983. It was produced by Ed Cobb. The only "hit" on the set is "But Not For Me". I always wondered if this was a reissue of some of her Era tracks or new recordings. "But Not For Me" sounds like it may be the original. Did the Four Seasons rerecord or remix their hits? I have a version of "Ain't That a Shame" that sounds like the original but little things are different. It is most noticeable at the ending where the group sings the word "shame" over and over but without Frankie's singing in between as I remember he did on the 45. I'm too lazy to dig out my single. Ron -------------------[ archived by Spectropop ]-------------------
Message: 5 Date: Thu, 23 Jan 2003 07:56:13 EST From: Paul Richards Subject: Re: Famous Last Wirtz I agree, I loved the 1st volume of Popworks, great tracks, great mastering. Cheers Mark & Mark. -------------------[ archived by Spectropop ]-------------------
Message: 6 Date: Thu, 23 Jan 2003 12:58:26 -0000 From: Stuart Miller Subject: Re: Falsettos I am surprised, with all the falsetto chat, that no one has chosen (thankfully) to mention the worst proponent of them all - Demis Roussos. Surely an oversight somewhere. I was surprised by the support that Russell Tompkins had. Compared to the sweet soul of the Delfonics, this was chicken in a basket nite club stuff. Did the guy ever sing in anything other than alto? He seemd to be stuck up there permanently. It is an interesting point when you think of it, that the male voice forced into a higher register, can produce such an attractive sound that it has permeated popular music and had an influence as profound and as prolonged as it has. Stuart -------------------[ archived by Spectropop ]-------------------
Message: 7 Date: Thu, 23 Jan 2003 11:06:35 -0500 From: Marc Subject: Re: The Strangeloves Richard re: > I just picked up an October 16 1965 Billboard off ebay. There is > a wonderful full page ad for The Strangeloves. It's headed 'Bert > Berns and Julie Rifkind say "the Strangeloves are hot!!!"' So YOU'RE the one that outbid me! Did you get any of the other ones that were for sale? Marc -------------------[ archived by Spectropop ]-------------------
Message: 8 Date: Thu, 23 Jan 2003 11:03:51 -0500 From: Mike Edwards Subject: Finders Keepers I noticed a 45 in my collection a few weeks’ back: “Don’t Give In To Him” (wr: Gary Usher) by Finders Keepers on Challenge from 1967. It is the same song, as done a couple of years’ later by the Union Gap. Segue to Martin Roberts’ instructions for finding Dave Walton’s “Every Window In The City” and we find a discography of that song’s producer, Irving Martin. Included are two titles by Finders Keepers: “Friday Kind Of Monday” and “Sadie (The Cleaning Lady)” Segue again to Stephen McParland’s Book, “The Musical Biography of Gary Lee Usher – Vol. III” where we find that Jerry Fuller “recorded the song as a master for Challenge Records, with the Wolverhampton (England) based group, Finders Keepers, who prior to Fuller’s intervention had bee produced by expatriate Americans, John Maus and Scott Walker” Is this the same group as the one produced by Irving Martin? How did they come to be hooked up with Jerry Fuller who appears to have been based on the West Coast at this time? Dave Walton’s “Every Window In The City” is a fine record with a big production sound. The sound quality is excellent. Martin Robert’s Irving Martin page is well up to his usual standard. Mike Edwards -------------------[ archived by Spectropop ]-------------------
Message: 9 Date: Thu, 23 Jan 2003 12:05:24 -0500 From: Stewart Mason Subject: Re: Ian Whitcomb Previously: > I think I read somewhere that Whitcomb was doing a serious recording > session and finished before his time ran out. So for the last few > minutes he just did some goofing around, and "wrote" that song on the > spot as a joke. So of course it was the hit.... That's the story I've heard as well. "You Turn Me On" is quite unlike Ian Whitcomb's true musical interests, which concentrate on pre-rock music hall and Tin Pan Alley songs. Currently, Ian Whitcomb is living in Los Angeles and playing ukelele and singing in my dear friend Janet Klein's band, the Parlor Boys ( ), a perfect vehicle for his talents. (You should also check out his marvelous book AFTER THE BALL, a fine history of the early days of popular music.) Janet once told me that Ian showed her a videotape of himself performing "You Turn Me On" on SHINDIG or WHERE THE ACTION IS or one of those shows and pointed out how many of the vocal and performance mannerisms in that song were direct ripoffs of Al Jolson. S -------------------[ archived by Spectropop ]-------------------
Message: 10 Date: Fri, 24 Jan 2003 04:41:05 +1030 From: Norman Subject: Frank Ifield Hi Spectopoppers, Several post back we were giving mention to Frank Ifield. Well, here is the latest from down under were The Tamworth Country Music Festival is under way. It makes interesting reading: Norman -------------------[ archived by Spectropop ]-------------------
Message: 11 Date: Thu, 23 Jan 2003 13:23:43 EST From: David Bell Subject: Re: Pretty Lies, Pretty Make Believe And I'd like to put in a comment that Connie Francis' version of Van McCoy's "Pretty Lies Pretty Make Believe" is an equally stunning version. A previously unreleased track from circa 1966, it appeared on an obscure South African cd in the mid 90s. That's one beautiful song sung beautifully by both Ketty Lester and Connie. David. -------------------[ archived by Spectropop ]-------------------
Message: 12 Date: Thu, 23 Jan 2003 11:01:01 -0800 From: Vincent Degiorgio Subject: Re: Bagley / Villard etc For Leonardo re Ben Bagley, Herve Villard, Jacques Morali, Henri Belolo: It might be an idea to reach out to Can't Stop Productions in Paris. They may have a more in depth list of his works.. Vincent -------------------[ archived by Spectropop ]-------------------
Message: 13 Date: Thu, 23 Jan 2003 19:03:44 -0000 From: Matt Subject: Jesse Gee / Ronnie Milsap Hi all, Love this group although I don't get to check in as often as I would like. Got 2 frustrating (for me anyway) searches on songs/ musicians and was wondering if anyone could impart any info. Briefly, I have 2 45s: Jesse Gee: 'Don't Mess With My Money' (Barry) Ronnie Milsap: 'A Thousand Miles From Nowhere' (Scepter) Both are very fine (in my opinion) R & B type tunes. I'm sure everyone here has heard of Ronnie Milsap (this particular single pre- RCA obviously). The other by Jesse is by twists and turns a laugh riot. Both were found in the dumpster years ago and lucky for me the legible sides (they were stuck together by some sort of glue) were visible. Nothing turns up on any of the file sharing services I use and I'm most interested if they are on CD form. Thanks so much!! -------------------[ archived by Spectropop ]-------------------
Message: 14 Date: Thu, 23 Jan 2003 15:09:20 -0500 From: Mike Edwards Subject: Re: Frank Ifield Thanks Norman for letting us know that Frank Ifield will be inducted into Australia's Country Music Roll of Renown. Good to see him doing so well. Frank Ifield's best 45: the b-side of "I Remember You", "I Listen To My Heart", which Frank wrote himself back in 1962. I wonder why it took Australia so long to get around to inducting him. Based on that song, I would have put him on the slate the same year it came out. Mike Edwards -------------------[ archived by Spectropop ]-------------------
Message: 15 Date: Thu, 23 Jan 2003 14:59:56 -0500 From: James Botticelli Subject: Re: Eddie Holman/Stevie W Simon White wrote: > I don't think I know "I'll Be There" - is it a flip side? Flip of "I'll Be There" (written by Schuman & DeAngelis, who I think wrote "Hey There Lonely Girl") is called "Cause You're Mine Little Girl" written by Sheila Holman. The first is ABC AMP 45 15999, the flip is ABC AMP 45 16002. > For me, Eddie's best ballad is "This Can't Be > True" on Parkway. Great huge wonderful! The only problem for me with that tune is its lack of a bridge, but these days that hardly matters I s'pose. JB/Mr. Nit-Pik Stratton Bearhart wrote: > "Jesus Children Of America" from "Talking Book" I think that one was from "Inner Visions", not that it REALLY matters. JB/Mr Nit-Pik backatcha -------------------[ archived by Spectropop ]-------------------
Message: 16 Date: Thu, 23 Jan 2003 12:37:55 -0800 From: Vincent Degiorgio Subject: Re: Falsettos Stuart Miller wrote > I was surprised by the support that Russell Tompkins had. > Compared to the sweet soul of the Delfonics, this was chicken > in a basket nite club stuff. Did the guy ever sing in > anything other than alto? He seemed to be stuck up there > permanently. Interesting point by Stuart on Russell Thompkins, but I'd say have a listen to "Children of The Night" on Round 2... sweetness in both registers...the guy is amazing in my books... Vince -------------------[ archived by Spectropop ]-------------------
Message: 17 Date: Thu, 23 Jan 2003 15:10:39 -0500 From: James Botticelli Subject: Re: On The Real Side Simon White wrote: > And I think I have one by Frankie Gee [who was he?] and > also a version of "Mixed Up Shook Up Boy" [Girl]. But we're > dangerously into disco territory now.... ....not that there's anything wrong with that....Frankie Gee's version (no idea who he was) was the one that actually kicked off the discos playing the song. Then the jocks (here in Boston, anyway) found Eddie's LP original track from '72 and played it either from the LP or the 45 version, which I think was only mono in late 75/76. JB -------------------[ archived by Spectropop ]-------------------
Message: 18 Date: Thu, 23 Jan 2003 21:05:29 -0000 From: Kingsley Abbott Subject: Falsetto class Don't quite know I forgot the big fella, but any current discussion on classy falsettos should include Jeff Foskett, currently with Brian Wilson's band. His is effortless, soaring and with a quality that truly recreates Brian at his best. His own stuff is also excellent, and any of his albums, especially 'Thru My Window' should have a place on a Spectropopper's shelf Kingsley -------------------[ archived by Spectropop ]-------------------
Message: 19 Date: Thu, 23 Jan 2003 16:04:09 -0500 From: James F. Cassidy Subject: Ian Whitcomb Ian would be the first to admit that "You Turn Me On" was a lark. In fact, he *was* the first. He documented his one-hit wonder saga in his very entertaining book, "After the Ball," an eccentric history of popular music, and other writings. He also earned instant Spectropop hero status for producing Mae West's rock 'n' roll album on Tower in the mid-'60s. Jim Cassidy -------------------[ archived by Spectropop ]-------------------
Message: 20 Date: Fri, 24 Jan 2003 01:59:06 -0000 From: Ian Chapman Subject: Weekends Ian: > And talking of the Newbeats-styled falsettos, is anyone > going to put in a good word for the Weekends' copycat > version of "Canadian Sunset"? So close to "Run Baby Run", > you couldn't slip a plagiarism suit in between 'em. Simon: > Well, Ian, it gets the nod from me for it's sheer audacity. > Didn't you say it was the same lead? Not me, Simon. Yes, it has a bit of the Dean and Mark about it, but I don't think there's anybody who could sound quite like Larry! Ian -------------------[ archived by Spectropop ]-------------------
Message: 21 Date: Thu, 23 Jan 2003 20:13:33 -0500 From: Bob Rashkow Subject: Falsettos etc. Stuart Miller: >...the worst proponent of them all--Demis Roussos.... I always figured the great Roussos to be singing totally within his range of, say, 04 octaves. I absolutely love the work he did with Aphrodite's Child, both on the Virgin comp and on "666." Could Stuart be commenting on how he possibly not so much croons but "dramatizes" the music....?! Anyone else as helplessly in love with Roussos' voice as I am? I take it melisma is that variance of notes within one single note that everybody's been into in the last decade or so? Agreed, it grates on my nerves. Stevie and Smokey among several others perfected it, let's let them have it all for themselves! (At least with rap, you don't...never mind!) Finally I hope everybody who's had the chance to dig Full Treatment enjoyed "Just Can't Wait" - thanks Jeff G for posting it and I agree it's one of the best ever. Bobster -------------------[ archived by Spectropop ]-------------------
Message: 22 Date: Fri, 24 Jan 2003 01:08:55 -0000 From: Ian Chapman Subject: Barbara Mills Barbara Mills, the lady responsible for the northern soul perennial "Queen of Fools", and five other fine sides for Hickory in '65/'66 (and yes, Larry's sister), is due to undergo coronary bypass surgery tomorrow. I'm sure all Spectropoppers will join me in wishing her a full and speedy recovery. Her daughter tells me she's in need of some cheering up right now, so if anyone has any get-well messages they would like to send, please feel free to send them to my email address and I'll be happy to forward them. Ian -------------------[ archived by Spectropop ]-------------------
Message: 23 Date: Fri, 24 Jan 2003 03:17:48 +0100 From: Alias Subject: Phil Spector now... What is Phil Spector up to these days? Where does he live? alias -------------------[ archived by Spectropop ]-------------------
Message: 24 Date: Thu, 23 Jan 2003 23:22:22 -0500 From: Jack Madani Subject: Re: Quotes, and also Ronnie Springsteen > I like it when quotes are used imaginatively, to enrich the > meaning of a song. One of my favourites is by Springsteen: > "Summer's here and the time is right/For racing in the street." > A double quote, actually, because the music is based on the riff > from "Then He Kissed Me". It works because the sombre mood of the > song (by contrast with the source materials) This immediately brought to mind a recent similar example, from Brian Wilson's Imagination album. On the song "Lay Down Burden," he quotes "Be My Baby" by singing "If I had the chance I'd never let you go." Only in Brian's song the melody is extremely elegaic, quite sombre. And of course, the effect is triply electrifying for those of us who are aware of Brian's obsession with that Ronettes song. The Springsteen reference gives me a chance to bring up something that's been percolating in the back of my mind (hah! my very own Brian quote in the middle of my quote!), towit: I remember reading long ago how Bruce's Born To Run album was supposed to pay tribute to Phil Spector's Wall of Sound, and while I could sort of squint real hard and tilt my head to one side I could sort of kind of hear what people were talking about, still I never really felt all that certain about the validity of the claim. But recently I heard the song "Born To Run" on the radio in my car, and finally I heard it, loud and clear: there's tons of Spector in that song especially. Like the sax solo is straight out of a Crystals song, only sped up to a manic tempo. But the clearest, most direct example of Springsteen's attempt to get Spector into his song comes in Bruce's own singing. He's aping Ronnie just as hard as he can manage. The most obvious example of that comes at the very end of the song, where he's singing his doubletracked "whoah ho ho's." It's all so Ronnie Spector, I can't believe I never heard it before. I guess the problem was that because I didn't hear the Be My Baby drum riff or the clean Hal Blaine fills, I couldn't hear the Spector influence. But I sure do now. Jack -------------------[ archived by Spectropop ]-------------------
Message: 25 Date: Fri, 24 Jan 2003 04:32:23 -0000 From: David A. Young Subject: Be My Multilingual Baby A number of folks have already responded to Guy Lawrence's request for information about French-language versions of "Be My Baby," and since the conversation has expanded to include all non-English versions, here are a few more: Tarika "Malalako" (English, French, and Malagasy) Sophie "Reviens Vite Et Oublie" (French) Chance "Reviens Vite Et Oublie" (French) Mieko Hirota "Watashi no Baby" (Japanese) Suzanne Doucet "Sei Mein Baby" (German) Cheers, David -------------------[ archived by Spectropop ]-------------------

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