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Spectropop V#0042

  • From: The Spectropop Group
  • Date: 2/11/98

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           Volume #0042                               02/13/98
                  America's Foremost Amusement Newsletter
    Subject:     Petula Clark; Tony Hatch
    Sent:        2/11/98 6:55 AM
    Received:    2/11/98 9:31 PM
    From:        Jack Madani, Jack_Mad
    Jamie Le Page notes:
    > ...>Pet Clark epitomizes Swinging Sixties  London to my 
    > ears. I hear two bars of "I Know A Place" and images of  
    > kinky boots, miniskirts and Carnaby Street come to mind.
    Oh, triple amen to that!  Truer words were never spake!
    > ...>it's been mentioned here before, but _Here Comes the 
    > Girls_ reissue series on Sequel has many  wonderful Tony 
    > Hatch recordings, some very obscure. Check out You'd  
    > Better Come Home by Pet Clark off Volume One.
    Of the very many Hatch productions on the volumes of this series that I 
    have, my personal favorite is from volume 4, subtitled "You Can Be Wrong 
    About Boys."  The cut I'm thinking of is called "Lonely Without You," 
    sung by Julie Grant.  Oh, the heartbreaking pathos, especially on the 
    bridge when she sings "there was no one in the world before you..."  
    > Also, if you like Pet Clark's records,
    And a bunch have been reissued, either on RPM or See For Miles or Sequel. 
     I want to mention in particular a Sequel reissue called "Petula Clark 
    Today," apparently a sort of odds-&-sods collection but almost all of it 
    is Hatch-produced.  One song in particular:  "Take Good Care Of Your 
    Heart," an excellent take on Beach-Boys-Today!-era Brian Wilson. 
    > check out Jackie Trent, who was also produced by Tony 
    >Hatch. Trent/Hatch co-wrote many hits together.
    Weren't they in fact married to each other?  And weren't they known in 
    the business as "Mr. & Mrs. Music?"  Oh man, how cool is that.
    Jack Madani - Princeton Day School, The Great Road,
       Princeton, NJ  08540   Jack_Mad
    "It is when the gods hate a man with uncommon abhorrence that they
     drive him into the profession of a schoolmaster." --Seneca, 64 A.D.
    ---[ archived by Spectropop - 02 /13/98 - 12:57:25 AM ]-----
    Subject:     Re: Tony Hatch... et al
    Sent:        2/11/98 10:29 AM
    Received:    2/11/98 9:31 PM
    From:        Marc Wielage,
    Big L, bi asked:
    I am compiling a
    list of great records, that were big hits, that are
    largely ignored by the oldies stations. Maybe we can
    get a thread going on this. Here's a few...
    <list of songs deleted>
    >These are just a few. Why aren't these, and other
    >great records played? Is it something about the
    >concept of oldies radio in general?
    Here's what I said about it in the FAQ:
    8.1 - Radio Playlists
    H Glazer <hmg  net> wrote:
    There are a lot of big 70s hits by big-name acts that you just never hear 
    anymore. Can anyone explain oldies radio's aversion to these songs:
    "Family of Man" - Three Dog Night "Touch Me in the Morning" - Diana Ross 
    "Let's Get It On" - Marvin Gaye "Half Breed" - Cher "Helen Wheels" - Paul 
    McCartney & Wings
    Marc Wielage <> answers:
    Essentially, the way Oldies radio works is that the songs on their 
    playlists come from five sets of criteria:
    1) songs that test well with "focus groups" of people
    2) songs that were relatively-big hits (or had big airplay) during their 
    respective eras
    3) songs that are played by other similar stations that get big ratings.
    4) songs that, according to their market research, are familiar to large 
    groups of people. ("You know every song we play!")
    5) songs that are requested most frequently by listeners.
    Unfortunately, songs that you and I might agree are *good* don't always 
    fit the above requirements! If I won the Lottery and could run a station, 
    I'd use the above criteria, but I'd also let my guts determine whether 
    we'd play a song, and how often we'd play it.
    LA oldies champ KRTH-FM just hit #7 or #8 in the ratings (as of late 
    1996), and given that there's at least 50-60 stations in the market, this 
    is incredibly successful. However, I believe their current playlist 
    covers less than 400 songs, if that. The 70s oldies station, KCBS-FM, has 
    a similarly-restricted playlist, yet has somewhat lower ratings.
    As to the songs on your list: I'd say "Touch Me in the Morning" and 
    "Let's Get it On" are played quite often on those soul ballad "Quiet 
    Storm" stations. I'm not much of a "Half-Breed" fan (and it often shows 
    up on 70s Turkeys lists), but I definitely agree with you on "Family of 
    Man" and "Helen Wheels" not being played often enough.
    -= Marc Wielage      |   "The computerized authority     =-
    -= MusicTrax, Ltd.   |       on rock, pop, & soul."      =-
    -= Chatsworth, CA    |          =-
    ---[ archived by Spectropop - 02 /13/98 - 12:57:25 AM ]-----
    Subject:     Re: I Want Candy
    Sent:        2/11/98 11:39 PM
    Received:    2/11/98 11:48 PM
    From:        le_page_
    Scott Bauman writes:
    > A few years ago, I heard an interesting story about one 
    > infringement  claim that was made. The copyright owners of 
    > "Willie and the Hand Jive"  sued over the Strangeloves' 
    > song "I Want Candy." (This is kind of  interesting since 
    > both borrow heavily from Bo Diddley.) 
    Bo Diddley may have started recording after Johnny Otis, but Diddley's 
    debut record _Bo Diddley/I'm a Man_ was a double punch knockout of a 
    single that trademarked the "Bo Diddley Beat." As far as I know, Willie & 
    the Hand Jive came out about 2 1/2 years after that single. Both Bo 
    Diddley and Willie & the Hand Jive employed that rhythm which is 
    undoubtedly rooted in Africa. The song Hambone from the 40's is the 
    earliest recorded example I know of. I once heard that rhythm was called 
    "Shave and a Haircut, Two Bits." In any event, writing a song using a 
    distinctive rhythm is a dubious basis for a infringement case. 
    I heard about someone who was similarly accused of infringing the Johnny 
    Otis title. The offensive recording was a throwaway jam/instrumental for 
    a low-budget movie, a yakety-yak sax solo over a Bo Diddley groove; yet 
    infringement claims came out of the woodwork. This person made a quick 
    settlement for a few grand to avoid the hassle of litigation. Hand Jive, 
    indeed. Purely speculation but I imagine it is Otis' people and not the 
    publisher who make these claims. 
    > ...the Strangeloves agreed to record "Willie and the Hand 
    > Jive" and, more  remarkably, promised that their version 
    > would chart...the Strangeloves' version of "Willie and the 
    > Hand Jive" charted at number 100 for one  week and then 
    > dropped off the charts. (I wonder how they managed that  
    > one?!)
    Musta been before the days of Soundscan. Richard Gottehrer & Co. 
    apparently had some influential friends who for whatever reason were 
    ---[ archived by Spectropop - 02 /13/98 - 12:57:25 AM ]-----

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