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SPECTROPOP - Spectacular! Retro! Pop!
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There are 24 messages in this issue.
Topics in this digest:
1. DIY (not)
From: Al Kooper
2. Re: I Can't Let Go of Evie Sands
From: S.J. Dibai
3. Re: Investigating The Lettermen
From: Patrick Rands
4. Re: colored dj copies
From: Paul Evans
5. Re: That Alan and Babs
From: (That) Alan Gordon
6. Gig in Jersey
From: Bill Craig
7. Re: Aquatones
From: Michael Fishberg
8. Re: Aquatones
From: Fred Clemens
9. Aquatones
From: David A. Young
10. Re: DIY (not)
From: Mark Wirtz
11. Re: demo'ing Pitney
From: Al Kooper
12. Re: early fuzz
From: Al Kooper
13. Re: Quality Records
From: Herb
14. Re: investigating The Lettermen
From: Clark Besch
15. Re: early fuzz
From: Thirteen Eagle
16. Re: Kirsty MaColl sings Brian Wilson
From: Angela Greene
17. Re: early fuzz
From: John Fox
18. Re: Ray Whitley/Tams/Roger NicholsWild Ones/Nitzche
From: Clark Besch
19. Re: Superbabs
From: Clark Besch
20. Re: The Lettermen/Me About You
From: Mikey
21. Re: Oldham doing Spector
From: JJ
22. Re: songwriter info / all those Wards
From: Al Kooper
23. Re: The Tams in a Dancing Mood
From: Simon White
24. Re: Herb Alpert as "Dore"
From: Fred Clements
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Message: 1
Date: Sun, 23 May 2004 08:16:09 EDT
From: Al Kooper
Subject: DIY (not)
Previously:
> As much as needed to do the job as well as it needs to, sometimes
> with an eye on finances depending on how much of a labor of love
> it is. Isn't this a question like "How much is a car?" Well, what
> kind? For what purpose? Who'll be driving it? etc. And you're right,
> Michael, minor miracles -and the occasional major one - can be
> accomplished with the various audio programs in computers.
Comparatively inexpensive "Mastering" software and hardware for semi-
pros, reminds me of those info ads on TV for haircutting gear so the
whole family can get haircuts at home for 1/10th the price. One has to
respect a mastering engineer in the same way one would respect a
barber after viewing the results of a home haircut compared to a pro
job.
Now, I "master" at home all the time, but I would NEVER actually
release what I do. However, with Musica, I do have an outlet for my
work!
Seriously, don't take home mastering seriously. If you want the
greatest mastering at a fair market price, call Foothill Audio in NYC
and ask for Allan Tucker. He's done masterful work for me at extremely
competitive prices. I know there are others like him sprinkled about
the country. Do research instead of home mastering.
I'm a pro - Don't try this at home...
Al Kooper
P.S. I shamefully admit that I have been cutting my own hair for the
past seven years so perhaps I selected the wrong analogous example. I
did not buy that TV gear however....
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Message: 2
Date: Mon, 24 May 2004 18:30:54 -0000
From: S.J. Dibai
Subject: Re: I Can't Let Go of Evie Sands
Pres:
> The Rhino Best of The Girl Groups contains a version with a much
> smoother vocal performance. All other compilations that I have
> with this song - Charley's "The Red Bird Story", Castle's "Girl
> Group Gems", and Collectables' "The Jelly Beans and Friends" have
> a rougher vocal. Anyone know the story on what's the chicken and
> what's the egg?
I'm gonna attach a rider to this question: which version is on
Varese's "The American Roots of the Britisn Invasion" comp? That's
the one I have and I quite like it, though the vocal is a bit rough.
S.J. Dibai
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Message: 3
Date: Mon, 24 May 2004 19:03:18 -0000
From: Patrick Rands
Subject: Re: Investigating The Lettermen
James Botticelli wrote:
> there exists a Letterman anthology CD called "The Soft Rock
> Collection". I have it and its spectacular...It MAY be Japanese
> though (read $28.99).
I did see that listed at amazon and it looks good - those Japanese
Soft Rock comps are usually really amazing - but alas that one didn't
list their version of Me About You.
Also a follow-up on the Big Audio Dynamite covering Me About You -
turns out the tracklisting which I read was actually from the Gandalf
album (mistakenly listed on an auction), a second look straightened
that one out.
:Patrick
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Message: 4
Date: Mon, 24 May 2004 17:26:31 -0000
From: Paul Evans
Subject: Re: colored dj copies
Country Paul,
It really was all about the quality of the vinyl and truly not about
the color. However, the quality of the vinyl varied drastically,
depending on the label and, I suppose, the play they expected their
recordings to get.
--------------------------
You're absolutely correct when you say, "Of course, good ol' high-
quality virgin vinyl, such as that used regularly by RCA, had the
same strength."
Paul Evans
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Message: 5
Date: Mon, 24 May 2004 11:12:15 -0700
From: (That) Alan Gordon
Subject: Re: That Alan and Babs
I would like to thank the wonderful S'pop team for all the help they
provide when they cut & paste my replies. One day I will visit Al Kooper
and maybe he will show me how it's done!
Now responding to Martin's questions. Charlie Callelo arranged my version
of "My Heart Belongs To Me" on my Extragordonary lp. So when Barbra did
the song we felt Charlie would be the right call, and he did a brilliant
job.
Why the ladies dressed liked they did on the covers... well, maybe they
read my mind.
Martin, The Superman lp came after the Star Is Born record. Barbra traded
in Don for Jon, Peters that is. and lastly those nice things you quoted
that she wrote about me was really not liner notes but the title of a
song I wrote for her on the lp!!!
Best, That Alan
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Message: 6
Date: Mon, 24 May 2004 18:18:03 -0000
From: Bill Craig
Subject: Gig in Jersey
Hi all,
Just wanted to let my fellow 'poppers know that my band The Legendary
Rinaldo Brothers have a gig coming up wherein we will be doing a fair
amount of Spectropop relevant material. Stuff like: Concrete and
Clay, I Can't Find The Time To Tell You, The Sun Ain't Gonna Shine
Anymore, Romeo And Juliet, Walk Away Rene, etc. in our own "bar band
with the best of intentions" manner.
The date is Friday June 4th, 09 :30 to 1:30 at Smith Brothers Saloon on
Broad St. in downtown Ridgewood NJ, across from the train station.
No cover, no mimumum, no shirt no shoes no service, no mas.
Anyone interested please contact me off list.
Maybe this could be an opportunity for S'poppers in the NYMetro area
to get together.(C'mon people now, Smile on your brother)
Bill Craig
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Message: 7
Date: Mon, 24 May 2004 13:00:56 -0700 (PDT)
From: Michael Fishberg
Subject: Re: Aquatones
Austin Roberts wrote:
> There was a hit record out somewhere around 1960 I think called
> YOU by the Aquatones. I loved the record but don't know anything
> about the group. Could somebody hep me?
There is a reissue CD out there somewhere of their LP which just
made over $600.00 on Ebay! I have a UK copy of this on the London-
American label both as a 7" and 10" 78rpm. Very cool record.
Michael Fishberg
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Message: 8
Date: Mon, 24 May 2004 23:57:28 -0000
From: Fred Clemens
Subject: Re: Aquatones
Austin Roberts wrote:
> There was a hit record out somewhere around 1960 I think called
> YOU by the Aquatones. I loved the record but don't know anything
> about the group. Could somebody hep me?
Here's a link to the present group's Home Page:
http://www.aquatones.freeservers.com/main.htm
Should tell you everything you need to know about the group.
Fred Clemens
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Message: 9
Date: Tue, 25 May 2004 03:13:59 -0000
From: David A. Young
Subject: Aquatones
Gary Myers posted The Aquatones' membership rolls as reported by
Joel Whitburn:
> Formed in Valley Stream, Long Island, NY in '57. Lynn Nixon, Larry
> Vannata, David Goddard, Eugene McCarthy.
Lynne (not Lynn) Nixon (who later tacked her married name Denicker
at the end of her given name) replaced Bob Boden in the group in
1957, a year after its 1956 formation. She died in 2001, and was the
voice of the group's 1958 hit "You."
Colette Delaney replaced Lynne as female vocalist on The Aquatones'
recent CD "40 Years Later," which also features Dave and Gene and,
despite the four faces on the CD cover, only "Thanks to Larry
Vannata for his considerations."
David A. Young
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Message: 10
Date: Tue, 25 May 2004 04:04:33 -0700 (PDT)
From: Mark Wirtz
Subject: Re: DIY (not)
Al Kooper wrote:
> P.S. I shamefully admit that I have been cutting my own hair for the
> past seven years so perhaps I selected the wrong analogous example.
> I did not buy that TV gear however ...
I couldn't agree more with Mr. Kooper. Mastering is one of the most
critical and delicate stages in a recording process. If Al doesn't mind,
I would like to add my own analogy to the home hair cutting comparison:
the mastering of your mix is as consequential as the development and
printing of your photos.
Mark Wirtz
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Message: 11
Date: Tue, 25 May 2004 07:07:49 EDT
From: Al Kooper
Subject: Re: demo'ing Pitney
previously:
> After parting with Abramson, Gene quit singing for a while to concentrate
> on writing; he was hired by Aaron Schroeder, and the rest is history.
I was in the room when Schroeder "auditioned" Pitney. Aaron asked me to sit
in, as I was the only one around that day. He blew our minds with his voice,
tunes and hairstyle. When he left, Schroeder asked me what I thought. I looked
at him, smiled and said, "You're kidding, right? He was incredible. Do I still have
a job?" I played guitar occasionally on his early demos, some of which ended
up on his first album. His influence on me was total. Over the course of his
career he recorded five of my songs, the most famous being "I Must Be Seeing
Things". We're still friends.
What a truly unaffected great guy, who can still sing the chrome off trailer
hitches.
Al "Clown w/o Pity" Kooper
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Message: 12
Date: Tue, 25 May 2004 07:59:51 EDT
From: Al Kooper
Subject: Re: early fuzz
Gary Myers wrote:
> The Ventures' "2000 Pound Bee" charted in 12/62. I think the generally
> acknowledged precursor to the fuzztone is the solo on Marty Robbins'
> "Don't Worry 'Bout Me"; from 1/61.
(clearing his throat) The actual acknowledged precursor to the fuzztone would
be Rawhide by guit-genius Link Wray. I'm too old to get up and look it up.
Actual fuzztoneage is heard on Spector's Zip A Dee Doo Dah. I'll sit down
now.
Al "200 Lb. Bee" Kooper
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Message: 13
Date: Tue, 25 May 2004 11:32:28 -0000
From: Herb
Subject: Re: Quality Records
Michael Godin wrote:
> True North is indeed a real label, owned by Bernie Finkelstein. True North
> Records has been the home of Murray McLaughlan and Bruce Cockburn for
> many years, as well as other artists.
> I think part of the problem was that many labels did not have a great master
> tape filing system and no database to refer to, thus no clear indication of
> where a particular master was stored. Combine that with what may have
> also been a lack of interest for so long on the part of consumers and music
> historians inside the labels, and there are many lost masters 'out there'.
> As former V.P. of A&R for A&M Records Canada, I was recently asked if I
> would have any idea as to where the original Lucille Starr masters might be
> located. It was assumed that because she is Canadian that her master tapes
> would have been with A&M Canada. My reply was that at the time of her hits,
> including The French Song, there was not even an A&M Canada company,
> and all masters were licensed and pressed at the time by Quality Records.
> In addition, she was signed directly to A&M in L.A.
Hi Michael,
I read your comments with mild interest but it was a good thing I did. The reason
was your mention of Quality Records.
In mid-'62, I started purchasing 45s and Quality Records certainly provided some
great tunes. They issued Scepter on Reo (The Shirelles), Barry (Dionne Warwick),
and Quality (The Crystals). Most importantly to me was they that issued the
Dimension and Cameo Parkway labels as-is.
With Abkco holding back on Cameo-Parkway releases, I've often wondered what
happened to the masters that Quality pressed from. I am aware that Quality Records
is not the company is used to be. But, what did they do with their masters?
Herb
Toronto, Canada
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Message: 14
Date: Tue, 25 May 2004 14:58:56 -0000
From: Clark Besch
Subject: Re: investigating The Lettermen
James Botticelli wrote:
> there exists a Letterman anthology CD called "The Soft Rock
> Collection". I have it and its spectacular ... It MAY be Japanese
> though (read $28.99).
I must admit I really loved their version of "Hurt So Bad" when it became
a hit in mid-'69, but for obscurities, when The Lettermen's version of Barry
Mann's "Feelings" came out in May 1971, I really thought they'd be back
riding the charts. That really didn't happen until they covered Lennon's
"Love" three months later, which I liked as well. In May of '72 they tried
again with Lennon's "Oh My Love", to lesser chart action. I think the public
missed a good 45 in "Feelings".
Clark
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Message: 15
Date: Tue, 25 May 2004 02:41:36 -0000
From: Thirteen Eagle
Subject: Re: early fuzz
BB wrote:
> Dumb Head is the earliest song that I've heard that has a fuzztone
> guitar sound on it. Anyone know of earlier songs?
How about Jackie Brenston's "Rocket 88," from '51? Not QUITE as fuzzy,
but it's there.
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Message: 16
Date: Mon, 24 May 2004 20:29:20 -0700
From: Angela Greene
Subject: Re: Kirsty MaColl sings Brian Wilson
I've uploaded not only "You Still Believe in Me" by Kirsty, but also her
other Beach Boys cover (though not a Brian Wilson song), "Don't Go
Near the Water".
Since the bandwidth throttles at Yahoo are a pain, and I don't want to
overcrowd the file section in this group, I'm using my own webspace.
Here's the address: www.angelagreene.com/Kirsty
Also, Steve Harvey wrote:
> She's someone who could use a good compilation with all of her singles
> from here and there gathered into one place.
I couldn't agree more. I've got it all on vinyl and CDR, but it sure would be
nice to have an official release. Apparently, there's talk of a boxed set of
her demos and rarities, but I won't hold my breath.
This time I mean it, back to lurk mode.
-Angela Greene
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Message: 17
Date: Mon, 24 May 2004 23:07:12 EDT
From: John Fox
Subject: Re: early fuzz
previously:
> Dumb Head is the earliest song that I've heard that has a fuzztone
> guitar sound on it. Anyone know of earlier songs?
Not quite as early as Marty Robbins' "Don't Worry", but from later that year
(it made the charts in July of 1961) is an incredible early fuzztone guitar in, of
all songs, "I Just Don't Understand" by Ann-Margret. This song gets zero
oldies airplay, even thought it hit the Top 20.
John Fox
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Message: 18
Date: Tue, 25 May 2004 06:08:05 -0000
From: Clark Besch
Subject: Re: Ray Whitley/Tams/Roger NicholsWild Ones/Nitzche
While rummaging thru 45s looking for the Ray Whitley 45 on VeeJay
that I THOUGHT I had, I found some other things to comment on. I
found yet another Tams record by Ray Whitley, with the flip written
by Joe South. Man, The Tams and Sensational Epics couldn't get enough
of those two writers! Ray wrote "How Bout It" (ABC 10929), and Joe
wrote "Breaking Up", with South producing both sides.
I also found Tollie 9010 by Them Other Brothers, with "Be a Good Little
Girl" backed with "Just Forget 'Em", both sides co-written by Whitley
and Mac Davis.
Next up, and gotta say my fave Roger Nichols song would likely be The
Carpenters' "Close To You" B-side, "I Kept on Loving You". Great song,
sung by Richard! WLS Chicago DJ Kris Erik Stevens also did this song on
a 45.
As fer the Wild Ones, I have "Lord Love a Duck" b/w "My Love" (UA 971),
as well as their later 45, "Never Givin' Up (On Your Love") b/w "For Your
Love (I Would Do Most Anything)" (UA 50043), if anyone needs these
played to musica.
Not sure if anyone has commented about Jack Nitzche's production of
The Regents' Reprise (0430) 45 of "She's Got Her Own Way of Lovin'",
written by Michael McDonald b/w "When I Die, Don't You Cry"? Just in
case that's one from the Jack N. rarities club.
Clark
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Message: 19
Date: Tue, 25 May 2004 05:02:11 -0000
From: Clark Besch
Subject: Re: Superbabs
That Alan wrote:
> Thank You Martin, the check is in the mail! I think I still have the
> tee shirt I had made that says "I WAS BARBRA MITZVAH`D". One
> of the songs she recorded on that lp. was "My Heart Belongs To Me"
> [the publishing belongs to them].
So, Alan, did you like, get to see Babs in that Superman outfit? I'm not sure
I ever heard any of the music, because I couldn't get past the cover and inner
sleeve. ;)
Seriously, late great Chicago USA/Destination Records producer/writer/
singer Bobby Whiteside worked with Barbra in the '70s. Did you ever work
with him? If so, can you relate any stories about him?
Thanks as always,
Clark
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Message: 20
Date: Tue, 25 May 2004 01:10:49 -0000
From: Mikey
Subject: Re: The Lettermen/Me About You
Since so many of you have emailed me, I've played to musica an MP3 of
The Lettermen's version of "Me About You". Quality is OK, but not great --
if I get a better copy, I'll upload that.
Enjoy, everyone!!
Mikey
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Message: 21
Date: Tue, 25 May 2004 00:55:30 -0000
From: JJ
Subject: Re: Oldham doing Spector
Peter Lerner wrote:
> Oldham had two other role models: Pete Meaden, the Who's first manager
> and one of the original mods, and the teenage svsngali and producer Phil
> Spector.
That Pete Meaden was a role model for Oldham rings vaugely familiar, and
certainly makes sense, with both teen entrepreneurs, but the Spector issue
has been widely noted. For the Stones' first headlining tour of UK, with The
Ronettes, Spector flew across to watch over his charge, Veronica. While there,
Oldham invited Spector to the studio for the sessions that yielded the first
Stones album. Gene Pitney was also present, as were some of the Hollies.
There are even some non-offical Stones sides that have surfaced that feature
both Gene and Phil.
There is no doubt Oldham saw the value in the connection, even if Spector's
name was just lent in association, and as another teen tycoon Spector was the
icon. But as for the 'sound', any attempts Oldham made in that direction were,
for the most part, shelved, with one possible exception. "Tell Me", included on
that first album, seems to have the drums, hand percussion, and background
vocals of Spector's signature sound. They seem to offer a bolder glint than the
other tracks on the album.
Aside from their cameos on the 'unreleased' tracks, Pitney has been rumored to
have played some piano, and Spector some percussion, that did make it on the LP.
One -- and only one -- account I once read indicated it was Phil on the maracas on
"Not Fade Away", but I dunno.
Examples of Oldham aping Spector are dreadfully apparent on shelved tracks like
"Walking Through The Sleepy City", "I'd Much Rather Be With The Boys", and a
comically sad "Da Do Ron Ron". The Andrew Loog Oldham Orchestra releases
seem to lend more than a nod to Spector, as well. Peter's comment on Spector's
influence showing on "Let's Spend The Night Together" is a most thought-
provoking observation, one that has eluded me till now. Good call -- thanks!
JJ
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Message: 22
Date: Mon, 24 May 2004 21:42:55 EDT
From: Al Kooper
Subject: Re: songwriter info / all those Wards
previously:
> Springer - Kaye
> Do you have the first names?
Phil Springer, Tommy Kaye.
previously:
> Al, just in case you're not joking, I'll join with all the others to mention
> that Dale Ward is a guy. The girl who did "Wonderful Summer" is Robin
> Ward. :-)
I was jokin', darn it -- it was a Spectropopish joke, however.
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Message: 23
Date: Tue, 25 May 2004 17:42:03 +0100
From: Simon White
Subject: Re: The Tams in a Dancing Mood
The Tams "Dancing Mood" appears on either the group's first or second
album -- still waiting for the title, however. But it seems The Ink Spots did
it too, and their's may be the original version.
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Message: 24
Date: Tue, 25 May 2004 00:03:30 -0000
From: Fred Clements
Subject: Re: Herb Alpert as "Dore"
Country Paul wrote:
> Not formally, Frank, but A&M 714, "Dina" by Dore Alpert (actually Herb,
> singing on record for the first time I know of) is perhaps my all-time
> favorite 45 -- certainly the only one I intentionally own three copies of.
Herb recorded under the "Dore" moniker a couple (?) of singles for RCA,
around 1962, and just before those a single for the Carnival label. He also,
around 1959, recorded a vocal for the Prep label, using "Herb Alpert".
I have the Carnival and one RCA single.
Fred Clemens
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SPECTROPOP - Spectacular! Retro! Pop!
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