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SPECTROPOP - Spectacular! Retro! Pop!
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There are 25 messages in this issue.
Topics in this digest:
1. Linda Glenn; Ohio Express redux; Lost Nite; more
From: Country Paul
2. Re: buying reissue CDs
From: Superoldies
3. Re: Posthumous overdubs
From: Nick Archer
4. Hippies
From: Kingsley Abbott
5. Re: David Gates = The Manchesters
From: Craig Davison
6. Yodar, Bob Lind
From: Bob Rashkow
7. Re: Carson & Gaile
From: Phil X. Milstein
8. L.A. session musicians
From: Charles Ulrich
9. Re: New York Rock Ensemble
From: Jim Shannon
10. Re: Mamas & Papas musicians / Klaus Voorman
From: Frank Jastfelder
11. Re: Demensions' "Over The Rainbow"
From: Austin Roberts
12. Re: Demensions' "Over The Rainbow"
From: Gary Myers
13. Re: Posthumous overdubs
From: Billy G. Spradlin
14. Re: Beach Boy Meets 'Duck' on Cartoon Network
From: Billy G. Spradlin
15. WISH/WABC survey format
From: Country Paul
16. Four Esquires/Paris label; Jordan Bros.; Ersel Hickey; "Nashlinks"
From: Country Paul
17. The Excellents
From: Paul Levinson
18. Re: L.A. session musicians
From: Frank Jastfelder
19. Re: Mamas & Papas musicians
From: Al Kooper
20. Re: Peter Antell, John Linde and the Percells
From: Mick Patrick
21. Re: Demensions' "Over The Rainbow"
From: Paul Levinson
22. Les Scopitones
From: Phil X Milstein
23. Re: C. Carson Parks
From: Frank Jastfelder
24. Re: Dobie Gillis Theme
From: Frank Jastfelder
25. Reading music
From: Will Stos
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Message: 1
Date: Thu, 13 May 2004 02:05:46 -0400
From: Country Paul
Subject: Linda Glenn; Ohio Express redux; Lost Nite; more
"New" business: I have what I believe to be an obscure 45 on Gold Arrow
(#211) by Linda Glenn - "'Til Tomorrow," the sentimental waltz from the show
"Fiorello." It's arranged by "Jimmy Haskell," and probably dates to 1960-62
or so. (Gold Arrow was one of myriad little labels distributed through Circa
in the west coast, the largest probably being Indigo.) Ms. Glenn sounds like
a moppet prodigy with an immense voice (although occasionally in search of
the pitch); the record is totally devoid of irony, but is somehow sweet,
poignant and brassy at the same time. Anyone know anything about Linda
Glenn?
Still catching up...
paferra:
> If you'd like to bring back the flavor (so as to get them nasty old
> '7T's' out of your mouth) to what you've been chewing all these years,
> just listen to this: http://www.marstalent.com/bio_ohio_express.htm
> Some things REALLY never change :)
Yow - this is scary! Time warp or what?!?
Re: Lost Nite Records' Gary Stevens album, that label used to release
collections of oldies and market the same ones to different local DJs or
stations with their own custom covers; so there could be several versions of
a particular album with the same contents. Although specializing in oldies
reissues, Lost Nite did indeed have contemporary records - even hits,
including the Visions' "A Teenager's Life" in 1960 or 61, possibly their
first release.
Earlier:
> ...[T]he band was in fact originally known as Bloos Magoos. I
> clearly recall them being talked about under that name in the
> pages of "Hit Parader" for some time before "We Ain't Got Nothin'
> Yet" came out....
I remember seeing a signboard for them playing a gig in Greenwich Village as
"Bloos."
Bill Reed, beautiful obit for Priscilla Paris. Damn shame it had to be
written....
Country Paul
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Message: 2
Date: Thu, 13 May 2004 07:09:02 -0000
From: Superoldies
Subject: Re: buying reissue CDs
I find Amazon, GEMM, MusicStack, eBay and Hepcat Records the best
places for best prices if you know what you are looking for.
The seemingly top reissue label (I check each site out individually)
are:
ACE (UK)
Collectables
Taragon
Sundazed
Collector's Choice Music
Raven Records (Australia)
Rev-Ola (UK)
Varese Sarabande (Vintage)
Rhino
Bear Family (Germany)
Norton Records
Buffalo Bop (Holland)
Repertoire (UK)
Del-Fi, Eric, Hip-O do occasional releases (not as often as these
others). All have websites I believe - I haven't seen a lone site
myself that reviews all new "oldies" releases. CCM is good for info,
but only with what they carry.
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Message: 3
Date: Thu, 13 May 2004 06:21:56 -0500
From: Nick Archer
Subject: Re: Posthumous overdubs
Kurt:
> I would reckon that "posthumous overdubbing" is always done to some
> degree following the untimely deaths of substantial (and profitable)
> musicians... provided there are recordings left to embellish.
I used to produce radio commercials for RCA Nashville in the early
80's. They released a posthumous Elvis album, "Guitar Man". The RCA
contact told me that they had redone all of the tracks around Elvis'
vocals, and that it was really hard keeping up with the timing
changes in his vocals. She also mentioned that they got Jerry Reed to
come back in as part of the band.
A funny thing. When I delivered the spots for approval through the back
lobby of the RCA building on Music Row, there was no one in the hall
between Studio A and the lobby. I was leaning on a handtruck of two
inch master tapes waiting for someone, when I noticed that the handtruck
was loaded with original Elvis two inch master tapes! The thought of
rolling them away did cross my mind, but I stuck it out til the
secretary showed up.
Nick "Could Have Retired By Now" Archer
Nashville TN
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Message: 4
Date: Thu, 13 May 2004 11:22:33 +0100
From: Kingsley Abbott
Subject: Hippies
Having established the Jazz rooted hipsters, and the positive sounding
Orlons East Coast hippies, the first mention I can recall of the West
Coast variety was in Buzz & Bucky's (aka Cason & Wilkin of the Ronny &
The Daytonas studio gang) "Tiger-A-Go-Go" single from 1965. Lyrically
they met 'a California Hippie, who said come along with me, gonna get
you to the Tiger on time" - The Tiger being a (presumably) hip club in
SF. They certainly did use the term 'Hippie' in SF at that time (ref
'Death Of A Hippie March' later).
Kingsley
(from his Antique '32 Studebaker Dictator Coupe)
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Message: 5
Date: Thu, 13 May 2004 14:34:29 -0000
From: Craig Davison
Subject: Re: David Gates = The Manchesters
Martin Roberts wrote:
> Phil M., in a flurry of writing activity almost in the Country Paul
> tradition, asked about any vocal skeletons that may be lurking in Mr.
> Gates' wardrobe. Playing on musica, The Manchesters "I Don't Come
> From England" (VJ), written, arranged and, as I've always understood,
> sung by David Gates.
It was available on eBay for $5 a pop for quite some time. Looks
like someone in Florida found a big bunch of them. Weird novelty
tune with basso and falsetto vocals. Flip side is a novelty
instrumental as I recall.
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Message: 6
Date: Thu, 13 May 2004 20:25:56 EDT
From: Bob Rashkow
Subject: Yodar, Bob Lind
Unfortunately I haven't heard Thresholds Of Love (by The Vision on
Uni) but knowing that Yodar Critch (**of course I can't find my
Whitburn book now, figures**) was a pseudonym for either Gary Zekley
or one of his fellow pop producer-penners and that Critch, Zekley
and Don Grady all were part of The Yellow Balloon, it's a safe bet
that it's a good tune.
"Don't Be Concerned" is actually the title of Bob Lind's debut World
Pacific album containing "Elusive Butterfly", "Cheryl's Going Home",
"Truly Julie's Blues", etc. The Verve LP was (at least in the States)
simply called "Bob Lind". THe overdubbing may sound awkward but I
love this LP, especially because he sings "Hard Road" and I still
don't know which, if any, LP Peter, Paul & Mary recorded this great
folk song on.
Bobster
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Message: 7
Date: Thu, 13 May 2004 22:53:42 -0400
From: Phil X. Milstein
Subject: Re: Carson & Gaile
Frank Jastfelder wrote:
> I purchased the single recently but have to burn it on cd yet. I'll
> let you know when I found the time (but this could take a few weeks).
> A friend told me that Carson is the brother of Van Dyke Parks. Isn't
> that ironic, you bring out some critically acclaimed albums, work
> with a genius (Brian), and your brother writes one little ditty and
> gets rich. Does anyone have a clue if Carson composed more noteworthy
> songs? And who's Gaile BTW?
I hope you do get to copy out that track to musica at some point, I'm
very anxious to hear it. Gaile was Gaile Foote, a fellow member (as was,
for a while, Carson's brother V.D. Parks) of his Greenwood County
Singers. If I'm not mistaken Carson & Gaile were husband & wife at the
time of their duet recordings, but I could be mistaken.
--Phil M.
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Message: 8
Date: Thu, 13 May 2004 18:38:19 -0700
From: Charles Ulrich
Subject: L.A. session musicians
I hope to identify the musicians in a couple of photos of Frank Zappa
sessions. Can anyone help?
The photo at http://members.shaw.ca/fz-pomd2/pics/fohorns.jpg is
from Freak Out! (1966). In addition to Mothers Elliot Ingber and Roy
Estrada, it shows two French horn players. Presumably these are
Arthur Maebe and George Price, but which one is which?
The photo at http://members.shaw.ca/fz-pomd2/pics/lgsession.jpg is
from Lumpy Gravy (recorded 1967, released 1968). Aside from the
silhouette of someone in the booth and FZ with his hands up, I see
eleven people in the photo.
The following people are reported to have participated in sessions
for Lumpy Gravy:
February 1967:
Esther Roth (OM)
John Guerin (drums)
James Helms [a.k.a. Jim Haynes?] (guitar)
Bob West (bass guitar)
Jimmy Bond (bass)
Kenneth Watson (tympani, mallets)
Thomas Poole (percussion)
Paul Smith (piano)
March 1967:
Sid Sharp (contractor)
Mike Lang, Lincoln Mayorga, Pete Jolly (keyboards)
Frankie Capp, Shelly Manne (drums)
Emil Richards, Gene Estes, Alan Estes, Victor Feldman (percussion)
Ted Nash, Jules Jacob, John Rotella, Don Christlieb, Gene Cipriano (woodwinds)
Arthur Maebe, Vincent De Rosa, Richard Parisi, Arthur Briegleb, David
Duke, George Price (French horns)
Jimmy Zito (trumpet)
Kenneth Shroyer, Lew McCreary (trombone)
Tommy Tedesco, Tony Rizzi, Al Viola, Dennis Budimer (guitar)
Bob West, John Balkin, Jimmy Bond, Lyle Ritz, Chuck Berghofer (bass)
Alexander Koltun, Tibor Zelig, Ralph Schaeffer, Bernard Kundell,
William Kurasch, James Getzoff, Phillip Goldberg, Leonard Selic,
Arnold Belnick, Leonard Malarsky, Harold Ayres, Jerome Reisler, Harry
Hyams, Joseph DiFiore, Jerry Kessler, Raymond Kelley, Joseph Saxon,
Jesse Ehrlich, Harold Bemko (strings)
Joan Steele, Robert M. Calderwood, Russell N. Brown, Vincent Bartold,
Jack DuLong, Robert Ross, R.D. McMickle, C.D. Goodwin, John Donahue
(copyists)
Thanks for any help you can provide.
--Charles
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Message: 9
Date: Thu, 13 May 2004 14:12:46 -0000
From: Jim Shannon
Subject: Re: New York Rock Ensemble
Me:
> Does anyone know if New York Rock Ensemble ever released a single
> called "Beside you" . I came across the song on a special CD set
> and its georgeous soft ballad with vocals by Mike Kamen. I know
> they were originally signed by Columbia in the late sixties. This
> song comes off an LP called "Roll Over".
Clark Besch:
> You came across one of my totally all time fave 45s! YES, "Beside
> You" was a 45 hitting (where else?) the Wichita, Kansas charts in
> January, 1971... Can you fill me in on the Cd you have it on and
> what else is on it?
The Double CD set I ordered was on Sony Music Special Products. "Two
Classic Albums" fro the New Rock Ensemble: "Roll Over" and "Freedom
Burger". Both "Beside You" and 'Fields of Joy" are found on "Roll
Over". Mike Kamen is the lead vocalist but also plays oboe.
I am impressed with your enclycopedic knowledge of "pop" and enjoy
reading your dispatches. So glad, we have you as part of the S' pop
group.
Jim Shannon
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Message: 10
Date: Thu, 13 May 2004 20:20:34 +0200
From: Frank Jastfelder
Subject: Re: Mamas & Papas musicians / Klaus Voorman
Mike McKay:
> Eric Hord (aka "the Doctor") was the Mamas and Papas' road guitarist.
> That's him filling in on guitar for the flute solo of "California
> Dreamin'" in the "Monterey Pop" movie. I'm pretty sure he recorded
> with them also.
I only have three albums by the MATP. Their first, their third and
their last. On the former the credits are like I wrote. On the latter
it's Earl Palmer and Ed Greene on drums, David T. Walker, Louie Shelton
and Don Peake on guitar, Tony Newton on bass and Jim Horn on flute and
sax again. Papa John is on keys with Joe Sample and Clarence McDonald.
BTW I think their swansong "People Like Us" has some brilliant moments.
And isn't that Hal Blaine playing drums in Monterey?
I wrote:
> Voorman brought out his biography in Germany in October of last year.
> It's called "Why Don't You Play 'Imagine' On The White Piano, John?"
> (sic). I have no clue if there's a translated version for the English
> market yet. It has 327 pages, and was well-received over here.
Phil M:
> Frank, I'll buy you a copy of the book if you'll translate it into
> English for us!
I don't sink sis is a good idea. Maybe you taking service of computer
translation software for best results. ;-)
Frank "The Kraut" Jastfelder
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Message: 11
Date: Thu, 13 May 2004 15:19:27 EDT
From: Austin Roberts
Subject: Re: Demensions' "Over The Rainbow"
Ed,
Logically I agree with you, but magically, I'm not so sure. There
was something about this record that struck me as a bit different
than any other record of its ilk. Somewhat like the magic of the
obviously Dionesque Little Star by the Elegants. The oddity of
this arrangement (Over The Rainbow, especially vocally), just like
what Michael Brown did with several of the Left Bankes' cuts,
strikes me as an odd originality and majesty seldom found in pop
music. In other words, I LOVE THIS RECORD!
See you soon, Austin
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Message: 12
Date: Thu, 13 May 2004 21:13:15 -0700
From: Gary Myers
Subject: Re: Demensions' "Over The Rainbow"
Previously:
> The only thing I didn't care for on The Demensions' version is
> the fact that chords they used on the bridge do not accomodate
> the actual melody.
Austin Roberts:
> ... the lead male singer/arranger (the arranger part being the
> most important where this record is concerned), was just a kid
> when he put this record together, and it sounds like he just let
> his muse take him wherever. There is a certain magic to the record
Yes, there is.
However, speaking again of the chords, I also remember that they used
a IVm (or iv, if you prefer) in a place in the verse where the actual
melody is the major 3rd.
But then the Ventures actually did "Walk Don't Run" mostly incorrectly,
too, and look at what a huge influence that was - including to me! :-)
gem
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Message: 13
Date: Fri, 14 May 2004 04:41:33 -0000
From: Billy G. Spradlin
Subject: Re: Posthumous overdubs
The most infamous "posthumous overdubbing" I have heard is Norman
Petty overdubbing the Fireballs over Buddy Holly's home demos to
create "new" recordings in the early 60's. The problem is some of
these arrangements sound quickly done with little feel for what was
on his home demos. The Fireballs were a fine band but I wonder what
these recordings would have sounded like had Petty used the Crickets
(who were under contract with Liberty by then and couldnt be used)
and taken more time.
Another overdubbing "project" I cant stand is on the Vogues
Reprise "Greatest Hits" LP where they overdubbed a huge orchestra
over the groups original mono Co & Ce recordings. While the sound is
fuller (I guess you can call them "true stereo" mixes) the overblown
arrangements stick out badly.
Billy
http://listen.to/jangleradio
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Message: 14
Date: Fri, 14 May 2004 05:05:48 -0000
From: Billy G. Spradlin
Subject: Re: Beach Boy Meets 'Duck' on Cartoon Network
Karen Andrew wrote:
> I don't have cable (or I'd be a certifiable couch potato) so I'm
> curious about the Cartoon Network's hit series "Duck Dodgers". Is
> this cartoon for adults? Otherwise, why would little kids know who
> Brian Wilson is? I think this is great if the intended audience
> knows who Brian is and are fans of his and the Beach Boys music.
Exposing kids to GOOD music via cartoons and kids shows is fine with
me since most "for kids" music out there is britney spears inspired
pap. I know some They Might Be Giants fans who first heard the duo's
music on WB's "Anamaniacs" cartoon series in the early 90's.
I just hope this "Brian" character wont be a overwieght bearded
alien, pig or duck wearing a bathrobe sitting at a piano!
The show is a lot of fun - the campy opening theme is sung none other
than Tom Jones, and the animation and writing is a notch above other
shows on Cartoon Network and Nickelodeon. If you love the original
Chuck Jones/Loony Toons shorts I think you will enjoy it.
Billy
http://listen.to/jangleradio
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Message: 15
Date: Fri, 14 May 2004 01:42:11 -0400
From: Country Paul
Subject: WISH/WABC survey format
Some "old business" from Dan Hughes:
> I grew up in Indianapolis, and the local top 40 station WISH (became
> WIFEin late '63) printed a weekly survey that was 7 inches square. In
> other words, the same size as a 45 jacket! So it fit right in with
> the singlesyou bought each week (nobody bought albums yet--this was
> pre-Beatles). One side of the survey had a picture of a 45 rpm record
> on it; the other side had the chart, which consisted of, if I remember
> correctly, the week's top 50, plus a couple of Picks to Click, plus
> the Album of the Week (which for the longest time, I remember, was
> the Limeliters Tonight In Person).
WABC used a similar format in NYC - the 45 had a "custom label" for the
station and pictures of the DJ's and their times on the air around the edge.
The back had the Top 77, a pick hit, each DJ's pick, and a think some other
songs plus an album of the week - all in fairly small print! (And the album
wasn't the Limeliters!)
Country Paul
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Message: 16
Date: Fri, 14 May 2004 01:42:13 -0400
From: Country Paul
Subject: Four Esquires/Paris label; Jordan Bros.; Ersel Hickey; "Nashlinks"
Al Kooper:
> Wally [Gold] was in The Four Esquires, discovered and produced
> KANSAS and wrote "It's Now Or Never" and I'm pretty sure "It's
> My Party". Also produced Streisand & Jerry Vale. He passed away
> a few years ago. Another great guy. Lived in Jersey.
The Four Esquires were a close-harmony group similar to The Four Lads;
weren't they on Paris Records for their career? As I remember it was a quite
a prolific label, mostly middle-road pop. They also had some tracks with
Rosemary June, who I remember as "yourbasic girl singer"; one of the best
was a Betty Johnson-like rock ballad version of "I'll Always Be In Love With
You." I think she was also on the Four Esquires hit "Always And Forever."
Any information on the Paris label? (I'd thought Wally Gold was part of it
somehow.)
I checked out www.thejordanbrothers.com as recommended by Al Q. "Heart"
audio comes up on the main page (they say it wasn't a 45, but why is the
song so familiar?) "The Things I Didn't Say" is also sampled (good record),
and there claims to be a link to a sample of "Gimme Some Lovin'" (#3 in
Boston, it claims), but it wouldn't open. I just may spring for the Greatest
Hits CD....
Gary Myers, sad to hear about Ersel Hickey; hope he's doing better. I was
just listening to "Bluebirds Over The Mountain" a couple of days ago; he
didn't need more that 1:20 to say everything that needed to be said. A
haiku-sized work of genius, IMO.
Nick Archer:
> There's a great web site that I stumbled upon - Nashville Combos
> of the 50s-70s, at http://nashlinks.com/sixties.htm Chip Curley,
> a combo member, put up the site. Many pictures, and don't miss the
> bands' business cards at the bottom. I especially like "The
> Ministers Of Sound- Specialists In The Field Of Music".
Great find, Nick! My favorite group name, from the 70s page: "Most Valuable
Players." It's so obvious - why didn't anyone think of that before?!?
Closing note to Peter G. and Al Kooper - when last I looked, the Jahn's Ice
Cream in downtown Union, NJ is still there!
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Message: 17
Date: Fri, 14 May 2004 06:52:32 -0000
From: Paul Levinson
Subject: The Excellents
Peter Grad:
> I'm afraid I never heard of the Excellents... but I will see if
> I can pick up their record as well...
Country Paul:
> "Coney Island Baby" and "You Baby You" (a remake of the Cleftones
> classic) was a great two-sided hit on Blast in 1961-62.
Right. The Excellents sounded a lot like The Channels' "The Closer
You Are."
The Excellents dropped by Poe Park near Fordham Road on the Grand
Concourse in the Bronx in June 1963, and sung a few songs, free of
charge and a cappella. That pulsing falsetto from "Coney Island
Baby" bounced right off the hot sky and into my brain, where it's
still rolling around. (The only guy in the group I slightly knew,
though, was Izzy, who sang bass.)
All best,
Paul
www.sff.net/people/paullevinson
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Message: 18
Date: Fri, 14 May 2004 10:45:15 +0200
From: Frank Jastfelder
Subject: Re: L.A. session musicians
Charles Ulrich:
> I hope to identify the musicians in a couple of photos of Frank Zappa
> sessions. Can anyone help?
>
> The photo at http://members.shaw.ca/fz-pomd2/pics/fohorns.jpg is
> from Freak Out! (1966). In addition to Mothers Elliot Ingber and Roy
> Estrada, it shows two French horn players. Presumably these are
> Arthur Maebe and George Price, but which one is which?
>
> The photo at http://members.shaw.ca/fz-pomd2/pics/lgsession.jpg is
> from Lumpy Gravy (recorded 1967, released 1968). Aside from the
> silhouette of someone in the booth and FZ with his hands up, I see
> eleven people in the photo.
The only one I know for sure on the picture from the Lumpy Gravy
session is Dennis Budimir (that's his correct spelling). He's fourth
to left from Zappa (the one with the short sleeved black shirt in the
foreground).
Frank
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Message: 19
Date: Fri, 14 May 2004 05:02:39 EDT
From: Al Kooper
Subject: Re: Mamas & Papas musicians
Me:
> I thought at some point they recorded with their road band, of which
> I know "fast" Eddie Hoh was the excellent drummer. Maybe Elliott
> Ingber on guitar?
Mike McKay:
> Eric Hord (aka "the Doctor") was the Mamas and Papas' road guitarist.
> That's him filling in on guitar for the flute solo of "California
> Dreamin'" in the "Monterey Pop" movie. I'm pretty sure he recorded
> with them also.
What he said.
I meant Eric Hord.... Can we fill in a bass player and keyboardist?
We got the frummer & guitarist so far ("Fast" Eddie Hoh, Eric "The
Doctor" Hord).
Old Al Kooper
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Message: 20
Date: Fri, 14 May 2004 21:36:41 +0100
From: Mick Patrick
Subject: Re: Peter Antell, John Linde and the Percells
The S'pop Team:
> S'pop are pleased to announce the publication of a brand new
> feature by John Clemente, author of that essential tome "Girl
> Groups: Fabulous Females That Rocked The World". The article
> documents the careers of Long Island-based girl group the
> Percells and the songwriting/production team Pete Antell and
> John Linde. Read it here:
> http://www.spectropop.com/percells/index.htm
I'm sure all S'poppers will join me in thanking John for another
great article.
I met up with Pete Antell in London a few years back, and had a
great time hearing all his Bob Crewe stories and suchlike. Some
weeks later a cassette arrived for me from NY containing a few rare
Linde/Antell productions. Best of the lot was a rare Cousin Brucie
Morrow radio jingle from 1963, performed by the Percells and the
Valrays. After much searching, I located the tape. Hear the jingle
@ musica: http://groups.yahoo.com/group/spectropop/files/musica/
Love that 1964 pic of Pete - what a heartthrob!
Hey la,
Mick
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Message: 21
Date: Fri, 14 May 2004 07:00:44 -0000
From: Paul Levinson
Subject: Re: Demensions' "Over The Rainbow"
Austin Roberts:
> I was told by a musician friend of mine from Brooklyn who knows
> the lead male singer/arranger (the arranger part being the most
> important where this record is concerned), was just a kid when
> he put this record together, and it sounds like he just let his
> muse take him wherever. There is a certain magic to the record,
> including the beautiful female part.
One of my favorite all-time harmony records, and the first song The
New Outlook sang (we opened our few performances at Bronx House and
the 167th Y with "Over the Rainbow," Demension style).
But I'm 99% sure that Irving Spice did the arrangement -- another
kindly old guy with great ears. He was a violin player.
All best,
Paul
www.sff.net/people/paullevinson
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Message: 22
Date: Fri, 14 May 2004 12:25:32 +0000
From: Phil X Milstein
Subject: Les Scopitones
Scopitones on DVD, at http://scopitones.com. Grey market. I haven't seen
any of these transfers (yet!), but am told they are excellent.
--Phil M.
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Message: 23
Date: Fri, 14 May 2004 14:45:02 +0200
From: Frank Jastfelder
Subject: Re: C. Carson Parks
Andrew C. Jones wrote:
> The only other US hit single that C. Carson Parks
> wrote (that I know of) was "Cab Driver," which brought the venerable
> Mills Brothers back to the Top 40 in 1968.
Thanks. Haven't heard that one. Found a version of "Open For Business As
Usual" on a Sue Raney LP instead. No hit for her but a nice tune anyway.
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Message: 24
Date: Fri, 14 May 2004 15:01:46 +0200
From: Frank Jastfelder
Subject: Re: Dobie Gillis Theme
Chris Schneider says:
> I always liked the "Dobie Gillis" TV show. Perhaps its jazzy
> credits music was where I acquired my taste for vocalese?
I have a Rhino compilation with TV tunes on it. Sounds like an original version
with vocals by Jud Canlon's Rhythmaires. Written by score godfather Lionel
Newman, with lyrics by Dobie creator Max Shulman. The compilation is on
vinyl, so I have to transfer it to CD first. If none of the others S'poppers fill
in, I'm gonna burn it and play it to musica (although this could take some time).
Frank
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Message: 25
Date: Fri, 14 May 2004 17:55:36 -0000
From: Will Stos
Subject: Reading music
Here's a question for some experts:
I've read a lot of profiles on session singers who cut demos, only to have
other performers cover them faithfully and have hits (ie. the Chiffons
over-dubbing Little Eva on "One Fine Day," or Valerie Simpson cutting
records for Diana Ross' early solo material). Was this very common?
Also, was this done with performers who couldn't sight-read music, or
read music altogether? Does anyone know of performers who can only learn by ear?
Will : )
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