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Spectropop V#0238

  • From: The Spectropop Group
  • Date: 03/06/99

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       Volume #0238                           March 7, 1999   
                       For juke box use only                  
    Subject:     45 RPM
    Received:    03/06/99 9:50 am
    To:          Spectropop List,
    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?
    --------------------[ archived by Spectropop ]--------------------
    Subject:     60's psych-pop/soft rock
    Received:    03/06/99 9:50 am
    From:        Chris,
    To:          Spectropop List,
    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 
    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,
    To:          Spectropop List,
    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.
    --------------------[ archived by Spectropop ]--------------------
    Subject:     Dusty
    Received:    03/06/99 9:50 am
    From:        Ian Chapman,
    To:          Spectropop List,
    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
    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,
    To:          Spectropop List,
    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 
    /**      David Marsteller                       **/
    --------------------[ archived by Spectropop ]--------------------
    Subject:     Peppermint Rainbow
    Received:    03/06/99 9:50 am
    From:        Jack Madani,
    To:          Spectropop List,
    >>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
    "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,
    To:          Spectropop List,
    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 
    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 
    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 
    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).
    --------------------[ archived by Spectropop ]--------------------
    Subject:     Rupert Holmes
    Received:    03/06/99 9:50 am
    From:        jon adelson,
    To:          Spectropop List,
    >I can think of no other record by any artist (least of 
    >all Newman himself) that has the same widescreen feel as 
    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,
    To:          Spectropop List,
    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,
    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 
    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,
    To:          Spectropop List,
    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, 
    --------------------[ archived by Spectropop ]--------------------

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