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SPECTROPOP - Spectacular! Retro! Pop!
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There are 29 messages in this issue.
Topics in this digest:
1. Syreeta / Ersel Hickey / Arthur Crier
From: S'pop Team
2. What's It All About . . .
From: Frank Murphy
3. Like A Rolling Stone
From: Frank Murphy
4. Re: Brill Building
From: Joe Nelson
6. Re: Brill Building
From: Austin Roberts
7. What's It All About . . .
From: David Bell
8. News from Cha Cha Charming!
From: S'pop Team
9. Cilla and Cher do Alfie
From: Robert
10. Re: Del Shannon -- New Orleans (Mardi Gras)
From: Gary Myers
11. July 29, 1967: A low point in Alan Gordon's life
From: Clark Besch
12. Myddle Class playing at Musica
From: Don H.
13. 60sgaragebands.com August Updates
From: Mike Dugo
14. Re: What's It All About . . . Dee Dee Warwick
From: Frank Murphy
15. Bob Harvey & Bob Gallo/TalentMasters Studio
From: Niels
16. [CONTENTIOUS --pm] Re: Brill Building
From: James Botticelli
17. Re: Mauds
From: Don H.
18. Re: Re: Brill Building
From: masterswng@aol.com
19. Re: Del Shannon -- New Orleans (Mardi Gras)
From: "JJ"
20. Re: Re: Brill Building
From: masterswng@aol.com
22. Re: Peppermint Rainbow
From: Bob Rashkow
23. Madeline Bellīs new RPM compilation
From: Julio Niņo
24. Re: Shatner / revisionism
From: Clark Besch
25. Re: Dickie Goodman goes Russian
From: Andres Jurak
26. Re: What's it all about?
From: Will Stos
27. Don't Mess With Bill versions
From: Niels
28. Re: Hot Biscuit / Gordon / Roberts
From: Bob Rashkow
29. Brill Broohaha
From: briguyf69@aol.com
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Message: 1
Date: Wed, 28 Jul 2004 20:10:33 +0100
From: S'pop Team
Subject: Syreeta / Ersel Hickey / Arthur Crier
Regrettably, Spectropop heroes and heroines continue to pass
away with undue regularity. Our Remembers section has recently
been updated to include three new obituaries:
Motown Star Syreeta Wright:
http://www.spectropop.com/remembers/Syreeta.htm
Rock'n'Roll Icon Ersel Hickey:
http://www.spectropop.com/remembers/EHickey.htm
Bronx Doo-Wop Veteran Arthur Crier:
http://www.spectropop.com/remembers/ACrier.htm
R.I.P.
The S'pop Team
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Message: 2
Date: Tue, 27 Jul 2004 20:06:43 +0000
From: Frank Murphy
Subject: What's It All About . . .
Dionne Warwick was upset with Cher's Alfie being the official version
used for the movie soundtrack. That was the official US release; in
the UK we had Cilla Black singing the title tune. I gather Alfie is
being remade. I'm sure there was a sequel soem time ago.
FrankM
reflections on northern soul Saturday's two thirty pm:
http://www.radiomagnetic.com or listen to an archive show:
http://www.radiomagnetic.com/archive/rnb.php
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Message: 3
Date: Tue, 27 Jul 2004 20:16:07 +0000
From: Frank Murphy
Subject: Like A Rolling Stone
I caught an excellent programme on Like A Rolling Stone today on Radio 4.
Hear how the communist party organised the booing at the UK 1966 gigs.
(To be accurate it was actually the Young Socialists the then recently
expelled youth wing of the Labour Party. The YS had been infiltrated by
anti American Internationalist Socialists who as Trotskyites were
anathema to both the Stalinist CP and the democratic socialists of the
Labour party.)
Anyway heres the Blurb: Soul Music
Series about pieces of music with a powerful emotional impact.
5/5. Like a Rolling Stone
Bob Dylan's signature tune which became the anthem of a generation and
scattered all preconceptions of what a pop 45rpm single could achieve.
Robbie Robertson, Al Kooper, Greil Marcus and Paula Radice muse on a
song that threw down a challenge and changed lives.
And you can listen to the show here by clicking on Soul Music on the
Listen Again page: http://www.bbc.co.uk/radio4/progs/listenagain.shtml
FrankM
reflections on northern soul Saturday's two thirty pm:
http://www.radiomagnetic.com or listen to an archive show:
http://www.radiomagnetic.com/archive/rnb.php
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Message: 4
Date: Tue, 27 Jul 2004 22:18:03 -0400
From: Joe Nelson
Subject: Re: Brill Building
Al Kooper:
> Take anyone who worked at 1650 & The Brill and ask them where King-
> Goffin, Mann-Weil, Sedaka-Greenfield, Helen Miller, Gene Pitney,
> Florence Greenberg, Luther Dixon, Dionne Warwick, The Tokens, Chuck
> Jackson, The Shirelles, Maxine Brown, The Kingsmen, Al Kooper &
> scores of others worked daily, and if they had sight at the time
> they would have to concur it was NOT IN THE BRILL BUILDING!!!
Thinking back, ISTR Charles Koppelman and Don Rubin mentioned in this
group. It threw me off because I'd noticed that the pair of vanity
labels they set up through Capitol (The Hot Biscuit Disc Company and
We Make Rock and Roll Records) had 1650 Broadway addresses. I use to
stare at the labels, knowing that addy meant something but unable to
figure out exactly what: thanks to all for the memory jog.
Joe Nelson
(born too late, 1963, absolutely clueless)
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Message: 5
Date: Tue, 27 Jul 2004 03:08:44 -0400
From: James Botticelli
Subject: Re: Brill Building
Bill Tobelman wrote:
> Originally, Tin Pan Alley was a nickname given an actual street
> (West 28th Street between Broadway and Sixth Avenue) in Manhattan,
> where many of the fledgling popular music publishers had their
> offices. In time, it became the generic term for all publishers of
> popular American sheet music, regardless of their geographic
> locations.
exactly...
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Message: 6
Date: Wed, 28 Jul 2004 03:41:01 EDT
From: Austin Roberts
Subject: Re: Brill Building
Al Kooper:
> Take anyone who worked at 1650 & The Brill and ask them where King-
> Goffin, Mann-Weil, Sedaka-Greenfield, Helen Miller, Gene Pitney,
> Florence Greenberg, Luther Dixon, Dionne Warwick, The Tokens, Chuck
> Jackson, The Shirelles, Maxine Brown, The Kingsmen, Al Kooper &
> scores of others worked daily, and if they had sight at the time
> they would have to concur it was NOT IN THE BRILL BUILDING!!!
Stop arguing boys.
Anyway, when I wrote for Screen Gems (when they were on Fifth Ave.) for
Irwin Schuster and Irwin Robinson (Ira Jaffe was a kid there too, as
was I), Barry Mann's office was 5 feet away. What a great writer.
Anyway, I was in what was a closet, but they put in a piano and a
Wollensak (?) and I was in business. One day, right before Irwin S.
made his rounds, mostly to pump you up, I went out in the hall with a
glass up to to my ear and put it up against Barry's door with a yellow
pad and pencil in the other hand, while Barry was working on a song at
his piano. When Schuster came down the hall and saw me there at Barry's
door he said the obvious "What the hell are you doing Austin?" I asked
him to to be quiet a minute while I wrote down what Barry was writing.
He got an even stranger look on his face, then he realized he'd been
had. Those were great days for me, especially with some of the great
music people I got to be around and to work with.
1650 and the Brill Building were almost synonymous to me, but that's
just one man's opinion.
Johnny Cymbal and I would write songs during the day, record them that
night and he and George Tobin and I would hit the labels in 1650 and
the Brill Bldg. as well as a few other labels until we sold it, which
usually happened right away; Tobin could sell grass to a corpse.
As you can tell, I loved New York and LA in those days, long before
corporate America (and Europe, Japan and Uranus), changed the music
business from a creatively driven force to a cookie cutter, greed
controlled, pile of shit where kids just out of college make decisions
about songs, artists, restaurants to hang out in, etc.,etc.,etc. Do I
sound pissed. I'm not really, just digusted.
I used to love to hear what was coming out on the radio next, because
I knew it would be a good to great song and artist and not some pretty
boys with wife beater shirts and girls with almost no shirts on and
videos that cost more than what a month's releases used to cost a label.
I miss voices that blew me away, not someone trying to sound just like
someone like Garth Brooks (who, incidently, I like as a writer and
singer), George Strait, several other great female and male artists
from a time when magic filled the air ,not smoke (not to mention
mirrors).
Having been in this business and making a living in it for 36 years, I
guess I have the right to spew a little, or a lot, as in this case.
I feel better now.
I welcome all comments, arguments, handclaps etc., Austin Roberts
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Message: 7
Date: Wed, 28 Jul 2004 05:51:42 EDT
From: David Bell
Subject: What's It All About . . .
But isn't it a great pity that Dee Dee Warwick's version of Alfie wasn't
used on the soundtrack, as imo, it's the best version. Not sure which
version was recorded first but I've a feeling that it was Dee Dee's.
She's a great undervalued figure on the soul scene. I've recently seen
a dvd of her performance on a 60s tv show (Hullabaloo, I think) and she
is fabulous.
David
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Message: 8
Date: Wed, 28 Jul 2004 20:40:23 +0100
From: S'pop Team
Subject: News from Cha Cha Charming!
Hello Members,
This message just in from our pal Sheila B...
Dearest friends & lovers:
It's Sheila from Cha Cha Charming writing to let you know about
a few updates on the site: http://www.chachacharming.com
Feature Articles:
*LAS CHICAS DE ESPAŅA: Spanish Girl Singers from the '60s & '70s
By Lex Marsh
*BARBARA RUSKIN: '60s British Songstress
By Mick Patrick
*MISS UNIVERSUM: A Fiery Swedish Feminista
By Sheila Burgel
Calling all music writers!
Cha Cha Charming is looking for writers interested in covering
female artists from the past, present, and future. E-mail me for
details.
Thanks & Enjoy!
Sheila
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Message: 9
Date: Wed, 28 Jul 2004 03:39:00 -0000
From: Robert
Subject: Cilla and Cher do Alfie
Michael Fishberg:
> I thought it was Cilla who did "Alfie," not Cher.
Cilla Black's version (I'm told) is used in the U.K.
version of the movie, Cher's for U.S. Don't know if
there's two different DVD's of "Alfie" or not, but
Cher's version is on the DVD here in the U.S.
Rob
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Message: 10
Date: Tue, 27 Jul 2004 22:12:57 -0700
From: Gary Myers
Subject: Re: Del Shannon -- New Orleans (Mardi Gras)
JJ:
> The last track on Del Shannon's classic "The Further
> Adventures of Charles Westover" is "New Orleans (Mardi
> Gras)," written by Jim Pulte. Is there a pre-Del
> version of this song?
I don't know the answer, but the best place to start
looking is probably on LPs by Southwind, of which Pulte
was a member. In fact, it's probably Southwind playing
the track on the Shannon LP. They had their own LP's on
Venture (one) and Blue Thumb (two).
gem
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Message: 11
Date: Wed, 28 Jul 2004 06:29:46 -0000
From: Clark Besch
Subject: July 29, 1967: A low point in Alan Gordon's life
I've been researching some of Alan Gordon and Garry Bonner's songs
(with some nice help from Karl Baker) and have found July 29, 1967 to
be a bad week in the history of the dynamic duo. That was the one
week in the great music year of 1967 that the duo did not have a
record charting on Billboard or Cash Box magazine's singles charts!
It seems amazing that a Spectropopper could have had a record on the
charts 51 of 52 weeks in the year of the "summer of love". It's even
questionable that Al Kooper playing organ on "Like a Rolling Stone"
is more cool (and cool it is!).
My statistics are available on request. Just drop me an email and I
have them all charted out week by week. You may take exception to
the fact that the entire month of January 1967, I list "Gotta Get
Away" by the Blues Magoos. Although that side did not chart, its
flip, "Nothin' Yet," was charting, and so the Bonner/Gordon song was
one half of the record charting and received one half of the writers'
royalties. If you want to take that record out of the mix, that
leaves 47 weeks (90%) of the year with "true" Bonner/Gordon-
penned "A" sides charting! 16 records ranging in style from Bobby
Darin, Gene Pitney, Petula Clark and The Righteous Brothers to Gary
Lewis, The Blues Magoos, The Turtles, Zally, the Mojo Men, and Dino,
Desi and Billy to ficticious cartoon characters (Elmo and Almo). Not
counting the Blues Magoos single, they were charting in the Top 40 a
whopping 32 different weeks (61%), Top 20 44% of the time and
amazingly, in the top 10 one quarter of the 52 weeks on 1967!
Certainly, the Turtles were the backbone of this success with four top
15 hits via Gordon/Bonner tunes that year. Why was there such a
success ratio that year? Hopefully, Alan will give us the story, but
I tend to think that 1967 was a time when young adults and teens and
preteens were both actually buying a lot more of the same records
than previously. By 1968, a trend was fragmenting teens and preteens
with bubblegum music (Kasenetz-Katz, Jeff Barry, Cordell-Gentry, etc.)
taking the youngest while underground, psychedelic and self-penned
tunes headed up the older market more.
The "second" Brit invasion was in force (Cream, Move, etc). More
non-Brit foreign acts were hitting our charts (Feliciano, Four Jacks
& a Jill, Rene & Rene, Irish Rovers, etc.). Varying kinds of "horn
rock" (American Breed, Al K's Blood, Sweat & Tears) were emerging
more. Radio playlists tightened and some great songwriting duos ended up
suddenly out in the cold, Boyce/Hart, Bonner/Gordon, and Holvay/Beisber,
to name a few. 1968 was a different animal for many 1967 hitmakers.
1968 saw several Bonner/Gordon songs recorded and released by
artists like Lesley Gore, Jackie DeShannon, Harper's Bizarre, The Fifth
Estate and The Lovin' Spoonful, but the hits weren't there. Anyway,
this is the way it seems to me. Feel free to pick my theory apart
if you wish.
The point is that the Bonner/Gordon era of 1967 was an amazing one
and one not seen often since or before. That Holvay/Beisber year was
good too. The fellow SPopper, James Holvay, had his Buckinghams
songs on the Billboard singles charts 37 weeks (71%), top 40 29 weeks
(55%), top 20 20 weeks (38%) and top 10 10 weeks (19%)! Of course,
that's not including the non-H/B hit "Mercy, Mercy, Mercy". Not bad,
guys! Maybe there shoulda been a Holvay/Bonner conglomeration in '68?
Finally, to make the load lesser on Alan's sad week in history, the
week of July 29, 1967 did have some bright spots. That week, "She'd
Rather be with Me" was in the top 10 in the UK and the "Happy
Together" album was still top 50 on the LP charts!
Thanks for listening,
Clark
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Message: 12
Date: Wed, 28 Jul 2004 18:25:34 -0000
From: Don H.
Subject: Myddle Class playing at Musica
Goffin/King-penned Myddle Class track playing at Musica. I got this
song on a rare demo disc. There were no liner notes, just a list of
song titles without artists. Most of them were Carole King, but I
have to assume this one was the Myddle Class. Listen for yourself.
Don H.
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Message: 13
Date: Tue, 27 Jul 2004 18:19:31 -0700 (PDT)
From: Mike Dugo
Subject: 60sgaragebands.com August Updates
The August updates to 60sgaragebands.com are now online, featuring
interviews with members of three more classic '60's garage bands:
The Prophets from Virginia, The Shandells (Shandells, Inc.) from
AL, and The Twiliters from NY. All three bands recorded highly
regarded singles, and all three interviews feature rare photos of
the groups.
Check it out at http://www.60sgaragebands.com
Mike Dugo
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Message: 14
Date: Wed, 28 Jul 2004 21:23:06 -0000
From: Frank Murphy
Subject: Re: What's It All About . . . Dee Dee Warwick
David Bell:
> ... Dee Dee Warwick ... She's a great undervalued figure on the
> soul scene.
Two years I discovered her original version of You're no Good to add
to my Betty Everett, Swinfging Blue Jeans and Linda Ronstadt copies.
It's brilliant. I garher her local New York hit was covered by Vee Jay
who had greater clout nationally. I also found a Red Bird collection
last week with a couple of Dee Dee's tracks. And every year on my
Lying, Cheating and Mean mistreating St. Valentine's show out comes
Dee DFee's "She didn't know she kept on talking"
Frankm
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Message: 15
Date: Wed, 28 Jul 2004 20:53:10 -0000
From: Niels
Subject: Bob Harvey & Bob Gallo/TalentMasters Studio
Does anybody know what happened to producer Bob Gallo and partner
Bob Harvey? They used to own TalentMasters, the great studio where
lots of classic records from the '60s were made, such as by James
Brown, The Who, etc.
Niels.
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Message: 17
Date: Wed, 28 Jul 2004 18:19:44 -0000
From: Don H.
Subject: Re: Mauds
I wrote:
> I have the Mauds' "Man Without A Dream", from the album "Hold On".
> It is not sped up.
Clark Besch responded:
> Don, I think you are mistaken. The Mauds' version appears on an RCA
> 45 only.
You are right. I actually have a CD someone made for me with the album
Hold On and 10 bonus tracks from singles.
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Message: 18
Date: Thu, 29 Jul 2004 12:43:42 EDT
From: masterswng@aol.com
Subject: Re: Re: Brill Building
In a message dated 7/28/2004 3:58:58 PM Eastern Daylight Time,
jrnelsonsr@hvc.rr.com writes:
Charles Koppelman
Koppleman is a Republican lackey.
Koppleman out of Spectropop.
Di la,
Rashkovsky
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Message: 19
Date: Thu, 29 Jul 2004 10:37:08 -0000
From: "JJ"
Subject: Re: Del Shannon -- New Orleans (Mardi Gras)
--- In spectropop@yahoogroups.com, Gary Myers wrote:
> JJ:
> > The last track on Del Shannon's classic "The Further
> > Adventures of Charles Westover" is "New Orleans (Mardi
> > Gras)," written by Jim Pulte. Is there a pre-Del
> > version of this song?
>
> I don't know the answer, but the best place to start
> looking is probably on LPs by Southwind, of which Pulte
> was a member. In fact, it's probably Southwind playing
> the track on the Shannon LP. They had their own LP's on
> Venture (one) and Blue Thumb (two).
>
> gem
**Thanx....but the Southwind albums came AFTER Delīs album, still, there co=
uld be a
version of the tr., on one of their Lps....?
JJ
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Message: 20
Date: Thu, 29 Jul 2004 12:42:02 EDT
From: masterswng@aol.com
Subject: Re: Re: Brill Building
In a message dated 7/28/2004 3:59:24 PM Eastern Daylight Time,
GEORGEROBERTSON@aol.com writes:
I welcome all comments, arguments, handclaps etc., Austin Roberts
I have it on good advice that you've already had the clap.
Di la,
Rashkovsky
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Message: 22
Date: Thu, 29 Jul 2004 00:58:46 EDT
From: Bob Rashkow
Subject: Re: Peppermint Rainbow
Clark B, I too loved "Roberta" when it was out (along with its B-side,
"Bust Song.") And I checked Osborne about the Peppermint Rainbow --
they did indeed make only one LP. And do you have The Higher
Elevation's other single, "Here Comes Sunshine"? Could it possibly
be as supergroovy as "Summer Skies"? And could you play that or
"Georgia Pines" by The Candymen (I've never heard it! I've got the
Candy Power album, which is pretty cool but I've never heard the one
song they made the Top 10 in Atlanta with!) to musica?
Thanks in advance,
Bobster
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Message: 23
Date: Thu, 29 Jul 2004 13:57:56 -0000
From: Julio Niņo
Subject: Madeline Bellīs new RPM compilation
Hola Everybody.
I'm spending some weeks in Barcelona, going to the beach (of course
only at night; I identify completely with the character described by Mina in
"Tintarella Di Luna") and hunting for records in Barcelona stores. Although
there are more or less the same records in Madrid's shops, I always find
going to other city's music stores exciting, something like cruising in
different towns or contries.
Anyway, I found yesterday RPM's new Madeline Bell compilation. I love
Madeline's voice and style -- a little distant and defiant, and she always
sounds controlled. The CD includes "Picture Me Gone" and her version
of "I'm Gonna Make You Love Me" (a lttle weak compared with Dee Dee
Warwick's, in my opinion). My favorite tracks are "I'm Gonna Leave You",
composed by Madeline with Lesley Duncan and Dusty Springfield, who
also recorded it, and her version of " I Can't Wait Till I See My Baby's
Face". The CD included a folding booklet (although I hate folding booklets,
I always get dizzy reading them), with great pics and splendid notes by
Alec Palao.
Chao,
Julio Niņo
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Message: 24
Date: Wed, 28 Jul 2004 17:18:58 -0000
From: Clark Besch
Subject: Re: Shatner / revisionism
Bob Rashkow wrote:
> Shatner and Nimoy's recordings of old standards and 6Ts
> folk-rock tunes are all hysterically funny and should be framed
> in gold at the Novelties Hall of Fame.
Bobster, I personally like Nimoy's 45 "Visit to a Sad Planet". What
I REALLY like is the continuous banter on their Priceline.com
commercials on TV. Shatner could always be a great crybaby!
James Botticelli wrote:
> If a dynamic doesn't become apparent until after its occurence
> does it not deserve a name or label? Girl groups weren't so-named
> until the dynamic coagulated as a prexisting condition and I don't
> remember Elvis-styled music being called Rockabilly until well
> after the fact. ... A lot of this labeling occured during the Punk Rock
> and New Wave periods as rock journalists were a dime a dozen
> then and categorized sounds and periods like a science.
James, you blame this on New Wave rock journalists and Al Kooper
calls it revisionism. It really is somewhat based in splintering of radio
starting with FM coming in and taking "underground" music off the
mainstream AM's to some extent. Even further back, FM took
classical music and gave it a place. Even further back, easy listening
stations or country stations began splintering the words we used to
describe music, i.e. R&B or soul music stations. All of these have
splintered in the 21st century many times, and people needed ways
to describe "their" music they were playing. Like Al, I like it when
it went under one great umbrella: Top 40 music!
Take care,
Clark
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Message: 25
Date: Wed, 28 Jul 2004 11:42:51 -0000
From: Andres Jurak
Subject: Re: Dickie Goodman goes Russian
previously:
> Sounds like a follow-up (albeit a long-delayed one) to "Russian Bandstand,"
> a 1959 release on Argo attributed alternately to Nikita The K and to Spencer
> & Spencer. By either name, I believe the actual person behind the record
> was Dickie Goodman, the inventor and master of the "break-in" format.
You can find Russian Bandstand (plus Radio Russia) on this Dickie Goodman
compilation: http://tinyurl.com/6cv2t
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Message: 26
Date: Wed, 28 Jul 2004 17:41:34 -0000
From: Will Stos
Subject: Re: What's it all about?
Michael Fishberg wrote:
> I thought it WAS Cilla who did "Alfie," not Cher.
They both did! And now they're even remaking the movie.
Will : )
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Message: 27
Date: Wed, 28 Jul 2004 21:07:39 -0000
From: Niels
Subject: Don't Mess With Bill versions
Did The Marvelettes cover Don't Mess With Bill? Or is Mary Wells'
version even the original? Who else did cover that song back then?
Niels.
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Message: 28
Date: Thu, 29 Jul 2004 01:20:48 EDT
From: Bob Rashkow
Subject: Re: Hot Biscuit / Gordon / Roberts
Hot Biscuit Disc Company brought us The Epic Splendor, which I haven't
heard since December 1967, and of course, The Magic Fleet, who got together
to record Alan Gordon and Garry Bonner's "Mary Elizabeth" (and, I guess,
promptly disbanded shortly afterwards!).
And Austin R., it all paid off, didn't it?! All those years of penning, then a
singing career, and it was all for the love of the music and that "creative energy"
that as you mentioned is so lacking now in the industry. I look forward to
hearing more of these great insights and happy memories from the people
who made my favorite music in the whole world happen.
Bobster
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Message: 29
Date: Wed, 28 Jul 2004 15:59:18 EDT
From: briguyf69@aol.com
Subject: Brill Broohaha
Hey 'poppers -
The only reason I mentioned the 9th floor of the Brill Building in the first
place was because I was under the impression that Leiber and Stoller were
located there, on the 9th floor. I didn't mean to set off a whole debate over
the validity of the label "Brill Building" pop.
We've established that many people were located at 1650. It's safe to assume
that, with over 150 music publishers in 1619 Broadway in 1962... some music
came out of there?
I'm just glad we're not calling it Flatiron Building pop.
Brian
-------------------[ archived by Spectropop ]-------------------
SPECTROPOP - Spectacular! Retro! Pop!
End
