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SPECTROPOP - Spectacular! Retro! Pop!
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There are 13 messages in this issue.
Topics in this digest:
1. Concert For George
From: Bill Craig
2. John Kerry: Rock Bassist
From: Art Longmire
3. Blues Project
From: Al Kooper
4. Re: A workable idea?
From: Peter Kearns
5. Question for Al Kooper
From: Martin Roberts
6. Re: A workable idea?
From: Tom Taber
7. Re: Lovin' Feelin' on Philles - Bad Pressings
From: Billy G. Spradlin
8. RIP; Emily's Illness; Twist & Shout; What is a song?; cool names; payola
From: Country Paul
9. Re: Sunshine Days: Pop Classics of the '60s.
From: Art Longmire
10. Re: Feldman, Gottehrer, Goldstein - sixties discography
From: Martin Roberts
11. Re: Outsiders tracks
From: Paul Balser
12. Re: great names
From: Rat Pfink
13. Bass mix; Cameo-Parkway treasures
From: Country Paul
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Message: 1
Date: Mon, 02 Feb 2004 22:37:44 -0000
From: Bill Craig
Subject: Concert For George
I would like to highly recommend to all S'poppers The DVD of The
Concert For George, the tribute held at The Albert Hall in Nov. 2002
for George Harrison. It's pricey to buy but a friend of mine loaned
me his copy and I thoroughly enjoyed it. Performers included:
Eric Clapton (musical director)
Jeff Lynne
(Sir) Paul McCartney
Ringo Starr
Billy Preston
Tom Petty
Gary Brooker
Joe Brown
and many others including Ravi Shankar, his daughter Anouska and
George's son Dhani. Also the surviving members of Monty Python, minus
John Cleese plus Tom Hanks performed. For one of these all-star tribute
affairs it was extremely well done and moving. How old is Joe Brown
these days? He sounded and looked great, with a longer variation of his
crew-cut from back in the day.
Bill Craig
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Message: 2
Date: Tue, 03 Feb 2004 00:39:22 -0000
From: Art Longmire
Subject: John Kerry: Rock Bassist
I came across this article that discusses presidential candidate
John Kerry's brief career as a bassist, circa 1961, in a garage
band called the Electras-they actually made an album. Wonder how
it sounds? Anyhow, here's the link:
http://www.washingtonpost.com/wp-dyn/articles/A4009-2004Feb1.html
Check out the picture of the band on the page.
Art Longmire
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Message: 3
Date: Mon, 02 Feb 2004 19:48:38 EST
From: Al Kooper
Subject: Blues Project
Dan Hughes:
> Al, for the sake of antirevisionism (love that term), could you
> please discuss the parting of the ways between you and BS&T?
> (For what it's worth, I was DEEPLY disappointed in the album
> released after you left. I bought it before I knew you were
> not involved).
I left The Blues Project because I wanted to add horns and was turned
down. I had a bunch of songs that were crying for horns and I tried
to heed their advice. I went to CA and found Jim Fielder and drummer
Sandi Konikoff. I came back and put a band together for a benefit for
myself. It was Steve Katz, Bobby Colomby and they let me fly in Jim
Fielder. The promoter took all the money from the benefit and this
band talked me into starting my dream band with them onboard. Today
Steve Katz & Bobby Colomby claim that they started the band and asked
me to be in it. Total lie. So we get hornplayers and get a record deal
and make the first album. I chose the producer and worked
singlehandedly with him on the production of the album. I designed
the cover and named the band. Bobby Colomby says I stole the name from
a Johnny Cash album title. Guess Bobby never heard of Winston Churchill.
So during ther making of the album a faction formed, headed by Colomby
& Katz, to ease me out of the band. I was unaware of this clandestine
move. I even started a factiuon to get ride of Katz and get a real
guitarist in the band.
But they were set to dump me after our first tour. They forced me out
of the band and Bobby took over. He even copyrighted the name in his
own personal name. The royalties for the album I was on were all sent
direct;ly to Colomby & Co. and they NEVER sent me my percentage as a
member of the band on the first album. They used my arrangements on the
next album to great success i.e. You Made Me So Very Happy, More & More
Smiling Phases, etc. I did not agree with the direction they went in
and would never have stood for Spinning Wheel or the Las Vegas version
of God Bless The Child. They made millions, got grammys and won the
contest. I lost, did not make millions, got no grammys or royalties, but
kept my self respect and scored next with Super Session, my first
production as a staff producer for Columbia. I'm glad I left, I got
screwed again by Steve Katz, but now would never acknowledge the
existence of either Steve or Bobby. In the Rolling Stone 500 albums of
all time, Child Is Father To The Man is the only Blood Sweat & Tear
entry. Nuff said......
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Message: 4
Date: Tue, 03 Feb 2004 02:22:29 -0000
From: Peter Kearns
Subject: Re: A workable idea?
Tom Taber wrote:
> What I'm saying is, if you do things right and keep your expenses
> down by doing most everything yourself, you can do most anything!
> The pleasure comes more from the doing than any monetary success
> (or lack of same).
Absolutely. In the case of forming either a record or production
company you'd have the added ingredient of being responsible for
other people. So maybe it's the old thing of "You've got the brains,
I've got the braun". It's an interesting topic.
Peter.
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Message: 5
Date: Tue, 03 Feb 2004 23:47:49 -0000
From: Martin Roberts
Subject: Question for Al Kooper
Hello Al,
Ian Chapman added a few records to the list of your co-writing credits
from the mid 60s, hard to remember them all and fair enough to forget,
Skip Battyn's version of "Night Time Girl" on Aurora. How many covers
can you be expected to remember?
But really Al if it wasn't for your part in the Brass-Levine-Kooper
composed "When In Love (Do As Lovers Do)", you'd be beyond forgiveness.
An absolute diamond of a record, The Gee-Tones, featuring 15 year old
Gregory Howard is a blinder, an up-tempo kiddie led doo-wop rocker.
I assume my copy is a bootleg on Gee Records 1013 which would date it
about '57 but it sounds early 60s. A record with the same title was
released on Kapp in '63. Have you any details on the release? When it
dates from and original label? Who was Gregory Howard and his Gee-Tones?
Martin
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Message: 6
Date: Tue, 03 Feb 2004 05:49:31 -0800 (PST)
From: Tom Taber
Subject: Re: A workable idea?
Bryan wrote:
> Beloved "unknown" band? Hmm....is that even possible? Perhaps
> you should share this with the rest of the Spectropop class?
If and when I can get all my ducks in a row, I'll be anything but quiet!
Tom Taber
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Message: 7
Date: Tue, 03 Feb 2004 19:41:11 -0000
From: Billy G. Spradlin
Subject: Re: Lovin' Feelin' on Philles - Bad Pressings
Is your copy styrene or vinyl? Just curious. I havent played my vinyl
copies in a long time. (blame Mp3's for turning my PC into a 1200+
song jukebox)
I also wonder where Spector did his mastering. Did Gold Star have a
mastering lathe or did he use others (most pressing plants have them).
>From what I have dug up, most of the Philles vinyl 45's was pressed
by Savoy Pressing in Newark, New Jersey (who pressed the rare colored
vinyl 45's) and know Monarch Pressing in LA did many of the styrene.
Look for a "MR" in a circle in the dead wax.
Billy
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Message: 8
Date: Tue, 03 Feb 2004 19:26:18 -0500
From: Country Paul
Subject: RIP; Emily's Illness; Twist & Shout; What is a song?; cool names; payola
Today is February 3; RIP Buddy Holly, Ritchie Valens, and The Big Bopper.
Holly's music still amazes, and as David Coyle noted, "A lot of the future
history of rock and roll might never have been made if death hadn't made him
a legend." Here's something else to think about: Ritchie Valens has now been
dead more than 2-1/2 times as long as he was alive.
Speaking of death and dying, "Emily's Illness: Diagnosis Of A Song" by Phil
Milstein, http://www.spectropop.com/NoraGuthrie/index.htm illuminates yet
another fascinating corner of pop history. Having been privileged to hear the
song as well as read about it, it is indeed fascinating -- what we used to call
"an album cut trapped on a 45." Her voice is so innocent and flat-affect (no
vibrato); she sounds truly haunted. Thanks to Phil for the all the effort in
chasing down what was obviously a labor of love.
TD wrote:
> Quite frankly, the Beatles version of "Twist and Shout" isn't anything that
> a competent wedding band from Ofay, New Jersey wasn't already doing.
> In 1963, the woods were full of competent wedding bands.
Paul Bryant:
> Funny how none of them competent NJ wedding bands were huge hit
> groups then.
True, but the song had already been "done" -- and the Beatles version is not
what made them THE BEATLES. Just my two cents; I won't perpetuate this.
(Someone else might.) And be careful what you say about my adopted home
state, or I'll have my boys who live in Ofay "look you up"! :-) (Is Ofay near
Mahwah? or Ho-Ho-Kus??)
Al Kooper wrote:
> A song is distilled down to a chord pattern with melody and lyrics
> riding above it.
Glenn:
> What about intros, turnarounds, and other instrumental portions
> that are as much (and as crucial) a part of the creation of the
> song as are the melody and lyrics?
This brings up a legal question. If a song was copyrighted by either the
sound recording method (the circled-P copyright) or as more than a lead
sheet (say a piece of pianistic sheet music with an intro, countermelodies,
etc.), would the secondary melodies or riffs or patters (whatever you want
to call them) also be copyrighted as well?
Clark, thanks for the heads-up on the Eric Records reissues. Will be
watching at http://www.ericrecords.com
Mike Edwards wrote:
> Brian Diamond & The Cutters (awesome name for a group!)
Howard:
> Which set me thinking, what other groups have names like that?
Some contributions: one was a frat party band in Providence, RI in the 60's,
Jay Walker & The Pedestrians; and from Animal House, a group that was a
movie fiction which became a real band, Otis Day & The Knights. And of
course, we take for granted Bill Haley & The Comets, but that works here.
Best payola story so far: Trevor Ley's, especially since I know a couple of
the characters of whom he speaks. And he speaks the truth, too. Payola's
around still, too, just different, and a lot bigger. Most 50's payola was
penny ante incomparison. Used to be, "Here's a few bucks, play my record."
Now it's "Let's get your station's name on a concert, and we'll have you and
your staff backstage in a private suite before (or after) the concert, and
just make sure Joe Schmuccatelli's record is in hot rotation and gets
reported to the trades on a particular day," etc.
My one direct experience with the old-style was when I was Music Directing a
country station once when a local label owner came in and offered me $50
cash to play an unlistenable 45. I had him escorted out. I've never sold
out, and certainly wouldn't for peanuts.
Now gimme my cash and lemme outta here!
Country Paul
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Message: 9
Date: Wed, 04 Feb 2004 00:50:07 -0000
From: Art Longmire
Subject: Re: Sunshine Days: Pop Classics of the '60s.
Justin McDevitt wrote:
> Re the Pebbles and Bam-Bam version of Open Up Your Heart, I
> remember seeing this episode in 1965 and on 3-4 other occasions
> in rerun over the last number of years.
> The 1965 season of this great show, (its last) also featured an
> episode with Fred appearing on Shindig, presenting a new dance
> sensation. The show was hosted by Jimmy Oneilstone), and also
> featured the Bo Brummelstones, singing Laugh Laugh.
I've seen the "Open Up Your Heart" episode several times, including
the original sixties broadcast, but I last saw it more than twenty
years ago and alas, that was the only time I paid close attention! I
know that early on in the episode Fred Flintstone is watching TV and
these pop acts come on...including Danny Hutton doing "Roses are
Rainbows", which was on Hanna-Barbera records, of course. What I
really want to know is-what were the other acts on this episode? As I
recall, Fred fell asleep and dreamed that Pebbles and Bamm-Bamm
became pop stars.
Another great episode was the "Way-Outs" who sang "Way Out"-that one
was a classic!
Art Longmire
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Message: 10
Date: Tue, 03 Feb 2004 20:17:32 -0000
From: Martin Roberts
Subject: Re: Feldman, Gottehrer, Goldstein - sixties discography
Great list from David L. (message 19033),
With apologies if I missed them or other posties have already mentioned them
but a few extra FGG credits.
Tex and the Chex (20th Cent. 411)'63
Beach Party
(Love Me)Now (FGG)
Prod : Feldman,Goldstein,Gottehrer
Diane Christian (Smash 1862)'63
There's So Much About My Baby (That I Love)
Has Anybody Seen My Boyfriend (FGG + Saunders)
Prod : Feldman,Goldstein,Gottehrer
Patty Lace and the Petticoats (Kapp 585)'64
Girls Don't Trust That Boy
Girls Should Always Look Their Best
Prod : Feldman,Goldstein,Gottehrer
Angie and the Chicklettes (Apt 25080)'64
Treat Him Tender Maureen (Now That Ringo Belongs To You)
Tommy
Prod : Feldman,Goldstein,Gottehrer
The Concords (Epic 9697)'64
Should I Cry
It's Our Wedding Day
Prod : Feldman,Goldstein,Gottehrer
Kenny Dino (Columbia 43062)'64
Show Me (FGG)
Betty Jean (FGG + C. Kaplan)
Prod : Feldman,Goldstein,Gottehrer
Timothy Wilson (Veep 1223)'65
He Will Break Your Heart
How I Wish You were Mine
Prod : Feldman,Goldstein,Gottehrer
The B-side of
JACK & JILL (Josie 943) 1966
The Chase wr. FGG
Prod : Feldman,Goldstein,Gottehrer
My copy of this shows the writer credits as;
Freddy Cannon (Swan 4139) 04/63 BB #65
Patty Baby FGG + C. Kaplan
Betty Jean FGG + C. Kaplan
I don't have the 45 but
Patty Lace and the Petticoats (Kapp 667)'65
New Boy (FGG + Spencer)
Say One (Is A Lonely Number)(FGG + Pegues)
Prod : Feldman,Goldstein,Gottehrer
Martin
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Message: 11
Date: Tue, 03 Feb 2004 20:15:04 -0500 (Eastern Standard Time)
From: Paul Balser
Subject: Re: Outsiders tracks
Jim Shannon wrote:
> I'm also looking for the Ousiders "Girl in Love" (Tom King/Chet
> Kelley) and "Respectable"
Jim,
I have the two Outsider songs you are looking for also I may have Sandy I'll
have to check. Let me know how to get them to you.
AJ
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Message: 12
Date: Tue, 03 Feb 2004 20:18:06 -0500
From: Rat Pfink
Subject: Re: great names
Bob Rashkow wrote:
> My favorite group names of the 6Ts include Dave Dee, Dozy, Beaky,
> Mick and Tich; the Unrelated Segments; Fifty Foot Hose; The
> Sensational Epics; and of course, Peanut Butter Conspiracy. One
> of my favorite group names of the last decade (though I've not
> heard their music) is The Not Quite.
I always thought The Kitchen Cinq was a great name.
RP
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Message: 13
Date: Tue, 03 Feb 2004 20:40:09 -0500
From: Country Paul
Subject: Bass mix; Cameo-Parkway treasures
J. Stewart:
> I read somewhere that British producers and recording
> engineers in the 60s tended to mix the bass at a relatively
> low level in order to prevent the needle bouncing out
> of the record groove. I don't know how true that is and,
> if so, whether they were correct in their belief.
Go back to some 50's and early 60's pop, and you'll find
the bass playing in its upper register -- usually not hitting
even the open D string. I think the reasoning was the same
as you mention.
A rummage through the vaults of Cameo/Parkway Records,
re: Lightning's notes, may I also suggest Bobby Rydell's
"Kissin' Time" and the Dovells' beautiful ballad "Happy
Birthday Just The Same" (1963 or so), a definite Beach Boys
derivative -- and gorgeous.
Country Paul
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