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SPECTROPOP - Spectacular! Retro! Pop!
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There are 25 messages in this issue.
Topics in this digest:
1. Bergen White -- For Women Only
From: Cleber
2. RIP: Tony Mottola
From: Don H.
3. Ravin' Image to Musica
From: Clark Besch
4. Arrogance with Don Dixon
From: Matthew
5. Re: "San Francisco" in Bel Air?
From: Austin Roberts
6. Flying Machine - Marie Take A Chance lyric
From: Mutsushi Tsuji
7. Re: Dionn label
From: James Botticelli
8. Re: Ron Dante's birthday
From: Laura Pinto
9. Re: RIP: Tony Mottola
From: Frank Jastfelder
10. The Sandpipers
From: S'pop Projects
11. Re: Arrogance with Don Dixon
From: Davie Gordon
12. Re: Robert John search
From: Fred Clemens
13. Re: Arrogance with Don Dixon
From: Nick Archer
14. Re: "San Francisco" in Bel Air?
From: Austin Roberts
15. Re: Holmby Hills and the birth of the Rat Pack
From: Phil X Milstein
16. Re: Soulful Northern Beach Music
From: Austin Roberts
17. Re: Bergen White -- For Women Only
From: Austin Roberts
18. "Just That Kind Of Guy" in musica
From: David A. Young
19. Re: Bergen White -- For Women Only
From: Brent Cash
20. research inquiry
From: Phil X Milstein
21. Re: Hickory label
From: Danny D
22. not the Four Just Men!
From: Frank Young
23. Elmer Bernstein, Film Composer, Dies at 82
From: Phil X Milstein
24. Tom Dowd And The Language Of Music
From: Phil X Milstein
25. Re: Goldmine
From: Scott Charbonneau
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Message: 1
Date: Thu, 19 Aug 2004 11:57:35 -0000
From: Cleber
Subject: Bergen White -- For Women Only
I bought the CD "For Women Only -- Bergen White" in July. I saw in
Rev-ola home page a different track listing that includes four tracks
("Have You Taken A Good Look Lately", "Devil Knows How My Mind
Works", "Springfield" , "Spread The Word") that don't appear in the
CD that I bought. Meanwhile, the CD includes three tracks that don't
appear in Rev-ola home page ("If It's Not Asking Too Much", "Don't
Keep Me Waiting", "What Would You Do In My Place"). Are there two
versions? or just a mistake from Rev-ola ?
I don't know if somebody has this very good CD, but in my copy the
sound of some tracks (especially "Hurt So Bad") are not good. The
sound has ups and downs of volume. Somebody notice that?
Thanks
Cleber
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Message: 2
Date: Thu, 19 Aug 2004 16:30:52 -0000
From: Don H.
Subject: RIP: Tony Mottola
I noticed the other day in my local newspaper that Tony Mottola
passed away on August 9. I was surprised that he lived in the next
town over. Tony played with Enoch Light, and Doc Severinsen on the
Tonight Show. He also had several solo albums.
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Message: 3
Date: Thu, 19 Aug 2004 16:28:15 -0000
From: Clark Besch
Subject: Ravin' Image to Musica
Hi, just posted to Musica, a nice springtime 1969 song by the Ravin'
Image called "Echoes". This release on Capitol's new (at the time)
target label seems to have gone unnoticed for a big label release.
It is another of my Kansas hits, having hit KEYN-FM in Wichita at
release time. Keyn was really pushing stereo broadcasting at that
time as an advantage over AM Wichita stations and "Echoes" had a nice
echoey effect that leant itself well to stereo. Some really nice
harmonizing from these guys making me wish they'd done an Lp or even
a followup 45. I assume two members of the group are "Esposito/Tourso"
as they wrote, arranged and produced the record under the supervision
of Artie Kornfeld. Not much else can I tell you about the record
except that I really love it. Can anyone out there tell me more?
Thanks, Clark
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Message: 4
Date: Thu, 19 Aug 2004 12:53:38 EDT
From: Matthew
Subject: Arrogance with Don Dixon
I know it is a little off topic but can anybody tell me about a group
called Arrogance that featured Don Dixon? I recently picked up
sealed copies of their first two albums "Give Us A Break" (Sugarbush
Records SBS103, 1974) and "Prolepsis" (Sugarbush Records SBS112, 1975).
The records are still sealed and I'm not really sure what it sounds
like or what they are worth, can anybody offer direction on these
topics? I know that I could just open them up and listen to the
albums but it would really piss me off if they sucked and I took an
album that was worth $100 sealed and made it one fell swoop a $20.00
mint used record.
Matthew
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Message: 5
Date: Wed, 18 Aug 2004 23:28:06 EDT
From: Austin Roberts
Subject: Re: "San Francisco" in Bel Air?
Dennis Diken writes:
> I'm not 100% sure but it's always been my understanding that "San
> Francisco" was cut at John Phillips' home studio (in Bel Air?). I
> believe the "Papas & Mamas" (with the interchangable face cover) LP
> was also recorded there. The house and presumably the studio therein
> were later sold to Sly Stone.
Could well be Dennis. Does anyone know for sure. That was a beautiful
effect or effects on Scott's voice.
Best, AR
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Message: 6
Date: Thu, 19 Aug 2004 16:50:00 +0900
From: Mutsushi Tsuji
Subject: Flying Machine - Marie Take A Chance lyric
Hello everyone,
Please let me know the lyric of Flying Machine - Marie Take A Chance.
It's hard to transcribe from the music for me. Somebody, Help!!
Off list replies only please.
Marie Take A Chance
Marie take a chance
Think of your heart, girl
After this dance
?? While it could start,girl
If you make up your mind
?? Lead your fields behind
Marie take a chance
Don't be afraid, girl
After this dance
We got it made, girl
Can't you see you and me
We're just meant to be
I saw your face across
A crowded room and then
I saw nobody else but you
????????????
?? I never worry again
I walked up to you
As you stood there so alone
And then we danced on whole night long
How could you be so wrong
I wanna take you home
*Repeat
Just try to understand
The way I feel tonight
Cause I have choosed my whole life through
To find a girl like you
And now I'm holding tight
So as the music ends
And we are left alone
I gotta try to make you see
The way it ought to be
And take you home
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Message: 7
Date: Thu, 19 Aug 2004 13:34:50 -0400
From: James Botticelli
Subject: Re: Dionn label
David L Gordon wrote:
> Dionn was owned, I believe, by Gilda Woods, wife of Georgie Woods
Georgie Woods, the guy with the goods!!!!
> There are a few other artists on Dionn but they're pretty obscure,
> northern soul fave Moses Smith and Bill Lucas.
Anyone heard The Ordells' "Sippin' A Cup Of Coffee" on Dionn? A German
friend once proclaimed that song possessed the ability to put him on
"the existential edge". I was never quite sure what he meant, but he
sure liked the song.
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Message: 8
Date: Thu, 19 Aug 2004 15:58:01 -0000
From: Laura Pinto
Subject: Re: Ron Dante's birthday
I wrote:
> Spectropop fave Ron Dante will be turning 39 years young (again)
> this coming Sunday, August 22. Anyone who would like to post a
> birthday greeting for him can do so by visiting this link:
Joe Nelson responded:
> 39? I guess that explains the youthful sound behind "Sugar Sugar",
> which came out when my now-40-year-old self was somewhere between
> kindergarten and first grade :-)
Hmmmm ... I guess we couldn't get away with that one. That's the
trouble with having had a gigantic hit record in 1969 - nobody will
believe you were born in 1965!
Laura :)
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Message: 9
Date: Thu, 19 Aug 2004 20:36:16 +0200
From: Frank Jastfelder
Subject: Re: RIP: Tony Mottola
Previously:
> I noticed the other day in my local newspaper that Tony Mottola
> passed away on August 9. I was surprised that he lived in the next
> town over. Tony played with Enoch Light, and Doc Severinsen on the
> Tonight Show. He also had several solo albums.
Now that´s very sad. I really like his guitar playing and have several
(what an understatement in his case) of his records he did for Project
3. Tony was always down with the "Now Sound" in the late 60s.
Frank J.
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Message: 10
Date: Thu, 19 Aug 2004 19:38:35 +0100
From: S'pop Projects
Subject: The Sandpipers
New at S'pop
All Over But The Crying: The Sandpipers Story
by Jeff Lemlich
They were just kids, living out a dream. Three girls, not yet
in high school -- one moment, singing a cappella; the next,
being backed by a group of future rock music legends. One
moment, singing at a fashion show; the next, recording for a
soul label in the northeast. Mr. DJ, give a spin to that not-
so-moldy oldie by the Sandpipers, 'All Over But The Crying'.
Listen to those sultry harmonies, and try to picture that
these girls were not yet fifteen years old, singing about
grown-up heartaches and heartbreaks. No, not just singing
about the hard lessons of life, but bringing it home with soul
to spare. Nailing it! "Your kisses don't stay on my lips
anymore. I said it's almost over." There just has to be more
to this story, right? Well, fortunately there is. You've heard
some of their recordings in musica. Now's your chance to read
their story: http://www.spectropop.com/Sandpipers/index.htm
Enjoy,
The S'pop Team
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Message: 11
Date: Thu, 19 Aug 2004 19:39:54 -0000
From: Davie Gordon
Subject: Re: Arrogance with Don Dixon
Matthew wrote:
> I know it is a little off topic but can anybody tell me about a
> group called Arrogance that featured Don Dixon? I recently
> picked up sealed copies of their first two albums "Give Us A
> Break" (Sugarbush Records SBS103, 1974) and "Prolepsis" (Sugarbush
> Records SBS112, 1975).
I might be wrong about this but years ago I had an album by a band
called Arrogance (on Vanguard) - it's from around 73-74. I'm not
sure if it's the same group but I vaguely remember it as being sorta
country-rockish - like innumerable bands from that period. I may be
doing it an injustice but it was one of those "play once, file away"
albums that I never missed when it "got lost" in a move.
Davie
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Message: 12
Date: Thu, 19 Aug 2004 20:00:10 -0000
From: Fred Clemens
Subject: Re: Robert John search
Country Paul wrote:
> Just heard from Marc Scott (of The Front Porch), re: Bobby Pedrick,
> Jr., aka Robert John:
> "As for the group backing Bobby Pedrick Jr; I haven't a clue. Never
> even thought about it. I thought they were just session guys. After
> he did Bandstand, he was the king of PS [Public School] 156 and then
> Arthur S. Somers JHS [Junior High School] 252. Sorry I couldn't be
> of more help. I prefered 'Stranded' too! If memory serves me well,
> one of the sides was written by Doc Pomus and Mort Shuman."
Thanks for looking into the Bobby Pedrick tune for me, Paul. Much
appreciated. BTW, the Pomus-Schuman side was "White Bucks...".
"Stranded" was by Barry Mann and Sid Jacobson. Another classic duo!
Fred Clemens
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Message: 13
Date: Thu, 19 Aug 2004 15:55:24 -0500
From: Nick Archer
Subject: Re: Arrogance with Don Dixon
Previously:
> ... can anybody tell me about a group called Arrogance that featured
> Don Dixon?
If this is the group I think it is they appeared every other week in
Winston-Salem, North Carolina from 1975-1977. One of my old friends
still starts off every phone call with "This week--Arrogance at
Rittenhouse Square!". At one time they had a listing on Fuzz, Acid
& Flowers. The music was pretty straight ahead rock if I remember.
Nick Archer
Nashville, TN
Check out Nashville's classic pop and soft rock radio station SM95,
now online at http://www.live365.com/stations/nikarcher
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Message: 14
Date: Thu, 19 Aug 2004 17:03:39 EDT
From: Austin Roberts
Subject: Re: "San Francisco" in Bel Air?
Previously:
> The tune was cut as a Mamas and Papas tune. John wiped the vocal track
> and put on Scott's and he had the hit. Always loved the B-side, "What's
> The Difference", which I recall being done as two B-sides, parts 1 and 2.
Also, Like An Old Time Movie!
AR
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Message: 15
Date: Thu, 19 Aug 2004 13:28:43 +0000
From: Phil X Milstein
Subject: Re: Holmby Hills and the birth of the Rat Pack
Bryan wrote:
> Holmby Hills, which is part of Bel Air, I think. Coincidentally enough,
> Phillips leased (?) or sold his home to Sly Stone, who moved a bunch
> of his buddies into the place ... including a recent topic of interest
> on this list, Jim Ford.
Holmby Hills, by the way, was the home of the original Rat Pack. Begun
(in the mid or late '50s, if I'm not mistaken) as the "Holmby Hills Rat
Pack," with Humphrey Bogart its prime instigator, the informal club
originally included wives. Charter membership included Bogart and Lauren
Bacall, Tony Curtis and Janet Leigh, and Frank Sinatra, who was very
close to Bogart and even closer to Bacall. After Bogart's death the club
began morphing into its more familiar form. I've always believed that
had Dean Martin not been a member, Jerry Lewis would've been; due to
their ongoing feud, however, the two obviously could not have both been
members. I also contend that Joey Bishop was never actually a "made"
member, but rather only one of a number of floating fifth members.
--Phil M.
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Message: 16
Date: Thu, 19 Aug 2004 17:06:18 EDT
From: Austin Roberts
Subject: Re: Soulful Northern Beach Music
Mark writes:
> You mentioned that many Northern soul records fit in nicely on the
> beach scene. I just wanted to let you know that the reverse is also
> true! The guys over in the UK have played a number of Embers tunes
> ("First Time" is a very sought-after record there), as well as songs
> by Frankie & the Damons, the Tams, Cannonball and Harry Deal and the
> Galaxies, to name a few beach acts that have gotten Northern club
> play. That's one of the reasons I love both Northern soul and beach
> music: the diversity of the stuff played (same with the Belgian
> popcorn scene as well).
Thanks Mark, That's good to hear. Even with several changes in their
lineup, the Embers are still kickin' ass!
Best, Austin R.
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Message: 17
Date: Thu, 19 Aug 2004 17:13:39 EDT
From: Austin Roberts
Subject: Re: Bergen White -- For Women Only
Previously:
> I bought the CD "For Women Only -- Bergen White" in July. I saw in
> Rev-ola home page a different track listing that includes four tracks
> ("Have You Taken A Good Look Lately", "Devil Knows How My Mind
> Works", "Springfield" , "Spread The Word") that don't appear in the
> CD that I bought. Meanwhile, the CD includes three tracks that don't
> appear in Rev-ola home page ("If It's Not Asking Too Much", "Don't
> Keep Me Waiting", "What Would You Do In My Place"). Are there two
> versions? or just a mistake
Just as an aside; Bergen and Buzz Cason sang Bgds. with me on my Rocky
album and we called ourselves the Eterniteens (but not on the album).
Bergen is one of the best arrangers I've ever known. He had a version
of Come Go With Me (Del-Vikings) on Private Stock that was strong.
Austin Roberts
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Message: 18
Date: Thu, 19 Aug 2004 21:06:20 -0000
From: David A. Young
Subject: "Just That Kind Of Guy" in musica
I'd like to join Julio in expressing my appreciation to Clark for
sharing the P.F. Sloan gem currently in rotation in the listening
lounge. Others in this group have referred to such same-sex demos
as "gender confused," but to many of us here, they offer a chance to
experience songs in a gender-appropriate way we've longed to hear all
our lives.
Much more importantly, though, it's a honey of a song, sophisticated
and complex, full of surprising turns that deliciously contrast the
naive sentiments, yet so hook-filled that it's impossible to get out
of my head. Phil's uncharacteristically resigned delivery is a treat
as well. Fellow members, if you haven't checked this one out yet,
believe me, you don't want to miss it. Thanks, Clark!
David A. Young
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Message: 19
Date: Thu, 19 Aug 2004 22:02:32 -0000
From: Brent Cash
Subject: Re: Bergen White -- For Women Only
Cleber wrote:
> I bought the CD "For Women Only -- Bergen White" in July. I saw in
> Rev-ola home page a different track listing that includes four tracks
> ("Have You Taken A Good Look Lately", "Devil Knows How My Mind Works",
> "Springfield" , "Spread The Word") that don't appear in the CD that I
> bought. Meanwhile, the CD includes three tracks that don't appear in
> Rev-ola home page ("If It's Not Asking Too Much", "Don't Keep Me
> Waiting", "What Would You Do In My Place"). Are there two versions? or
> just a mistake from Rev-ola? I don't know if somebody has this very
> good CD, but in my copy the sound of some tracks (especially "Hurt So
> Bad") are not good. The sound has ups and downs of volume. Somebody
> notice that?
I also noticed the sound problems. I tried emailing Rev Ola to see if
they'd gotten any similar inquiries and didn't get a response. It occurs
on the last half of "Lisa Was" (beginning around 1:30 approx. on the
channel that starts with the marimbas) and throughout the next track,
"Hurt So Bad". It's similar to dropouts in the high frequencies, but the
sound doesn't stop, just vacillates between clear and muddy.
This album is so awesome, I was going to buy another one to see if I'd
just gotten part of a bad batch, but it really sounds like problems from
the tape source and maybe beyond repair.
Now, should I dock Wayne Moss $75.00 pay for not having used Ampex 456
tape? Just kidding... Kudos to Joe Foster & Steve Stanley for those bonus
tracks!
Best to all,
Brent Cash
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Message: 20
Date: Thu, 19 Aug 2004 17:38:34 +0000
From: Phil X Milstein
Subject: research inquiry
My research is coming up short in a few areas, and so I bring the
following questions to the Spectrotable:
* What is the identity of Gene Toone, who (with "The Blazers") recorded
"You're My Baby" / "Jose" for Phil Spector's brief-lived Annette label
in 1964, and a pair of 45s for Wand, three sides of which bore
variations of the title "Baby Boy," over 10 years later?
* Are there any known releases for the song "He Hit Me Where It Hurts,"
co-written by Philips-Reed-Sims-Vance (who usually toiled for the
Pickwick/Design family of budget labels)?
* Is the 1968 Mercury record "Collector" (a Sonny Curtis tune) /
"Misery," by the All Night Workers, extant in any capacity? Is this the
same group as the Syracuse-based combo (feat. Mike Esposito and Felix
Cavaliere) of that name?
* Has there ever been a "Union" label? (Americans of a certain age might
get what I'm driving at with this question.)
* Anyone know anything of a group called The Hobbits? They seem to have
had a pair of 45s ("Daffodil Days" / "Sunny Girl" and "Pretty Young
Thing" / "Strawberry Children") for Decca c.1967 or '68, but that is all
I've been able to turn up on them. Have these records been comped at all?
* Can anyone add any credits for a '60s songwriter named Fangette Enzel
(aka Fangette Willett) beyond the following?:
Dark Shadows And Empty Hallways - Tammy St. John (Congress, 1965)
Dark Shadows And Empty Hallways - Diane & Annita (?)
Dark Shadows And Empty Hallways - Chad Mitchell Trio (Mercury, 1966)
A Man Needs A Woman - Billy Eckstine (Motown, 1966)
It's An Uphill Climb To The Bottom - Walter Jackson (Okeh, 1966; has
this been comped?)
Dark Shadows And Empty Hallways - Rosie Lopez (Pulsar, 1969; same song?)
Forget You Ever Met Me Baby - Barbara McNair (Motown LP "The Real
Barbara McNair," 1969)
Other titles from her entry in the BMI database:
Baby / Down Silent Streets / Forget You Ever Met Me Baby / Foundation Of
Love / If We Don't Play Games / In The Hands Of An Angel / On Saturday
Night / Sleepin Late / Take Me Back To Before / That Empty Feelin /
Waitin Waitin Down By The Station / You Got To Be An Angel / You Gotta
Give Love
Thanks for any help with any of these niggling questions!
Dig,
--Phil M.
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Message: 21
Date: Thu, 19 Aug 2004 23:15:16 +0100 (BST)
From: Danny D
Subject: Re: Hickory label
Just a big thank you to all who contacted me on/off
list and pointed me in the right direction, I
appreciate your time. This was my 1st time on here, it
must be THE best source of shared knowledge anywhere
from what i've seen so far.
Err... one more thing for now; a friend was trying to
find out who were the stylists responsible for the
early Motown acts wardrobe designs?
Thanks again
Danny D
Dublin
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Message: 22
Date: Thu, 19 Aug 2004 15:37:20 -0700 (PDT)
From: Frank Young
Subject: not the Four Just Men!
Don asked about a Just Four Men version of Goffin/King's "What A Sweet
Thing That Was."
It was actually Birmingham's Mike Sheridan and his Nightriders, featuring
Roy Wood. The single, Columbia DB7302, paired the G-K classic with Charlie
Gracie's "Fabulous."
the JFM only issued two singles proper:
"Things Will Never Be The Same"/"That's My Baby" (Parlophone R5186)
"There's Not One Thing"/"Don't Come Any Closer" (Parlophone R5241)
and were mistitled "the Four Just Men" on all US releases, before
metamorphosing into Wimple Winch, for three viciously rare UK-only Fontana
45s. The JFM did record several unissued tracks which wound up on the
equally viciously rare BGO CD...
In other news, just wanted to say how much I love "He's Just That Kind Of
Guy" by Sloan/Barri. Love love love their demos!
Best, Frank
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Message: 23
Date: Thu, 19 Aug 2004 18:02:10 +0000
From: Phil X Milstein
Subject: Elmer Bernstein, Film Composer, Dies at 82
Elmer Bernstein, Film Composer, Dies at 82
by The Associated Press (Aug. 19, 2004)
LOS ANGELES (AP)-- Elmer Bernstein, the versatile, Oscar-winning
composer who scored such movie classics as "The Ten Commandments," "The
Magnificent Seven," "To Kill a Mockingbird," "The Great Escape" and
"True Grit," died Wednesday. He was 82.
Bernstein died in his sleep at his Ojai home, said his publicist, Cathy
Mouton. She said Bernstein had been in failing health for some time.
Bernstein was nominated for the Academy Award 14 times, most recently in
2002 for "Far From Heaven."
Oddly enough, his only win was for the 1967 film "Thoroughly Modern
Millie," one of his weaker works.
Among his more notable efforts were the scores for "Some Came Running,"
"Birdman of Alcatraz," "The Great Escape," "Hawaii," "The Great
Santini," "Cast a Giant Shadow," "My Left Foot," "A River Runs Through
It," "Devil in a Blue Dress" and "The Age of Innocence." He also
composed several works for symphony orchestras.
Considered a revolutionary by many in the business, Bernstein began film
composing in 1950, a time when the field was dominated by the lush,
symphonic scores of central European emigres like Erich Korngold, Miklas
Rosza and Max Steiner. Although Bernstein often employed full
orchestras, as they did, but he also experimented with other techniques,
seeking to fit a film's music to the action occurring on the screen.
For "The Man with the Golden Arm," in which Frank Sinatra played a
heroin-addicted jazz musician, he discarded the studio orchestra for a
jazz ensemble. He used the same technique for two other contemporary
films, "The Sweet Smell of Success" and "A Walk on the Wild Side."
"It's one thing to write music that reinforces a film, underscores it --
the traditional sense of stressing, underlining -- or gives it added
dramatic muscle," director Martin Scorsese once said. "It's entirely
another to write music that graces a film. That's what Elmer Bernstein
does, and that, for me, is his greatest gift."
"To Kill a Mockingbird" presented Bernstein quite a challenge in seeking
to do that. For six weeks he could find no way to approach the story,
which concerned racism and the Depression in a small Southern town.
"Then I realized that the film was about these issues but seen through
the eyes of children," he once recalled. The simple score was played by
a small ensemble, at times employing single piano notes, much like a
child picking out a tune."
For the landmark western "The Magnificent Seven," Bernstein composed a
galloping march that remained famous for years afterward in TV ads for
Marlboro cigarettes.
A piano prodigy who studied composing under Aaron Copland in New York,
Bernstein moved to Hollywood in 1950 to work on his first movie score,
for the football film "Saturday's Hero." After a few more routine
assignments he made his mark with the moody music for the Joan Crawford
thriller "Sudden Fear."
Although both hailed from New York, he was no relation to the legendary
composer Leonard Bernstein.
"That's a common question," said Mouton. "They were friends and fellow
New Yorkers, but they were not related in any way."
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Message: 24
Date: Thu, 19 Aug 2004 18:35:08 +0000
From: Phil X Milstein
Subject: Tom Dowd And The Language Of Music
Last night I was fortunate to catch the new documentary, "Tom Dowd And
The Language Of Music," on the legendary Atlantic engineer. It truly is
a magical movie, with Dowd himself, a charming presence, serving as tour
guide through his fascinating life.
I'll admit that after a while I grew a bit weary of Dowd's constant
boasting about his many accomplishments and technological breakthroughs,
but, like with Muhammad Ali, James Brown or Little Richard, if you
really are the greatest then you have every right to know it and say it.
Apart from that piddling complaint, however, I recommend this movie
unreservedly, and can't imagine a single member of this list who
wouldn't groove to nearly every frame of it when and if they get the
chance to see it ... or who shouldn't kick themselves in the butt if it
comes to their area and they miss it.
One more thing: if nothing else, I finally learned how all those Turks
at Atlantic pronounce[d] their names!
Dig dig dig,
--Phil M.
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Message: 25
Date: Thu, 19 Aug 2004 23:11:18 -0000
From: Scott Charbonneau
Subject: Re: Goldmine
I discovered Goldmine in 1984 with their 100th issue, and was amazed
at the diversity and depth of what they had to offer at that time,
not just in terms of the records on offer (pages and pages of those)
but the writing as well. It was reading their lengthy pieces on Tim
Buckley and Quicksilver Messenger Service that made me want to hear
the music of both artists. Sad to say, but the magazine is pretty
lame now; considerably thinner and practically no ads to speak of.
What few ads there are seem to focus on newer releases; hardly any
collectables on offer. Which is why I find it pretty funny when I get
the occasional free issue in the hopes of getting me to subscribe
again; Tim Neeley's assertion that Goldmine is still a driving force
in the record collecting field is pretty hilarious if you ask me.
Discoveries is a bit better in that its ads at least focus on vinyl
as opposed to CDs and promotional memorabilia, and does seem a bit
more in tune with what is really happening in the collecting world.
Besides, John Tefteller's articles on the state of the hobby as it
stands now do make for excellent, insightful reading.
Scott
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SPECTROPOP - Spectacular! Retro! Pop!
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