________________________________________________________________________ ______________ ______________ ______________ ______________ ______________ S P E C T R O P O P ______________ ______________ ______________ ________________________________________________________________________ ------------------------------------------------------------------------ There are 16 messages in this issue of Spectropop. Topics in this Digest Number 273: 1. Re: "London's a Lonely Town" and "Yes Sir, That's My Baby" From: "Brad Elliott" 2. Re: Yes Sir, That's My Baby From: Andrew Hickey 3. Re: Ronnie/Overlanders From: "Robert Conway" 4. Catch Me In The Meadow From: LePageWeb 5. Re: I remember them From: Carol Kaye 6. Re: Nathanson and Schoenholz From: "Jeff Lemlich" 7. Bravo program From: Will George 8. Re: Ellie Greenwich From: "Robert Conway" 9. SNUFF GARRETT From: Warren Cosford 10. Achievement (trivia) From: Michael Marino 11. Re: ELLIE GREENWICH From: "Robert Conway" 12. It'll cost you! From: Brian Chidester 13. Re: London's a Lonely Town From: "Bill" 14. Re: The Cake From: Scott 15. Re: Concert in Nashville From: "Nick Archer" 16. Re: The Cake From: "Vlaovic B" ________________________________________________________________________ ________________________________________________________________________ Message: 1 Date: Tue, 23 Oct 2001 02:51:30 -0500 From: "Brad Elliott" Subject: Re: "London's a Lonely Town" and "Yes Sir, That's My Baby" Jason wrote: > > Yeah, that's a phenomenal track. For those who haven't > > heard it this is Edmunds with the California Music > > regulars (Boettcher, Johnston, Usher, Melcher, though > > no Brian Wilson unlike the usual credits read), > > How did you find this out for certain (Brian not on the > record)? Has he denied it publically? Just curious, > thanks. Almost 20 years ago (in other words, not too many years after it was recorded), I had the opportunities to ask both Bruce and Curt about that track. Both were quite definite that Brian did not sing or play on it. Will George wrote: > There was an "all-star" single of this song in the 60s, > featuring Brian Wilson, Sonny & Cher, Jackie DeShannon, > Darlene Love, and more. Did Phil Spector produce this? I > only have a tape copy, but it sure sounds like it could > be his work. The production and arrangement credit for that more-than-passable imitation of SpectorSound goes to Jack Nitzsche, who of course learned directly from the master himself. Surf's up! Brad --------------------[ archived by Spectropop ]-------------------- Message: 2 Date: Mon, 22 Oct 2001 18:20:29 -0700 (PDT) From: Andrew Hickey Subject: Re: Yes Sir, That's My Baby According to MOJO Collections the track (under the name The Date With Soul) was 'put together by' Nitzsche, and Spector's singing backups, along with the Blossoms, Sonny And Cher, BW and 'some guy sitting in the lobby' with Edna Wright singing. Doesn't say if it was Spector or Nitszche who produced it, but both were present, so... Sounds like an interesting track - it's placed as 8th best Spector-sound single in the mag's list... --------------------[ archived by Spectropop ]-------------------- Message: 3 Date: Mon, 22 Oct 2001 21:52:08 -0500 From: "Robert Conway" Subject: Re: Ronnie/Overlanders Here's my question of the day: Anybody recall a UK group (circa 1963-65) called the Overlanders (UK Pye/U.S. Hickory) that had a couple of minor U.S. hits including "Don't It Make You Feel Good?" That single came out about the same time as the Kinks' "You Really Got Me." Definitely a FOLK-pop group that had that unique UK harmony sound similar to the Springfields. Anyhow...their entire output is now out on a new UK import for a budget price (under $15). Again as with most of the first wave of the British Invasion, song quality is a bit uneven, but nevertheless definitely entertaining. Bob Conway --------------------[ archived by Spectropop ]-------------------- Message: 4 Date: Tue, 23 Oct 2001 23:38:28 +0900 From: LePageWeb Subject: Catch Me In The Meadow "Jeff Lemlich" wrote: > > BTW, Tradewinds' "Catch Me In The Meadow" was also a 45! > > Very pretty.... > > This is/was the closing theme for every radio show I've > ever done, since college... on up through the Swamp > Stomp on EyeQRadio. It might be a pretty-sounding song, > but the lyrics are dead serious. Care to explain, Jeff? I took the lyrics off the record, so I may not have them all correct, but I had always thought the lyric to be simple, teasing "playing-hard- to-get" kind of imagery, like a typical film sequence where two lovers chase through a field and end in each others arms, falling into a bed of wild flowers. Surely nothing more sinister? Jamie I saw her in a setting So upsetting to my head Oh it stopped the world around me My eyes got stuck upon her And beyond her life was dead I watched a dream surround me I tried her hand But the breeze took her on the grassway follow And off she ran Turn your head, put your ear to the wind You'll hear me, follow, follow Oh catch me, she said catch me Catch me in the meadow --------------------[ archived by Spectropop ]-------------------- Message: 5 Date: Mon, 22 Oct 2001 19:01:46 -0700 From: Carol Kaye Subject: Re: I remember them > get this -- Marshall Leib co-produced the latter tune > (with B. Criswell) Yes, Marshall and Bob, good young men, very nice, worked for them mainly at Gold Star from what I recall. Think I was just recording on guitar then - I remember their tracks as some pretty good music. Carol Kaye http://www.carolkaye.com/ --------------------[ archived by Spectropop ]-------------------- Message: 6 Date: Mon, 22 Oct 2001 22:13:27 -0400 From: "Jeff Lemlich" Subject: Re: Nathanson and Schoenholz > Nathanson and Schoenholz (whatever that means) had > another single with the same B-side and an > Omartian-produced A-side, "Baby Won't You Give Me," > that same year on Verve 10712, but I don't have that > one. Help! I have a double-sided promo of that one: BABY WON'T YOU GIVE ME A CHANCE (Verve 10712) GLM Productions Produced by Doug Gilmore for Gilmore Productions Inc. Arranged by Michael Omartian Written by Nathanson-Schoenholz The matrix number shows 1972, but the copyright is 1973. To me it sounds a bit like the type of pop Hamilton Joe Frank & Reynolds were doing at the time. Jeff Lemlich --------------------[ archived by Spectropop ]-------------------- Message: 7 Date: Tue, 23 Oct 2001 00:27:36 EDT From: Will George Subject: Bravo program I just finished watching a very interesting hour-long program on the Bravo channel. It is called Popular Song: Soundtrack of the Century. It was all about the Brill Building writers, and included scenes of Phil Spector with Darlene Love in the studio, clips of The Crystals, Gene Pitney, Neil Sedaka, Righteous Bros, and interviews with Pitney, Mann & Weill, Ellie Grenwich, Sedaka, and others. I'm sure it wil be repeated, so watch your listings. Will --------------------[ archived by Spectropop ]-------------------- Message: 8 Date: Mon, 22 Oct 2001 22:50:34 -0500 From: "Robert Conway" Subject: Re: Ellie Greenwich I love the term "borderline legitimacy" used by the reviewer of the Carole King 2-CD set to describe a high-end boot. Bob Conway >...(Brill Tone Records/ Made in Germany smacks of >borderline legitimacy) --------------------[ archived by Spectropop ]-------------------- Message: 9 Date: Mon, 22 Oct 2001 23:02:50 -0400 From: Warren Cosford Subject: SNUFF GARRETT Snuff Garrett? I'd only casually noticed him. Shows you how dumb I am. In 1976 I produced a 64 hour documentary for radio which was syndicated all over the world called The Evolution of Rock. It never occured to me to interview him. Then I read that he "discovered" Bobby Vee when Bobby filled in for Buddy in Fargo after Clear Lake. What the hell was Snuff doing in Fargo in the middle of winter? He later made the best he could (and better than probably anyone) of Gary Lewis and The Playboys (Carol...were you a Playboy)? Then I heard the album he did with Ringo. Phil was fine with Harrison. Snuff was better with Starr. Somehow Phil and Snuff were always running into each other. According to Mark Ribowsky in his book "He's A Rebel", both of them "cut" He's a Rebel....and then "mastered" the tapes at the same time in the same studio....United Western. Phil in Studio A with Darlene Love portraying The Crystals. Snuff in Studio B with Vicki Carr. Of course Phil "won". But in The 70's when they both produced Cher....Snuff "won". And he kept chugging along in The 80's with The Pointer Sisters. Where was Phil? The Ramones? Give me a break! But what REALLY did it for me was when I was passing through Apple Valley California in 1981 and stopped into The Roy Rogers Museum. Wouldn't you? Among the souvenirs I bought was an album called "Hoppy, Gene and Me" produced by.....you guessed it.... Snuff Garrett. Really? It was on the Nostalgia Merchant Label! The What Label? Exactly. I don't expect Snuff did it for a lot of money. On the back there's a picture with Snuff and Roy pointing some "6 shooters" at me. The liner notes say simply...."As kids we all had dreams of riding the trail alongside Roy Rogers. And now for me that dream has been fulfilled. Snuff Garrett". Good for you Snuff. You got Soul! There aren't many people who did things For Love then. And certainly aren't many now. WC --------------------[ archived by Spectropop ]-------------------- Message: 10 Date: Tue, 23 Oct 2001 05:20:55 -0000 From: Michael Marino Subject: Achievement (trivia) This may be a bit off-topic, but I think this group can appreciate the this bit of trivia. I'm sure you folks will get this one quickly... Who is the only person to be inducted into the Rock and Roll Hall of Fame, the Country Music Hall of Fame and the Songwriters Hall of Fame? Michael Marino --------------------[ archived by Spectropop ]-------------------- Message: 11 Date: Mon, 22 Oct 2001 22:39:33 -0500 From: "Robert Conway" Subject: Re: ELLIE GREENWICH Mick Patrick wrote: > >Within just hours of becoming aware via Spectropop of >Brill Tone Records' new double bootleg CD by my heroine >ELLIE GREENWICH... The sound quality, although certainly not up to the level of the Eric label, is excellent all things considered. Also a funny or strange thing about the Brill-Tome CDs is that I see them listed by on-line/mail-order dealers who say they do not sell boots. I imagine if these recordings had been released on CD 10 or so years ago they would have sounded terrible, similar to the early Marginal label that also offered us early Carole King, Barry Mann, and Tony Orlando on CD. One last item, since Mick Patrick brought up the issue of quality bootlegs---Does anybody own the 3-CD set by Jay and the Americans? Does anybody know anything about it? Obviously, er rather not obviously if you view the cover art and the beautiful, informative booklet, it is a bootleg (isn't it?) Anyhow, I'm betting the house it is a bootleg. What a collection...this production had to have been accomplished by some studio pirate. If you at all like Jay & The Americans buy this set. OK, I lied, this is my last item: Anybody have the various artists' Japanese import CD called "Off the Wall/(Phil Spector)" Features: Phil Spector Group, Joel Scott, Ali Hassan, Steve Douglas and His Merry Men, Ike and Tina, Florence DeVore, Betty Willis, Bonnie and the Treasures, Al Delory, George McCannon III, The Lovelites, Ikettes, Sugar Plums, Darlene Love, Ronettes, Crystals, etc. REASON IT CAME TO MY MIND: Talking about Jay Black made me think of this CD because George McCannon III sounds like a dead ringer for Jay Black. Anybody know anything about George McCannon III? Bob Conway --------------------[ archived by Spectropop ]-------------------- Message: 12 Date: Tue, 23 Oct 2001 01:43:49 EDT From: Brian Chidester Subject: It'll cost you! > Dear Michael Ochs you must have the largest collection in > your archives, please let us know!! > It'll cost you!!!! Michael can be very expensive to license from. --------------------[ archived by Spectropop ]-------------------- Message: 13 Date: Tue, 23 Oct 2001 08:16:25 -0000 From: "Bill" Subject: Re: London's a Lonely Town It should be noted that in addition to the Melcher et al all-star rec. of the Tradewinds' New York's a Lonely Town, great Japanese rock star (of some 35 years and counting) Yamashita Tatsuro recorded a version of it on his 1991 album "Artisan." Played on the radio and audited casually, you think you're listening to the genuine article until Tats gets to the line, "Tokyo's a lonely town when you're the only surfer boy around." It really takes you by surprise. Two other lyric divergences consist of "goin' down subway" in place of "walkin' down Broadway" and "my woodie's outside covered with smog." Yamashita san is truly a wonder with----in addition to his mostly original compositions--- his covers of American classic era pop. His three overdubbed a cappella CD's, "On the Street Corner I, II, III, done over approximately a twenty - year period and sung in impeccable English are among the finest examples of retro a cappella around. His version of "Angel" from EP's flick "Follow that Dream" is a pluperfect instance of making musical gold from record industry food chain dross. Yes, he DOES do "Why Do Fools Fall in Love," and "Ten Commandments of Love" but these unimaginative and overly covered--- but perfectly wonderful nonetheless---lapses in repertoire are more than counterbalanced by such recherche inclusions as the Castelles' "Heavenly Father," the Cadillacs' "Gloria," and revisits to the likes the Dubs, the Rob Roys, the Duprees, Shepperd Sisters, and Nolan Strong. And Tats' "takes" on Brian Wilson on his "Big Wave" soundtrack CD are even more verisimilitudinous than the above noted Tradewinds tune. I discovered this lynchpin of J-Pop only last year while researching a Japanese magazine article on arranger-songwriter-singer Nick ("Italian Graffiti") DeCaro. After tripping over Tats, I then proceeded to fall down the rabbit hole of Japanese soft rock / pop. So much so that when I returned yesterday from my annual Tokyo trip I was loaded down with CDs and LP's by Eiichi Ohtaki, Hideaki Tokunaga, Ryuichi Sakamoto, Dreams Come True, Chage and Aska, Love Psychedelico (perhaps a bit too progressive for the tastes of listers here, but nonetheless terrific) and many more. Japanese rock of this persuasion still exists at the top of the sales charts and in abundance. To whit, the number two album in Japan this week is by Yamashita's wife, Mariya Takeuchi, and was produced by him. Mainstream Japanese rock is the best kept secret in all of world music.(The rap and crap from there is another and regrettable story. . .even worse than its western original "inspiration.") The complexity of the written and spoken Japanese language, plus everyday, ongoing US xenophobia and closed radio playlists has made it all but unavailable to those of us in the west. All those vowels and Baker's dozens worth of syllables! I DO believe that, somewhat surprisingly, the three "Street Corner" CD's are available from the US Tower cyber site. I highly recommend these and stylistically-related Nihon artists to anyone who has a lingering/ongoing affection for that big, fat, layered, vertically and horizontally complex Euro pop "sound" that so heavily draws upon the well of Spectropop. Especially Tats and prolific Spectorian producer/performer Ohtaki. Viva Japan!, Bill Reed --------------------[ archived by Spectropop ]-------------------- Message: 14 Date: Mon, 22 Oct 2001 21:52:54 EDT From: Scott Subject: Re: The Cake I've got the second LP by The Cake and it pretty much sucks ! Scott --------------------[ archived by Spectropop ]-------------------- Message: 15 Date: Tue, 23 Oct 2001 07:03:59 -0500 From: "Nick Archer" Subject: Re: Concert in Nashville I attended a benefit concert last night for Clifford Curry, of "She Shot a Hole in My Soul" fame. He has undergone successful surgery for prostate cancer. The talent lineup included most of the Nashville pop artists of the 60's. There were several Spectropop highlights. --Buzz Cason(the writer of Everlasting Love) aka Gary Miles, doing "Look for a Star", --Robert Knight, with a rare US appearance singing "Everlasting Love". --Buzzy Wilkins (lead singer of Ronnie and the Daytonas) with "Sandy" --Bruce Channel with Hey Baby, I Sing for Christine, Stand Up --Larry Henley, lead singer of the Newbeats, with Bread and Butter, and singing his song Wind Beneath My Wings. --Ray Peterson brought down the house with Fever, The Wonder of You, Corrina Corrina, and Tell Laura I Love Her. He hit some high notes that sucked the air out of the room. The complete lineup for the show in order of appearance was Buzz Cason, Robert Knight, Buzzy Wilkins, Dickey Lee, Bruce Channel, Larry Henley, Ray Peterson, intermission, Pat Upton of the Spiral Starecase, Troy Shondell, Mike Stewart(shag artist), Dennis Yost of the Classics 4, Gene Hughes of the Casinos(who did not sing because of recent throat surgery), Archie Bell, and Clifford Curry. About 450 people in attendance at the Gibson Guitar Theatre. Of course my friends and I were discussing what songs should be on a Nashville pop CD from the 60's. Mentioned were the above artists, along with the Feminine Complex, Neon Philharmonic, Velvettes, Newbeats, Sue Thompson, and Bill Pursell. Are there any other suggestions from the group? Maybe we can pull this compilation together here. Nick Archer Nashville TN --------------------[ archived by Spectropop ]-------------------- Message: 16 Date: Tue, 23 Oct 2001 09:55:15 -0400 From: "Vlaovic B" Subject: Re: The Cake > >I've got the second LP by The Cake and it pretty much sucks ! > >Scott > Well that one I haven't heard! I recall reading ages ago that they did in fact appear on The Smothers Brothers Show. I would've thought they would have remained obscure. --------------------[ archived by Spectropop ]-------------------- End
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