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Spectropop - Digest Number 79

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               Clean with a slightly damp, lint free cloth

There are 7 messages in this issue of Spectropop.

Topics in this Digest Number 79:

      1. Beach Boys lawsuit
           From: Paul Urbahns 
      2. The Remains
           From: James Botticelli 
      3. Margo Guryan
           From: Freeman Carmack 
      4. Chip Taylor, Evie Sands & Angel of the Morning
           From: Jamie LePage 
      5. Bing Crosby's White Christmas
           From: Paul Urbahns 
      6. WMBR bumper sticker
           From: James Botticelli 
      7. TO: Gary Spector & the Spectropoppers
           From: Jimmy Crescitelli


Message: 1
   Date: Mon, 25 Dec 2000 21:45:59 EST
   From: Paul Urbahns 
Subject: Beach Boys lawsuit

Carol Kaye wrote:

> thoughts and wishes (as are others of my studio
> musician group I'm sure) are for the Beach Boys and
> Brian Wilson in this lawsuit against greedy people
> trying to make a living off of their BB creations.

Carol has a right to her opinion, but as long as proper
royalities are paid for mechinal royalities the artists
are being compensated. Deck Records is run by Bruce
Morgan who's father Hite Morgan got the Beach Boys in
the musicians union in the first place so they could
record. Signed them to their first publishing contract
so they could be paid for the songs they wrote and
recorded. The Hite Morgan sessions were the Beach Boys
first taste of the "business". The songs Brian wrote
during this period under Hite's encouragement prior to
joining the "great wax works" at Capitol (namely Surfin,
Surfin Safari and Surfer Girl) are classics and turned
out so in less than one year. Too bad Murry didn't
appreciate his sons as much.

I haven't heard the release in question. But the
historical value of these recordings when properly
presented (as in DCC's 1990 release Beach Boys Lost And
Found) cannot be denied..even if Carol was not involved
in them. That's because unlike the Capitol stuff, on
these early recordings the Beach Boys played their own

So these are not bootleg recordings such as have
surfaced in the recent past.

Paul Urbahns

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

Message: 2
   Date: Tue, 26 Dec 2000 21:31:57 EST
   From: James Botticelli 
Subject: The Remains

In a message dated 12/25/0 4:35:36 AM, Glenn Sadin wrote:

>Hey James - Did you ever see THE REMAINS live??????

They opened for the Beatles in '66, but I never got to
see them until '99 !. We had a reunion show here in
Boston featuring The Lost (Willie Alexander's band), the
Rising Storm, a prep band from Andover Academy who's
material has been released by Arf Arf, and the
showstopper performance of the night, the reunion of
Barry And The Remains. They recreated everything from
the original Epic LP and a few others re-released by Eva
Records in France in the mid 8T's. What a show, not a
note out of place, not a weak voice and
passion-a-plenty-a-pumpin' ...

JB/66 turned out to be 99, but I don't mind

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

Message: 3
   Date: Tue, 26 Dec 2000 12:07:03 +0900
   From: Freeman Carmack 
Subject: Margo Guryan

I just received Margo's Cd in the mail the other day.
WOW ! 

I understand why it might be a little "much" for pop
radio in the late 60s.but that voice,those
arrangements,the playing and engineering/remastering are
all superb,and well worth the investment. 

Her version of her song,"Sunday Morning",is a revelation.

Best Holiday Wishes to all;special thanks to Carol Kaye
for sharing her Christmas stories;it's so easy to lose
the true meanings of this Holiday of light and hope, but
not this group! Amen 


Freeman Carmack

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

Message: 4
   Date: Wed, 27 Dec 2000 04:17:29 -0000
   From: Jamie LePage 
Subject: Chip Taylor, Evie Sands & Angel of the Morning

Angel of the Morning was written by John Wesley
Voight, brother of actor Jon Voight. John is p/k/a Chip
Taylor. Chip Taylor also wrote the classic world wide
smash Wild Thing which Larry Page recorded with the
Troggs (fortunately for them).

Chip Taylor (and Al Gargoni) produced Evie Sands' Take
Me For a Little While (Trade Martin) for Leiber and
Stoller's Blue Cat label in 1965. Unfortunately the
record only reached #114 on Billboard in August 1965
(nevertheless a brilliant record, and a frustrating
situation that Evie would face time and time again).
Take Me For a Little While was later recorded by Patti
LaBelle in 1967, and most notably by Vanilla Fudge as
a Top 40 rock hit in 1968.

Next in Evie's ill fated career was I Can't Let Go,
which as we all know was a smash for the Hollies a year
later and successfully covered by Linda Ronstadt in
1980 when the song reached the Billboard top 40.

With success unfairly evading her twice at
Leiber/Stoller's label, Sands moved to Cameo, an
ill-fated move, for just when her release of Angel of
the Morning looked like it was going to break, Cameo
folded, leaving the playing field wide open for
Seattle singer Merrilee to "Rush" in with the
Turnabouts to score her only top 40 hit with the song
in 1968.

By the way, Angel of the Morning features the same
chord progression that is used in Wild Thing, Louie
Louie, La Bamba, Hang On Sloopy, Twist and Shout etc.
In its slowed down tempo, the groove of Angel of the
Morning recalls Phil Spector's Righteous Brothers
records like Just Once in My Life. 


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

Message: 5
   Date: Mon, 25 Dec 2000 21:46:00 EST
   From: Paul Urbahns 
Subject: Bing Crosby's White Christmas

This may be a little late to ask, but how do you
identify the various recordings of White Christmas? 

I have a Rhino CD which identifies White Christmas as 
a1942 recording (the year it won an Academy Award and
appeared in Holiday Inn). I have a DECCA single issued
in the 70s (MCA 40830) that says recorded on March 19,
1947. To my untrained ears they sound the same. 

One book I have claims, DECCA pressed so many records
of White Christmas (the 1942 version) that they damaged
the master and Crosby had to rerecord the song in 1947.
That would make sense and mean that Rhino probably used
the 1947 version and missed on the date. Also 
understand he rerecorded the song for DECCA about 1955.

Any White Christmas experts out there?

Thanks in advance.
Paul Urbahns

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

Message: 6
   Date: Tue, 26 Dec 2000 21:25:51 EST
   From: James Botticelli 
Subject: WMBR bumper sticker

In a message dated 12/25/0 4:35:36 AM, Stewart wrote:

>Stewart, who although he lives in Albuquerque has a
>pair of WMBR stickers on his car

It just goes to show how often people strugglin' away in
the music bizz get to buy new cahs!.... I would just
like to say that I have been a sometimes proud member of
that station (WMBR) since '74. These days I spin
breakbeat/loungecore/latin-house/SABPM fridays at
which we stream live. But I also claim the mantle of
founder of the "Lost And Found" program airing daily
from noon - two, Monday through Friday....

JB/tooting own horn..but not on Stewarts car

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

Message: 7
   Date: Mon, 25 Dec 2000 08:46:32 EST
   From: Jimmy Crescitelli 
Subject: TO: Gary Spector & the Spectropoppers

"Jimmy, I just got back from a lovely trip along the Milky Way... "

Happy Holidays to Gary, Carol, and all the other illustrious 
musicians and contributors... as Ellie Greenwich says, keep those 
M&M's coming along... 
(music and memories)...  ; )
Jimmy Crescitelli 

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

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