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SPECTROPOP - Spectacular! Retro! Pop!
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There are 25 messages in this issue.
Topics in this digest:
1. Re: Calling Curly Clayton / Space Walk
From: Richard Havers
2. Righteous Brothers update
From: Peter Richmond
3. Re: Vinnie Bell
From: Guy Lawrence
4. Re: Canada goose
From: Gary Myers
5. Re: ONJ, Travolta: Two Of A Kind
From: Larry Bromley
6. Re: Vinnie Bell
From: James Holvay
7. Re: early Stones
From: Richard Havers
8. Re: The Mojo Men
From: Gary Myers
9. Re: The Complete Cathy Carroll
From: Stefan Wriedt
10. Re: The Mojo Men
From: Regina Litman
11. The Mosaics ????
From: Sean
12. Remember Diana?
From: Phil X Milstein
13. Re: Jerry Ross reconnection
From: Clark Besch
14. Susan Cowsill + band
From: Phil X Milstein
15. Bob Dylan / Al Kooper
From: Richard Williams
16. Re: The Mob
From: Clark Besch
17. Re: Norrie Paramor; John Schroeder
From: Alan V Karr
18. Jean Thomas Update
From: Ken Charmer
19. The Treasures and "Hold Me Tight"
From: Max Weiner
20. Margaret Ross speaks
From: Hans Huss
21. ba ba ba ba
From: Clark Besch
22. Re: The Mob
From: Clark Besch
23. Re: Vinnie Bell
From: John DeAngelis
24. Re: John Schroeder
From: Richard Havers
25. Re: Righteous Brothers update
From: Phil X Milstein
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Message: 1
Date: Thu, 22 Sep 2005 07:39:23 +0100
From: Richard Havers
Subject: Re: Calling Curly Clayton / Space Walk
I wrote:
> Curly was out there a couple of years ago, he was 85 years old.
I knew he was (still) out there somewhere.....
I hope I'm still as on the ball as Curly/Harvey when I'm 86!
Richard
-----------------------------
Dear Richard,
Nice to hear from you again: Funny I never get to find these web
items. I am not too well these days (age 86) but I won't bore
you with a list of my ailments. The old grey matter, (like the
"Old Grey Mare"). ain't what it used to be but a few scraps come
through...I remember the Vikings descending on me in the sixties
and although I didn't go a bundle on pop groups (still don't) I
tried a few tricks with them as they were a decent bunch compared
to all the others.
I remember saying that all groups were too bloody loud and they
might get some gigs in places where the customers liked to be
able to have a conversation above the din if they tried the
quieter approach. Hence the name change. Don't know if it helped
...it was certainly different.
Re "Space Walk"...I gave it that title..it was an instrumental
piece written for them (at my request) by my old friend Tony
King of Southern Music (publishing): The company did, in fact,
print up some sheet music copies at the time. Try Southerns to
see if they still have a file copy???
The effort was recorded at Olympic Sound and for good measure, I
bunged in a Paraguyan Harp player (he fitted himself into the
unusual musical surroundings rather well.) I guess my name
appears on the label as producer. The day I obtained the release,
I learned that the "B" side was not one of the group's originals
(as I had been led to believe) and I had to think up a quick
alternative. I got a drum track from somewhere and busked lead,
rhythm and bass guitars on to it myself. No idea what I called it
but anyway, its the group on one side and your humble on the
other.(Shssh)
The record got nowhere although I think it pissed rings round the
Tornadoes effort. The yarn about me trying to pass them off as
the New Tornadoes is a load of old pony (cockney rhyming slang
for crap - Richard). I didn't think the group carried on much
after that so I am surprised to hear the mention of their singles.
Please tell me more.
The bass player (Phil Leaversley) kept in touch with me for quite
some time. Nice guy. He would be (if extant) about 65 now. Would
like to know about him if your mate can find out.
If anyone out there is interested, I can tell them why groups
started to call themselves bands. Bloody ridiculous really..even
pukka musicians didn't call themselves bands until they became
ten piece and upwards. ("Quintette of the Hot Club of France",
"George Shearing Quintette", "Benny Goodman Sextette", "Red
Nichols and his Five Pennies", "The Modern Jazz quartette", etc
etc...)
Let me know what transpires.
Best wishes, Curly
------------------------------------------
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Message: 2
Date: Wed, 21 Sep 2005 22:55:10 +0100
From: Peter Richmond
Subject: Righteous Brothers update
There is a really significant Righteous Brothers compilation CD
release on 11 October by Polydor, entitled "Gold".
At last someone at the Universal Music Group, has deemed that
perhaps it might be a good idea to issue a Righteous Brothers
compilation with some tracks that will grab the attention of
Righteous Brothers collectors.
Naturally all the tried and trusted tracks are included, on first
glance it might appear to be just a straight copy of the
definitive Righteous Brotherscompilation, "Anthology" on Rhino
released in 1989.
There are however, some absolute gems - all Bobby Hatfield's five
Verve singles main sides "Hang Ups", "Brothers", "Only You", "My
Prayer" and "Answer Me" are included, plus "Hot Tamales", his
1963 Moonglow 220 single, later issued on the Philles "Back To
Back" album in 1966. Only "Hang Ups" has ever been issued on a
compilation, all the other Verve tracks were due to been issued
on an unissued Bobby Hatfield Verve album in 1969, hopefully they
might be in stereo unlike the singles which were mono only.
Bill Medley first solo single "Gotta Tell You How I Feel" on
Moonglow 221 is included, as are five of his MGM singles main
sides, "I Can't Make It Alone", "Brown Eyed Woman" and "Peace
Brother Peace" have been issued on CD on several occasions but
"This Is A Love Song" and "Someone Is Standing Outside" have only
been previously issued on a 1991 Australian Bill Medley
compilation CD "Unchained".
One of life's great mysteries still remains - the final Righteous
Brothers Verve single "Here I Am" (produced by Mickey Stevenson),
one of my favourite tracks by them, has never found it's way on
to any compilation, bootleg or legitimate, vinyl or CD.
Righteous Brothers Gold (Polydor) 11 Oct 2005
Little Latin Lupe Lu
Hot Tamales - (Bobby Hatfield)
Gotta Tell You How I Feel - (Bill Medley)
My Babe
Koko Joe
Let The Good Times Roll
Try To Find Another Man
I Just Want To Make Love To You
Something's Got A Hold On Me
This Little Girl Of Mine
Bring Your Love To Me
Fannie Mae
You Can Have Her
Justine
Georgia On My Mind
You've Lost That Lovin Feelin
The Angels Listened In
Just Once In My Life
See That Girl
Unchained Melody
Hung On You
Ebb Tide
(I Love You) For Sentimental Reasons
The White Cliffs Of Dover
(You're My) Soul & Inspiration - (Long Version)
Stand By
He
Go Ahead And Cry
Something You Got
On This Side Of Goodbye
A Man Without A Dream
Melancholy Music Man
Stranded In The Middle Of No Place
That Lucky Old Sun - (Bill Medley)
Hang Ups - (Bobby Hatfield)
Brothers - (Bobby Hatfield)
I Can't Make It Alone - (Bill Medley)
Brown Eyed Woman - (Bill Medley)
Peace Brother Peace - (Bill Medley)
This Is A Love Song - (Bill Medley)
Only You - (Bobby Hatfield)
My Prayer - (Bobby Hatfield)
Answer Me My Love - (Bobby Hatfield)
Woman, Man Needs Ya - (Bobby Hatfield & Jimmy Walker)
Someone Is Standing Outside - (Bill Medley)
Rock And Roll Heaven
Give It To The People
Dream On
Peter
www.righteousbrothersdiscography.com
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Message: 3
Date: Wed, 21 Sep 2005 23:10:49 +0100
From: Guy Lawrence
Subject: Re: Vinnie Bell
Dana Countryman wrote:
> Hey, I'm a good friend of Vinnie's and had the pleasure to
> record with him at Bennett Sound in Englewood, NJ...Check out
> his web site at: http://www.vinniebell.com
Hi Dana - great website and great to have you aboard.
John wrote:
> With all due respect to the great Vinnie Bell, I am skeptical of
> the claim on his website that he played guitar on Donovan's
> "Sunshine Superman" and the Lovin Spoonful's "Do You Believe In
> Magic", "Daydream", "You Didn't Have To Be So Nice" and "Summer
> In The City".
I'm afraid I have to add to this. Vinnie must be mistaken in his
memory of having played on "Hanky Panky" by Tommy James & The
Shondells. The group were a bona fide garage band when that track
was recorded and only the power of Barry & Greenwich took it from
it's humble origins to the top of the U.S. charts. Perhaps "Crimson
& Clover" might be the #1 hit that features Vinnie?
Regards,
Guy
http://launch.groups.yahoo.com/group/TweedleeDumsDrive-In/
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Message: 4
Date: Thu, 22 Sep 2005 09:55:20 -0700
From: Gary Myers
Subject: Re: Canada goose
Phil wrote:
> I can understand adding a British identifier to one's name under
> the mid-'60s circumstances, but Canadian?
Guy Lawrence:
> Try telling that to the Canadian Rogues (out of Florida), the
> Five Canadians (Texas) and the Canadian Legends (somewhere, USA).
The latter band was from Milwaukee, and, when they went to Miami,
a manager added the "Canadian" part. (Milwaukee's Legends are
covered in my WI book, "Do You Hear That Beat", and they are
included in Jeff Lemlich's FL book, "Savage Lost").
gem
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Message: 5
Date: Wed, 21 Sep 2005 22:37:49 -0700 (PDT)
From: Larry Bromley
Subject: Re: ONJ, Travolta: Two Of A Kind
Tracy Pernell:
> Not that this was a great movie, but the soundtrack has become
> something of a gold mine because it has drifted in and out of
> print since its release in 1983---anyone with any knowledge of
> it, please share it with me! Thanks a lot!
Agreed it wasn't too good, though I enjoyed the angel sequences
with Charles Durning and the rest. I am a HUGE Olivia fan, but I
found the movie unwatchable more than once start to finish. If
you are trying to get a copy of the soundtrack, you could join
one of the Olivia Newton-John mailing lists on YAHOO. Or, check
out eBay. Albums are constantly up for auctions, in fact, I have
grabbed a few CDs and cassette tapes by that Wonderful Livvy of
Oz. Anything with ONJ's voice on it is always in demand. she is
adored by thousands of fans around the world, and the Internet
only fuels that fire.
Age is a number that tells
how long you have lived in this world,
not how to live in it.
Larry Bromley
good day!
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Message: 6
Date: Wed, 21 Sep 2005 04:50:04 -0700
From: James Holvay
Subject: Re: Vinnie Bell
John DeAngelis:
> There are other songs on Vinnie's site list that I'm perplexed
> about. For example, I don't believe he played on Wilson Pickett's
> "Funky Broadway" or "My Guy" by Mary Wells, either! Or "This
> Diamond Ring" by Gary Lewis & the Playboys, or Barry McGuire's
> "Eve Of Destruction" or the Turtles "Happy Together"...
Wow. I totally missed those credits. I think we all know who played
on the Mary Wells track. "Diamond Ring" was a Snuff G. production
done out here in LA. J.Wexler produced ""Broadway", I believe in
Muscle Shoals. S.Barri produced "Eve", out here. And the same goes
for "Happy", another LA production w/Bones Howe at the board. All
of these producers used the same rhythm section that they were
sucessful with. I don't think the "underwater sound" would float on
any of those tracks.
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Message: 7
Date: Thu, 22 Sep 2005 10:27:21 +0100
From: Richard Havers
Subject: Re: early Stones
Phil X Milstein wrote:
> Do you know if either of those early Stones recordings -- the
> demo they did with Curly Clayton, and/or the Rice Krispies ad
I have posted the Rice Krispies ad to musica, along with another
by Peter & Gordon for Macleans Toothpaste.
I checked back and found a Phil Spector connection here.....
>From Bill Wyman.....
The next day (4 February 1964) we were at Regent Sound Studios
with Bill Farley and Andrew to cut some tracks. Pretty soon Phil
Spector arrived, then Hollies, Graham Nash and Allan Clark, and
a little later Gene Pitney arrived direct from Heathrow Airport
with duty-free brandy. Everyone got involved in playing something,
Pitney played some piano, while Spector and The Hollies banged
coins on empty bottles and played tambourines and maracas. We
cut 'Can I Get A Witness' with Stu on piano, and then Gene played
on ‘Little by Little’.
(I took a fifth of Cognac over to the studio, and told the Stones
that it was my birthday, and that the custom in my family was,
that when anybody had a birthday, everybody had to drink a whole
glass until the bottle was empty. We ended-up with a helluva
session. I played piano, and Phil Spector played empty Cognac
bottle, and we played on the 'B' side, which was 'Little By
Little' - Gene Pitney)
We then worked up a song called 'Now I've Got A Witness', before
the whole session degenerated into silliness. No doubt Gene’s
drinks helped us to cut 'Andrew's Blues' (sometimes called Song
For Andrew and far too rude to be released), and then 'Spector
and Pitney Came Too', but we all had a great time. It’s often
said that we recorded 'Not Fade Away' at this session, with Phil
Spector playing maracas, but Andrew used this as publicity,
although Andrew was more impressed with this than the media were!
Two days later we were at Pye Studios near Marble Arch to
record a TV Commercial for Kellogg’s Rice Krispies. We invented
a short 'Jimmy Reed-style' track. We had a good laugh doing it,
and they paid us £400!
The story of the Stones demos.....
On Saturday October 26th the Rollin’ Stones went to Curly
Clayton’s Studio near Arsenal football ground. Curly was a jazz
guitarist and he limited their time in the studio to just an hour
as he had a gig at St. Pauls. Mick, Brian, Keith, Stu and Tony
Chapman (drummer from Bill Wyman's old group The Cliftons and
later joined The Preachers, who changed their names to the Herd)
recorded three songs, from three of their principal inspirations,
Bo Diddley's 'You Can't Judge A Book By The Cover', Muddy Waters'
'Soon Forgotten' and Jimmy Reed's 'Close Together'.
(I met everyone at the studio, near Highbury Corner tube station.
There was one microphone in the middle a small room. To balance
the sound we moved the instruments around, all except the piano,
which was nailed to the wall. There was no bass on the record.
We actually did it to see what it sounded like. We all clubbed
together and paid for it. - Tony Chapman)
A few days later the Stones sent the recordings to Neville
Skrimshire at EMI Records, but it was turned down; the first of
several refusals.
(I sent the demo to somebody I knew at Decca Records, they said
'It's a great band, but you'll never get anywhere with that
singer. - Tony Chapman)
A well-worn acetate of this Session, originally belonging to
Tony Chapman, was sold at the Phillips Rock & Roll Memorabilia
Sale, in London on 6th April, 1988 for £6,000.
Phil, the demos are out there in bootleg circles.
Richard
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Message: 8
Date: Thu, 22 Sep 2005 09:57:12 -0700
From: Gary Myers
Subject: Re: The Mojo Men
James Botticelli:
> So were the Sit Down Mojo Men the same Mojo Men that recorded
> Dance With Me for Autumn Records?
Yes. And, IIRC, at least one of their early cuts on Autumn was
produced by Sly Stewart. I believe one of the band members is a
cousin of Steve Alaimo.
gem
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Message: 9
Date: Thu, 22 Sep 2005 19:18:37 -0000
From: Stefan Wriedt
Subject: Re: The Complete Cathy Carroll
David A. Young on Cathy Carroll:
> and assume that "He's Famous" and "Cry" are each other's flips
> on another disc. Details on that one, please, and what are the
> two singles still unaccounted for?
Just a small addition: Dear David, I can't compare the Triodex
& Cheer releases myself, but a collector who has both said these
are the same masters. Cathy herself confirmed that she never
recorded for Cheer. 15 releases was for sure a wrong figure in
the notes to that CD. 14 is correct.
Steve
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Message: 10
Date: Fri, 23 Sep 2005 00:15:34 -0000
From: Regina Litman
Subject: Re: The Mojo Men
James Botticelli wrote:
> So were the "Sit Down" Mojo Men the same Mojo Men that recorded
> "Dance With Me" for Autumn Records?
According to the Whitburn Top Pop Singles book, they were the
same group.
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Message: 11
Date: Fri, 23 Sep 2005 02:58:58 -0000
From: Sean
Subject: The Mosaics ????
Hello,
THE MOSAICS - "Let's Go Drag Racing" / "Now That You're Here"
Columbia DB 7990 (1966)
Does anyone know ANYTHING at all about this band??? I can tell
you both sides were written by Ken Burgess. And is an A.P.T.K.B.
Production. And "Mark Music Mecolico Biem".
Thanks for any info.,
Best,
Sean
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Message: 12
Date: Fri, 23 Sep 2005 00:24:13 -0400
From: Phil X Milstein
Subject: Remember Diana?
While searching for a copy of Paul Anka's "Remember Diana" in
recent weeks, I found two different versions, both of which sound
as if they're from the same 1963 era. Can someone suggest a way
to distinguish which of the two was the original?
Thanks,
--Phil M.
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Message: 13
Date: Fri, 23 Sep 2005 05:49:13 -0000
From: Clark Besch
Subject: Re: Jerry Ross reconnection
Artie Wayne:
> After not seeing my old friend and songwriting partner for 20
> years, I'm happy to report that he's well, living in Philadelphia
> and still in the buisness! He's licensing his old hits as well as
> other clients material. You can check out his website:
> http://www.phillyoldies.com
Artie, as I have mentioned before, Jerry's old 80's CD comp of "Yo!
Philadelphia" is a great set of songs he produced in the 60's.
Really shows off his talents besides the big hits. Faves are the
early Cyrkle cuts when they were the Rhondels and they are even in
stereo!
Clark
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Message: 14
Date: Fri, 23 Sep 2005 00:22:31 -0400
From: Phil X Milstein
Subject: Susan Cowsill + band
I spent a truly wonderful night last night seeing Susan Cowsill
and her cracklin' little four-piece (S.C., voc & acoustic gtr;
Chris Knotts, lead gtr; Rob Savoy, bs; Russ Broussard, dr), at
a club here in the Boston area. It was an intense performance,
as Susan and the entire band lives in New Orleans, and lost all
their gear, not to mention countless other personal belongings,
in the flood there, just prior to the start of the tour. Added
to that trauma is the fact that Barry Cowsill, the only other
Cowsill to also live in N.O., remains unaccounted for -- although,
as Susan added sardonically while briefly mentioning the
situation, "that's not unusual for him." (For for more on their
situation see http://cowsill.com/cowsills/news.html )
Given these circumstances, the show was the most extreme
illustration of "the show must go on" I have ever seen, and
Susan's and her band's bravery in the face of it all, especially
her ability to find humor and grace amid the dual dislocation of
being on tour and having no homes to return to, was a beautiful
thing to see. I couldn't tell which part of the show -- the
opening and closing sets of mostly -- and mostly terrific --
originals, or the central part in which they performed a
breathtaking rundown of Neil Young's "Harvest" album in its
entirety -- was the more gratifying. The group rose to both
challenges, turning in a show that was at once elegaic, defiant
and deeply human. The fact that she was a bit of an exposed
nerve was more than understandable.
I urge you all to consider seeing this show if it comes anywhere
near you. I was hoping to be able to buy her "Just Believe It"
CD at the show, but it appears they lost all copies in the flood.
Not to fret TOO much over that, though, as a reissue, on Blue
Corn Music, is due out in a few weeks (pending, alast, the
results of Hurricane Rita, as they are HQ'd in Houston).. See
http://www.susancowsill.com for tour dates, and for more on the
CD.
In the meantime, I've posted a few pix of Susan and band at work
to the Photos section. Although she didn't say explicitly how
they came by their new instruments, I imagine they were either
loaned or donated, as she did mention that the electric guitar
she strapped on for a couple songs, as well as the little amp
she was using (which can both be seen in one of the photos), was
given her, in response to the disaster, by Jackson Browne.
For those still interested in donating to an efficient and music-
oriented Hurricane Katrina charity, I asked the tour manager if
she could recommend a fund of the sort, to which she immediately
offered MusiCares, which confirmed recommendations I'd heard
elsewhere. It's operated by NARAS, the Grammy Awards organization,
but in spite of that has an excellent reputation. MusiCares has
established a secure Web page to designate donations specifically
to Katrina victims:
https://www.grammy.com/Donations.aspx?comp=MusiCares
Finally, while posting the photos I noticed that the shots of
Betty Willis that Tony Reichardt discussed here a few weeks back
are now up, although I don't believe they were ever announced.
Take a look if you get a chance -- they're pretty neat!
Dig,
--Phil M.
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Message: 15
Date: Fri, 23 Sep 2005 15:50:09 +0100
From: Richard Williams
Subject: Bob Dylan / Al Kooper
Just been to a screening of Martin Scorsese's Dylan documentary.
There are about a thousand reasons why no one should miss it when
it goes out on BBC2 and PBS next week, but one of the best is the
superlative contribution of our very own Al Kooper, whose
reminiscences had the preview audience in stitches.
Richard Williams
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Message: 16
Date: Fri, 23 Sep 2005 15:14:06 -0000
From: Clark Besch
Subject: Re: The Mob
Mark wrote:
> Hi Gary! This question is for either you or Jim Holvay--is this
> the same Mob group that did a rare version of "Open the Door to
> Your Heart" for the Daylight label? Thanks in advance.
Mark, I'm sure Mr. Holvay will answer this, but, YES, it is the
same group. "Door" was on the Twilight (night? I can't remember)
label and it's groovy original flip, "I Wish You'd leave me Alone",
reappeared on a Mercury 45 also.
Clark
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Message: 17
Date: Fri, 23 Sep 2005 14:12:45 -0000
From: Alan V Karr
Subject: Re: Norrie Paramor; John Schroeder
Well, Cliff Richard & Norrie Paramor had 2 US Top 40s when UK
discs in the US Charts were scarcer then hen's teeth. ("Living
Doll" on ABC-Paramount; "It's All In The Game" on Epic) but due
to all the reasons heretofore and often mentioned, could not
sustain Stateside momentum. Besides the relative lack of US hits,
probably many other reasons why Paramor gets no respect-he's
long passed, was uncontroversial (a la Meek & Spector) and over
time a lot of production credit has been assigned to EMI
engineers like Norman Smith and Peter Sullivan (in Sullivan's
case, Walter Ridley essentially delegated Johnny Kidd sessions
to him).
I always think of Archie Bleyer (Cadence Records) when I think
of Paramor, their careers seem to remarkably mirror each other's,
they even resembled each other to a certain extent.
Curious to know, never mentioned too much why:
1) John Schroeder left EMI\Paramor c. 1962 - not enough credit
for Helen Shapiro? It was time to step out on his own?
2) Schroeder passed very quickly through Philips/Fontana and
Oriole on his way to Piccadilly - what happened in those
situations.
3) Did Mark Wirtz and Schroeder work together at all while
Schroeder was at Oriole.
Regards,
Alan V. Karr
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Message: 18
Date: Fri, 23 Sep 2005 15:58:00 +0200
From: Ken Charmer
Subject: Jean Thomas Update
Further to our recent communications with Jean Thomas, I have
been trying to complete here discography, based on the excellent
listing by John Clemente in "Girl Groups" and the comment in
Mick Patrick's sleeve notes to 'The DynaVoice Story' CD WESD226.
Jean is helping fill in some of the gaps.
There is a missing Rag Dolls single not included in John's
discography:
Put A Ring On My Finger (Crewe-Linzer-Randell) /
Little Girl Tears (Crewe-Linzer-Randell)
Mala 506
We were also told by Jean that she did the following:
> As for Jeannie Thomas or Jeanne Thomas (I was recorded under
> both of these names), The only songs I know of that I
> recorded under Jeannie Thomas are "You're The Root Of My Evil"
> and "All You Had To Do Was Love Me" on the Minuteman label
> which was part of Columbia Records. As Jeanne Thomas I recorded
> "Life Of The Party" and "Too Good To Be Bad" which was for Bob
> Crewe's label New Voice, part of Bell Records and as Jeanne Fox
> I recorded "Working Girl" (written and produced by Chip Taylor)
> for Rainy Day Records, part of Jay-Gee Records.
We will soon publish a revised discography here.
I asked Jean about her possible involvement in several groups
mentioned in the DynaVoice Story sleeve note (ie The Ramblettes,
Les Girls and The Candy Girls).
I asked her about Mike Rashkow's comment in an earlier Spectropop
e-mail:
> ... I have no memory of Jean Thomas singing on "Stop, Look &
> Listen" ... I've been known to be forgetful, but I don't think
> she was on this one. Just Ellie and Mikie is my memory ...
Jean:
> I can't remember "Stop, Look and Listen". If I am in there,
> I'm mixed in with a group other than Ellie, Mikie and me. We
> sometimes were brought in to fill in a group and this could be
> one of those times. I'm still not sure. Mike Rashkow might be
> right. Did you know that Mike was married to Mikie Harris for
> a number of years and they had two sons together. Ironically,
> Mikie and I were married within a month of each other.
>
> I found it amusing that some people thought Les Girls had
> another connotation. That's the first I've heard of it. Maybe
> it's because we were always together working and Mikie was my
> roommate. Ellie was married at the time to Jeff Barry. It's
> funny, but those were very innocent times and I don't think it
> would have entered our minds that someone might think that.
> It's hard to believe, knowing what we know of the music
> business today, but in our time in the business, we never saw
> drugs or wild parties. I'm sure that went on, but we didn't
> see it. We were just having fun and considered ourselves very
> lucky that we were loving what we were able to do to make a
> living.
Re The Ramblettes - 'I Can't Go Through It Again' she says:
> I listened to this and I'm pretty sure it isn't me or Ellie or
> Mikie. I don't hear any of our sounds here. The harmony
> construction is similiar, but the sound isn't there
and re The Candy Girls - 'Runaround' she says:
> It sure sounds like us in the background. I don't know who
> the lead singer is, but the three of us sang background on
> soooo many records that were released under a girls group name.
> Many times they were recorded as demos and turned out so good
> the producers decided to release them. That's what happened
> with "Midnight Mary" and Artie Wayne. We were just having a
> good time making a demo and it sounded too good to waste. I
> just kept adding background voices. At least that's my
> recollection.
We are trying to gather enough data on the backing work she did
to make a good 'Girl Group' anthology CD viable. Called 'Diary
Of A Backing Singer' it could feature tracks by Lesley Gore,
Dusty Springfield, Evie Sands and others where Jean and possibly
Ellie and Mikie feature.
Maybe Jean will tell us of more mysteries in her 60's session
logue books which she checks everything against. Then we just
need a record company who are interested!!!!
Ken Charmer
-------------------[ archived by Spectropop ]-------------------
Message: 19
Date: Fri, 23 Sep 2005 05:03:30 -0700 (PDT)
From: Max Weiner
Subject: The Treasures and "Hold Me Tight"
Good Morning All; Got a question about the Phil Spector Produced
version of "Hold Me Tight". Can anybody tell me if and when that
version was released? Was it a West Coast local hit, possibly
played on KFWB? I don't honestly recall that song being played
in the Chicagoland area, either on WLS or WCFL. If it was
released, how high up the charts did it go? One last thing. Vini
Poncia, who was the Treasures with Pete Andreoli, is that the
same Vini Poncia who was one of the contributing artists on
Ringo's "Rotogravure" album from the 70s? Thanks much in advance!
max
-------------------[ archived by Spectropop ]-------------------
Message: 20
Date: Fri, 23 Sep 2005 00:53:10 -0700 (PDT)
From: Hans Huss
Subject: Margaret Ross speaks
A lovely, albeit very brief, interview with Margaret Ross of the
Cookies follows Vivian Mackay's five-star review of the Rhino Girl
Group Box Set in the October, 2005 issue of UNCUT. Sample quotes:
'Pure music, closer to explaining the human condition than just
about anything' (Vivian Mackay); 'We had no say-so in the songs
that we sang, but most of them made me feel good. I felt pretty
when I sang them' (Margaret Ross).
Hasse Huss
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Message: 21
Date: Fri, 23 Sep 2005 06:54:15 -0000
From: Clark Besch
Subject: ba ba ba ba
Davie Gordon wrote:
> A final word on the Delfonics - I've always loved their "Funny
> Feeling" an astonishing fusion of sweet soul and psychedelia ...
> Sunshine pop aficionados should try to hear it as as it's got
> more "ba ba ba ba" vocal backgrounds on it than, say, The Love
> Generation. Are you feeling groovy, baby? Are you feeling good?
Davie, your comment that a song had more "ba ba ba ba"s than the
Love Generation made me start thinking and singing at work tonight.
First, I assume your comment is towards the beginning vocals on
"Montage" by love Generation? LOVE that Webb tune. That led me
into singing the the "ba" and "da" exclusively lyrics of Mason
Williams' "Baroque a Nova' and Sweetwater's "For pete's sake"--
both great tunes. For those of the Chicago area, the troys' "I
Gotta Fit You Into My Life" fit some good "ba's" into it also!
Speaking of "Montage", ever notice that Webb steals from his 5D
hit, "Up Up and Away" for "Montage"? I think the lyrics from "Up
Up" that I'm thinking of are "Suspended under a twilight canopy",
which has the exact melody of the ending notes of his song
"Montage"! Wonder if there's a story there like the ending of the
Raiders' "Indian Reservation" and Janis Ian's "Society's Child"
which have the same ending done by the same person!
Clark
-------------------[ archived by Spectropop ]-------------------
Message: 22
Date: Fri, 23 Sep 2005 06:36:48 -0000
From: Clark Besch
Subject: Re: The Mob
Bob Rashkow wrote:
> I'm not altogether certain that the Colossus "Mob" ("I Dig
> Everything About You") is the Chicago group that recorded
> several years earlier on Mercury, but I'm not altogether
> certain that it's not.
Bobster, the Mob on Colossus (and later Private Stock) and
Mercury are indeed the same Holvay-Beisber gang.
Clark
-------------------[ archived by Spectropop ]-------------------
Message: 23
Date: Fri, 23 Sep 2005 01:44:17 -0000
From: John DeAngelis
Subject: Re: Vinnie Bell
James Holvay on Vinnie Bell:
> The tracks I find in question are: "The Candy Man", which I know
> was cut at MGM Recording Studios on Fairfax Avenue in LA, during
> Mike Curb's run. Could be Vinnie had moved out here at that time.
> Secondly, "Hanky Panky" and "Hang On Sloopy" sound extremely self-
> contained garage bandish to me. If Vinnie's on those tunes, they
> must've buried his part. Also, I noticed he's listed on most of
> the Freddy Cannon Philly stuff. I was told that Roy Buchanan &
> Kenny Paulson, played on a lot of "Boom Boom's" tracks.
Thanks for your thoughts, James. The more I think about it, there
must be have some misunderstanding when that list as compiled. Maybe
Vinnie played on subsequent cover versions of the questionable songs,
and not the hit versions. If he had played on union dates in
California like "This Diamond Ring", there'd be a record of it that
we would have heard about before now. And while Vinnie is a great
musician with a distinctive style of playing, I just don't thing
you'd bring him to Detroit to play on "My Guy" or even hire him in
NYC to play on "Hanky Panky" or Hang On Sloopy." I hope Dana will be
able to clear this up.
John DeAngelis
-------------------[ archived by Spectropop ]-------------------
Message: 24
Date: Fri, 23 Sep 2005 23:56:41 +0100
From: Richard Havers
Subject: Re: John Schroeder
Alan, I can answer none of your questions but here's some titbits
about John Schroeder from my files......I expect Kingsley Abbott
can add to this.
He also produced - Like I Do for Maureen Evans, and records for
Geno Washington. He also had a number of his own Easy Listening
projects, some people have even gone as far as calling him the
'man who invented cool' (!). I'm sure there's more but those are
the ones that come to mind, along with the artists below.
Actually it's probably more info than you need...
Richard
The Spotniks
Recording manager John Schroeder spotted the Spotnicks playing in
Stockholm and arranged for a U.K. tour and recording session, it
resulted in the Oriole label releasing their instrumental version
of the country song Orange Blossom Special. The single made No.29
in the summer of '62 staying on the chart for 10 weeks while the
follow-up Rocket Man could get no further than No.39, although it
did stay in the top 50 for 9 weeks. Their nest single Hava Nagila
was based on an Israeli folk tune, it became the biggest hit when
it got to No.13 in '63. Their final chart entry Just Listen to my
Heart made it to No.36 in the spring of the '63.
On September 9th '62 the group recorded their first LP "Out A
Space" in one 17 hour nonstop session, with some of the drumming
being handled by a studio musician. During '63 the group toured
Britain for the second time, appeared on most of the radio and
TV shows, and recorded their second album in Paris. They appeared
in the film Just For Fun with Bobby Vee, Dusty Springfield, The
Crickets, Freddie Cannon, Johnny Tillotson, Ketty Lester, Brian
Poole & The Tremeloes, Sounds Incorporated and Mark Wynter.
After the English tour Winburg was temporarily replaced, due to
illness, by Todde Stoor, (real name Togny Stoor b.21.6.46) and
British guitarist Bruce Baxter. In the summer of '63 Johannsson
left the group to study, later becoming a parson in the north of
Sweden, and was replaced by London drummer Derek Skinner
(b.5.3.44). In '65 the group was augmented by popular Swedish
organist/pianist Peter Wisnes, while Skinner departed later that
year to concentrate on studio and session work; one time stand-in
for Beatle Ringo Starr, Jimmy Nichol, came in on drums.
In '66 and '67 the group toured the world twice with Nichol
leaving the group while they were in Acapulco, Sweden's top
drummer Tommy Tausis, (b.22.3.46 Stockholm), replaced him. Thelin
received his military call-up in '67, necessitating the
recruitment of Magnus HelIsberg on bass. By '70 Wisnes had left
and Goran Samuelsson had joined on organ, but The Spotniks
disbanded shortly after leaving the talented Winburg to work with
other outfits, eventually reforming The Spotniks in '73 with a
new line-up. The group continued to record and tour throughout
the 70's and 80's. Their biggest market was Germany where their
cover of the Gordon Lightfoot song If You Could Read My Mind had
got to No.2 in '72
Not sure, but I would guess the Schroeder had a hand in all these:
Oriole CB 1724
Orange Blossom Special/The Spotnicks Theme 1962 29
Oriole CB 1755
The Rocket Man/Galloping Guitars 1962 38
Oriole CB 1790
Have Nagila/High Flyin' Scotsman 1963 13
Oriole CB 1818
Just Listen To My Heart/Pony Express 1963 36
Oriole CB 1844
Valentina/Save the Last Dance For Me/No Yaga Daga Blues 1963
Oriole CB 1886
Anna/The Sailor's Hornpipe 1963
Oriole CB 1953
Lovesick Blues/The Space Creatures 1964
Oriole CB 1981
Shamus O'Toole/Donner Wetter 1964
Sounds Orchestral
Originally to be called The John Schroeder Orchestra, Sounds
Orchestral were a session group brought together by Pye A&R Man
Schroeder to cover the Vince Guaraldi Trio's '63 US No.22 hit,
Cast Your Fate To The Wind. The song, co-written by former Woody
Herman orchestra member and jazz pianist Guaraldi, was brought
to Schroeder's attention by bass player Tony Reeves who, along
with pianist Johnny Pearson, played on the UK cover. Released
October '64 it charted in December reaching No.5 in the New Year,
staying on the chart for 16 weeks and moving Schroeder to
comment: "I heard the number and the simplicity and mood of the
piece struck me immediately. I thought up the name Sounds
Orchestral because it was in keeping with current trends." In
the spring of '65 Cast Your Fate To The Wind entered the US Hot
100 and eventually climbed to No.10 staying on the chart for 14
weeks.
The follow-up Have Faith In Your Love, again featured the piano
of Pearson, but it failed to chart. The groups third single,
Moonglow (Introducing Theme from Picnic) made No.43 in the summer
of 65. At around the same time a single of Canadian Sunset got to
No.76 in the US. A regular stream of UK singles followed,
including the theme from Thunderball, but that was the end of the
studio group's chart career. Alongside regular releases from
Sounds Orchestral the Piccadilly label also issued a steady
stream of singles by the John Schroeder Orchestra, it would be
interesting to know how it was decided which band appeared on the
label. Sounds Orchestral's September '67 release, Our Love Story,
was the final single release on the Piccadilly label before it
was absorbed into its parent label Pye.
Ex-Malcolm Mitchell Trio member Pearson, who had also accompanied
such artists as Lena Horne, Connie Francis, Cilla Black and Dusty
Springfield, had a hit under his own name in late 71, early 72.
Sleepy Shores, the theme from the TV series Owen MD went to No.
8 in the UK on Larry Page's Penny Farthing label. A composer and
TV jingle writer Pearson was also Musical Director for TV's Top
of the Pops for many years.
Schroeder was responsible for many acts including The Rockin'
Berries, Geno Washington, The Ivy League, Clinton Ford, David
Garrick and Status Quo. Cast Your Fate To The Wind composer
Guaraldi, who also wrote the music for the Peanuts TV specials,
died on 6th February '76.
Again I'm assuming but don't know if Schroeder was involved in
every track:
Piccadilly 7N 35206
Cast Your Fate To The Wind/To Wendy With Love 1964 No.5
Piccadilly 7N 35226
Have Faith In Your Love/Like The Lonely 1965
Piccadilly 7N 35248
Moonglow (Introducing Theme from Picnic)/Scarlatti Potion No.9) 1965 No.43
Piccadilly 7N 35268
A Boy and A Girl/Go Home Girl 1965
Piccadilly 7N 35284
Thunderball/Mr. Kiss Kiss Bang Bang 1965
Piccadilly 7N 35305
The Hopping Dance/Summer Love 1966
Piccadilly 7N 35313
>From Nashville With Love/Bugsy 1966
Piccadilly 7N 35325
Image/Letter Edged in Black 1966
Piccadilly 7N 35334
Pretty Flamingo/Sounds Like Jacques 1966
Piccadilly 7N 35357
Lara's Theme (from Dr. Zhivago)/When Love Has Gone 1966
Piccadilly 7N 35391
A Man & A Woman/West of Carnaby 1967
Piccadilly 7N 35410
Our Love Story (Theme from TV series Love Story)/El Malaga 1967
The Merthyr Tydfil (Wales) based Bystanders formed in ‘62 and
comprised Mickey Jones guitar a.k.a. Mike Steel and Mike Martin,
Clive John organ a.k.a. Mark St. John and Clive Morgan, Jeff
Jones drums a.k.a. Jeff Paris and Jeff Curtis, Ray Williams bass
a.k.a. Robin J. Selby and Lynn Mittell vocals a.k.a. Gerry Braden.
After three years playing in Welsh clubs, the group heavily into
showbiz aliases was taken under the wing of Swansea businessman
Tony Wynn David who put up the money for them to make a single.
As That's The End Good, a Mickey Jones song was released on the
local Pylot Label the group sacked vocalist Mittell, replacing
him with Vic Oakley from Swansea group The Meteorites. They began
to do more Beach Boys and Four Seasons harmony material, like
other local outfits, The Corncrackers: Brian, Keith and Wesley;
who were fronted for a while by Deke Leonard. It was The
Bystanders who got a recording contract, releasing You're Gonna
Hurt Yourself on Pye in the summer of ‘66, it failed to make
the chart as did the follow up My Love Come Home. In early ‘67
their version of Keith's hit 98.6 sneaked into the chart for one
week, Their next two singles Royal Blue Summer Sunshine Day and
Jimmy Webb's Pattern People failed to further their careers.
Their next release clearly had the potential to be a hit. Written
by Marty Wilde and Ronnie Scott (not the jazzman) under the
pseudonyms of Manston and Gellar When Jezamine Goes surprisingly
failed to chart. Very irritating for the band as The Casuals took
their version of the song, as Jesamine, to No.2 some months later.
During ‘67 and ‘68 The Bystanders were used constantly on BBC
sessions pounding out versions of other peoples hits, and early in
‘68 they released Albert Hammond's This World Is My World before
parting with producer John Schroeder. Wilde and Scott also wrote
Ice in the Sun for Status Quo which John Schroeder also produced.
Oakley then left to sing with the house band at Swansea Top Rank,
the remainder of the group reverted back to their real names,
recruited guitarist Roger 'Deke' Leonard from local group The
Dream and became ‘Man’. Under the new name the outfit cut
demo's of Down The Dustpipe (Status Quo) and Little Arrows (Leapy
Lee) which became big hits, as well as backing Marty Wilde on his
single Abergavenny.
After the first two albums, ‘Revelation’ (Schroeder certainly
produced this) and ‘2oz. Of Plastic With A Hole In It’,
Martin Ace replaced Ray Williams on Bass and Terry Williams came
in for Jeff Jones of drums. The personnel changes within the group
were constant, various members left and rejoined, it was like a
family where members wandered off and returned to the fold. Mickey
Jones and Deke Leonard were the mainstays throughout the 70's
during which time the group made nearly 20 albums.
Of The Bystanders vocalists, Vic Oakley was still singing in 90’s
with a big band, Constellation; Lynn Mittell is a DJ with an oldies
show on BBC Radio Wales.
I think Scrhroeder probably produced all the Piccadilly and Pye
material:
Pylot WD 501
That's The End/This Time 1965
Piccadilly 7N 35330
(You're Gonna) Hurt Yourself/Have I Offended The Girl 1966
Piccadilly 7N 35351
My Love Come Home/If You Walk Away 1966
Piccadilly 7N 35363
98.6/Stubborn Kind Of Fellow 1967 45
Piccadilly 7N 35382
Royal Blue Summer Sunshine Day/Make Up Your Mind 1967
Piccadilly 7N 35399
Pattern People/Green Grass 1967
Pye 7N 17476
When Jezamine Goes/Cave Of Clear Light 1968
Pye 7N 17540
This World Is My World/Painting the TIme 1968
David Garrick
David Garrick adopted the same name as the English actor and
theatrical manager David Garrick (1717‑79) having been born
Darrell Philip Corre (b.12.9.46 Liverpool) and educated in Cairo,
Italy and the Liverpool Art School. With a trained operatic voice
he made his first public appearance at the age of 16 on the stage
of the Liverpool Empire and his first professional engagement in
Paris three years later.
The former electrical engineer, clerk and shop assistant was
signed by The Kinks manager, Robert Wace, in the first half of
‘66 and won a recording contract with Pye's Piccadilly label.
Garrick’s first two singles released in early ’65 failed,
then a John Schroeder produced single, a cover of a Mick Jagger
and Keith Richards Rolling Stones song Lady Jane, made No.28 on
the UK chart; enjoying a 7-week run. The follow‑up, a cover of
Flip Cartridge’s minor American hit Dear Mrs. Applebee, climbed
higher peaking at No.22 and remained in the listings for 9 weeks;
it made No.1 in Germany staying on their charts for almost 6
months.
By the end of '66 his career looked promising, however, despite
some fine releases during '67, including Cat Stevens' I've Found
A Love and Kenny Young's Don't Go Out Into The Rain (You're Gonna
Melt, Sugar) there were no more UK hits, although the latter was
a small hit in Germany. He continued to work regularly and was a
well‑known face on the scene, later releases such as MacAulay &
MacLeod's Rainbow in ‘68 and Guy Fletcher & Doug Flett's Mary
in the Morning in ’71, having switched labels to Columbia,
failed to reverse his fortunes.
Schroeder's involvement may well have been the Piccadilly singles:
Piccadilly 7N 35231
Go/When The World Was Our Own 1965
Piccadilly 7N 35263
One Little Smile/We Must Be In Love 1965
Piccadilly 7N 35317
Lady Jane/Let's Go Somewhere 1965 28
Piccadilly 7N 35335
Dear Mrs. Applebee/You're What I'm Living For 1966 22
Piccadilly 7N 35371
I've Found A Love/(You Can't Hide) A Broken Heart 1967
Piccadilly 7N 35377
A Certain Misunderstanding/I'm Looking Straight At You 1967
Piccadilly 7N 35402
Don't Go Out In The Rain (You're Gonna Melt, Sugar)/Theme for A Wishing Heart 1967
Pye 7N 17409
Ave Maria/Please Stay 1968
Pye 7N 17509
Rainbow/I'll Be Home 1968
Pye 7N 17610
A Little Bit Of This (And A Little Bit Of That)/Flutterby Butterfly 1968
Pye 7N 17685
Maypole Mews/Like To Get To Know You Better 1969
Pye 7N 17820
Poor Little Me/Molly With The Hair Like Silver 1969
Columbia DB 8680
Bake Me A Women/House in the Heather 1969
The Rockin' Berries
The Rockin' Berries were all Birmingham lads, they were former
compositor Clive Lea (b.16.2.42) vocals; former commercial artist
Chuck Botfield (real name Bryan Charles Botfield b.11.11.43), ex.
Toolmaker Geoff Turton (b.11.3.44) guitar/vocals; former Admin.
Clerk Terry Bond (b.23.3.43) drums and former Engineer Roy Austin
(b. 27.12.43) guitar. This Birmingham rock'n'roll group, who took
their name from Chuck Berry, made their debut at Hopwood Village
Hall in ‘61. As The Rockin' Berries the group worked for almost
2 years in Germany. At the beginning of ‘63 they secured a
recording contract with Decca and released Wah Wah Woo, written
by group members Clive Lea and Chuck Botfield. It flopped, as did
their follow-up Itty Bitty Pieces.
Almost a year went by before they could secure another record deal,
this time with Piccadilly, their new label debut I Didn't Mean To
Hurt You was a modest hit (No.43). At the Marquee Club they met
American producer/ songwriter Kim Fowley who played them The
Tokens, He's In Town. The Rockin' Berries recorded it, and it
became their second hit reaching No.3; it featured their trade
mark falsetto vocals, created by Turton. Their follow-up was What
In The World's Come Over You, which was a modest hit (No.23) Three
more chart successes followed during ‘65 and 66, the most
successful being a cover of The Reflections Poor Man's Son which
climbed to No.5.
Rather strangely the band started to introduce comedy routines
into their material, and even appeared in pantomime. One feature
was Lea’s impersonations, which became an increasing feature of
their act, so much so that Lea left in ’67 to pursue a solo
career. In September ‘68 Turton left the group to go solo and
had a solo top thirty hit with the Paul Ryan song Colour Of My
Love.
In the 80’s and 90's a much varied line up of the Rockin'
Berries were on the club circuit, Turton rejoined in the 90s.
I know Schroeder managed them, but I'm not sure what if anything
he produced:
Decca F 11698
Wah Wah Woo/Rockin' Berry Stomp 1963
Decca F 11760
Itty Bitty Pieces/The Twitch 1963
Piccadilly 7N 35197I
Didn't Mean To Hurt You/You'd Better Come Home 1964 No.43
Piccadilly 7N 35203
He's In Town/ Flashback 1964 No. 3
Piccadilly 7N 35217
What In The World's Come Over You/You Don't Know What To Do 1964 No. 23
Piccadilly 7N 35236
Poor Man's Son/Follow Me 1965 No. 5
Piccadilly 7N 35254)
You're My Girl/Brother Bill 1965 No. 40
Piccadilly 7N 35270
The Water Is Over My Head/Doesn't Time Fly 1965 No. 43
Piccadilly 7N 35304I
Could Make You Fall In Love/Land Of Love 1966
Piccadilly 7N 35327
Midnight Mary/Money Grows On Trees 1966
Piccadilly 7N 35373
Sometimes/Needs To Be 1967
Piccadilly 7N 35400
Smiles/Breakfast At Sam's 1967
Pye 7N 17411
Dawn (Go Away)/She's Not Like Any Girl 1967
Pye 7N 17519
When I Reach The Top/Pain 1968
Pye 7N 17589
Mr. Blue/Land Of Love 1968
-------------------[ archived by Spectropop ]-------------------
Message: 25
Date: Fri, 23 Sep 2005 21:00:54 -0400
From: Phil X Milstein
Subject: Re: Righteous Brothers update
Peter Richmond wrote:
> There is a really significant Righteous Brothers compilation CD
> release on 11 October by Polydor, entitled "Gold". At last someone
> at the Universal Music Group, has deemed that perhaps it might be
> a good idea to issue a Righteous Brothers compilation with some
> tracks that will grab the attention of Righteous Brothers
> collectors.
Sounds fantastic, Peter! Do you know if that release is for both the
US and UK? Also, I can't tell from your tracklist how many discs
it'll be.
Dig,
--Phil M.
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