________________________________________________________________________
______________ ______________
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______________ S P E C T R O P O P ______________
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________________________________________________________________________
Jamie LePage (1953-2002)
http://www.spectropop.com/Jamie.htm
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There are 21 messages in this issue.
Topics in this digest:
1. The Ronettes - money is the root...
From: Warren Cosford
2. Original music, bad music, other music
From: Country Paul
3. Emotional records and more
From: Country Paul
4. Bowser and Blue
From: Charles G. Hill
5. Re: Cutie Pop and beyond... Suggestions?
From: sheila
6. Alternate pop universe
From: Antonio Vizcarra
7. Re: Alternate pop universe / Monkees
From: Allen Roberds
8. Re: The Aussie V.U. etc.
From: Phil Milstein
9. Re: Original versions etc
From: Ken Silverwood
10. Re: Velvet Underground . . . No, not that one!
From: Norman
11. The 45 Club Sat Nov 9th Killer Who Givaway!
From: Leonardo Flores
12. Nitz Bitz
From: Martin Roberts
13. Re: Velvet Underground . . . No, not that one!
From: Phil Milstein
14. Re: Joyce Webb/Dean Christopher/Jeff Barry
From: Davie Gordon
15. Re: Alternate pop universe / Monkees
From: Antonio Vizcarra
16. Re: Vari-CD players
From: Lee
17. Come Away Melinda/Cats Eyes
From: Richard Hattersley
18. Davy Jones
From: Lynn
19. All American Show
From: Ian Chapman
20. Re: Liking Bad Music
From: Simon White
21. Davy Jones speeded-up
From: Ian Chapman
________________________________________________________________________
________________________________________________________________________
Message: 1
Date: Sun, 03 Nov 2002 08:28:05 -0500
From: Warren Cosford
Subject: The Ronettes - money is the root...
Warren:
> Update: Ronettes lose to Spector. Spector paid out a onetime lump
> payment of $14,482 to the group when they signed the contract. As
> it stands now, the Ronettes probably won't get too much more...
Ronald McIntyre:
> I have never understood the mentality and morality of a person who
> can make millions and millions of dollars off backs of others and
> pay them nothing. It boggles my mind. Unlike Ronnie Spector, there
> are other artists who are homeless, living in shelters and
> destitute. How a person can live with themselves surrounded by
> opulence knowing a performer who they may not feel contractually
> obligated to but have to recognize played a part in their wealth is
> suffering in poverty is really beyond me.
Ron,
I've known a few "rags to riches" people in my career both in media
and in music. People I worked with at a time where all of us had very
little. Some I was able to help reach "the next rung in the ladder".
A couple became spectacularly successful and wealthy. It was then they
disappointed me with their behavior, not just to me, but to virtually
all of the people they had once been friendly with.
Unfortunately, from my experience....too much money allows you to be
who you really are.
Warren Cosford
Radiopro (TM)
-------------------[ archived by Spectropop ]-------------------
Message: 2
Date: Sun, 03 Nov 2002 08:32:30 -0500
From: Country Paul
Subject: Original music, bad music, other music
Phil Chapman's input into the Herman's Hermits discussion
mentions "the more subtle Earl Jean Goffin-King recording of
I'm Into Something Good." Agreed - as Jan & Dean sang, "the
original's still the greatest." It's not just HH -in my opinion,
compare the Stones to Irma Thomas on "Time Is On My Side"; it's
all Irma. But when the Stones started doing their own material
- and when HH did THEIR own, like my fave "My Reservation's
Been Confirmed" or even froth like "She's A Must To Avoid"
(known in our radio station as "She's A Muscular Boy") - they
really found their way to their own sound and style.
I also agree, Phil, that "there is 'bad' music, *and* you can
still like it, rather like fast food is quite fun." The recent
menton of Rosie & The Originals proves the point - "Angel Baby"
starts with the guitar making a whopper of an error in the first
few seconds, the vocal fails to come in on time (or is the band
4 bars early?), the sax solo has all the technique of the third
chair in an elementary school orchestra, and the entire rhythm
section falls apart during the instrumental break. But for three
minutes, this ragtag ensemble of ambitious kids produced a garage
masterpiece. It's bad as hell, but it's great. Then again, opinions
are like noses - everyone's got one. That's mine. (And another one
of mine is that on the flip side, the notorious "Give Me Love," the
band is playing directly to their expectation!)
I second bookmarking http://www.recordmaster.com. They are also
very welcoming of new information - perhaps someone should forward
the Reflections' discography.
Martin Roberts: based on your review of the Rhino Handmade album at
http://www.spectropop.com/JackNitzsche/index.htm I've ordered it.
Thank you again for the superb website.
Country Paul
-------------------[ archived by Spectropop ]-------------------
Message: 3
Date: Sun, 03 Nov 2002 09:41:56 -0500
From: Country Paul
Subject: Emotional records and more
Phil M. on Australia: "In the late '60s they too had a Velvet
Underground, a band which has since claimed (and no one's
disputing it) that they were unaware of the existence of the
U.S. band of the same name. How they came up with their's,
however, I don't know."
I forget the literary reference, but the term came from it.
Application to band nomenclature must have been coincidental.
Re: emotions in music - wow, who knows with certainty? It's such
a subjective thing; what moves one person leaves another cold.
I like and second Richard Tearle's comments, and special mention
to Phil M.'s and Kingsley's scholarly treatises.
Subjectively, strange things move me. The Spectors Three's "I
Really Do" gives me a warm velvet feeling that I want to bathe
in and let immerse me. I remember first hearing "Tell Laura I
Love Her' by Ray Peterson and feeling the immense loss (okay,
I was very young, but still....). "Somewhere" from the original
Broadway (NOT movie) cast album of "West Side Story" still
reduces me to Jello - even at this moment, just thinking about
it as I writethis. More recently I was led to "Fluffy" by Gloria
Balsam (from the early 80's), a consciously satirical/cynical
fake girl group sound (for the few of you who may not know it)
that leaves me both crying and laughing hysterically every time.
The underlying composition is beautiful, the "singing" consciously
horrendous, the arranging over the top. I felt this way about the
record even before a fateful day - my birthday five years ago, on
which my mother passed away after a long decline - and the song
came on WFMU as I was going to claim her body and make funeral
arrangements. I just let the combination of emotions out and felt
much better afterward - but I ration my playing of this "masterpiece
from an alternate universe" very carefully these days.
(Note: while "Fluffy" is most frequently found on an out-of-print
Rhino album, the original 45 was on Richmond, the same label as
Little Roger & The Goosebumps' notorious "Stairway to Gilligan"
and "Kennedy Girls.")
Related to the above, Don Lonie writes: "I wonder if Johnny Cash
could havegotten away with a lyric like 'the honesty's too much.'
If he'd somehow slipped that line into the song 'I still miss
someone,' could he have made it work?" Don, Johnny Cash could sing
the phone book and it would work. Listen to the incredibly powerful
"Happy To Be With You" or the brilliantly compact "Come In Stranger."
And doggone if he isn't still doing it!
As Phil M. noted, The Shaggs are definitely the sine qua non of
outsider music, but beneath the surface there is a core of
unparalleled inspiration. Should it be too difficult to access from
their own work, there's a fine cover of the title song of their
album, "Philosophy of the World," by Bruce Lash. You can find it at
http://www.cdbaby.com - the sound is even somewhat Spectropop
although it was recorded in the 90s.
Neb Rodgers points to this Washington Post article: "In the Digital
Age, The Quaint Cassette Is Sent Reeling Into History's Dustbin" -
http://www.washingtonpost.com/wp-dyn/articles/A32476-2002Oct28.html
How depressing! First vinyl, then cassettes, next CD's? My records
and tapes sound just fine, thank you, although I've got some gems
on reel-to-reel that are prisoners of their now-archaic format....
Speaking of vinyl, some really clean vinyl was selling at the WFMU
Record Fair in NYC this weekend for both absurdly high and absurdly
low prices.
Finally, to Dan Hughes, "Lucy JORDAN," indeed. Mea culpa. I stand
corrected. Still a great song. Never heard the Dr. Hook version,
but with that lead voice it must be quite moving, too. They're
another seriously under-rated band.
Country Paul
-------------------[ archived by Spectropop ]-------------------
Message: 4
Date: Sun, 03 Nov 2002 09:51:09 -0600
From: Charles G. Hill
Subject: Bowser and Blue
Xavier writes:
> Does anyone remember the group Bowser and Blue who did
> "Polka Dot Undies"? Legend has it that it was actually
> Bob Dylan doing a Bob Dylan parody...
Dr Demento reports that it's really a duo: George Bowser and
Ricky Blue. They're based in Montreal, and as of 2000 had done
nine albums....cgh
=============================================================
Charles G. Hill | http://www.dustbury.com
A lack of leadership is no substitute for inaction.
=============================================================
-------------------[ archived by Spectropop ]-------------------
Message: 5
Date: Sun, 03 Nov 2002 11:38:59 -0500
From: sheila
Subject: Re: Cutie Pop and beyond... Suggestions?
Hi Kent:
Regarding Japanese girl pop from the sixties, you'll be surprised to
hear that Phil Spector, French ye-ye, the Shangri Las, etc, did not
have a big influence on the Japanese pop sound. Most of the female
artists from that era cite Connie Francis, Brenda Lee, and Doris Day
as their main influences. The Phil Spector/girl groups sound didn't
really catch on in Japan until the mid 70s.
Here's a snippet from an article I wrote on Japanese sixties pop from
"Cha Cha Charming":
"I was almost certain that Phil Spector, Serge Gainsbourg, and Bob
Crewe's production and songwriting methods had influenced the
Japanese sixties scene. I imagined Chiyo Okumura singing the Japanese
version of "Poupee de Cire, Poupee de Son." And the Peanuts shouting
together over a Japanese styled "wall of sound." So when I finally
arrived in Japan and purchased two compilations called "60s Japanese
Cutie Pop Collection" my high expectations were completely shattered.
The music sounded completely foreign to me; the vocals were deep and
sophisticated, some twinged with enka (traditional Japanese music).
Not at all girly like I had expected.
It was only months later that I began to appreciate the sound. The
bizarre combination of Western influenced pop with Oriental melodies
and vocal styles makes for a truly unique listening experience- one
that I came to appreciate with time."
It's been two years since I wrote those words, and I have since
become a huge fan and collector of Japanese girl pop. Unfortunately
most of the Cutie Pop Collections have been deleted, and the 2 girl
pop compilations recently released by Chronicle Records in Japan...
well, I don't think they are an accurate representation of the sound.
David Ponak suggested a compilation called "Good Night Tokyo"
(Readymade Records) which is definitely worth checking out.
Especially for the Mieko Hirota track "A Lonely Summer" (possibly one
of the best girl pop records of that era). To order, visit
http://www.deodeo.com/e_index.html and search for the following
catalogue #: COCP50216
I recently compiled two CDs worth of my favorite Japanese girl pop
tracks. If you're interested, please email me privately.
I'm afraid there is very little information in English on this genre.
I would be happy to email you the article I wrote, which contains
info on producer Sazanami Kenji, the groups sounds, and artists like
Akiko Nakamura, Rumi Koyama, Mieko Hirota, and a few others. I'm in
the midst of doing more extensive research on the artists and
producers- which will be up on the "Cha Cha Charming" website in a
few months. I will keep you posted.
I hope that helps!
Sheila
-------------------[ archived by Spectropop ]-------------------
Message: 6
Date: Wed, 04 Dec 2002 18:28:40 +0100
From: Antonio Vizcarra
Subject: Alternate pop universe
Hi there
As well as an aussie Velvet Underground band in the sixties,
there was another band called the Monkees from Colombia.
They released an album in the sixties which would have made
you believe you were buying the real thing.
-------------------[ archived by Spectropop ]-------------------
Message: 7
Date: Sun, 03 Nov 2002 10:12:56 -0800 (PST)
From: Allen Roberds
Subject: Re: Alternate pop universe / Monkees
Antonio Vizcarra wrote:
> Hi there, As well as an aussie Velvet Underground band in the
> sixties, there was another band called the Monkees from Colombia.
> They released an album in the sixties which would have made
> you believe you were buying the real thing.
Murray McCleod and I wrote Davy Jones first single, "What are We Going
To Do" and "This Bouquet" released by Columbia, before he was a Monkee.
Regards,
Smokey Roberds
-------------------[ archived by Spectropop ]-------------------
Message: 8
Date: Sun, 03 Nov 2002 13:35:08 +0000
From: Phil Milstein
Subject: Re: The Aussie V.U. etc.
Country Paul:
> I forget the literary reference, but the term came from it.
> Application to band nomenclature must have been coincidental.
"The Velvet Underground" was the title of an exploitation
paperback, purporting to be a sociological survey (but in
fact softcore porno) of wife-swapping in the U.S. suburbs.
The book was so obscure that the band only knew of it from a
copy discovered, by one of the Factory habitues (can't
remember which one), in one of New York's legendarily filthy
street gutters.
Thus my underlying question was How did news of this
"underground" title make its way, independent of the U.S.
band's name, all the way to Australia? I'm not doubting that
it somehow did find its way, but rather marveling at the
circuitous route it must have taken. The playing out of
unlikely connections is, for me, a big part of the fun of
cool music.
> someone,' could he have made it work?" Don, Johnny Cash could
> sing the phone book and it would work.
True enough, but as a songwriter he'd never have stooped
anywhere near the level of Sometimes When We Touch.
--Phil M.
-------------------[ archived by Spectropop ]-------------------
Message: 9
Date: Sun, 03 Nov 2002 20:27:32 -0000
From: Ken Silverwood
Subject: Re: Original versions etc
Country Paul:
> ...and when (Herman's Hermits) did THEIR own, like my fave "My
> Reservation's Been Confirmed" or even froth like "She's A Must To
> Avoid" (known in our radio station as "She's A Muscular Boy") -
> they really found their way to their own sound and style.
Beggin' one's pardon, but wasn't it Dobie Gray who mouthed "the
original's still the greatest" in " The In Crowd"? And didn't P F
Sloan compose " A Must To Avoid" along with Steve Barri, good to hear
the songs title was sung" the other way " by other people. P F was on
top of his game around that timewith the above plus " Take Me For What
I'm Worth " & his own release " Sins Of The Family." I loved all that
"social comment/pop" around at that time by Barry McGuire et al. So
who did the original version of "Come away Melinda"? I've got a
version by Barry StJohn & is there one by Tom Rush?
The Beverley Jones " Why Do Lovers" is on HMV 1140 but does not
indicate a producer only orchestra by Harry Robinson. All this talk of
HH & DC5 has had me scouring through my Columbia section to see if I
missed anything all those years ago!
Best regards,
Ken On The West Coast
-------------------[ archived by Spectropop ]-------------------
Message: 10
Date: Mon, 04 Nov 2002 07:05:27 +1030
From: Norman
Subject: Re: Velvet Underground . . . No, not that one!
Hi,
Javed Jafri and Phil Milstein both had a gecko at this one.
Malcolm Young had been a member of the (Australian) Velvet Underground
from about 1971 onwards (I think they disbanded about 1972).
From the same stable as AC/DC, in the beginning, were the Ted Mulry
Gang. They were more good time rock but great non-the-less. Both Les
Hall and Herm Kovak, long time members of the TMG, were also earlier
members of Velvet Underground.
I can't believe that the group were not aware of the "real" Velvet
Underground in 1967.
Norman
-------------------[ archived by Spectropop ]-------------------
Message: 11
Date: Sun, 03 Nov 2002 20:56:03 -0000
From: Leonardo Flores
Subject: The 45 Club Sat Nov 9th Killer Who Givaway!
Hello soul Fans & Dancers,
November means Thanksgiving, and it also means The 45 Club is going
to have it's next Soulful night on Saturday November 9th at the
Knitting Factory.
Special guest DJ will be DJ Victoria all the way from Las Vegas.
She's been a DJ in The Las Vegas Northern Soul scene for years now
and currently has her own Soul night that she promotes and DJs in
Vegas. She has many unique floor filler and dancer 45s. We are all
looking forward to hearing her set.
The Who My Generation deluxe reissue Givaway!
Thanksgiving also means thanks to all of you who have supported our
club. This month's givaway from Universal music is a legendary one. We
will be giving away copies of the new deluxe two-cd reissue of the
Who's My Generation CD. Yes you heard right! Perhaps the most sought
after reissue of the year for 60s music fans, the beautiful
packaging alone is worth the price, but the music...Oh it sounds
sooooo good. You haven't really heard My Generation, The Kids Are
Allright, etc. until you heard these remastered versions from the
original studio session tapes. The bonus disc features unissued songs
that was suppose to be on an earlier unreleased Who LP. Universal
Music has set a new standard that all reissues labels should emulate.
Just ask the DJ for your copy of the Who's Deluxe My Generation CD
and remember we have limited copies of this CD, so it's best to show
up early.
We're looking forward to meeting up with all of you this month for
another night filled with our favorite kind of Soul music. Please
visit our website http://www.the45club.com for more information.
The 45 Club
November 9th
@ The Knitting Factory
7021 Hollywood Bld. Hollywood
info line 323 463 0204
$6, $5 parking
Special Guest DJ: DJ Victoria
DJ Aston Martini
DJ Soul Bags Justin
DJ Uplandmod
Spinning the best in Northern Soul, Girl Group and Motown till 2.00
am.
Cheers,
Leonardo Flores
-------------------[ archived by Spectropop ]-------------------
Message: 12
Date: Sun, 03 Nov 2002 21:11:45 -0000
From: Martin Roberts
Subject: Nitz Bitz
Country Paul:
> Martin Roberts: based on your review of the Rhino Handmade
> album at http://www.spectropop.com/JackNitzsche/index.htm
> I've ordered it.
Thanks C.P. I'm sure you'll be impressed by it.
I hope after reading Ian Chapman's review of 'The Paris Sisters
Sing Everything Under The Sun' you have a copy. A great album
and review, such a shame it cannot be bought so easily!
Martin
-------------------[ archived by Spectropop ]-------------------
Message: 13
Date: Sun, 03 Nov 2002 16:50:08 +0000
From: Phil Milstein
Subject: Re: Velvet Underground . . . No, not that one!
Norman wrote:
> I can't believe that the group were not aware of the
> "real" Velvet Underground in 1967.
When did the Aus. group start? And, is "having a gecko" a
good thing or bad?
--Phil M.
-------------------[ archived by Spectropop ]-------------------
Message: 14
Date: Sun, 03 Nov 2002 21:55:51 -0000
From: Davie Gordon
Subject: Re: Joyce Webb/Dean Christopher/Jeff Barry
Stuffed Animal wrote:
> Joyce Webb also released a great Jeff Barry/Ellie Greenwich
> two-sider on ABC Records' Probe subsidiary: "I Don't Want
> Nobody If I Can't Have You" b/w "I Believe In Love."
Thanks DC,
If anybody's interested I'll post my Joyce Webb info when
I've done a bit more work on it
Davie Gordon
-------------------[ archived by Spectropop ]-------------------
Message: 15
Date: Sun, 03 Nov 2002 22:11:24 -0000
From: Antonio Vizcarra
Subject: Re: Alternate pop universe / Monkees
Allen (Smokey) Roberds wrote:
> Murray McCleod and I wrote Davy Jones first single, "What
> Are We Going To Do" and "This Bouquet" released by Columbia,
> before he was a Monkee.
Hi Allen
Nice to have you here, I hope you can share some Monkee memories
with the rest of the group :-)
I have always loved "This Bouquet", a pretty nice song. Although
I think Davy Jones' voice on that recording was artificially
speeded.
All the best.
Antonio.
--- In spectropop@y..., Allen Roberds wrote:
> Antonio Vizcarra wrote:
> > Hi there, As well as an aussie Velvet Underground band in the
> > sixties, there was another band called the Monkees from Colombia.
> > They released an album in the sixties which would have made
> > you believe you were buying the real thing.
>
> Murray McCleod and I wrote Davy Jones first single, "What are We
Going
> To Do" and "This Bouquet" released by Columbia, before he was a
Monkee.
>
> Regards,
>
> Smokey Roberds
-------------------[ archived by Spectropop ]-------------------
Message: 16
Date: Sun, 03 Nov 2002 18:07:39 -0500
From: Lee
Subject: Re: Vari-CD players
Keith asked:
> CD players that would adjust the speed of a CD
> without changing the pitch etc....
A testimonial -- I just purchased DART XP PRO, the latest
version of the DART (Digital Audio Restoration Technology)
software package http://www.dartpro.com It contains built-in
filters for vari-pitch adjustment without speed change,
vari-speed adjustment without pitch change, and "RPM" adjustment
(varies pitch and speed simultaneously). It also contains
filters for De-Click (removes scratches and pops), De-Hiss
(removes tape hiss), De-Hum (removes electrical hum), De-Noise
(removes broadband noise), and De-Vocalize (removes vocals from
stereo recordings where the lead vocal is mixed to the center).
I've tried several packages (including Easy CD Creator) for
digitally transferring and de-clicking the 45s and acetates in
my collection, and in my opinion DART has by far the best
de-click algorithm this side of a $1,000+ NoNoise or CEDAR studio
system. The price is $199 off-the-shelf, or $99 if upgrading
from a previous DART product, but I think it's worth every penny.
The only downside is that the documentation is a little sparse,
so you have to figure out the best settings for all of the filters
yourself. It's definitely for the intermediate to advanced PC
user.
Lee
-------------------[ archived by Spectropop ]-------------------
Message: 17
Date: Sun, 03 Nov 2002 23:11:38 +0000
From: Richard Hattersley
Subject: Come Away Melinda/Cats Eyes
Nice to hear someone mention this track. A fab song. I have
a copy by a group called Cats Eyes on the MCA label (1970).
A really good version. Anyone know more about this band? Or
even better, where I can get a replacement copy as mine is in
a bad way!
Richard
-------------------[ archived by Spectropop ]-------------------
Message: 18
Date: Sun, 03 Nov 2002 18:48:26 EST
From: Lynn
Subject: Davy Jones
Speaking of Davy Jones before he was a Monkee, I have a copy
of "Dream Girl"/"Take Me To Paradise". Were these done at
the same time as "What Are We Going to Do?"?
Lynn
-------------------[ archived by Spectropop ]-------------------
Message: 19
Date: Mon, 04 Nov 2002 00:44:42 -0000
From: Ian Chapman
Subject: All American Show
Last week I caught the All American Solid Gold Rock & Roll tour
that's currently doing an exhaustive string of one-nighters
across the UK. As in 1998, the line-up comprises Bobby Vee,
Brian Hyland, Chris Montez, and Johnny Preston but this time,
instead of Little Eva as the special guest star, we have the
Chiffons – actually Judy (Craig) Mann and another young lady
named Ginger Commodore. On the show I saw, Johnny Preston was
replaced by the Big Bopper Jnr., the son (and remarkable
lookalike and soundalike) of J.P. Richardson, born just a few
months after the air crash which claimed his dad.
It's an unpretentious, good-time show, with each act performing
at least four or five songs each and there's plenty to interest
Spectropoppers. As long as you don't go expecting faithful
recreations of the sounds or productions of the original
recordings, you shouldn't be disappointed. Backing each of
the artists are the Vees, a tight four-piece which includes
Bobby's two sons Jeff (drums) and Tommy (bass), nephew Matt
(guitar), plus Jeff Olson on keyboards.
Chris Montez (looking remarkably like Herb Alpert these days!)
included "Some Kinda Fun", "Let's Dance" and performed "The
More I See You", acknowledging its high chart placing in the
UK. His voice is as good as ever, as is that of Brian Hyland,
who of course did his hits "Itsy Bitsy", "Ginny Come Lately"
and "Sealed With A Kiss", but also treated us to later stuff
like "Gypsy Woman", crediting Curtis Mayfield in the process.
The Chiffons launched straight into "One Fine Day", Judy in
fine voice and looking lithe with a close-cropped blonde-red
look a la Cissy Houston. She introduced her colleague, Ginger,
and then herself as the original lead singer (to a round of
applause). They then did "Da Doo Ron Ron", but not without
first crediting the Crystals, Judy explaining that the Chiffons
covered the song on one of their albums. There was a lot of
"hey-girls-you-know-how-it-is-with-these-guys"-type rapping
and they pulled a male "volunteer" from the audience on stage
for "Will You Love Me Tomorrow", another album cover. "Sweet
Talking Guy" followed, and they finished up with "He's So Fine".
Bobby Vee spoke about the Brill Building and his Carole King-
penned songs and sang just about everything you could wish for -
"Rubber Ball", "Take Good Care Of My Baby", "How Many Tears"
(getting the audience to join in with the backing vocals!),
"The Night Has 1000 Eyes", "Run To Her", "Sharing You", "Please
Don't Ask About Barbara", "Walking With My Angel", "Forever
Kind Of Love" and even "Maybe Just Today".
After the show, the singers all came out to sign stuff – sure,
they have CDs to sell too, but they seemed quite happy to talk.
I had quite a long chat with Brian Hyland who was particularly
friendly and we talked about his Philips stuff, which is my
favourite period of his. He talked about Leon Russell and Hal
Blaine being on the sessions and said he'd just been reading Hal
Blaine's book.
I'd recommend this show to UK Spectropoppers. Don't be misled
by the "rock and roll" headliner – sure there are rock and roll
numbers (and good ones) but the show is totally underpinned by
timeless Brill Building pop classics.
Ian
-------------------[ archived by Spectropop ]-------------------
Message: 20
Date: Mon, 04 Nov 2002 00:44:52 +0000
From: Simon White
Subject: Re: Liking Bad Music
Phil Milstein wrote:
> Ever heard The Shaggs?
I have to stick my two pen'orth in here. There is good bad
but not evil and there is rubbish. And in my opinion The Shaggs
stuff is utter, utter rubbish AND evil and I have always doubted
its authenticity. Is it really genuine?
And are they not men in wigs on the cover?
Simon
-------------------[ archived by Spectropop ]-------------------
Message: 21
Date: Mon, 04 Nov 2002 01:02:19 -0000
From: Ian Chapman
Subject: Davy Jones speeded-up
Antonio wrote:
> I have always loved "This Bouquet", a pretty nice song.
> Although I think Davy Jones' voice on that recording
> was artificially speeded.
Yes, I've always thought the same about his "Dream Girl"
45. In fact, if you alter the pitch, it sounds much more
natural. But the question is - why did they feel they had
to make him sound like a Chipmunk in the first place?
Ian
-------------------[ archived by Spectropop ]-------------------
End
