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SPECTROPOP - Spectacular! Retro! Pop!
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There are 14 messages in this issue.
Topics in this digest:
1. Re: Tracey & Kirsty
From: Jim Allio
2. Spectropop Party Gathering
From: Claire Francis
3. TWNHA
From: JD Doyle
4. Re: bogue Shangri-Las
From: Phil X Milstein
5. Rita Martinson ?
From: Stephane Rebeschini
6. Re: Peter Noone for Thanksgiving/Tracey Ullman
From: Clark Besch
7. Bubbling under ...
From: Phil X Milstein
8. Brian Wilson to Be Honored as MusiCares 2005 Person of the Year
From: Jens
9. Help with searching for two 45s
From: Peter McCray
10. Bobby Gregg; Stone Poneys; Bert Sommer; Vells
From: Country Paul
11. Back to Mono...seriously
From: Rick H.
12. Re: Ivanhoe Records
From: Davie Gordon
13. Mann/Weil/Spector
From: Dave OGara
14. Re: Donnie Elbert
From: Hans Huss
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Message: 1
Date: Tue, 30 Nov 2004 16:18:19 -0800 (PST)
From: Jim Allio
Subject: Re: Tracey & Kirsty
Phil Chapman:
> Tracey's version ["They Don't Know"] is a semitone up on Kirsty's
"They Don't Know" is such a great record and song. It always
sounded to me like the Lost Lesley Gore Hit. When Tracey did
it on "Solid Gold" I felt very sure of it.
Jim Allio
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Message: 2
Date: Wed, 1 Dec 2004 10:59:16 EST
From: Claire Francis
Subject: Spectropop Party Gathering
Attention Spectropoppers:
Hear Ye Hear Ye ....
"February is too cold (brrrr)...."
"....not enough notice."
"Let's make it when it's warmer.."
"I Don't know if I can make it."
"I can make it if he can make it..."
"Al Kooper already played Joe's Pub on Feb 5th 2004!"
(Oops I read the website of live dates wrongly.)
So I guess you have gotten the picture by now, my groovy S'pop memers.
It seems that it would be better to have the party in spring. Bundle up
February, stay warm, and we will aim for another date after the holidays,
with a window of up to five months' notice. That should give everyone
who wants this party enough time to plan for it.
All comments and suggestions welcome off-list....have a dynamite holiday.
Love and Light,
Claire Francis
http://www.clairefrancis.com
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Message: 3
Date: Wed, 01 Dec 2004 22:32:51 -0000
From: JD Doyle
Subject: TWNHA
Hi,
This is not my auction, but I noticed a copy of 'That Will Never
Happen Again' on eBay. For those who do not have this wonderful
magazine, any of its issues are worth their weight in gold...:)
http://tinyurl.com/4jz94
JD Doyle
http://www.queermusicheritage.com
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Message: 4
Date: Tue, 30 Nov 2004 20:52:16 -0800
From: Phil X Milstein
Subject: Re: bogue Shangri-Las
Country Paul wrote:
> I found a "Shangri-La's" page at a booking company that claims to have
> "original artists" -- http://www.2bproductions.net/artists/shangrilas.html.
> Obviously, we know better, but does anyone have any idea how these folks
> get to use the group name, and how they are connected to it?
I covered a similar situation in my Spectropop article on the SL's
aborted reunion in 1977 ( http://www.spectropop.com/Shangri-Las ), in
footnote #8, to be precise:
-----------
8. A disenchantment [with their original material] which may partly
explain why, apart from a few dates scattered across a three-year period
following their official breakup in 1968, The Shangri-Las never put
themselves out on the oldies circuit. After the 1977 reunion they
performed together only once, at a 1989 Palisades Park remembrance at
the Meadowlands Arena in New Jersey. In a display of chutzpah profound
even by music industry standards, oldies promoters Dick Fox and Larry
Marshak, who included an ersatz Shangri-Las among their stable of bogus
acts, had sought a court injunction to prevent the original group from
performing the Palisades Park show under the Shangri-Las name. The
promoters argued that since it hadn't been used in so long the name had
lapsed into the public domain, and they had by now established
themselves as the owners of the trademark. Their request was wisely
denied, and the girls were able to do the show.
-----------
The way I've heard the denouement of this story, the Weiss sisters
eventually agreed to license the rights to the Shangri-Las name to Mars
Entertainment (or something along those lines), Fox and Marshak's
concert production company. Last I heard, that agreement was still in effect.
That said, I don't know that the info I've offered here quite covers the
legal situation of the act Paul refers to. So, as always,
Caveat emptor,
--Phil M.
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Message: 5
Date: Thu, 02 Dec 2004 00:21:12 +0100
From: Stephane Rebeschini
Subject: Rita Martinson ?
Hello from France - I recently got these two singles:
Rita Martinson - "I Can't Make It Alone" / "Yesterday's Mornings"
VMC V720, 1968 USA, one Carole King & Gerry Goffin song
and
The Two People - "You're Gonna Hurt Me"/"I Really Don't Want To Know"
Liberty 55916, 1968 USA, US pop duet, produced by Dallas Smith.
One Rita Martinson song
Does anybody know who Rita Martinson was? One japanese friend wrote me
that she also worked with the Association, but I'd like to know more!
Best regards
Stephane Rebeschini
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Message: 6
Date: Wed, 01 Dec 2004 19:26:25 -0000
From: Clark Besch
Subject: Re: Peter Noone for Thanksgiving/Tracey Ullman
Larry Lapka wrote:
> Peter Noone: One word: terrific! This guy is real good -- no
> one should knock him at this point. This guy knows his place
> in rock history and just goes with it. He's as exuberant as my
> nine year old is.
Karen and Larry are right on and so is the Noone man's music. I've
been listening to the new Abkco CD and those songs are so-o-o good!
He needs a box set with the great B sides as well! His "End of the
World" is tremendous and the musicianship of the Hermits (and studio
musicians) is great as well. Besides the hit stuff, "Sunshine Girl"
seems like a serious take off on Dave Dee etc singing and music of
the period to me. Anyone hear that? Maybe that's why it was big in
the UK, but flopped in the US? "Sleepy Joe" was almost like a Kinks
song to me, singing wise. "Something's Happening" is great with its'
Jamaica-sounding approach. Of course, "Oh You Pretty Things" was
tremendous for the period and shoulda been a hit here as well as
there! The Hermits get knocked too much. They deserve "rock n roll
hall of fame" as much or more than many, but I can't start again on
that ridiculous theory.
Phil Chapman:
> Yes, I recorded and mixed most of Tracey Ullman's tracks. I did a
> lot of '60s covers at that time and I was determined to capture
> the same excitement and 'magic' that the originals had, despite
> my apparent disregard for technical quality being frowned upon.
Phil, All I can say is that "They Don't Know" by Tracey Ullman is
one of the best songs of the 80's!
Clark
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Message: 7
Date: Wed, 01 Dec 2004 17:25:44 -0800
From: Phil X Milstein
Subject: Bubbling under ...
A few miscellaneous items:
* I came across a great line, which I thought most of you would
equally enjoy, in, "Last Night A DJ Saved My Life", Bill Brewster
and Frank Broughton's very satisfying history of the club DJ.
Referring to pirate radio in England following the 1967 law banning
the practice, they write:
"If a station got raided by the authorities, a DJ could face up
to six months in jail. Worse, he could have his records confiscated."
Thanks to DJJimmyBee for tippin' me to this tome. The research
behind it is incredible. I can imagine a writer being able to
retrace steps unto DJ Zero of a particular old-school scene, but
these cats did that with a whole SLEW of such scenes, including
a-go-go, Northern soul, disco, hip-hop and house. In addition,
they do an admirable job of explaining each of those forms various
descendents, tributaries and substrata, many of which, of course,
lead into one another, and also hip the befuddled reader to the
origins of nearly any obscure tradition of the club DJ tradition.
Thus, even though my musical interests expire pretty early into
the (chronologically arranged) book, I've found myself hanging in
there well beyond that just to understand some of the later terminology.
Apparently, I am the last person on Earth to find out what in the
hell a "breakbeat" is!
* For those who, like me, often find themselves needing to mark
notes of various types onto CD covers, an indispensable tool is
the humble China marker (aka grease pencil), available for mere
shillings (aka shekkels)at any half-decent art or office supply
store. The waxy substance writes handily on CD (or cassette)
plastic cases and, better still, wipes right off with a tissue.
Don't stay home without it!
Mick:
> I do have (on cassette) a track that definitely IS about the
> legendary model, although not in a particularly complimentary
> fashion. I've posted it to musica. Details are: Barbara Windsor
> "Don't Dig Twiggy" (Parlophone R 5629, 1967); Arranged by Mark
> Wirtz. Our dear pal Mark W. denies all knowledge of this track.
Very cool record, Mick. Then again, I'm a sucker for virtually
ANY song that includes measurements (of the "36-24-36" variety)
in its lyrics. If only I'd thought to be making a LIST of them
over the years ...
Yeah,
--Phil M.
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Message: 8
Date: Wed, 01 Dec 2004 17:08:56 -0000
From: Jens
Subject: Brian Wilson to Be Honored as MusiCares 2005 Person of the Year
SANTA MONICA, Calif.--(BUSINESS WIRE)--- The 15th Annual Gala Tribute
Benefiting the MusiCares(R) Foundation's Financial Assistance Program
will be held Feb. 11, 2005
GRAMMY-nominated composer Brian Wilson will be honored as the
MusiCares 2005 Person Of The Year, it was announced today by
Neil Portnow, President of the MusiCares Foundation and The
Recording Academy. Wilson -- chosen for his accomplishments as a
musician and humanitarian -- will receive the honor at a special
tribute dinner, concert and silent auction held Friday, Feb. 11,
2005, at the Palladium in Hollywood. The MusiCares tribute dinner
is one of the most prestigious events held during GRAMMY Week, a
celebration that culminates with the 47th Annual GRAMMY Awards on
"GRAMMY Sunday", Feb. 13, 2005. The telecast will be broadcast on
the CBS Television Network at 8 p.m. (live in the East, tape delayed
in the West).
"We take great pride and joy in saluting Brian Wilson during
MusiCares' milestone 15th anniversary of providing a safety net
for musicians everywhere," said Portnow. "He embodies the positive
spirit that comes from dedication, perseverance and creative brilliance;
his contributions to the evolution of music are both legendary and
profound. Brian and his music have the power to reach listeners across
generations and deliver a musical experience that is timeles and
unforgettable -- and that's exactly how this year's Person Of The
Year event will be on February 11."
A songwriter, producer, arranger and composer, it is no exaggeration
to call Wilson one of pop's most influential creators and one of
music's most revered figures. Starting in 1961 in his family living
room in Southern California, Wilson, his two younger brothers Dennis
and Carl, cousin Mike Love and friend Al Jardine first came together
to create what would become the quintessential soundtrack to the
California Dream -- and more than two dozen Top 40 hits, including
"Surfer Girl," "I Get Around," "Don't Worry Baby," "Fun, Fun, Fun,"
and "California Girls." By 1966, the Beach Boys emerged as America's
preeminent pop group and also proved to be one of the best-produced
groups of the '60s thanks to Wilson's continually evolving studio
proficiency. It was this legacy that resulted in the Beach Boys'
induction into the Rock and Roll Hall of Fame in 1988.
By the mid-'60s, Wilson opted not to tour with the Beach Boys to
focus solely on studio productions. In 1966, he produced three
records that would forever change the course of pop music. The first
was Pet Sounds, his musical autobiography, which is considered by
many to be one of the greatest albums ever made. The second record
was the worldwide No. 1 single "Good Vibrations," a "pocket symphony"
deemed one of the seminal singles of all time. His third creation
was Smile, a collection of songs that combined classical composition,
multipart harmonies, rock rhythms and an avant-garde sensibility,
which unquestionably became one of the most anticipated works ever.
However, a combination of circumstances, both personal and professional,
forced Wilson to shelve the project -- and during the subsequent 37
years, Smile became the most famous unfinished, unreleased album in
music history.
Throughout the '70s, '80s and '90s, Wilson continued to write, record
and produce sonic masterpieces, with the Beach Boys, as a solo artist,
and in collaboration with other musicians ("Til I Die," "Love & Mercy,"
Orange Crate Art with Van Dyke Parks, Brian Wilson, I Just Wasn't Made
For These Times, Imagination, Gettin' In Over My Head); and in 2000, he
was inducted by Sir Paul McCartney into the Songwriters Hall of Fame.
Even as he battled personal demons and professional ups and downs, he
never lost sight of his "holy grail," Smile.
Finally, in 2003, Wilson and his chief Smile collaborator Van Dyke
Parks reunited to complete the work, which has been greeted with
enthusiastic response from both fans and critics alike.
Earlier this year, Wilson and his band performed Smile to sold-out
audiences across Europe, recorded an all-new studio version of the
album, and then toured the U.S. Since its release this past September,
Smile has garnered rave reviews and already is topping 2004 year-end
critics' lists.
Wilson gives generously of his time and talent to worthwhile causes
that are near and dear to his heart and the music community. His
philanthropic efforts are evident in his ongoing support (through
concerts and private donations) of the Carl Wilson Foundation for
cancer research (his younger brother succumbed to the disease in 1998),
as well as performances at the Adopt-A-Minefield benefit (appearing
with Paul McCartney) and Neil Young's Bridge School concert (which
raises funds to help ensure that individuals with severe speech and
physical impairments achieve full participation in their communities
through the use of augmentative and alternative means of communication
and assistive technology).
The Person Of The Year event features a star-studded concert of
tribute performances by many of today's biggest music stars. Also
among the highlights of the MusiCares Person Of The Year gala is its
prestigious auction featuring collectibles such as music and sports
memorabilia, artwork and luxury items.
Proceeds from the annual Person Of The Year tribute provide essential
support for MusiCares' Financial Assistance Program, which ensures
that music people have a place to turn in times of financial, medical
and personal need.
Established in 1989 by The Recording Academy, MusiCares provides a
foundation of critical assistance for music people in times of need,
while treating each case with integrity and confidentiality. MusiCares
also focuses the resources and attention of the music industry on human
service issues that directly impact the health and welfare of the music
community. For more information, please visit http://www.grammy.com.
For information on purchasing tickets, tables or recognition in the
souvenir program for the MusiCares Person Of The Year tribute to
Brian Wilson, please contact Dana Tomarken at MusiCares, 310-392-3777.
Jens
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Message: 9
Date: Tue, 30 Nov 2004 22:43:54 +1100
From: Peter McCray
Subject: Help with searching for two 45s
Wonder if I could ask if anyone might, by some remote possibility,
have spare copies of either of these two venerable 45s from 1971
that they would be prepared to sell:
Arkade - Where You Lead / Sentimental Lisa ( Dunhill 4277) 1971
Horizon - Every Day In My Life with Linda / What We Got Between Us
(Jubilee 5715) 1971
I have been scouring every online source I can find, as well as
Ebay, for more than a year now, without even a glimmer. The closest
I've got is a stereo / mono copy of Where You Lead. But that aside
- nothing. I've also been in contact with the regularly helpful House
of Oldies in New York and tried to email Bleecker Bobs, also in NY,
but emails to Bob just bounce.
I really don't expect too many spares to be floating around -
though I'd be delighted to be proved wrong - but any other
suggestions (off-list) for likely places I might try beside all
the usual online options would be much appreciated.
Thanks
Peter
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Message: 10
Date: Wed, 1 Dec 2004 23:53:18 -0500
From: Country Paul
Subject: Bobby Gregg; Stone Poneys; Bert Sommer; Vells
Once again, trying to catch up.
Dennis Diken:
> Did anyone ever find out more info on drummer Bobby Gregg? I
> believe he played on a fair amount of Cameo/Parkway sessions....
> Would love to know more about which records he played on.
It may have already been mentioned, but he had a small-to-moderate
hit with his own "The Jam" on Cotton in 1962. Billed as "Bobby Gregg
& Friends," the track featured Roy Buchanan on guitar.
In defense of Linda Ronstadt, who went through a round of ribbing
re: the Stone Poneys, I saw her with them playing with Tim Buckley
at the Bitter End in NYC way back when. Both acts were just fine,
as I remember, with Buckley being emphatically the more idiosyncratic
of the two. Beyond that, time has erased the memory - except that
Ronstadt was really pretty (one doesn't forget that kind of stuff!).
Bob Brown:
> For any Bert Sommer fans out there, I would highly recommend
> http://www.bertsommer.com a tribute website by Bert's friend,
> Victor Kahn.
Well worth perusing; there are also some fine obscure tracks which
accompany it. I hadn't realized Sommer played Woodstock - "Jennifer",
which he wrote for Jennifer Warnes (called (Warren at the time), is
very fine and worth hearing.
Phil M., thank you for the Genya Ravan/Goldie & The Gingerbreads
websites. Very informative and fun; http://www.genyaravan.com has
links to get you around.
Declan Meehan, thanks for the Dani Sheridan info. I've since heard
the song - very different from Glen Campbell. (And forgive me if
I'm repeating myself....)
Me, earlier:
> Frank Murphy, about The Velvelettes' Motown Anthology album,
> is "You'll Never Cherish A Love So True" on there? What a
> great song -- especially the drummer's roll-around with the
> rimshot at the end. If it is there, is the version at least
> close to the original recording?
Davie Gordon corrected me:
> "You'll Never Cherish ..." is by The Vells, a different group
> than the Velvelettes. The Vells were an early grouping of Martha
> & The Vandellas.
I thought the Vells had become the "...velettes." Mea culpa - and
I used to play it on the air, too!
Country Paul
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Message: 11
Date: Wed, 01 Dec 2004 23:58:28 -0000
From: Rick H.
Subject: Back to Mono...seriously
I'm happy to share "10 Top Tips for Back To Mono Using Wave Editor"
for digitally restoring monomix 45s and so-called "Stereo mixes"
(and otherwise)to punchy Mono. Interested Spectropoppers can mail
me offsite - feedback would me most appreciated as I intend adding
to the project. If you can do a halfway respectable needle-drop you
can do a Dynamic Monomix.
My list of offending "Stereo Versions" is sorta like the NYC 'phone
books, but the limp (and unavoidable)"24 Hours From Tulsa" by Geno
is what finally pushed me over the edge...enough already! I need to
hear tympani blasting thru the center of my living room rather than
from next door or down the street.
Finally hearing Neil Diamond's "Two Bit Manchild" as the 45 I remember,
could be likened to gazing upon one's firstborn. Or something like that.
Rick H.
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Message: 12
Date: Thu, 02 Dec 2004 00:37:49 -0000
From: Davie Gordon
Subject: Re: Ivanhoe Records
It's prety sketchy but here's what inf. I have on Ivanhoe releases
in my database. Additions / corrections / comments welcomed. Can
anybody tell me the B-side and matrix numbers for the Thunderbirds'
single ?
Davie
IVANHOE label(s) listing
----------------------------------------
this appears to be a Los Angeles label - probably completely
unconnected to Mascari & Wenzlaff
5018 WALTER SCOTT (1965)
I Want To Thank You / ?
5019 DOLLY AND THE FASHIONS (03/65)
Just Another Fool (Cliff Goldsmith)/ The Right One
Prod: none credited arr: James Carmichael
-----------------------------------------------------------------
distributed by Amy-Mala-Bell
50001 THE THUNDERBIRDS
Cindy, Oh Cindy / ?
[this mght be a version of the old folkie warhorse ]
50001 THE DISCIPLES 08/66)
Only The Blind Can See / Junior Saw It Happen
[this one's interesting in that "Junior .." is the same song as
the one on the first Steve Miller Band album - also recorded by
a number of other garage bands.]
-----------------------------------------------------------------
I-500 VINCE McCULLOUGH (1970)
Long Black Hair (Mascari, Norman Welch) / I Wanna Be Around
I-501 RAYMOND JOHN MICHAEL
Feel Free (Ray Graffia, Greg Kempinski) / Let There Be Love
I-502 EDDIE and DUTCH
My Wife, The Dancer (Mascari, Wenzlaff) / Can't Help Lovin' That Girl
["My Wife" was also done by Engelbert Humperdinck - try to control
your excitement]
I-503 VON RUDEN (08/70)
The Spider And The Fly (Jagger, Richards) / Judy (Von Ruden)
Prod : Woody Ano for Ivanhoe Productions
I-504 BOBBY TREND (1970)
Good Day / Judy (Von Ruden)
["Judy" is the same as on I-503, has same matrix number ZTSC142700]
I-505 EDDIE and DUTCH (1970)
My Mother In Law Came Out Of Retirement / Bambino
(Mascari, Wenzlaff)
I-506 unissued ?
I-507 EDDIE and DUTCH
Ah-Choo, Gesundheit (Mascari, Wenzlaff) / Right In My Own Backyard
(Mascari, Wenzlaff)
I-508 CONNIE FRANCIS
Don't Turn Around / I Don't Wanna Walk Without You
I-509 CREAM VALLEY
Love Is Slipping Away / Back toSchool (Mascari, Wenzlaff, Vickery)
I-510 EDDIE and DUTCH
Mama Morelli (Mascari, Wenzlaff) / ?
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Message: 13
Date: Wed, 01 Dec 2004 23:50:11 -0000
From: Dave OGara
Subject: Mann/Weil/Spector
I caught a litte snip of an interview on the radio recently with
Barry Mann and Cynthia Weil. While talking about the Ronette's
song "Walking in the Rain", they said, and I'll paraphrase
here; "with all due respect to Phil Spector, on this track and many
others, Larry Levine and the Goldstar studio echo were as much
responsible for the sound Spector got on many of the tracks recorded
there." I may not have the quote exact but I was wondering if anyone
could expand on the general tone of the remarks concerning Larry
Levine, who I took from their comments to be a studio engineer; and
of the "magic" in those Gold Star studios. I hope I'm fairly accurate
as to what I heard and maybe one or more of you S'poppers know what
they were talking about. Thanks..
Dave 0'
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Message: 14
Date: Wed, 1 Dec 2004 16:14:10 -0800 (PST)
From: Hans Huss
Subject: Re: Donnie Elbert
Ed Salamon:
> Donnie's Deluxe sides, including "Have I Sinned" and "What Can
> I Do", were huge for slow dances at Pittsburgh record hops.
That's great! Donnie Elbert's slow tunes of the late fifties were
massive in Jamaica, too, resulting in some fine cover versions,
most notably 'What Can I Do' by Derrick Harriott (circa 1963), and
'Have I Sinned' by Ken Boothe (1972), also on his classic "Black Gold,
and Green" album (1973). A few American soul artists covered 'What
Can I Do' with good results, Bobby Marchan for Stax/Volt in 1963, and,
in particular, Marvin L. Sims for Charles Colbert's Mellow label in
1966. Donnie Elbert's success with 'Where Did Our Love Go' no doubt
influenced Reuben Bell to have a go at 'Baby Love' in 1972 (Deluxe 140).
An unreleased British recording by Donnie Elbert from circa 1968,
'So Soon', was given a limited release (in a striking picture sleeve)
by Joe Boy (JBV 1) in 1997. May be hard to find, there were only 300
copies pressed, but it is lovely.
HH
-------------------[ archived by Spectropop ]-------------------
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