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Spectropop - Digest Number 52

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 Deze stereo LP kan ook op een moderne mono platenspeler gedraaid worden

There are 6 messages in this issue #52.

Topics in this digest:

      1. re: Mikey Nesmith/Ricky Nelson?
           From: Christopher Davidson 
      2. Papa Nez' Blues
           From: Glenn Sadin 
      3. Ian Chapman on
           From: Michael Godin 
      4. Re: Pass it along
           From: "Joseph Scott" 
      5. Re: Pass It Along
           From: Toby 
      6. Re: Berklee College, Boston
           From: Carol Kaye 


Message: 1
   Date: Wed, 25 Oct 2000 06:19:05 -0700 (PDT)
   From: Christopher Davidson 
Subject: re: Mikey Nesmith/Ricky Nelson?

Regarding the insightful Monkees comment, I completely
agree.  Always thought Papa Gene's Blues sounded like
a Ricky Nelson outtake.  And I also agree about Jeff
Barry producing the hottest Monkees material. The
second album is amazing, as is the sporadic stuff he
did later on -- She Hangs Out, I Don't Think You Know
Me, Little Bit Me.  I think the final album (Changes?)
when it was just a duo is kind of weak, which is
surprising as it was cut during Barry's great work
with the Archies and Andy Kim.

On an unrelated note, I just discovered the most
incredible piece of '60s soft pop -- it's Andy
Williams backed by the Association doing the song
"Changes," which I think was on the Association's
first album.  It's from a TV appearance on the AW show
>from maybe 1965-66 or so that I recently got from a
video dealer in Boston.  The band lip-synchs to
Cherish and then Andy comes out and sings lead on
Changes, which actually just might be the actual
record with the original lead vocal wiped off and
replaced by Andy's live voice.  Hard to tell as the
video's a bit fuzzy.  But what a great album these
guys could've done!

CAD -- first time poster.

Chris Davidson
CAD Records

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Message: 2
   Date: Wed, 25 Oct 2000 09:37:35 -0700
   From: Glenn Sadin 
Subject: Papa Nez' Blues

Jack sez...

>But then I suddenly noticed that Mike's "Papa Gene's
>Blues" really sounds a lot--a LOT--like a Ricky Nelson
>sort of track.  Naturally, James Burton's guitar is the
>direct connection, but it seems to me that it goes
>further than just that.  The whole song has a kind of
>>Ricky Nelson sound, calling to mind none other than 
>"Hello Mary Lou" itself.

Nez himself has stated that "Hello Mary Lou" was the 
direct inspiration for "Papa Gene's Blues." He has also 
named Ricky Nelson as the real "Father of Country Rock" (a
title occasionally bestowed upon Nesmith).

I've often found it interesting that Nesmith was able to 
get two or three of his compositions/productions placed on
each of those first two Monkees LPs, considering how 
corporate-controlled those recordings were, and 
considering Nesmith's track record at that time (several 
flop singles on Colpix and on a few obscure indie labels).

Some interesting trivia: On the very 1st pressings of the 
first Monkees LP (October 1966), the song is listed as 
"Papa Jean's Blues," not "Papa Gene's Blues." That was 
quickly corrected and the LP was reissued with a "RE" 
after the catalog number.


   Glenn Sadin

   Read about JAPANESE POP MUSIC from the 1950s thru the 1990s:

--------------------[ archived by Spectropop ]--------------------

Message: 3
   Date: Wed, 25 Oct 2000 07:00:28 -0700
   From: Michael Godin 
Subject: Ian Chapman on


I wanted to pass on my thanks to Spectropop member Ian 
Chapman for joining me in the studio as my guest this week
on Treasure Island Oldies. He had an intriguing Top 5 last 
which we played in the last hour of the show. I invite you
to have a listen. Just go to the site and click on listen 
to latest show link.


Michael Godin
Treasure Island Oldies

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Message: 4
   Date: Wed, 25 Oct 2000 11:34:56 -0700 (PDT)
   From: "Joseph Scott" 
Subject: Re: Pass it along

Hi all,
Personally, I think this track by this British alt-pop 
group is likely to be a publicity stunt, intended to get 
the group's name attention in the press so that the group 
can profit financially in the long run. I think if this 
vocalist were as concerned about artistic integrity as he 
claims to be, they'd be sampling artists who particularly 
struck their artistic fancy, rather than what looks 
suspiciously like a list of artists who are particularly 
likely to get the group coverage in the press because they
are well-known to the public, such as Eminem, the Beatles, 
and Madonna. Just my opinion.

Best to everyone,

Joseph Scott

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Message: 5
   Date: Thu, 26 Oct 2000 07:51:57 -0000
   From: Toby 
Subject: Re: Pass It Along

>Chumbawamba vocalist Dunstan Bruce says, "It's hilarious
>listening to the big record companies bleating on about
>how file sharing is damaging art. They wouldn't recognize
>art or artistic integrity if they bounded over and bit
>them on the arse."

What a funny coincidence, I presented a short essay about 
this very subject for my Sociology class today!

This may be off-topic, but the music industry's argument 
that they're losing money because of sites like Napster is
pretty ironic, when record sales have *increased* in the 
last couple of years. I think it (the industry) is 
threatened because the internet is a new form of media 
which it doesn't have control over. I mean, the entire 
music industry today is controlled by how many companies, 
five??? Thank God the EU stopped the Warner-EMI merger...

Related subject: how many Sixties artists distribute their
own music on their websites these days? I believe Roger 
McGuinn is one....and Brian Wilson makes two...David Bowie
(though he's not really a Spectropoppy artist)...


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Message: 6
   Date: Wed, 25 Oct 2000 07:38:43 -0700
   From: Carol Kaye 
Subject: Re: Berklee College, Boston

>>>>Hi gang...Did you know???? This Friday, October 27 the
Berklee College of Music Bass Ensemble here in good ol' 
Boston is presenting a tribute to the bass-stylings of our
own Carol Kaye by presenting arrangements of many of the 
songs on which she played...

Congratulations to Carol and the integrity of Soft Pop...

Just checking in, JB, that's wild, thank-you. I just got 
back from giving 2 seminars and playing a little bit at 
the concert on Bass Dayz at Berklee in Boston (this Monday)
....over 200 bass students, was just the cat's meow -- 
they're doing such great things at Berklee for the 
students, just wonderful teachers there, themselves 
excellent musicians too. I didn't know about this thing 
you posted, that's really wild...thanks for posting that.. so honored...don't know what to say. But I can tell 
you, I'm a fan of Berklee for sure....they're the best you
can get for teachers, the whole program, etc.

Have to tell you tho' that my friend in NYC, Deb Hastings,
herself a successful film business lady, and 14-year leader
and bassist of the band in back of Bo Diddley (I heard her 
play at the EMP opening in Seattle, she can groove and 
we've even sat down to play some good jazz together, she's
a fine bassist! a real groover), drove up to Boston to film
the whole thing (not commercially, just as a side thing), 
and it was a great experience. Excellent questions at the 
seminars (one was a focus on "women" in music, the other 
detailed bass education).

I have to thank Rich Appleman of the Bass Dept. for 
putting that all together, he let me use his bass too (and
thanks also to Chas. Chapman for loan of his guitar)....
Rich was in charge of all the ceremonies, that evening's 
concert, etc. and it was beautiful, 01 ,000s of people there. 
It's the greatest private music school in the USA, and I
think everyone should be proud of the integrity, knowledge,
and musicianship involved in the teacher line-up of that 
great school.

Wish they'd have a 2nd school out here in LA, they sure 
need something of the calibur of Berklee (round the year, 
I teach at the prestigious Henry Mancini Institute-UCLA, 
but that's only 1 month a year and not the complete 
educational facilities of Berklee....which entails "all" 
of the curriculum, not just the "finishing" part like 
Mancini does).

Would sure help with the music situation out here in LA if
Berklee was here too (if it's ever possible)....I have to 
tell musicians: Don't come to LA, as there's no work at 
all, studios or live (where you can make a "living", it's 
still good for connections for road tours with various 
groups). And studio work is practically much 
politics too, never seen that before in my life here in LA, 
especially speaking of rhythm sections - maybe someday 
it could pick up and be good again...would like to see 
that happen for tomorrow's generation of musicians - that 
would be wonderful for the public too to get some good 
music out there.

Thank-you Berklee, everyone there, for the graciousness, 
the great short time I was there was simply the cat's meow
.....was wonderful to see so much in action at Berklee 
education-wise, I'm so impressed with the whole school, 
you've got a lot in Boston there to be proud of! 


PS. Yep, had a beer at "Cheers" on Beacon, and ate the 
famous seafood there, Ray Pizzi was right....downright

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