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SPECTROPOP - Spectacular! Retro! Pop!
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There are 24 messages in this issue.
Topics in this digest:
1. Re: Brian Wilson interview
From: Bob Hanes
2. Richie Furay
From: Austin Roberts
3. Re: Brian Wilson on Larry King
From: Austin Roberts
4. New "Smile" CD
From: Kurt Benbenek
5. Re: Gene Pitney "In The Cold Light Of Day"
From: Gary Myers
6. Re: Brian Wilson on Larry King
From: Paul Levinson
7. The Sandpipers: Sing along with the Rascals
From: Jeff Lemlich
8. Re: New "Smile" CD
From: C. Ponti
9. Re: Brian Wilson Interview
From: Austin Roberts
10. Re: Richie Furay
From: Leslie Fradkin
11. Re: New "Smile" CD
From: Jens Koch
12. Re: Brian Wilson's on Larry King
From: Mark Frumento
13. Re: The Sandpipers: Sing along with the Rascals
From: Tom K.
14. Re: 4Js; Emjays; Betty Harris
From: Country Paul
15. Wrecking Crew Documentary
From: Denny Tedesco
16. Re: Brian Wilson interview
From: Phil X Milstein
17. Re: Rev-Ola Sound
From: Phil X Milstein
18. Gold Star
From: Margaret Still
19. Brian Wilson interviews Hal Blaine
From: Michael Fishberg
20. Re: Rev-Ola Sound
From: Steve Stanley
21. Re: Rev-Ola Sound
From: Orion
22. Re: Marcie Blane in Goldmine
From: Mick Patrick
23. Bad habits, songs in musica and a magician.
From: Julio Niño
24. Larry King
From: Dan Hughes
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Message: 1
Date: Sat, 21 Aug 2004 10:40:11 -0700
From: Bob Hanes
Subject: Re: Brian Wilson interview
That Dutch interview is old news. Brian was thousands of miles from
home, after having done some shows. Both highly stressful situations
for the guy considering his malady. "The Life of Brian" is not going
to be a model of consistency, he suffers severe clinical depression
and/or bi-polar disorder (I prefer manic depression as the title, it's
less euphemistic and more to the point, but I'm not the AMA or the
APA). Brian is no "day at the beach" for an interviewer, sometimes
purposefully so. What better way to keep someone at arms length than
to "act out"?
I will tell a story about a friend asking Brian for help moving "back
in the day", (late sixties) he really didn't want to, but he kindly
couldn't say no. Brian made sure that person never asked again, and
without so much as a word. He just drove the wrong way down Santa
Monica Blvd for a few blocks, "so he would be on the right side of the
street to unload" and after all, "it was only a few blocks". Scared
the piss out of his friend though.
Melinda reacted, (which is also old news) in the manner she should
have. She is a bit "of a mama Lion" about her mate. God bless he for
it. Melinda is being criticized on the Smile Shop board for having
gone into "psycho-babble". In order to be Brian Wilson's wife and help-
mate, she is going to have to know a great deal about his "issues".
Add to that the fact that the state of California insists that Brian
must live under a conservatorship which was brought by Carl Wilson and
Audry Wilson now both deceased. The first conservator, a retired judge
passed away. The second, another retired judge was sadly "clueless" to
the needs and workings of the music industry, he was replaced, at
Brian's request by Melinda. The woman is doing yeoman duty. Give her a
blinking break, please.
I am the first to say there have been horrible career mishandlings in
Wilsonia in the past number of years, but who's to say they would have
"guessed" any better?
Remember Brian in 1980? Strung out on cocaine and heroine and hanging
with Dennis as he spiralled into death.
Remember Brian after the second Landy term. Tardive-Dyskenesia from
MAOI's that were for paranoid schizophrenia, a mis-diagnosis done over
the phone in 1976 by Dr (Ha! he had a masters in psychology and a phd
in philosophy, he can legally practice as a councilor with those
credentials) Landy, after talking with Brian's ex-wife FOR AN HOUR, and
he never changed or re-evaluated his position or diagnosis, he simply
found "doctor feelgoods" that would write the "scripts" he wanted
written. Huge doses of a very severe psycho-tropic drug, that is
guaranteed to leave long term users with facial ticking and grimacing
that can not be reversed.
I too am sick to tears with the "troubles of Brian" routine, but
consider the show. Larry King was clueless as to what to ask. His
"peops" had made the deal based on the drama of Brian's past. Sadly,
it wasn't about music, it was about mental illness, the only two
redeeming moments, aside from Brian's general appearace of ease and
comfort (you go guy!) were the duet with Larry and Brian and the final
hand-shake when Larry said very sincerely, "you're a beautiful guy!"
If you've ever had the honor of hanging around Brian Wilson and working
in his behalf and talking to him in non-stressful situations, you know
what Larry said is heartfelt and oh so true.
Brian Wilson, apart from his prodigious talent is one of the nicest,
kindest, most honest, soulful people on the face of the planet. Do I
need to say, I'm a fan?
The Right Reverend Bob, dumb angel chapel,
Church of the Harmonic Overdub
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Message: 2
Date: Sat, 21 Aug 2004 14:07:38 EDT
From: Austin Roberts
Subject: Richie Furay
Les Fradkin writes:
> It features a guest appearance by Richie Furay (Poco and Buffalo
> Springfield) and Lon Van Eaton (former Apple Recording Artist
> who George produced. Lon sang the backgrounds on "Photograph"
> BTW).
One of my favorite versions of one of my songs was by the Richie
Furay Band in the early 80's. I love it when a great artist cuts
a song you're close to. I'm sure all other songwriters feel the
same way.
Best, Austin R.
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Message: 3
Date: Sat, 21 Aug 2004 13:37:25 EDT
From: Austin Roberts
Subject: Re: Brian Wilson on Larry King
Mark Frumento:
> ... I found it especially disturbing that they'd try to weave plugs
> for the CD in between. It just seemed very wrong. The parading of
> Brian Wilson in public is starting to seem circus-like to me.
I completely disagree with you (not that you're not a great guy and all
that). I don't think it's parading Brian to talk to a man that's
touched us all with his writing and productions over the years. Yes, he
has some problems based on a Bi-Polar condition, but so do I and many
others that I know from the creative side of the music business. There
seems to be a much higher rate of this disease in the arts than
anywhere else. The fact that he can even remember much of his past and
can still make his music is remarkable to me. His genuise in the studio
and his ability to right unforgettable pop melodies (even the light
ones) is second to none as far as I'm concerned.
His wife, though a bit pushy, seemed to be very concerned with his
illness, which, quite frankly, is horrid, as well as dangerous, as far
as potential suicide is concerned. She's lived through and will
continue to, a dieseas that can rear its ugly head at any time, even
though his meds seem to have levelled him out.
Thanks for allowing me to respond.
Best, Austin Roberts (a true Brian Wilson fan).
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Message: 4
Date: Sat, 21 Aug 2004 17:15:53 -0000
From: Kurt Benbenek
Subject: New "Smile" CD
Rob:
> ... SMILE is finally finished and being released. Hope it won't
> be too tinkered with in a modern way and will still sound "of
> the time" it's from.
>From what I understand, the SMILE that's being released this fall
is not taken from the original 1966-67 master tapes.
I'm 99% certain that it's an all-new recording of SMILE, featuring
Wilson's current band...with much help from Wilson's co-SMILER,
Van Dyke Parks.
Kurt Benbenek
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Message: 5
Date: Sat, 21 Aug 2004 10:21:19 -0700
From: Gary Myers
Subject: Re: Gene Pitney "In The Cold Light Of Day"
FWIW, this record bubbled under in BB for 4 wks in Sep-Oct '66. Highest
position - #115.
gem
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Message: 6
Date: Sat, 21 Aug 2004 16:00:43 -0000
From: Paul Levinson
Subject: Re: Brian Wilson on Larry King
I agree with Clark. Larry King was about as bad as Joe Garagiola
(sitting in for Johnny) interviewing Lennon and McCartney in the
1960s (with a clueless Talulah Bankhead jumping in).
The best part of the CNN King interview were the snippets of Beach
Boy performances, which are always fun to see.
Brian has an enormous amount to say, but he requires a savvy
interviewer. At the same time, his genius is in his music and
lyrics, not his interviews.
All best,
Paul
http://www.sff.net/people/paullevinson
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Message: 7
Date: Sat, 21 Aug 2004 13:20:24 -0400
From: Jeff Lemlich
Subject: The Sandpipers: Sing along with the Rascals
Thanks to Phil, Julio, and Mick for the comments about the Sandpipers
article. Much appreciated. I hope you guys know what you're getting
into by requesting their... umm... unique version of "Love Is A
Beautiful Thing". Let's just say they were lucky Atlantic Records or
the Young Rascals never got wind of this. Now playing in Musica: The
Young Rascalettes... or why hiring a backing band can be extremely
overrated!
Jeff Lemlich
http://www.limestonerecords.com
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Message: 8
Date: Sat, 21 Aug 2004 19:58:32 -0000
From: C. Ponti
Subject: Re: New "Smile" CD
There is no more rabid fan of Brian and VD Parks than I. Still, what
I want is the original tracks mixed, hopefully by Mark Linett, who
has so lovingly done much of the other stuff. I love Brian's work
with the Wondermints, but a present day recording will never satisfy
even as much as my, (regrettably), boot cd's of the original
sessions. The madness of the times, the analog sound, all the elements
(no play on words intended) that only lie in the recordings from that
time, are what would please me. I know they'll change because of some
revisionist hands in the mix. As long as those hands are Brian and
Van Dyke's, it would be fine. What I have next to no interest in is a
recording done today.
At least when I went to hear the PET SOUNDS tour, it was understood
it was a live version of arguably the greatest Pop album ever. I will
always look at SMILE as something that, so far, exists only in
snippets of the original cannabis-driven sessions. Re-performing is
all very nice, and I thank the stars that Brian survived to do it,
but...give us the original tracks!
C. Ponti
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Message: 9
Date: Sat, 21 Aug 2004 15:00:54 EDT
From: Austin Roberts
Subject: Re: Brian Wilson Interview
Bravo, Jens,
That was a wonderfull explanation of what Brian suffers from. I have
Bi-Polar Depression and have for 10 years. Until it was diagnosed 3
years ago, I could only self medicate with alchohol, and stare at my
feet. I had had my share of hits, mostly as a writer, but found that
I couldn't think clearly enough to work much during this period.
Thank God for past catalogue. I was suicidal at times, but my best
friend and his wife kept an eagle eye on me at all times. I was
finally diagnosed but it took almost 3 more years to get my meds
straight. I am out of the woods for the fist time in years by taking
two simple meds that a miracle working Psychiatrist found thru much
testing after I had commited myself to a Psychiatric Hospital (during
a suicidal episode) 2 months ago.
My empathy for Brian Wilson knows no bounds. I am finally able to
work again and I'm sure Brian is, just from his interview and new
music coming out. Those who love him and a great Psychiatrist can
make all the difference. Sorry to expound but it's a subjest that is
very important to me. I am a huge fan of Brian's music, and after
seeing the interview, of the man himself and of those who love him;
Melinda et al.
God Bless you Brian, Austin Roberts
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Message: 10
Date: Sat, 21 Aug 2004 13:41:40 -0600
From: Leslie Fradkin
Subject: Re: Richie Furay
Me:
> It features a guest appearance by Richie Furay ...
Austin Roberts:
> One of my favorite versions of one of my songs was by the Richie
> Furay Band in the early 80's...
Richie did a great job on this track of "My Sweet Lord." He did
insist that I only sing "hallelujah" rather than "Hare Krisna."
Les
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Message: 11
Date: Sat, 21 Aug 2004 21:20:09 +0200
From: Jens Koch
Subject: Re: New "Smile" CD
Kurt Benbenek:
> From what I understand, the SMILE that's being released this fall
> is not taken from the original 1966-67 master tapes. I'm 99%
> certain that it's an all-new recording of SMILE, featuring
> Wilson's current band...with much help from Wilson's co-SMILER,
> Van Dyke Parks.
You can add one per cent more; if you listen to the preview audio clip
listed earlier, it becomes very clear that the sound is remarkably
similar, but not the same - and then of course Brian's voice is very
different.
Jens
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Message: 12
Date: Sat, 21 Aug 2004 22:32:42 -0000
From: Mark Frumento
Subject: Re: Brian Wilson's on Larry King
Austin Roberts wrote:
> The fact that he can even remember much of his past and
> can still make his music is remarkable to me.
Austin - I didn't mean to mix the disease with the rest of it all.
It would be hard for me to relate to the illness like you do.
Perhaps part of my complaint has nothing to do with putting Brian
Wilson in the public eye. I am growing tired of the Brian Wilson
as "the lone genius behind the Beach Boys" revisionism (where's
Mr Cooper when you need him?). That Brian seems taught to
perpetuate it is uncomfortable for me. It makes me wonder if he
really does remember his past.
The part of the interview that reflected this was when he agreed
with King that he (Brian) wrote most of the Beach Boys' music alone
"except some with Mike Love, some with Tony Asher and some with
Van Dyke Parks." Though the minimizing of Love's significant
creative role in the Beach Boys was probably just slow thinking
on Brian's part (and legal coaching) I don't doubt that he now
believes that he WAS the Beach Boys. The whole conversation about
leasing the name to Mike Love amplified this. That really made me
cringe. Just seems that if he remembered things he would not
minimize the role of someone as significant to his career as Love
(love or hate him!).
Also, what happened to the story of his dad beating him till he was
deaf? When did that change?
Mark F.
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Message: 13
Date: Sat, 21 Aug 2004 19:14:27 -0000
From: Tom K.
Subject: Re: The Sandpipers: Sing along with the Rascals
Jeff Lemlich wrote:
> Thanks to Phil, Julio, and Mick for the comments about the Sandpipers
> article. Much appreciated. I hope you guys know what you're getting
> into by requesting their... umm... unique version of "Love Is A
> Beautiful Thing". Let's just say they were lucky Atlantic Records or
> the Young Rascals never got wind of this. Now playing in Musica: The
> Young Rascalettes... or why hiring a backing band can be extremely
> overrated!
Wow, maybe it's just me, but I love this, right out of the box...
Sure, it's ripped-off to high heaven but the vocals are more than
competent and if it had been picked up by a national label with the
clout to recut the backing, well, I don't know if it would have been
a hit, but it would have been a no-brainer for Ace's Girls WIth
Guitars CD!
Tom K
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Message: 14
Date: Sat, 21 Aug 2004 18:44:34 -0400
From: Country Paul
Subject: Re: 4Js; Emjays; Betty Harris
Joe Peel:
> I do believe there were 2 groups of 'The Four J's". I have 2
> 45's.The 2 45's I have are by the white doo-wop group....
...whose "Here Am I (Broken Hearted)" on Jamie was a decent-sized
Philadelphia hit in 1964. I had no idea they were white! Thanks Joe
and Davie Gordon.
Eddy, thanks for the Dewey Martin info. I'm sort of amazed.
Austin Powell re: the Emjays:
> All I know is there were 3 guys and a girl...Mike Fox, Mike Love,
> Jimmy Curtis and Judy Lloyd.....I think the record issued on Top
> Rank in the UK was produced by Hal Webman....Maybe he owned the
> Greenwich label as he also produced the Chiefs under the same
> banner ???
I'll take your word for it all - everything you mentioned is more
than I ever knew about them. (A different Mike Love from the Beach
Boys, one may assume?) Do you know if they had any more records after
the two on Greenwich, or if any of them continued in music elsewhere?
And you folks with the Hal Webman stories - thank you for the
enlightenment; I too wish him good health and long life, even though
I don't know him. He obviously laid quitw a bit of the foundation of
"our" music!
Chris Stovall Brown:
> Also a heads up that I've been working with 60's soul legend-Betty
> Harris....We're going into the studio on Labor day to recut Cry To
> Me (Her 1963/70 hit on Jubilee) and we've co-written another tune
> that we'll record that day.
Good luck, Chris; that's great news that she's coming back! I always
loved her "Cry To Me" - it just got into a glorious slow groove and
made itself at home there - no forced labor, just 100% pure soul. And
I'm tickled that your band is still at it after all these years!
Country Paul
(a week behind again....)
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Message: 15
Date: Sun, 22 Aug 2004 06:55:40 -0000
From: Denny Tedesco
Subject: Wrecking Crew Documentary
Dear members,
I have been working on a documentary about my Father, Tommy Tedesco
who worked with Phil Spector, Beach Boys and many others. I am
looking for any Studio Photos or Film (pre-video) footage of sessions
of that time period in Los Angeles. Between 1958-1972.
Also looking for booth recordings between the musicians, engineers,
producers, and the artists themselves. Love to hear any dialogue
between them.
Really desperate for leads. Hope someone out there can help. Thank you.
Sincerely yours,
Denny Tedesco
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Message: 16
Date: Sun, 22 Aug 2004 01:05:39 -0400
From: Phil X Milstein
Subject: Re: Brian Wilson interview
I hung on every word of the Brian Wilson-Larry King interview, reveling
in the relative clarity of Brian's mind, appreciating the gentle and
thoughtful attentions of his wife Melinda, and constantly infuriated by
Larry King's vast array of inadequacies, which led to many moments of
extreme awkwardness. Anyone who's watched King at work over the years
would not have been surprised by his lack of preparation and lack of
attention to his subject; the guy is such a maroon that he actually (and
openly) PRIDES himself on at least the former of those factors, claiming
that not reading the interviewee's book, or seeing their movie, or
listening to their record, etc. allows him to bring a "fresh" approach
to the interview. BS, I say -- it's just lazy and disrespectful, but he's
been getting away with it for years and making megamillions in the
process, so who am I to argue? (I will add that King must have
compromising photos of Ted Turner, as there is no other way to
explain his continued employment on his network.)
One of the things that fascinated me about the show was the contrast
between Brian's overt lucidity, and the subtle oddities -- more typical
of the "out of it" Brian of earlier days -- that occasionally slipped
through (and which Larry, in his inattentiveness, always missed,
although some of them required some deeper knowledge of Brian's life
and career than King could've been expected to have). Some examples:
* Getting the birth order of his brothers wrong.
* Now claiming his bad ear was that way from birth, rather than a result
of his getting boxed there by his dad.
* This exchange, about the time the Wilson parents went to Mexico and
the boys used the money they'd left behind for groceries to buy
instruments instead, and thus formed The Beach Boys:
> LK: When your father got home from the vacation and he learned that
> the $250 was spent on things other than he left it for, was he mad?
> BW: No, because we played him what we wrote ["Surfin'"] and he started
> smiling. He goes: "That's great. That's a great song." I thought he was
> going to go: "Get in the bathroom, you're going to get beat with a belt,"
> you know, like he usually does.
Note the present tense in that last word, then contrast that with the
revisionism of the bad-ear story. It seems to me Brian's STILL trying to
reconcile his relationship with his father, i.e. is desperate to win the
love and respect of a monster. (I apologize for playing armchair shrink
here, but that seems to go hand-in-hand with thinking about Brian Wilson.)
And note Larry's response to the story, although it smacks of the
horrors of his guest's childhood:
> (LAUGHTER)
* The irony of the fact that Eugene Landy introduced Brian and Melinda,
yet it was she was instigated Brian's separation from this other
father-figure monster in his life. It also intrigued me that, even when
prompted by Larry to detail the results of the separation lawsuits
brought on Brian's behalf against Landy, Melinda only said that
she'd heard he was teaching in Hawaii, leaving out the fact (if I'm
remembering correctly) that he'd actually been banned from practicing
psychology in the state of California.
* Another provocative statement that Larry failed to follow up on:
> BW: Our catalogues keep moving. The Beach Boy catalogue moves.
> We get a substantial amount of money from Rondor Music, [which]
> A&M Records owns. They bought the catalog from my dad.
> MW: Well, actually, your father sold it to them.
> BW: My father sold the catalog to A&M.
* Melinda's claim that Brian dropped acid only three times. Maybe it was
that few, but according to the bios I've read it was more like three
times a WEEK.
* This mindless response to an interesting comment; with Larry paying
no attention to the fact that in 1965 Glen Campbell was still hardly a
household name:
> BW: Right, right. No, they [the group] hired Glen Campbell to go out
> with them.
> LK: Was it called Glen Campbell and the Beach Boys or just the
> Beach Boys?
* Despite appearing fascinated by Brian's auditory hallucinations, in
which Brian often hears a voice (or perhaps multiple voices; it was
never clarified) that says it's going to kill him, Larry asked (as is
his way) only the most superficial questions about them. On one
important aspect of this horrifying phenomenon Brian and Melinda
disagreed (as they did often throughout the interview) about the facts
of Brian's life:
> MW: That's the thing that's amazing. Right now when he goes out
> on tour I can look at him and I say to myself: "Oh my God, I can tell
> just by his face he's hearing voices."
[later:]
> LK: Ever hear them while you're singing?
> BW: No, not when I'm singing, no.
I could go on and on with these uncomfortable moments. I don't mention
them to criticize Brian, nor Melinda; I thought both held their own
quite well, and that their gentle disagreements were likely a necessity
of the circumstances. I don't think of Brian as completely honest
so much as totally guileless, and as such it's probably a survival
mechanism for him to have adopted a highly selective memory. One of her
roles, then, appears to be to reel him back to reality on occasions when
it seems helpful to do so. My complaint, instead, is aimed at Larry King
-- not that I expected more, but it's still frustrating as hell to catch
Brian Wilson in a lucid and reflective state, for a solid hour (minus
commercials) on national TV, and yet not even attempt to truly probe him
in any way. When he's interviewing someone I don't care about, I find
his style amusing (at least in small doses), but when he's got someone
I do care about in his seat it's infuriating. An example of how out-of-
touch he is is revealed in the phrasing of one of my questions, in
which he used a word that hasn't been in vogue since the 1940s:
> LK: Did you do a lot of concertizing?
Although this is not the place to argue who could have done a
significantly better job of it, since I have the floor at the moment I
will toss out the one name that comes to mind every time I ask myself
that question. Ted Koppel may not be anyone's idea of a music
interviewer, but he's the most intelligent, thoughtful and ALERT
interviewer on American TV today, plus he would've bothered to do his
homework and study up on his Brian Wilson and Beach Boys story before
sitting down to talk to the guy. It's the only respectful way to do it.
One final comment: I was happy to see that Brian's no longer talking out
of only one side of his mouth, which likely indicates that he's on a
more appropriate meds regimen. On the other hand, I'm dismayed to
learn that the "Smile" release will be of a re-recorded version!
Dig,
--Phil M.
P.S. Thanks to Laura Pinto for providing the link to the transcript
page: http://snipurl.com/8kdq
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Message: 17
Date: Sun, 22 Aug 2004 01:05:23 -0400
From: Phil X Milstein
Subject: Re: Rev-Ola Sound
Kingsley Abbott wrote:
> Regarding Revola's Sunshine Company compilation - I did that
> particular comp for them, and they certainly didn't use my vinyl
> for them, though they did copy a cover or two. I'm pretty sure Joe
> had access to masters. I'm quite happy with variable sound quality
> if it means we continue to get some of the wonderfully obscure
> aural treats that Revola has been unearthing of late.
I'm confused about the complaints of aural problems -- are they on the
Sunshine Company release, the Bergen White one, or both? I'm interested
in getting one of those (won't say which one), but would prefer to know
in advance just how clean I can expect it to sound.
Thanks,
--Phil M.
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Message: 18
Date: Sun, 22 Aug 2004 02:23:15 -0000
From: Margaret Still
Subject: Gold Star
What exactly qualifies as a "GOLD STAR" session?
Is it merely the fact that it was recorded there, whether or not the
regular sessions musicians were involved?
Does something qualify as "Gold Star" on the basis of having the Gold
Star regular sessions musicians performing back-up, no matter where
the session is recorded?
Was Gold Star leased out to musicians not usually associated with
Gold Star?
Can anyone provide a list of all musicians considered Gold Star
sessions regulars?
Has anyone compiled a sessions list of all recordings made at Gold
Star?
With Sun Studios, there is a distinction between a "Sun Studio"
recording session at 706 Union versus a later-era "Sun" record
produced at Sam Phillips Recording Studio around the corner at
Madison Avenue.
M. G. Still
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Message: 19
Date: Sun, 22 Aug 2004 03:10:02 -0700 (PDT)
From: Michael Fishberg
Subject: Brian Wilson interviews Hal Blaine
There is, somewhere, Brian Wilson interviewing Hal Blaine (the drummer
who played on many of the Beach Boys and 1000's of other 60's hits) on
a promo CD put out my Blaine's daughter. The idea was that Hal was
going to do a series of radio programmes, and this was to be the pilot.
It's terrific, and I had it some time ago, but it got mislaid. Well
worth trfacking down...
Michael Fishberg
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Message: 20
Date: Sun, 22 Aug 2004 10:05:26 -0000
From: Steve Stanley
Subject: Re: Rev-Ola Sound
Phil M. wrote:
> ... complaints of aural problems -- are they on the Sunshine
> Company release, the Bergen White one, or both?
I know from working on the Bergen White Rev-Ola CD that it was
definitely transferred from the original SSS LP master tape.
With the exception of some tolerable sonic issues—specifically,
at the end of "Lisa Was" and through "Hurt So Bad"—the sound is
excellent.
Steve
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Message: 21
Date: Sun, 22 Aug 2004 07:19:56 -0500
From: Orion
Subject: Re: Rev-Ola Sound
Phil M:
> ... complaints of aural problems -- are they on the Sunshine Company
> release, the Bergen White one, or both?
The Sunshine Company release is the one I have that has some "noise"
that doesn't belong there. I have taken the CD extracted all the songs,
cleaned the first 7 seconds off of song 11 I believe and now it is very
fine listening. It seems I insulted someone here by even bringing it
up, which is by no means my intention. I have other Rev-ola CDs that
are fine.
Orion
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Message: 22
Date: Sun, 22 Aug 2004 10:46:02 +0100
From: Mick Patrick
Subject: Re: Marcie Blane in Goldmine
Marcie Blane in Goldmine magazine (thanks to Eddy):
> ... she was asked by a songwriting friend to make a demo
> record of some tunes he had written. The friend took the demo
> to Marv Holtzman at Seville Records, who didn't like the
> songs but wanted the singer. He signed Blane to a record
> contract. "I was just doing someone a favor," recalls Blane
> ... "It wasn't supposed to lead to anything. I was just
> supposed to go in (and cut the demo) and leave. But the
> fellow at the record company liked me and offered me a
> contract ..."
Thanks a lot, Eddy. Are you a Marcie Blane fan, by any chance?
If so, contact me off list with your street address, and some
time soon I'll send you a copy of her CD (due out on UK
President in a month or two). The demos Marcie refers to above
will be on the CD.
Hey la,
Mick Patrick
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Message: 23
Date: Sun, 22 Aug 2004 14:44:17 -0000
From: Julio Niño
Subject: Bad habits, songs in musica and a magician.
Hola Everybody.
I´ve just gotten up (it's almost 3 p.m, but each passing day I get
up later. The 1st of September, when I start working again, I'm going
to suffer a shock). I'm having my morning dose of caffeine and
listening to the two new track in Spectromusica.
The Sandpipers' version of "Love Is A Beautiful Thing" has amused me
quite a lot. It's nice beginning the day with tunes like this, having
fun. Jeff, many thanks for playing it.
Jackie DeShannon's "My Birthday Party" is great, with that Louisiana
flavour. The perfect detail for Jackie's birthday. Thanks Mick. You
are always surprising us, like a magician taking beautiful white
rabbits out of your hat.
I'm going to have a shower.
Chao.
Julio Niño.
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Message: 24
Date: Sun, 22 Aug 2004 09:28:25 -0500
From: Dan Hughes
Subject: Larry King
Phil sez:
> Anyone who's watched King at work over the years would not have been
> surprised by his lack of preparation and lack of attention to his
> subject; the guy is such a moron that he actually (and openly) PRIDES
> himself on at least the former of those factors, claiming that not
> reading the interviewee's book, or seeing their movie, or listening
> to their record, etc. allows him to bring a "fresh" approach to the
> interview.
Dan adds,
The way I heard him explain it, he says that the vast majority of his
audience hasn't read the book, so by not reading the book he's one of
them, and he won't be over their heads in a discussion they are not
prepared for.
May sound good on paper, but I'll never forget the night he interviewed
John Prine (back when King did overnights on radio). "So, John, what
kind of music do you play?" It was obvious from the git-go that King
had no idea who John Prine was. I stayed up half the night to hear this
interview, and it was totally worthless. Non-Prine fans probably tuned
out after two minutes, bored silly, and the Prine fans who were left got
to sit through an hour of Larry's inane discussion of the current state
of folk music, etc--virtually nothing new on Prine himself.
---Dan
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