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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: Mark Wirtz
From: Mark Wirtz
2. Re: Fading Yellow CDs
From: Sebastian Fonzeus
3. Re: Fading Yellow CDs
From: JB
4. Re: The Majority / Majority One
From: Mark Frumento
5. Re: Fading Yellow CDs
From: Pekka Laine
6. Fantasia
From: Harvey Williams
7. Re: Fading Yellow CDs
From: Scott
8. Re: Ray, Goodman & Brown
From: various
9. Re: Before And After
From: Clark Besch
10. Mono vs. Stereo
From: Paul Woods
11. Re: The Big TNT Show
From: David Coyle
12. Re: The mono "White Album"
From: Richard Hattersley
13. Re: Oh . . . Kaye!
From: James Botticelli
14. Re: Ray, Goodman & Brown
From: Simon White
15. Re: This Could Be The Night
From: Phil Milstein
16. Re: MFQ
From: Bill Reed
17. Phil's Spectre
From: Mick Patrick
18. A lost song
From: Max Weiner
19. Re: This Could Be The Night
From: Roger Smith
20. These Could Be The "Nights"
From: Bill Reed
21. Re: Fading Yellow CDs
From: Martin Jensen
22. Re: Oh . . . Kaye!
From: Steve Harvey
23. Re: MFQ
From: Doug
24. Re: Phil's Spectre
From: Mike Rashkow
25. What's Shakin'; thanks, Mick and Tony
From: Country Paul
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Message: 1
Date: Mon, 29 Sep 2003 16:57:42 -0400
From: Mark Wirtz
Subject: Re: Mark Wirtz
Max Weiner writes:
>Dear Mark Wirtz,
>Many years ago I had a copy of "Out of his Head", a biography of Phil
>Spector (forgive me I can't remember the authors name), but he made
>reference to a Mark Wirtz that did a tribute album to Phil. By any
>chance are you that same Mark Wirtz?
Yes, I am :) Mind you, the official tribute was a single, not
an entire album, though I produced other tributes/homages to Phil,
notably "Lying Awake" by Dany Chandelle (EMI), "Richest Man Alive"
by Ray Singer (Ember), and "Make Time Stand Still" by Tony Summers
(EMI)
Thank you for your interest.
Best,
mark w
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Message: 2
Date: Mon, 29 Sep 2003 22:11:05 +0200
From: Sebastian Fonzeus
Subject: Re: Fading Yellow CDs
Mark wrote:
>Here's my question. Are these more pop or more psych? In order words,
>what I usually go by is if Vernon Joynson hates something means its
>good and the more he likes it, the worse it is. So before I order
>these 5 CDs, how poppy are they? I like ultra-commercial records that
>sound like they could have and should have been Top 40 hits.
Definitely MUCH more of the latter. Lots of should've-been-hits
and well orchestrated/produced pop music. At the moment I'm
playing volume 5 a lot. The UK volumes (1, 04 and 5) are my
favourites, but there are some absolute belters on the US
volumes as well such as the original version by Eddie Hodges
of "Shadows And Reflexions", Giant Jellybean Copout's MAJESTIC
"Look At The Girls", July Four's "Frightened Little Girl",
Disraeli's "What Will The New Day Bring", The Poor's "How Many
Tears", Peppermint Trolley Co.'s vastly superior version of
Roger Nichols wonderful "Trust" etc. I could go on. Perhaps
should add that the mastering is a tad bit on the "loud" and
slightly distorted side on the US volumes.
Just wait until you hear Angel Pavement's "When Will I See June
Again" (vol. 5)... WHOOSH! Now that is one FINE piece of joyous,
uptempo Left Banke-ish pop.
Recommended.
Take care!
Sebastian
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Message: 3
Date: Mon, 29 Sep 2003 15:52:13 EDT
From: JB
Subject: Re: Fading Yellow CDs
The Fading Yellow series definitely leans towards the pop side,
i.e. little to no wailing guitars, crashing drums, screamed
vocals, etc. You will hear some fuzz or phased or backwards
guitar and similar effects, but also plenty of orchestration,
harmony vocals, etc. The fact that the series included Eddie
Hodges' original version of "Shadows & Reflections" (later made
famous to our lot via The Action's version) may say something
about the series -- it draws from the rare, obscure and pop end
of the continuum.
JB
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Message: 4
Date: Mon, 29 Sep 2003 22:59:39 -0000
From: Mark Frumento
Subject: Re: The Majority / Majority One
Mark wrote:
> Does anyone have a discography that they can post on this group?
Seems you may have to live with the Tap of Delights disography
until someone digs up all the facts. Until then I'll give my
additions to that discography (maybe local Majority expert
Luis Suarez will chime in too):
As The Majority:
Charlotte Rose/Time is on Your Side
Time Machine (demo/acetate on Hen's Teeth Vol 3 CD)
As Majority One:
Bacause I Love/Get Back Home*
Glass Image/Friday Man*
Game*/I See Her Everywhere
Majority One (LP)
* non LP tracks
The best biography of the group is in Ray Moody's 'The Sound
of the Cities: Nearly Famous' which covers bands from Hull,
York etc. He points out the the name change from Majority to
Majority One came in 1970 after all but two of the original
members left.
A great harmony band who definitely a band that deserves a
compilation like the one done on the Consortium recently.
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Message: 5
Date: Tue, 30 Sep 2003 11:14:43 +0300
From: Pekka Laine
Subject: Re: Fading Yellow CDs
Mark:
> Here's my question. Are these more pop or more psych?
> In order words, what I usually go by is if Vernon Joynson
> hates something means it's good and the more he likes it,
> the worse it is. So before I order these 5 CDs, how poppy
> are they? I like ultra-commercial records that sound like
> they could have and should have been Top 40 hits.
Definitely more pop than psych. The whole series is excellent.
Enough variety from folky sounds to orchestral to make them
really great records to actually listen to. Volume 1 is one
of the best 60s comps in recent years IMHO
Pekka Laine
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Message: 6
Date: Tue, 30 Sep 2003 10:19:55 +0100
From: Harvey Williams
Subject: Fantasia
I recently picked up a wonderful 45 credited to Fantasia
called "Gotta Get Away", a UK pressing on Stateside from 1967
(though it appears that it was probably released on Mala/Bell
in the US). Does anyone know anything more about this group?
Any more releases? Band line-up (though it wouldn't surprise
me if this were a studio-only project)? Richard Perry is
credited with production & as a co-writer if that helps, and
Flip Perryn & Scott Lowe are also mentioned in the writing
credits, though they're new names to me. The record itself is
another multi-segment Good Vibrations knock-off in the style
of the Full Treatment's Just Can't Wait, and the harmonies are
simply stunning. You'll love it.
Any more info would be much appreciated!
All the best,
HarveyW
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Message: 7
Date: Mon, 29 Sep 2003 23:21:16 -0000
From: Scott
Subject: Re: Fading Yellow CDs
Mark wrote:
> Here's my question. Are these more pop or more psych?
> In order words, what I usually go by is if Vernon Joynson
> hates something means it's good and the more he likes it,
> the worse it is. So before I order these 5 CDs, how poppy
> are they? I like ultra-commercial records that sound like
> they could have and should have been Top 40 hits.
> Looking forward to the responses.
As someone who has all five Fading Yellow CDs and loves them
all equally let me just say that you will not be disappointed
by ANY of these. The material is basically pop, but given when
these tracks were recorded they do manage to catch a great deal
of what was in the air back then. A great majority of these
tracks certainly could have been hits; not big hits perhaps
but hits all the same.
Scott
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Message: 8
Date: Tue, 30 Sep 2003 14:54:10 -0000
From: various
Subject: Re: Ray, Goodman & Brown
Simon White wrote:
> Ray, Goodman & Brown (?)...
> ...were The Manhattans after they lost the rights to use the name.
Jerophonic:
Sorry, they were actually The Moments, from around Long Branch,
New Jersey, who had many great soul hits, and who finally crossed
over with "Love on a Two Way Street".
The Manhattans, from Jersey City, have sung under that name since
the early 60's. "Blue" Lovett,the bass singer who does the spoken
intro on their big hit "Kiss and Say Goodbye", has been with the
group throughout.
DJ Jimmy B:
Actually they were The Moments. "Love On A Two Way Street"
Stang Rekkids outta Jersey.
Eric Charge:
Errr - you mean The Moments !
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Message: 9
Date: Tue, 30 Sep 2003 04:48:11 -0000
From: Clark Besch
Subject: Re: Before And After
> Artie Wayne:
> One of the [Van McCoy] songs I placed at April-Blackwood
> was "Before And After" with Lor Crane, who produced it with
> Chad And Jeremy. I'm glad a lot of you remember it.
Stuffed Animal wrote:
> The version I remember is the excellent Claus Ogerman-arranged
> version from Lesley Gore's stunning MY TOWN, MY GUY AND ME album.
Hi guys,
I love "Before & After". I was lucky enough to work on the
Sundazed Cd reissue and one of the bonus tracks is a great
alternate version of the song! Amazing to hear this cool
and "coulda been the 45" version!
Take care, Clark
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Message: 10
Date: Tue, 30 Sep 2003 09:59:36 +0100 (GMT Daylight Time)
From: Paul Woods
Subject: Mono vs. Stereo
Matthew asked:
> My question for all of you is this: Is there a site on the
> internet that lists the differences between mono and stereo
> mixes. For example that Dylan's "Blonde On Blonde" contains
> totally different takes of certain songs in the two formats.
> Are there more examples of this?
My pal Roger Ford has an amazingly detailed site on different
versions of Dylan material. It's at:
http://www.rdf.pwp.blueyonder.co.uk/
Best wishes,
Paul
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Message: 11
Date: Mon, 29 Sep 2003 14:43:06 -0700 (PDT)
From: David Coyle
Subject: Re: The Big TNT Show
If you compare the opening sequence of the "Big TNT
Show" (especially the group of teens shown running
down the street past storefronts) with the scene from
"That Thing You Do" where the band hears their song on
the radio for the first time, it becomes apparent
where Tom Hanks got his inspiration.
How much did the Modern Folk Quartet actually record,
and is "This Could Be The Night" on CD anywhere? I've
only heard one other song by the MFQ, and that's "It
Was A Very Good Year," which is very much rooted in
the original folk boom. "Night" is a folk-pop classic
that stands up to time a lot more than "Here They Come
(From All Over The World)".
David
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Message: 12
Date: Tue, 30 Sep 2003 10:14:11 +0000
From: Richard Hattersley
Subject: Re: The mono "White Album"
Alfie:
> I don't understand why, with the constant repackaging and
> remastering of albums, there aren't more audiophile versions
> in mono. It's more likely that we'll soon get to hear surround
> sound versions of our favourite songs, than hear them as they
> were originally intended.
I agree, the Beatles back catelogue is the biggest offender there.
Most 60s bands hav made at least some effort to put out both mixes.
Pink Floyd put out a special edition "piper" in original mono
The Beach Boys CDs were stereo where available but they use mono
mixes on the box set. The Four Seasons put out a few of their mono
singles on the Edizione D'oro CD. When EMI was 100 they put out a
great series of 60s CDs that featured both stereo and mono mixes.
Artists such as the Hollies, Cliff Richard and Manfred Mann.
The Beatles/Apple/EMI however have wasted every opportunity to out
mono versions, e.g. The 30th anniversary white album would have
shifted many more units had it not been identical (sonically) to
the original CD (stereo). The "1" album was another chance to give
us some mono action without having to fork out loads for the mono
CD singles but i was not to be. I also heard at one point one was
gonna feature remixes where possible(a la Submarine songtrack) but
but although I heard great stereo remixes on Anthology and various
tv promo vids for songs like "Ticket To Ride", "Help", "Penny Lane"
and most notably "Paperback Writer", the CD only featured the original
stereo versions.
A was totally convinced they would not let the 30th anniversary of
'Pepper pass without putting out a mono version on CD, but alas it
passed without a whimper.
As so many people have said, The Rolling Stones, The Beach Boys,
The Byrds and even The Monkees are excelently represented on CD.
The Beatles however laguish in 80s CD, sonically dull, 02 page
booklet HELL!!
rant over :-)
Richard
http://www.wiz.to/richardsnow
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Message: 13
Date: Mon, 29 Sep 2003 20:05:01 -0400
From: James Botticelli
Subject: Re: Oh . . . Kaye!
Steve Harvey wrote:
> No, she [Carol Kaye] was a jazz guitarist in the early
> days up until the early 60s when some bassist failed to
> show up for a session. Carol picked up the bass and the
> rest is history.
Carol was on this list for a long time in the late 9T's and
early 00's. Suddenly she was no more.
Ed. - Carol Kaye now has her own comprehensive website:
http://www.carolkaye.com
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Message: 14
Date: Tue, 30 Sep 2003 16:30:26 +0100
From: Simon White
Subject: Re: Ray, Goodman & Brown
Simon wrote:
> Ray, Goodman & Brown (?)...
> ...were The Manhattans after they lost the rights to use the name.
> Jerophonic:
> Sorry, they were actually The Moments,
> DJ Jimmy B:
> Actually they were The Moments.
> Eric Charge:
> Errr - you mean The Moments !
Well, having spent the last two months working on a
compilation that includes three Moments tracks,
I really should have seen that one coming !
Keep taking the tablets, Simon.........
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Message: 15
Date: Tue, 30 Sep 2003 11:53:40 +0000
From: Phil Milstein
Subject: Re: This Could Be The Night
David Coyle wrote:
> How much did the Modern Folk Quartet actually record, and is "This
> Could Be The Night" on CD anywhere? I've only heard one other song
> by the MFQ, and that's "It Was A Very Good Year," which is very
> much rooted in the original folk boom. "Night" is a folk-pop
> classic that stands up to time a lot more than "Here They Come
> (From All Over The World)".
"This Could Be The Night" is available on the 4-CD "Back To Mono"
Spector box Abkco put out in 1991 (and for all I know there may be
other reissues of it). I love that record -- I've always read it as
Spector's answer to "Pet Sounds," esp. the prominent use of the
chromatic harmonica.
--Phil M.
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Message: 16
Date: Tue, 30 Sep 2003 16:06:15 -0000
From: Bill Reed
Subject: Re: MFQ
David Coyle wrote:
> How much did the Modern Folk Quartet actually record, and is "This
> Could Be The Night" on CD anywhere? I've only heard one other song
> by the MFQ, and that's "It Was A Very Good Year," which is very
> much rooted in the original folk boom. "Night" is a folk-pop
> classic that stands up to time a lot more than "Here They Come
> (From All Over The World)".
I have two albums by MFQ from '63 & '64 on Warner Bros in that
fabulous new process Vitaphonic (!) Stereo. Though both feature Tad
Diltz, "Night's" vocal soloist, neither sound remotely like the group
did after PS got finished making them over on this one-off from '65.
Hard to believe that this great track had to wait until 1976 to see
the light of day. . .on PS "Rare Masters 2."
"Very Good Year", BTW, is from their first WB LP, "Changes." The goup
also featured the Lovin Spoonful's Jerry Yester.
Bill Reed
www.cllrdr.com
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Message: 17
Date: Tue, 30 Sep 2003 20:09:44 +0100
From: Mick Patrick
Subject: Phil's Spectre
Some of you will enjoy the following essay by Spector biographer
Rob Finnis on the new "Phil's Spectre" CD. To read more, visit:
http://www.acerecords.co.uk/gotrt/sept03/cdchd978.html
Hey la,
Mick Patrick
--------------------------------------
Phil Spector's vision rose far above and beyond that of any of
his contemporaries. In fact, Spector saw himself as the sole
occupant of a parallel recording universe where his was the only
way, and everyone else was nowhere. This, to a large degree, was
what made him 'different' and 'difficult' in equal measure.
One only has to hear the absorbing out-takes from some of his
Philles sessions to gain an insight into the man. Hovering
authoritatively in the control room at the fabled Gold Star
studios, he is by turns, cocky, amusing and skittish depending on
the mood of the moment. Above all, he is endlessly patient. As
take after take is aborted (over 30 on Be My Baby) and the massed
musicians, numbed by repetition, are audibly beginning to wilt,
Spector acts as a calming presence, nonchalantly easing them into
one take after another, as though their interests, as much as his,
were at stake.
It took a unique man to create such historic sounds and, given his
commercial success, he was bound to attract imitators.
Sundry producers, artists, songwriters and arrangers attempted to
hitch a ride on the Spector bandwagon in the period spanning,
roughly, 1963-1967. Some of them came tantalisingly close to
getting it right, most notably those who had actually worked
alongside Spector such as Sonny Bono, Nino Tempo, Jack Nitzsche
and the Righteous Brothers, all of whose work is amply represented
here. Others were too conventional in their approach to get it
right.
Ace are justifiably proud of this release which brings together 24
of the finest mirror images of the Spector Sound. Assembled with
artful deliberation by Mick Patrick and Tony Rounce, Phil's Spectre
reflects the variation in tone, colour and density that
characterised Spector's own work. (Not all of Spector's productions
were quite as blockish as posterity will have you believe. Take I
Love How You Love Me by the Paris Sisters or Walking In The Rain by
the Ronettes. These are records as subtle as you are likely to
hear.)
A few tracks alone warrant the purchase of this CD. Carol Connors'
My Baby Looks (But He Don't Touch) features the lady who sang lead
on the Teddy Bears' To Know Him Is To Love Him being produced by
another ex-Teddy Bear, Marshall Leib.
Leib also produced Alder Ray's A Little Love (Will Go A Long Way),
arguably the most accurate Spector facsimile of them all. Leib once
claimed he knew better than most Spector's thought processes in the
studio and, on this evidence, he may have a case.
Then there's Yes Sir That's My Baby by Hale & The Hushabyes, a
legendary studio concoction masterminded by Jack Nitzsche that
features Edna Wright (aka Sandy Wynns) singing lead, with the
Blossoms, Sonny & Cher, Jackie DeShannon and Brian Wilson, among
others, buried in the massed chorus.
Carole King and Gerry Goffin wrote I Can't Make It Alone with the
Righteous Brothers in mind but P J Proby got to cut it first. I
subscribe to Nick Cohn's view that Proby ranks among the finest pop
vocalists of the rock era. This majestic 45 was cut in LA after
Proby had temporarily returned to America in 1966 following a spate
of bad publicity in the UK. Jack Nitzsche's spectacular production
reflects the Righteous Brothers' influence and Proby's vocal does
it justice. This is the first time the 45 single version (on which
Proby duets with himself) has been released on CD.
Even mighty Motown was not averse to casting a nod in Spector's
direction - step forward the Supremes! As Mick Patrick tell us,
their Spector-ish Run, Run, Run (a Holland, Dozier, Holland song),
was recorded in May 1963, a time when Motown had yet to establish a
definitive 'sound' of its own and occasionally looked to rivals such
as Spector or the Cameo label as a source of inspiration. Holland,
Dozier, Holland also penned Too Hurt To Cry, Too Much In Love To Say
Goodbye, by the Darnells, a Motown one-off from 1963 featuring
Gladys Horton of the Marvelettes moonlighting as lead vocalist.
The set closes with Please Phil Spector, a fun item with an odd
little history of its own. Written and sung as a throwaway by New
Yorker Mike Lendell (Rashkow), it was licensed to a small US label
as the intended B-side of Washington Square, a Lendell production
the company never got around to actually issuing. However, somehow,
in 1967, the record surfaced in the UK on the Phillips label credited
to a non-existent band, the Attack (unconnected with the British band
of the same name). Even Lendell himself was unaware, until recently,
that his aborted US 45 had made it to the UK.
The booklet, as glossy and colourful as a fashion supplement only
more absorbing, contains the full low-down on each title together
with matching illustrations. We should mention this fond and glorious
homage to the great producer was in Ace's pipeline long before Uncle
Phil's tribulations reverberated around the world.
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Message: 18
Date: Tue, 30 Sep 2003 12:09:58 -0700 (PDT)
From: Max Weiner
Subject: A lost song
I hope you folks can help me. I am looking for a song that I had
many years ago on a reel to reel. I don't know the name and the only
lyrics I can remember are "when I was with you girl, I made the grade,
but since you've gone, I've had it made". It had a really pretty
electric guitar that was folk-rockish in quality. The guitar sounded
similar to the guitar used in the song "Little Black Egg", circa 1965.
If anybody can help, it would be appreciated.
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Message: 19
Date: Tue, 30 Sep 2003 15:43:11 -0400
From: Roger Smith
Subject: Re: This Could Be The Night
> "This Could Be The Night" is available on the 4-CD "Back To Mono"
> Spector box Abkco put out in 1991 (and for all I know there may be
> other reissues of it).
I don't know of any other CD with MFQ's version of the song.
Harry Nilsson wrote "This Could Be the Night" as sort of a tribute to
Brian Wilson. Phil Spector produced MFQ's recording of it, but didn't
release the song until later.
David Cassidy recorded the song for his 1975 album "The Higher They
Climb, The Harder They Fall". Cassidy added lyrics to the song (and
his name to the songwriting credits).
Los Angeles DJ, Rodney Bingenheimer, had been using the MFQ version of
"This Could Be the Night" as his theme song for years. So, in 1987,
Henry Diltz (former MFQ member, but best known now as a rock
photographer) recorded "This Could Be the Night" for the album "The
Best of Rodney on the ROQ". Harry Nilsson attended the recording
session, but I don't think he appears on the recording.
Nilsson recorded a new version of "This Could Be the Night" in 1993 for
"Lost and Found", his unreleased last album. The new version has
additional verses.
Brian Wilson recorded "This Could Be the Night" for the "For The Love
Of Harry: Everybody Sings Nilsson" tribute album released in May of
1995. He claimed the song was a favorite of his.
The song written by Harry Nilsson as a tribute to Brian Wilson was
finally recorded by Wilson as a tribute to Nilsson. :-)
-- Roger
http://www.harrynilsson.com/
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Message: 20
Date: Tue, 30 Sep 2003 19:44:15 -0000
From: Bill Reed
Subject: These Could Be The "Nights"
> Hard to believe that this great track had to wait until 1976 to see
> the light of day. . .on PS "Rare Masters 2."
In my haste, I forgot to add that there are at least two recorded
homages to the MFQ version of the Nilsson/Spector "Night":
1. Brian Wilson on "For the Love of Harry: Everybody Sings Harry
Nilsson" Music Masters 65127-2, 1994.
2. Tatsuro Yamashita on his 1978 album, Go Ahead. Yamashita was the
compiler and annotater of an official Japanese boxed Spector set that
at the last minute fell through the cracks, though rumor persists
that a few copies of the multi-CD affair did make its way through the
production process before it was quashed for unknown reasons.
Additionally yours,
Bill Reed
www.cllrdr.com
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Message: 21
Date: Tue, 30 Sep 2003 21:55:15 -0000
From: Martin Jensen
Subject: Re: Fading Yellow CDs
Can a track list for these cd's be obtained somewhere and where can
you order them?
Martin
Denmark
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Message: 22
Date: Tue, 30 Sep 2003 15:14:25 -0700 (PDT)
From: Steve Harvey
Subject: Re: Oh . . . Kaye!
When I first started emailing I wrote Carol Kaye at
her site. Got an answer within half an hour. Write
with a question and you'll get about 20 pages of Carol
history in reply.
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Message: 23
Date: Tue, 30 Sep 2003 23:10:52 -0000
From: Doug
Subject: Re: MFQ
These are the MFQ 45's I have:
It Was A Very Good Year-Warner Bro 5387
If All You Think-Warner Bro 5481
That's Alright With Me-Warner Bro 5623
Night Time Girl-Dunhill 4025
Don't You Wonder/I Had A Dream Last Night-Dunhill 4137
I listed both sides on the last one because it's a great two sided
record; my favorite by them.
Doug
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Message: 24
Date: Tue, 30 Sep 2003 20:44:07 EDT
From: Mike Rashkow
Subject: Re: Phil's Spectre
Mick Patrick wrote:
> Some of you will enjoy the essay by Spector biographer Rob
> Finnis > on the new "Phil's Spectre" CD. To read it, visit:
> http://www.acerecords.co.uk/gotrt/sept03/cdchd978.html
Well I sure enjoyed it.
Rashkovsky (aka Mike Lendell)
risen from the dead and loving it
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Message: 25
Date: Tue, 30 Sep 2003 21:58:40 -0400
From: Country Paul
Subject: What's Shakin'; thanks, Mick and Tony
Re: "What's Shakin'": my copy "developed legs" a while back, so (1)
I forgot the name and (2) I stand corrected regarding the Doors. But
as Steve Harvey noted, Paul Harris did produce the Spoonful tracks.
Mick Patrick, Tony Hatch's info on Garry Mills and the Breakwaways is
fascinating. Thank you.
Still catching up,
Country Paul
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