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Spectropop V#0068

  • From: The Spectropop Group
  • Date: 4/15/98
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             Volume #0068                 04/15/98
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    Subject:     All Strung Out
    Sent:        4/14/98 7:57 AM
    Received:    4/15/98 12:36 AM
    From:        BOBBYLLOYD, BOBBYLLXXX@XXXXXXm
    To:          Spectropop  List, spectroXXX@XXXXXXies.com
    
    I've seen two references in the past week to Nino Tempo and 
    April Stevens album "All Strung Out". Is this available on 
    cd? (I loaned my vinyl copy to Beatle Bob 4 or 5 years ago 
    for his annual new year's Spector radio show, and can't seem 
    to get it back.) It's one of my all-time favorite records! 
    I wanna hear it so bad.
    
    thanks again,
    Bobby
    
    ---[ archived by Spectropop - 04 /15/98 - 12:52:58 AM ]---
    
    Subject:     Navy Blue Crewe
    Sent:        4/14/98 6:59 AM
    Received:    4/15/98 12:36 AM
    From:        Jack Madani, Jack_MadXXX@XXXXXX2.nj.us
    To:          Spectropop  List, spectroXXX@XXXXXXies.com
    
    BOBBYLLOYD writes:
    >This may not be something you'd have to ask Mr. Crewe, 
    >(someone on the list may know the answer), but I was always 
    >blown away by the drummer on all the Four Seasons' records. 
    >He sounded like Hal, only just a little funkier. Anyone know 
    >the gentleman's name?
    
    Bobby, I too would like to know who this genius is. I think 
    he's also the guy who plays on such Diane Renay cuts as Navy 
    Blue and Kiss Me Sailor. Crisp, clean, sharp ratatat fills. 
    On the latter song, it sounds so much like Hal Blaine that I 
    wouldn't be at all surprised to find out it was he. Those 
    "budda-dup DAH" fills are so Hal.
    
    BTW, there's an interesting passage in the booklet for 
    "Growin' Up Too Fast: The [Mercury] Girl Group Anthology." 
    It goes like this:
    
    "...Singles were mixed for monaural sound, as was the 
    practice in those days. With no channel separation, the 
    various musical elements were stacked on top of each other, 
    and they packed an aural wallop on 45 rpm vinyl. Producers, 
    who were in the habit of "borrowing" techniques from one 
    another, weren't necessarily happy with having to work in 
    mono. Bob Crewe: 'Mono was anathema to most of us! If you 
    separated into stereo, then you could figure out who was 
    playing certain things. But if you kept it in mono, and 
    layered it, no one could figure out what you'd put together 
    to get that sound! I remember joking with Phil Spector 
    about that.'"
    
    Sheesh, I'm surprised Phil didn't pull a gun on Bob for 
    daring to "joke" about that.
    
    jack "can't seem to stop talking about Bob Crewe" madani
    
    ------------------------------------------------------------------------
    Jack Madani - Princeton Day School, The Great Road,
       Princeton, NJ  08540   Jack_MadXXX@XXXXXX2.nj.us
    "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 - 04 /15/98 - 12:52:58 AM ]---
    
    Subject:     Re: Cottonfields
    Sent:        4/14/98 2:23 AM
    Received:    4/14/98 7:35 AM
    From:        Paulurbahn, PaulurbXXX@XXXXXXm
    To:          Spectropop  List, spectroXXX@XXXXXXies.com
    
    In a message dated 98-04-13 12:49:35 EDT, you write:
    
    << The last example is down to competing versions by helmed by 
     Brian Wilson and Al Jardine, and I know that the latter 
     version was a sizable hit at least in the UK. Was the 
     former version ever released as a single, or was it merely 
     an album track? >>
    
    The LP version of Cottonfields was done by Brian and is 
    quite tame the single version issued in Europe (and big 
    enough hit for Elton John to do a sound-a-like on it) was 
    the jardine version and really cooks. Red Roades played 
    steel guitar on the Jardine version which made the record. I 
    was kinda upset they didn't put it on Stars and Stripes.
    Paul Urbahns
    Lost And Found
    
    ---[ archived by Spectropop - 04 /15/98 - 12:52:59 AM ]---
    
    Subject:     Re: Sooo Sad
    Sent:        4/14/98 4:11 AM
    Received:    4/14/98 7:35 AM
    From:        RGSauer, RGSaXXX@XXXXXXm
    To:          Spectropop  List, spectroXXX@XXXXXXies.com
    
    In a message dated 98-04-13 12:47:07 EDT, you write:
    
    << the best Specterrific numbers 
     are overloaded with melancholy. They're sad songs, or 
     achingly wistful, or downright tragic (although tragic is 
     harder to do, because it's too easy to slip into plain old 
     pathetic). Some examples, in no particular order:
     
     The Sun Ain't Gonna Shine Anymore (Walker Brothers) >>
    
    I agree. I have a 45 I won at a hamburger joint in the 60's 
    called "I Still Love Him" by The Joys. This was a very 
    melancholy, Spectorish sound. (I haven't listened to it in 
    years). The Sun Ain't Gonna Shine.... fits in the "cover 
    stands alone" thread, although I prefer the Frankie Valli 
    original.
    
    Ron
    
    ---[ archived by Spectropop - 04 /15/98 - 12:52:59 AM ]---
    
    Subject:     Spectropop and Melancholia
    Sent:        4/14/98 3:17 AM
    Received:    4/14/98 7:35 AM
    From:        David Feldman, feldXXX@XXXXXXerables.com
    To:          Spectropop List, spectroXXX@XXXXXXies.com
    
    Jack M observed, in part:
    
    > But it does lead me to something else that I've often 
    > thought about regarding what makes a great Specterscopic 
    > tune, and it has less to do with the recording quality or 
    > arrangement--namely, for me, the best Specterrific numbers 
    > are overloaded with melancholy.  They're sad songs, or 
    > achingly wistful, or downright tragic (although tragic is 
    > harder to do, because it's too easy to slip into plain old 
    > pathetic).  
    > 
    That's an interesting and I think accurate observation. 
    There is a gravitas to the melancholy of these songs, 
    regardless of the weight of the lyrics. Of course, 
    Spectors own productions specialize in this feeling. You 
    could argue about whether the lyrics of "Walking in Rain" 
    are hopeful or pessimistic, but you can't deny the sadness 
    of the melody. And I start reaching for the Prozac when 
    listening to "Just Once in My Life" by the time Bill Medley 
    sings: "There's a lot..."
    
    One of the reasons why this Bacharach is back boomlet 
    depresses me a little is that it's trivializing some of his 
    old work. I don't think primarily of BB/HD's bubbly "San 
    Jose" and "Pussycat" work, but his mature stuff with 
    Dionne, stuff like "Walk On By," "The Last One to be 
    Loved," "Message to Michael," "Reach Out for Me," "Windows 
    of the World," (one of the few "protest" records that makes 
    you feel as sad as the "victims" sung about), "I Just Don't 
    Know What To Do w/Myself," etc.
    
    DF
    Dave Feldman
    
    RIP: Carl Wilson
    CD of the Month:  "The Lateness of the Hour" (Eric Matthews)
    Movie of the Month:  Love & Death on Long Island
    Best Time Killer of the 90's:  Filling out the gender survey at
      "http://www.imponderables.com"
    
    ---[ archived by Spectropop - 04 /15/98 - 12:52:59 AM ]---
    
    Subject:     Toys
    Sent:        4/14/98 2:54 AM
    Received:    4/14/98 7:35 AM
    From:        David Marsteller, davebXXX@XXXXXXlin.org
    To:          Spectropop List, spectroXXX@XXXXXXies.com
    
    On Tue, 14 Apr 1998, Jamie Le Page wrote:
    
    > I have the Sundazed reissue. There are virtually no liners,  
    > save for what appear to be the original album liner notes  
    > by Sandy Linzer and Denny Randell: Entertaining but hardly 
    > informative. I have no complaints about the sound quality, 
    > Bill Inglot o/b/o Rhino was involved with the remastering 
    > and his work is always top notch. The thing is, are the 
    > Toys really all that interesting? It seems to me Linzer and 
    > Randell mapped out what would be a black GG version of the 
    > Four Seasons, and after it all worked on paper took it to 
    > the studio. The tracks groove; in the Let's Hang On-era 
    > Four Seasons mode. The vocals are really grating though. 
    > The harmonies are all rather screechy, and just ever so 
    > slightly out of tune - consistently. The lead vocal on 
    > Lover's Concerto is fine, but it is in a lower register. 
    > Often when the lead vocalist reaches for a soulful high 
    > note, she squeals atonally. Ironically, Frankie 
    > Valli handled this sort of thing perfectly. Compared to 
    > groups like the Chiffons or the Exciters, the Toys are 
    > runners up in my opinion. 
    
    I know what you're saying about the vocals. I think there 
    are quite a few cases where the songs themselves are really 
    good, even though the performances are a bit lacking. I 
    have the lp actually, but I found it in a thrift store 
    years ago. Scratchy vinyl, no cover. I suppose it's worth 
    my while to upgrade for the better sound, cover and bonus 
    tracks. On the subject of The Exciters and being off-key, 
    something about the 'Yeah Yeah...' intro of "He's Got The 
    Power" always sounded off-key to my ears. Oh well.
    Thanks for sharing your opinion.
    Dave
    
    /************************************************************************/
    /**   "Reach out and grab a fistful of now"                            **/
    /**                                             Thornetta Davis        **/
    /**      David Marsteller davebXXX@XXXXXXlin.org                       **/
    /************************************************************************/
    
    ---[ archived by Spectropop - 04 /15/98 - 12:52:59 AM ]---
    
    Subject:     Re: Spectropop V#0066
    Sent:        4/14/98 8:11 PM
    Received:    4/15/98 12:36 AM
    From:        Jeff Glenn, Jeff_GlXXX@XXXXXX.nba.TRW.COM
    To:          Spectropop List, spectroXXX@XXXXXXies.com
    
            Reply to:   RE>Spectropop V#0066
    
     Billy G. Spradlin wrote: 
    
    <One wish for us 4-Seasons fans...A Singles collection with 
    all the MONO mixes of the original hits! (and for someone to 
    find "Ronnie" and "Huggin My Pillow" in stereo too!)>
    
    Billy, you need to find the recent (1997) Ace UK reissue of 
    EDIZIONE D'ORO. For those not familiar with this LP, it was 
    a 2-LP greatest hits released in late 1968 (Philips PHS 2-
    6501) which contained most of the usual suspects in stereo, 
    but also included stereo mixes of "Ain't That a Shame," 
    "Dawn (Go Away)," "Save It For Me" (alternate stereo mix), 
    "Girl Come Running," and "Let's Hang On." The stereo mixes 
    of both "Dawn" and "Let's Hang On" were minus the slow 
    intros. 
    
    For this new reissue Ace has included all five of 
    these stereo mixes (all of which were unique to this LP and 
    had never been reissued), but for the rest of the songs, 
    rather than issue the same old stereo mixes they have chosen 
    to use the original mono 45 mixes, the songs being:
    
    Sherry
    Big Girls Don't Cry
    Connie-O
    Walk Like a Man
    Candy Girl
    Marlena
    Peanuts
    Stay
    Big Man In Town
    Alone
    Ronnie (Sorry, no stereo, but at least it's true mono!)
    Rag Doll
    Bye Bye Baby (Baby Goodbye)
    Toy Soldier
    Don't Think Twice, It's All Right (The Wonder Who?)
    Working My Way Back To You
    Opus 17 (Don't You Worry 'Bout Me)
    I've Got You Under My Skin
    Beggin'
    Silence Is Golden
    C'mon Marianne
    
    The only down side of this CD (which features great sound) 
    is that three of the tracks from the original LP were 
    omitted for space reasons:
    
    Tell It To the Rain
    Watch the Flowers Grow
    Will You Still Love Me Tomorrow
    
    And Paul Urbahm wrote:
    
    <Yes but the stereo version, If memory serves me has a guitar 
    break (solo) that is not on the hit mono version. Or is it 
    the other way around.>
    
    Actually there's nothing on the stereo version that isn't on 
    the mono; it's just a different mix. In the part you're 
    talking about, the quitar and orchestra are mixed high in 
    the stereo mix, with the saxophone at a relatively low 
    level. On the mono mix the opposite is true, with the 
    strings and especially the guitar almost inaudible. The 
    stereo mix also runs five seconds longer (2:54) than the 
    mono (2:49), which is listed incorrectly as 2:27 on the 
    label of the original Dynovoice 45. Must be another attempt 
    to court radio play with a "short" song (kind of like 
    Columbia listing S&G's "Fakin' It" as 2:74 on the original 
    45! Or Motown listing anything that ran more than a few 
    seconds over three minutes on their 45's as 2:59!).
    
    Jeffrey
    
    
    ---[ archived by Spectropop - 04 /15/98 - 12:52:59 AM ]---
    
    Subject:     Re: Spectropop V#0067
    Sent:        4/14/98 2:02 AM
    Received:    4/14/98 7:35 AM
    From:        Billy G. Spradlin, bilXXX@XXXXXXe.net
    To:          Spectropop List, spectroXXX@XXXXXXies.com
    
    >Doc Rock writes:
    >>And does anyone have any burning questions you'd like to 
    >>have asked?
    
    >This may not be something you'd have to ask Mr. Crewe, 
    >(someone on the list may know the answer), but I was always 
    >blown away by the drummer on all the Four Seasons' records. 
    >He sounded like Hal, only just a little funkier. Anyone know 
    >the gentleman's name?
    >Thanks, 
    >Bobby
    
    According to the liner notes to my ACE 2-fer of DAWN/RAG 
    DOLL the drummers name is Buddy Saltzman, and I've read he 
    played drums on almost all of the 4 Seasons hits. One thing 
    I love about Bob Crewe's 4 Seasons productions and Charlie 
    Calello's arrangements is all that percussion! Foot 
    Stomping, Tambourines, Hand Claps, etc and that thing that 
    makes that wierd sound at the beginning of "Ronnie"!
    
    Another Song I'd like to ask Mr. Crewe about is Matthew 
    Reid's recording of "Lollypops Went Out of Style/Cry Myself 
    to Sleep" on Topix. Its a very silly Bryan Hyland type-song 
    with not-so great singing but the production on it is great, 
    and the b-side is the same song the Seasons did on their 
    "Born To Wander" Album. I found this Promo 45 at a thrift 
    store in cracked condition, but decided to pick it up anyway 
    and save it from the trashcan.
    Glad I did!
    
    Billy G.
    
    [][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][]
    [] Billy G. Spradlin          E-mail: bilXXX@XXXXXXe.net  ICQ:2039627 []
    [] 29 Rim Road                Homepage: http://www.tyler.net/wildbill
    []
    
    [] Kilgore, Texas 75662       IRC: Wild`Bill in #Bob's_Tavern (Efnet) []
    [][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][]
    
    ---[ archived by Spectropop - 04 /15/98 - 12:52:59 AM ]---
    
    Subject:     Re: Bob Crewe
    Sent:        4/14/98 5:49 AM
    Received:    4/14/98 7:35 AM
    From:        Birdy-Num Num, monsaXXX@XXXXXXink.net
    To:          Spectropop List, spectroXXX@XXXXXXies.com
    
    Jeez, I leave for a couple of weeks and I miss some of my 
    FAVORITE topics. Bob Crewe (especially his girl-group) 
    productions, France Gall, Lesley Gore's single version of 
    "Look Of Love" ( 2nd all-time favorite GG record next to 
    "Walking In the Rain"), Jack Nitzsche string arrangements, 
    my god I've missed the motherlode of discussions.
    
    Hey Doc, I thought you were getting some good action in 
    before I left, but now you're practically an elder 
    statesman! Just don't forget the little guy who submitted 
    your name to Spectropop...just kidding. Good to hear 
    you're finally doing that Crewe interview we first talked 
    about last summer. Don't forget to mention the Shephard 
    Sisters, Shirley Matthews, and especially ask if he had 
    anything to do with Donna Lynn's singles...they're 
    downright carbon-copy-Crewe! And if "Skiing In the Snow" by 
    the Beach Girls is actually the Rag Dolls line-up, and. . 
    .well, I can go on and on. Also good to see you spreading 
    the Pixies love...after all, they're the reason why we 
    hooked up in the first place. I'd just like to mention that 
    Doc turned me on to one of the greatest girl-group covers of 
    them all, "Girl Don't Tell Me" by solo Pixies Three singer, 
    Debbie Swisher...it KICKS BUTT !
    
    Hey Jamie, thanks for the nice letter regarding the album...
    very flattering, and so far, your musical references are 
    our favorite, especially the one to "End Of the Season"...
    RIGHT ON! By the way, I met up with Frank Ferguson while in 
    London and he had great things to say about your musical 
    taste and passes on his regards. I think I had my priorities 
    right by first visiting the landmark site of Joe Meek's 
    flat/ recording studio on Holloway Rd. I stood there 
    summoning messages from Venus and talking cats and I was 
    answered by a mini hailstorm. Oh well, I did manage to pick 
    up some absolutely amazing, well let's say unofficial, brand 
    new Beach Boys CD sets. Unsurpassed Master Series including 
    all instrumental and vocal takes of their albums up to 
    "Today". The series is modeled after the Pet Sounds box set 
    and the sound quality is incredible! Can you believe "Today" 
    is 2 full box sets, that's 8 CD's! Including the sessions 
    for "Guess I'm Dumb"...WOW! But just as interesting to our 
    readers is that Vol. 3 & 4 have sessions for the Honeys and 
    Sharon Marie including the track for the unreleased "Go Away 
    Boy"...I'm in heaven!
    
    Can't agree more on the subject of Lesley Gore's "What Am I 
    Gonna Do With You", one of my faves. DEFINITELY a Jack 
    Nitzsche arrangement / production. The Bear Family box set 
    has the official recording date of March 27, 1965 with a 
    complete listing of musicians and Jack as producer.
    
    Cheers for now,
    Darian
    
    ---[ archived by Spectropop - 04 /15/98 - 12:52:59 AM ]---
    
    Subject:     A few quick comments
    Sent:        4/14/98 12:43 AM
    Received:    4/14/98 12:46 AM
    From:        le_page_XXX@XXXXXXies.com
    To:          Spectropop List, spectroXXX@XXXXXXies.com
    
    I went to the Rock and Roll Diner last weekend (Hard Rock 
    Cafe's 50's & 60's theme restaraunt) and there was a stack 
    of 45s for sale sitting near the register, I went through 
    them and found a couple worth picking up. Eric 185, the 
    reissue of Music to Watch Girls By by Bob Crewe Generation 
    b/w A Lover's Concerto by the Toys!! Yes, I have these on CD 
    but talk about yer Spectropop coinky dinks! The other amazing 
    one was Collectables COL 3201. This looks identical to a 
    Philles 45 (except for a small Collectables logo). It has the 
    red and yellow Philles label with black lettering, and it's 
    a double hit reissue single with Then He Kissed Me by the  
    Crystals on the A, and Puddin' N' Tain by *the Crystals* on  
    the B!!!!!! That alone was worth the 80 cents even though I  
    have both the Crystals and Alley Cats recordings elsewhere.
    
    If you can, check the newest ish of Billboard for a 
    spotlight on vital reissues. Comments from many of the label 
    execs at Ace, Westside, etc. Much about the recent Kinks and 
    Zombies reissues, etc. Great stuff. One general comment 
    about 60's reissues I found quite interesting. I will try to 
    post it in the next day or so. btw, there's a nice side piece 
    on Japanese reissues that even mentions M&M and A-Side Records, 
    written for Billboard by one of our own Spectropop members. 
    
    Got Doc Rock's Liberty Records book, and I am finally 
    reading bits and pieces of it. WOW! This is an extremely in-
    depth look at what was arguably the most important label in 
    Los Angeles during our subject timeframe. Very revealing, 
    with much about Fleetwoods, Jan & Dean, and Bobby Vee, and 
    that just scratches the surface. Great photo of Doc with 
    Mike Love and Dean Torrence circa 1982. Dean, looking cool 
    as ever, Mike, looking as serious as one possibly can with a 
    dumb baseball cap on, and Doc in the middle, obviously 
    enjoying a memorable moment with two major surf sound 
    personalities.
    
    Speaking of surf, I'm finally getting into the second batch 
    of Sea of Tunes CDs (which have really stressed the wallet, 
    btw). There is some absolutely amazing stuff on the eight 
    (8!!!!!!) discs of _Today_ material; these Unsurpassed 
    Masters CDs even have Sharon Marie, Honeys and Glen 
    Campbell sessions. Murray is present for a lot of this, 
    which is revealing, and the sound quality is just amazing, 
    far better than the official releases in many cases. Anyone 
    else heard these yet?
    --
    le_page_XXX@XXXXXXies.com
    RodeoDrive/5030
    
    ---[ archived by Spectropop - 04 /15/98 - 12:52:59 AM ]---
    
    Subject:     Re: Spectropop V#0067
    Sent:        4/14/98 3:25 AM
    Received:    4/14/98 7:35 AM
    From:        Doc Rock, docroXXX@XXXXXXom
    To:          Spectropop  List, spectroXXX@XXXXXXies.com
    
    Cover versions.
    
    Technically, a cover version is a single recorded while the 
    original version is a hit. It is intended to "cover" an 
    audience not covered by the original. For example, a '40s 
    record by a male crooner would be recorded by a female, by a 
    country artist, instrumentally by a band, as a polka by 
    another group, maybe a Western version, a slow version, a 
    fast version, a version by a local or regional artist, etc.
    
    In a very real sense, the cover versions competed. It was 
    not considered bad at all to record a cover version, by the 
    way. It was SOP.
    
    In the '50s, it was common for white acts to cover black 
    records, although blacks also covered black records ("You 
    Cheated" by the Slades was covered by the Shields) and 
    blacks covered whites (Billy Ward covered Jan & Arnie's 
    "Jennie Lee.") Also Pop acts would cover rock songs.
    
    In the last 3 decades, the definition of a cover has been 
    expanded until the term has none of the original meaning 
    left. Now, it means a recording of a previously recorded 
    song. Instead of a new single of a current hit single, it 
    can be a new version of a 50 year old oldie; a cut on a CD 
    of an old LP cut that was never on a single; even a live 
    performance. In fact, I have heard of recordings of Buddy 
    Holly songs that were never released (until decades after he 
    died) referred to as covers!
    
    I feel that if we use that expanded definition of cover 
    (recording of a previously recorded song), then Elvis (or 
    any other artist) who records a song off of a demo record 
    has made a cover record. After all, when white 50s artists 
    covered black records, they were basically using the black 
    record as a demo.
    
    As for PJ Proby making Elvis demos, I saw him interviewed on 
    TV in the '60s, and he talked about how his ability to sing 
    exactly like Elvis got him the job of recording scores of 
    demos which then Elvis copied or sang over his track using 
    the demo backing track.
    
    I may be wrong here, but Elvis did not, I believe, read 
    music. So any songs written for him had to be given to him 
    on demos. Even if he did read music, demos are much easier 
    to assimilate.
    
    ---[ archived by Spectropop - 04 /15/98 - 12:52:59 AM ]---
    
    Subject:     Do You Remember Rock'n Roll Radio
    Sent:        4/14/98 11:37 AM
    Received:    4/15/98 12:36 AM
    From:        Javed Jafri, javedjaXXX@XXXXXX.ca
    To:          Spectropop List, spectroXXX@XXXXXXies.com
    
    I have found another site which offers a great eclectic mix 
    of oldies on the net. The address is on-air.com. I guess you 
    could call this an Internet radio station but there are no 
    DJ's. You can always find out what's on because there is a 
    continuos listing of the current song playing as well as the 
    last 10 selections. I was floored today when I heard "Stop 
    get A ticket" by the Clefs Of Lavender Hill in stereo no 
    less. The sound quality is excellent and I think they only 
    play what's available on CD.To give you an idea of how 
    eclectic the format is I have copied the last ten selections 
    below. They feature a little bit of everything including 
    Blues, Rockabilly. Doo Wop, Surf, Girl Groups, British 
    Invasion, Garage, Psychedelia.
    
    
    TIME ARTIST TITTLE 18:38 Connie Francis/Stupid Cupid 18:41 
    Royal Teens/Short Shorts 18:46 Little Walter/My Babe 18:48 
    Lulu/Best Of Both Worlds 18:52 Gerry&The Pacemakers/How Do 
    You Do It 18:54 Seeds/Pushin Too Hard 18:56 Duane Eddy/
    Cannonball 18:58 Hollywood Argyles/Alley Oop 19:01 Clefs Of 
    Lavender Hill/lStop&Get A Ticket 19:03 Robin Luke/Susie 
    Darlin
    
    Javed
    
    ---[ archived by Spectropop - 04 /15/98 - 12:52:59 AM ]---
    
    Subject:     Can anyone help?
    Sent:        4/14/98 7:38 AM
    Received:    4/15/98 12:36 AM
    From:        Ange from England, AXXX@XXXXXXane.prestel.co.uk
    To:          Spectropop  List, spectroXXX@XXXXXXies.com
    
    Hi,
    
    I've written to you asking this question before.  However, I 
    think I've only just got the drift of Spectropop - is it 
    like an on-going mail thing where people write in with 
    questions and everyone gets a copy of the questions on their 
    Email, and if anyone knows and answers they can Email the 
    person who asked the question? (If you get my meaning)!
    
    Well, I'm sorry, I haven't known any answers so far, but 
    I've noticed there's been a lot of people writing about 
    Cover Versions lately, - so I'll try my question again:-
    
    Does anyone know what year Elton John and Bonnie Raitt did a 
    cover version of "Love Letters" (the old Ketty Lester song)?  
    If anyone knows, please help.
    Thanks.
    
    Ange
    
    ---[ archived by Spectropop - 04 /15/98 - 12:52:59 AM ]---
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