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SPECTROPOP - Spectacular! Retro! Pop!
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There are 25 messages in this issue.
Topics in this digest:
1. There's A Moon Out Tonight
From: John Fox
2. The Worst Record Ever Made?
From: Rob Pingel
3. Re: The Sandpipers
From: Dave Monroe
4. Re: Sonny Bono
From: Mark Wirtz
5. Kenny Young / Earth Love Fund
From: Brent Cash
6. Re: Augie Rios
From: Clark Besch
7. Re: Lois Lane
From: Austin Powell
8. TV commercials
From: Gary Myers
9. Re: Lois Lane ?
From: Richard Havers
10. Re: There's A Moon Out Tonight
From: Tom Taber
11. Ronnie Spector
From: Jeff Petschow
12. Re: Sonny Bono
From: Claire Francis
13. Re: Sonny Bono
From: Brent Cash
14. TV commercials
From: Dave Monroe
15. Re: TV commercials
From: Phil X Milstein
16. Re: There's A Moon Out Tonight
From: Gary Myers
17. Re: Obscure Bacharach-David song
From: John DeAngelis
18. Come On, Come On
From: Phil X Milstein
19. Ivanhoe
From: Gary Myers
20. Re: TV commercials
From: Michael Thom
21. Gold Star/Sonny Bono/Spector
From: Phil Chapman
22. Re: Obscure Bacharach-David song
From: Paul Urbahns
23. Terry Melcher Spector soundalike
From: Kingsley Abbott
24. Re: There's A Moon Out Tonight
From: Mikey
25. Worst/Best recording / Kenny Young / Jimi Hendrix
From: Artie Wayne
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Message: 1
Date: Sun, 5 Dec 2004 18:17:59 EST
From: John Fox
Subject: There's A Moon Out Tonight
Just wondering of any S'Poppers who were in on recording sessions
in New York in the late 1950s (or at least in the know) have any
perspective on this one: I was just listening, on a good sound
system, to the The Capris' "There's A Moon Out Tonight", and I
noticed that the bass part (instrument, not voice) is virtually
never hitting anything close to a correct note for the entire song!
Whoever is playing keeps the rhythm, but it's as if they're playing
random notes. Even a chimp could hit a right note by accident, but
this bass player hasn't a clue. Anyone know who it might have been,
why this occurred, and why they didn't try (or release) another take?
John Fox
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Message: 2
Date: Tue, 07 Dec 2004 16:12:12 -0000
From: Rob Pingel
Subject: The Worst Record Ever Made?
Recent posts about Augie Rios and his holiday hit "Donde Esta Santa
Claus" (a very cute record), brought to mind what I consider to be
the worst record ever made. My vinyl collection is rather extensive,
so when I say the worst record, we're talking "truly excruciating on
every level." My nominee would be "Hey Santa" by Little Toby Beau.
This record is so bad I was actually afraid to play the flip side.
Rob Pingel
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Message: 3
Date: Tue, 7 Dec 2004 10:38:59 -0800 (PST)
From: Dave Monroe
Subject: Re: The Sandpipers
Just listening to the Saint Etienne (and if there's one contemporary
act the esteemed members o' this list might want to be up on, it's St.
E) selected installment of Family Recording's The Trip series,
featuring, among 46 tracks over 2 CDs/a few fewer over 3 LPs, The
Sandpipers doing The Jackson 5's "Never Can Say Goodbye" ...
http://www.familyrecordings.com/releases09.htm
See also St. E's Songs for Mario's Cafe ...
http://mypage.odn.ne.jp/www/p/i/pinkmargarita/main.html
Sorry, but that's the most accesible tracklisting I could scrounge up
on short notice ...
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Message: 4
Date: Tue, 07 Dec 2004 18:28:28 -0000
From: Mark Wirtz
Subject: Re: Sonny Bono
Richard Hattersley wrote:
> Nice to see you aknowledge Sonny, Mark. I love Sonny's productions
> for Cher from the 60s. The version of "I Go to Sleep" on Cher's
> first album, "All I really Want To Do" is one of my favourite
> records of all time.
IMHO... Sonny Bono's production work, far too casually dismissed at
the time as low-carb Spector imitations (Sonny himself not taken
seriously due to his on-stage personna), does indeed deserve to be
studied for its own unique merits.
Far from being mere Spector mirrors, Sonny's production concepts were
in fact quite different from Spector's. While Spector went for his
legendary "wall of sound," his goal to bombard the listener with
unbridled power, drive and only loosely restrained chaos, that
"wall" was, true to the image of its definition, only a 2 dimensional
illusion.
Sonny, in contrast, used sound, echoes, instrumentation, composition
and arrangement far more discriminately, paying great attention to
detail and nuances. As a result, he created not only a 3 dimensional
ambience image, but one that was designed to illustrate and compliment
the essence of the material, as well as that of the featured performer.
Spector, together with an irresistible hook song, was the "Star" of a
Spector production. The performers were secondary as mere extensions
of the track, and a near excuse for their existence.
Again, in contrast, there was no doubt as to who the "Star" was in
Sonny's productions, and the track never got in the way of that
hierarchy.
Spector was a shot gun.
Bono was a rifle.
I would love to hear the opinions of others, regardless of whether
they concur or disagree with mine.
Mark W.
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Message: 5
Date: Tue, 07 Dec 2004 17:58:04 -0000
From: Brent Cash
Subject: Kenny Young / Earth Love Fund
Paul wrote Re: Kenny Young interview:
> Awesome career, excellent overview. I'm very curious about the Earth
> Love Fund, the all-voices project. Anyone heard it? Is it out in the
> US?
Hi Country Paul and everyone,
Thanks and I'm glad you enjoyed it! Overview is an apt description of
it as it really only scratches the surface. I tried to reign in over
40 years of work with only 20-ish questions, hopefully hitting as many
high points as possible.
The actual all voices project was called "Gentlemen Without Weapons"
from 1987, I believe, and has seen release in the US on A&M on vinyl
and CD. It's all voices aided by sampled sounds only from nature. This
group also was behind the song "Spirit Of The Forest" on the Earthrise
album (there has been at least an Earthrise 2 also) put out by the
Earth Love Fund.
It's got the late 80's/early 90's "WorldBeat" feel to it and typical
for Kenny's work, sounds little like "Under The Boardwalk","Arizona" or
"Ai No Corrida" which preceded it. Among those adding their voices to
it are Brian Wilson and Ringo Starr. wow...
Best wishes,
Brent Cash
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Message: 6
Date: Tue, 07 Dec 2004 18:42:48 -0000
From: Clark Besch
Subject: Re: Augie Rios
Brian on Augie Rios:
> Tom - I'm anxiously awaiting the posting of the flipside, "Ol'
> Fatso". Haven't heard it in years, but I still torture my siblings
> by singing it every year.
I was surprised to see the talk of "Ol Fatso". I used to play it on
my radio show just because it was different than usual airplay songs
of the season. Had no idea anyone else knew of it! Clark
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Message: 7
Date: Tue, 7 Dec 2004 18:57:31 -0000
From: Austin Powell
Subject: Re: Lois Lane
Sean:
> Does anyone have a picture of 60s UK female singer Lois Lane?
> And any info on her; like what happened to her, her real name,
> complete discography, tracks to hear etc.?
Lois is married to an ex-Radio 1 producer and is a very successful
commercial voice-over artist. She does quite a bit for the radio
station I run and I believe has made at least one album in recent
years, in a jazz vein.
Austin P
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Message: 8
Date: Tue, 7 Dec 2004 10:27:28 -0800
From: Gary Myers
Subject: TV commercials
Country Paul:
> ... anyone else noticing how many Who songs are being used for
> commercials this Christmas season?
The most surprising thing I've heard is the use of part of John
Coltrane's "My Favorite Things" for a Martha Stewart/K-Mart
commercial! When's the last time anyone heard Coltrane on commercial
TV?
gem
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Message: 9
Date: Tue, 7 Dec 2004 16:45:37 +0000
From: Richard Havers
Subject: Re: Lois Lane ?
Sean:
> Does anyone have a picture of 60s UK female singer Lois Lane?
> And any info on her; like what happened to her, her real name,
> complete discography, tracks to hear etc.?
A Caravelles Biog I did a few years ago:
Lois Ann Wilkinson (b.3.4.44 Sleaford, Lincolnshire) and Andrea
Simpson (b.9.9.45 Finchley, London) both came from musical families
and met while working together (or so the press hand out said, later
information have cast this into doubt). Lois had guitar lessons from
both her father and the legendary Ike Isaacs, which enabled her to tour
the folk clubs, when she was still only sixteen; Andrea was already
proficient at the clarinet. They decided to team up as a singing duo
and soon Agent Chris Peers heard their demo tapes. He signed the duo,
suggested the name Caravelles (after the first French jet airliner) and
secured them a recording contract with Decca .
Alex Welsh's guitarist Tony Pitt introduced them to what was to become
their only hit single in Britain, a '50s hit for Tennessee Ernie Ford,
"You Don't Have To Be A Baby To Cry". It climbed to No. 6 in the late
summer of '63, but the followup "I Really Don't Want To Know" made little
impression on the record buying public, although it received extensive
radio play.
On its release in America "You Don't Have To Be A Baby to Cry" swept up
to No. 3, which resulted in Lois and Andrea achieving a top ten album,
as well as touring America with the Beatles, Bobby Rydell and The
Coasters in '64. The US follow-up, a remake of a US hit for Ted Lewis
in '33, "Have You Ever Been Lonely (Have You Ever Been Blue)" just
scraped into the top hundred at No.94 and failed completely in the U.K.
despite excellent radio support.
Andrea Simpson continued with another singer, Lynne Wilkinson, when
Lois Lane left at the end of '65. Lane appeared in the '69 film
'Crossplot' starring Roger Moore, singing her own composition
"Westminster Bridge". During the mid 70s Lane appeared on Esther
Rantzen's TV show 'That's Life' singing a different song each week over
the 13 week series. Married to former Radio One producer Roger Pusey,
the 80s and 90s saw her singing on occasional jazz programmes as well
as providing the voice-overs for many TV and radio commercials.
Richard
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Message: 10
Date: Tue, 7 Dec 2004 13:33:38 -0800 (PST)
From: Tom Taber
Subject: Re: There's A Moon Out Tonight
John Fox wrote:
> ... The Capris' "There's A Moon Out Tonight", and I noticed that
> the bass part (instrument, not voice) is virtually never hitting
> anything close to a correct note for the entire song!
In that case, can any of you real musician types tell me why, in
spite of it all, to my untrained ears the record sounds so over-all
damned perfect?
Tom Taber
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Message: 11
Date: Tue, 7 Dec 2004 15:42:47 -0600
From: Jeff Petschow
Subject: Ronnie Spector
I got the privilege of seeing the Ronnie Spector Christmas Show Sunday
night in Chicago. She is in fine voice with a good band and is worth
seeing if she comes near you. Looks to be only a short tour. She does
a mix of Christmas songs, Ronettes and solo songs.
Jeff Petschow
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Message: 12
Date: Tue, 7 Dec 2004 19:27:15 EST
From: Claire Francis
Subject: Re: Sonny Bono
Mark Wirtz:
> Spector, together with an irresistible hook song, was the "Star"
> of a Spector production. The performers were secondary as mere
> extensions of the track, and a near excuse for their existence.
> Again, in contrast, there was no doubt as to who the "Star" was
> in Sonny's productions, and the track never got in the way of that
> hierarchy.
Mark, from a record producer's point of view, I concur with your
opinion regarding Sonny's productions. You are so right...the track
never got in the way.
When you listened to Sonny's productions, it was all about Cher or
Sonny and Cher. Sonny made it easy to "fall in love" with Sonny and
Cher, as well as their records. That's one of the reasons why they
were so popular because he kept the voices right up front and very
crisp. His productions almost made you feel like you were right there
singing with them. He was a very smart producer and brilliant
marketing business man as well.
I also agree that in most of Spector's records, he in fact was the
"Star" because he was such a brilliant producer... He was a huge
inspiration to me when I produced records at Polydor. However...he
could not, I believe outshine Tina Turner on "River Deep Mountain High".
To me, even though that was an incredibly brilliant production, when I
heard Tina sing "River Deep....I put my head down on the console and
prayed "please God, let me find an artist like that"!
Love & Light
Claire Francis
http://www.clairefrancis.com
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Message: 13
Date: Tue, 07 Dec 2004 23:28:08 -0000
From: Brent Cash
Subject: Re: Sonny Bono
Mark Wirtz wrote:
> Sonny (Bono), in contrast, used sound, echoes, instrumentation,
> composition and arrangement far more discriminately, paying great
> attention to detail and nuances.
Martin (in Denmark) and I were just recently raving about Sonny. I'd
like to add a tiny personal favorite moment of mine to Mr.Wirtz's
eloquence re: Sonny's instrumentation use.The entire middle section
of Sonny & Cher's "Living For You" from '66 on Atco. The use of a
fiddle (violin sounds too proper a description in this case) is other-
worldly enough in this song, but having it play "straight" sixteenth
notes ("semi-demi quavers" in the UK?) against a "sunshiney" shuffle
rhythm is *crazy* both on paper and in the music. And that is probably
why I love it.
Best wishes,
Brent Cash
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Message: 14
Date: Tue, 7 Dec 2004 14:19:16 -0800 (PST)
From: Dave Monroe
Subject: TV commercials
Country Paul wrote:
> Finally, anyone else noticing how many Who songs are
> being used for commercials this Christmas season?
Not to mention as "CSI" spinoff theme songs. And the
forthcoming Townshend/Daltrey "Who" album. "Who's
Left?" Note also that Messrs. McCartney and Starr are
eminently available to fill vacant positions. The
Whotles, anyone? And then there's Roger Daltrey
shilling for some late night broadcast home shopping
operation or another. Actual quote: "I'd call that a
bargain." Maybe he should've written more material,
the real money's in the publishing, apparently. In
the meantime, Jackie Wilson's "The Who Who Song" made
it back into the British charts after being used in a
KFC ad (which was also The Clash's road to number
onedom), maybe Pete 'n' Rog might get a piece of that
action as well. "Sell Out"? Anyway, anyhow, anywhere ...
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Message: 15
Date: Tue, 07 Dec 2004 19:41:08 -0800
From: Phil X Milstein
Subject: Re: TV commercials
Gary Myers wrote:
> The most surprising thing I've heard is the use of part of John
> Coltrane's "My Favorite Things" for a Martha Stewart/K-Mart
> commercial! When's the last time anyone heard Coltrane on commercial
> TV?
Pish posh, it's common knowledge that Martha is a major 'Trane freak.
According to one newsgroup I belong to, in fact, she's lately been
regaling her cellblock chums with regular spins of "Ascension" and
"Interstellar Space." K-Mart probably chose to go with a Coltrane
soundtrack on their holiday ads to demonstrate loyalty to their cash
cow, even while she's in stir.
--Phil M.
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Message: 16
Date: Tue, 7 Dec 2004 21:01:31 -0800
From: Gary Myers
Subject: Re: There's A Moon Out Tonight
John Fox wrote:
> ... The Capris' "There's A Moon Out Tonight", and I noticed that
> the bass part (instrument, not voice) is virtually never hitting
> anything close to a correct note for the entire song!
That's funny. I'll have to listen to that. IIRC, the bass player on
Domino's Blueberry Hill is lost on the bridge, and the bass player
on In The Still Of The Night is mostly lost throughout the song.
gem
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Message: 17
Date: Wed, 08 Dec 2004 01:52:21 -0000
From: John DeAngelis
Subject: Re: Obscure Bacharach-David song
Rob Pingel wrote:
> Recently I found an old Bacharach-David piano book titled "In the
> Beginning". My Bacharach knowledge is quite substantial, but there
> was one title that I had never heard or seen before; "Move Over
> and Make Room for Me." It was published in 1963 by Arch Music Co.
> (A subsidiary of Aaron Schroeder Music Corporation.) Oddly enough,
> there is no listing of this song on either ASCAP or BMI. Does anyone
> out there know who recorded this song?
According to the book "Burt Bacharach: Song By Song" by Serene
Dominic, "Move Over And Make Room For Me" was registered with the
Library of Congress on 9/26/63, but the song was most likely never
commercially recorded. I recommend this book to all serious Burt fans.
John DeAngelis
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Message: 18
Date: Wed, 08 Dec 2004 01:57:04 -0500
From: Phil X Milstein
Subject: Come On, Come On
Now at musica is Ollie Jones's first entry in the "We Wrote 'Em And We
Sing 'Em" series, "Come On, Come On."
Enjoy,
--Phil M.
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Message: 19
Date: Tue, 7 Dec 2004 23:21:59 -0800
From: Gary Myers
Subject: Ivanhoe
Additions, replies, etc for Davie Gordon & Clark Besch:
> 5018 WALTER SCOTT (1965) I Want To Thank You / ?
Flip is "Brand New Girl". (And I expect that this is the same Walter
Scott who sang lead with Bob Kuban 7 the In-Men).
> 50001 THE DISCIPLES 08/66) ... 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 ...
The Disciples were booking through Ken Adamany (Madison, WI), with
whom Miller was also connected.
> 508 CONNIE FRANCIS Don't Turn Around / I Don't Wanna Walk Without You
This is, to me, the most surprising one. Wonder how it came about.
Additions (from Ken Clee's Stak-O-Wax):
5030 SAHARA BROTHERS
Can’t Help Lovin’ That Girl/Tumblin’ Down
(B-side is probably the same song as B-side below)
50002 THE OTHER FOUR
I Got A Wife/My Heart Came Tumblin’ Down
(Wonder is this group was a remnant of the Mark IV?)
Clark, it looks like you posted everything about #506 except the artist.
Who was it?
> Wonder if they're the group who had a few singles on Delaware ...
I'd be quite surprised if they are *not* the same group. I show them
with additional releases on Ermine, Libra and Red Feather, and with the
following members:
Johnny (Gianni?) Russo – dr
Ken Hoffman – kb
Danny Hoagland – sx
Coy Rohorn – gtr
Phil Orsi – bs (1/63 – 1/65)
> ... the Disciples on Ivanhoe were from Oklahoma and later moved to Los
> Angeles where they changed their name to Southwind ...
Because of the Disciples release on Ken Adamany's Feature label, their
basic story will be included in my 2nd Wisc. book.
Gary Myers / MusicGem
http://home.earthlink.net/~gem777/
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Message: 20
Date: Tue, 7 Dec 2004 21:21:14 -0600
From: Michael Thom
Subject: Re: TV commercials
Kudos to HP for using the Kinks' "Picture Book" in their new digital
camera ads!
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Message: 21
Date: Wed, 8 Dec 2004 13:02:23 -0000
From: Phil Chapman
Subject: Gold Star/Sonny Bono/Spector
Mark Wirtz:
> That is actually quite vividly echoed (pun) in non-Spector
> productions that were recorded at GS, from Sonny Bono's
> undercelebrated efforts,
For me, the genius behind Sonny's productions was jazzer
Harold Battiste. In some ways, his pop arrangements were
more adventurous than those of his counterpart, Jack Nitzsche,
whose mastery of suspense (for example, his remarkable one-note
cue in "Personal Best") perfectly suited Spector's Wagnerian
mini-symphonies. Harold Battiste, however, created an intricate
guitar and percussion-laden tapestry of counterpoint and
cross-rhythms continuously darting across the audio spectrum.
Visually, his was more of a musical human pyramid contrasting
with Spector's army of densely flanked acoustics and keyboards.
I can't agree with you (& Claire) about vocal placement, tho'.
As you say, Spector saw himself as the star, but every syllable
of his lead vocalists cut through without diminishing either the
power of the track or the passion of the performance, and he *did*
get performances; Tina's vocal on "River Deep..." rides the
fervour of the track bar for bar, it's an incredibly sensual cut.
Although both Spector and Bono used Gold Star, I believe this is
where Larry Levine deserves more of a spotlight. He was a 'natural'
engineer, leaving the individual sounds as untouched as possible.
Gold Star only had 12 microphone inputs, so everything hinged on
the balance of instruments, and that's a whole art-form unto itself.
Larry rapidly developed a feel for what Phil liked and his deft
application of Gold Star's unique echo chamber contributed vastly
to the classic 'wall of sound'. Sonny's tracks were engineered by
Stan Ross, a founder of Gold Star (Larry's uncle?), who recorded
"To Know Him Is To Love Him" and other earlier Spector productions.
Sonny's backing-tracks were possibly more difficult to balance, as
there was much melodic content in the arrangement shifting amongst
the instruments. Listening with an engineer's ear, I often felt
that the tracks were over-compressed in an attempt to keep the level
constant, and that the vocals sometimes sounded disconnected from
the track. And Sonny's folk-rock vocal approach sometimes felt
incongruous to his songs and productions. I think that's one of the
reasons that so many of their records got overlooked, such as "Livin'
For You" and "Have I Stayed Too Long" [is there a stereo copy? I'd
love to examine the track more closely]. Nevertheless, I was hooked
on their records just the same.
The one example I can think of where both influences combine is on
the Ronette's "Paradise" (sadly, its release was withheld at the time).
Tucked in with the churning bed-track is double-tempo arpeggiated
guitar and some tuned percussion doubling a melodic bass line,
creating an uncharacteristic exotic feel, appropriate for the title.
Incidentally, Mark, I am a fan of yours for more or less the same
reasons. Your arrangements display a similar flair for intricacy,
with the additional ingredient of humour. Interestingly, the
arrangement on your 'official' Spector tribute ("Sha La La La Lee"
by Simon & Pi) was equally akin to Sonny Bono, with a stream of
mid-range instruments rippling throughout. Who was the engineer?
My one regret, I never got to visit Gold Star before it was
demolished..... my other regret, that it was demolished!
PC
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Message: 22
Date: Tue, 7 Dec 2004 20:08:12 EST
From: Paul Urbahns
Subject: Re: Obscure Bacharach-David song
Rob Pingel wrote:
> Recently I found an old Bacharach-David piano book titled
> "In the Beginning". My Bacharach knowledge is quite substantial,
> but there was one title that I had never heard or seen before;
> "Move Over and Make Room for Me."
It's not on the song database at http://www.allmusic.com either.
But in a google internet search I found the following....
Move Over And Make Room For Me - Burt Bacharach - Hal David
both Hal David ( http://HalDavid.com ) and Burt Bacharach
( http://www14.brinkster.com/hitmaker/, the Hitmaker Archive
site run by Stephen Wesley) acknowledge writing the song.
Stefan's site states, "with 1682 artists who have recorded 642
songs written by Burt Bacharach..." indicates we may never know
who, if anyone recorded the song. Maybe Stefan knows if any of
1682 artists recorded it.
Apparently, the famous author Alexander Dumas, upon finding his
wife in bed with his good friend Roger de Beauvoir, said, "It's
a cold night. Move over and make room for me." Bacharach was
educated, and may well have heard of this. Dumas died of a stroke
on December 5, 1870, at Puys, near Dieppe. It is claimed that his
last words were, "I shall never know how it all comes out now",
in which he referred to his unfinished book.
Paul Urbahns
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Message: 23
Date: Tue, 7 Dec 2004 22:53:56 -0000
From: Kingsley Abbott
Subject: Terry Melcher Spector soundalike
Martin was wondering about some of Terry Melcher's work.
I would commend a track called '(Maybe) I'm In Love' on the
Freeway album that TM produced in London in 1979. Whilst
mainly a vehicle for John Hobbs who did most of the vocals
and a lot of the playing, this particular track is all Terry's
work including lead vocal, and is a very full Spector inspired
production on a pretty good song. Other players on the album
include Ricky Fataar, JD Maness, Mel Collins and Jim Seiter.
Does Mick P know this track?? It could be a contender for a
PS soundalikes album.
Kingsley
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Message: 24
Date: Wed, 8 Dec 2004 07:01:48 -0500
From: Mikey
Subject: Re: There's A Moon Out Tonight
Tom Taber:
> In that case, can any of you real musician types tell me why,
> in spite of it all, to my untrained ears the record sounds so
> over-all damned perfect?
Because The Capris harmonies were so perfect. I saw them a couple
of years ago and they were excellent. They played a nightclub in
Brooklyn that they had played when they first started.
Mikey
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Message: 25
Date: Wed, 8 Dec 2004 07:29:34 -0800 (PST)
From: Artie Wayne
Subject: Worst/Best recording / Kenny Young / Jimi Hendrix
How ya' doin'? Thanks to everybody who's been asking about me...
I'm fine I've just been painting 12 hours a day since I gained
control of my hands again. I've been reading your posts and I
want to respond to a few.
I'm proud to say that I've shed another alias...Roberta Twain
[on the label R.Twain...Art Wayne] Whenever I wrote with Gary
Zekely[ASCAP] I had to use that name because I was a BMI writer
and during the '60s a writer from ASCAP wasn't allowed to write
with a writer from BMI. I'm also glad to say that my share of the
copyrights have reverted to me, including "Hallelujah" (Zekley/
Bottler/Wayne), which was recorded by The Clique, and recently
released by Sweathog on a Sony Compilation called "Rockin' 70s".
The worst recording I ever had of one of my songs?...too many to
mention, but not enough to drive me into becoming a producer.
The best recording I ever had? Too many to mention (but I will
name a few): "Flashback" (O'Day/Wayne) by Cher and Tom Jones,
"3000 miles" (Wayne) by Brian Hyland, "Midnight Mary" (Raleigh
/Wayne) by Joey Powers, "Here's Where I Came In, And Here's
Where I Walk Out" (Raleigh/Wayne) by Aretha Franklin, "Queen
For Tonight" (Raleigh/Wayne) by Helen Shapiro, "From the Inside"
(Wayne) by Marcia Hines, and "Little Christmas Tree" (Clinton/Wayne)
by Michael Jackson, which has just been digitally re-mastered and
included in the Jackson 5 newly re-issued Christmas album. If you
wanna' know more please visit my website http://artiewayne.com/
Finally, I'm glad that we've been giving Kenny Young his due.
In the early '60s Kenny and I used to hang out a lot. We'd drive
up and down Broadway in his brother's three-wheel car (only one
I've ever seen)and try to pick up girls. I learned early that you
can't pick up girls in a three-wheel car!
Speaking of Kenny, I've dedicated a new piece of wearable art to
him and Artie Resnick (who I borrowed the name Artie from, when
I needed my first alias). It's called "Way Under the Boardwalk".
You can also see "The Werewolf of 1650 Broadway" on the back of
a denim jacket...and a tribute to Jimi Hendrix (with a funny
story about him). Most of the stuff glows-in-the-dark, which you
can see if you run the mouse over the pictures.
http://artiewayne.com/art.html
regards,
Artie Wayne
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