__________________________________________________________ __________ __________ __________ __________ __________ S P E C T R O P O P __________ __________ __________ __________________________________________________________ Volume #0240 March 10, 1999 __________________________________________________________ exciting full-color sketchbook look insideSubject: Beach Boys' "Smile" Received: 03/10/99 12:32 am From: John Love, john_lXXXXXXXXrko.COM To: 'Spectropop List', spectroXXXXXXXXties.com There are continuous references being made to "Smile" as if it actually exists as an album. I know that some songs from the sessions eventually found their way onto albums after "Smiley Smile", but I had thought that Brian's original vision was never completed. Is there a bootleg of the sessions floating around? On a different subject, did anyone else enjoy Bobby Darin in his "If I Were a Carpenter" phase? I've just picked up a new CD which couples that album and "Inside Out", which followed (plus some extra tracks). "Inside Out" is one of the few LPs in my collection which I still play, so I was delighted to get it on CD. A great collection of songs, including stuff by Randy Newman, and a really nice version of the Stones' "Back Street Girl". Johnny --------------------[ archived by Spectropop ]-------------------- Subject: Re: 45s big and small Received: 03/09/99 7:39 am From: Stewart Mason, flamiXXXXXXXXcom To: Spectropop List, spectroXXXXXXXXties.com In his informed response to Keiko's question as to why some 45s have different size holes, Paul Urbahns wrote: >After both companies started making >both types of records. Some companies started making 33 >EPs (the size of a 45) but with a small hole to indicate >the speed difference. I have seen European 45s with a small >hole (which is the way all 45s start out). The punching of >the big hole is an extra step which is no longer needed. I have seen some US 45s from the sixties with small holes (or, often, a diamond-shaped piece of vinyl in the middle of the big hole, which was also common in the UK at the time). For example, I have two otherwise identical copies of the Mala single of the Box Tops' "The Letter"/"Happy Times" from 1967, one with a big hole and one with a small hole. My assumption has always been that for whatever reason, some 45s escaped the factory without getting their holes punched. Am I wrong? To clarify one point, the current standard for singles both in North America and Europe (yes, many of us still release vinyl!) is to have a small hole no matter what speed the single plays at. It's slightly more expensive (about 3 cents more per single, usually) but it's preferable for several reasons, especially ease of radio play. I have a radio performance on tape by the early-90s LA pop band Permanent Green Light where they have their new single with them but the DJ can't play it because no one can find a 45 adapter for the big hole! Stewart ***************************FLAMINGO RECORDS*************************** Stewart Allensworth Mason Box 40172 "Migh-ty Taco, Migh-ty Taco." Albuquerque NM 87196 www.rt66.com/~flamingo *********************HAPPY MUSIC FOR NICE PEOPLE********************** --------------------[ archived by Spectropop ]-------------------- Subject: Re: Randy Newman Received: 03/09/99 7:39 am From: Rainier Wolfcastle, MUV96XXXXXXXXnt2.lu.se To: Spectropop List, spectroXXXXXXXXties.com Thanks for all the Randy Newman recommendations! It's funny I asked that question because I walked into a thriftstore the day after and found a Newman "Best Of..." LP for less than a dollar!! It's from 1983 and the tracklisting is: Sail Away Short People Baltimore I'm Different Rednecks Birmingham Rider In The Rain Simon Smith And The Amazing Dancing Bear Political Science The Girls In My Life (Part 1) I Think It's Going To Rain Today Lonely At The Top I'm not sure if the "best of" title refers to commercial success or what's regarded as the best stuff off his albums, but I have to admit I find the majority of these songs pretty boring. Sail Away is amazing, Short People is hillarious and Simon SMith is pretty cool too (but not as good as Harpers Bizarre's version), but.....some of these songs' arrangements and production are quite bland, uninspired and, well...the songs on his debut LP all sound like music from the Cole Porter/Irving Berlin era of American popular music, which is one of the key reasons I love that album. But if this "best of" is an indication of Newman's output in the seventies.....let me just say there is one thing I can't stand and it's music which sounds like seventies piano-rock/AOR like Billy Joel. Ugh! :) But "Sail Away" definitely sounds like an album I'd love; very much like a continuation of the first LP. So please don't kill me yet :) T. --------------------[ archived by Spectropop ]-------------------- Subject: forwarded request Received: 03/09/99 7:39 am From: Big L, biXXXXXXXXtmail.com To: Spectropop List, spectroXXXXXXXXties.com I got this by private e-mail. If you can help this gentleman, please reply to him personally, not to me. Thanks. >>>>I am looking for any CD that has the song "My Dad" by >>>>PaulPeterson. I have been looking everywhere.Thank you. >>>>Pat Sweeney >>>>duXXXXXXXXom == Big L Check out my Radio Legends pages at: biXXXXXXXXtmail.com http://www.geocities.com/Hollywood/Hills/9816 --------------------[ archived by Spectropop ]-------------------- Subject: fuzz tone Received: 03/10/99 12:32 am From: Jack Madani, Jack_MadXXXXXXXX12.nj.us To: Spectropop List, spectroXXXXXXXXties.com >I was there in the studios when the fuzz-tone was first >used, it was a Gibson pedal (at first we'd simply take a >tube out of our amp to get a "fuzz" sound late 50s, then a >pedal was built for that effect). No I wasn't the "first" >at that, but was one who quickly used it for an "effect". >I saw the potential in it. I seem to recall reading that it was Johnny Burnette's guitarist, whose name eludes me, who first came up with such an effect, and it was one of those by-accident things --a loose tube in an amp that'd been knocked around, and when he started playing it sounded hot so they left it. That sort of thing. > >But I was the "first" to use the Echoplex on bass, and the >first to use all kinds of effects on bass for movie scores >- inc. fuzz-tones (listen to "Heat Of The Night" movie), >and a few record dates (one with Brian even w/sound >effects)... >Listen to the theme of "Airport" cut out at Universal >Studios. I had my Gibson Maestro box on with the "steam" >and "claves" and octave-divider buttons on (could play 2 >octaves at once, and I could also trigger that just fine, >again, with the strong way I pick with a hard pick). >And "True Grit", same thing, others like that. But effects >sort of ran their course very quickly (as they all knew in >the 60s). Carol, I'm thinking that in the mid-late sixties you must have played on some Nelson Riddle-scored movies as well, like for instance another John Wayne flick, Rio Bravo or Rio Lobo (the one that costarred Rickie Nelson). And maybe Riddle's Batman tv show dates? And I also wonder if you maybe played on the original Star Trek tv show sessions. I'm thinking in particular of that "vulcan love theme" music, whose melody is all played on a picked, fuzzy bass. This leads me to something else that I dig about the era that we celebrate here, which is that even *incidental movie music* from those days just rocks with the echo of the studio, and electric basses playing melodies, and big drum kits with those fluent 32nd runs up and down the toms. The Beach movies all have it, of course, but so do a ton of other movies from that time period. --------------------[ archived by Spectropop ]-------------------- Subject: surreal/Twilight Zone aspects of the 45 Received: 03/10/99 12:31 am From: Doc Rock, docroXXXXXXXXcom To: Spectropop List, spectroXXXXXXXXties.com Will wrote: >Has anyone ever heard the song "Chu Sin Ling," by the girl >group the Bermudas? Doc, I'm especially asking you! If you >like the faux Egyptian in "Egyptian Shumba," you'll >definitely, um, well like (?) this song? Well, I have that record. It is OK. But what I like, make that LOVE, about the Shumba is the insane screaming/ yelling/fast tempo/surreal/Twilight Zone aspects of the 45. The Bermudas sound like Annette and Donna Loren singing a ballad to put Frankie to sleep. No comparison! "Draggin' Wagon" 'by the Surfer Girls, b/w "One Boy Tells Another," now THERE is a record. I love it when a GG does a bass part and a falsetto part, all with females! Doc --------------------[ archived by Spectropop ]-------------------- Subject: Rupert Holmes Received: 03/09/99 7:39 am From: Tom Simon, tsiXXXXXXXXom To: Spectropop List, spectroXXXXXXXXties.com At 11:35 AM 3/8/99 , you wrote: > >Rupert Holmes is one of those 1970s pop composers who >deserves a lot more than just being known as "that Pina >Colada guy." Quite a talent. > >--MFW > Or as the guy who wrote "Timothy." --------------------[ archived by Spectropop ]-------------------- Subject: re: Rupert Holmes Received: 03/10/99 12:32 am From: jon adelson, humthefirst2bXXXXXXXXil.com To: Spectropop List, spectroXXXXXXXXties.com CC: Marc Wielage, XXXXXXXXtrax.com Marc...I'll have to pick up the cd...just have the vinyl... don't have the album with me, but memories are coming back...the baseball song (I think it was called "The National Pastime," with the national anthem as the melody) comes to mind..."and that's when I made my pitch", then the crack of the bat...corny humor can be fun. --------------------[ archived by Spectropop ]-------------------- Subject: Some of Claudia's points Received: 03/10/99 12:32 am From: Jack Madani, Jack_MadXXXXXXXX12.nj.us To: Spectropop List, spectroXXXXXXXXties.com >The third one is by the Lemon Pipers....It is >called "Rice is Nice". This song typifies the whole feel >and sound of that era between the late Sixties and early >Seventies outside the Woodstock sound. You can find Rice Is Nice, along with a bunch of other bubblegum blasts from the late sixties, on a pair of discs called "The Complete Buddah Chart Singles Vols. 1 & 2." Short weight at just over thirty minutes apiece, but you can likely find them for five or six bucks apiece, if not less. Music-for-a-Song (is it www.musicforasong.com?) had them several months ago for dirt cheap, even after adding in the S&H. > >The second item I 'd like to speak about is my love for >all those great "overproduced" singles .... >They are pretty, are >extremely well orchestrated, and qualify as "real" music. .... >(Mel Carter); Oh my, YES. Hold Me Thrill Me Kiss Me is one of my favoritest recordings of all time, bar none. In a similar vein, I'd add Frank Sinatra's Strangers In the Night, Dean Martin's Everybody Loves Somebody, Vic Damone's (or is it Al Martino?) Blue Spanish Eyes (mentioned on the list recently, I believe), Bobby Rydell's Volare, almost any of the Lettermen's hits, the Vogues' Turn Around, Look At Me, and those Tony Hatch-produced diamonds for Petula Clark. Or Mason Williams' Classical Gas. Those tunes were so darn big, with way more musicians involved than the song necessarily was worth, so that when you got to the choruses you couldn't help but be picked up and carried along against your will (the Hatch tunes of course aren't included in this statement. they totally rule on *any* level). For what it's worth, I note that many of the aforementioned tunes have a pronounced 6/8 feel, like some record company suit's idea of fogey-approved rock. Teenaged symphonies to God? These are like Geezered symphonies to dog. And yet, I can't help myself when these come on the radio. They're my Doc Rock Category 1-2 tunes. >that the Sixties through mid Seventies was a goldmine of >many, many different sounds, feels and looks .... >the bell bottomed- fur vested Sonny and Cher look, lampooned to great effect on later episodes of the Beverly Hillbillies. Ten-foot-tall Jethro in striped pants, fur vest, love beads, Beatle wig and granny glasses was a scream. Jethro: I'm gonna go over to the Drysdales' and woo that purty little Italian maid like I was the greatest Roman of them all. Uncle Jed: Caesar? Jethro: No, but I plan to hold her hand. --------------------[ archived by Spectropop ]-------------------- Subject: The Bermudas Received: 03/10/99 12:32 am From: wisemen, wiseXXXXXXXXxthree.demon.co.uk To: Spectropop List, spectroXXXXXXXXties.com YES I've heard the song Chu Sen Ling - it's cool and dreamy with the couple drinking sake on the Ginza Strip. All I know comes from the sleevenotes of this garage compilation... their first release was 'Donnie' in early 1964 reaching #62 in the national charts. They had one more single before disappearing.... all I know - hope I've helped. eva --------------------[ archived by Spectropop ]-------------------- Subject: Tokens/Happenings Received: 03/10/99 12:32 am From: Jack Madani, Jack_MadXXXXXXXX12.nj.us To: Spectropop List, spectroXXXXXXXXties.com I've seen recent digests referring to a Tokens album called "It's A Happening World." But doesn't that album get more properly credited to the Happenings? I know the Happenings are some sort of offshoot-sideproject- pseudonymous alter ego to the Tokens, although I'm not entirely clear of the specifics of that relationship. Anyhow, I've got a vinyl lp somewhere in my collection by the Happenings and I was sure it's called "It's a Happening World." I suppose I could be wrong.... --------------------[ archived by Spectropop ]-------------------- Subject: BOUNCE spectroXXXXXXXXties.com: Non-member submi Received: 03/10/99 12:32 am From: wisemen, wiseXXXXXXXXxthree.demon.co.uk To: Spectropop List, spectroXXXXXXXXties.com ========== Start of forwarded message ============== Subject: LA VERN BAKER: Born Delores Williams on 11/11/29 in Chicago. A versatile vocalist proved capable of melting blues, jazz and R&B styles. During her time at Atlantic Records (1953-62), Baker cut half a dozen singles that rose to high positions on both the pop & R&B charts. The niece of blues singer Memphis Minnie, LaVern was blessed with a powerful voice, which she put to used as a teenager singing in nightclubs under the stage name of "Little Miss Sharecropper." She recorded under that name and other pseudonyms (including Bea Baker), finally adopting the name LaVern Baker while singing for Todd Rhodes & His Orchestra. As an R&B pioneer, Baker suffered from the segregationist impulses of the larger culture by having her songs "covered" by a white singer, Georgia Gibbs, whose sanitized versions greatly outsold Baker's own because mainstream white pop stations were reluctant to play "race records." She lost considerable airplay, sales and income from the cover syndrome. Baker, however, continued to record for Atlantic until such barriers came down and she finally enjoyed considerable success, particularly on the R&B charts. After leaving Atlantic Records, Baker continued to record and tour until 1969. She thereupon embarked on nearly 2 decades of exile from her U.S. homeland, running a nightclub at Subec Bay in the Philippines (where she wound up receiving treatment after acquiring pneumonia while entertaining the troops in Vietnam. In 1990, she was among the first 8 recipients of a Career Achievement Award from the R&B Foundation. That same year, Baker was inducted into the R&R Hall of Fame. On 3/10/97 LaVern Baker died. Her Billboard charted hit are: 1/15/55 -Tweedle Dee---Atl.1047 10/6/56 -I Can't Love You Enough/Still---Atl.1104 12/29/56 -Jim Dandy/Tra La La---Atl.1116 7/1/57 -Jim Dandy Got Married---Atl.1136 9/16/57 -Humpty Dumpty Heart---Atl.1150 12/8/58 -I Cried A Tear---Atl.2007 4/20/59 -I Waited too Long---Atl.2021 7/27/59---So High So Love/If You Love Me---Atl.2033 11/2/59 -Tiny Tim---Atl.2041 5/2/60 -Wheel Of Fortune/Shadows of Love---Atl.2059 11/14/60 -Bumble Bee---Atl.2077 2/13/61 -You're the Boss (with Jimmy Ricks)---Atl.2090 4/10/61 -Saved---Atl.2099 12/1/62 -See See Rider---Atl.2167 2/13/65 -Fly Me to the Moon---Atl.2267 1/15/66 -Think Twice (with Jackie Wilson)---Bruns.55287 =============== End of forwarded message =================== --------------------[ archived by Spectropop ]-------------------- End
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