__________________________________________________________ __________ __________ __________ __________ __________ S P E C T R O P O P __________ __________ __________ __________________________________________________________ Volume #0238 March 7, 1999 __________________________________________________________ For juke box use onlySubject: 45 RPM Received: 03/06/99 9:50 am From: keiko_koXXXXXXXXil.com To: Spectropop List, spectroXXXXXXXXties.com Hi all! I listened to Touch the Wall of Sound today and looking at the 45 labels printed in the CD insert, I wonder why some singles have big hole and some small one. In Japan, most 7" single had big hole, but 7" e.p. often had small hole. Some 45 especially English one have the small hole and you can punch out and make big hole. Why two sizes? KK --------------------[ archived by Spectropop ]-------------------- Subject: 60's psych-pop/soft rock Received: 03/06/99 9:50 am From: Chris, admirXXXXXXXXom.com To: Spectropop List, spectroXXXXXXXXties.com This is my first post to the list and I must say that while I've really enjoyed being a part of it this past 1/2 year or so, the recent volumes have been, for me, exceptional. Posts about The Creation and The Smoke have been a great joy, as have recent ones about Roger Nichols, The Cyrkle, Eternity's Children etc. It makes one definitely feel among friends! I'd like to mention a couple of groups I've recently discovered and been really taken with that I think tie in well with the whole psych-pop/soft rock stream of discussion. The first is The Tokens. In particular, their "Intercourse" LP recorded in '68, rejected by their label Warner (I believe), and released in '71 on the band's own B.T. Puppy imprint. After stumbling on "It's A Happening World" (67?) and loving the mix of pre and post Pet Sounds Beach Boy-isms, I got a copy of "Intercourse" and was absolutely knocked out! You can hear a blend of "Sgt. Pepper's", "Odyssey and Oracle" , "Wild Honey/Friends", and perhaps even bits of "The Who Sell Out". It is incredible how the band move so effortlessly between lush pop vocal arrangements, straight out rockers, and some very clever experimental bits. Completely honest and uncontrived sounding, this record sounds as fresh as any of the great indie-pop being made today. I know the band put out a record called "Both Sides Now" in 1970, but then what? Does anyone have any further info about the making of "Intercourse"? This has quickly become one of my all time favourites. Another record I've fallen in love with is The Arbor's "I Can't Quit Her/The Letter" on Date/Columbia, from '68 as well I believe. After a couple of Four Freshmen type LP's, this record sees the group trying to be hip and relevant to a psychedelicized pop world, and succeeding all the way as far as I'm concerned! Excellent versions of "Touch Me", "Most Of All", an amazing blend of "I Can't Quit Her/For Emily", and a final climactic near freak-out on "Hey Joe". Astounding arrangements by Joe Scott on this LP, and once again, stellar vocals. I think I read somewhere that the group went on to do many a commercial jingle after this. I'd love to hear from anyone who has any more info. I eagerly await the next volume. And yes David, Spectropop truly does rule! Chris Robinson --------------------[ archived by Spectropop ]-------------------- Subject: Randy and Dusty... Received: 03/06/99 9:50 am From: james fisher, JHFAXXXXXXXX.net To: Spectropop List, spectroXXXXXXXXties.com I second Will's post on Dusty's wonderful voice and to the discussion of Randy Newman could I add my thought that one of his best songs is Dusty's version of his " I don't want to hear it anymore" from the "D.In Memphis" LP. She does a knockout job, as she did on just about everything she recorded. I'm sure Randy must have been happy with her reading of that tune. Also....thanks to all for the info on Creation. Jim. --------------------[ archived by Spectropop ]-------------------- Subject: Dusty Received: 03/06/99 9:50 am From: Ian Chapman, iandXXXXXXXXlnet.co.uk To: Spectropop List, spectroXXXXXXXXties.com What has become so evident in the recent days following Dusty's passing is the general overwhelming feeling here in the UK of just how much she was liked by peers and public alike. Apart from the verbal tributes from the likes of Elton John, Cher and even words of sympathy from the Queen herself, sincere and well-written tributes have appeared in both national and local newspapers, and her name keeps cropping up with genuine respect and affection on radio stations everywhere. Last night - the evening following Dusty's death - the BBC screened a 30-minute tribute. It was introduced by Lulu, who gave her own warm testimony: "I was fortunate enough at fifteen to have a hit record with "Shout", and when I was asked who my favourite singers were, who I looked up to and admired, Dusty was at the top of the list........I believe that she opened the gates for female singers to cross over and move into that R&B/Blues area." Lulu concluded thus: "Tonight I want to celebrate Dusty's life. ...I'm sad she's not with us, but let's celebrate the legacy she has left us, her music....and her music was her life." There then followed an uninterrupted sequence of footage showing classic Dusty performances from the BBC archives, spanning four decades. Beginning with her first TV appearance with The Springfields, it segued into her solo career with "I Only Want To Be With You", "24 Hours From Tulsa", "Some Of Your Lovin'", "You Don't Have To Say You Love Me", "How Can I Be Sure" and a late-60s performance of a dreamy, slowed-down version of "Up On The Roof". There was a small montage of clips showing duets with Tom Jones, Mel Torme and Cilla Black. We then saw Dusty in the late 70s during her first "comeback" period, and her re-emergence in the 80s in performance with the Pet Shop Boys at the Brit Awards on "What Have I Done To Deserve This". The programme rounded off with Dusty's last live performance, from '95 on the Jools Holland show. With Jools on piano, and back-up vocals that included Alison Moyet and Sinead O'Connor, Dusty sang "Where Is A Woman To Go?" from her last album. As a last lingering shot, we went back to the 60s for "Son Of A Preacher Man", as the credits gave way to one of those classic platinum-blonde, panda-eyed portraits of Dusty as she will always be remembered, with the simple inscription "1939 - 1999". Ian :-( --------------------[ archived by Spectropop ]-------------------- Subject: Tandyn Almer Received: 03/06/99 9:51 am From: David Marsteller, davebXXXXXXXXflin.org To: Spectropop List, spectroXXXXXXXXties.com On Fri, 05 Mar 1999, Harvey Williams wrote: > While I'm here; a question. What does anyone know about > Tandyn Almer? I guess he's best known for penning 'Along > Comes Mary' and cowriting 'Sail On Sailor', but I've > recently picked up a couple of 45s with his writing credit > simply out of curiosity; 'Little Girl Lost & Found' by The > Garden Club, and 'Poor Old Organ Grinder' by Pleasure. > They're both great, ambitious-sounding singles; has he > written any more like them? I've got a couple of Tandyn-related 45s myself. One is a single of his called 'Degeneration Gap'. It's very much in the Dylan protest style lyrically, though a bit more jazzy musically. It is a promo with the same song on both sides. I can't picture it receiving much airplay, as the song is lengthy and Tandyn's singing voice sounds rough. Picture Brian Wilson at his chain-smoking hoarsest rasping a Dylan song. The lyrics are quite witty, though, and you do get used to his vocal sound after a bit. I'm afraid that I can't remember the name of the second single, but I found it interesting as his name is spelled differently in the credits. His last name is given as Alimir, or something similar. Either it's a typo or he changed the spelling of his name at some point. The spelling on this 45 makes him sound of Middle Eastern descent. Dave /************************************************************************/ /** David Marsteller davebXXXXXXXXflin.org **/ /************************************************************************/ --------------------[ archived by Spectropop ]-------------------- Subject: Peppermint Rainbow Received: 03/06/99 9:50 am From: Jack Madani, Jack_MadXXXXXXXX12.nj.us To: Spectropop List, spectroXXXXXXXXties.com >>Will You Be Staying After Sunday-The Peppermint Rainbow > >This is a great album in super stereo on most cuts, and I >have the two follow up singles (also issued in stereo). Love >that drum sound on these This was the third 8-track my family bought (first was a Nancy Wilson tape, second was Flash Cadillac & The Continental Kids), and the only place we could play it was in my dad's Buick Electra 225. That Peppermint Rainbow tape was indeed boss. Sounded sort of like the kind of group Tony Burrows would be singing lead for. ----------------------------------------------------------- Jack Madani - Princeton Day School, The Great Road, Princeton, NJ 08540 Jack_MadXXXXXXXX12.nj.us "You knew the job was dangerous when you took it, Fred." --Henry Cabot Henhouse III ----------------------------------------------------------- --------------------[ archived by Spectropop ]-------------------- Subject: Pure Pop & Soft Rock & Real Radio Received: 03/06/99 9:50 am From: Javed Jafri, javedjaXXXXXXXXt.ca To: Spectropop List, spectroXXXXXXXXties.com Just catching up with the list and here's some odds and ends: Regarding the band The Stories. It should be kept in mind that Michael Brown had left the band by the time of "Brother Louie" and the song was a last minute addition to their second album "About Us". The rest of the album has some nice melodic and more typically M. Brown material, The Stories first album is also worth seeking out and is better than the Beckies album IMO. The Stories were one of a handful of anglo-influenced power-pop outfits in the early 70's who dared to go against the prevailing tide and create infectious three minute pop tunes. Some other band mining the same territory included the Wackers, Blue Ash and of course Alex Chilton's Big Star. Tobias had mentioned not liking the Left Banke but my question is have you listened to their first album "Walk Away Renee/Pretty Ballerina. It really is a soft-rock masterpiece. On the subject of obscure pre-woodstock era psyche pop, one notable British band who's name has not popped up on any of the lists yet is The Blossom Toes. They're worth a listen. Some more lesser known American bands from the 60's that should appeal to fans of soft-harmony-folk rock are the Emmit Rhodes led Merry-go-round, The Cryan Shames, The Parade, The Tradewinds, The E-Types, The Mojo Men and Montage. Before I go I just have to mention that I was listening to an oldies station from Buffalo, New York today (I live in Toronto) and they had a fill-in jock who was playing some fabulous tunes that you rarely hear on the radio any more. I heard the following and could not believe that I was listening to a commercial oldies station: 1. You've Got To Hide Your Love Away/The Silke (prime mid 60's British folk-rock) 2. The Rains Came/ Sir Douglas Quintet (don't think I have ever heard this on the radio before). 3. You Are My Sunshine/Ray Charles 4. It Might As Well Rain Until September/Carole King (should have been a big hit) 5. Tell It To The Rain/The Four Seasons (ok not obscure but you hardly ever hear it on the radio anymore. The Four Seasons updating their sound for 1966). Javed --------------------[ archived by Spectropop ]-------------------- Subject: Rupert Holmes Received: 03/06/99 9:50 am From: jon adelson, humthefirst2bXXXXXXXXil.com To: Spectropop List, spectroXXXXXXXXties.com >I can think of no other record by any artist (least of >all Newman himself) that has the same widescreen feel as >this. Harvey, your comments sparked a nice memory...a fascinating album by Rupert Holmes called "Wide Screen." There's a most memorable cut called "Terminal." Anyone familiar with it? --------------------[ archived by Spectropop ]-------------------- Subject: More Psychedelic Pop for Dave M. Received: 03/06/99 9:50 am From: James Cassidy, casswriXXXXXXXXlink.net To: Spectropop List, spectroXXXXXXXXties.com Since Robert Charles-Dunne has taken us over the threshold of the 1970's with Dwight Twilley (his 1st album is definitely worth getting), Tom Petty, and Michel Pagilaro (definitely a new name to me), I guess I'm allowed to offer another early 70's disk that fits somewhere into the Brit-psych-pop tradition, "Pinafore Days" by Stackridge. Produced by George Martin and featuring a batch of heavily Beatlesque tunes, "Pinafore Days" was released here in the US on Sire around 1974 or so. For those who track these things, two ex-Stackridgers, James Warren and Andy Davis, later went on to form The Korgis, who had a minor hit with "Everybody's Got to Learn Sometime" from their "Dumb Waiter" album. Jim Cassidy --------------------[ archived by Spectropop ]-------------------- Subject: Pagliaro and Smokie Received: 03/06/99 5:16 pm From: Warren Cosford, raXXXXXXXXNet To: Spectropop, SpectroXXXXXXXXties.com Hi Folks: Robert Charles-Dunne is certainly correct on all counts about PAGLIARO. Great records that never realized their sales potential in Canada largely because of the CHUM connection. In 1971 The Canadian Radio and Television Commission (CRTC) introduced Canadian Content Regulations (CANCON). Essentially, the regulation required all Canadian radio stations that played music to assure that 30% of it between 6AM and Midnight meet the regulation. Initially, a record qualified as CANCON providing it met 1 of 4 criteria ......Music written by a Canadian, Artist is a Canadian, Produced in Canada, Lyrics written by a Canadian. This was called MAPL. After a "phase in period", a record only qualified if it met 2 of the 4 criteria. Canadian radio was concerned about both the quantity and quality of music they would be required to play. CHUM Limited, at the time, owned a number of stations in Canada, most of which were Top 40. They decided to start their own record label and called it MUCH. They made a number of pretty good records, the most successful of which were by Michel Pagliaro. Robert is correct that one of the problems was that CHUM program director, J. Robert Wood, was hesitant to add MUCH records early, play them in heavy rotation and even chart them. Between 1970 and 1972, there were 4 Pagliaro records on MUCH charted by CHUM with chart positions of 25, 09 , 20 and 23. Pagliaro was then signed by Columbia. His only chart record, What The Hell I Got, peaked at #11 on the CHUM Chart in 1975. CHUM was not the only Canadian radio station that considered getting into the record business because of their concerns about the effect of the CANCON regulations. CKLW in Windsor, which in 1971 was the #1 station in Cleveland, Toledo and Detroit also toyed with the idea and even roughed in a huge room in their new studios facilities, in 1972, with that thought in mind. In the early 80's, CHUM resurrected the MUCH name for first a video recording facility and then for their cable music video service. SMOKIE - a British band that might be of interest to this group. I first heard them on an Oldies station in England in the early 80's. The song was Living Next Door To Alice. I looked everywhere for the record, but couldn't find it. Then, a couple of years ago, while going through the CKLW Archives I discovered two Smokie albums, Bright Lights and & Back Alleys and Midnight Cafe. Alice was on the latter. The albums were released in Canada in 1975 and 1977. Anybody know anything about these guys? --------------------[ archived by Spectropop ]-------------------- Subject: Michel Pagliaro Received: 03/06/99 9:50 am From: Marie Leclerc, XXXXXXXXtron.ca To: Spectropop List, spectroXXXXXXXXties.com Robert- Did you bring back memories, good ones, when you mention Michel Pagliaro. The _Quebec rocker_, it didn't get any better than Pag. There were two Montreal "Stars" and they were Michel Pagliaro and Gino Vanelli. The quality of his work is high, the songs were hits after hits, Loving you ain't easy, Rainshowers, Some sing some dance, What the hell I've got. Strangely, the one that really made it big for us (French speaking people) was J'entends Frapper. This single is the perfect example of the perfect hit. You listened once and it was right into your head, you were hooked. It's a good thing his hits made it into a double cd "Hit Parade" since I never was able to find his early work. It's a pure joy listening to "Chateau d' Espagne" on cd quality. Two musicians who deserve mentions for their work, with Pag or solo, are Walter Rossi and Jim Zeller. Before leaving I would like to say Michel is still one of the most respected musician in Quebec and still appear quite often on stage and on television, he hasn't changed much. I remember an interview on Musique Plus with Claude Rajotte, and a caller asked Pag, "hey Michel, is Pagliaro your real name?" so Pag answered, very seriously, "You think I would make up such a name? Would have taken me lots of thinking to find one like that!" Take care everyone and thanks for listening, Marie --------------------[ archived by Spectropop ]-------------------- End
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