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Spectropop - Digest Number 829

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


There are 13 messages in this issue.

Topics in this digest:

      1. Re: Tony Hatch
           From: David Feldman 
      2. Buried Alive
           From: Sylvain 
      3. Re: Billy Ward & the Dominoes' Eugene Mumford
           From: Mike Edwards 
      4. Re: Faux Shangs: Ronnie Dante
           From: Mick Patrick 
      5. Brian Wilson / Smile
           From: Watson Macblue 
      6. Re: Wasn't It You - Goffin / King
           From: Michael Robson 
      7. Where The Pussycats Are
           From: Pekka Johansson 
      8. Re: Ronnie Dante
           From: Tom Taber 
      9. Samantha Jones
           From: Norman 
     10. Re: Tony Hatch
           From: Phil Milstein 
     11. Re: Faux Shangs
           From: Martin Roberts 
     12. Re: Goffin/King's "Wasn't It You"
           From: Mick Patrick 
     13. Re: Brian Wilson
           From: Stuart Miller 

-------------------[ archived by Spectropop ]-------------------
Message: 1 Date: Fri, 21 Mar 2003 11:59:41 -0500 From: David Feldman Subject: Re: Tony Hatch Mick, posted the following from Tony Hatch: > As for my songs being described as 'personal, mature and > pessimistic', I would have to say I agree totally with 'personal and > mature' but argue passionately against 'pessimistic'. Many, such as I > KNOW A PLACE, MY LOVE and I COULDN'T LIVE WITHOUT YOUR LOVE are fairly > shallow yet positive and, with very few exceptions, even those songs > like DOWNTOWN, WHO AM I and THE OTHER MAN'S GRASS that begin with a > downbeat view of life or a personal situation have an optimistic > finish. First of all, Mick, please thank Mr. H. for responding to my post and thanks to you, too. It's a real kick to be able to converse with my favorite English writer-producer. Mr. Hatch, is right, of course, that many of his "pessimistic" songs end with a happy ending, but the "problem" is that the despair depicted in "Don't Sleep in the Subway" and "Who Am I," for example, are so vivid that their impact can't be erased. It reminds me of the comedies of Katharine Hepburn. She bursts onto the screen, full of energy, power, and independence. Eventually, though, her characters buckle in order to snag her man. But that isn't what you remember about the movies -- the feisty Hepburn is indelible. I agree completely with the Spectropopper who found sadness underlying "Downtown." Maybe "pessimistic" was the wrong word. Hatch's songs acknowledge all of the demons in the world, and his protagonists make the conscious decision to trudge on anyway. Maybe this is what separates Hatch's songs from the unrelieved gloom of "Cat in the Window" (which otherwise fits into the Pet Clark oeuvre of that periosd), and what makes Hatch' best songs so mature and timeless. Dave Feldman -------------------[ archived by Spectropop ]-------------------
Message: 2 Date: Fri, 21 Mar 2003 16:38:51 -0000 From: Sylvain Subject: Buried Alive Hello, I just started a group called "Buried Alive", dedicated to sharing informations about 60s-00s unknown/underground musical treasures that everybody into true sound should have in his collection. No concurrence with Spectropop, cauze Buried Alive is intented to go well beyond the 60s scene, and will deal with killer sounds whatever they are, ie psych folk, 77 punk, current garage punk or even minimalism stuff and noisy pop... A group for addicted music collectors ! I just started this group, I'm currently inviting people, so wait a few days before getting the first messages. hope to see you there soon, Sylvain -------------------[ archived by Spectropop ]-------------------
Message: 3 Date: Fri, 21 Mar 2003 14:38:09 -0500 From: Mike Edwards Subject: Re: Billy Ward & the Dominoes' Eugene Mumford David Coyle writes re: (Eu)Gene Mumford: > Like Nat King Cole, Earl Grant, Brook Benton, and Gene > McDaniel, among others, he favored a more pop-oriented > vocal sound, which had great crossover potential, > without losing too much of a soul edge. And his little > trills that he threw in were an instantly recognizable > Mumford trademark (as in, "buh-UUUUHT, that was long > ago..." from "Stardust"). Bring it on! Is there anything you can play to musica for us. I love Clyde Mcphatter-Jimmy Jones type singers from circa 1958-1962. David, do you know if Gene Mumford's Come What May on Columbia is the same song as the one Clyde McPhatter took to # 43 in 1958? Thanks, Mike Edwards -------------------[ archived by Spectropop ]-------------------
Message: 4 Date: Fri, 21 Mar 2003 07:34:03 -0000 From: Mick Patrick Subject: Re: Faux Shangs: Ronnie Dante John Frank on Faux Shangs: > Thanks to Mick for his donation of The Wild Angels' history, photo > and song. This is fabulous stuff! Also for the Brenda Hall "Oh > Eddy, My Baby". Our beloved quartet of Shangri-Las may have been *the* angels of angst, the most melodramatic of myrmidons, the loneliest of lorelies and the quintessential queens of carnage, but they did not have the world of teen torment entirely unto themselves. In fact, boys have feelings too, as S'pop favourite Ronnie Dante (he of the Detergents and the Archies) proved with his stupendous Shangs-like death-disc "In The Rain". This great platter was written by Richard Rosenfeld, arranged by Bert Keyes, produced by Stanley Kahan (aka songwriter Bob Elgin), engineered by Brooks Arthur and released on Musicor 1090 in 1965. (When else?!) I have asked someone capable of such technical matters to have it posted to musica. I'll set the scene: It's raining, it's pouring. Some back-up chicks (perhaps the Cookies) supply dramatic hand percussion. Thunder claps in the distance. The former love of Ronnie's life is getting married the next day. To someone else. Oh, no, the utterly unbearable anguish! He's been walking, running, crying through the wet and lonely neon lit streets all night long, determined to reach his honey before it's too late. His eyes are so full of salty tears that he fails to see the car heading straight for him. "Watch out, watch out!" the girls yell. The car slams on its brakes........ Does Ronnie hear the girls in time? Who was in the car? Who is that figure in white? And does a better male Shangri-Las' soundalike exist? The answers to these and other questions can be found right here: MICK PATRICK Still wondering who that is banging on the piano. -------------------[ archived by Spectropop ]-------------------
Message: 5 Date: Fri, 21 Mar 2003 07:35:33 -0800 (PST) From: Watson Macblue Subject: Brian Wilson / Smile Not so very long ago, I saw Brian Wilson burst into tears and bury his head between his knees at the very mention of Smile. The pysch nurse (sorry ... er ... friend) who was with him rounded ferociously on the hapless journalist and said (give or take a few expletives) "Don't go there". In his horrendous Smile interview with BBC Radio One, Brian summed up the whole business with "That's a bad area for me, Smile". Every Beach Boy has, separately or together, turned six shades of puce at the mention of That Album. Yet now, we find a "live" Smile in preparation. Let's be plain what's going on here. Anyone who got past the goons and saw the monitor by Brian's keyboard during the Pet Sounds tour got a frightening surprise. Sure, it had the lyrics of the songs (which Brian doesn't know after 35 years?). It also had instructions: "Stand up now." "Sit." "Smile at the audience more." "It's really great to be doing this for you." Nearly every word he said was scripted for him. It was grimly obvious when he was wandering off the script - the babble started. Play the live PS album to anyone outside the cult, and they blench - Jeez, that guy can't sing. If Brian 1966 had heard Brian 2001 singing, he would have fired him. The only reason those shows worked so well musically was because everybody *else* was note-perfect (itself a weird concept of rock). They weren't concerts; they were revival meetings. The faithful were so glad to see Brian that they forgot to listen to him. Soon after Elvis died, someone made a cartoon that showed people digging him up and using the corpse as a puppet in a stage show called Necrophilia, Hawaian Style. The upcoming Smile show will probably be in the same high taste. Poor Brian. Watson -------------------[ archived by Spectropop ]-------------------
Message: 6 Date: Fri, 21 Mar 2003 12:01:03 -0000 From: Michael Robson Subject: Re: Wasn't It You - Goffin / King Mike C: > Peggy Lipton's "Wasn't It You" certainly isn't the strongest song > of the entire set but for G&K searchers here's one where the > material really outweighs the singer. Makes me appreciate Petula > Clark once more. Mick P: > You're quite right. Petula Clark's Tony Hatch-produced version of > this number is the definitive one (and the original, it seems). Not > wishing to be unkind, I made a point of not using the words "tune" > and "bucket" within Peggy Lipton's paragraph in the booklet. There > are much nicer ways of saying "This girl can't sing" and I thought > "A Shelley Fabares for the Age of Aquarius" might be one of them. > Peggy and Shelley shared the same paramor/producer (not > simultaneously, well, not to my knowledge). Her voice might not have > been the strongest but her face...what a sweet thing that was. Don't forget Billie Davis's (Decca F12620, 1967) or Lynne Randell's (Silvercloud 105, 1968) versions. Lynne Randell's version, in particular, features a slightly heavier uptempo approach and is all the better for it. MICHAEL CLUNKIE VINYL JUNKIE -------------------[ archived by Spectropop ]-------------------
Message: 7 Date: Fri, 21 Mar 2003 14:07:16 +0100 From: Pekka Johansson Subject: Where The Pussycats Are I just went out and bought Where the girls are vol 5, and I can't wait to get home and have a listen. I have all the previous four volumes and they're great, even though I could do without the soul and r'n'b acts. Pure pop rules! A special thanks to Mick Patrick and Malcolm Baumgart for their liner notes, and to Nick Robbins for his careful remastering work. Mick, will the Pussycats' excellent song "The Rider" appear on a forthcoming volume? In my opinion, this is by far the best among their releases - one of those wonderful records that sound more like the Shangri-Las than the Shangri-Las themselves. Best regards, Pekka Johansson, Stockholm, Sweden -------------------[ archived by Spectropop ]-------------------
Message: 8 Date: Fri, 21 Mar 2003 12:31:21 -0800 (PST) From: Tom Taber Subject: Re: Ronnie Dante > MICK PATRICK > Still wondering who that is banging on the piano. "I don't know." He may have also played third bass. But I do know that between the time the Detergents LP came out, and the follow-up single was released, the name of the song was changed, from or to "007." Any other known incidences of similiar name changes when a single got released? Tom Taber -------------------[ archived by Spectropop ]-------------------
Message: 9 Date: Sat, 22 Mar 2003 08:00:25 +1030 From: Norman Subject: Samantha Jones Hi, I picked up a Samantha Jones's "A Girl Named Sam" LP at a local thrift shop a week ago. Stereo SPFL- 933987 (PELS 501) Penny Farthing Records (released through Festival Records, Australia). Arranged and Produced by Mark Wirtz. I would appreciate any further info on this artist. Thanks Mark for such a great job. I played side 2 first because I recognised the track "Do I Figure In Your Life" by Mark Dello. The arrangement sent me through the wall backwards! A great piece. I played the rest of the album through and my ears pricked up on "Taking The Heart Out of Love" a song I never recognised so I read the writers credits and saw that it was Mark Dello again. These songs must have been a joy and a challenge to work with. Re: Mark Dello. In Australia "I Can't Let Maggie Go" by Honeybus was given some air play but I don't think it charted (I am open to be corrected on this). I remember only hearing it one and a half times. Unfortunately, a news item reporting the death of American Senator Robert Kennedy interrupted it. As was the want of the radio station instead of continuing the song they went onto the next! I had the pleasure of picking the record up on a Decca compilation the same year so I was not deprived of such a great song. One great thing about the tyranny of distance is that being in Australia I did not have to suffer hearing "I Can't Let Maggie Go" recycled as an advertisement for a brand of bread and a "signature tune" for a British Prime Minister. Norman -------------------[ archived by Spectropop ]-------------------
Message: 10 Date: Fri, 21 Mar 2003 16:11:05 +0000 From: Phil Milstein Subject: Re: Tony Hatch David Feldman wrote: > Mr. Hatch, is right, of course, that many of his "pessimistic" songs > end with a happy ending, but the "problem" is that the despair depicted > in "Don't Sleep in the Subway" and "Who Am I," for example, are so > vivid that their impact can't be erased. It reminds me of the comedies > of Katharine Hepburn. She bursts onto the screen, full of energy, > power, and independence. Eventually, though, her characters buckle in > order to snag her man. But that isn't what you remember about the > movies -- the feisty Hepburn is indelible. Well put. I'm always a bit bugged by the last-verse capitulations of such songs as "Born A Woman" and "Gloomy Sunday." That is not meant to take anything away from Tony Hatch, however -- there is nothing wrong with the creator of a work deciding on its direction, but in these other examples one senses the presence of a label exec browbeating his hired hand to churn out something that'll leave the listener smiling. --Phil M. -------------------[ archived by Spectropop ]-------------------
Message: 11 Date: Fri, 21 Mar 2003 22:46:17 -0000 From: Martin Roberts Subject: Re: Faux Shangs As reluctant as I am to pull out any more 45s to add to the pile that is currently covering almost every flat surface in my 'music room'. Ha ha. The Shangs thread has caused me to have a quick shuftie and in the hope that it hasn't been mentioned yet one 45 that HAS to be on any Shangri Las tribute list is Robertha Williams' "Tell Mama Not To Cry" Uptown 707. Impossible to resist a record that starts with a mournful piano backing a whispered "Sis... wake up, shh, don't make a sound... Johnny and I are running away to get married...and break it to the folks gently" before the tempo increases and a more assertive Robertha pleads "Tell Mama not to cry, make her understand but I've got to do what Johnny wants because he's my man..." The 45 - surely one of the best Lou Reed ever had a hand in - is, despite the solo girl credit, a true Girl Group record with bells, finger snaps, spoken passages and almost every other patented nuance of the genre. Martin -------------------[ archived by Spectropop ]-------------------
Message: 12 Date: Fri, 21 Mar 2003 21:07:38 -0000 From: Mick Patrick Subject: Re: Goffin/King's "Wasn't It You" Michael Clunkie: > Don't forget Billie Davis's (Decca F12620, 1967) or Lynne > Randell's (Silvercloud 105, 1968) versions (of "Wasn't It You"). > Lynne Randell's version, in particular, features a slightly > heavier uptempo approach and is all the better for it. Your revelations are sure to send our US CK-head chums tripping over each other in a rush to get to ebay. While they're at it, they could search for Brit mod band the Action's version too. Those guys' appetite for British Goffin/King cover versions seems insatiable. MICK PATRICK -------------------[ archived by Spectropop ]-------------------
Message: 13 Date: Fri, 21 Mar 2003 21:36:21 -0000 From: Stuart Miller Subject: Re: Brian Wilson Watson I think you were on the harsh side regarding the quality of Brian Wilson's voice. Of course he can't sing anymore and hasn't been able to do so for some time. His voice has dropped right off the scale. I speak as an obsessive who does not enjoy live concerts because I prefer to hear the artist's recordings performed as on the record. I eschew the vocal improvisation and musical differences you find at a concert. But I went to see Brian at his January Festival Hall performance and was not disappointed. Don't forget that for the second half of the show, he does it all. And sure it ain't like the record but I went knowing it wouldn't be and was slightly pleasantly surprised. There aren't too many artists who have been in the business as long as he has now and can still hold it together. As for the fact that he probably couldn't go to the lavatory anymore without assistance, well you didn't need to get on stage to see that. It was obvious from 20 rows back. But so what? We know what he's been through and even if it was self inflicted, we can't ignore it and he's been paying the price for it ever since. Good for him that he's now married to someone (and no disrespect to Marilyn intended) who pushes him to get out and still do it. I know where you're coming from. It can be disappointing to see someone whom you may have held in very high regard in the state that Brian's now in. I for one though am glad he's back out there and felt privileged to have seen him. Stuart -------------------[ archived by Spectropop ]-------------------

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