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Spectropop V#0247

  • From: The Spectropop Group
  • Date: 03/25/99

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    ______________      S  P  E  C  T  R  O  P  O  P     _____________
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       Volume #0247                                  March 25, 1999   
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    Covered in long lasting PVC to give you years of portable pleasure
    
    
    
    Subject:     Info about unusual copy of Philles 115?
    Received:    03/25/99 12:14 pm
    From:        J Moorehous, JMoorehXXXXXXXXom
    To:          Spectropop List, spectroXXXXXXXXties.com
    
    I just picked up a copy of Then He Kissed Me on the black 
    and blue Philles label that is backed not with Brother 
    Julius, but with All Grown Up. Interestingly, the type 
    face on the words "All Grown Up" is a serif typeface that 
    is different from that normally used. Apart from the title, 
    all other information on the label--publisher, time, 
    writer, etc.--is in the usual typeface and is for Brother 
    Julius, not All Grown Up. Based on this, my theory is that
    a small batch of Then He Kissed Me was mistakenly pressed 
    with All Grown Up on the flip. Rather than throw the 
    records away or print up a new label for All Grown Up, 
    they took the label master for Brother Julius, re- typset 
    the title without bothering to match the typeface, and 
    left the rest of the label alone--thus resulting in this 
    curiosity. Can anyone confirm this? Or tell me how many of
    these there are? I'm guessing very few, as I can't find it 
    mentioned in any of my sources, but my library is not vast
    nor is my knowledge encyclopedic. Thanks.
    
    Joe Moorehouse
    
    
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    Subject:     Nobody's Home To Go To
    Received:    03/24/99 1:01 am
    From:        Kieron Tyler, kierXXXXXXXX.org.uk
    To:          Spectropop List, spectroXXXXXXXXties.com
    
    Jamie LePage said - 
    >>I particularly like the Wine/Bayer song "Nobody's Home To
    >>Go Home To" by Billie Davis. Ian, you don't mention the
    >>original recording of this song. Surely it must be a US
    >>artist. Do tell!
    
    And Ian Chapman replied 
    >I'd like to know too, Jamie!! Can anyone else shed 
    >any light on this?
    
    This is little help, but when I interviewed Billie Davis 
    for Record Collector magazine (it was in the Jan issue), I
    asked her where she first got the song from, and she 
    couldn't remember, but thought it was picked by the 
    producer - who I think was Michael Aldred, now deceased.... 
    
    All the best, 
    Kieron   
    
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    Subject:     Joe Meek's Girls & Is This What I Get
    Received:    03/24/99 1:01 am
    From:        Jamie LePage, le_page_XXXXXXXXties.com
    To:          Spectropop List, spectroXXXXXXXXties.com
    
    I wrote:
    
    >>First of all, perhaps my very favorite Joe Meek record 
    >>ever, "My Friend Bobby" by Pamela Blue is on here...I have 
    >>never seen it on CD before in spite of the fabulous Joe 
    >>Meek reissues that have been issued in recent years.
    
    Ian Chapman replied:
    
    >I'd highly recommend the 29-track RPM CD "Let's Go - 
    >Joe Meek's Girls!".....it has most of his girlie tracks 
    >on, including TEN unissued.
    
    I stand corrected. Indeed, both Pamela Blue sides are on 
    this CD. I had completely forgotten. I too think this comp
    is really great. Very cool Glenda Collins tracks on here as
    well.
    
    I also wrote:
    
    >>Marianne Faithfull's take on Ronnie's "Is This What I Get 
    >>For Loving You" is pathetic. The agony, longing, anguish 
    >>built into the lyric and so effectively communicated in the 
    >>Ronettes version is completely absent here. Marianne sounds 
    >>as cold as a Frigidaire on this....Didn't Oldham cover this 
    >>again with Billy Nicholls? It was far better there.
    
    Ian commented:
    
    >I do think Marianne offers an interesting take on the 
    >song, with her aloof, rather fragile reading of the 
    >lyrics...
    
    Kieron Tyler added
    
    >Funnily enough - this is probably my fave Marianne 60s 
    >single (after 'Hier Ou Demain'). I think its one of 
    >Oldham's most stylish productions in his kitchen sink UK 
    >Spector way, and I reckon it's better than Billy Nicholls 
    >version. Granted, it's different to the original, but 
    >that's probably what makes it stand out to me, its a 
    >really English sound....
    
    Fair enough. I did comment that "[the clunkers] too are 
    worth hearing, especially when they are covers of US GG 
    records." I am happy to have the track on the comp. Ian's 
    use of "aloof" and "fragile" are appropriate, I think, 
    although I do stand by my original comment that I don't 
    feel any of the anguish of the lyric in her version. To 
    correct my previous post, however, it was not Nicholls who
    covered this, but Twice As Much. After going back and 
    comparing Marianne's version with Twice As Much, I think 
    Oldham got it better on the latter version, which I guess 
    was recorded after Marianne's recording. I doubt it's the 
    "English" take on the work that puts me off though, as I 
    adore all these UK GG comps that have come out in recent 
    years. Sometimes I think UK covers are better than the US 
    originals. I don't think it's particularly a national 
    difference, nor a black/white difference either. When it 
    comes to the difference between US and UK sound, the 
    primary difference (imo only) is that US moved toward 
    independent production earlier than UK did; often in-house
    productions and arrangements suffered (on both sides of the
    pond) from a lack of imagination. In the case of Marianne's 
    Is This What I Get, my comment was specifically directed at 
    her interpretation, not the Oldham production or arrangement.
    
    As Doc Rock said: Some people's "fours" are others' "ones"! 
    That's what makes the world go 'round, and it's what I find 
    so interesting about the discussions on Spectropop.
    
    Thanks for the comments, guys, and to all who haven't 
    heard The Girls' Scene, check it out!
    
    All the best,
    
    Jamie
    
    
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    Subject:     Re: Good Vibrations
    Received:    03/24/99 1:01 am
    From:        Big L, biXXXXXXXXtmail.com
    To:          Spectropop List, spectroXXXXXXXXties.com
    
    >no way is "Good Vibrations" anywhere near the best pop or
    >rock single ever, although Mojo's recent poll says so)
    
    The only thing I can say about this is that I can't 
    remember another record having the kind of impact that GV 
    did in November 1966. It was the most fantastic thing I 
    had ever heard.
    
    GV is one of the many songs that has been worn out by 
    oldies stations and advertisers. The magic is gone. 
    
    I also feel that it's momentum was killed by MonkeeMania. 
    "I'm A Believer" went staright to #1, and radio stations 
    everywhere hopped on the Monkee bandwagon. 
    
    The best way for ME to listen to Good Vibrations is on a 
    "time capsule" tape with the songs of it's day. Against 
    that backdrop, some of the magic comes back.
    
    There has been some discussion about SMiLE here lately. My
    opinion is that GV sounds great and perfectly at home with 
    the SMiLE cuts.
    
    ==
    Big L                   Check out my Radio Legends pages at:
    biXXXXXXXXtmail.com    http://www.geocities.com/Hollywood/Hills/9816
    
    
    
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    Subject:     Rockin's Sax
    Received:    03/24/99 1:01 am
    From:        Matthew Kaplan, TweeXXXXXXXXom
    To:          Spectropop List, spectroXXXXXXXXties.com
    
    In response to the comment
    >Why is ANYONE honoring Kenny G ? Is there another
    >one more deserving?
    
     Paul Urbahns wrote 
    >I vote for Boots Randolph, the original Mr Sax Man of
    >Rock and Roll that has been overlooked by rock fans 
    >because he lived and works in Nashville. 
    
    While I don't disagree with placing Boots as a top notch 
    player, I've always been blown away by the total tenor sax
    skronk of Mr. Red Prysock (1926-1993), crossed from early 
    rock to R&B to Jump Blues. Red, who recorded sides for 
    Mercury also spent years backing up his brother Arthur 
    Prysock, who of course hot a number of hits on Old Town 
    Records in the '50s and '60s. Red also did dates with Tiny
    Bradshaw, Tiny Grimes, Lonnie Johnson, the awesome Wynonie 
    Harris, Sir Charles Thompson, Sil Austin and Joe Williams 
    amongst others. If you are interested in this kind of 
    thing you owe it to yourself to check out the best of Red 
    Prysock on AVI.
    
    Matthew Kaplan
    
    
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    Subject:     Sax Props
    Received:    03/24/99 1:01 am
    From:        Frank Youngwerth, FMXXXXXXXXom
    To:          Spectropop List, spectroXXXXXXXXties.com
    
    >I vote for Boots Randolph, the original Mr Sax Man of 
    >Rock and Roll
    
    I like Boots, especially on Elvis' "Reconsider Baby," 
    but I think King Curtis wrote the book on rock 'n' roll 
    sax.
    
    Frank  
    
    
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    Subject:     Sue Thompson
    Received:    03/24/99 1:01 am
    From:        Shelby Riggs, fifties4eXXXXXXXX.com
    To:          spectropop, spectroXXXXXXXXties.com
    
    My congratulations on a very well written article on
    one of the "Forgotten" singers of Rock & Roll. The
    article that Mike Kelly wrote for Discoveries
    Magazine on Sue Thompson was superb. Job well done
    Mike. 
    Shelby Riggs
    
    
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    Subject:     Re: Kinks
    Received:    03/25/99 12:14 pm
    From:        Big L, biXXXXXXXXtmail.com
    To:          Spectropop List, spectroXXXXXXXXties.com
    
    I said:
    
    > 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.
    
    Then Dave Mirich said:
    
    >>>What album are these songs from?
    
    Sorry, Dave. "Sitting By The Riverside" (I mislabeled the 
    song) and "Phenomenal Cat" are both on "Village Green 
    Preservation Society." Other songs on that album I'd 
    recommend are:
    
    Do You Remember Walter 
    Picture Book 
    Big Sky 
    Village Green 
    Starstruck
    
    All these songs highlight that pixieish Ray Davies wit 
    that often emerged in those days. For example, "Picture 
    Book": written by a man who didn't believe in cameras. 
    Also, the last song on the album is "People Take Pictures 
    Of Each Other."
    
    Another album that features that wit (but not as much of 
    it) is "Arthur." To wit:
    
    Victoria
    Drivin'
    Australia
    Shangri-La
    Young & Innocent Days
    
    "Australia" is a treasure. It sounds just like a travel 
    agency jingle would have in those days, with a gorgeous 
    Beach Boys - like falsetto bridge.
    
    I have a suggestion. Instead of recommending albums and 
    groups, why not recommend individual songs, get up a list,
    and have a vote. The top 60 entrees could then be put on a 
    Spectropop soundtrack tape. (No, I'm not suggesting 
    another "Net Sounds.")
    
    
    ==
    Big L                   Check out my Radio Legends pages at:
    biXXXXXXXXtmail.com    http://www.geocities.com/Hollywood/Hills/9816
    
    
    
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