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Messages - Actorman

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DON'T YOU JUST KNOW IT / Re: Jan and Dean Top 100 duos
« on: October 10, 2014, 01:31:43 PM »
June Carter was a good women .  But she was given a bucket once to carry a tune in . And she kept dropping it.  ::)

LOL!!!  That's hilarious.   ;D  My observation was based only on popularity, not talent.

DON'T YOU JUST KNOW IT / Re: Jan and Dean Top 100 duos
« on: October 08, 2014, 01:00:38 PM »
Very cool list!

I was excited to see Nancy Sinatra and Lee Hazelwood (#33) included.  Their first album is brilliant and one of my Top 10 favorite albums of all time.

Boyce and Hart should definitely have been higher than #29 taking into account all the songs they wrote.  Also surprised Johnny Cash and June Carter Cash were not ranked higher.

How Patience and Prudence came in at #24 is mind-boggling, but they were Liberty artists so I'll let them have it.  LOL!!

DON'T YOU JUST KNOW IT / Re: The Heart and Soul of Jan & Dean LP
« on: September 17, 2014, 10:03:36 AM »
This was also, for some strange reason, released on CD awhile back:

Was tempted to pick it up just for "completeness" sake, but I decided not to.  I've had the LP for close to 25 years and don't think I've ever played it.  I have no idea what the other songs on it are even like.

DON'T YOU JUST KNOW IT / Re: Jan & Dean book
« on: September 04, 2014, 01:05:49 PM »
It looks like this is just information pulled from Wikipedia and bound into a book.  There's a lot of stuff like this out there on a lot of people and subjects.  I wouldn't recommend it.

DON'T YOU JUST KNOW IT / Re: Jan & Dean book
« on: September 03, 2014, 07:51:43 AM »
Do you have a link or anything we can look at?  I don't see it on Amazon.

« on: July 17, 2014, 08:36:08 AM »
Which Japanese CDs are you referring to?  The Liberty Album reissues from EMI-Toshiba a couple years back?  Those were packaged beautifully: great cover art reproduction (front and back), nice booklet, full lyrics, white jewel boxes, Liberty label art reproduced on the disc.  I was actually reallly hoping they would release the rest of the catalog.  I thought they were outstanding.

I wasn't aware of any other recent Japanese releases.

« on: July 02, 2014, 08:30:07 AM »
I believe "Jan & Dean" as a recording act would probably have slowly been phased out by the end of the 60s and Jan would have turned his attention more to writing and producing.  I could see him having gone the Peter Asher or Snuff Garrett route and producing a string of hits for other artists through the 70s and 80s.  I could also see him partnering with Lou Adler in his nightclub and multi-media ventures.  The J&D record label never really had a chance to get off the ground due to the accident, but with some guidance from friends like Lou and Herb Alpert, I think there was real potential for Jan to have had some success as a label owner as well.

Jan was so smart, talented and most importantly, connected, that I really believe he would have become a major player in the business.   

DON'T YOU JUST KNOW IT / Re: Jan & Dean Photos
« on: June 23, 2014, 08:23:06 AM »
Is Jan standing on something in the color photo?  In most pictures he only looks a few inches taller than Dean, but in this one he towers over him.

DON'T YOU JUST KNOW IT / Re: Gotta take that one last ride album?
« on: May 05, 2014, 09:58:55 AM »
I've always considered it an essential album to have for a "complete" collection.  Although it is mainly a hits and album cuts compilation, the fact that it was very well done and not just thrown together as a "cash in" makes it part of the "core" albums in my opinion.  The packaging (designed by Dean) was very high quality and on par with any current release of day.  It even included a poster which shows that United Artists (Liberty's successor) thought highly of its potential.   Remember, The Beach Boys had taken a similar, double LP compiliation,  "Endless Summer," all the way to #1 around that time.

Also, I believe it is the only place to get "Sunshine Music" which may or may not be a must-have track depending on personal opinion.  (I personally love that song.)

So, I would argue that "Gotta Take..." as well as "The Anthology Album" are probably more important to a J&D album collection than even a few of the original Liberty-era albums such as "Golden Hits, Volume Three" or "Popsicle."   Those two were basically just  thrown together with little or no involvement from Jan or Dean.

DON'T YOU JUST KNOW IT / Re: The 1977 Re-recordings.
« on: April 28, 2014, 12:04:33 PM »
Deans tireless efforts back then put Jan and Dean back on the map and saved us from buying Duran Duran and Culture Club records.
Exactly big savings on not having to buy makeup and not having the possibility of turning gay.

Yeah, because Jan and Dean couldn't possibly have any gay fans.  Oh wait... I'm one.

Grow up, dude.  It's 2014.

« on: April 28, 2014, 11:39:40 AM »
Looks like a cool find.  I have never seen that album before.  I have a different album called "Rarities" that has a completely different track listing (although a couple of the same tracks).

The only version I have of "Do It In The Dirt" is on a "Best of" cassette I got in the 80s.  I don't even remember what label it's on.  I haven't looked at it in years.  The insert and the tape itself list the title as "Stuart In The Dirt" which I always thought was odd since they obviously say "do it in the dirt" in the lyrics.  Does anyone know the origin of this track?  I always wondered if it maybe wasn't even a J&D track and just ended up on that tape by mistake.  It doesn't sound (to me) like anything else they've ever done (together or solo) and I've never seen or heard it mentioned anywhere else.  It's the only reason I even kept that cassette.

The "Batman & Robin" outtake sounds fun.  Is it a song or a story?

I've never heard or heard of "Come On Baby" or "There In The Night" before.

DON'T YOU JUST KNOW IT / Re: Wikipedia's new page "Sidewalk Surfin'"
« on: March 27, 2014, 10:40:06 AM »
All I'm saying is that if Jan did help write the lyrics, he could not have taken credit for them. Jan was a staff writer for Screen Gems. He was legally barred from having any of his compositions published by another company.

That makes total sense, but why wasn't Brian also barred from publishing a song with a company other than Sea of Tunes?  For example, "Surf City" was published by Screen Gems (only). Was this restriction on Jan a Screen Gems thing as opposed to a standard music publishing business practice of the day?  My understanding has always been (at least in recent decades) that if two or more songwriters collaborate on a song and each has a contract with a different publisher, everything is just split between the two and it just counts as whatever "fraction-of-a-song" toward the contract commitment.

For example, "Arthur's Theme" had four writers: Burt Bacharach, Carole Bayer Sager, Peter Allen and Christopher Cross.  On the label and sheet music it shows four publishers:  Irving Music/Woolnough Music (BMI), New Hidden Valley Music/Pop 'n' Roll Music (ASCAP), WB Music Corp. (ASCAP) and Unichappell Music/Begonia Melodies (BMI).

DON'T YOU JUST KNOW IT / Re: Jan & Dean Archives Volume 1 and 2 on amazon
« on: February 19, 2014, 10:50:15 AM »
Thanks for the heads up on these.  I try to search for books on Jan and Dean a couple times a year just to see if there is anything, but somehow I missed these.  They look really cool.  I love seeing old ads and articles and stuff.  I wish there were books like this for more singers and groups.

I just ordered both volumes.  Can't wait until they arrive.

DON'T YOU JUST KNOW IT / Re: album success
« on: January 16, 2014, 08:34:23 AM »
One thing that is important to remember about Jan & Dean's hit-making years is that the majority of sales for "rock and roll" artists at the time was singles.  That was where the promotion went and that was what drove that segement of the industry.  Albums from those artists, for the most part, were just thrown together to cash-in on the success of a single.  Most weren't given a lot of promotion.  And I don't mean "thrown together" in a derogatory manner as much of it was very high quality.   It was just the standard thinking in the industry during that era that singles were for the "kids" and albums were for the "adults."  (It also worked the other way around.  Most of the "grown-up music" artists like Frank Sinatra sold tons of albums, but relatively few singles.)   

The reason the Beach Boys albums were so successful chart-wise had more to do with their good fortune of being on Capitol Records than it did with them being "better" than other albums of the time.  Capitol just really knew how to market and sell albums.  Judy (Garland) at Carnegie Hall was #1 for 17 weeks in 1961, for goodness sakes!  Who was still listening to Judy Garland in 1961?  The Kingston Trio had 9 Top 5 albums (5 #1s) on Capitol in a little over 4 years.  Sinatra had 17 Top 10 albums on Capitol between 1954 and 1961.  Even Jackie Gleason had 13 Top 10 albums on Capitol during the '50s.  And I don't even need mention the Beatles.  Capitol was very, very good at moving product.  How good (or bad!) the music was had little to do with it.

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