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Spectropop V#0243

  • From: The Spectropop Group
  • Date: 03/13/99

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       Volume #0243                          March 14, 1999   
    __________________________________________________________
                         Dusty Springfield                    
                            1939 - 1999                       
    
    
    
    
    Subject:     Dusty bows out in style
    Received:    03/13/99 8:38 am
    From:        Ian Chapman, iandXXXXXXXXlnet.co.uk
    To:          Spectropop List, spectroXXXXXXXXties.com
    
    The UK evening news tonight reported on Dusty's funeral 
    which took place today. Planned by Dusty herself, there 
    was a traffic-stopping procession, as her casket was 
    carried through the streets of Henley-on-Thames on a 
    horse-drawn glass carriage!! 
    
    <http://news.bbc.co.uk/olmedia/295000/images/_295648_dusty_carriage300.jpg>
    
    
    
    
    Crowds of people ignored the bad weather to line the 
    streets leading to the church, outside of which were 
    loudspeakers playing classic Dusty hits. Go, girl!! 
    
    Amongst those present were Pet Shop Boys, Kiki Dee and 
    Lulu, who read the eulogy. There were floral tributes from
    Paul McCartney, and from the Rolling Stones.
    
    Ian
    
    
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    Subject:     Farewell To Dusty Springfield
    Received:    03/13/99 8:38 am
    From:        Jamie LePage, le_page_XXXXXXXXties.com
    To:          Spectropop List, spectroXXXXXXXXties.com
    
    
    Funeral services were held on Friday for the 1960s pop 
    star once described as Britain's finest white soul singer,
    Dusty Springfield. Born Mary O'Brien in London, Dusty first
    found fame as a member of the folk trio The Springfields. 
    Going solo, she had a string of hits including I Only Want
    To Be With You, Stay Awhile, The Look of Love, and Wishin' 
    and Hopin'. 
    
    Hundreds gathered in the rain Friday to join friends and 
    celebrities at the funeral. A live simulcast broadcast the
    service to fans gathered outside. "You Don't Have to Say 
    You Love Me" played as the crowd of well-wishers and fans 
    watched a horse-drawn carriage bring her coffin to a 
    church in the riverside town of Henley-on-Thames, west of 
    London. A bouquet of flowers in the coffin spelled out  
    "Dusty."
    
    60s contemporary Lulu addressed the congregation, and 
    Elvis Costello read a note from Burt Bacharach. 
    
    It said: "You could hear just three notes and you knew it 
    was Dusty. It was such a rare and beautiful voice. I just 
    want to add my thanks for every beautiful note Dusty sang."
    
    Dusty Springfield will be inducted into the US Rock and 
    Roll Hall of Fame next week.
    
    As Robert Bates mentioned in the last issue, DUSTY IN 
    MEMPHIS has been reissued with 14 tracks. The album was 
    originally released in 1969 and was produced by Jerry 
    Wexler, Tom Dowd, and Arif Mardin.
    
    There is another Dusty release DUSTY IN LONDON, featuring 
    more unreleased material Springfield recorded in England 
    for Atlantic.
    
    Dusty is a favorite of the Spectropop list members for all
    the right reasons. Great songs, strong arrangements, 
    fantastic delivery. Her music will continue to inspire 
    long after her passing.
    
    Here are some links if anyone would like to read more.
    
    http://www.crl.com/~tsimon/springfi.htm
    
    http://www.isd.net/mbayly/march99-news.htm
    
    http://www.rainbow.net.au/~dusty/index.html
    
    http://members.aol.com/SBell25999/index.htm/Dustydevotedly.html
    
    http://news.bbc.co.uk/hi/english/entertainment/newsid_295000/295552.stm
    
    
    
    Jamie
    
    
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    Subject:     Re: Dusty In Memphis, Deluxe
    Received:    03/13/99 8:38 am
    From:        David Bash, BashXXXXXXXXom
    To:          Spectropop List, spectroXXXXXXXXties.com
    
    
    Bates, Robert  (Cahners -NYC), robaXXXXXXXXrs.com wrote:
    
    >  I just heard that Rhino has released a "deluxe version" of
    >  "Dusty in Memphis," with a whopping ten bonus tracks; I 
    >  understand some of them were produced by Jeff Barry. I 
    >  already have the non-deluxe version of "Memphis" - with a 
    >  mere three bonus tracks - and I was wondering if the new 
    >  ones were worth having. 
    
    Hi Robert,
    
    Yes, I think you'll find the deluxe version worth having. 
    Lots of previously unissued tracks all done in her 
    inimitable fashion. I mean, who else can make a song like 
    Bread's "Make It With You" sound soulful, as she does on 
    this deluxe edition!
    
    You could probably find this disc for as low as $13.99 at 
    your local record store, and if you trade in your 
    then-to-be obsolete earlier version, it will cost you even
    less! Go ahead, take the plunge!
    
    --
    Spectropop Rules!!!!!
    Take Care,
    David Bash
    
    
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    Subject:     Plantation Records information
    Received:    03/13/99 8:38 am
    From:        Stewart Mason, flamiXXXXXXXXcom
    To:          Spectropop List, spectroXXXXXXXXties.com
    
    
    Does anyone have any information on the history of the 60s
    /70s label Plantation Records? They seem to have been a 
    southern label that specialized in soundalike covers of 
    current pop hits whose records mostly showed up at five 
    and dimes and gas stations (I remember them from my own 
    childhood because my father was a district manager for the
    now-defunct southern discount store chain TG&Y and all his 
    stores had bins of cheap Plantation 8-tracks), but they 
    did originals as well in both pop and country styles.
    
    I ask because I just yesterday found a Plantation sampler 
    that featured a childhood favorite, Harlow Wilcox's  
    "Groovy Grubworm," which according to Joel Whitburn was 
    actually a Billboard Top 40 hit in 1969. Great song. The 
    only web information I found was a passing line in a short
    Webb Pierce bio that said "By 1977 he was recording for 
    Plantation Records," which in context carries strong 
    overtones of "yes, he was reduced to that."
    
    Mostly I'm wondering if their focus was on the quickie 
    covers or original material, if anyone interesting sang 
    these covers (the one on this sampler is a cover of Ray 
    Stevens' "The Streak" that's uncannily similar), if they 
    were related to any other labels, and if I'm right in 
    assuming Shelby Singleton was somehow involved in all this. 
    I mean, slightly sleazy southern label in the sixties 
    and seventies, it only makes sense that he'd be around.
    
    Stewart
    
    
    ***************************FLAMINGO RECORDS***************************
    
    Stewart Allensworth Mason     
    Box 40172                          "Oh, I don't know, I'm more
    Albuquerque NM 87196                of a titmouse myself."
    www.rt66.com/~flamingo        
    
    *********************HAPPY MUSIC FOR NICE PEOPLE**********************
    
    --------------------[ archived by Spectropop ]--------------------
    
    
    Subject:     BOUNCE spectroXXXXXXXXties.com: Non-member submi
    Received:    03/13/99 8:38 am
    To:          Spectropop List, spectroXXXXXXXXties.com
    
    ========= Start of forwarded message =========
    
    Ronnie Spector & Joey Ramone Chat March 24-on David Bowie's 
    Website.
    
    You can let people know that it's on Bowienet at 4:00 PM 
    Eastern Standard Time.
    
    The reason I picked the time was to get European fans as well.
    
    Joey
    
    ========== End of forwarded message ==========
    
    
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    Subject:     The Teardrops
    Received:    03/12/99 4:31 am
    From:        wsXXXXXXXXtyenet.com
    To:          Spectropop List, spectroXXXXXXXXties.com
    
    I was just asked about a group called the Teardrops, 
    possibly from Cincinnatti. I'll pass on the message. Any 
    clues? I believe I have a song called "You Won't Be There,
    " by them which I really love, but it could be a different
    group. 
    
    "I was wondering if you have heard of a girl group, 
    possibly from here in Cincinnati called the Teardrops. I 
    just picked up three 45s by the group today. They are 
    early 60s, on Saxony Records, which is out of Cincinnati. 
    The records look rather new, though I could be wrong about
    that. That tracks are: That's Why I'll Get By b/w Tonight 
    I'm Gonna Fall In Love Again, I'm Gonna Steal Your 
    Boyfriend (same on both sides), and I Will Love You Dear 
    Forever b/w Bubblegummer. All of the tracks are written by
    a Paul Trefzger and produced by Bud Reneau. Any clues? 
    Thanks. 
    
    Chris"
    
    Will Stos
    The Girl Group Chronicles 
    http://www.geocities.com/SunsetStrip/Frontrow/2301/index.html
    
    
    
    
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    Subject:     Cinderellas On Broadway
    Received:    03/13/99 8:38 am
    From:        Ian Chapman, iandXXXXXXXXlnet.co.uk
    To:          Spectropop List, spectroXXXXXXXXties.com
    
    Just got a copy of the new Westside CD "On Broadway", a 
    cross section of Brill Building tracks from Mann/Weil, 
    Greenwich/Barry and Goffin/King. Due to licensing 
    limitations, they've used a few obscurities alongside the 
    more familiar stuff, but it makes a change from another 
    collection composed mainly of well-known hits. An  
    "alternate" version of the Cinderellas "Baby Baby (I Still 
    Love You) is included, but I was slightly disappointed 
    that this turned out to be exactly the same as the issued 
    version - but minus the terrific sax break near the end, 
    which I'm sure many will agree is a highlight of the 
    record. It's replaced by the back-ups singing the chorus a
    couple of times over. I was also hoping that some of the 
    studio chat that was found when this version was 
    discovered, would be included, but no....
    
    Anyway, I'm reliably informed that another Cinderellas/
    Dimension unissued track has been found.....Mann/Weil's  
    "Good Good Lovin'", which many of you will know from the 
    Blossoms later version. The Cinderellas' apparently isn't 
    as "produced" as their other tracks, has more of a demo 
    feel, but it is scheduled to be included on the 
    forthcoming "Girls Will Be Girls" compilation I mentioned 
    a few lists back....the one which will also feature 
    Diane's "The Company You Keep".
    
    Ian
    
    
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    Subject:     girls who surf, etc.
    Received:    03/13/99 8:38 am
    From:        Frank Youngwerth, FMXXXXXXXXom
    To:          Spectropop List, spectroXXXXXXXXties.com
    
    >the girl groups who tossed their hat into the (surf/drag) 
    >rings just didn't seem to have it. They ended up sounding 
    >too cute, or just plain bad sometimes. What does everyone 
    >else say about this subject?
    
    Surf/drag seems to me like a reaction to the girl group 
    sound(s), allowing guy voices to get in on some of that 
    wonderfully produced innocence. Consider how obsessed 
    Brian was with Phil's work.
    
    So then girls doing the surf/drag thing would sometimes 
    comes across as awkward, since it's s'posed to be the guys' 
    take on the girl sound.
    
    Some of the better girl group surf/drag-themed records are
    pretty obscure. Like "I Miss My Surfer Boy Too" by the 
    Westwoods. 
    
    I, too, enjoy the big-beat adult pop style. One of my 
    favorites is "The World We Knew (Over and Over)" by Frank 
    Sinatra. Cilla Black did a lot of fine work (despite some 
    previous Spectropop Ethel Merman comparisons), 
    particularly her versions of gorgeous Paul McCartney songs
    like "Love of the Loved," "It's For You," and "Step Inside 
    Love."
    
    Finally, just got a nice British 2-CD comp of Bobby Vee, 
    which includes a haunting previously unreleased 
    Goffin-King song "The Idol," and the Spectoresque "Run 
    Like the Devil," which got no higher than #124 in 
    Billboard, but surely is one of Vee's best.
    
                     Frank
    
    
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    Subject:     Happenings
    Received:    03/13/99 8:38 am
    From:        Ian Chapman, iandXXXXXXXXlnet.co.uk
    To:          Spectropop List, spectroXXXXXXXXties.com
    
    The Happenings started out as the Four Graduates. Bobby 
    Miranda (lead singer), Dave Libert, Tom Giuliano and 
    Bernie Laporte. The hair was a bit longer by the time of 
    their '68 "Psycle" album, Javed, and the suits weren't 
    there, but I guess compared with a lot of the '68 scene, 
    they were still pretty clean-cut. Whilst I quite enjoy 
    their re-working of chestnuts like "My Mammy" and "I Got 
    Rhythm", I think their best cut was the Linzer/Randell 
    beaut "Goodnight My Love".
    
    Ian
    
    
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    Subject:     Kinks
    Received:    03/13/99 8:38 am
    From:        Dave Mirich, DmirXXXXXXXXom
    To:          Spectropop List, spectroXXXXXXXXties.com
    
    Big L writes:
    
    > Listen to the Kinks songs "Down By The Riverside," and 
    > "Phenomenal Cat."
     
    > There ought to be a word to describe songs like these, but
    > I haven't found it yet.
    
    What album are these songs from?
    Dave Mirich
    
    
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    Subject:     My Dad
    Received:    03/12/99 4:31 am
    From:        Marc Miller, marXXXXXXXXcom
    To:          'spectroXXXXXXXXties.com', spectroXXXXXXXXties.com
    
    Big L, Stewart -
    
    "My Dad" is on another CD that's currently available. It's
    called (are you sitting down?) Donna Reed's Dinner Party. 
    It also has songs by Shelley Fabares (Johnny Angel, natch), 
    Andy Williams, Johnny Mathis, Roy Hamilton, and (gasp!) 
    Mike Douglas. It's on a Sony label called Nick At Nite 
    (catalog# 67148).
    
    		Marc
    
    >>>>>I am looking for any CD that has the song "My Dad" 
    
    >TV STARS SING (K-Tel 3388, released in 1995) has not only 
    >"My Dad" but singles by Ricky Nelson, Shelley Fabares, 
    >Johnny Crawford, Edd Byrnes and Connie Stevens...
    
    
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    Subject:     Domenic Priore
    Received:    03/13/99 8:38 am
    From:        Glenn Sadin, glenn_marXXXXXXXXlink.net
    To:          Spectropop List, spectroXXXXXXXXties.com
    
    >For the fellow asking SMiLE questions, enjoy this brief
    >bit of information. For more, good music stores carry Dom
    >Priore's book, "Look, Listen, Vibrate, Smile".
    
    Domenic Priore is a good pal of mine, so if any of you have 
    any specific questions about "Smile," I'd be happy to ask him 
    for you!
    
    Glenn
    
    gsaXXXXXXXXnemedia.com
    glenn_marXXXXXXXXlink.net
    
    Guitarist/Vocalist/Songwriter for THE BERKELEY SQUIRES:
    http://www.termites.com/BerkeleySquires.html
    
    
    Read about JAPANESE POP MUSIC from the '50s to the '90s!:
    http://home.earthlink.net/~glenn_mariko/nihon.htm
    
    
    
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    Subject:     Tommy Tedesco
    Received:    03/13/99 8:38 am
    From:        Paul MacArthur, Rtf_XXXXXXXXedu
    To:          Spectropop List, spectroXXXXXXXXties.com
    
    >We miss Tommy Tedesco, what a sense of humor.
    
    What a great column he had in Guitar Player magazine.  
    Learned a ton about studio work from that column.
    
    - Paul
    
    
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    Subject:     Smile/Brian Wilson
    Received:    03/13/99 8:38 am
    From:        JM, jhorwXXXXXXXXwesleyan.edu
    To:          Spectropop List, spectroXXXXXXXXties.com
    
    
    I'd like to express what seems to be a minority opinion, 
    that the stuff that's emerged from the Beach Boys' "Smile"
    sessions isn't all that exciting and pales in comparison 
    with the stuff Brian was producing in '64-65.
    
    More than that, though, I think "Smile" represents the 
    point at which Brian became totally alienated from his 
    audience and his muse led him in directions that betrayed 
    his true talents. This process began with "Pet Sounds" 
    which while musically ambitious and often breathtaking, is
    also quite arch, pretentious, and obscure. I like much of  
    "Friends" and "Wild Honey," and even some of "20/20" and 
    beyond, but it's nothing I'd live or die by.
    
    To me the Beach Boys peaked with "All Summer Long" and, 
    especially, "The Beach Boys Today!" (along with the "Don't
    Worry Baby" 45). These are the records I hold closest to my
    heart, records I can play for days on end without getting 
    embarassed or frustrated... records I can play without 
    needing the argument of Brian the Auteur or Brian the 
    Troubled Genius to justify them.
    
    The basis for the obnoxious Legend of Brian Wilson is his 
    notorious reclusiveness and wigged-out-ness, the 
    tantalizing obscurity of the "Smile" stuff, and the 
    pretentious musical-metaphysical "ambitions" of that and 
    later music. I get really tired of reading stuff that 
    deifies Brian for making music that hardly anyone's ever 
    heard-- and that no one's heard in its intended form.
    
    To me this misses his true greatness, which was investing 
    songs about cars and girls (and even surfing, a pretty 
    parochial concern especially if you live in the Midwest as
    I do!) with incredible emotional resonance... the songs are
    exhilirating and enrich my life to the extent that they 
    make otherwise mundane moments feel equally exhilirating. 
    The Beach Boys (aka Brian) were an incredible studio band 
    who didn't "raise pop music to the level of art" or even  
    "transcend pop music" but who made the most of an existing,
    tride-and-true, youth-oriented, consumer-oriented art form.
    When Brian started to feel that he was better than all that, 
    he lost touch with that part of his talent that most 
    people (rightly) responded to.
    
    Just thought I'd stir up some debate. I'd love to know if 
    anyone agrees with me.
    
    
    JM
    
    
    P.S. Strange that there hasn't been more talk of Dusty 
    Springfield on this list. She is my hero... For her 
    stubbornness, for the marvellously unique and sensual 
    quality of her voice, for her good taste, for her bad 
    taste, for her adventurousness, for her perseverance, for 
    the bewildering beauty of her phrasing, and for the 
    exuberance and joy (even when she was singing about sad 
    things, she made you feel glad to be alive) of her records. 
    I was very saddened by her death although we all knew it
    was coming. 
    
    
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    Subject:     UK 45s
    Received:    03/13/99 8:38 am
    From:        Ian Chapman, iandXXXXXXXXlnet.co.uk
    To:          Spectropop List, spectroXXXXXXXXties.com
    
    45 rpm records in the UK always had the small hole. The 
    majority would have the press-out centres, but that was 
    only for the purpose of juke-box use. Most record-buyers, 
    therefore, would leave the discs intact, and in today's 
    collecting terms, a record is considered devalued if the 
    centre has been pushed out. A lot of records came "solid",
    i.e. with no removable centre at all. There was a period in
    the late 60s/early 70s when Phonogram-distributed labels 
    were issued with large holes, but these came with a 
    small-hole plastic tri-adaptor already in place. The 
    company later introduced the "all plastic" totally solid 
    45 with the label design moulded directly onto the vinyl 
    itself.
    
    Ian
    
    
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    Subject:     Cathy and Cookie/The Tammys
    Received:    03/14/99 4:51 am
    From:        WILLIAM STOS, wsXXXXXXXXt.com
    To:          Spectropop List, spectroXXXXXXXXties.com
    
    Hear another question, collectors....
    
    Have you ever heard of the duo called Cathy and Cookie?  
    I have two of their songs, "Hi Diddle-De Diddle," and 
    "That Man Of Mine."  I love their wild sound, but did 
    they record anything else?
    
    Thanks in advance,
    Will
    
    p.s. I hear the Tammys will be included as a part of a 
    new Lou Christie cd coming out this month or next.  
    Finally some Tammys stuff on cd!  Viva Egyptian Shumba!
    
    
    --------------------[ archived by Spectropop ]--------------------
    
    
    Subject:     45s Again
    Received:    03/12/99 4:31 am
    From:        Paul Urbahns, PaulurbXXXXXXXXom
    To:          Spectropop List, spectroXXXXXXXXties.com
    
    Big L wrote:
    
    << The 45 rpm single was made for one purpose: jukeboxes.  >>
    
    Sorry, your a mile off on that one. Any history book will 
    tell you it was a powerplay between RCA and Columbia.The 
    original RCA players (they made their own at first because
    45s would not play on any known record player) plugged into
    the radios or other record players you had. That when they 
    developed phono inputs and the small plug we call an RCA 
    plug. Up until then I understand record players were 
    seperate devices with their own speakers, amplifier, etc.
    Juke Boxes simply converted once they stopped making 78s.
    
    Paul Urbahns
    paulurbXXXXXXXXom
    
    
    --------------------[ archived by Spectropop ]--------------------
    
    
    Subject:     45s again
    Received:    03/13/99 8:38 am
    From:        Paul Urbahns, PaulurbXXXXXXXXom
    To:          Spectropop List, spectroXXXXXXXXties.com
    
    Jamie wrote:
    
    << A 45 starts out as a wad of 
     black plastic known as a "donut" (I think), which is 
     placed between the two stampers and then sort of pressed 
     like a waffle iron. I may be wrong, but I think the 45s 
     come off the press with the big holes already cut. >>
    
    There may be more than one type of pressing machine, but 
    the ones I've seen only did small whole records then they 
    were punched after the fact. Have you ever gotten an off 
    center record? That wouldn't be possible if what you state
    was true.
    
    Triming the edges and punching the center out was part of 
    the finishing process, at least in the 60s.
    
    Paul Urbahns
    paulurbXXXXXXXXom
    
    
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    END
    
    

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