________________________________________________________________________ ______________ ______________ ______________ ______________ ______________ S P E C T R O P O P ______________ ______________ ______________ ________________________________________________________________________ full dimensional stereo sound ------------------------------------------------------------------------ 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 --------------------[ archived by Spectropop ]-------------------- 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 --------------------[ archived by Spectropop ]-------------------- 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 --------------------[ archived by Spectropop ]-------------------- 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 --------------------[ archived by Spectropop ]-------------------- 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 --------------------[ archived by Spectropop ]-------------------- 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 --------------------[ archived by Spectropop ]-------------------- 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 --------------------[ archived by Spectropop ]-------------------- 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) --------------------[ archived by Spectropop ]-------------------- End
Spectropop text contents c copyright Spectropop unless stated otherwise. All rights in and to the contents of these documents, including each element embodied therein, is subject to copyright protection under international copyright law. Any use, reuse, reproduction and/or adaptation without written permission of the owners is a violation of copyright law and is strictly prohibited. All rights reserved.