Tag Archives: Tribute

RIP Leonard Cohen

From Death of a Ladies’ Man:

So the great affair is over but whoever would have guessed
it would leave us all so vacant and so deeply unimpressed
It’s like our visit to the moon or to that other star
I guess you go for nothing if you really want to go that far.

It’s like our visit to the moon or to that other star
I guess you go for nothing if you really want to go that far.

It’s like our visit to the moon or to that other star
I guess you go for nothing if you really want to go that far.

Leonard Cohen & Phil Spector.

Safe Travels on the Sunrise Highway, Pete

Sad news today. It has been reported online that Pete Anders (Peter Andreoli) has passed away.

I’m guessing that most Cue Castanets readers knows Peter by way of the legendary Anders/Poncia songwriting credits but for those who don’t, Pete Anders was one of the finest singers and songwriters the 60s had to offer.

The body of work Peter has left behind is truly at the pinnacle of perfect pop – along with his lifetime friend and musical partner-in-crime Vini Poncia, there wasn’t a genre Pete couldn’t master, be it doo wop, surf & hot rod music, girl groups, wall of sound, Beatles-esque knock-offs, soul, sunshine pop or bubblegum. Anders/Poncia covered all bases and did so brilliantly.

Anders & Poncia then and more recently. Pete Anders is pictured to the left in 1969 and to the right in the 2010 Photo.

I’ve been a fan of this dynamic duo’s music since I first heard the killer songs they wrote for the Ronettes and, later on, the two albums they recorded under their Tradewinds and Innocense guises. Those two albums especially are textbook examples of how to write fantastic and charming sunshine pop & bubblegum music. The songs on both albums are inventive, hook-laden and brimming with enthusiasm, all bound together by Peter’s extraordinary lead vocals.

Yet, as with the equally talented Sloan/Barri partnership, the body of work by Anders/Poncia is often overlooked when US 60s pop is discussed in general. Sure, Goffin/King, Mann/Weill and Barry/Greenwich deserve all the praise they get, but dig a little deeper and you’ll be amazed at the sheer quality of the more unknown Anders/Poncia catalog. There’s always something interesting going on in their songs.


Spector certainly sensed he had stumbled upon a veritable hook machine when Doc Pomus introduced him to Pete Anders & Vini Poncia. According to legend, they hadn’t even written ‘The Best Part of Breaking Up (is when You’re Makin’ Up)’ when they pitched their song idea to him, but the title alone was enough to tell Spector that these guys from Rhode Island knew where it was at. And they didn’t let him down!

To these ears, the songs Anders/Poncia wrote for the Ronettes and Darlene Love during their short stint with Spector are any bit as good as what the more recognized Brill Building couples wrote. Those first seconds of ‘Do I Love You’? Wow… As good as it gets – and it simply must send chills down the spine of every pop music lover. And don’t get me started on ‘He’s a Quiet Guy’ by Darlene Love. What a shame also that the fantastic ‘Hold Me Tight’, credited to the Treasures, was the only thing Pete Anders got to sing on with Spector behind the console.

Then again, Anders & Poncia were perfectly able to churn out top quality productions on their own. A single like the 1967 ‘Sunrise Highway’, which I namecheck in the title to this post, is a sunshine pop masterpiece adorned with a tour-de-force Pete Anders vocal.

There were a lot of questions I would have liked to ask Peter about his interesting career in music. So after starting the blog I reached out for him online through a friend of his, hoping for a Cue Castanets interview. Peter happily agreed to answer my questions but sadly, various projects as well as health problems prevented him from doing so. It’s a shame because it would have been very interesting to hear his side of the story as a supplement to Vini Poncia who luckily has reminisced in a few interviews through the years.

I will conclude this post with a beautiful song from Peter’s obscure 1972 solo album as well as the questions I sent to Peter but that he never got around to answering before he passed away. If anything, the scope of those questions are testament to how varied and interesting a career this great singer and songwriter had in music.

Rest in peace Peter. Thank you for the music!


Proposed interview questions for Pete Anders

Early years / Videls

You and Vinnie first met each other in doo wop group the Videls out of Providence, Rhode Island in the late 50s. Did the two of you ‘click’ right away as creative partners or was it something that slowly evolved?

‘Mr. Lonely’ appears to be the first ‘Andreoli-Poncia’ written song. Is that so? And in general, how did the two of you work on songs together from then on? Did one of you, say, mainly write the words and the other the melody / chords? Or did it change from song to song?

Even from the early Videls recordings I hear you as a very skilled singer with a distinctive vocal style. Who would you say was your biggest influences when you were starting out as a vocalist?


Philles-era songs

How did your writing relationship with Phil Spector come about? Was his interest piqued by one of your song demos (if so, which one?) or were you teamed up with him?

What was it like to work with him and seeing your songs get the Wall of Sound treatment in the studio?

Are there any particular songs from that time you’re especially fond of or have specific anecdotes about?

I absolutely love your vocal on ‘Hold Me Tight’ credited to the Treasures. Whose idea was it to rework, and in my opinion vastly improve, a Beatles song so radically? Did Spector record anything else with you on lead that has remained unreleased?

One of your more obscure songs while with Spector is ‘You’re my Baby’ by Gene Toone & the Blazers. A fun throwback to your street corner doo wop background set to a marching beat. I really love this song. The feel and beat of it reminds me of an unreleased Philles-era track called ‘Pretty Girl’ sung by Spector himself. Were you and Vinnie involved in that song? It has the same type of marching beat and funny lyrics that, among other things, goes: “My name’s Philip and incidentally I ain’t going steady. But you’ve got something that get’s me thinkin’ I may be ready.” There’s a prominent use of harmonica throughout and the chorus goes “You’re so fine. So fine. What’s you number? You’re so fine.” Do you remember this song / production?

‘The Best Part of Breaking Up’ is also fantastic – there’s a story going around that you and Vinnie only had the title / catch phrase for the song [The best part of breaking up is when you’re making up] when you pitched the song for Spector and that he immediately sensed a hit from the title alone, asking you to write it. Is this true?

Darlene Love has mentioned numerous times that ‘He’s a Quiet Guy’ is her favorite Philles-era song. I tend to agree. It’s a fantastic piece of work. Was it written directly for her? Did you participate at the session?

‘Do I Love You’ – that bass riff in the intro is pure genius. Do I detect a bit of a Motown influence in that song?

I’ve heard rumors of an unreleased Ronettes track wittten by you and Vinnie called ‘Someday (Baby)’ Do you remember this one? Did Spector record more songs of yours than what was eventually released?

There’s of course also the Lovelites. You and Vinnie did some fantastic stuff with this group, – ‘When I Get Scared’ on the Phi-Dan label and the not officially released ‘Please be my Boyfriend’ and ‘He’s my Eddie Baby.’ All great productions! What would you say you learned as producers from your association with Phil Spector?

Following up on the Lovelites and ‘Please be my Boyfriend’ – was that song written by you and Vinnie? It has never been disclosed who wrote it as an acetate label and sessions sheets don’t feature writing credits. Also, there’s a version floating around credited to the Crystals. Listen here: The Crystals – Please Be My Boyfriend Many believe that the demo isn’t sung by the Crystals but an unknown group. Do you recognize the voices? This version has puzzled collectors for decades!


Tradewinds, Innocense and beyond

You left Spector & Philles Records for Leiber & Stoller’s Red Bird label in 1965. Your first master there was the legendary ‘New York’s a Lonely Town’ under the Tradewinds moniker. A sizeable hit. How did you come up with this great idea for a song? Did you offer it to Spector before releasing it on Red Bird?

Many of the Tradewinds songs have an obvious Beach Boys influence. How did you feel about what Brian Wilson was doing at the time? Did you ever meet him in LA?

On Kama Sutra and later Buddah you recorded fantastic stuff under quite a few names; the Tradewinds, the Innocense, the Good Times etc. But you also released your first solo single, the majestic ‘Sunrise Highway’ backed with ‘Baby Baby.’ Why a solo single at this time?

I’ve heard rumors of an unreleased album borne out of the sessions for the Anders & Poncia ‘So It Goes’ / ‘Virgin to the Night’ single on Kama-Sutra. Any truth to this? If so, why was it scrapped?

Finally, you and Vinnie were involved in so many one-off singles that some were bound to fall through the cracks. A particular favorite of mine is ‘Thinkin’ ‘bout Me’ by the Fairchilds from 1968.

What a stunning song and great production. Should have been a hit! You and Vinnie are listed as producers along with your old Videls buddy, Norman Marzano. What do you remember about this song? Was the Fairchilds an actual group or just you guys recording? I think I hear you sing back-up vocals?

Take Him for What He’s Worth

As of typing this latest blog post, Cue Castanets has been active for a year. I hope that those of you who check in here from time to time or, even better, subscribe to my posts via e-mail alerts have found some interesting writing on all things Spector and beyond.

I wish I’d been more active during the past two or three months but I’ve been busy with other things in my life which will make future posts on here more infrequent. But keep checking in – I have lots of ideas for interviews, reviews, song run-throughs and what not and I will eventually get around to those, I’m sure.

I had originally planned to post about something else tonight but then yesterday evening I learned about the sad passing of P. F. Sloan – one of my all-time musical heroes.

If I were to name my own, deeply personal holy Trinity of pop music, I would choose Brian Wilson, Phil Spector and PF Sloan,… or Philip Schlein as he was known before donning the P.F. Sloan moniker. Naming Sloan along with those two musical giants should give you all the proof you need that he is a musician I hold in extremely high regard. I’ve been deeply in love with his music ever since discovering it in the early 00s.


It’s always difficult to put into words the effect your favorite music has upon you. With Sloan, a great part of it has to do with his overwhelmingly emotive and expressive vocals. I’m continually amazed at the urgency that seems to simmer beneath each and every lead vocal of his. And the hooks! Sloan equals hook heaven! Oh man, the stuff he wrote alone or along with partner-in-crime Steve Barri is the stuff of legends as far as I’m concerned.

Merseybeat knockoffs? Check. Beach Boys-styled surf pop? You got it! Elvis soundalikes? No problem. Girl Group songs? Sure, how many d’ya need? Jangly folk-rock or Bob Dylan type social commentary? Why, I have a bunch of songs scribled down right here!

One type of music that Sloan actually didn’t take a stab at was fully fledged Wall of Sound productions. Which is no surprise really. Along with Steve Barri Sloan was on such a tight, grueling recording schedule that he probably never really had the possibility to spend time developing bombast productions. But I’ll bet he could have worked wonders within that type of genre too. There’s a demo floating around among Sloan collectors – ‘Cry over You’ – that’s just begging for a over-the-top dramatic production. And Sloan gives it his all on the demo. It could have been a monster record, – either with his lead or someone else singing it, as was often the case with his early-to-mid 60s output.


Basically, Sloan could – and did – it all. He was a master at being versatile and inventive – a musical chameleon whose talent for spitting out hooks far outshone most other songwriters of the era. That’s my opinion of course but really, take a listen to any Sloan-Barri song and Sloan’s solo material and you’ll be amazed at what was achieved within a few, frantic years. Heck, the Fantastic Baggys album alone beats a few of the otherwise classic early 60s Beach Boys albums!


Yet, as fantastic as Sloan was he never achieved the amount of fame or recognition he should have and sadly withdrew during the 70s due to personal problems. To me, that’s one of the saddest tales in rock’n’roll. There was so much promise there, – so much talent that should have kept flowing and graced our ears. Why it didn’t happen probably amounts to a bunch of reasons, but it’s tragic all the same.


Anyone wanting to delve deeper into the Sloan legend should seek out Andrew Sandoval’s lovingly compiled ‘Trousdale Sessions’ demo collection that came out in 2001. It’s mindblowing! The sound quality is top-notch and listening to these rough demos you really get a sense of how good and versatile a pop singer Sloan was when he allowed himself to loosen up some of the Dylan voal mannerisms that dominate his two 60s solo albums. (‘Songs of our Times’, ‘Twelve More Times’)

Trousdale Sessions

There are actually more demos out there, passed on between collectors, but sadly with a sound quality that’s only so-and-so. Apparently, Sandoval had located enough demos to comprise a second demo collection but it never came out. What a shame! I hope that someday, somehow, other unreleased Sloan demos, known or unknown, will come out with the love and care that characterised the Trousdale Demos collection.

Sloan was one of a kind. A great talent, – one whose music has given me so much joy I can barely express it. Music that I know I’ll return to time and again for decades to come. So with this, allow me to bow my head and pay my respects to the one and only P. F. Sloan.

RIP & thank you for the music.




RIP Lesley

lg Really sad to hear about the passing of Lesley Gore.

She was such a wonderful, versatile artist. In my book one of the very best within an already strong wave of 60s girl group / girl pop records.

Tonight I’ll listen to Lesley’s classy recordings. There are so many brilliant ones to choose from,…. but right now, I’ll end this short post with what may be my all-time favorite of hers, the 1964 hit, ‘Look of Love’.

That song may also have been the one that brought her most close to a Wall of Sound-type backing track. Here is a fan-made stereo mix incorporating the best parts of both the single and album versions.

Thank you for some truly great music, Lesley…