The Spectropop Group Archives
presented by Friends of Spectropop

[Prev by Date] [Next by Date] [Index] [Search]

Spectropop V#0096

  • From: The Spectropop Group
  • Date: 06/10/98
  •                            _                                    
                               ( )_                                  
      ___  _ _      __     ___ | ,_) _ __   _    _ _      _    _ _   
    /',__)( '_`\  /'__`\ /'___)| |  ( '__)/'_`\ ( '_`\  /'_`\ ( '_`\ 
    \__, \| (_) )(  ___/( (___ | |_ | |  ( (_) )| (_) )( (_) )| (_) )
    (____/| ,__/'`\____)`\____)`\__)(_)  `\___/'| ,__/'`\___/'| ,__/'
          | |                                   | |           | |    
          (_)                                   (_)           (_)
        Volume #0096                                 June 17, 1998
    Tapping the most undeveloped field in the automatic music business
    Subject:     "Maybe Tomorrow"
    Sent:        06/09/98 11:47 am
    Received:    06/10/98 12:19 am
    From:        Gil McLean,
    Does anyone know the words to the bridge of the Ivey's (a.k.a. 
    Badfinger) hit "Maybe Tomorrow." I've been listening over and over
    again and I can't discern the tail end. I'm going nuts, somebody 
    please help!
    ====================[ archived by Spectropop ]====================
    Subject: John Carter CD/Claudine Clark
    Sent: 06/10/98 12:26 am
    Received: 06/10/98 12:19 am
    From: Kieron Tyler,
     asked about the a CD by John Carter 
    called 'The Denmark Street Demos'.
    I bought this a few weeks ago. It's great, what is so surprising 
    is that all the demos sound like they could be finished records. 
    Its copied off acetates, but the sound is great. Included is orig.
    demo of 'Is It true' which Brenda Lee did, its a bit different with
    some extra bits. Also theres 'Can't You hear My Heartbeat', which 
    is an example of one of the songs where the released versions 
    (Goldie, Herman) just copied the demo faithfully. Another great 
    track is 'Brown and Porter meat exporters' which Manfred Mann did.
    But the previously unreleased tracks are all of a high standard 
    with some top notch Beach Boys touches here and there. I'd 
    recommend it to anyone who likes mid-60s UK pop with an Ivy League/
    Harmony slant. It says on the liner notes that there may be a 
    part 2.
    On a different subject, can anyone tell me what 'Walking through a
    graveyard' by Claudine Clark sounds like. Is it like 'Party lights'?
    All the best, Kieron.
    ====================[ archived by Spectropop ]====================
    Subject:     Re: John Carter
    Sent:        06/09/98 10:18 am
    Received:    06/10/98 12:19 am
    From:        David Bash, BashXXX@XXXcom
    << From:
     Just wanted to ask if anyone has picked up either of these 
     discs and can advise on the quality.
     I saw a CD by John Carter called The Denmark Street Demos. For 
     those who might not know, Denmark Street is a little alleyway 
     at Charing Cross in London where music-related businesses set 
     up shop. Denmark Street is still music oriented, but mostly 
     instrument shops now, I believe.
     Anyway, I rather like Ivy League and Flowerpot Men; has anyone 
     heard this John Carter release?>>
    Hi Jamie,
    I have heard it, and I would like to take the liberty of 
    presenting a yet to be published review of it that I wrote for 
    Discoveries magazine. Here it is:
    John Carter
    As You Like It Vol. 1 (The Denmark Street Demos 1963-67) Westside 
    Records WESM 523
    *****John Carter may not be a household name, but Carter penned 
    songs like "Can't You Hear My Heartbeat," "Little Bit O Soul," and
    "Beach Baby" were heard in many a household. Besides being a 
    songwriter of the first order, Carter was also a very able 
    performer, being the force behind bands like The Ivy League, The 
    Flower Pot Men, and Stamford Bridge, all of whom produced several 
    memorable pop songs. As You Like It Vol. 1 (The Denmark Street 
    Demos 1963-67) is a collection of songwriter demos that Carter, 
    along with his writing and performing partner Ken Lewis (as well 
    as back-up musicians), recorded with the hope that they would be 
    covered by either established or up and coming artists. His wish 
    came true with regard to several of the 26 tunes on this 
    collection as they either made it onto albums by big name artists,
    or did quite well on both the UK and US pop charts. These demo 
    versions have remained unreleased until today, and they make for 
    an extremely fine collection, and because they were done by what 
    was essentially a full complement of musicians they stand on their
    own as having been worthy of release at the time they were recorded.
    The liner notes contain an interview with Carter in which he 
    provides annotation for each of the tracks, and his recollections 
    provide an excellent insight into both the creation and evolution 
    of these tunes.
    Given that Carter-Lewis was a UK songwriting team, and that the 
    tracks on As You Like It Vol. 1 were recorded in the mid 60s, it's
    no surprise that several of them were done in the popular beat 
    style of the time. Carter shows himself to be a capable vocalist, 
    and although his voice may not have as much power as some other 
    beat vocalists, it displays a great deal of clarity and 
    versatility. Among the best of the beat oriented tracks on this 
    collection are "Thank You For Loving Me," which was later recorded
    by The Ivy League, "Don't Put The Blame On Me," which contains some
    stinging guitar licks by Mick Keene (or perhaps it was Jimmy Page, 
    who Carter assures us was at a few of the Denmark Street sessions)
    "Brown And Porter's (Meat Exporters) Lorry," (A track that was 
    written for Manfred Mann and recorded by them, but never released.
    Freddie And The Dreamers did release it, though) and "How Can I 
    Turn Away," which has a sound that would have been perfect for the
    Hollies. Carter-Lewis were able to break out of the beat mold as 
    well, as many songs herein so eloquently prove, like the Pet 
    Sounds-y "Am I Losing You," which would later be covered by The 
    Flower Pot Men, the stingingly soulful "La La La (Baby Do It)" and
    "What A Wonderful Feeling," the intense, uneasy "Come To The Party, 
    which was later covered by The Image (Dave Edmunds' first band),
    "It's Your Turn To Cry," whose "I told you so" lyrics are bathed in
    musical pathos for a striking contradiction, the majestic "She 
    Won't Show Up Tonight," the Who-like "Mad," "Head To Toe," which 
    was written for the Troggs (though never recorded by them) and 
    sounds like it, with a spoken word section that is so similar to 
    that of "Wild Thing" that it will definitely coax a chuckle or two, 
    and "Waiting Here For Someone", which features a nice 12 string 
    foundation. Among the demos on this collections that became hits 
    for other artists are the pleasant "Sunday For Tea," which reached
    #31 on the Billboard charts for Peter and Gordon, "Is It True," #17
    in both the US and UK for Brenda Lee, and "Can You Hear My 
    Heartbeat", which had a very interesting genesis: Carter and Lewis
    gave the demo to Mickie Most, and he thought it would be perfect 
    for one of the bands he was managing at the time, the Animals (!).
    They never did do a version, but Animals member Alan Price took it 
    to a girl group called Goldie and the Gingerbreads and recorded it
    with them. Most was quite unhappy about this, and brought it to 
    Herman's Hermits, who did a version which rushed to #2 on the 
    Billboard charts. Most wanted to release it in the UK, but Goldie 
    and the Gingerbreads had already done so with their version, which
    reached #25. Carter's demo is the same basic model as that which 
    Herman's Hermits recorded, making one wonder what Most was 
    thinking when he deemed it suitable for The Animals.
    All in all, As You Like It Vol.1, (The Denmark Street Demos 1963-
    67) serves not only as a worthy collection of tunes but also as a 
    window into what was happening, or would happen, in the UK music 
    scene of the mid 60s, and it truly is a pity that more of these 
    tunes weren't picked up by other artists.
    Westside Records, West Heath Yard, 174 Mill Lane, London NW6 1TB. 
    Fax: 0171-433 3909*****
    I hope this doesn't sound arrogant because I don't mean it to be, 
    but just to be a responsible person I have to ask that nobody 
    print this review in any sort of publication or website, as it is 
    exclusively intended for Discoveries. Thanks!
    <<I also recently saw the new Odessey and Oracle release with the 
    long lost mono mix, the stereo mix and some alternate mixes (I 
    think). Does anyone on the list know about this release? Please do
    fill us in. As far as I knew, as of Zombies Heaven release the 
    original mono O&O masters were still missing.>>
    It's a fantastic release. All Zombies fans MUST have this, as the 
    mono mixes are sometimes drastically different from the stereo, 
    and the alternate version of "Time Of The Season" is a classic.
    As for the mono masters, I'd better leave that one to Alec Palao, 
    who put together the project. Hey Alec (and Jeff Glenn) don't you 
    think that the verse of "You Better Be Careful" by The Golliwogs 
    sounds an awful lot like the verse of "She's Not There"?
    Spectropop Rules!!!!!
    Take Care,
    ====================[ archived by Spectropop ]====================
    Subject:     Re: the vaudeville fad of '66 & '67
    Sent:        06/09/98 2:53 am
    Received:    06/09/98 7:03 am
    From:        Doc Rock,
    Another was "Bonnie and Clyde" by the Chicago Prohibition 1941.
    "Winchester Cathedral" preceeded the flick Bonnie and Clyde 
    slightly, but that movie undoubtedly influenced music, too.
    ====================[ archived by Spectropop ]====================
    Subject:     Re: Chiffons
    Sent:        06/09/98 2:53 am
    Received:    06/09/98 7:03 am
    From:        Doc Rock,
    >It suddenly struck me that we've had precious little mention of
    >the Chiffons, and yet on any short list of favorite girl-group 
    I always liked "A Love So Fine" better than "One Fine Day," but I 
    have always been alone in that!
    ====================[ archived by Spectropop ]====================
    Subject:     Re: Spectropop V#0095
    Sent:        06/09/98 3:49 am
    Received:    06/09/98 7:03 am
    From:        Marc Wielage,
    Big L <> commented:
    >I have been thinking about the vaudeville fad of 1966 and 1967.
    >Without doing a lot of research, it seems that it was kicked off
    >by the record "Winchester Cathedral." Or was it?
    >Records that also featured vaudeville elements:
    >Mammy; I Got Rhythm; - The Happenings
    I was always amused that back in 1967, two songs used similar "
    dit-dit-dit" or "dip-dip" backup vocals: The Happenings' "I Got 
    Rhythm" and The Five Americans' "Western Union." Both came out 
    within a month of each other. I seem to recall a comedy sketch on 
    The Smothers Brothers show from around this time that combined 
    both songs into a single medley, which was pretty funny.
    -= Marc Wielage      |   "The computerized authority     =-
    -= MusicTrax, Ltd.   |       on rock, pop, & soul."      =-
    -= Chatsworth, CA    |        XXX@XXXom         =-
    ====================[ archived by Spectropop ]====================
    Subject:     60s girl singers
    Sent:        06/09/98 8:32 am
    Received:    06/10/98 12:19 am
    From:        CLAUDIA CUNNINGHAM,
    Lots of mention abounds about the 60s girl singers, but what of 
    forgotton folks like Jackie Ross ("Selfish One"), Barbara George 
    ("I Know"), Ketty Lester ("Love Letters") and Toni Fisher "(The Big 
    Hurt"), to name a few?
    AND a Spector trivia question: Just who WAS Bobbi Soxx and the 
    Bluejeans ("Zippety Do Dah")??? Were they an actual band or just 
    some of Spector's session singers?
    ====================[ archived by Spectropop ]====================
    Subject:     Re: Chiffons & Stereo Unchained Melody
    Sent:        06/09/98 9:47 am
    Received:    06/10/98 12:19 am
    From:        Billy G. Spradlin,
    Jack Madani wrote:
    >It suddenly struck me that we've had precious little mention of
    >the Chiffons
    >You got yer Crystals and Ronettes, for obvious (spector) 
    >reasons. And in the non-Spector category, Shangri-Las and 
    >Shirelles seem to be consensus choices for greatest girl groups.
    >Then you got yer various cult faves, like the Pixies 3 and 
    >Reparata and Cookies and so forth. But the Chiffons seem to get
    >lost in the gaps.
    I agree Jack, I think they made some of the greatest girl group 
    records! I love those 4 part harmonies, they proably had the best 
    singing voices of any girl group, and they had no lack of 
    excellent songs or production, which crippled the Shirelles in 
    thier later years. I own the Ace 30-song (on one CD!) Chiffons 
    Collection and its filled with gems, 45's that should have been 
    huge. My guess if they were on a bigger company than Laurie they 
    would have had more hits. "Nobody Knows What's Goin' On (In My My 
    Mind but Me) is a brilliant record that should have gotten higher 
    than #49 in 1965.
    >Subject:     Stereo Unchained Melody
    >Hey, today I heard a stereo version of Unchained Melody by the 
    >Righteous Brothers. Is this a big deal or not?
    I dont think so, its been in stereo on the Verve "Greatest Hits" 
    LP (and later CD) for many years now. When the song was 
    re-released while "Ghost" was hot in the theatres, thats the only 
    version I heard on the radio around here.
    I prefer the mono mix which is on the Phil Spector Box set. Most 
    of those Phillies-era stereo mixes dont sound very good to my ears, 
    the backing track on "Unchained" and "Lovin' Feeling" is mixed 
    much lower on the left channel than in the mono 45 mixes. However 
    "Soul and Inspiration" sounds great in stereo, with lots of mic 
    leakage between the left and right channels.
    ====================[ archived by Spectropop ]====================
    Subject:     Re: Stereo Unchained Melody
    Sent:        06/09/98 3:54 am
    Received:    06/09/98 7:03 am
    From:        Marc Wielage,
    Jack Madani <> commented:
    >Hey, today I heard a stereo version of Unchained Melody by the
    >Righteous Brothers. Is this a big deal or not?
    No.  It's in stereo on the following CDs:
    Anthology: 1962-1974 ~ Rhino R2-71488 (3:34 stereo)
    Classic Rock - 1965: Shakin' All Over ~ Time-Life 2CLR-14 (3:35 stereo)
    Everlasting Love ~ Sessions OPCD-4522 (3:35 stereo - sl. hiss)
    Greatest Hits ~ Verve (Euro.) 823 119-2 (3:34 stereo - very hissy)
    Magic Moments ~ Heartland OPCD-4536 (3:35 stereo)
    Reflections of Love ~ Starland Music OPCD-4572 (3:34 stereo)
    Superhits - The Mid '60s ~ Time-Life SUD-12 (3:35 stereo - sl. hiss)
    Tonight's the Night ~ Time-Life 4517 (3:34 stereo)
    Young Love ~ Starland Music 4571 (3:35 stereo)
    In fact, the only place with the mono mix that I know of is:
    Phil Spector: Back to Mono (1958-1969) [boxed set] ~ Abkco 7118-2 (3:36
    mono - single mix / sl. hiss)
    There are quite a few stereo rarities out there that I'm still 
    looking for. If anybody has a lead on the stereo mix of The Stones
    ' "19th Nervous Breakdown" (played by a few oldies stations in 
    syndication), let me know!
    -= Marc Wielage      |   "The computerized authority     =-
    -= MusicTrax, Ltd.   |       on rock, pop, & soul."      =-
    -= Chatsworth, CA    |        XXX@XXXom         =-
    ====================[ archived by Spectropop ]====================
    Subject:     RE:Vaudeville Fad '66 & '67
    Sent:        06/09/98 5:31 am
    Received:    06/09/98 7:03 am
    From:        James K Cribb,
    To:          SPECTROPOP,
    Big L noted:
    >>I would welcome any comments, and identification of other songs
    from the period that I have missed.<<
    As for other vaudeville tunes it seems that the Monkees had a few,
    most notably "D.W. Washburn" and it seems that their Nilsson 
    interpretations (Cuddly Toy and Daddy's Song)had elements of 
    vaudeville -- perhaps the producers wanted to build upon Davy 
    Jones' London stage experience.
    Macca always had a leaning toward the British dance hall numbers. 
    When I'm Sixty-four was from '67.
    As for the source, I remember around that time a television 
    program featuring Mickey Finn, who did this sort of turn of the 
    century ragtime dance hall stuff. It was a popular program at our 
    house as my father favored ragtime piano. I remember the upright 
    piano, straw boaters, and sleeve garters and a certain pubescent 
    interest in the leg kicking can-can girls. And about that summer 
    Joey Heatherton had a summer replacement show for Dean Martin and 
    I began to understand hormones...
    But that's another story.
    ====================[ archived by Spectropop ]====================
    Subject:     Vaudville 
    Sent:        06/09/98 1:22 pm
    Received:    06/10/98 12:19 am
    From:        Javed Jafri,
     > Subject:     the vaudeville fad of '66 & '67
    > Sent:        06/08/98 11:33 am
    > Received:    06/09/98 1:15 am
    > From:        Big L,
    > I have been thinking about the vaudeville fad of 1966 and 1967.
    > Without doing a lot of research, it seems that it was kicked off
    > by the record "Winchester Cathedral." Or was it? 
    > Records that also featured vaudeville elements: 
    > Hello Hello - Sopwith Camel
    > Words Of Love; Creeque Alley - Mamas & Papas
    > Anything Goes - Harper's Bizarre
    > Mammy; I Got Rhythm; - The Happenings
    There were a number of artists that experimented with older 
    musical styles in the mid sixties. You would certainly have to 
    include the Lovin Spoonful and also Jim Kweskin's Jugband. There 
    was also the Charlatans from San Francisco, who included Dan Hicks
    in their ranks. Dan Hicks & his Hot Licks would carry on the 
    tradition of the 20's and 30's well into the 1970's. The 
    Charlatans by the way recorded a version of Van Dyke Parks's High 
    Someone has already mentioned "That Acapulco Gold" by the Rainy 
    Daze which made the lower reaches of the national charts in 1967 
    but did much better in LA and San Francisco. It might have been a 
    big national hit if radio had not discovered what the song was all
    Finally we should not forget "The Eggplant That Ate Chicago" by Dr
    . West's Medicine Show & Junk Band. A group fronted by Norman 
    Before I go what about "You Know You Really Turn Me On" by Ian 
    Whitcomb or "The Ballad Of Bonnie & Clyde" by Georgie Fame.
    ====================[ archived by Spectropop ]====================

    Click here to go to The Spectropop Group
    Spectropop text contents 2001 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.