________________________________________________________________________
SPECTROPOP - Spectacular! Retro! Pop!
________________________________________________________________________
There are 24 messages in this issue.
Topics in this digest:
1. Monkees... and "Art" with a capital "A"
From: Albabe Gordon
2. Re: Goffin/King research
From: John Berg
3. Great Sounding Columbia 360 Stereo
From: Steveo
4. Re: Kitchen Cinq tapes
From: Joe Nelson
5. Andee Silver/Goffin & King research
From: Ian Chapman
6. Re: "Halfway"
From: Julio Niño
7. Connie Francis albums
From: David Bell
8. Re: Arthur Lee Harper
From: Stephane Rebeschini
9. Re The Now Sound
From: Justin McDevitt
10. Re: Spin & Marty/Triple-R Song
From: T.D. Bell
11. Roses Are Red
From: Bob Celli
12. for Paul Evans - Guaranteed Records
From: steveo
13. Re: Goffin/King research
From: Mikey
14. Re: The Hassles/New York City (You're...)
From: James Botticelli
15. Re: The Now Sound
From: Joe Nelson
16. Wall Of Pain
From: Amber
17. Re: Teacho Wiltshire
From: Mike Rashkow
18. Re: Mark & Clark - Ron Dante connection
From: Jeff Lemlich
19. Re: The Now Sound
From: James Botticelli
20. Re: Wayne Newton and Pat Boone surf records
From: steveo
21. Re: The Now Sound
From: Paul Richard
22. Re: Moondog meets The Lonely Goat Herd?
From: Mike Rashkow
23. various & sundry
From: Mark
24. Hassles
From: Larry Lapka
________________________________________________________________________
________________________________________________________________________
Message: 1
Date: Mon, 09 Feb 2004 11:42:26 -0800
From: Albabe Gordon
Subject: Monkees... and "Art" with a capital "A"
Mark said of the Late Monkees:
> I don't really know exactly what they were trying to accomplish
> with "Head" and with that abominable special.....So The Monkees
> completely abandoned the audience they had in order to try to win
> acceptance from the audience that wanted nothing to do with them.
I have to completely disagree with you, Mark. I don't think the
Monkees "abandoned" anyone.
I don't think that just because an artist does what he/she/they
want to do musically, or what they think they need to do - means
that they "abandon" anyone. Sometimes it's a process of them
becoming more complicated and in turn, more mature. (Not that the
two ideas are synonymous, or mutually exclusive).
I think all of this depends on how old you are when you are first
exposed to a new experience or "sound."
I don't think that an artist has to pander to the tastes of their
audience. In fact I would go so far to say that if they do... they
aren't "artists..." they're just performers. Which is not a bad
thing, it's just not a situation of honest and personal expression
any more.
I loved "Head," but I was 14 and my tastes were becoming more varied.
I'm not sure why, but years after it was released, I wasn't that
interested in "33 and a 1/3". I just watched it a few weeks ago and
I really enjoyed it. It's certainly not for the attention span of an
avid MTVer, but that's okay with me.
the ex session player, comic book writer/artist and commentator
formally known as
~albabe
-------------------[ archived by Spectropop ]-------------------
Message: 2
Date: Mon, 09 Feb 2004 15:50:53 EST
From: John Berg
Subject: Re: Goffin/King research
Frank,
A nice version of the song "You're Just What I Was Looking For
Today" is also on the first post-Van Morrison THEM album from
1968 on the Tower label (subsidiary of Capital) -- and now
available on CD, thanks to Rev-Ola.
John Berg
-------------------[ archived by Spectropop ]-------------------
Message: 3
Date: Mon, 09 Feb 2004 12:03:23 -0800 (PST)
From: Steveo
Subject: Great Sounding Columbia 360 Stereo
Howdy folks,
Just wanted to write about what was on my mind as I was driving
today. A friend's parent had bought a mid 60s stereo console
(big piece of furniture) in about 1965. One day in the 80s I
acquired 2 albums, "Winners" - Steve Lawrence and another album
with Johnny Mathis containing the song "The Most Beautiful Girl in
the World." Both of these albums were on Columbia Records and
utilized the "360" stereo sound process.
My friend and I played both of them in his parents' den on that
console, and the sound was truly amazing! Great separation and an
overall wonderful sound.
I know that some recordings that were made at the Columbia Studios
either in Hollywood or NYC had excellent acoustics. I'm wondering
more about why these early 60s "360" stereo sound records sounded so
great. Obviously the echo chamber. What else was it about this?
Can anybody comment on this process?
Steveo
-------------------[ archived by Spectropop ]-------------------
Message: 4
Date: Mon, 09 Feb 2004 17:28:13 -0500
From: Joe Nelson
Subject: Re: Kitchen Cinq tapes
John Berg wrote:
> I know that one reissue label is quite interested in doing a Kitchen
> Cinq CD, if they can track down who currently owns the rights and
> has the master tapes.
Mark T:
> The LHI stuff was distributed by Decca so all of the tapes should be
> at Universal. As for who owns it, Lee Hazlewood might still own the
> LHI stuff and Universal the Decca tracks.
UMG might have the whole lot. LHI might well have been a vanity deal
between Hazelwood and Decca.
A few years back, I was trying to figure out why the Epic Splendor
singles were MIA. The question that came up was whether Capitol or
Charles Koppelman and Don Rubin physically owned the tapes. Eventually
I was able to contact producer John Boylan who said that Capitol owned
all the Hot Biscuit tracks outright and that the tapes should be on
file, including the four track masters and the unreleased stereo
remixes he prepared. Of course, Koppelman and Rubin became hotshots at
Capitol in time anyway, so it made sense that if they did own the tapes
they'd have followed them to EMI.
Joe Nelson
-------------------[ archived by Spectropop ]-------------------
Message: 5
Date: Tue, 10 Feb 2004 00:42:04 -0000
From: Ian Chapman
Subject: Andee Silver/Goffin & King research
John Berg wrote:
> A nice version of the song "You're Just What I Was Looking For
> Today" is also on the first post-Van Morrison THEM album from
> 1968 on the Tower label (subsidiary of Capital)....
For those 60s Brit girls aficionados among us, there was also a
very good version by Andee Silver on Decca in '69.
Ian
-------------------[ archived by Spectropop ]-------------------
Message: 6
Date: Mon, 09 Feb 2004 23:08:13 -0000
From: Julio Niño
Subject: Re: "Halfway"
Hola Everybody,
Thanks to Mick Patrick for playing in musica Frankie Laine's
version of "Halfway". I have to say that I like the Bruce and
Terry demo a lot more. I'm convinced that Eddie Hodges' version
must be more suggestive. I like Eddie's early recordings very
much, particularly "The Bandit of My Dreams" (which has a
stimulating combination of innocence and perversity, a sort of
Tom Thumb having sweet dreams of the Ogre...yes, I know I have
a twisted mind). I love the voice of a cute bad boy he had when
he was a teenager.
Chao,
Julio Niño.
-------------------[ archived by Spectropop ]-------------------
Message: 7
Date: Mon, 09 Feb 2004 17:51:14 EST
From: David Bell
Subject: Connie Francis albums
Hello TD Stout,
Actually, "Connie and Clyde" is available on CD. It was released in
the States on the Audiophile label (ACD 286) in 1996. Could have
sworn it was just yesterday.
Track listing:
1. Please Don't Talk About Me When You're Gone.
2. Brother, Can You Spare A Dime?
3. Maybe.
4. Am I Blue?
5. Button Up Your Overcoat.
6. You Ought To Be In Pictures.
7. Ace In The Hole.
8. Somebody Else Is Taking My Place.
9. With Plenty Of Money And You / We're In The Money.
10. Just a Gigolo.
11. Ain't Misbehavin'.
12. Connie And Clyde.
I don't think the Bacharach album has been reissued, although many of
the tracks have appeared all over the place. Tracks:
1. What The World Needs Now.
2. Promises Promises
3. The Look Of Love.
4. Do You Know The Way To San Jose?
5. Trains And Boats And Planes.
6. Make It Easy On Yourself.
7. Alfie.
8. This Girl's In Love With You / I Say A Little Prayer.
9. Wanting Things.
10. Walk On By.
11. Blue On Blue / Magic Moments.
12. Don't Make Me Over.
Hope this helps.
Best wishes,
David.
-------------------[ archived by Spectropop ]-------------------
Message: 8
Date: Mon, 09 Feb 2004 23:57:51 +0100
From: Stephane Rebeschini
Subject: Re: Arthur Lee Harper
Dan Hughes a écrit:
> Does anyone here know Arthur Lee Harper? He did an album on LHI called
> "Arthur", wherein he sounded much like a very young, doe-eyed Donovan.
> A couple of years later another album ("Love Is The Message", I believe it
> was called), under his full name, on Nocturne which is worth several
> hundred dollars now.
> Anyway, he and I were pen pals in the '60s when I was a student at Purdue
> and on into my Air Force days, and he was a student in San Jose, if I
> remember correctly. I've often wondered if he's still in the biz.
Hi
Sorry to have to tell you this, but Arthur Lee Harper died in January
2002. Here is some extra info about him, as a Swiss label released last
year a third LP of his songs.
Stephane
----------------
New on RD Records:
Arthur Lee Harper: Memories (Deluxe LP)
Switzerland RD Records specialises in totally UNRELEASED Recordings
from the 60s/70s only!
Please see the RD Records homepage for details:
http://www.rd-records.com
RD 11 Arthur Lee Harper - Memories
What we have here are songs Arthur Lee Harper had recorded during the
time of his two albums "Dreams And Images" and "Love Is The Revolution".
These songs are on neither album. Imagine the best you know from him
and you can imagine what it's all about. In mid January 2002 Arthur Lee
died the night after his wife was killed in a car accident. What you hear
on this record is his legacy, authorized by his children.
Ultra thick cover deluxe LP! This is not a re-issue....this is a limited
first release.
-------------------[ archived by Spectropop ]-------------------
Message: 9
Date: Mon, 09 Feb 2004 18:28:14 -0700
From: Justin McDevitt
Subject: Re The Now Sound
Phil Milstein wrote:
> "The Now Sound" is as good a name for this genre as I could
> imagine -- has it been kicking around for a while, or did you
> just come up with it? I also wonder what label The Brass Ring was on.
Hi Phil and Spectropop,
I'm a bit hazy regarding the first time I heard the term THE NOW SOUND
in reference to the light and airy type of music that characterized this
genre. It must have been in the later part of the 60s. The Now Sound
is also the title of The Brass Ring's 3rd Lp from 1968, recorded, like
the previous two LPs on Dunhill.
I don't know if The Ray Charles Singers or Ray Conniff would qualify for
representation in the Now Sound stable of artists. I say this because
I've always associated this sound with instrumental ensembles like the
Tijuana Brass, The Baha Marimba Band, The Teabones, Raymond Lefevre, Paul
Mauriat and to some extent James Last. Though regarding vocalists, I
might put Chris Montez in the Now Sound category as I think about his
treatment of such standards as "The More I See You," "Time After Time,"
"Call Me" etc. So could some of the Lettermen's stuff from 1967-68.
Speaking of "Call Me," a good bit of the venerable Ms Petula Clark's
work from the late 60s could be included with other Now Sound tracks.
"Don't Give Up" and "Have Another Dream On Me" come to mind.
(You say tomato--One man's ceiling is another man's floor; to each
his/her own).
Justin McDevitt
-------------------[ archived by Spectropop ]-------------------
Message: 10
Date: Mon, 09 Feb 2004 21:39:17 -0500
From: T.D. Bell
Subject: Re: Spin & Marty/Triple-R Song
Mary wrote:
> Remember the Mickey Mouse Club....Spin and Marty??? Does anyone
> have the words to the "Triple R Song"?
The only verse I can remember offhand is:
When tenderfeet come to the Triple R (yippee yea! yippee yo!)
The get on a horse, but they don't get far (yippee yea! yippee yo!)
Around the corral they trot and trot
'Till they can't sit down on the tender spot
Yippee yea! Yippee Yii! Yippee yo!
--TD
-------------------[ archived by Spectropop ]-------------------
Message: 11
Date: Tue, 10 Feb 2004 03:09:18 -0000
From: Bob Celli
Subject: Roses Are Red
I did an interview with Cliff Crofford a few years ago. Cliff wrote
"Old Rivers" for Walter Brennan and "Chip Chip" for Gene McDaniels. He
had an interesting story about "Roses Are Red". He told me that Snuff
Garrett asked him and Tommy Allsup to listen to a stack of demos he
had just received to see if there was anything worthwhile there. Cliff
listened to his half of the stack and didn't think anything was
worthwhile there, while Tommy listened to the other half and picked
out "Roses Are Red" as he thought it might work for Bobby Vee. As it
turned out, Snuffy had Johnny Burnette record the song and Vee never
did. BTW, if you read this, Paul Evans, the singer on the Audiosonic
acetate that I sent you a CD-R and a color label shot of a few years
ago turned out to be none other than Paul Simon.
Bob Celli
-------------------[ archived by Spectropop ]-------------------
Message: 12
Date: Mon, 09 Feb 2004 19:39:56 -0800 (PST)
From: steveo
Subject: for Paul Evans - Guaranteed Records
Paul,
I would like to ask about your label Guaranteed Records. What is the the
story on it, and who owned it?
Steveo
-------------------[ archived by Spectropop ]-------------------
Message: 13
Date: Mon, 09 Feb 2004 17:24:42 -0500
From: Mikey
Subject: Re: Goffin/King research
Don, when and where is the Mann / Weil show? I live in
Manhattan.
Mikey
-------------------[ archived by Spectropop ]-------------------
Message: 14
Date: Mon, 09 Feb 2004 19:30:23 -0500
From: James Botticelli
Subject: Re: The Hassles/New York City (You're...)
Jim Shannon wrote:
> Fast speed to Al Kooper; one of my favorite songs was a great
> composition called "New York City (You're A Woman)." Really nice
> vocals and lyrics. Also, good song to seg with on radio.
Is that from "I Stand Alone"? I actually have the book of sheet music for
that LP. And if Al could let us know if he's still at Berklee.
--
James Botticelli
former Berklee PR guy
-------------------[ archived by Spectropop ]-------------------
Message: 15
Date: Mon, 09 Feb 2004 17:36:09 -0500
From: Joe Nelson
Subject: Re: The Now Sound
James Botticelli wrote:
> Like Nelson Riddle, Frank Barber, Howard Roberts, Bob Crewe,
> Enoch Light....
Light went one better, mentoring a couple of rock-oriented bands.
Joe Nelson
-------------------[ archived by Spectropop ]-------------------
Message: 16
Date: Mon, 09 Feb 2004 19:48:47 -0000
From: Amber
Subject: Wall Of Pain
Paul Bryant wrote:
> I see Wall Of Pain has hit the book & record shops. Anyone
> read it yet?
Fuzzy Bunnies,
Ah yes, I remember it well... It was during one of my wild
weekends in New York in 1962 that I famously taught Phil
Spector to Hully Gully. It was at the Peppermint Lounge. He
was entranced by three new foxes shaking their stuff on the
rails. Honeys, I soon put a stop to that. I recognized the
intro to the Dovells' "Hully Gully Baby" the second the needle
hit the wax. Before Phil knew it, I'd whipped that cape from
his shoulders and dragged his sorry ass onto the dancefloor...
Anyway, there's little else to do in this hell-hole than read
every music biography that slides my way. Wall Of Pain is the
fourth tome about Phil Spector I've devoured in as many months.
If you can't get hold of the books written by Rob Finnis,
Richard Williams or Mark Ribowski - the latter two are still
in print - then this newer one isn't a total waste of time.
There: a bad review. So sue me!
Now, if one of you lambs would like to send me a care package
containing the new Marvelettes book...
AvT
xxx
-------------------[ archived by Spectropop ]-------------------
Message: 17
Date: Mon, 09 Feb 2004 17:39:32 EST
From: Mike Rashkow
Subject: Re: Teacho Wiltshire
Al Kooper wrote:
> I actually studied with Teacho Wiltshire (hence the Teacho). He was
> so busy he would have me write ghost arrangements for him around '63
> - '64. B-sides mostly. But what an education!
This question of this name came up way back months ago. I suggested the
possibility that it was a corruption of Teacher. Now I am less sure of that
based on the knowledge of a journalist named Terry Teachout.
The French pronunciation of Teachout is likely to be close enough to Teacho
for government work, and many times in the Southern US the first son is given
the mother's maiden name as a first name--for instance my old junior high
school chum, Colquitt Tanner.
At this time I am more prepared to think the name came from Teachout.
At the same time, I will bow to Koop's greater knowledge in all things
music. I am loathe to disagree with him unless armed with the Holy Bible, the
Encyclopedia Brittanica and a Mossburg Persuader, 12 Gauge, Pistol Grip.
Di la,
Rashkovsky
-------------------[ archived by Spectropop ]-------------------
Message: 18
Date: Tue, 10 Feb 2004 00:59:48 -0000
From: Jeff Lemlich
Subject: Re: Mark & Clark - Ron Dante connection
Ron Dante wrote :
> Mark and Clark were a fun duo to produce. We used twin grand
pianos
> in the studio, and they played the heck of them on each song.
> Recently they played Las Vagas at the Imperial Palace lounge.
You can hear Ron's song "Jigsaw Woman", performed by The Mark &
Clark Band, now playing in musica.
Jeff Lemlich
http://www.limestonerecords.com
-------------------[ archived by Spectropop ]-------------------
Message: 19
Date: Mon, 09 Feb 2004 20:16:45 -0500
From: James Botticelli
Subject: Re: The Now Sound
Justin McDevitt wrote:
> I don't know if The Ray Charles Singers or Ray Conniff would qualify for
> representation in the Now Sound stable of artists. I say this because
> I've always associated this sound with instrumental ensembles like the
> Tijuana Brass, The Baha Marimba Band, The T-Bones, Raymond Lefevre,
> Paul Mauriat and to some extent James Last.
Anyone could have made a 'Now Sound' LP. Billy May did even. It was the sort
of rockin' arrangements given to Top-40 songs in an instrumental style that
was as at home in the supermarket, elevator, or dentist's office as it was
on Dad's hi-fi. Nowadays you hear the Stones in the supermarket, elevator,
and dentist's office, Dad is deaf or dead, and you have to go to a special
nightclub Tuesday evenings to hear the 'Now Sound'.
--
James Botticelli
-------------------[ archived by Spectropop ]-------------------
Message: 20
Date: Mon, 09 Feb 2004 17:47:56 -0800 (PST)
From: steveo
Subject: Re: Wayne Newton and Pat Boone surf records
Eddy wrote:
> produced by Terry Melcher. They both have Bruce Johnston on backing
> vocals.
Eddy,
Of the two, I enjoy the 1964 Pat Boone single "Beach Girl" on Dot Records.
Bruce and terry were doing a production for Pat similar to "Don't Worry
Baby". The track and feel is similar.
Steveo
-------------------[ archived by Spectropop ]-------------------
Message: 21
Date: Mon, 09 Feb 2004 21:19:44 EST
From: Paul Richard
Subject: Re: The Now Sound
Great subject -- you'll have to write a book on it sometime, Justin. I love The
Arbors & early Sandpipers/Grads in this lovely category.
Cheers,
Paul
-------------------[ archived by Spectropop ]-------------------
Message: 22
Date: Mon, 09 Feb 2004 20:48:58 EST
From: Mike Rashkow
Subject: Re: Moondog meets The Lonely Goat Herd?
previously:
> Well, The Moondog did do an album with Julie Andrews in the 50s, so I
> could almost go for Phil's reply. Does anyone know where the Moondog/
> Julie Andrews collaboration can be obtained?
Who's zoomin' who here? That dude that used to stand out there on 5th
Ave. dressed like a Viking with a pullcart -- he recorded with Julie Andrews? I
mean I know he was a trained musician, but he was also quite strange -- hard to
picture him and Julie Andrews. Kind of like Esquerita recording with Itzhak
Perlman.
Di la,
Rashkovsky
-------------------[ archived by Spectropop ]-------------------
Message: 23
Date: Tue, 10 Feb 2004 02:54:15 GMT
From: Mark
Subject: various & sundry
Hey Guys!
Running a little behind ... this message should catch me up ... LOL!
First off, welcome to Jerry Osbourne, Paul Evans and Donna Marie! Jerry,
your columns have entertained and informed me for years! Paul, I just
love "Seven Little Girls", and your version of "Midnight Special" is my
favorite. Donna, I hope to find out more about you and your career ... sorry
I don't seem to be as familiar with your work as some of the other
S'poppers are.
Dr. Mark: are you still keeping up with Laugh-In and the musical acts? I
was wondering if they've shown either the Legendary Stardust Cowboy's
appearance or Wild Man Fischer's (!) appearance on the show.
Record label blunders: I picked up a copy of Polly Brown's underrated "Up
In a Puff of Smoke" at a record convention. Imagine my surprise when I
played it, only to hear Bobby 'Blue' Bland singing "I Wouldn't Treat a Dog
The Way You Treated Me"!
Re Caroline Munro who sang "Tar and Cement": Is this the same Caroline
Munro who was an actress?
Al Kooper: from the list of songs you mentioned, I noticed Ernie Andrews
"Where Were You When I Needed You" and Lorraine Ellison's "I'm Over
You" -- these are both fine beat ballads. I have the Lorraine Ellison "Best Of"
CD that Ichiban issued sometime ago (out of print now), and there's
another song of yours on there, the funky "Doin' Me Dirty" (from the movie
The Landlord). Did you ever meet Lorraine Ellison? (Happy 60th B-day,
BTW!)
Re fake skipping records: I don't recall anyone mentioning the Turtles'
tune "Grim Reaper of Love" (a seemingly ENDLESS fake skip!).
Re "Open Up Your Heart": I recall this song also being used for a short
time as the closing theme for the Flintstones. Pebbles and Bamm-Bamm
played the tune in a concert hall as the closing credits rolled (I think this
was the last season of the show).
Re Cameo/Parkway subsidiaries: there was also Double R (a soul label)
and a label called Volcano (or something similar I saw once in a thrift
shop). Also, I've seen scans of Northern soul 45s on Sounds of Soul and
Key-Loc which read 'distributed by Cameo-Parkway'. I've also seen
non-C/P scans of these labels.
Re DJ pronounciations: There was a group called the Five Empressions,
who had a song called "Little Miss Sad". They had to change their name
to the Five Emprees, as the ordinary radio listener would have misheard
'Empressions' as 'Impressions' (the Impressions were hot at the time).
Re Patty Duke and "Tell Me Mama": this is the same song as the Christine
Quaite tune we were discussing a while back. Odd that Patty never seems
to have issued it on a record.
Re Feldman/Goldstein/Gottehrer: Their record with Patty Lace and the
Petticoats, "Say One (Is a Lonely Number)", was co-written with someone
named Pegues. I surmise that this is Louis Pegues, Jr., better known to
us Northern soul fans as Lou Courtney.
PHEW ... that's it!
Best,
Mark
-------------------[ archived by Spectropop ]-------------------
Message: 24
Date: Mon, 09 Feb 2004 19:14:35 -0800 (PST)
From: Larry Lapka
Subject: Hassles
Dear Jim Shannon:
The Hassles were on United Artists. They released two albums and
several singles under the Hassles name. I have one of their albums
somewhere here, and if I remember correctly, Billy Joel is listed as "Billy
Joe."
Billy was also in something called Atilla, and yes, he wore some type of
body armor -- that was their gimmick, like the Raiders with their
Revolutionary War garb. It didn't work for Billy, though.
I don't know the truth in this, but I hear Joel owns all his work with the two
bands, and refuses to release anything; he is embarrassed by it. Can
anybody verify this?
Larry Lapka
P.S.: Right around the time he hit it big, you could see Billy riding his
motorcycle all the time on the streets of Huntington, Long Island, a short
ride from where I live. Right after he hit it real big, you didn't see him riding
the motorcycle much anymore.
-------------------[ archived by Spectropop ]-------------------
SPECTROPOP - Spectacular! Retro! Pop!
End
