http://www.spectropop.com ________________________________________________________________________ ______________ ______________ ______________ ______________ ______________ S P E C T R O P O P ______________ ______________ ______________ ________________________________________________________________________ dead dog songs that were cut in about two sessions ------------------------------------------------------------------------ There are 10 messages in this issue #15. Topics in this digest: 1. Reparata and the Delrons / Yellow Balloon From: "Mr. Action" 2. Yellow Balloon From: Glenn Sadin 3. Jan and Dean's Yellow Balloon From: Paul Urbahns paulurbahn 4. Warner-Spector From: "Joseph E. Vine Jr." 5. Memory Lane From: kieront 6. Rock On History From: "Kingsley Abbott 7. Re: Ronnie sings Spector (or not) From: Jamie LePage 8. ronnie sings From: john rausch 9. Re: Yellow Balloon From: "Ron Weekes" 10. More Tommy James/Pittsburgh hits From: Greg Matecko ________________________________________________________________________ ________________________________________________________________________ Message: 1 Date: Fri, 04 Aug 2000 13:11:16 -0400 From: "Mr. Action" Subject: Reparata and the Delrons / Yellow Balloon Written in Digest Number 14: >I got the Reparata and the Delrons song on the new Girl >Group cd on Varese Sarabende. This disc compiled by Dick >Bartley has the song in true stereo, but sounds distorted. >At least it does not have the badly chopped ending. Well, I don't agree with this, it sounds really clean to me. If you DO hear some distortion, then it's on the first generation stereo master tape, as that's what they used for this release. It's never sounded better than it does here. Michael Gessner wrote re: Yellow Balloon > >I read that the original version of "Yellow Balloon" was >done by Jan & Dean. I looked through all my J& D LPs and >haven't found it. Is this true and if so, where can I >find it? Mike, Although I'm not at home to double check, I'm pretty certain that J&Ds "Yellow Balloon" is on the Sony "Rock Artifacts" series, I *think* Vol 2. I'm pretty sure that's where I first heard it. Also, If I'm not mistaken, isn't it on the J&D CD "Save For a Rainy Day" with all the rain songs? Regards, Mikey --------------------[ archived by Spectropop ]-------------------- Message: 2 Date: Fri, 04 Aug 2000 14:18:00 -0700 From: Glenn Sadin Subject: Yellow Balloon Mike sez... >I read that the original version of "Yellow Balloon" was >done by Jan & Dean. I looked through all my J& D LPs and >haven't found it. Is this true and if so, where can I >find it? It's on the legendary and super-rare album "Save For a Rainy Day," reissued in expanded form by Sundazed on CD and double-LP. The album was recorded in Dean's garage with a bunch of J&D's studio musician pals shortly after Jan's accident. (No, Jan does not not sing on the record!) Glenn Glenn Sadin Read about JAPANESE POP MUSIC from the 1950s thru the 1990s: http://home.earthlink.net/~glenn_mariko/nihon.htm --------------------[ archived by Spectropop ]-------------------- Message: 3 Date: Fri, 04 Aug 2000 17:39:57 EDT From: Paul Urbahns paulurbahn Subject: Jan and Dean's Yellow Balloon Mike wrote: >I read that the original version of "Yellow Balloon" was >done by Jan & Dean. I looked through all my J& D LPs and >haven't found it. Is this true and if so, where can I find >it? Yes Mike, as the story goes, after Jan was injured in a car accident, Dean wanted to get some product out so people would not forget who Jan and Dean were. He made some recordings at Joe Osborne's garage (in 1966) with some musician friends that had worked on previous Jan and Dean records over the years. The album "Save It For A Rainy Day" had songs on the theme of rain with some sound effects dubbed in. Songs included, among others, Yellow Balloon, Here Comes The Rain, Lullaby In The Rain, Taste Of The Rain, etc. Dean did two arrangements of Yellow Balloon, one a typical Jan and Dean one, and one that had a bubbly effect like the Turtles. He says he was doing Turtles album graphics at that time. Apparently he gave the Turtles type version to Gary Zekley who shopped the tape (with some alterations) to Canterbury Records. The original Yellow Balloon single (on Canterbury) had the song Yellow Balloon backwards on the B side (as Noollab Wolley) proving at that early point he didn't have a second song. Meanwhile, Jan privately issued the Jan and Dean album on his own own J&D label (as J&D JD-101) in 1966 and sold them himself. Now this is where I get confused. According to most accounts Jan wasn't getting paid for some of the albums he wholesaled so he made a deal with Columbia in 1967 to issue the Save It For a Rainy Day album as Columbia CS-9461 but it wasn't issued. Columbia did issue two cuts from the J&D album in 1967 (probably to promo their issue of the album) Yellow Balloon backed with A Taste Of Rain on Columbia single 4-43682. Apparently Gary Zekley couldn't get anybody to issue the Turtles style version of the song until the Columbia Jan And Dean release was announced. because in 1967 when the Canterbury version was released. Zekley said in an interview that he knocked on doors and nobody wanted to issue the song until the word was out that Jan and Dean version was ready to be released. he also said someplace he was afraid he would get sued if he issued it, so his stories vary slightly. I have heard both singles were advertised in the same issue of Billboard. In all honesty the Turtles type arrangement was more contemporary and out sold the Jan And Dean version. Besides Jan's family supposedly didn't want the song out with Jan's name on it because Jan had nothing to do with it. That's why the single wasn't widely pressed, and the album never issued. Columbia didn't want a legal battle on their hands and they didn't want an album credited only to Dean. The cover of the album had Jan Berry's brother standing in for Jan with no explaination. Over the years the Jan And Dean version has been more available than the Yellow Balloon version. As far as I can tell the actual Yellow Balloon single on Canterbury was grossly overpressed (expecting a bigger hit and more sales than it got). The original Canterbury single and album were the only releases I could find of the song until recently. I am told by other fans the Canterbury album was padded out with some dead dog songs that were cut in about two sessions. Some of the songs had been previously issued under the name Our Gang, but I understand they were re-recorded for the Yellow Balloon album so the sound would be uniform. Can't confirm this because I don't have the Our Gang versions on Br'er Bird label. Varase Sarabade issued the single on a various artists CD called Sunshine Days volume 3. The Yellow Balloon album has been reissued on CD and according to the notes Don Grady was the lead singer on the Yellow Balloon track. Don Grady was on the My Three Sons TV show and this may have helped Zekley sell the song to Canterbury when nobody else wanted it. Meanwhile, back to your original question. I have the original Jan And Dean version on a various artists album called California USA (Columbia C2 37412 issued about 1977, and later reissued on CD), Rock Artifacts, Volume 4 (cassette and CD) issued about 1991. And finally Sundazed issued the whole Save It For A Rainy Day album with alternate versions of the songs on CD in 1996 (Sundazed SC 11035) with the original mono album complete and some stereo remixes available for the first time. The Save It For A Rainy Day CD definately belongs in any Jan And Dean collection. This seems a little long but if anyone else can shed some light on this confusing subject, please do. Paul Urbahns paulurbahn --------------------[ archived by Spectropop ]-------------------- Message: 4 Date: Fri, 04 Aug 2000 13:15:25 GMT From: "Joseph E. Vine Jr." Subject: Warner-Spector If possible, I would greatly appreciate the US Master #s for both sides of Cher's "A Woman's Story" / "Baby I Love You" (Warner-Spector 0400) and Darlene Love's Warner-Spector single 0401. Thanks very much! Joey --------------------[ archived by Spectropop ]-------------------- Message: 5 Date: Fri, 04 Aug 2000 10:13:37 +0100 From: kieront Subject: Memory Lane
said in digest 14 >I remember that not too far from Picca=dilly circus and >Shaftsburry Avenue there was a small market place where I >used to buy a lot of records. There was a stand there >called Rock On, as far as I know it was before the Camden >Street shop. Do you know if this stand was the begining of >the Rock On story? That was in Soho market, at the east end of Gerrard Street (London's Chinatown). Rock On originally was a stall in Portobello Market and moved to Soho Market in 1976. It was great - I bought the Try It LP by The Standells in = 1977 (I was three years old...). In Sep or so '76 the Jam plugged into the electric supply at the stall and played outside the market on the street (I didn't see this). But the stall was a goldmine for 60s and 50s stuff - the folks who ran it ran Chiswick records, now Ace Records, top reissue label. In mid 1977 another stall opened in the market, Wretched Records, totally dedicated to punk. When the Rock On shop opened in Camden (late 1978 I think) the stall became Rocks Off, and moved into a shop in Hanway Street (behind Oxford Street) under that name. And it was there I got the soundtrack to Riot On Sunset Strip. That's quite enough memory lane, Kieron --------------------[ archived by Spectropop ]-------------------- Message: 6 Date: Sat, 05 Aug 2000 09:58:09 +0100 From: "Kingsley Abbott Subject: Rock On History Dear Spectropoppers, The recent queries about the roots of the late great Rock On shop in London's Camden Town prompt me to tell what I know of the story. As far as I recall, Rock On and the lovely Ted Carroll started on Golbourne Road, which is off Portabello Rd. Ted had a tiny stall at the back of a sectionalised shop premises. His bit was about 10 ft by 8 ft perhaps - one counter that he could just fit behind and some wall racks. It opened I believe only on Friday mornings and Saturdays. The first time I went was a Sat. when I delighted in finding the second Hondells album for, I think, A33-25. Ted was heavily into selling Flamin' Groovies that afternoon. He would have his pet things to tell you about and to sell you. He introduced me to The Halos' "Nag", Tony Visconti's "I Remember Brooklyn" doo wop pastiche and The Hammersmith Gorillas amongst others there. Thereafter I'd go on a Friday morning on my way to work, and would encounter Ted on the street market outside "Junking" as he'd call it - searching for good albums to sell on the stall. I narrowly beat him to an Outlaws (Meek) for a few pence one morning. His stall was a great place to hang out. Rob Finnis was often there (Nice Guy) and we'd chat about the relative worth of Spector/Girlie/Surf tracks. They asked me to justify why I reckoned the Fantastic Baggys so much after Ted and I did a heavy trade for one. The stall had a good 'underground' reputation for collectors. At that time there were very few collector shops in London - Moondogs in East London (WONDERFUL basement!), Vintage up the Caledonian Road and Ted, plus a few market stalls here and there. This was around 1972/3- pre record fairs etc. Ted soon opened up the well known stall at the Soho Market just behind Leicester Square - again pretty small. This was usually staffed by Roger Armstrong. Mnay goood finds could be made there. It was to become well known as it was much more central and near other record stalls. Somehow, I can't recall how, I was at the Camden Town shop the day before it opened, and I gave Ted a hand putting stock out on the racks. I delighted in finding copies of the second and third Critters albums that afternoon. I had never seen them before. A33 each! This was to be the template for the great collectors shop. Smallish interior - maybe 18 ft by 12 ft customer space - with racks either side and down the middle, and the counter at the end with rarities displayed and boxes of thematically arranged singles, plus knowledgable staff - Ted, Roger, Barry Appleby and others. I recall the Spector book display, Ted's first Rock On Production by Rob Finnis. Great it was too! Worthy of updating and reissuing? The shop was always first on anyone's visit to Camden record searching as it was right outside the station. You'd never know who you'd bump into there - Lemmy, assorted Clash or Damned or Terry Melcher. Probably as much a source of Hornby's "High Fidelity" as anywhere, as it was THE place. Soon after Ted had the Chiswick label offices upstairs in a glorious clutter, and >from that the glorious Ace Records grew with all the same people on board. I look now at their catalogue, which has to be about the best in the world, and recall the early beginings. I'm happy to say that they have remained tot ally committed to the ideals of proper record collecting. Music first! I could go on for hours, but I hope this will have been of some interest to people even if they have never been there! Kingsley Abbott [Non-text portions of this message have been removed] --------------------[ archived by Spectropop ]-------------------- Message: 7 Date: Sat, 05 Aug 00 23:27:42 +0900 From: Jamie LePage Subject: Re: Ronnie sings Spector (or not) David Young wrote: >I'm confused about...the alleged injunction Spector has >against Ronnie's singing his songs in public. It seems >like I remember that the ban did not apply to her live >concerts, only to appearances in broadcast media. Hi David, >From the various comments I've seen posted here, I too believe we've not heard the whole story yet. When the court decision in the Ronettes vs. Phil was announced it was a fairly high profile story in the media, yet this "injunction" has not been mentioned in any piece I've seen. For that matter, an injunction against an artist barring her from performing her popular repertoire would be equivalent to inhibiting her from practicing her chosen profession. I cannot think of a single reason or circumstance that would persuade a judge to grant such a ruling. Bearing in mind that that many broadcast uses of songs are subject to approval of the owner, I think your comment that Ronnie cannot perform Phil's compositions in broadcast media is probably closer to the truth, and for that no injunction is necessary. The whole thing boils down to whether a song can be used without permission of the owner. My guess is that if permission is not required, then Ronnie may continue to "use" Phil's songs. But if permission is required, it just might be that Ronnie's attorneys were told it may no longer be possible to obtain that permission. Purely conjecture, mind you... > >And how does she get away with doing "I Can Hear Music" >on the upcoming "Chapel of Love" PBS special? Because >she's duetting with Brian Wilson? My guess? In a way, you're right - because of Brian; and Jeff. Denying Ronnie would be denying Brian and Jeff as well. It isn't surprising to learn this particular "Ronnie" use of I Can Hear Music was approved. > >And for that matter, how was it possible...to release... >"I Wish I Never Saw the Sunshine" on her recent "She Talks >to Rainbows" EP? This use is not considered "performance". It is considered "reproduction". Once a song has been released, anyone can obtain a license to release a new recording of that song, without permission of the owners. It's a principle concept in defining to what extent an "author" may control use of its works, and it clearly does not extend to control over who can record or publicly perform those previously released works. I would be very interested to see any judgement ruling against that concept. >Can anyone who's seen her lately confirm that she's >still doing these tunes live? I can confirm she was doing them all as recently as eighteen months ago, and we have seen several reports here since then confirming the same. If you and I are guessing correctly, she will continue to perform these songs publicly but you probably won't very often see her singing Philles era hits on TV or video any more. >She's coming to Seattle on September 3... That's less than a month away. Please tell us all about it afterwards. When I saw her eighteen months or so ago she was brilliant. Far beyond my expectations. I liked Ronnie's 1999 show much more than the Billy Joel/E Street Band era. The band was quite decent and fairly true to the original style, and fortunately, the drummer rarely overplayed. All the best, Jamie --------------------[ archived by Spectropop ]-------------------- Message: 8 Date: Sat, 05 Aug 2000 14:49:12 -0400 From: john rausch Subject: ronnie sings David Young posed some interesting questions about Ronnie Spector singing her songs. I too am interested in the ramifications of the recent court ruling. Hope someone has some info. Also I have heard that Ronnie is back in the studio recording a full length lp/cd. Does anyone know any more on this? John Rausch Presenting The Fabulous Ronettes@ http://www.geocities.com/SunsetStrip/Studio/2469/ --------------------[ archived by Spectropop ]-------------------- Message: 9 Date: Sat, 05 Aug 2000 19:14:31 -0600 From: "Ron Weekes" Subject: Re: Yellow Balloon Mike wrote: I read that the original version of "Yellow Balloon" was done by Jan & Dean. I looked through all my J& D LPs and haven't found it. Is this true and if so, where can I find it? Ron replies: Isn't it on the Sundazed CD "Save For A Rainy Day"? --------------------[ archived by Spectropop ]-------------------- Message: 10 Date: Sun, 06 Aug 2000 21:27:39 -0600 From: Greg Matecko Subject: More Tommy James/Pittsburgh hits Here's a little more info on Tommy's early years. As Michael Marvin pointed out, "Hanky Panky" got it's big push in Pittsburgh. The DJ usually given credit for this is a fellow named "Mad Mike" Metrovich (sp). The stories I've always heard is that it broke at the teen dances first, then on the air. When the record hit, and Tommy came to town to make appearances, he recruited a local band to become the new Shondells. One or two of them still reside in the Pittsburgh area. What you don't always hear about is the local "entrepreneur" that booted the Snap 45 of "Hanky Panky." This gentleman used profits from Tommy's record to continue to press 45's of other "Pittsburgh Hits," over the years, and was finally sent to jail a few years ago for, of all things, selling stolen beauty products at flea markets! It always amazes me that Tommy James gets lumped in the bubblegum music area. Sure, "Hanky Panky," Mony Mony," et. al. were bubblegummy, but "Crystal Blue Persuasion" and " Sweet Cherry Wine" certainly weren't - heck, "Sweet Cherry Wine" was a protest song! As someone else pointed out, Tommy still puts on a great live show. He constantly returns to Pittsburgh for oldies shows, and always sounds great! He even married a Pittsburgh girl... Spectropoppers, I have been remiss in my duties. I mention "Pittsburgh Hits" above. These are not in reference to hits by Pittsburgh groups such as the Vogues and the Skyliners. These are songs that were made popular by DJ's who had control over what they played on the radio in the 60's. Guys like Porky Chedwick, Terry Lee and the above mentioned "Mad Mike" were constantly on the lookout for music that no one else had, and would actually take steps to guard the record's identity so no one else could play it! Many of these records fall under the category of Spectropop faves - a lot of girl-group type stuff, along with soulful love songs. There is a local company that has been putting a bunch of this stuff out on CD, and I'll have to get more information and post it to the list. An example of a "Pittsburgh Hit" is "High On A Hill," by " Mandy" writer Scott English. Almost any time a poll is conducted on Pittsburgh's favorite oldies, this song usually pops up as Number 1. It wasn't a national hit, but a monster record here in Pittsburgh. I think it may have gotten some airplay in California. On another note, I'm still kicking myself for finding out too late that Carol Kaye played a jazz concert during her seminar in Pittsburgh! Carol, what did you think of local luminary Joe Negri? Greg Matecko --------------------[ archived by Spectropop ]-------------------- End
Spectropop text contents & copy; copyright Spectropop unless stated otherwise. All rights in and to the contents of these documents, including each element embodied therein, is subject to copyright protection under international copyright law. Any use, reuse, reproduction and/or adaptation without written permission of the owners is a violation of copyright law and is strictly prohibited. All rights reserved.