The Spectropop Group Archives presented by Friends of Spectropop

[Prev by Date] [Next by Date] [Index] [Search]

Spectropop - Digest Number 832

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


There are 17 messages in this issue.

Topics in this digest:

      1. Re: B.T. Puppy Girls
           From: Mick Patrick 
      2. Bravo Mark Wirtz!
           From: John Hesterman 
      3. Re: Tony Hatch
           From: Artie Wayne 
      4. Re: Three Pennies/English Muffins/Dorothy Jones
           From: John Clemente 
      5. Re: Brian Wilson etc
           From: Phil Reynolds 
      6. Re: Jack Nitzsche at Spectropop update
           From: Phil Milstein 
      7. Re: Samantha Jones
           From: Elisabeth Kurtis 
      8. Re: Brian Wilson
           From: Billy G. Spradlin 
      9. Re: Pussycats
           From: Martin Roberts 
     10. Re: Tony Hatch and Julie Grant
           From: Mick Patrick 
     11. Raider music!
           From: Guy Lawrence 
     12. Re: Brian Wilson / Smile
           From: Robbie McCabe 
     13. Brian
           From: Bob Rashkow 
     14. Tony Hatch and Julie Grant
           From: David Bell 
     15. Re: Brian Wilson
           From: Phil Milstein 
     16. Turtle tails / Ron Dante maybe?
           From: Ken Silverwood 
     17. Re: New project
           From: Paul Richards 

-------------------[ archived by Spectropop ]-------------------
Message: 1 Date: Sun, 23 Mar 2003 10:13:53 -0000 From: Mick Patrick Subject: Re: B.T. Puppy Girls Ian asked: > Anybody any info on the English Muffins 45? Martin replied: > English Muffins, Penny Sisters and The Three Pennies are > different group names for the same recordings. The records > are so good they named the group thrice. More to the point, does anyone have a copy of the Penny Sisters' B T Puppy LP? I only have a xerox copy and the sound quality is a little bit dull! MICK PATRICK -------------------[ archived by Spectropop ]-------------------
Message: 2 Date: Sun, 23 Mar 2003 07:54:01 -0800 From: John Hesterman Subject: Bravo Mark Wirtz! Bravo Mark Wirtz!!!! Your comments on Brian Wilson were dead on target!!! The man has earned his station in life, if he wants to use a teleprompter, let him! This isn't a one of us, who as we age, won't begin to experience the same kind of challenges. When you stop to consider all that Brian has overcome, his achievements in music and life are even more amazing. You Rock, Brian :) John Hesterman -------------------[ archived by Spectropop ]-------------------
Message: 3 Date: Sun, 23 Mar 2003 07:58:16 -0800 (PST) From: Artie Wayne Subject: Re: Tony Hatch Mick........I've really been enjoying Tony Hatch exchanges. I've always considered him one of the ultimate songwriter/producers. Even though I know he's English, I think "Downtown" is as much of a "New York Anthem" as "On Broadway"!!! Would you ask Tony which of Petulas' hits [if any] were cut in New York? Thanks and regards, Artie Wayne -------------------[ archived by Spectropop ]-------------------
Message: 4 Date: Sun, 23 Mar 2003 11:52:20 -0500 From: John Clemente Subject: Re: Three Pennies/English Muffins/Dorothy Jones Hello All, I believe that The English Muffins was a reissue of The Three Pennies with a different name (same cut, including the flip). Dorothy Jones still has the life-size cutout publicity figure of her photo shoot for "It's Unbearable/Takin' That Long Walk Home". "It's Unbearable" has the same melody line as "Stranger In My Arms", which I prefer. Regards, John Clemente -------------------[ archived by Spectropop ]-------------------
Message: 5 Date: Sun, 23 Mar 2003 11:20:27 -0600 From: Phil Reynolds Subject: Re: Brian Wilson etc Mary S: > I think the BB offshoot group I would most like to see right now is > the group fronted by Al Jardine and the Wilson sisters. I know that > Mama Cass's daughter, Owen, has been with this group at times, also. > It would be interesting to me to hear Al's sons sing and play. > Certainly, that is a very family-oriented group. I read that Carnie > and Wendy Wilson's mother, Marilyn Rovell Wilson, has also made some > appearances with the group. Have any of you been to any of the > concerts given by this group? Re: Al Jardine's Beach Boys Family & Friends. I have a cd of a concert they gave at a college, but the best way to hear them is to get their "Live in Las Vegas " cd. It's available on Al's web site, or via: It's excellent, with a very good selection of songs from all era's of the Beach Boys career. The vocals are by Al, his son's (son Matt toured with them for years doing the falsetto part), with Carnie and Wendy Wilson as well. The backup band contains BB alumni Ed Carter, Bobby F. on drums, Billy Hinsche, and others. Part of the fallout between Al and Mike Love was apparently Al's desire not to become an oldies act, and above all not concentrating on the surf/car songs. The Live in Las Vegas list goes into songs from "Holland", "MIU", Breakaway, and more from their catalog as well as their hits. It's worth looking into. -------------------[ archived by Spectropop ]-------------------
Message: 6 Date: Sun, 23 Mar 2003 11:50:56 -0500 From: Phil Milstein Subject: Re: Jack Nitzsche at Spectropop update > - LHI 1216 with either Lee Hazlewood's spoken intro or without! That had better be WITH, or you'll hear from my lawyer! -------------------[ archived by Spectropop ]-------------------
Message: 7 Date: Sun, 23 Mar 2003 18:49:01 -0000 From: Elisabeth Kurtis Subject: Re: Samantha Jones Mark Wirtz said (while discussing the ultra fabulous Samantha Jones): > It so happens that I personally believe that my "Today Without You" > single recording with Sam was the best "pure pop" record I ever > produced. It must be a sign...after reading Mark's note yesterday, I finally tracked down a (Belgian) copy of this single at a record fair today, with the picture sleeve as well. I nearly died - I've been searching for ages! (I love the flip "Until Tomorrow" too...although it couldn't be more different in mood.) It's one of my favourite Sam songs and I couldn't agree more on the "pure pop" comment - it really should have been a big hit. Well, at least I can try and fill the dance floor next time I DJ! Thanks for the extra insight as well, Mark - it really makes for wonderful reading. Oh, and I wholeheartedly second Mark's recommendation of the Samantha Jones cd comps on RPM. It's handy to have such a lot of her material all in one place, but the amazing liner notes and photographs make them extra special and worth buying even if you have quite a lot of her vinyl. I have had many a male friend drool over that pic of her in the white mini dress! ;-) Elisabeth xo -------------------[ archived by Spectropop ]-------------------
Message: 8 Date: Sun, 23 Mar 2003 21:10:26 -0000 From: Billy G. Spradlin Subject: Re: Brian Wilson Great Reply Mark!! I saw Brian about 2 years ago and for the second set he picked up a bass (and PLAYED it) and ran through a excellent set of Beach Boys oldies, no teleprompter too. Gave me a TAMI show flashback to the early Brian. BTW I think Brian's voice still sounds great - though it's a pale shadow of the youthful voice he had in the early 60s, it still gives me goosebumps when he overdubs it (check out the a cappella version of "Your Imagination"). Billy -------------------[ archived by Spectropop ]-------------------
Message: 9 Date: Sun, 23 Mar 2003 21:30:30 -0000 From: Martin Roberts Subject: Re: Pussycats Mick queried the two sets of Pussycats, the wonderful gals on Columbia and the (to these ears) more soulful Keetch labeled kittens. Bert Berns' production and Teacho Wilshire's arrangement on the Tom Dowd-written "Come On And Ska", although in a different style, holds just as much magic and fun in the recording. One other set of 'Pussycats' that could be the Columbia girls released a 45 on Dynamic 101. 'Garage-girl' style, they're okay and I do like the meow at the beginning of "A Little Bit Never Hurt Anybody" but not in the same league as the rest of the pack. Martin PS Hi Phil, Checked the votes so far and some folk seem quite keen NOT to hear Lee Hazlewood! Have you cast your vote yet? :) -------------------[ archived by Spectropop ]-------------------
Message: 10 Date: Sun, 23 Mar 2003 11:09:54 -0000 From: Mick Patrick Subject: Re: Tony Hatch and Julie Grant David Bell: > I'd like to ask Tony what it was like to work with Julie Grant, > one of the main interpreters of his songs, albeit not quite in > the Petula premiere league. However, she did possess a good set > of pipes and her strident contralto made many a pleasant Britpop > 45 in the early to mid 60s. What does Tony think of her as a > singer? What were the sessions like with Julie? Did he have high > hopes that she would make it bigger in chart terms? Just want to > know what he thought of her professionally and personally. David, I've already asked Tony Hatch about Julie Grant. While not directly relevant to your actual questions, here's what the great man told me: > I signed Julie Grant and produced all her records, writing quite a > lot of them. As I said before about Bob Leaper, he wrote to order > so if the arrangements even sound like mine it's because I would > carefully stipulate to him what I wanted. Also (and I still think > it applies today) many good record productions benefit by having a > catchy riff or figure built into the intros and links. Certainly, > almost every rhythmic song I wrote came with such a riff or figure. > I had my own style and that's what people recognise. I tried very > hard with Julie and she was completely different to the other girls > I was recording so there was no conflict except, perhaps, in the > amount of time I could devote to each artiste. I was particularly > pleased with "Count on me". We got so close to breaking her but it > just wouldn't happen. Regards, Tony Tony has mentioned Julie to me several times. Amongst other things, he told me that the story about him writing "Downtown" for her is not true. However, she was one of three singers slated to cut "Where Are You Now (My Love)". The other two were Petula Clark and Jackie Trent. The TV company that commissioned the song insisted that they wanted a "new" singer, so Jackie Trent got the job. I agree with you David, Julie was quite fabulous, in a Helen Shapiro meets Petula Clark meets Dusty Springfield way. By the way, S'poppers might like to know that her RPM CD, which contains her complete Pye output, is still available. I just saw it listed in Bim Bam's new catalogue. They have an excellent website: MICK PATRICK -------------------[ archived by Spectropop ]-------------------
Message: 11 Date: Sun, 23 Mar 2003 21:44:48 -0000 From: Guy Lawrence Subject: Raider music! Nice to see some Raiders-related music at musica. I've long fantasized about a compilation of Revere's friends and relations where the Unknowns track would be included alongside Don & The Goodtimes, Jim Valley's solo singles, the Wilde Knights, Fang and Drake's post Raiders stuff and lots of other cool things tenuously linked to the Raiders. I recently dug out Keith Allison's solo album "In Action" from '67 (Columbia CS9441 Pr. Gary Usher). Alongside some pretty perfunctory covers and two tracks where he sings over Raiders backing tracks there is a great, almost country rock, version of "Leave My Woman Alone" by Ray Charles and an excellent take on Neil Diamond's "Do It". This dates from the days when Keith was still a Raider wannabe, hanging around the set of "Where The Action Is" winning McCartney lookalike contests and not yet a fully signed-up band member. On the subject of the Raiders in the Hall Of Fame, I can understand why many don't remember them with much respect. As a Brit who didn't grow up watching the Raiders daily on WTAI, I discovered the band purely through their music and grew to love them thanks to those classy Columbia albums. It was only recently that I saw a few "Action" episodes and I was quite shocked to see the amount of general goofing-off Paul and the boys got up to. While cutting-edge musical guests played the very latest psychedelic sounds, the Raiders would be lip-synching to something like "Alley Oop" or "Ahab The Arab"! One clip has a really grimy looking 13th Floor Elevators doing "You're Gonna Miss Me" while Keith Allison sits on the side of the stage with a big gormless grin on his face! Don't get me wrong - I love the Raiders - but I can see how anyone who was subjected to daily doses of this would not take them seriously! Guy. -------------------[ archived by Spectropop ]-------------------
Message: 12 Date: Sun, 23 Mar 2003 01:31:39 EST From: Robbie McCabe Subject: Re: Brian Wilson / Smile Watson Macblue writes: > 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. And when you get to see Sir Paul in the UK, dear Watson, you will see that he definitely uses a teleprompter not only for lyrics, but for his stage patter as well. (In fact, that is a very common practice) The "blown lyrics" in his performance of "Golden Slumbers"? Part of the script! Even the "touching and funny anecdotes"! The smart-assed comment to the one guy who applauds the mention of George Formby's name when Sir Paul tells of Mr. Harrison's love of the ukelele? All scripted! > Play the live PS album to anyone outside the cult, and they > blench - Jeez, that guy can't sing. As well or, more accurately, as smoothly as he did. But I maintain that he is much better in his lower register, when he isn't pushing his voice. And it's not always about being note perfect. It is about conveying the song's emotion. I would argue that "I Just Wasn't Made For These Times", for instance is better suited to his current voice than his 1966 voice. His more disabled voice displays the song's angst more than his more pure tones. And BTW, I knew two non-fans who saw the Queen's Jubilee on TV and were quite impressed with both Brian and the band - and that appearance shows what you are trying to say about Brian's scripted patter much more obviously. (Watch him try to introduce the Coors) > If Brian 1966 had heard Brian 2001 singing, he would have > fired him. I don't know about that. Marilyn Rovell Wilson wasn't the greatest singer in the world but he thought differently obviously. > 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. The faithful are not as gullible as you seem to think we are. The first time I saw him in concert in 2000, I was estatic, of course and that night, to me, he was perfect. But when I heard the boot of the show two years later, I was cringing. He was flat on Sloop, but at least he was consistently flat! The 2001 shows were a definite improvement and each time I have see him (PS Symphony tour in 2000, 03 times in 2001 opening for Paul Simon, and last year in Chicago) he has improved tremendously every single time. And we note that. (and I have heard boots of those shows and actually found myself enjoying his performace more than I did in person) And the strange thing is, Watson, if I had never seen him in concert, I would agree with you about his (in)ability to perform in front of an audience. I saw that Gawdawful performance he did on Farm Aid '98 and everything you said about the PS shows was more applicable to that performance than it is to his own concerts. Yes, he is nervous, but if he didn't have *that* band (meaning Foskett, Wondermints et al) with him, he would not be in front of audiences. Period. And like others, I do find myself enjoying those shows and sometimes feeling guilty for enjoying them because of who it is (no one ever wonders if Macca and Mick and Keith still perform because they are "forced" to do so). But this is Brian Wilson. I go to applaud his acheivments first, listen to a wonderful band play this atypical rock music the way it is *supposed* to be played second, and to be amazed when Brian pulls an unexpected rabbit of the hat with his own vocal performance third. The shows that linger most in my mind are when all three happen. > 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. My jury's still out on the Smile show (even though he has performed already "Our Prayer", Heroes and Villains -both 45 single arrangement and Smile arrangement, Surf's Up, You're Welcome, Wonderful and Cabinessence), but the Elvis analogy is innacurate. If anything, Brian's tours have added some lustre to a legacy that has been defaced by 20 plus years of Mike Love's Endless Summer Travelling Jukebox Tours. And as a member of the "cult", I disagree that I am too starstruck to be able to listen to Mr. Wilson objectively. Rob "the artist former known as Noble Surfer" McCabe -------------------[ archived by Spectropop ]-------------------
Message: 13 Date: Sun, 23 Mar 2003 16:57:47 EST From: Bob Rashkow Subject: Brian I really love "Melody for an Unknown Girl" (I have the 45). Another brilliant tune that mysteriously didn't go Top Ten as it most certainly should have! I kiss the ground Brian Wilson walks on. If he so much as smiled at me, now or in 1963, I would probably curse myself for not bringing along a camera. I would probably kill to stand within 100 feet (or heads) of him, and it isn't necessary for me to say why, so I''ll just say this: "Wonderful", "Darlin'" and "Heroes and Villains." That's a good enough explanation! Bobster -------------------[ archived by Spectropop ]-------------------
Message: 14 Date: Sun, 23 Mar 2003 17:57:45 EST From: David Bell Subject: Tony Hatch and Julie Grant Thanks for that reply, Mick. Coincidentally, I went onto eBay soon after writing that email and saw that someone is offering "Then Only Then" by Julie Grant with a starting bid of $100. For me that was just another b side but it is apparently "good popcorn". You live and learn. David. -------------------[ archived by Spectropop ]-------------------
Message: 15 Date: Sun, 23 Mar 2003 17:10:35 -0500 From: Phil Milstein Subject: Re: Brian Wilson Billy G. Spradlin wrote: > BTW I think Brian's voice still sounds great - though it's a pale > shadow of the youthful voice he had in the early 60s, it still gives > me goosebumps when he overdubs it (check out the a cappella version > of "Your Imagination"). Which I just heard on a Muzak-like station piped in at the drug store. I'd never heard it before, but it sounded great, and I was delighted the current Brian was getting some "air"play. --Phil M. -------------------[ archived by Spectropop ]-------------------
Message: 16 Date: Mon, 24 Mar 2003 00:31:42 -0000 From: Ken Silverwood Subject: Turtle tails / Ron Dante maybe? I have always enjoyed the wide variety of recordings made by The Turtles especially "You Showed Me " written by Roger McGuinn, "You Don't Have To Walk In The Rain" produced by Ray Davies & a track called " Too Young To Be One". But my fondest memories are of sitting in pubs back in 1966 nursing a pint all night & annoying all the *old* people by pressing B5 on the Rockola to get The Turtles doing " We'll Meet Again" & commenting that it was much better than Vera Lynn! Rebels with a cause eh. The Turtles Present The Battle Of The Bands was one of the weirdest LPs I ever bought & I'm not weird (trust me), all the turtle talk made me root it out again to listen to "I'm King Kamanawanalea (we're the Royal Macadamia Nuts)", cue strange looks from rest of family, oh well perhaps they'll like " Surfer Dan". A question: Who are Ronnie & The Dirtriders/ Yellow Van RCA 10651/ c1976, I believe it to be Ron Dante & Barry Manilow, am I correct? Ken On The West Coast -------------------[ archived by Spectropop ]-------------------
Message: 17 Date: Sun, 23 Mar 2003 20:31:15 EST From: Paul Richards Subject: Re: New project Cheers Artie, I love your new song-fantastic lyrics. Poor Little Jenny Skipping Rope! Your website is also fascinating, I wish I knew more of your songs. My personal favourite you've written is 'Flashback' for The Fifth Dimension,great song. It really builds & builds, I'll have to try & find it & give it a play. 'Queen for Tonight' by Helen Shapiro I also know & love. I don't know many others but I'd like to. Thanks Artie. Paul Richards -------------------[ archived by Spectropop ]-------------------

Click here to go to The Spectropop Group
Spectropop text contents copyright 2002 Spectropop unless stated otherwise. All rights in and to the contents of these documents, including each element embodied therein, is subject to copyright protection under international copyright law. Any use, reuse, reproduction and/or adaptation without written permission of the owners is a violation of copyright law and is strictly prohibited. All rights reserved.