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There are 23 messages in this issue of Spectropop.
Topics in this Digest Number 306:
1. Settlement, covers, other
From: "Paul Payton"
2. Re: Stocking Tops/Ellie Greenwich
From: "Ian Chapman"
3. "He Hit Me" for punks!!
From: "Martin Roberts"
4. Re: Stocking Tops
From: "Peter Lerner"
5. Re: The Orchids & Louise Cordet
From: "Ian Slater"
6. Re: Big Hurt Sound
From: Michael Rashkow
7. Re: Cameo Parkway recordings
From: "Don Charles"
8. Cameo-Parkway CDs
From: John Clemente
9. Re: Cameo Parkway recordings
From: Marc Wielage
10. Re: Allen / Alan Klein
From: "Peter Lerner"
11. Re: Big Hurt Sound
From: Monophonius
12. Ken Barnes
From: Marc Miller
13. Re: Aaaahhhh!!!!!
From: Luis Suarez
14. Carol (Annette) Connors
From: Mark Landwehr
15. Re: Alan Klein
From: Andrew Hickey
16. Re: First protest single
From: Stewart Mason
17. The Collage
From: Alan Zweig
18. Re: RONETTES ROYALTIES
From: Michael Rashkow
19. Gidget Gidget Gidget
From: "Jack Madani"
20. West of the Wall
From: "Lindsay Martin"
21. Re: Stocking Tops
From: Paul Underwood
22. Re: Carol (Annette) Connors
From: "LePageWeb"
23. The Liquid Room-11/24/01
From: "David Ponak"
________________________________________________________________________
________________________________________________________________________
Message: 1
Date: Wed, 28 Nov 2001 19:41:09 -0500
From: "Paul Payton"
Subject: Settlement, covers, other
Hi,
I've been away for a while, and am just catching up, so
if some of these comments are a few days late, I
apologize.
1. Just a thought on the Spector/Ronettes settlement - it
took two to make THAT sound, Ronnie's voice and Phil's
production. Listen to the earlier May Records stuff, like
"Memory," my favorite track of the lot - she's great, but
the production doesn't keep up with her. Results:
interesting, no hit. And then there are lesser talents -
Jean Du Shon's Spector-produced "Talk To Me, Talk To Me"
is very fine stuff - a derivative, of course, like
another Maxine Brown, but a good one. I have a follow-up
45 on Lenox by the same artist - very forgettable, right
down to the titles - and it hurts from bad production,
sounding like a 6th rate Shirelles outtake (that cheesy
early-60's Scepter-Wand sound badly reduced). The point:
everyone does their part to make it all work; the final
product is as strong as the weakest link. But y'all
already know that.
2. Paul Urbahns, personally I hate it when an artist
recuts an original - it just never FEELS the same.
Sometimes there's a good reason to recut: it can be
improved on for one reason or another, although in my
experience the closer the remake tracks to the original
version, the "less better" it is. (Extremely frustrating
examples: Chuck Berry's Mercury remakes of his Chess hits.)
Or sometimes an artist can reinterpret and reimagine a
song. For example, on the Everly Brothers' box set,
"Don't Let Our Love Die" opens (1951) and closes (1990)
the package; both versions have their own special magic
and either would stand alone. I agree it sucks when for
arbitrary reasons an artist or businessperson withholds a
song people want to hear and appreciate, but IMHO a
carbon copy is never as good as the original. I think a
good rule of thumb is don't remake - or cover - a song
unless (1) you can recreate the original to be noticeably
better, (2) you bring something new to it in a creatively
different version, and in either case (3) it can stand on
its own.
3. Re: Carol Conners; Brian C., I love "Angel My Angel"
(Capitol, 1962?). It's a Spectorian composition in the
Teddy Bears vein (those classic/classical-like melodies),
but arranged with the 60's orchestral-pop aesthetic.
Georgeous.
4. Re: Chiffons video clip - I missed whoever put it up
there, but thank you - it's my all-time fave Chiffons
track! (Who cares what the movie was about - get this on
VH1!)
5. Hey Monophonius, I enjoyed the Larry Levine interview
immensely.
http://www.spectropop.com/go2/larrylevine.html
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Message: 2
Date: Thu, 29 Nov 2001 00:20:28 -0000
From: "Ian Chapman"
Subject: Re: Stocking Tops/Ellie Greenwich
Elisa wrote:
> Calling all Brit Girl experts!
>
> I've been really into The Stocking Tops - 'you're never
> gonna get my loving' on Toast Records (UK 1967 - awesome
> label name if there ever was one!) - anyone know if they
> have other singles worth checking out, and who they are?
Elisa,
They were Sue & Sunny, and had one other single on CBS
"I Don't Ever Wanna Be Kicked By You". Perhaps not
quite as good as their Enchanted Forest cover, but
worth getting for the title alone!
Ian
--------------------[ archived by Spectropop ]--------------------
Message: 3
Date: Wed, 28 Nov 2001 22:08:49 -0000
From: "Martin Roberts"
Subject: "He Hit Me" for punks!!
Re: Elisa's (great story-who wouldn't have a crush on
Ellie!) request for Stockingtops info I don't know much
assumed they we're a studio group but leaving there
history for more learned Spectropopers/popettes. I do have
a great single by The Stockingtops UK CBS '68 (bit of a
contradiction great, English female and 1968 but there you
go!!) titled "I Don't Ever Wanna Be Kicked By You" fab
title, tailor made for The Shangs!! Which to a degree is
the style of this song.
Written & Produced by the multi talented Kenny Lynch and
arranged by John Paul Jones. Well worth looking out for.
--------------------[ archived by Spectropop ]--------------------
Message: 4
Date: Wed, 28 Nov 2001 22:49:22 -0000
From: "Peter Lerner"
Subject: Re: Stocking Tops
"Elisa" wrote:
>
> I've been really into The Stocking Tops - 'you're never
> gonna get my loving' on Toast Records (UK 1967 - awesome
> label name if there ever was one!) - anyone know if they
> have other singles worth checking out, and who they are?
The Stocking Tops' "You're never gonna get my lovin" is
surely a great record, Elisa, but I always thought it was
a cover of an even better version by The Enchanted Forest
which came out in the UK on Stateside 2080. The label on
my copy says it's an Amy recording, arranged and produced
by Mort Shuman (who was co-writer). The other side is a
(very) early - 1967 - cover of Leonard Cohen's "Suzanne".
I haven't hear it, but the book I have in front of me
says that the Stocking Tops also recorded, in 1968, a 45
for UK CBS, I don't ever wanna be kicked by you / The
world we live in is a lonely place. Snappy titles, huh?
Peter
--------------------[ archived by Spectropop ]--------------------
Message: 5
Date: Wed, 28 Nov 2001 22:23:51 -0000
From: "Ian Slater"
Subject: Re: The Orchids & Louise Cordet
Scott Swanson wrote
>Ian queried whether either act cut enough material for a
>CD. Well, I make it 15 and 10 ISSUED tracks by Louise and
>the Orchids respectively,
> Wouldn't it be great if someone put together a CDR
> featuring all 25 of these songs? (hint hint!)
Yes, great idea Scott, with the two unissued Orchids
tracks "Society Girl" and "Just like Me" (Message 5 in
Digest 303 from Ian Chapman) that would be 27. Just
right for a modern compilation!
Well, that's two advance orders for a start!
In addition, Mick Patrick has pointed out to me that
Louise Cordet also made a number of records in French.
Cheers,
Ian Slater
--------------------[ archived by Spectropop ]--------------------
Message: 6
Date: Wed, 28 Nov 2001 18:34:32 EST
From: Michael Rashkow
Subject: Re: Big Hurt Sound
magicgall writes:
> I heard that someone on this list who was involved in
> the production of the Big Hurt, or knew someone who
> was, described how they got that interesting sound...
> I always compared it to an electrical sound....
> Does anyone remember that?
>
> I've never heard anything like it before. Jane.
>
Are you referencing "phase shift cancellation"--sounds
like wind swooshing through the music? If so, maybe I
can provide some help.
--------------------[ archived by Spectropop ]--------------------
Message: 7
Date: Wed, 28 Nov 2001 19:24:46 +0000
From: "Don Charles"
Subject: Re: Cameo Parkway recordings
I own three CDs of Cameo-Parkway hits on a label called
Liberty Bell. They originate from Europe, but I'm pretty
sure they are bootlegs.
Don Charles
Michael Gessner wrote:
>
>Has anyone heard the series of Cameo Parkway rarities
>on Campark There are 6 CDs with about 30 songs each.
>They are readily available on the internet. Are these
>from Europe? Has Allen Klein tried to suppress them or
>what? There are other CDs with all the Cameo Parkway
>hits, as well. Why does everyone think it's hard to
>find Cameo Parkway stuff?
--------------------[ archived by Spectropop ]--------------------
Message: 8
Date: Wed, 28 Nov 2001 19:05:33 -0500
From: John Clemente
Subject: Cameo-Parkway CDs
Hello All,
In answer to Michael Gessner's inquiry about the Cam-Park
CDs, I've been told that they are bootlegs. Supposedly
ABKCO is not involved, but how can those CDs contain
unreleased material unless someone had access to the
vault? Sounds like someone is making money but getting
around the issue of compensating the artists. Steve
Caldwell of The Orlons has been working very hard to get
his material legitimately re-released and he is not happy
about these CDs.
John Clemente
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Message: 9
Date: Wed, 28 Nov 2001 17:04:58 -0800
From: Marc Wielage
Subject: Re: Cameo Parkway recordings
Michael Gessner commented on the Spectropop Group:
> Has anyone heard the series of Cameo Parkway rarities
> on Campark There are 6 CDs with about 30 songs each.
> They are readily available on the internet. Are these
> from Europe? Has Allen Klein tried to suppress them or
> what? There are other CDs with all the Cameo Parkway
> hits, as well. Why does everyone think it's hard to
> find Cameo Parkway stuff?
>-----------------------------------------------<
Because they've never come out officially from the actual
label on CD.
The reasons are many, complex, and varied. Here's the
general theories:
1) label owner Allen Klein is so busy with other projects,
he has no interest in making the small amount of money
that the Cameo-Parkway reissues would generate.
2) there are a ton of pending lawsuits against
Cameo-Parkway, mainly from artists like Chubby Checker
who were cheated out of a lot of royalties during the
1960s and 1970s. Klein didn't run the label during that
time, but since he bought it after their bankruptcy in
the mid-1970s, he's effectively inherited those debts. If
he were to reissue the recordings now, this would
probably open him up to a ton of lawsuits, and at the
very least, a full accounting of all royalty payments for
the past three decades (including the years he reissued
the songs on LP in the 1970s).
3) the master tapes are being reportedly held by a third
party, the studio that did most of the Cameo-Parkway
sessions in Philadelphia. Until this guy (or his estate)
gets paid, he doesn't want to hand the tapes over to
Klein. According to industry insiders, this dispute goes
back 30 years, and initially forced Klein to use vinyl
LPs as source material for his reissues in the 1970s.
Apparently, it's still unresolved. Neither the studio nor
Klein can master the tapes to CD without the other's
permission, so it's a stalemate.
4) going back to reason #1, Klein was very irritated when
the long-awaited Phil Spector CDs met with only modest
sales in the late 1980s/early 1990s. I don't think he
ever even broke even on the deal, because Spector got a
fairly hefty advance (but not as much as Dave Clark got
for his songs from Disney). Klein is convinced that the
dwindling market for oldies would yield very small
profits, if any.
I should add that only Klein & Company know the reality
behind these theories, but each of them has the ring of
truth. I do know for a fact that Chubby Checker, Bobby
Rydell, and the other surviving artists from the label
are very unhappy that their music has never been
legitimately released on CD, nor have they received any
royalties in decades.
The tragic thing is, as Paul Urbahns and I have discussed
in Email, the oldies market continues to age and grow
smaller over time. While Klein might have been able to
sell 100,000 boxed sets in 1995, I bet he'd sell only 2/3
of that today. It's a sad situation, but it's not
getting better as time goes on. Several Cameo-Parkway
collections have been tentatively announced, then
cancelled, several times. They had even gotten in touch
with GOLDMINE/DISCOVERIES writer/editor Jeff Tamarkin to
do the liner notes, but as far as I know, those plans are
still on hold.
The problem with the bootlegs and the MP3 files is that
the vast majority of them don't sound too good. A lot of
them frankly suck, as a matter of fact. But I guess for
many collectors, just having the songs in any form is
better than having none of them at all.
Finally: If you want to nag Klein about it some more,
here's the info:
ABKCO Records
Attn. Mr. Jody Klein / VP
1700 Broadway
New York, NY 10019
(212) 399-0300
--MFW
-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
-= Marc Wielage | "The computerized authority =-
-= MusicTrax, LLC | on rock, pop, & soul." =-
-= Chatsworth, CA | =-
-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
--------------------[ archived by Spectropop ]--------------------
Message: 10
Date: Wed, 28 Nov 2001 22:43:51 -0000
From: "Peter Lerner"
Subject: Re: Allen / Alan Klein
"Don Baylis" wrote:
> Maybe the problem with Allen Klein is that he is a 'failed'
> pop star himself. I believe that he released a 45 back in
> 1962 on Oriole (CB 1737). The A side, also written by him,
> is a novelty song, and not bad either .. Three Coins In
> the Sewer. The B side, written by a J.Francis, and a far
> less noteable recording, is Danger Ahead !.
Don can't be serious. Alan (not Allen) Klein was a
British semi rock'n'roll, semi music hall performer
(rather in the mould of Anthony Newley as I recall) - no
way was he a New York record company executive in
disguise. He recorded a couple of 45s for Oriole, a few
for other labels (Parlophone, Page One, Decca) through
the 60s, without much success, but was quite well known
on UK television. Three Coins in the sewer was the
nearest he had to a hit and the only one I remember.
Peter
[ADMIN NOTE: Don's original message spelled the name
"ALAN". Assuming this to be a typo editors changed the
spelling to "ALLEN". The A. Klein of ABKCO spells his
name ALLEN. Apologies for any confusion caused by this.]
--------------------[ archived by Spectropop ]--------------------
Message: 11
Date: Wed, 28 Nov 2001 16:05:37 -0000
From: Monophonius
Subject: Re: Big Hurt Sound
--- In spectropop, Jane Wade wrote:
> I heard that someone on this list who was involved in
> the production of the Big Hurt, or knew someone who
> was, described how they got that interesting sound...
> I always compared it to an electrical sound....
> Does anyone remember that?
>
I have an article from Modern Recording magazine Feb/Mar
1976 issue in which Larry Levine is interviewed. The
piece is called THE MEN BEHIND THE WALL OF SOUND. In it,
Levine is asked about "The Big Hurt":
Larry Levine: Then I cut Tony Fisher's "The Big Hurt" in
1958.
Modern Recording: "The Big Hurt?" I remember that record!
It was really a strange-sounding record in its day.
Didn't it have a phasing effect in it?
Levine: Well, yeah! But it didn't originally start out
that way. It was recorded 3-track and mixed. Wayne
Shanklin, the producer, loved the mix but didn't think
that Tony's voice was out far enough. He wanted me to run
a simultaneous copy--run the two copies together--in order
for her voice to be doubled and more out front. I told
him it wouldn't work, that the machines wouldn't hold in
sync. It didn't, but he loved it. The phasing was very
effective on the "gliss" that was being played by the
strings. So then I recorded each 8-bar signature,
allowing the machine that was running faster to start a
little later--and then, in catching up and passing, the
phasing would happen. I did this with each section of the
song and then edited the pieces together. It was an
accident..that worked!
Monophonius
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Message: 12
Date: Wed, 28 Nov 2001 14:22:57 -0500
From: Marc Miller
Subject: Ken Barnes
Martin, re:
> Talking as I was earlier of Ken Barnes anyone know
> his whereabouts and how to contact him? Hope he's
> alive, happy & busy working as theatre critic for The
> L.A. Times or something similar!
I know Ken. Last I heard from him, he was the pop-music
reviewer for USA Today. He also has one of the great 45
collections in the world!
Marc
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Message: 13
Date: Wed, 28 Nov 2001 20:46:46 -0000
From: Luis Suarez
Subject: Re: Aaaahhhh!!!!!
--- In spectropop, "Martin Roberts" wrote:
> Quick before Mick corrects me (again!), Carol's article
> wasn't in Who Put The Bomp but the eaqually lovely The
> Rock Marketplace.
That's in The Rock Marketplace #8, which has P.F.Sloan
on the cover. TRM is part of my holy trinity of 70's
rock mags/fanzines - the other two being Who Put The
Bomp and Phonograph Record Magazine. Ken Barnes, Greg
Shaw and the recently departed Alan Betrock wrote for
all three.
> Talking as I was earlier of Ken Barnes anyone know his
> whereabouts and how to contact him? Hope he's alive,
> happy & busy working as theatre critic for The L.A. Times
> or something similar!!
Ken Barnes works for USA Today, nowadays.
Luis
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Message: 14
Date: Wed, 28 Nov 2001 16:25:03 -0500
From: Mark Landwehr
Subject: Carol (Annette) Connors
> ...But, what happened to her after the Teddy Bears?
> Well, what happened was that she changed her name or
> used a penn name and became a solo recording artist
> and writer known as Carol Connors.
Well, in a condensed sort of way, you're right,
Brian...But, ALOT happened. While the Teddy Bears were
splitting in 1959, she had a bad car accident which
mangled her face up pretty good...The next year she
started on a solo career as Annette Kleinbard, but never
charted...It wasn't until about 1963 that she hit it big
as a songwriter using the name Carol Connors, having "Hey,
Little Cobra" (Rip Chords) as her first success. The rest
is history...
Mark
The Phil Spector Record Label Gallery @
http://home.tbbs.net/~msland/Spector/PSindex.htm
--------------------[ archived by Spectropop ]--------------------
Message: 15
Date: Wed, 28 Nov 2001 17:27:39 -0800 (PST)
From: Andrew Hickey
Subject: Re: Alan Klein
> Alan Klein was a British semi rock'n'roll, semi music
> hall performer (rather in the mould of Anthony Newley
> as I recall) - no way was he a New York record company
> executive in disguise. He recorded a couple of 45s for
> Oriole, a few for other labels (Parlophone, Page One,
> Decca) through the 60s, without much success, but was
> quite well known on UK television.
He also released at least one album. I don't remember
the title, but I do remember that Damon Albarn of Blur
cited it as the most influential album of his career
in an interview in 1995.
=====
Cat Satisfaction Survey, number 1 in Pop on Ampcast.com .
Buy it now from http://www.stealthmunchkin.com
"Better than Looking Back With Love" -
Dave Manning, Ridgefield Press
--------------------[ archived by Spectropop ]--------------------
Message: 16
Date: Wed, 28 Nov 2001 08:57:32 -0700
From: Stewart Mason
Subject: Re: First protest single
Peter Lerner writes:
>Miss Toni's version is an all time classic, but Del
>Shannon's Liberty version is also sensational. Speaking
>of Toni, I've bought several of her subsequent 45s, but
>only West of the Wall stands out as at all worthy - the
>first protest song of the 60s?
Where does it fall in chronology with Glenda Collins'
"It's Hard To Believe It"? That's certainly one of Joe
Meek's wildest.
S
--------------------[ archived by Spectropop ]--------------------
Message: 17
Date: Wed, 28 Nov 2001 15:47:32 -0500
From: Alan Zweig
Subject: The Collage
What can anyone tell me about The Collage? I bought the
record on ebay, based solely on the very cheesy cover and
the fact that it appeared there were two women in the
band. And it's pretty well exactly what I hoped it would
be. Sunshine and harmonies. I see the Gold Star studio
and Perry Botkin Jr. on the credits. They were pretty
good. JimmyBee would like them. So now I'm curious about
them.
AZ
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Message: 18
Date: Wed, 28 Nov 2001 18:31:06 EST
From: Michael Rashkow
Subject: Re: RONETTES ROYALTIES
Re: RONETTES RECORDINGS
Thanks for this highly informative and well written post.
I found it illuminating, thought provoking and very
clearly stated.
Clear and correct to the best of my knowlege.
Re: RONETTES ROYALTIES...ANOTHER VIEW
Mike W wrote:
> To me, it just sounds like just alot of Sour Grapes...
>
> It's a bad day for the Law, and a bad day for Music.
I hope that no one confuses Mike W with Mike R.--I don't
agree with this view.
Rashkovsky
--------------------[ archived by Spectropop ]--------------------
Message: 19
Date: Thu, 29 Nov 2001 00:10:27 -0500
From: "Jack Madani"
Subject: Gidget Gidget Gidget
Ron "Ronnie Bonneville" Weekes wrote:
> Stephen J. McParland's latest book: Cowabunga!
> Gidget Goes Encyclopedic. The two hundred plus
> oversized book deals with the entire Gidget
> genre...the films, the music, the people, and the TV
> series.
Ron, I don't care who knows it. I LOVED the tv series.
Sally Field in the role she was born to play. And to
this day, when I want students to get the hell out of the
building and go to recess, I quote Gidget's dad quoting
Shakespeare.
But the best thing about that darn show was the theme
song: Johnny Tillotson singing a Bobby Darin knockoff of
a Riddle/Sinatra knockoff. 35 seconds of pure swingin'
mainline hardcore.
wait'll you see my gidJETTTT!!!!!!
jack "moondoggie" madani
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Message: 20
Date: Thu, 29 Nov 2001 17:34:38 +1000
From: "Lindsay Martin"
Subject: West of the Wall
>Doc wrote:
>
>"West of the Wall" was very big in Kansas City, WHB.
It's also affectionately remembered here in Australia,
where it topped the charts: No. 1 in Sydney, No. 2 in
Melbourne.
Lindsay
--------------------[ archived by Spectropop ]--------------------
Message: 21
Date: Thu, 29 Nov 2001 08:55:45 +0100
From: Paul Underwood
Subject: Re: Stocking Tops
Peter Lerner wrote:
>>
> The Stocking Tops' "You're never gonna get my lovin" is
> surely a great record, Elisa, but I always thought it was
> a cover of an even better version by The Enchanted Forest
> which came out in the UK on Stateside 2080. The label on
> my copy says it's an Amy recording, arranged and produced
> by Mort Shuman (who was co-writer). The other side is a
> (very) early - 1967 - cover of Leonard Cohen's "Suzanne".
>
I do agree with this. I haven't heard the Enchanted
Forest's record since I lost my copy around 1975, but I
know it was good. Who were they? I seem to remember
reading that one of them was the sister of some famous
singer. Also, Mort Shuman was an interesting case study:
around the time of this record he was also adapting
Jacques Brel songs and recording a strange album of his
own called "My Death". Does anyone know of other records
produced by him?
Sue and Sunny were pretty good too. They were on UK
television a lot, accompanying Joe Cocker of "With a
little help from my friends" and appearing regularly on
such things as the Bobbie Gentry Show.
Paul
--------------------[ archived by Spectropop ]--------------------
Message: 22
Date: Thu, 29 Nov 2001 09:55:33 -0000
From: "LePageWeb"
Subject: Re: Carol (Annette) Connors
Wonderful to see Carol Connors discussion here. One big
regret is that the Teddy Bears recorded so few sides
during their brief career - compared to the Fleetwoods,
for instance. So to me, a record like "My Baby Looks But
He Don't Touch" (arr: R Podlar, Prod: M Leib) is like a
lost Teddy Bears side. So is the excellent "What Do You
See In Him". I also heard "Yum Yum Yamaha" once or twice
and remember adoring it. I have "Listen to the Beat" on a
comp CD and it's pretty good although different from the
Teddy Bears style.
Here is the Carol Connors 45 discog as far as I know...
You Are My Answer / My Diary COLUMBIA 41976
Listen To The Beat / My Special Boy COLUMBIA 42155
What Do You See In Him / That's All It Takes COLUMBIA 42337
Yum Yum Yamaha N.T.C. 3131
Never / Angel My Angel CAPITOL 5152
Big Big Love / Two Rivers ERA 3084
Tommy Go Away / I Wanna Know ERA 3096
My Baby Looks But He Don't Touch / Lonely Little Beach Girl MIRA 219
And, I guess Annette Bard's "Alibi" is also Carol Connors???
Alibi b/w What Difference Does It Make IMPERIAL 5643
That's a grand total of 17 tracks! Add the Swingin'
Summer sides and any others - now THERE'S a cd-r I'd like
to own! Put the Spector's Three tracks on there and you
have a pseudo 2nd Teddy Bears album!!!
I've heard only five of these 17 tracks. Only five! Sure
would be nice to hear some of the others if those with
bragging rights would care to play them for us... 'tis
the season doncha know. Feliz Navidad. Give the gift of
music, my *musica* pals! ;-)
Jamie "dying to hear Lonely Little Beach Girl" LePage
--------------------[ archived by Spectropop ]--------------------
Message: 23
Date: Wed, 28 Nov 2001 16:46:08 -0500
From: "David Ponak"
Subject: The Liquid Room-11/24/01
The Liquid Room, hosted by David Ponak (me), airs every
Saturday night from Midnight to 3AM (PDT) on 90.7FM KPFK
Los Angeles, as well as streaming at http://kpfk.org.
I'm sorry I didn't get a playlist out last week. On the
11/17 show, Money Mark stopped by the studio with his
full band in tow and ended up giving an amazing
performance live from KPFK's studio B. Check out the
Freek Show column in tomorrow's Los Angeles New Times for
coverage.
The Liquid Room-11/24/01
1.The Association/Come On In
Birthday (WB)
2.Cymbals/Keith & The Moon
Higher Than The Sun E.P. (JVC/Victor-Japan)
3.The Termites/Tell Me
Girls In The Garage (Romulan)
4.Frank Lenz/Crime On My Mind
The Hot Stuff (Northern)
5.Qypthone/Scooter
CD single (Happiness-Japan)
6.The Ventures/Strawberry Fields Forver
Super Psychedelics (Liberty)
7.Cornelius/Bird Watching At Inner Forest
Point (Trattoria-Japan) To be released by
Matador in the US on 1/23/2002
8.Super Furry Animals/Juxtaposed With You
Rings Around The World (Sony-UK)
9.Stereolab/Moodles
Capt. Easychord EP (Duophonic)
10.John Barry/A Man Alone
The Ipcress File Soundtrack (Decca)
11.Cubismo Grafico/The Moon Is Yours (Solgum 59 Remix)
Buonissimo Remixes (Escalator-Japan)
12.The 5th Dimension/The Magic Garden
The Magic Garden (Soul City/Buddah)
13.Majestic/Come Out And Play
Wake Up, Come Out And Play (Shelf Life)
14.Charles Nowa/Lux International
Pop Shopping II (Crippled Dick Hot Wax-Germany)
15.Dickie Harell/Drivin' Round The World (Plaid Remix
Electro Lounge Vol. 2 (The Right Stuff)
16.Faye Wong/???
Faye Wong Faye (EMI-Hong Kong)
17.Kid Loco/Cocaine Diana
Kill Your Darlings (Atlantic)
18.The Lovin' Spoonful/Lonely (Amy's Theme)
Greatest Hits (Buddah)
19.Brute Force/Vicky
20.Pulp/Bad Cover Version
We Love Life (Island)
21.The Divine Comedy/Mastermind
Regeneration (Nettwerk)
22.Lovage/Koala's Lament
Nathaniel Merryweather Presents Lovage (75 Ark)
23.Nina Simone/Ne Me Quitte Pas (If You Go Away)
Bittersweet-The Very Best Of... (Buddah)
24.Richard Harris/The Yard Went On Forever
The Webb Sessions 1968-1969 (Raven-Australia)
25.Kings Of Convenience/Toxic Girl
Versus (Astralwerks)
26.Raymakers/Solar Bubbles (Seksu Roba Mix)
Wow! Pneumatic EP (Crippled Dick Hot Wax-Germany)
27.Simian/One Dimension
Chemistry Is What We Are (Astralwerks)
28.Stan Getz/The Look Of Love
What The World Needs Now (Verve)
29.Francoise Hardy/L'Anamour
Comment Te Dire Adieu (Virgin-France)
30.Roots And Prospects/Culver City (Vocal Version)
Adventures In Slide
31.Jean-Jacques Perry/Berceause Pouer Un Be' Be' Robot
Moog Sensations (Pulp Flavor-France)
32.Jack Jones/Make It With You
Bread Winners (RCA)
33.Stanley Turrentine/Just As I Am
The Sugar Man (CTI)
34.Isaac Hayes/House Full Of Girls
Truck Turner Soundtrack (Stax)
35.Ai No Rhythm/Sado...
single (Eros-Japan)
36.Hugo Montenegro/Feel Like Makin' Love
Others By Brothers (RCA)
37.Ennio Morricone/Excuse Me, Let's Make Love
Excuse Me Let's Make Love Soundtrack
38.The Isley Brothers/Lay Lady Lay
Givin' It Back (Epic)
39.Ferrante & Teicher/Lay Lady Lay
Gettin Together (United Artists)
40.Joe Pass/Not Fade Away
The Stones Jazz (World Pacific)
41.Panda 43/La Photo Du Chalet
7" single (Safari-France)
42.Paul Williams/Morning I'll Be Moving On
Someday Man (Reprise)
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