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Spectropop - Digest Number 812



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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 25 messages in this issue.

Topics in this digest:

      1. Re: Nanker Phelge
           From: Richard Havers 
      2. What Was The First... the book
           From: David Feldman 
      3. Re: Suzie Creamcheese' conscience call
           From: Dan Hughes 
      4. Spiral Starecase
           From: Larry Lapka 
      5. Re: Pat Upton
           From: Stewart Mason 
      6. Spectropop Remembers
           From: Marc Miller 
      7. Re: Spiral Starecase
           From: Andrew 
      8. Art Webber aircheck
           From: Justin McDevitt 
      9. The Metropolitan Soul Show on Soul 24-7.com
           From: Simon White 
     10. Brenton Wood's organ
           From: Phil Chapman 
     11. Re: Elvis
           From: Peter McDonnell 
     12. The king is dead - long live the king.
           From: Alan Gordon 
     13. Re:Nanker-Phelge
           From: Peter McDonnell 
     14. Re: Elvis' SunDays
           From: TD 
     15. Re: Nanker Phelge
           From: Phil Milstein 
     16. Harris Performs Webb; advertising
           From: Bob Rashkow 
     17. It Feels Like Rock & Roll; It Looks Like....
           From: Bob Rashkow 
     18. Re: Spiral Starecase/Beatles DVD
           From: Nick Archer 
     19. Re:Nanker-Phelge
           From: Richard Havers 
     20. Ask the Count 5
           From: Guy Lawrence 
     21. Harris Performs Webb
           From: Richard Havers 
     22. 4 Seasons On E-Bay
           From: Billy Spradlin 
     23. Re:Nanker-Phelge; Faithfull crediting
           From: Phil Milstein 
     24. Re: Nanker Phelge
           From: Richard Havers 
     25. big Macca, and my big mouth...
           From: Alan Gordon 


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Message: 1 Date: Fri, 07 Mar 2003 12:19:03 +0000 From: Richard Havers Subject: Re: Nanker Phelge Steve Harvey wrote: > I thought that Nanker Phelge was the name adopted by > Keith and Mick, nothing to do with the rest of the > band. I highly doubt that they shared the royalties > with the other guys on all the Nanker Phelge tunes. Absolutely not. Why would there be a Nanker Phelge as well as a Jagger/Richards credit? I can tell you quite categorically that royalties for Nanker Phelge were shared between Mick, Keith, Charlie, Brian and Bill.....and still are, except in the case of Brian where it is his estate that benefits. There were no more Nanker Phelge compositions after Brian left the band. Interestingly now, I've Got A Witness on the first Stones album is credited to Phelge. We can only assume that the nice people at Decca credited N.Phelge in the same way as they credited C.Berry, W.Dixon etc Richard -------------------[ archived by Spectropop ]-------------------
Message: 2 Date: Fri, 07 Mar 2003 12:31:52 -0000 From: David Feldman Subject: What Was The First... the book Mike Rashkow expressed interest in tracking this book down [What Was The First Rock And Roll Record - Jim Dawson, Steve Propes et al]. I looked at Amazon and half.com and, grrrr, it's selling for north of $100 - bring your wallet! -------------------[ archived by Spectropop ]-------------------
Message: 3 Date: Fri, 07 Mar 2003 07:26:07 -0600 From: Dan Hughes Subject: Re: Suzie Creamcheese' conscience call Eddy asks, > Isn't that Suzie's conscience there, rather than a phone > conversation: "Suzie, this is the voice of your conscience..." Jeez, Eddy, you are right! But I think her conscience is contacting her via telephone.... --Dan, just a bit red-faced -------------------[ archived by Spectropop ]-------------------
Message: 4 Date: Fri, 07 Mar 2003 14:08:36 -0000 From: Larry Lapka Subject: Spiral Starecase I think the confusion with Pat Upton's race stems from the fact that his daughter, Brenda K. Starr, is the result of a mixed marriage. Upton is white - the mother, I believe, is black (although she may be a darker-skinned Hispanic). Larry Lapka -------------------[ archived by Spectropop ]-------------------
Message: 5 Date: Fri, 07 Mar 2003 10:57:11 -0500 From: Stewart Mason Subject: Re: Pat Upton Xavier asks: >Is Pat Upton of SS actually white?? I thought he was black >for all these years (when I was a wee lad I thought he was >Stevie Wonder actually) but the little info I've turned up on >the web is making me think otherwise...just curious. Indeed he is. There are more embarrassing confusions, though: as previously reported on Spectropop, until last summer, I thought Pat Upton was a woman! S -------------------[ archived by Spectropop ]-------------------
Message: 6 Date: Fri, 07 Mar 2003 11:12:49 -0500 From: Marc Miller Subject: Spectropop Remembers Hey - I just had a look at Spectropop Remembers (http://www.spectropop.com/remembers/) It's one of the nicest tributes of any kind that I've seen. Thanks, Spectropop Team! Marc -------------------[ archived by Spectropop ]-------------------
Message: 7 Date: Fri, 07 Mar 2003 11:20:06 -0500 (EST) From: Andrew Subject: Re: Spiral Starecase About the Spiral Starecase: I remember seeing them on American Bandstand at the time of their chart success, and the band had no non-white members at all. -------------------[ archived by Spectropop ]-------------------
Message: 8 Date: Fri, 07 Mar 2003 10:39:30 -0600 From: Justin McDevitt Subject: Art Webber aircheck Hello Spectropop, I want to alert the group to a wonderful 55 minute aircheck compliments of http://www.reelradio.com one of this week's selections on their website. This program features Art Webber, one of radio's best and a key player on wls chicago's dJ lineup. The aircheck is from aug 25, 1967 and includes, among other treats, an Anita Kerr Singers weather jingle, a promo for Bobbie Gentry's debut LP, a great ad for tackle, (the avenger of men's acne), local and national news reports and a musical visit from the godfather of soul himself. Unfortunately, the play list does not include any telephone songs. A memorable highlight is a poetic spoof, delivered flawlessly in Art's resonant tones. Ageing has its drawbacks, yet after listening to this aircheck, I felt blessed to be old enough to remember what I consider to be the best era of radio, the mid to late 60s. Nostalgia is good for the soul. Yours in peace, Justin Mcdevitt -------------------[ archived by Spectropop ]-------------------
Message: 9 Date: Fri, 07 Mar 2003 18:26:52 +0000 From: Simon White Subject: The Metropolitan Soul Show on Soul 24-7.com For your delight and delectation - This Sunday 9th March 2003 on Soul 24-7 7pm-9pm GMT: > http://www.soul24-7.com/index.htm The METROPOLITAN SOUL SHOW. 2 solid hours of 60s, 70s but mainly Northern, Soul. This week -- - - The Utterly Marvellous Simon White. Under the new Marquis of Queensbury rules, two non-CD tracks will be "played to musica" on Monday following the show. I thank you. -------------------[ archived by Spectropop ]-------------------
Message: 10 Date: Fri, 07 Mar 2003 18:44:54 -0000 From: Phil Chapman Subject: Brenton Wood's organ Xavier: > Does anyone know what kind of organ is used on > Brenton Wood's "Gimme Little Sign"? According to his website, it was Maurice 'Mighty Mo' Rodgers on a Farfisa. http://www.mightymorodgers.com/ Generically speaking, the Farfisa, along with the Vox Continental, was a Combo-Organ; a portable electronic organ typically with removeable or foldaway legs and a bright-coloured casing. Combo-Organs are characterised by a reedy electronic sound, as used on "96 Tears", "Light My Fire", "House Of The Rising Sun", although NOT "Telstar" or "Runaway", these were modified Claviolines (monohonic). Phil ...whatever happened to my blue Phillicorda? -------------------[ archived by Spectropop ]-------------------
Message: 11 Date: Fri, 07 Mar 2003 12:29:07 -0800 From: Peter McDonnell Subject: Re: Elvis Phil Milstein wrote: > I'm sure I'm way in the minority here, but as much as I love > Elvis' early years, I sincerely believe that the music he made > in his later years was some of the finest of his life. I agree. He had one of the greatest voices in pop/rock n'roll, and when he had good material he knocked it out of the park, and "Suspicious Minds" is a prime example. His voice around that time was powerful and fluid, as illustrated on "Guitar Man", for example. And his most recent #1 (in England, wasn't it?), the re-mix of that late-period tune (I'm forgetting the title of it..?) is also a good example. And as for earlier stuff, I think "Little Sister", and "Jailhouse Rock" are examples of how hard he could sing when he chose to. -------------------[ archived by Spectropop ]-------------------
Message: 12 Date: Fri, 07 Mar 2003 12:29:31 -0800 From: Alan Gordon Subject: The king is dead - long live the king. Rashkovsky on "Hound Dog": > I must humbly disagree. Presley's version, in my most > humble opinion, was very vanilla and the start of his walk > down the road to perdition. My view is that Presley was cooked > when he left Sun and never made a real good record after that > ---maybe with one exception "Mary In The Morning". Steve Harvey: > Yeah, right! And the Beatles never did anything great after > "My Bonnie" either. Elvis rocked on "Hound Dog". His version > was as different from the original as much as his cover of > "Mystery Train" was from Junior Parker's version. Love the Sun > stuff, but Elvis never did anything like "Heartbreak Hotel" > before or afterwards. Yikes Mike? Are you serious? I haveta agree with Mr. Harvey. "Hound Dog" was totally rockin'. I love the Sun stuff, but my fave period of the King was just after Sun and through and into a few movies; Don't Be Cruel; I Want You, I Need You, I Love You; PARALYZED!!!; Mean Woman Blues; Old Shep (sniff); Rip It Up; All Shook Up; Blue Christmas; Treat Me Nice; Wear My Ring Around Your Neck; A Big Hunk O' Love; I GOT STUNG!!!; just to mention a few. And what is "Mary In The Morning"? Never heard of it. albabe -------------------[ archived by Spectropop ]-------------------
Message: 13 Date: Fri, 07 Mar 2003 12:48:46 -0800 From: Peter McDonnell Subject: Re:Nanker-Phelge Steve Harvey: > I thought that Nanker Phelge was the name adopted by > Keith and Mick, nothing to do with the rest of the > band. I highly doubt that they shared the royalties > with the other guys on all the Nanker Phelge tunes. Did Mick & Keith ever share credit with the other band members? Not to my knowledge. I always understood Nanker-Phelge to be a pseudonym for Jagger-Richards compositions that they weren't particularly proud of, (like "I'm All Right", "Under Assistant West Coast Promo' Man", "Play With Fire"), and the Glimmer Twins' only recently shared a writing credit, on "Anybody Seen My Baby", with k.d.lang, once it was pointed out to them (by Keith's daughter!) that the chorus shared a strong resemblance to her "Constant Craving" melody... Bill Wyman gives himself credit for the "Jumpin' Jack Flash" riff in his book, "Stone Alone" (he also gave himself credit for having slept with more groupies than either Mick or Keith...'though he doesn't mention Brian!), but he's not mentioned as a co-writer. Bill also groused that Keith bumped him out of the bass-playing spot for the "Rock n'Roll Circus" super-group line-up alongside John Lennon, Eric Clapton & Mitch Mitchell. He should have learned to stand up for himself! friscopedro -------------------[ archived by Spectropop ]-------------------
Message: 14 Date: Fri, 07 Mar 2003 16:25:50 -0500 From: TD Subject: Re: Elvis' SunDays Phil Milstein: > I'm sure I'm way in the minority here, but as much as I love > Elvis' early years (e.g. "Blue Moon", one of the sexiest records > I've ever heard, and his version of "Mystery Train," which is > absolutely iconic), I sincerely believe that the music he made > in his later years was some of the finest of his life. Hello Phil, How can you be in a minority when Fifty Million Elvis Fans Can't Be Wrong? Nobody enjoys Elvis playing the rockabilly "You're Right, I'm Left She's Gone" more than I do, but when Elvis moved to RCA, he proceeded to record "All Shook Up", "Don't Be Cruel", "Love Me" - and "Blue Christmas" too! -------------------[ archived by Spectropop ]-------------------
Message: 15 Date: Fri, 07 Mar 2003 16:46:34 +0000 From: Phil Milstein Subject: Re: Nanker Phelge Richard Havers wrote: > that royalties for Nanker Phelge were shared between Mick, Keith, > Charlie, Brian and Bill.....and still are, except in the case of > Brian where it is his estate that benefits. There were no more > Nanker Phelge compositions after Brian left the band. Has anyone ever drawn up a list of all the Nanker Phelge titles? --Phil M. -------------------[ archived by Spectropop ]-------------------
Message: 16 Date: Fri, 07 Mar 2003 16:53:37 -0500 From: Bob Rashkow Subject: Harris Performs Webb; advertising Lewis, don't hate yourself for liking ANYTHING. These days it's pretty simple to me. Jimmy Webb's beautiful crystalline images as interpreted splendidly by the late Richard Harris......or gangsta rap. You must choose. The ad with Little Richard at the bowling alley does sound enigmatic. For my part, I basically stopped trying to figure out the point or the general contents of the script of any television ads sometime around the late 1970s. I apologize to any Spectropoppers who happen to work in the field. I'll take Ral Donner over Presley any day, but I do appreciate the bulk of Elvis' music over the entire span of his career. Certainly "Surrender", "His Latest Flame" and "Viva Las Vegas" are great examples of how "that voice" somehow got blended with excellent arrangement to create a hit song. Wish they were both still around! Although it has nothing whatsoever to do with Superman's "universe", there is a song by Love (on Forever Changes) entitled "The Daily Planet". Bobster -------------------[ archived by Spectropop ]-------------------
Message: 17 Date: Fri, 07 Mar 2003 17:10:31 -0500 From: Bob Rashkow Subject: It Feels Like Rock & Roll; It Looks Like.... Well, I came up with over forty titles but I'm paring them down to another Top 10. These are among the recordings (of those that I'm already familiar with) that I consider crucial for an emotional and/or academic appreciation of the fabulous far-out pop music of the 6Ts. (These are not in a rank order) 1. The Letter - The Box Tops - Mala (1967). This is the one, gang. This is the record nobody in 6th grade in Skokie could possibly resist getting up and dancing to! Least of all yours truly! (Has anyone heard the OTHER The Letter, the one by Sonny & Cher, as by them or by Caesar & Cleo? 2. Strawberry Shortcake - Jay & The Techniques - Smash (1968). This plus the above on a lonely desert island with only a phonograph to keep me company. 3. Suspicion - Terry Stafford - (1964, Crusader) It's just too tuneful and catchy; Terry outclassed Ral Donner if such a thing were possible & I love those "ooh-ooh"'s! 4. It's Over - Roy Orbison - 1964 (Monument) Another great male solo record from that incredible year. 5. Sun Ain't Gonna Shine- The Walker Brothers - 1966 (Smash). They don't come too much more dramatic, do they. And I'm a charter member of Drama Queens International. 6. Bend Me, Shape Me - The American Breed- 1968 (Acta) Big hit for this hometown group, and terrific dance tune. 7. Walk On By - Dionne Warwick - Scepter - more of what made '64 so brilliant. 8. I Want Candy - The Strangeloves - 1965 (Bang) The beat goes back a long, long way--but boy is it catchy, and what a relic. (Remade fairly nicely, if a bit unimaginatively, by Bow Wow Wow.) 9. No Fair At All - The Association - 1966 (Valiant) One of the most beautiful records by a group who specialized in beauty-pop. 10. Reflections of Charles Brown - Rupert's People - 1967 (forgot original UK label) Joining The Walker Brothers to represent Britain. Move over Bee Gees and The Move! They've got melancholia and drowning-in-melodic-organ covered! This list actually "goes on forever" .....Ravin' on Bobster -------------------[ archived by Spectropop ]-------------------
Message: 18 Date: Fri, 07 Mar 2003 06:01:46 -0600 From: Nick Archer Subject: Re: Spiral Starecase/Beatles DVD Pat Upton is definitely white. I saw him sing here in Nashville last year at a benefit to pay off Clifford Cutty's medical bills. BTW, I just received a my copy of the four Ed Sullivan shows with the Beatles on DVD. I watched the first appearance last night, and it's a real time warp. The four shows are shown in their entirety, commercials and all. You can get it at http://www.thefestforbeatlesfans.com/ or at http://www.edsullivan.com Nick Archer Check out Nashville's classic SM95 on the web at http://www.live365.com/stations/nikarcher -------------------[ archived by Spectropop ]-------------------
Message: 19 Date: Fri, 07 Mar 2003 22:25:11 +0000 From: Richard Havers Subject: Re:Nanker-Phelge Peter McDonnell wrote: > Did Mick & Keith ever share credit with the other band members? > Not to my knowledge. I always understood Nanker-Phelge to be a > pseudonym for Jagger-Richards compositions that they weren't > particularly proud of, (like "I'm All Right", "Under Assistant > West Coast Promo' Man", "Play With Fire"), and the Glimmer Twins' > only recently shared a writing credit, on "Anybody Seen My Baby", > with k.d.lang, once it was pointed out to them (by Keith's > daughter!) that the chorus shared a strong resemblance to her > "Constant Craving" melody... I guess my mail about Nanker Phelge crossed with yours Peter. As an additional piece of info the origin of Nanker Phelge is interesting. It was Brian Jones who suggested group compositions be credited to Nanker-Phelge. His idea was that the entire band would share the song-writing royalties. Phelge is taken from Jimmy Phelge (a former flat mate of Brian/Keith/Mick who was rather revolting. He would stand at the top of their stairs wearing just his underpants and spit on people!). A ‘Nanker’ is a revolting face that Brian would pull. As for Mick and Keith sharing song writing credits they did, occasionally. 'Sister Morphine' from Sticky Fingers is shared with Marianne Faithfull. 'Ventilator Blues' on Exile on Main Street is shared with Mick Taylor. There are a few later ones with Ronnie Wood too. Richard -------------------[ archived by Spectropop ]-------------------
Message: 20 Date: Fri, 07 Mar 2003 21:00:53 -0000 From: Guy Lawrence Subject: Ask the Count 5 Xavier wrote: > > Does anyone know what kind of organ is used on > > Brenton Wood's "Gimme Little Sign"? Steve Harvey wrote: > Weren't Brenton Wood and the Count Five on the same > label. I seem to recall a story about them wiping a > vocal track off one of the Count 5 songs and putting > his vocals on it. I've heard claims that the Count Five back Brenton on his version of their "Psychotic Reaction" from his album but my guess is that this is just wishful thinking. It certainly isn't the same backing track though it's still a fascinating listen! As for his keyboard sound, how about the Cordovox - as featured on Tommy James & The Shondells hits? Actually, listening to the record now it probably isn't that - perhaps it's something more regular like a Farfisa? Whatever, "Gimme Little Sign" and Wood's other hit "The Oogum Boogum Song" were both beautiful summery soul records. Anybody got any other credits on the writers - Smith, Hooven and Winn? Guy. -------------------[ archived by Spectropop ]-------------------
Message: 21 Date: Fri, 07 Mar 2003 22:28:19 +0000 From: Richard Havers Subject: Harris Performs Webb Bob Rashkow wrote: > Jimmy Webb's beautiful crystalline images as interpreted > splendidly by the late Richard Harris...... Wonderful stuff......some of the best Drama-Pop (is that a new genre?)......EVER. Richard -------------------[ archived by Spectropop ]-------------------
Message: 22 Date: Fri, 07 Mar 2003 22:29:21 -0000 From: Billy Spradlin Subject: 4 Seasons On E-Bay I was looking at E-bay this afternoon and spotted an ad for "I'm Still In Love With You" by the Four Seasons on Alanna: http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=2513534054&category=22665 Is this one of the Seasons pre-"Sherry" recordings or a reissue? Thanks! Billy -------------------[ archived by Spectropop ]-------------------
Message: 23 Date: Fri, 07 Mar 2003 17:37:20 +0000 From: Phil Milstein Subject: Re:Nanker-Phelge; Faithfull crediting Richard Havers wrote: > song-writing royalties. Phelge is taken from Jimmy Phelge (a former > flat mate of Brian/Keith/Mick who was rather revolting. He would > stand at the top of their stairs wearing just his underpants and > spit on people!). A ‘Nanker’ is a revolting face that Brian would > pull. Who wrote a book about his Stones' memories. Hey, get famous enough and everyone YOU ever crossed paths will write a book about it, too. > As for Mick and Keith sharing song writing credits they did, > occasionally. 'Sister Morphine' from Sticky Fingers is shared with > Marianne Faithfull. I don't believe the credit appeared on the original release, however, which would mean it emerged on later pressings only at the urging of M.F., or her lawyers. --Phil M. -------------------[ archived by Spectropop ]-------------------
Message: 24 Date: Fri, 07 Mar 2003 22:51:44 +0000 From: Richard Havers Subject: Re: Nanker Phelge Phil Milstein wrote: > Has anyone ever drawn up a list of all the Nanker Phelge titles? 'Stoned' - the b-side of come On (the song that Brian decided should be credited to Nanker Phelge) 'Little by Little' - the b-side of Not Fade Away in the UK is credited to Phelge/Spector 'Now I've got a Witness' - on the First Stones album. 'Empty Heart' and '2120 Michigan Avenue'- Cut at Chess studios in June '64. Both are on the Five by Five EP and the 12x5 US album. 'Off The Hook' - b-side of 'Little Red Rooster' 'Play with Fire' - b-side of 'The Last Time' 'Under assistant West Coast Promotion Man' - b-side in the US of 'Satisfaction'. 'The Spider and The Fly' - b-side in the UK of 'Satisfaction' 'I'm Alright'. - on the EP Got Live If You Want It. Strangely the chanting fans, officially the first track, shouting "We Want The Stones" is credited to Nanker Phelge! I'm Alright, The Under Assistant West Coast Promotion Man, Play With Fire and The Spider and the Fly are all on the Out of Our Heads album (US only). West Coast Promo Man is the only one to make the UK version of that album. I think that's it for Nanker Phelge (that were released). Don't ask me to go through the bootlegs! I just thought of another where Mick and Keith shared the writing credit: 'As Tears Go By', with Andrew Loog Oldham. Richard -------------------[ archived by Spectropop ]-------------------
Message: 25 Date: Fri, 07 Mar 2003 15:50:32 -0800 From: Alan Gordon Subject: big Macca, and my big mouth... First off, please let me apologize for my outing into music theory in my last "diatribe". Musicians are a strange group... we tend to think every one knows what the heck we're talking about when we spout musical jargon... like, do ya dig, daddy-o? I hope I don't come off as "Chris, In The Morning." Communication... what a concept. Stratton Bearheart: > In reply to Alan Gordon, I would agree that McCartney had some > superb innovative moments, Rain is a perfect example, but I often > think he lacked the consistency displayed by later players. I think > this is also true of his songwriting capacities since The Beatles. I, once again, respectably disagree... but only in part. I think if we took all of the songs Paul played bass on ( and I'm not too terribly partial to his post Beatles bass-playing) and compared them, for instance, to a fantastic player like Ms. Kaye's body of work, we would probably see a similar percentage of "terrific" to "tripe". I'd bet that Ms. Kaye and Paul would both probably assert that if a more pedestrian part served a song better than a more intricate or complicated bass part... so be it. So with that said, I think it's sometimes hard to judge a particular players' playing in a particular song without getting into more abstract terms. As for his songwriting capacities: I actually think his theory and tonal constructional abilities have gotten significantly more complicated... but they got more boring, as well. Although I do like Paul's R&R album, "Run Devil Run," and "Driving Rain." > As far as The Beatles harmonic adventurousness goes, they > displayed a naivety in their use of sometimes complex modulations, > and it's that that makes the songs so wide-eyed and wonderful. I think that's what I said, albeit with a much less literate perspicacity. > However, they do not contain the harmonic density and focus of > great songwriters such as Cole Porter whom McCartney > would have partially absorbed through his fathers influence. As for "harmonic density," I would have to agree, but I think that has a lot more to do with what is accepted as popular music in any given time. Cole Porter, Harry Warren, Rogers and Hart and their amazingly talented ilk, were playing to different bleachers. The augmented 5ths, diminished chords, and 6th chords (She Loves You notwithstanding), 7th, 9th, 11th, and 13th chords etc., are just thought of as corny these days (though I adamantly disagree). That music had much more complicated arrangements, mostly because the popular pop sound of the 40s, for instance, was a Big Band sound. Glen Miller, Harry James etc. had many more instruments to arrange for with any given song, and the more creative arrangers took advantage of that, building vast colorscapes with a foot definitely nudged in the door of their classical recent past. The lesser arrangers, like in any colloquiality, did lesser arrangements. I personally think Nelson Riddle and Billy May are the cats pajamas. IMHO, what the public responds to gets less complicated with each subsequent generation. As much as some of the more recent Hip Hop stuff has some very intricate counterpoint, it's in the percussion, rather than the instrumentation. > Lennon quite rightly said The Beatles created "20th century electric > folk music" a modest but mostly true appraisal in my estimation. I think I agree with you, depending, of course, on how you would define terms like folk etc.... but that's just me. Once again, language is an interesting thing to try to communicate with. I prefer the music. albabe -------------------[ archived by Spectropop ]-------------------
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