New! Jimmy Webb at Spectropop http://www.geocities.com/spectropop/sp/jimmy_webb.html ________________________________________________________________________ ______________ ______________ ______________ ______________ ______________ S P E C T R O P O P ______________ ______________ ______________ ________________________________________________________________________ Life is Sweeter with a Dansette Gem ------------------------------------------------------------------------ There are 10 messages in this issue of Spectropop. Topics in this Digest Number 119: 1. Roger Scott From: Kingsley Abbott" 2. BORN TO BE WITH YOU From: john rausch 3. Accusation hurled From: James Botticelli 4. Re: I Stand Accused From: "Timothy" 5. RE; JFK From: "Warren Cosford" 6. Re: Johnny K. & the toppermost of the poppermost From: "Joseph Scott" 7. The Origins of "Stage Door" From: Mullins Geoff 8. Jackie DeShannon From: Will 9. Buried treasures of tomorrow From: David Parkinson 10. Free Design 2001 From: LePageWeb ________________________________________________________________________ ________________________________________________________________________ Message: 1 Date: Mon, 5 Mar 2001 09:48:19 -0000 From: Kingsley Abbott" Subject: Roger Scott Very good to see Jamie mention Roger Scott recently. Roger was and is still very sadly missed by many of us over here in the UK. I seem to recall he had started collecting records whilst in the Merchant navy and was a lovely man with splendid Spectropop taste in music. He was also an active supporter of the Beach Boys Stomp fan conventions here. His Cruisin' show on Capital Radio was excellent, helped as he was by the extremely knowledgable James Hamilton who helped put the shows together. James is sadly also no longer with us. I can't recall now how it happened, but I got hauled in to help on one of the shows - The Surfin, Draggin, Bikin' Show - as I believe this was one area that James did not cover so well. I took a load of good rarities to James' London flat and we trawled through, selecting nice ones for the show, and then met up a couple of days later at the Capital studios to put it out. James had "The Last Drag" by The Voxpoppers, and amongst my ones were "Summer USA" >from The Rip Chords, "Mighty Morris Ten" from Episode 6 and some other throaty engine roars with music attached. Roger was great and loved such thematic shows. He also championed the wonderful Chris Rainbow's "Dear Brian" track and others from that man's second album. Happy days... Kingsley Abbott --------------------[ archived by Spectropop ]-------------------- Message: 2 Date: Mon, 05 Mar 2001 11:08:48 -0500 From: john rausch Subject: BORN TO BE WITH YOU Jamie wrote: > Do we love this record or not? Opinions? My first listen to Dion`s Born To Be.... was a very vague reaction, took me 2 or 3 more listens before it finally hit home and now I find it a most enjoyable listen. I play this for friends and get the same reaction from them. The first spin will go in one ear and out the other, then I`ll replay it over a time or two and it will finally grap their attention. Guess it is one of those songs that needs a few listens before it sinks in. John Rausch Phil Spector`s Wall Of Sound @ http://members.tripod.com/~rauschj/ --------------------[ archived by Spectropop ]-------------------- Message: 3 Date: Mon, 5 Mar 2001 16:17:14 EST From: James Botticelli Subject: Accusation hurled In a message dated 3/5/1 3:54:05 AM, you wrote: >I haven't heard the Tony Colton or Elvis Costello records >but I'm pretty certain they're different songs Elvis Costello's version was one and the same as Jerry Butler's version (on I Stand Accused) but Costello made it into a punk-paced rock rekkid. --------------------[ archived by Spectropop ]-------------------- Message: 4 Date: Mon, 5 Mar 2001 18:12:54 -0000 From: "Timothy" Subject: Re: I Stand Accused Alex wrote: > > I'm surprised no-one has mentioned Tony Colton's > original version of "I Stand Accused" with the Big Boss > Band (Pye, June 1965). It's a slower, more kinda > nightclub/mod arrangement, but equally cool. The Merseybeats did a fine single of "I Stand Accused" on Fontana in the UK. The songwriters being credited as Tony Colton and Ray Smith. This is the version that was later covered by Elvis Costello. Tony Crane and Billy Kinsley (who later became the Merseys) are still touring as The Merseybeats and sometimes start their live set of with "I Stand Accused". --------------------[ archived by Spectropop ]-------------------- Message: 5 Date: Mon, 5 Mar 2001 09:56:50 -0500 From: "Warren Cosford" Subject: RE; JFK > For a couple of decades, I've been hearing that a > reason that the Beatles succeeded in 1964, the reason > the British Invasion did so well, the reason the > Raindrops "That Boy John" tanked, or the reason the > Spector Christmas album fizzled was the national > depression caused by the death of JFK. > > My thoughts were still on my girl friend, my homework, > and rock and roll radio. My musical interests and > day-to-day attitude and activities were not affected in > the least. > > Anyone else have any thoughts on this? > > Doc (who bought the Xmas LP in an early '64 sale bin > for 50 cents) Hi Doc: I first heard this "theory" expressed in an interview we did with WLS Chicago D.J. Dick Biondi in 1970. At the time, I worked at 1050 CHUM Toronto. We were producing a 12 hour documentary on The Beatles which was later syndicated to hundreds of radio stations throughout the world. We later also used excerpts from this interview in documentaries we produced on Elvis Presley and The Evolution of Rock which are still in syndication to this day. I can't say that Biondi's theory was "original"..... only that it was the first time that any of us involved with the production of The Beatle Documentary had heard it. I was 18 when JFK was assassinated, and like you, attending highschool. We were "saddened" by The Event, but hardly "tramatized". It didn't affect my taste in music. In fact I was very excited by a lot of records released at that time, particularly on Philles and Motown. But having said that, I was living in Canada and the U.S. seemed far away. In the spring of '63 I heard my first Beatles record. By then I was working part time in radio and Capitol Canada released two or three Beatles singles over the period of a few months. I think they were Love Me Do, Please Please Me and one other. As far as I know they did not receive airplay on Winnipeg Radio. I wasn't particularly impressed by them and, in fact, gave them away as prizes at school dances I was MC'ing. I remember thinking they were sort of imitative of what I thought were much better group harmony records by The Beach Boys and The Everley Brothers that were hits at the time. Years later I heard that Paul White, the A&R man at Capitol Canada, had became an "advocate" for The Beatles within the company after seeing them in England. As you know, Capitol U.S. "passed" on these early singles.....some of which were released on small labels. At any rate, for me, The Beatles "exploded" in early '64 after their appearance on Ed Sullivan. Capitol Canada quickly re-released those early singles....and more. Bottom line? It's a nice "theory".....but as with a hurricane.....if it has any relevance at all it's only a small part of an "equation" which included many other factors that "came together" in a relatively short period of time and created a lot of "energy". Warren Cosford --------------------[ archived by Spectropop ]-------------------- Message: 6 Date: Mon, 5 Mar 2001 14:33:03 -0700 From: "Joseph Scott" Subject: Re: Johnny K. & the toppermost of the poppermost Hi all, I share Doc Rock's skepticism about the famous conventional wisdom that JFK's death had much to do with the success of the Beatles in the U.S. It's sort of like saying bobbysoxers screamed so much for Frankie Sinatra around '45-'46 largely because they were upset FDR had died -- I don't think so. I think some of the main reasons the Beatles caught on so well in the U.S. were that -- The baby boomers generally were getting just old enough to take a big interest in consuming youth-aimed pop music, and there were simply so many of them that once they did, _their_ tastes in pop were going to dominate record sales and radio play -- The music the Beatles had on offer up until early '65, e.g. "I Want To Hold Your Hand" and "Eight Days A Week," was _first-rate_, consistently very much _teen-aimed_ pop music -- born during World War II themselves, they happened to come along at exactly the right time to be the baby boomers' darlings -- Capitol, one of the most savvy record companies around, really marketed the hell out of them beginning in late '63, and did a very impressive job of it -- The Beatles' image was appealing, e.g. they were genuinely witty and fun at that first N.Y. press conference Of course, one could argue that older people who were also enthusiastic about the Beatles and bought their records might have been getting over the loss of JFK in a way that younger people wouldn't have understood. But older people bought very few Beatles records until '67. The Beatles didn't begin making many tracks that were suited to the tastes and interests of older people (who'd already heard plenty of solid, relatively straightforward teen-oriented pop when they were teenagers, been there, done that), such as "Norwegian Wood," "Tomorrow Never Knows," and "Eleanor Rigby," until '65-'66. It wasn't until '66 and particularly '67 that the media all jumped on the the-moptops-make-ART-who-knew? bandwagon and started comparing them to literature and bebop and such. Best to all, Joseph Scott --------------------[ archived by Spectropop ]-------------------- Message: 7 Date: Mon, 5 Mar 2001 20:42:21 +1100 From: Mullins Geoff Subject: The Origins of "Stage Door" Dear members: Can someone enlighten me on a Goffin/King track called "Stage Door". I know that Tony Jackson of the Searchers covered it (Pye in the U.K, Red Bird in the U.S) but who did the original? Regards, Geoff Mullins --------------------[ archived by Spectropop ]-------------------- Message: 8 Date: Mon, 5 Mar 2001 16:56:42 EST From: Will Subject: Jackie DeShannon Jackie DeShannon played the Bottom Line in NYC on Saturday, in a writer-in-the-round concert with Al Anderson (NRBQ), Darius Rucker (Hootie & the blowfish) and Fred Knobloch. All were great, with Al Anderson really standing out. Jackie sang acoustic versions of Bette Davis Eyes, Put A Little Love In Your Heart, When You Walk in the Room, You Know Me, Vanished in Time, Don't Think Twice It's alright, and Hungry Heart. She spoke a lot about how the music business has changed over the years, especially for women. Her best quote, when asked about being a singer AND a songwriter in the 60s, was, "back then they called it lack of direction. Today they call it versatility." She's doing a solo show with her band next weekend. Will --------------------[ archived by Spectropop ]-------------------- Message: 9 Date: Mon, 5 Mar 2001 13:08:52 -0800 From: David Parkinson Subject: Buried treasures of tomorrow Hi Spectropoppers: Like many of you out there, I'm compelled to check out great lost masterpieces from the past, and I have a soft spot in my heart for the aesthetic of the glorious failure (this is meant in the nicest way possible, trust me). Among these that I have discovered in the last year or so: Scott Walker's first 4 solo records, Margo Guryan, Billy Nicholls, Millennium, Badfinger, Sagittarius, Ballroom, Emitt Rhodes, Free Design ... basically a litany of great records cruelly ignored by the record-buying public, or shafted by short-sighted executives. Just for fun, and to provide us all with a list of interesting things to think about listening to, I was wondering if folks out there had any speculations on the great rediscoveries of the future; any ideas what albums >from the recent past are good candidates for critical and/or popular favour in future, even though they may have gone nowhere on release? What albums have come out in, say, the past decade or so, and have really excited you? Bonus points if your attempts to make friends and family like these albums have ended in dismal failure. Here are some of my thoughts on this. These are in no real order; to some extent I have tried to limit the list to albums which in some way match the musical theme of this group, but I have strayed a bit perhaps. Of course, they are not all completely obscure or critically reviled; it's more that these are the albums that won all the Grammys in the alternate universe where the underdogs are exalted and the wicked are punished (you know, the universe in which Brian Wilson was elected president in 1984, instead of that other guy from California). Some will be well-known to many of you; many will be well-known to some of you; hopefully not all of them will be well-known to all of you. Mostly these are albums that I feel should be better-known to people who tend to like melodic, well-crafted and well-produced music for contemporary adult listening, whatever the hell that means. Velvet Crush -- Teenage Symphonies To God (1994) Pale Saints -- Comforts Of Madness (1990); In Ribbons (1992) Stephen Duffy -- Music In Colours (1993) Lilac Time -- Paradise Circus (1989) Sloan -- Between The Bridges (1999) Loud Family -- Plants And Birds And Rocks And Things (1992) Sixths -- Wasps' Nests (1995) Yo La Tengo -- Fakebook (1990) Heidi Berry -- Love (1992) Pernice Brothers -- Overcome By Happiness (1998) Cosmic Rough Riders -- Enjoy The Melodic Sunshine (2000) Green Pajamas -- Strung Behind The Sun (1997) Helium -- The Magic City (1997) Aimee Mann -- Whatever (1993); I'm With Stupid (1995) Mellow -- Another Mellow Winter (1999) Shack -- HMS Fable (1999) Trembling Blue Stars -- Broken By Whispers (2000) Wondermints -- The Wonderful World Of The Wondermints (1996) (Of course, the *real* candidates for future exhumation of lost masterpiece are unlikely to have been heard by *anyone* in this forum...) I'd be very interested to know what spectropoppers would have to offer to this discussion. My list above is pretty much focused on the "indie rock" end of the musical spectrum; my tastes wander around in many other directions, some of which are extremely familiar to the readership of spectropop, and I'm always keen to know what like-minded people enjoy listening to. Cheers, David --------------------[ archived by Spectropop ]-------------------- Message: 10 Date: Tue, 06 Mar 2001 15:00:21 +0900 From: LePageWeb Subject: Free Design 2001 Once again, this is posted at the Spectropop web site, but for those who are interested the New Free Design album is released March 6. Go to http://www.geocities.com/spectropop/go2/free_design.html for details, reviews, and most importantly, soundfiles! Bob Stanley said in Mojo "truly, it sounds like they haven't aged a day" and after listening to the files I have to agree the music sounds as fresh and vital as their other work three decades ago. A must hear for soft pop fans Chris Dedrick rules! All the best, Jamie --------------------[ archived by Spectropop ]-------------------- End
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