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Spectropop - Digest Number 903



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               SPECTROPOP - Spectacular! Retro! Pop!
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There are 4 messages in this issue.

Topics in this digest:

      1. Re: Bassic chord progressions
           From: Andrew Hickey 
      2. Re:Geator with the Heator, the Big Boss with the Hot Sauce
           From: Nick Archer 
      3. Eva Destruction
           From: Mick Patrick 
      4. Brian Wilson and New Jersey
           From: Michael Edwards 


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Message: 1
   Date: Mon, 02 Jun 2003 22:08:30 +0100
   From: Andrew Hickey 
Subject: Re: Bassic chord progressions

Steve Harvey wrote:
> As an aspiring bassist I noticed that most rock
> bassists of note started in the 60s. I think the
> bassists of the 50s suffered from the handicap of
> having to play the same old chord progressions over
> and over. When you started getting the songwriters
> like Brian Wilson and Lennon & McCartney they made
> their songs more interesting because they usually
> played in and out of various keys. That provided
> bassists a lot more room to experiment with.


It didn't stop guitarists - and there were bassists of 
note in the 50s, Bill Black and Willie Dixon for a start. 
I think it's more that the bass was usually an unamplified 
instrument in the 50s - stand up bass rather than bass 
guitar. In fact does anyone have any idea who the first 
person to play bass guitar was? I'd be very interested to 
know...

--
http://stealthmunchkin.com
Stealth Munchkin - The World's Greatest Band



-------------------[ archived by Spectropop ]-------------------
Message: 2 Date: Mon, 02 Jun 2003 17:00:15 -0500 From: Nick Archer Subject: Re:Geator with the Heator, the Big Boss with the Hot Sauce I have an album where Gerry talks up and down and all over a bunch of mostly uptempo doowop songs from early '61 or '62. I'll play a piece to musica if I can isolate a segment. Check out Nashville's classic SM95 on the web at http://www.live365.com/stations/nikarcher -------------------[ archived by Spectropop ]-------------------
Message: 3 Date: Mon, 02 Jun 2003 23:46:39 +0100 From: Mick Patrick Subject: Eva Destruction David A. Young: > Thank you, Mr Patrick, for corroborating and expanding upon > my research in reply to Mr White's initial query. How great > to have "Sugar Plum" to look forward to! Thanks to Mike Edwards, > I have confirmed that the Jimmy Jones/Little Eva duet of "Don't > You Just Know It" that I have on a compilation LP is the one > released on Parkway credited only to Jones and included on his > recent "Good Timin'" anthology. So my questions remain: Is > Eva on both sides of this single, and Mick, is this the record > to which you were referring when you said in the liner notes to > "Here Come the Girls 7: The Trouble with Boys" that she recorded > on Parkway, or did she have something under her own name there > as well? No, yes and no. No, Eva is not on both sides of Jimmy Jones' Parkway single, just on the "Don't You Just Know It" side. Yes, this is the record to which I referred in the CD liner notes you mention. No, Eva had nothing released under her own name on Parkway. Another thing: I'm informed that Eva - billed as Eva Harris, her married name - is listed as a backing vocalist on a Verve label album by jazzer Curtis Amy. I don't own the LP in question, nor am I aware of its title. I'm no jazz expert either. Maybe someone out there is and can fill us all in on this item. Also, in my opinion, Eva sang lead vocals on a few singles by a group called the Downbeats on a label of the same name. This is pure speculation on my part, based solely on aural evidence. I'm aware of the existence of several outfits of this name. I'm referring strictly to the act on the Downbeat logo. More details another time, perhaps. I know, I'm a total tease! Oh well, I'll just give "Sugar Plum" another listen. :-) Mick Patrick -------------------[ archived by Spectropop ]-------------------
Message: 4 Date: Mon, 02 Jun 2003 18:58:27 -0400 From: Michael Edwards Subject: Brian Wilson and New Jersey Stuart Miller writes: > The Beach Boys were never that strong in the New Jersey > area in the first place. This was the very heartland of > 4 Seasons blue collar support and as far as most Jerseyites > were concerned, those blue eyed wonders from the west coast > could shove their surfboards in the one place where the > blessed sun didn't shine. Perhaps. The Beach Boys did acknowledge New Jersey in at least two of their recordings: "Amusement Parks USA" from 1965 references Atlantic City's Steel Pier and then there is "Palisades Park" from 1976. Eric Carmen said there is no surf in Cleveland, but there is on the Jersey Shore. Forget the blue collar/Bruce Springsteen/Asbury Park stuff for a moment and head south to Long Beach, home to Ron Jon's surf shop and as funky a beach town as you would find anywhere. Here's the intro from their website: "IT WAS 1959...and on the New Jersey shore a bright young man named Ron DiMenna was just discovering the sport of surfing with fiberglass surfboards." Move a little further south and you've got Wildwood, where Philadelphians spent summer vacation listening to Bobby Rydell records, one of the best of which was "Surfin' USA" from his "Wildwood Days" album (Cameo 1055). The surf is definitely up in the great state of New Jersey, dude. Mike Edwards -------------------[ archived by Spectropop ]-------------------
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