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Spectropop - Digest Number 113


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                 Other albums you will be sure to enjoy

There are 8 messages in this issue of Spectropop.

Topics in this Digest Number 113:

      1. Copyright Law in the '60s
           From: "Don Richardson" 
      2. name that tune...
           From: Tony Paglia 
      3. Re: (Love Me) Now
           From: Billy Spradlin 
      4. The Screw (reprise)
           From: Mark
      5. Re: More Millennial Musing
           From: "Ron Weekes" 
      6. Re: Theee Millennium
           From: "jeffrey.haynes" 
      7. The Attack
           From: LePageWeb 
      8. re: The Smoke
           From: "harvey williams" 


Message: 1
   Date: Mon, 26 Feb 2001 10:35:08 -0500
   From: "Don Richardson" 
Subject: Copyright Law in the '60s

 Paul Urbahns wrote:

>These were done before the copyright law was re-written.

For those who know the ins and outs of copyright law,
please excuse me.  I just wanted to share something to
which not everyone on the list is aware.

Paul brings up something I didn't know myself until
recently.  Until the 1972 Copyright Law, it was not
necessarily illegal to crank up your own record pressing
plant and duplicate nearly anything you want, and the
pirates used a loophole in the copyright law to make
themselves legal.  (By the way, pirates reproduce
released albums, bootleggers reproduce unreleased music.)

Here is how it worked:  Until 1972, only the music
composition itself was protected.  The actual recording
of that song by any music artist was not protected.  To
"stay" legal, however, the pirates had to get a license
>from the music publishers of each song (think songwriter
here!).  So they used the compulsory copyright license
clause of the existing copyright law.  To this day,
songwriters have little control of his/her songs once
they are initially recorded and released by an artist,
other than to demand the maximum statutory rate provided
under the copyright law -- at that time, about 3.5
cents; perhaps less.  Publishers are required to issue a
compulsory mechanical license upon request, barring some
very narrow exceptions.  (Use in a different medium,
derivatives, or if the use would cause the original work
to be devalued, etc.)

So they would press the knockoffs, pay mechanical
royalties to the songwriter/publisher (about 35 cents
per record, and leave the artist and original record
company out to eat the losses.

Oh yeah, and they had to avoid not using and trademark
protected logos off the pirated copy.

---Don Richardson

P.S.  I'm trying to locate a black singer named George
"Biggie" McFadden who worked with the Jubilee Four and
sang background for Elvis from 1969-1973. I can't find
any information after 1980, so it could be he has passed

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

Message: 2
   Date: Mon, 26 Feb 2001 05:09:35 -0800 (PST)
   From: Tony Paglia 
Subject: name that tune...

Hi all,

A question from a long-time lurker:

I'm looking for the title and artist of a pop song I
heard recently on our local oldies station.  The only
lyrics I latched onto went something like this:  "Sit
down, I think I love you".  The song's production
sounded like it may have come from 1966-67 (but I could
be way off on this).

Musically, it featured what sounded like accordion and
balalaika amidst the usual guitars/bass/drums. A very
unusual song which I enjoyed immensely, I would love to
know more about it.

Hope someone out there can help me...

The Orchid Pool

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

Message: 3
   Date: Mon, 26 Feb 2001 23:04:01 -0000
   From: Billy Spradlin 
Subject: Re: (Love Me) Now

--- In spectropop John Clemente wrote:

> Hello,
> In answer to Billy G. Spradlin's comment on "(Love Me)
> Now", The Angels b-side.  According to Jiggs Allbut, the
> girls purposely began throwing down anything that wasn't
> nailed down around the studio to purposely make noises on
> the 45 version.  The reason for this was to ensure that
> deejays wouldn't flip over the single.
> In my opinion, even without the sounds, it would have
> been no contest.
> John Clemente

No, it's not as great as "Boyfriend" is but I'd rather
hear it than "The Guy With The Black Eye".  I think its
funny the girls would sabotage their own B-side to keep
jocks from playing it when most artists would do anything
to get ANY of their songs played on the air! 

Another unsusal thing about the Angels, thier cover of
"He's So Fine" uses the same backing track as the
Chiffons classic. On the stereo mix one Chiffon(?) is
clearly heard "doo-langing" on the left channel, Jiggs &
Barbera are on the right, and if you listen closely you
can hear the Chiffons lead singer voice "bleed" into the
track along with Peggy's lead in the center. I wonder how
FGG got thier hands on the multi-track master tape? 


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

Message: 4
   Date: Mon, 26 Feb 2001 17:16:37 -0500
   From: Mark
Subject: The Screw (reprise)

Paul Urbahns wrote:

> The Philles blue label 45 was made off a promo copy as
> I understand and they simply removed any reference to
> promo on the label and printed it up as a blue label
> release copy.
Well, almost...

Notice that the '70s boot/repro/re-ish/whatever has a
thin-line under the logo. The originals all had a
thick-line (denoting West Coast pressing) - THAT'S the
easy way of spotting this "pretender" for what it is!!!

For a shot of a true original go to:

The Phil Spector Record Label Gallery @

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

Message: 5
   Date: Mon, 26 Feb 2001 13:21:30 -0700
   From: "Ron Weekes" 
Subject: Re: More Millennial Musing

James Botticelli wrote:

> Hi...I see on the Millennium LP that one of the producers
> was Keith Olsen. Is this the same Keith Olsen that played
> in The Music Machine? 

Yes it is.  Stephen McParland describes the whole
Ballroom, Millennium, Sagittarius scene in volume three
of his Gary Usher biography.  You can find out more
about how to order this book by surfing to 

Ron Weekes

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

Message: 6
   Date: Mon, 26 Feb 2001 14:41:35 -0000
   From: "jeffrey haynes"
Subject: Re: Theee Millennium

> Ron Weekes wrote:
> Dreamsville has just released Sagittarius' second LP
> "Blue Marble" as well as a Gary Usher produced symphonic
> tribute to Brian Wilson, and Curt Boettcher's "California"
> LP.  I've heard a rumor that Poptones in the UK will be
> releasing these as well.
> Just stay tuned to this list and you'll hear more.
> Ron Weekes
> [ ed. note: Curt Boettcher page at Spectropop:

Any further news, eg, track listings, etc, of Curt
Boettcher's California CD and the forthcoming Sundazed
box set? And more generally, anybody know where I can
read more about Curt Boettcher? Details of his life and
work are very hard to come by.

Jeff Haynes 

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

Message: 7
   Date: Tue, 27 Feb 2001 09:07:54 +0900
   From: LePageWeb 
Subject: The Attack

Phil helps out on the Attack:

> "Please Phil Spector" (writer: Mike Lendell)...label
> credits production on both sides by M. Rashkow & J.
> Cymbal - A Mother! Production.

Thanks for that information. Must be Johnny Cymbal of "Mr.
Bassman" fame, right? It sounds like the same lead
vocalist. It occured to me that "A Mother ! Production"
might have been a inside joke/pun on Mother Bertha with
the "!" being the appropriate expletive. Far fetched? For
any other record, yes...

> I associate this record with another amusing but clever
> record around at the time by The Definitive Rock Chorale
> - "Variations On A Theme Called Hanky Panky" containing
> the line "I can't stand this song..."  
> I think Ellie & Mike Rashkow were involved with this?

This is really funny. By the way, Mike Rashkow? More info,


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

Message: 8
   Date: Mon, 26 Feb 2001 12:05:35 +0000
   From: "harvey williams" 
Subject: re: The Smoke

Cedric wrote:

> I'm a french fan of the WCPAEB and i wondered how the 
> Michael Lloyd's Smoke LP sound like. If anyone could 
> told me about it, it would be great. 

Hi Cedric,

The Smoke LP is gorgeous; far more consistent than any of
the WCPAEB LPs (tho' perhaps the appeal of those LPs is
their inconsistency); less 'out there', perhaps, but
melodically & harmonically way beyond anything the WCPAEB
recorded. Here's another link for you:

which also has plenty of links to other related topics. 

All the best,


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

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