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SPECTROPOP - Spectacular! Retro! Pop!
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There are 9 messages in this issue.
Topics in this digest:
1. Re: Back To Mono
From: James Botticelli
2. Re: Back to Mono
From: Gary Myers
3. Re: Back to Mono
From: John Sellards
4. Re: Back To Mono
From: Al Kooper
5. Re: the Spectropoop on Ray Charles
From: Al Kooper
6. '60s Girly Sounds A-Go-Go! May Da Doo Ron Ron
From: Chris King
7. Re: The Penthouse ... good news!
From: Michael Stroggoff
8. Re: Schlagers
From: Phil X. Milstein
9. Re: Pied Piper
From: Alan Gordon
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Message: 1
Date: Sun, 02 May 2004 11:01:40 -0400
From: James Botticelli
Subject: Re: Back To Mono
Al Kooper wrote:
> Many years ago, I found a Japanese import of a one disc Phil Spector
> collection IN STEREO!!!! It's one of my most prized posessions. "Be My
> Baby", "Walkin' In The Rain", "Do I Love You" etc. Some brilliant mind
> asked to borrow it when Spector was inducted into the Hall of Shame
> and I'm sure that guy had a private laugh over that usage. I just
> listened to it the other day - it's still amazing.
I have it as well. You just haven't heard "Uptown" until you've heard the
stereo version.
JB
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Message: 2
Date: Mon, 03 May 2004 21:17:02 -0700
From: Gary Myers
Subject: Re: Back to Mono
> what kind of sense does that make when the whole point of The Mamas
> & Papas is those four voices blending together as one with those
> wonderfully complex John Phillips-devised harmonies?
OT, but this reminds me of the first time I saw the Four Freshmen. It was
a small club and they were using one mic -- and playing instruments -- and
their blend was perfect!
gem
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Message: 3
Date: Tue, 04 May 2004 11:49:22 -0000
From: John Sellards
Subject: Re: Back to Mono
Mike McKay wrote:
> stereo, and there's quite a lot of that about. The example I've always
> cited is the truly abominable stereo mixes of The Mamas & Papas' great
> body of recorded work. In these mixes, the four voices are spread all
> across the stereo spectrum. It sounds as if the four of them are
> isolated in separate rooms, miles apart from one another.
I've heard this over and over about the Dunhill mono tapes being gone.
Surely some of these things were issued somewhere other than the USA
where the tapes didn't get pitched?
John Sellards
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Message: 4
Date: Tue, 04 May 2004 01:54:13 EDT
From: Al Kooper
Subject: Re: Back To Mono
Mike McKay wrote:
> My bottom line has always been this: I'm not anti-stereo ... I'm anti-BAD
> stereo, and there's quite a lot of that about. The example I've always
> cited is the truly abominable stereo mixes of The Mamas & Papas' great
> body of recorded work. In these mixes, the four voices are spread all
> across the stereo spectrum. It sounds as if the four of them are
> isolated in separate rooms, miles apart from one another.
Well, we agree on one thing -- we are both against bad stereo mixes. I have
been doing hands-on stereo mixing since 1971. I consider it an art form,
and the only reason it's hands-on is because I've never worked with an
engineer that hears my productions the way I do. I wish I could find
someone that did, for then I could take a vacation after the wrap of
recording and come home to a finished CD. It doesn't look like that's
gonna happen.
So after 33 years of mixing, I have my methods and theories about it. I just
mixed two albums from 1968 in 5.1 surround sound, a first for me. It is an
amazing platform for listening, albeit the antithesis of mono. I understand
about BAD stereo mixes -- there was once an in-house remix of "Good
Thing" by Paul Revere etc., that I couldn't believe anyone who called himself
an engineer could turn in as finished work. That was a great example of the
spreading-out of mono power in a bad way. However, I just downloaded
(from i-Music) the great stereo mix of "Reach Out" by The Four Tops (a GREAT
mono record), and the stereo is pretty darn good. I prefer the ambiance and
balance of a great stereo mix to the bunchedupness of mono, but we're all
entitled to our own opinions based on how we live our lives. But your point is
well-taken -- down with BAD stereo mixes ~~~~~~
Al - K o o p e r - Al
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Message: 5
Date: Tue, 04 May 2004 02:12:24 EDT
From: Al Kooper
Subject: Re: the Spectropoop on Ray Charles
Stuart Miller wrote:
> Al, I believe Ray was an absolute nightmare to work with that time and
> was actually reponsible for Charlie walking away from the business for
> a while afterwards. Is that your recollection of the recording?
Stuart, you have wrongs and rights in your reply. Let's adress them:
First off, the one award that I think Ray Charles should own is the lifetime
achievement Academy Award. He has convinved Middle America that he
is a swell guy in the ranks of, say, B.B. King. Now don't get me wrong --
musically-speaking, I would not be here today if it wasn't for the influence
of Ray Charles. Many of my compatriots are in the same postion. BUT ...
talk to anyone who's worked for him or been in his band and you'll hear
another story entirely. Whereas B.B. King is probably the sweetest, most
genuine person I've met in my professional 46 years, Ray Charles is most
assuredly not. Yet they are perceived by the general public as one and the
same personas. That's why Ray should own that award. DAMN he's a great
actor. I understand he is going through bad health presently, and my prayers
are with him -- he's probably the reason I succeeded in the music business.
Now I consider this a pro forum, so let's not break any hearts and take this
info out of here. Charlie Calello left LA after the riots that ensued when the cops
beat up that African American guy whose name escapes me.* They came damn
close to his palatial digs and his wife freaked out. Off they scrambled to Boca
Raton, Florida, where they remain happily ensonced. Charlie and I worked
with people worse than Ray Charles and survived. It was not Mr. C. that caused
Calello to "ease up". It was geography. There's not a lotta sessions in Boca
Raton nowadays, ya know. And arrangers are pretty much extinct in today's
computer Top Ten list. Ray Charles had nothin' to do with THAT!
Al Kooper
*It would appear that Mr. Kooper refers here to the infamous Rodney King.
--Admin
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Message: 6
Date: Tue, 04 May 2004 09:21:22 +0100
From: Chris King
Subject: '60s Girly Sounds A-Go-Go! May Da Doo Ron Ron
Dear South Brit-based Spectropoppers:
Da Doo Ron Ron -- the one and only '60s girl group club -- returns for our
monthly sashay through the femme-centric side of the 60s on Saturday
MAY 15th @ the Sussex Arts Club, 07 , Ship St, Brighton, BN1. Doors
9pm to 2am.
Admission: £5 BEFORE 11pm! / £6 AFTER
E-mail: dadooronron.club@ntlworld.com
Tel: 01273-778020/727371.
Established in October 1998 (in North London), Da Doo Ron Ron is a '60s
oriented club night with a unique slant. In a tribute to original 'girl power',
DDRR DJs Chris 'Da Doo' King and Simon Bridger (Brighton Northern
Soul All-Dayers) spin only female-fronted tracks from the swingin' '60s.
You will never hear a male lead vocal at DDRR! The club's musical menu
is a femme-centric celebration of such '60s girl groups as The Ronettes,
Marvelettes, Shangri-Las, Supremes, Chiffons, Crystals, Angels, etc., sassy
soul sisters like Aretha, Dusty, Maxine Brown, Brenda Holloway and playful
popstrels in the vein of Petula Clark, Lesley Gore and Helen Shapiro.
For further info. please check the Da Doo website:
http://homepage.ntlworld.com/dadooronron/
"Da Doo Ron Ron -- A 'femme-centric' selection of back-combed
harmonizing".
The Guardian -- Number 1 Clubs 'Pick Of The Week' November 2003
Kindest regards,
Chris Da Doo
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Message: 7
Date: Tue, 04 May 2004 05:13:55 -0700 (PDT)
From: Michael Stroggoff
Subject: Re: The Penthouse ... good news!
Frank Jastfelder wrote:
> As far as I remember John Hawksworth's score was very creepy too. Jazz
> with an edge and dialogue snippets in between. Too weird for me. I sold it.
This is being released on CD later this month by UK label Harkit Records
(HRKCD8081), http://www.harkitrecords.com with, I gather, great stills from
the movie, which starred Suzy Kendall (one of Dudley Moore's wives). The
release will also feature a rare interview with the late director Peter Collinson
(who also made the original "Italian Job"). The original album was issued in
the UK on Jeffrey Kruger's Ember label (NR5040). In the US it was released
on United Artists ((5)4170).
Much harder to find is the bizarre Italian release on CAM Records (SAG9008)
which, in replaced the dialogue sequences with various other tracks that did not
feature in the movie. I say bizarre because this strange album also featured music
from "Four In The Morning" by John Barry! That soundtrack was also on the UK
Ember label, and also on US Roulette.
Chris Schneider wrote:
> IMdB reveals that there's a song with lyrics by Hal Shaper, who wrote the
> words for "Softly, As I Leave You." Sung by a certain Lisa Shane. Possibly
> the same Lisa Shane who was in "A Slice of Pye" with Tony Hatch and Jackie
> Trent?
Lisa Shane was Cyril Shane's daughter. He was a music publisher in the UK.
Michael
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Message: 8
Date: Tue, 04 May 2004 09:50:05 +0000
From: Phil X. Milstein
Subject: Re: Schlagers
Charles Ulrich wrote:
> That's correct. Side one featured Petula Clark, Charles Wright, Peter
> Paul & Mary, Ella Fitzgerald, Trini Lopez, Glenn Yarbrough, and The
> Vogues. And so on for the other three sides. No Kinks or Mothers Of
> Invention on this one!
Charles Wright musta stuck out like a sore trombone slide on that one.
--Phil M.
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Message: 9
Date: Tue, 04 May 2004 08:46:33 -0700
From: Alan Gordon
Subject: Re: Pied Piper
Austin Roberts wrote:
> Did Crispian St. Peters write his hit record of the same title?
"Pied Piper" by Crispian St. Peters was written by Artie Kornfeld and
Steve Duboff.
Best,
That Alan
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