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Spectropop V#0051

  • From: The Spectropop Group
  • Date: 3/6/98
  •       =======================================================
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            Volume #0051                               03/07/98
                       Music for the Teenager Market
    Subject:     Vintage Radio Web Site
    Sent:        3/5/98 11:50 PM
    Received:    3/6/98 2:22 AM
    From:        Javed Jafri,
    I found an interesting web site which features "air checks" 
    of some of the legendary radio personalities from the 
    halcyon days of top 40 radio (circa late 50's to mid 70's). 
    These are actual snippets of the broadcasts. For a radio 
    junkie like myself and someone who actually heard these DJ's 
    in the mid to late 60's it's a most welcome trip down memory 
    lane. Talk about flashbacks, features like this make the 
    web truly interesting. 
    You get to hear the DJ's, commercials, news and snippets of 
    songs, some of which you definitely do not hear anywhere 
    anymore. I have heard a few  Beach Boys songs including a 
    few seconds of All I Want To Do which was featured as an 
    album cut on Jack Armstrong's show on CHUM in Toronto in 
    1969. You will find that broadcast if you go to the bottom 
    of the web page and click under "extras" The sound quality 
    is not the greatest and you do hear a lot of commercials and 
    yes it all does sound very corny now but when was the last 
    time you heard "come alive you're in the Pepsi generation"
    In the summer of 1969 I graduated from top 40 to FM 
    Underground radio and that is to this day my all-time 
    favorite radio format but the golden age  of top 40 ranks as 
    a close second and I certainly got a rush out of revisiting 
    the diversity of the format. It was great to hear the 
    transition from the soft pop of the Association's "Never My 
    Love" to the high Voltage of the Music Machine's "Talk 
    Talk". Top 40 radio particularly from 1965 to 1969 was a 
    virtual smorgasbord of everything from MOR to POP-ROCK to  
    The address of the web site is
    "It's a long long time to be gone but a short time to be 
    ---[ archived by Spectropop - 03 /7/98 - 03 :45:42 AM ]---
    Subject:     BMI/Vicki Carr
    Sent:        3/7/98 1:30 AM
    Received:    3/7/98 1:56 AM
    To:          Spectropop  List,
    Jack wrote:
    >Some of the tracks on the disc have ASCAP master numbers, 
    >and some have BMI master numbers, but I'm pretty sure that 
    >doesn't mean anything (e.g., He's A Rebel has a BMI number, 
    >and that was definitely recorded in the States).
    A quick clarification - ASCAP & BMI have nothing to do 
    with masters. ASCAP and BMI are the two major copyright 
    performance societies in the United States. The British 
    counterpart is PRS. These societies function as collection 
    agencies for public performance of musical compositions, not 
    records (or masters). Similarly, an indication of ASCAP or 
    BMI affiliation does not necessarily mean the composer is 
    I really don't care much for It Must Be Him, but after  
    reading Jack's and Doc's posts, I really want to hear this 
    album. The mention of Nick DeCaro arrangements is enough, 
    plus I've never heard her version of Pitney's "He's a  
    ---[ archived by Spectropop - 03 /7/98 - 03 :45:42 AM ]---
    Subject:     beware of Old CDs
    Sent:        3/6/98 10:30 AM
    Received:    3/7/98 1:56 AM
    From:        D mirich, DmirXXX@XXXXXXm
    To:          Spectropop  List,
    I sent $35 to a fellow from the net a few months ago for a 
    couple of CDs which never arrived. He did cash the check. 
    Many messages to him have been unanswered. He calls himself 
    Dave Mirich
    ---[ archived by Spectropop - 03 /7/98 - 03 :45:42 AM ]---
    Subject:     For the "record" (heh heh)
    Sent:        3/6/98 7:21 PM
    Received:    3/7/98 4:15 AM
    From:        Jack Madani,
    To:          Spectropop  List,
    >For the record...Spector's version of "Rebel" was recorded 
    >about an hour before Vikki's. ...Aaron Schroeder, the 
    >publisher, offered it first to the Shirelles, who turned 
    >it down as too rough. Then he offered it "exclusively" to 
    >Spector and Snuffy, simultaneously.
    Oh yeah, Doc Rock has jogged my memory about this.  The 
    story of the simultaneous exclusives was written about in 
    the Spector biog (coincidentally named "He's A Rebel").  
    Thanks, Doc, for setting me straight.
    I have a question about another pair of competing versions:  
    the Cookies and the Shirelles both recorded the song 
    "Foolish Little Girl."  Which is considered to be "the" 
    version? I'm inclined to think it's the Cookie version, 
    since the song itself is so perfectly suited to their 
    "chorus-vs.-low-alto-lead" style. But I don't know for 
    sure, since there's no discography info included in my Rhino 
    Shirelles Best Of or my Sequel Complete Cookies.
    Those Cookies, man.  Reeeal tight backing harmonies.
    Jack Madani - Princeton Day School, The Great Road,
       Princeton, NJ  08540
    "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 - 03 /7/98 - 03 :45:42 AM ]---
    Subject:     1970's
    Sent:        3/6/98 1:21 PM
    Received:    3/7/98 1:56 AM
    From:        Javed Jafri,
    To:          Spectropop List,
    > From:        David Marsteller,
    > To:          Spectropop List,
    > On Thu, 05 Mar 1998, Paul MacArthur wrote:
    > > The post-Nixon seventies? Saturday Night Fever. The Sex 
    > > Pistols. Boston.
    > On one hand, I tend to agree. There was a distinct period 
    > where most of what was popular was really awful. I actually 
    > started listening to classical music to avoid Frampton 
    > Comes Alive... But there was a lot of good music in the mid-
    > to-late 70s. Stevie Wonder was still in creative mode 
    > through the 70s. John Cale was doing some of his best work 
    > for Island. Roxy Music and Eno were both active. The 
    > Flamin' Groovies slaved away to little US impact. Then the 
    > whole New York scene came alive- Blondie, yes, but also 
    > Talking Heads, Television, and the British contingent of 
    > Elvis Costello, Joe Jackson and others. Unfortunately, if 
    > you were listening to the radio and not seeking out 
    > publications like Trouser Press, you were in the dark.
    > Dave
    I agree with your sentiments about the 70's but I have to 
    add a few more names. Lets not forget the Ramones, Nick 
    Lowe, Dave Edmunds and Rockpile, Jonathan Richman and The 
    Modern Lovers. 
    Also we should not forget the early 70's power-popsters such 
    as Big Star, Stories, Blue Ash and the Raspberries. There 
    were other champions of melodic pop- rock in the early 70's 
    such as 10 CC, Todd Rundgren, The Wackers and The Dwight 
    Twilly Band. Finally, what about the glam rock movement and 
    The New York Dolls, T-Rex or even Sweet. 
    Granted most of this music did not make the top 40 but once 
    the influence of Punk and New Wave finally reached the top 
    40 somewhere around 1979 to 80, it resulted in perhaps the 
    most exciting times for top 40 radio in more than a decade. 
    Here in Toronto we had a rather hip top 40 station ( 1050 
    CHUM) which started to add selections by the Ramones and 
    other lesser known names to augment New Wave material by the 
    likes of The Knack, Blondie and The Cars. Of course, you 
    still got the usual late 70's suspects like Journey, Elton 
    John, Kansas etc.....but radio was exciting again. The 
    Boomtown Rats, XTC, and The B 52's actually made the top ten 
    here in Toronto. What's more, the station also started to 
    play like minded music from the 60's such as the Music 
    Machine and the Seeds. The punk rock movement for me at 
    least put some excitement back into the music scene and 
    there were many similarities between the mid to late 70's 
    and mid to late 60's. Remember how many of the 60's classics 
    were brought back in cover versions within the confines of 
    the Punk/New Wave movement.
    ---[ archived by Spectropop - 03 /7/98 - 03 :45:42 AM ]---

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