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Spectropop V#0236

  • From: The Spectropop Group
  • Date: 03/04/99

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       Volume #0236                           March 4, 1999   
    __________________________________________________________
                     Teenage Symphonies To God                
    
    
    
    Subject:     BOUNCE spectroXXXXXXXXties.com: Non-member submi
    Received:    03/04/99 12:00 am
    To:          Spectropop List, spectroXXXXXXXXties.com
    
    
    ========== Start of forwarded message ==============
    
    
    The following news story is posted at:
    
    http://dailynews.yahoo.com/headlines/ts/story.html?s=v/nm/19990303/ts/sprin
    
    
    gfield_1.html
    
    Singer Dusty Springfield Dies At 59
    
    LONDON (Reuters) - Dusty Springfield, the 1960s British pop 
    star famous for her husky voice and blonde beehive hairdo, 
    has died at the age of 59, her agent said Wednesday.
    
    Springfield, who had fought a long battle against breast 
    cancer, died Tuesday night at her home in Henley-on-Thames, 
    west of London, agent Paul Fenn said. Her cancer had first 
    been detected in 1994.
    
    Born Mary O'Brien in London, she teamed up in the early 
    1960s with her brother Tom to form the Springfields, which 
    became one of the country's top pop and folk acts.
    
    Once described as Britain's finest white soul singer, 
    Springfield's 1963 solo debut "I Only Want To Be With You" 
    is now a pop classic.
    
    Worldwide success came in 1966, with "You Don't Have To Say 
    You Love Me," which sold a million copies to become her only
    British number one hit.
    
    In 1968, she moved to Memphis, Tennessee, where she recorded
    "Dusty In Memphis," regarded by some critics as one of the 
    decade's finest albums. At the same time she released her 
    classic single "Son Of A Preacher Man."
    
    In May last year, Springfield announced a financial deal in 
    Los Angeles under which she would get millions of dollars in
    exchange for future royalties from her hits.
    
    Just two months ago, Springfield was honored by Britain, 
    being granted an OBE (Officer of the Order of the British 
    Empire).
    
    Copyright 1999 Reuters Limited. All rights reserved. 
    =============== End of forwarded message ===================
    
    
    --------------------[ archived by Spectropop ]--------------------
    
    
    Subject:     Creation, etc.
    Received:    03/03/99 3:43 am
    From:        Robert Charles-Dunne, XXXXXXXXlt.com
    To:          spectropop, spectroXXXXXXXXties.com
    
    What a charge to connect with others who remember and 
    appreciate Amen Corner, The Beckies, et al! Pleased to 
    make your acquaintance, I'm sure...
    
    Regarding Jim's queries on The Creation, Jonah and Dave 
    have already done a marvelous job describing their 
    historical relevance, so I won't rehash. However, can I 
    recommend to Jim and others that if they like The Creation, 
    they might also find much to admire about The Action? 
    Another mid-60s Anglo, psych-mod band, these guys also 
    failed to get their share of credit. First releases were 
    produced by Kenny [Small Faces] Lynch, with later stuff 
    produced by George [Fab Four] Martin. Reggie King was a 
    soulful singer - favourably compared to Steve Marriott by 
    no less a Mod authority than Paul Weller - and because of 
    the mod affiliation, The Action stuck largely to a hopped 
    up Tamla/Motown sound. Anyone familiar with the Mod period
    knows how heavily black US music influenced the white UK '
    faces' of the day, including early releases by The Who and
    Faces, even though latter day recordings reveal it less. 
    For more on the same UK stuff, try checking out Martin 
    Payne's great site called Making Time [named after the 
    Creation song] 
    http://freespace.virgin.net/martin.payne2/indexes.html
    
    
    Also, if you can find anything by a Toronto band from the 
    60's called The Mandala, it fits into roughly the same 
    groove. Toronto was a soul-fixated town in the 60s and 
    boasted literally dozens of blue-eyed soul bands, complete
    with matching suits, large horn sections, etc. One mutant 
    exception was R&B-psych band The Mandala, a five piece 
    fronted by a wicked showman named George Olliver, who 
    could literally make hundreds of teenybopper girls swoon 
    in ecstasy simply by removing a white glove, one finger at
    a time, and tossing it into the crowd. He was later 
    replaced by Roy Kenner. The band also featured guitarist 
    Domenic Troiano [The Guess Who, The James Gang, several 
    solo albums], and a rhythm section and keyboardist who 
    went on to record extensively with Alice Cooper, Lou Reed 
    and a number of others. Classic Mandala songs include "
    Opportunity," "Give & Take" and "Love-itis," all of which 
    display a fine appreciation for soul, but include fuzzed 
    out guitar solos and other psych flourishes. The band 
    morphed into a short-lived combo called Bush after The 
    Mandala folded. Mandala recordings may be found on the 
    Chess subsidiary K&R label [the band thought it was 
    signing to Chess, but K&R were brought in by Chess to make
    it sound like K&R's other hit band The Turtles], and 
    Atlantic.
    
    Another Canadian band from the same time frame worth 
    seeking out is The Ugly Ducklings. Not as mod-pop-psych as
    Creation/Action/Mandala, this five piece was a Rolling 
    Stones/Yardbirds style band and did it exceptionally well.
    Snarly, arrogant, contemptuous sound. The one exception was
    a slow-building, heavy orch single called "Gaslight," which
    featured strings, HUGE drums and wailing vocals. Highly 
    recommended to lovers of 60s garage-punk like Shadows Of 
    Knight, Standells, et al.
    
    Interesting comments from Steve McClure re: Idle Race and 
    The Bonzo Dog Doo Dah Band, another pair of under-rated 
    iconoclasts. Strangely enough, both bands were signed to 
    the UK United Artists label [along with Family] by the 
    same two A&R guys, Andrew Lauder and Francis Davies. Both 
    bands received pretty classy retro-reissues: "History of 
    The Bonzo.." by UA, and "Imposters Of Life's Magazine" by 
    Canada's Daffodil label, which was run by Francis Davies 
    in the 70s. Both releases are recommended, as is just 
    about anything else that Lauder and Davies have done over 
    their careers. Lauder has signed artists to UA, Radar, 
    Silvertone, This Way Up and now has a brand new blues 
    label called Cello. Davies' Daffodil label was the home to
    King Biscuit Boy, Crowbar, Tom Cochrane, Spirit of 
    Christmas, Fludd, Klaatu, and a dozen others. It's been my
    pleasure to know both of these guys, who have demonstrated 
    over the past 30 years that one can have a career as a 
    record 'weasel' WITHOUT having to forfeit one's honesty or
    integrity.
    
    In referring to The Creation, Warren Cosford mentioned 
    Shel Talmy, my personal favourite producer of all time [
    Who, Kinks, Easybeats, Creation, Chad & Jeremy, Pentangle,
    et al.] I have bought a LOT of records over the years 
    because they have Talmy's production credit. Some are not 
    so great. But one band that never seems to even get 
    mentioned is the UK group Rumpelstiltskin. These guys 
    wanted to be in the Zep/Jeff Beck Group school of UK 
    blues-based heaviosity, which may be outside the 
    parameters of Spectropop, but they were damn good. 
    Unfortunately their sole album sported the single most 
    hideous album jacket I think I've ever seen, a poorly 
    drawn cartoon strip parody that failed to work on ANY 
    level. Great tunes, though, and some sterling Talmy 
    production touches, just in case there are other Talmy 
    completists reading this.
    
    Thanks to all the members for the psychic/sonic resonance.
    
         Robert Charles-Dunne
    
    
    --------------------[ archived by Spectropop ]--------------------
    
    
    Subject:     From The Big Hurt to...
    Received:    03/03/99 10:48 am
    From:        Jamie LePage, le_page_XXXXXXXXties.com
    To:          Spectropop List, spectroXXXXXXXXties.com
    
    
    This has been a most enlightening thread and thanks again to
    Carol Kaye and all for helping sort out the background on The 
    Big Hurt.
    
    During this discussion Alec introduced what was to me a new 
    name in the Spectropop era LA recording scene: Leo Kulka. 
    Most intriguing was Alec's comment that Leo made other 
    records using the flanging effect at around the same time.
    
    Alec, as time allows, please do tell more about Leo, his 
    studio and his records.
    
    I gotta say; the contributors to this list continually amaze
    me with their knowledge. You guys are great!
    
    All the best,
    
    
    Jamie LePage
    
    
    --------------------[ archived by Spectropop ]--------------------
    
    
    Subject:     last thoughts on the Big Hurt
    Received:    03/03/99 10:48 am
    From:        Alec Palao, paXXXXXXXXs.com
    To:          Spectropop List, spectroXXXXXXXXties.com
    
    >Carol said:
    >
    >Here's the reply I got from Russ Wapensky, who has
    >interviewed and hung out with Stan Ross many a year now.....
    >.I don't know Leo Kulka, but I do know (and stand in back of
    >) Stan Ross and what Russ Wapensky says (a government man
    >btw):
    >
    >Carol,
    >
    >It was definitely Stan.  Larry did the basic track & then Stan did
    >the phasing - all at Gold Star.  I've heard both of them tell this
    >story dozens of times.
    >
    >Russ
    
    I think the experts are right, that Leo Kulka was not 
    involved with the recording of "Big Hurt" per se. His 
    recollections to me were probably clouded by the fact that:
    
    (1) he did toy with the phase effect in approximately the 
    same time period - as a fellow Hollywood sound engineer, 
    maybe even discussed it with Ross and Levine
    
    (2) most, maybe all of the rest of Toni Fisher's Signet LP 
    was recorded by Kulka at Sound Enterprises. I know this for 
    a fact because he told me some interesting/amusing stories 
    about working with her. For instance, Miss Fisher couldn't 
    quite get to grips with the despondent lyrics of the cut 
    "Gloomy Sunday". Therefore, Kulka and Shanklin called her 
    every name under the sun until she became so upset that the 
    distress in her voice was clearly apparent! I came across a 
    stereo master reel of the LP in Leo's archives, which 
    although a little torchy/MOR for my taste, still sounds 
    glorious in stereo.
    
    Carol, if your ever worked with Leo de Gar Kulka, you're 
    unlikely to have forgotten him. A tall, avuncular man with a
    bald pate, pencil moustache, perennial ascot and reasonably 
    thick Eastern European accent (an evacuee of Czechoslovakia), 
    I knew him very well for the last six or seven years of 
    his life. He was a wonderful man and full of vigour almost 
    to the day he died. Leo left Hollywood in 1964 to start 
    Golden State Recorders up here in San Francisco, so perhaps 
    you did not run into him that often. He loved studio 
    trickery and sound effects (witness his creation of the "One
    Stormy Night" series by the Mystic Moods Orchestra, a lounge 
    favourite), so it's understandable he would at least partly 
    credit himself with the invention of the phase effect.
    
    All the best,
    
    ALEC
    
    
    --------------------[ archived by Spectropop ]--------------------
    
    
    Subject:     Randy Newman
    Received:    03/03/99 2:11 am
    From:        Rainier Wolfcastle, MUV96XXXXXXXXnt2.lu.se
    To:          Spectropop List, spectroXXXXXXXXties.com
    
    Sorry for posting lots of questions to the list without 
    following any of your replies up (the reason is I don't have
    the knowledge many of you have) but here goes another one....
    One of my favourite albums right now is Randy Newman's 
    self-titled debut record. I have unfortunately not heard a 
    single note of any of his other albums so what records of 
    his are recommended, and preferably in the same 
    piano-and-lots-of-strings style as the debut? 12 Songs and 
    Sail Away look interesting but I don't know.....
    
    Tobias
    
    
    --------------------[ archived by Spectropop ]--------------------
    
    
    Subject:     Vogues cover needed
    Received:    03/04/99 12:00 am
    From:        Jeffrey Thames, KingoGrXXXXXXXXom
    To:          Spectropop List, spectroXXXXXXXXties.com
    
    Hidy, fellow 'poppers...does anyone know where I could 
    locate the Vogues' 1970 cover of "God Only Knows" on vinyl, 
    CD, or (as a last resort) cassette? None of the comps I've 
    seen (US or otherwise) seem to have it. Thanx in advance! 
    
    Cheers,
    
    Jeff
    
    --------------------[ archived by Spectropop ]--------------------
    
    
    Subject:     WB reissues
    Received:    03/04/99 12:00 am
    From:        Ron Bierma, ELRONXXXXXXXXom
    To:          Spectropop List, spectroXXXXXXXXties.com
    
    
    In a message dated 3/2/99 5:01:35 PM, spectroXXXXXXXXties.com writes:
    
    >Is there anyone on this list who is affiliated with Warner 
    >Brothers who might be able to shed some light upon this? 
    
    
    I don't work for WB, though I am aware that recently Rhino 
    was purchased by WEA, essentially allowing them access to 
    all in the Warner, Elektra and Atlantic catalogues. The 
    first fruits of this marriage being an Alice Cooper box, a 
    Doobie Bros box, and remasterings of Buffalo Springfield, 
    etc. Write Rhino a letter, Send em an e-mail and let em know
    you want Association, Neon Philharmonic, Beckies, Bob 
    Newhardt, etc...reissues!! BTW, just got Rhino's 2 new Dusty
    Springfield remasters (In Memphis-and In London-with Numerous
    previously unreleased tracks-practically doubling their 
    original lengths!!) They're awsome!! Sound is great also!! 
    
    !!Ron!!
    
    --------------------[ archived by Spectropop ]--------------------
    
    
    Subject:     BOUNCE spectroXXXXXXXXties.com: Non-member submi
    Received:    03/02/99 1:30 am
    To:          Spectropop List, spectroXXXXXXXXties.com
    
    ========== Start of forwarded message ==============
    
    
    Subject:     Grammys
    
    Please note the great producers/writers/artists honored at 
    this year's Grammy presentation.
    
    SAM COOKE 
    Lifetime Achievement Award honoree 
    Thursday, February 18, 1999 
    
    Though he lived to be just 33, Sam Cooke was a successful and 
    influential singer in three distinct fields: gospel, pop and R&B. 
    "Sam was the best singer who ever lived, no contest," said 
    Jerry Wexler, who tried in vain to sign Cooke to Atlantic 
    Records. "When I listen to him, I still can't believe the things
    that he did. It's always fresh and amazing to me. Everything 
    about him was perfection."
    
    Cooke was among the first black stars to run his own publishing 
    company (Kags Music), his own record label (Sar/Derby Records), 
    and his own management firm. Among the artists that Cooke had a 
    hand in discovering: Bobby Womack, Billy Preston, Johnnie Taylor, 
    Mel Carter and Lou Rawls.
    
    Cooke was all of 20 in 1951 when he became a star on the gospel 
    circuit as the lead singer of the Soul Stirrers. In 1956, Cooke 
    smoothed out his style in a bid for broader pop acceptance. He 
    broke through with the dreamy ballad "You Send Me," which hit No. 
    1 in December 1957. Cooke followed that smash with a mix of 
    smooth ballads, charming novelties ("Wonderful World") and 
    catchy dance records ("Twistin' the Night Away").
    
    Cooke was among the first group of artists inducted into the 
    Rock and Roll Hall of Fame in 1986, and "You Send Me" was voted 
    into the GRAMMY Hall of Fame in 1998.
    
    For the full article, go to:
    
    http://www.grammy.com/grammy/news.nsf/WebNewsbyTitle/AF0580D428A5E140002567
    
    
    1D00138F91
    
    JERRY LEIBER and MIKE STOLLER 
    Trustees Award honorees 
    Thursday, February 18, 1999 
    
    Despite orchestrating the careers of great R&B groups like the 
    Coasters and the Drifters, writing some of Elvis Presley's 
    best-known hits and functioning as tacit mentors to writer/
    producer icons such as Phil Spector and Burt Bacharach, Leiber 
    and Stoller remain inexplicably undercelebrated. But those who 
    follow music closely, especially those familiar with the 
    operation of New York's famed Brill Building in the '60s, know 
    better [hey, Spectropoppers, that's us!]. At times, they did 
    everything but press their own records, functioning as writers, 
    producers, A&R men, publishers and label executives. With Lester
    Sill they embarked in the label business, starting Spark Records.
    Soon, their label was purchased by Ahmet Ertegun's Atlantic 
    Records, and Leiber and Stoller moved to New York to set up shop
    in the Brill Building. The Robins were renamed the Coasters and a
    long string of hits ensued: "Searchin'," "Yakety Yak," "Poison 
    Ivy" and more.
    
    With the Drifters especially, Leiber and Stoller began to refine
    their studio process, cutting detailed sessions and adding 
    strings to R&B records for the first time (they've been credited
    with producing arguably the first soul record -- the Drifters' 
    "There Goes My Baby").
    
    By the early '60s, the pair had become the standard by which 
    other producers could be measured, which led Lester Sill to send
    a young LA producer out to New York to study under them. Phil 
    Spector slept on Leiber and Stoller's office couch by night and 
    absorbed their innovative production techniques by day. But 
    their presence at the Brill Building influenced others too, like
    Burt Bacharach, who wrote for the Drifters and often incorporated
    Leiber and Stoller's love of Latin rhythms into his songs.
    
    Eventually, Leiber and Stoller left Atlantic and started their 
    own label again, this time Red Bird, where they scored hits 
    particularly with girl groups like the Dixie Cups and the 
    Shangri-Las. 
    
    For the full article, go to: 
    http://www.grammy.com/grammy/news.nsf/WebNewsbyTitle/C6B15AE04DA6A5BF002567
    
    
    1D00140137
    
    
    KENNETH GAMBLE and LEON HUFF 
    Trustees Award honorees 
    Thursday, February 18, 1999 
    
    Gamble and Huff built arguably the most successful black-owned 
    music company of the '70s with their Philadelphia International 
    label. Their direct inspiration was Berry Gordy's Motown, and 
    they followed that template for success pretty closely, creating
    an identifiable "Philly Sound" with mostly home-grown talent.
    
    Among the groups that owe a huge debt to the talents of Gamble 
    and Huff are the O'Jays, the Intruders, and Harold Melvin and 
    the Bluenotes, all of whom benefitted from G&H's sweet songs of 
    romance or bold social examinations, lushly orchestrated 
    arrangements and a propulsive groove.
    
    
    In the early-'60s, Gamble led his own band, Kenny Gamble and the
    Romeos (the band included Thom Bell, who would later become a G&H
    protege producer with his own string of hits voiced by the 
    Stylistics, the Spinners and others). Meanwhile, Huff was 
    establishing a name for himself as a hot New York session 
    pianist, working with fellow Trustees Award nominees Jerry 
    Leiber and Mike Stoller, to name a few. Huff was hired to play 
    on a session for a Gamble-penned tune back in Philadelphia and 
    Gamble asked Huff to join his group. Even as the team was 
    producing hits like the Soul Survivors' infectious 1967 
    "Expressway To Your Heart," helping to revive the career of Jerry
    Butler by orchestrating his "Ice Man"-era hits and working with 
    other great singers like Dusty Springfield, they were hatching 
    plans to build their own empire, first with Gamble Records, then
    Neptune and finally with the extremely successful Philadelphia 
    International.
    
    For the full article, go to:
    
    http://www.grammy.com/grammy/news.nsf/WebNewsbyTitle/8D425DA06EE502AB002567
    
    
    1D0013DE18
    =============== End of forwarded message ===================
    
    
    --------------------[ archived by Spectropop ]--------------------
    
    
    Subject:     60s psych pop list
    Received:    03/04/99 12:00 am
    From:        Dave Mirich, DmirXXXXXXXXom
    To:          Spectropop List, spectroXXXXXXXXties.com
    
    I don't want to annoy anyone by reposting this 60s psych pop
    list time and again. How about if I give it through the week 
    and be done with it. So please get your recommendations in 
    asap. Thanks everyone! Dave Mirich
    
    Tobias wrote: 
    
    No, twasn't me, but I have really enjoyed the Clique CD. Is 
    there more of his work that I should know about?
     
    > Is it "There's Gonna Be A Storm..."? Y'know, I have read 
    > soooo many rave reviews of The Left Banke but I still can't 
    > see what's so special about them. IMO, they are the most 
    > overrated of all the soft rock bands... 
    
    I use to feel the same way, until I listened the the CD 6 or
    8 times in my car in a two day period recently. I now find 
    their work highly complex, polished, and satisfying (a quick
    review).
    
     > What do the (Flowerpot Men) sound like?<
    
    A finely crafted and wonderous English answer to the Beach 
    Boys (the creators of this group later gave us my No. 1 
    non-guilty pleasure, "Beach Baby" -- don't laugh, try it 
    LOUD sometime, a superb, flawless homage to the BBs)
     
    Tobias recommended:
     
     The Carpenters 
     The Free Design "Kites Are Fun" 
    
       JM recommended:
    The Creation (Retroactive label www.retro-a.com the
    complete works of The Creation on two CDs) also, The 
    Creation (one-CD collection 'Our Music Is Red - With 
    Purple  Flashes' on Diablo)
     
       Steve McClure recommended: 
    The Idle Race
    The Bonzo Dog (Doo Dah) Band
     
       From Ron Weeks:
     Small Faces 
     
     Dave Mirich listed the following cds of 60s psych pop:
     
     Left Banke "There's Gonna Be A Storm: Complete Recordings 
    1966-1969"
     Yellow Balloon "Yellow Balloon"
     Beach Boys "Smile"
     Van Dyke Parks "Song Cycle"
     Harpers Bizarre "WB Archives" compilation
     Millennium "Begin"
     Sagittarius "Present Tense"
     Ballroom "Preparing For The Millennium"
     Kinks (help me here, which ones exactly?)
     Flowerpot Men "Let's Go To San Francisco" Sunny/Repitoire
     Moby Grape (first album)
     The Move Best Of The Move" Music Club
     Jan and Dean "Save For a Rainy Day"
     Zombies "the Collection" Castle
     
     David Bash offered the following 
     titles of 60s psych pop on cd:
     
     And Along Comes The Association-The Association
     The Association "Renaissance"
     The Association "Insight Out"
     The Association "Birthday"
     Harmony Grass "This Is Us" 
     The Tokens "It's A Happening World"
     The Tages "Studio"
     The Hollies "Evolution"
     The Hollies "Butterfly"
     The Turtles "Happy Together"
     Grapefruit "Around Grapefruit"
     The Grassroots "Let's Live For Today/Feelings" (2 Fer 
    on Repertoire)
     The Kaleidoscope "Tangerine Dream"
     The Clique "The Clique"
     The Pleasure Fair "The Pleasure Fair"
     The 8th Day "The 8th Day" 
     
     and then there are great compilations by bands like:
     
     The Montanas
     Marmalade
     The Rockin' Berries
     Tony Rivers and the Castaways
     The Arbors
     The Cyrkle 
     The Choir
     The Critters
     The Ivy League
     Pinkerton's Colours/The Flying Machine
     
     Jack Madani added these cd titles:
     
     Zombies "Odyssey & Oracle"
     VA "The Melody Goes On: Soft Rock Vols.1-3" M&M Japan
     Roger Nichols & The Small Circle Of Friends "The Drifter" 
     Antonio Carlos Jobim "Wave" 1967, A&M CD 0812 
     Beach Boys "Friends" 
     The Cyrkle
     The Critters
     
     David Bash gave these names of "tremendous 
     albums that haven't seen the light of CD day are..."
     
     The Colours "The Colours"
     The Smoke-The Smoke
     Elephant Candy-The Fun and Games
     So Good-Don and the Goodtimes
     Tones-The Gordian Knot
     Eternity's Children-Eternity's Children
     Timeless-Eternity's Children
     Five Man Electrical Band-Five Man Electrical Band
     The Tuneful Trolley-The Tuneful Trolley
     Chamaeleon Church-Chamaeleon Church
     Basic Magnetism-Teddy and The Pandas
     Will You Be Staying After Sunday-The Peppermint Rainbow
     
     Robert Charles-Dunne added these LP (and song?) titles:
     
     Stories "Brother Louie" (Michael Brown from The Left Banke) 
     The Beckies (also with Michael Brown)
     The Walker Brothers 
     Scott Walker's solo work
     White & Torch
     Amen Corner 
     PP Arnold 
     Badfinger - "Straight Up" album
     The Iveys "Maybe Tomorrow" (preBadfinger)
     The Easybeats 
     Bee Gees 
     Rick Springfield  "Speak To The Sky."
     Buffalo Springfield 
     Marmalade - 
     The Herd - (Peter Frampton) 
     Andy Bown solo albums (from the Herd)
     Chad & Jeremy - "Of Cabbages & Kings" 
     Grapefruit - 
     Golden Earring - (an eponymously titled album on Polydor from about 
     '70/71)
     Spooky Tooth - "It's All About A Roundabout" 
     Love - "Forever Changes" 
     The McCoys - "Human Ball" and "Infinite McCoys" 
     Bubble Puppy - "A Gathering Of Promises" 
     Emitt Rhodes - (solo albums) 
     Raspberries - "Go All The Way"  
     The Soft Boys - "Underwater Moonlight" (80s)
     5 Man Electrical Band - "Coming Of Age" 
     Anthony Moore (from Slapp Happy) solo album "Flying Doesn't 
     Help." Quango label in the UK,  reissued by Canadian El Mocambo 
     Judy Get Down," "Caught Being In Love" and "Lucia"  
     Mick Greenwood - "Living Game"
     Paul Slade - "Life Of A Man"
     Graham Gouldman - "Graham Gouldman Thing"
     Tony Hazzard - "Loudwater House"
    
    
    --------------------[ archived by Spectropop ]--------------------
    End
    
    

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