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SPECTROPOP - Spectacular! Retro! Pop!
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There are 25 messages in this issue.
Topics in this digest:
1. Engineer question for George
From: Michael B Kelly
2. Re: Phil Spector reverb
From: George S.
3. Re: 60s recording sessions
From: George S.
4. Re: Linzer / Randell
From: Mike Rashkow
5. Re: Fever authorship
From: Eddy
6. Swingin' London record stores
From: "pete_palmiere"
7. some thoughts on Smile show
From: Phil X Milstein
8. Re: Re: A Touch Of Velvet, A Sting Of Cash?
From: michael sinclair
9. Re: A Touch Of Velvet, A Sting Of Cash?
From: Frank Jastfelder
10. Re: Heaven Scent jingle
From: John Fox
11. new Ace CD; 2 Of Clubs; Brenda Lee
From: Clark Besch
12. Re: Swingin' London record stores
From: Mike Page
13. Re: Phil Spector reverb
From: Mike Rashkow
14. Re: 60s recording sessions
From: Joe Nelson
15. Re: The Other Voices
From: Phil X Milstein
16. Re: engineer question for George
From: George Schowerer
17. Re: A Touch Of Wirtz
From: Phil X Milstein
18. Re: A Touch Of Velvet, A Sting Of Cash?
From: Dieter P Wirth
19. Re: We Wrote 'Em And We Sing 'Em
From: Phil X Milstein
20. Re: Phil Spector reverb
From: George S.
21. Re: A Touch Of Wirtz
From: Michael Sinclair
22. Re: Phil Spector reverb
From: Mark Wirtz
23. A Touch Of Velvet, A Sting Of Cash?
From: Phil Chapman
24. Help needed with Cyan Shames/NC6/ & Shadows of Knight
From: Max Weiner
25. Re: A Touch Of Velvet, A Sting Of Cash?
From: Barry in Minneapolis
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Message: 1
Date: Mon, 18 Oct 2004 20:21:59 -0400
From: Michael B Kelly
Subject: Engineer question for George
George,
On the end of "He's So Fine," when she sings "If I were a Queen,
and he asked me to leave my throne, I'd do anything that he'd ask,
anything to make him my own, 'Cause he's so fine!"
She seems to either back away from the mike, or an echo is added,
or something. Can you clear up this mystery I've pondered for 41
years?
Michael "Doc Rock" Kelly
The Rock 'n' Roll PhD
http://www.DocRock.us
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Message: 2
Date: Mon, 18 Oct 2004 17:43:38 -0700 (PDT)
From: George S.
Subject: Re: Phil Spector reverb
Freya:
> Presumably Phil Spector used some kind of acoustical space for
> reverb, does anyone know anything about what kind of space he
> used and its dimensions etc?
It was an unused empty room in the studio complex
(smallish) at Mirasound (Hotel America 145 W.47th st.
and now, a parking lot.
George S.
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Message: 3
Date: Mon, 18 Oct 2004 17:51:17 -0700 (PDT)
From: George S.
Subject: Re: 60s recording sessions
Joe Nelson:
> In the US in the early 60's, most recording was done on
> three track. By the time the session was ready for final
> remixing, you generally had the rhythm track on one, backing
> vocals and orchestra on two and the lead vocal on three.
First of all, stereo was not in the thoughts of many producers
in the early days, and the mixes in stereo indicate just that.
As time went on and second machines were available to the
smaller studios, you had better control of things. Up to that
point, the engineer had to be very cautious about what levels
were maintained of the various parts, so that they would meld
at the end.
Frankie Valli's newer stuff was done on 8 tracks Ampex AG-300-8
and to preserve quality, I found it necessary to bounch using
normal playback, which meant that all tracks except the final
track had to be bounced to keep in sync. Not all of Frankie's
sessions used vocal on the first tracks at all. You'd be amazed
at how many bounces were done on that date.....and others.
Earlier days, with the Chiffons (He's So Fine) were done on two
Ampex 351 mono decks...and you had to work like the devil to
keep things in perspective.
Regards, George S.
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Message: 4
Date: Mon, 18 Oct 2004 20:59:06 EDT
From: Mike Rashkow
Subject: Re: Linzer / Randell
Mike Rashkow:
> and, for the Toys, they also wrote... May My Heart Be Cast
> Into Stone, a great song (one of Phil C's favorites) and one
> that Ms. Ellie Greenwich and I produced a decent cover of with
> The Other Voices on Atlantic.
Phil C.
> Who exactly were the 'Other Voices', Mike? Did you and Ellie
> produce their other 45 on Atlantic? You never did tell me what
> comprised the 'whiplash' effect. I've played it to musica for
> others to take a guess. Oh, and I've never quite pinpointed
> the classical lift, any clues?
The Other Voices were originally named The New Outlook. They were
a male trio which included our member (so to speak) Paul Levinson,
Stuart Nitekman and Ira Margolis. Ellie and I came across them
singing acapella in Central Park. Paul wrote some decent songs
(now he's a college prof and a well published writer of sci-fi
and more). They sang well together--Stuart had kind of a big
voice Jay and The Americans sound--he could have done Only In
America
We did two singles on them, the B side of one, written by Paul
and my former wife Mikie Harris, "Hung Up On Love" was recently
included on the Rhino compilation "Come To The Sunshine"--and
that one was definitely another voices since I (sadly) ended up
doing the lead. The above named song was one "A", the other "A"
was the Brute Force song, "No Olympian Height". They were all
done in one session, at A&R, Hutch Davie did the arrangements
and Roy Cicala handled the board.
The whiplash effect, after numerous attempts to do it with
percussion was essentially multiple OD's of me going
chusssshhhhhh as loud as I could, mixed to mono, e.q.'ed,
echo'ed and then sync'd and spun in on the cues.
The classical lift? Hmmmm. Not sure to what you refer. If it
was in the melody it belonged to Randell, if it was in the chart
it belonged to Hutch Davie--although E and Me might have sung it
to him. Some lines we wanted included. I will take credit for the
background voices (counterpoint?) or something like it in the
bridge--and coming out of it-- to the last chorus-- that is
Toni Wine and maybe Ellie actually supporting the high note--
the boys gave it their best, but.......
I did the mix at Broadway Recording.
What the hell, don't ask me questions if you don't want the answer
--I'm old, lonely and no one listens to me.
Di la,
Rashkovsky
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Message: 5
Date: Tue, 19 Oct 2004 08:27:26 +0200
From: Eddy
Subject: Re: Fever authorship
Me:
> Cooley is NOT Little Willie John. He was a songwriter who also
> recorded "Fever" once for the "We wrote 'em and we sing 'em" album.
Phil M:
> That album sounds interesting. Can you tell us a bit more
> about it?
>From Marv Goldberg's R&B Notebooks:
In 1961, M-G-M released an album called "We Wrote 'Em And
We Sing 'Em" (MGM SE 3912), containing songs written and sung
by six songwriters. Each writer sings one hit tune and one new
song (with the other writers doing back-up work). Included are:
Billy Dawn Smith ("The Angels Listened In"), Eddie Cooley ("Fever"),
Otis Blackwell ("All Shook Up"), Winfield Scott ("Tweedlee Dee"),
Ollie Jones ("Send For Me"), and Lincoln Chase ("Jim Dandy").
>From both an artistic and historical viewpoint, it's an album
worth having.
M-G-M SE 3912 "We Wrote 'Em And We Sing 'Em" - 61
Billy Dawn Smith: The Angels Listened In//When I Saw You
Otis Blackwell: All Shook Up//Music And Fire
Eddie Cooley: Fever//Lay It On
Winfield Scott: Tweedlee Dee//Some Cold Night Now
Ollie Jones: Send For Me//Come On, Come On
Lincoln Chase: Jim Dandy//Hot Biscuits And Sweet Marie
Eddy
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Message: 6
Date: Tue, 19 Oct 2004 03:20:45 -0000
From: "pete_palmiere"
Subject: Swingin' London record stores
After a 7 year gap, I'm visiting London in Late December.
I would love to get some record shops recommendations
from Spectropoppers in and around the London area.
I'm planning on browsing the bargain bins in Tower Records
at Piccadilly Circus and the sacred bins of Virgin and HMV
on Oxford Street - but I would like to investigate some
more obscure used music shops. Any specific suggestions?
Also, where can I catch the best
LIVE music these days in Central London?
cheers,
Kurt Benbenek
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Message: 7
Date: Mon, 18 Oct 2004 23:29:17 -0400
From: Phil X Milstein
Subject: some thoughts on Smile show
A few thoughts on the Wilson/Smile show, which I saw Thursday night in
Boston, follow below. I've restricted my comments to the Smile portion
of the evening, although the prelude and encore sets were both quite
magnificent in their own right.
* I was skeptical going in that the show would be able to live up to its
sky-high advance word, but from first note to last I was both moved and
enthralled. Quite apart from the drama of the moment (given Smile's
agonizing history), the performance was absolutely transcendent purely
on its musical merits.
* I especially enjoyed how organic the arrangements were, involving at
times nearly 20 musicians when, by all rights, with modern technology
they could've gotten much the same sounds from just half a dozen or so.
Yet they neither skimped nor cut corners, quite an achievement in this
bottom-line era.
* The obvious cooperativeness and commonness of purpose of Brian's
musicians this time around underscored one of the biggest impediments he
faced during the album's original production. Music this visionary
deserves every shred of support possible, and it's so fortunate that
he's now able to surround himself with players who are able to give it
to him.
* I also appreciated the fact that the entire group seemed to be having
such a great time up there. In fact, with the musicians and the audience
as delighted as they were probably the one person in the whole building
who wasn't smiling over Smile was Brian himself, but then smiling is not
really his thing anymore. We can only hope that he's still able to do so
inside. His blank visage, though, renders the great humor of his
masterpiece rather ironic.
* The highlight for me, and an example of the above, was "Mrs. O'Leary's
Cow," which managed to be at once menacing and playful, a combination I
could scarcely have believed possible. Another example came in a line
from "Vege-Tables" which I'd somehow never quite caught before: "I threw
away my candy bar and I ate the wrapper." To reveal the staging of
either of these songs, however, could spoil the surprise for those who
have yet to see the show.
* Although Smile remains largely fragmentary, the sequencing and
connectives passages created for this production were so organic, and so
"correct," that they instantly seemed the ONLY ways Smile could ever
have gone; in other words, the entire suite-of-suites sounded perfectly
inevitable, which (so I was taught) is one of the fundamental
requirements of great art. I don't know how involved Brian was in
putting together those finishing touches, but since the show does bear
his name, as well as his presence and voice, I think it's safe to
interpret that as his acceptance of the final composition. It might not
be exactly as it would've been had it been released in 1967, but
whatever it is Brian has stamped as final. Thus, in lieu of any final
1967 version, the 2004 version IS Smile.
* For the first time I noticed how cinematically inclined Smile is. By
that I mean that all of its images – the Old West, the Mexican cantina,
the Pacific Ocean, the Great Chicago Fire, etc. -- seem filtered through
their Hollywood incarnations.
* I was also struck by how good Brian's singing was, in contrast to the
show I saw him give in summer 2003. At first I had thought his parts
were being doubled by Jeff Foskett, but at the end of show, just before
introducing the musicians and beginning the encore portion, Foskett
announced that he'd taken ill earlier in the day, and was able to sing
only minimally. (In fact, he didn't even stay onstage for the encore.)
* Finally, if I had his address I would follow through on Brian's
solicitation from one of Smile's signature songs and say,
"Dear Brian,
"Green beans."
"Best wishes,
"Phil Milstein"
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Message: 8
Date: Mon, 18 Oct 2004 19:08:13 -0700 (PDT)
From: michael sinclair
Subject: Re: Re: A Touch Of Velvet, A Sting Of Cash?
--- "Tom K. White" wrote:
>
> Mark W:
> > I haven't a clue about this cover, but I
> occasionally
> > hear rumours about sampled cover versions, or
> dance
> > mixes, of T.O.V.
>
> Thanks for the info Mark, and the other Mark.
> Interesting stuff,
> to me anyway. Just wondering, as a pure
> hypothetical, how would
> you feel if one of your songs covered by this
> licencing agreement
> suddenly became a huge international hit either by
> way of sampling
> or another artist recording a cover?
I would feel fine about it. My own original version
remains the authentic first, and even I was unable to
copy it when asked to do so for the "Come Back And
Shake Me" Teldec LP in '69 - it was a sad mess.
Also, just out
> of interest,
> was the original version of ATOVASOB a hit in
> Germany (reissued on
> the back of the Beat Club series perhaps?) or other
> parts of Europe?
Nope. A "turntable hit," but never a chart hit.
Anywhere.
> And do you remember anything about a German language
> version of
> "The Mighty Quinn" you produced for a guy called
> Dave Colman?
I have been credited as a producer on a number of
older 45's which I had nothing to do with. This is one
of them. In fact, I never produced any non-English
language record - ever (even though I performed a
couple of tracks in German for EMI/Electrola producer
Nils Nobach, for whom I also arranged and conducted
several German language albums).
Best,
Mark W
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Message: 9
Date: Tue, 19 Oct 2004 11:56:56 +0200
From: Frank Jastfelder
Subject: Re: A Touch Of Velvet, A Sting Of Cash?
Though it had been used for years as the theme song to the famous
TV-show "Beat Club", ATOVASOB never reached the Top 100 in Germany.
I'm not even sure if they put the song out as a single. But I own a
copy of John Schroeder's City of Westminster String Band LP with the
song on it. Great version with a funky bass at the bottom and a trumpet
(probably played by Ray Davis) replacing the female chorus.
Frank J.
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Message: 10
Date: Tue, 19 Oct 2004 00:37:58 EDT
From: John Fox
Subject: Re: Heaven Scent jingle
Clark Besch wrote:
> Now to Musica as "filler" material, I give a 1967 Heaven Scent
> jingle! Does anyone out there have a better quality or different
> version they can share with me?
I think we've been this way once before, but the "classic" Heaven Scent
jingle can be found on the May 18, 1968 aircheck from the Real Don
Steele show. Link is as follows; jingle is about 37 minutes in:
http://www.reelradio.com/rdsc/airchecks.html
John Fox
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Message: 11
Date: Tue, 19 Oct 2004 05:32:28 -0000
From: Clark Besch
Subject: new Ace CD; 2 Of Clubs; Brenda Lee
I've been reading about the new Ace CD with "Walk Tall" by The 2 Of
Clubs on it. Can anyone (Mick?) tell me if it is in stereo, and from tape
source? It is a great record that sounds great in stereo, but could sound
even better if from a stereo master tape!
Also, there is a small blurb on Ace's website about an upcoming Brenda
Lee CD. Can anyone tell me if "Think" is on it, and if so whether it is in
stereo? Does anyone have the "Too Many Rivers" LP with this song in true
stereo? I only have a mono copy, and always wondered if it was in stereo
on the stereo LP?
Thanks,
Clark
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Message: 12
Date: Tue, 19 Oct 2004 17:59:28 +0100
From: Mike Page
Subject: Re: Swingin' London record stores
Kurt Benbenek wrote:
> After a 7 year gap, I'm visiting London in Late December.
> I would love to get some record shops recommendations
> from Spectropoppers in and around the London area.
The Tower record shop at Piccadilly Circus is now a Virgin megastore. Still
worth a look, though. There are some good secondhand record shops in
Berwick St, the market end. I'm not sure on best way to get there, but if
you are at Piccadilly Circus, it's not far from there.
Mike
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Message: 13
Date: Tue, 19 Oct 2004 13:11:34 EDT
From: Mike Rashkow
Subject: Re: Phil Spector reverb
George Schowerer wrote:
> It was an unused empty room in the studio complex (smallish) at
> Mirasound (Hotel America 145 W.47th st., and now a parking lot).
George, isn't that a long way from Gold Star :-)?
Rashkovksy
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Message: 14
Date: Tue, 19 Oct 2004 13:42:57 -0400
From: Joe Nelson
Subject: Re: 60s recording sessions
George Schowerer wrote:
> First of all, stereo was not in the thoughts of many producers
> in the early days, and the mixes in stereo indicate just that.
Certainly they got the best they could under the circumstances. Mono
was the standard obviously, and track layouts were geared to maximum
flexibility in the final dubdown. In mono you treated the three tracks
like three subgroups of musicians and blended them into each other.
In stereo you had two distinct channels of sound, and stereo was about
hearing a difference, so there it was.
Al Kooper has shared his nightmares of ping-ponging overdubs and no
doubt you have similar memories. If you had three tracks it was good,
but four were better, and eight-track must have been like heaven. Who
knows what your reaction would have been to a vision of today's sessions,
with two or more 24-track machines locked together via SMPTE!
This is part of the reason I've always rated Norman Smith at EMI UK over
Geoff Emerick. Emerick, for all of his poineering work, never had to deal
with the nightmare that it must have been to work where overdubs were
tape copies with new audio mixed in on the fly, then edited together into
a single pass in which God help you if the levels and EQs got out of synch.
In that context, the question stops being "could Smith have engineered Sgt.
Pepper" and starts to be "could Emerick have handled Please Please Me".
Joe Nelson
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Message: 15
Date: Tue, 19 Oct 2004 13:28:33 +0000
From: Phil X Milstein
Subject: Re: The Other Voices
Mike Rashkow wrote:
> The whiplash effect, after numerous attempts to do it with
> percussion was essentially multiple OD's of me going
> chusssshhhhhh as loud as I could, mixed to mono, e.q.'ed,
> echo'ed and then sync'd and spun in on the cues.
I used to think the Velvet Underground's banana album or The Shaggs'
"Philosophy Of The World" was the one session I'd wish to have been
at had I been born the proverbial recording studio fly. But now I am certain
it is this one, if only for the ludicrous sight of Rashkow struggling to make
his verbal utterances sound like the crack of a whip!
Yeah,
--Phil M.
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Message: 16
Date: Tue, 19 Oct 2004 11:37:38 -0700 (PDT)
From: George Schowerer
Subject: Re: engineer question for George
Doc Rock asked:
> On the end of "He's So Fine," when she sings "If I were a Queen,
> and he asked me to leave my throne, I'd do anything that he'd ask,
> anything to make him my own, 'Cause he's so fine!" She seems to
> either back away from the mike, or an echo is added, or something.
> Can you clear up this mystery I've pondered for 41 years?
I'd have to play it again, because I have no idea.
Regards,
George S.
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Message: 17
Date: Tue, 19 Oct 2004 14:13:28 +0000
From: Phil X Milstein
Subject: Re: A Touch Of Wirtz
Mark Wirtz wrote:
> I have been credited as a producer on a number of older 45s
> which I had nothing to do with. This is one of them. In fact, I never
> produced any non-English language record - ever (even though I
> performed a couple of tracks in German for EMI/Electrola producer
> Nils Nobach, for whom I also arranged and conducted several
> German language albums).
Mark, if I'm not mistaken you are German to begin with. I'm curious how
old you were when you moved to England, and, if you care to go into it,
the reasons and/or conditions under which you did. I realize this may be
a bit off-topic, but since you're such a prominent member of the Spectropop
community I figured a bit of your backstory might be of interest to us all.
Thanks,
--Phil M.
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Message: 18
Date: Tue, 19 Oct 2004 14:41:48 EDT
From: Dieter P Wirth
Subject: Re: A Touch Of Velvet, A Sting Of Cash?
Frank Jastfelder:
> Though it had been used for years as the theme song to the
> famous TV-show "Beat Club", ATOVASOB never reached the Top 100
> in Germany. I'm not even sure if they put the song out as a single.
They did! Issued with various "art"-covers. One of them being the
Beatclub-logo.
Dieter Wirth
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Message: 19
Date: Tue, 19 Oct 2004 14:56:48 +0000
From: Phil X Milstein
Subject: Re: We Wrote 'Em And We Sing 'Em
Eddy Smit provided:
> M-G-M SE 3912 "We Wrote 'Em And We Sing 'Em" - 61
> Billy Dawn Smith: The Angels Listened In//When I Saw You
> Otis Blackwell: All Shook Up//Music And Fire
> Eddie Cooley: Fever//Lay It On
> Winfield Scott: Tweedlee Dee//Some Cold Night Now
> Ollie Jones: Send For Me//Come On, Come On
> Lincoln Chase: Jim Dandy//Hot Biscuits And Sweet Marie
Thanks, Eddy -- that sounds like a very cool record. Anybody here have
it? I'm sure we'd all love to hear Eddie Cooley's version of "Fever",
among others included there.
By the way, that last number listed, Lincoln Chase's "Hot Biscuits And
Sweet Marie", is undoubtedly the same song as done by NRBQ, found on
their exceptional 1979 "Kick Me Hard" LP. Drummer Tom Ardolino is one
of the world's biggest Lincoln Chase fans, so the cover version stands to
reason. (And if you ever catch NRBQ live, try to pull Tom aside between
sets and ask him to tell you his Lincoln Chase story!)
--Phil M.
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Message: 20
Date: Tue, 19 Oct 2004 15:35:03 -0700 (PDT)
From: George S.
Subject: Re: Phil Spector reverb
Mike Rashkow wrote:
> George, isn't that a long way from Gold Star :-)?
Mike: Don't forget, Mirasound was, at that time, a
very small, independent studios, without the funds of
the larger record companies. Mirasound, before I got
there, was running with two Ampex 350-2's and a mono
350. Then we turned the tables on the industry by
designing the first 16 track recorder and became one
of the busiest studios (independent) in NYC.
Regards, George S.
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Message: 21
Date: Tue, 19 Oct 2004 14:25:37 -0700 (PDT)
From: Michael Sinclair
Subject: Re: A Touch Of Wirtz
Phil M:
> Mark, if I'm not mistaken you are German to begin with.
> I'm curious how old you were when you moved to England,
> and, if you care to go into it,
Where I am from is a matter of debate: I was born in Strasbourg,
Alsace Loraine -- a boarder province forever-in-escrow, claimed
by whoever won which war... sometimes Germany, sometimes France,
Germany, France, Germany... Consequentially, Alsatiens (including
me) consider themselves to be neither German, nor French, but
simply Alsatien.
I grew up in Cologne, Germany (ze humor capital of ze vorld),
where I was a complete misfit. Then, I moved to England (on my
own) a couple of days prior to my 18th birthday, where I felt
instantly at home.
Even though I arrived without being able to speak a word of
English (having been tortured by Latin and ancient Greek at
school), I knew I had the hang of it when, after 3 months,
I had my first dream totally in English (without sub-titles).
How had I learned?
1) Feverishly arguing with Ray Davies at Croydon's Fairfield
(Art) College over our severely differing music preference
(Ray into hard-core R&B [Muddy Waters], and I into Spector,
Neil Sedaka and Goffin-King stuff);
2) Glued to comedy records and TV shows by Tony Hancock, The
Goons, Shelly Berman, Charlie Drake, etc.;
3) Watching every movie that came out.
It was during my time at Fairfield (I later moved over to
Reigate's School Of Art) when I wrote my first song (in English),
"Click Clack Goes My Heart." Not a masterpiece, but it was a
start. At Reigate, I formed "The Beatcrackers," and the rest is
sorta kinda history...
Thanks for asking. Now I feel even older, so screw you!
(Just kidding!)
Warm best,
Mark W ;)
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Message: 22
Date: Tue, 19 Oct 2004 23:08:36 -0000
From: Mark Wirtz
Subject: Re: Phil Spector reverb
George Schowerer wrote:
> It was an unused empty room in the studio complex (smallish) at
> Mirasound (Hotel America 145 W.47th st., and now a parking lot).
Mike Rashkow:
> George, isn't that a long way from Gold Star :-)?
Mike,
I think what George means is that the board and the machines were
in the unused room, and the reverb chamber was the parking lot.
I think.
Mark W ;)
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Message: 23
Date: Wed, 20 Oct 2004 01:06:27 +0100
From: Phil Chapman
Subject: A Touch Of Velvet, A Sting Of Cash?
Mark W:
> Funny, to think that I wrote and arranged the thing as a filler
> (on my now fabled banjo with the pipe tremolo arm) two hours
> before the first Mood Mosaic session back in 1965.
Such is the nature of genius, Mark:-) Thanks to the internet,
I'm constantly discovering that many success stories are merely
happy accidents, and that creatives are not always willing to
acknowledge the simplicity of their achievement. Just how many
flips turned into hits? (I feel a Phil M style list coming on) -
I can only think of a couple right now, "The Lion Sleeps Tonight"
and, if rumour is to be believed, "To Know Him Is To Love Him".
Ironically, early achievers often seemed destined to struggle
later; such is life! Anyway, little did you realise that in that
moment of inspiration you had perfectly encapsulated the spirit
of the swinging sixties, UK. Whenever I hear (the original) TOV
I am immediately transported back to my portable transistor radio,
permanently tuned to the pirates. I think I'll give TOV a spin
right now. It would sit comfortably in the soundtrack of "Alfie"
or "Up The Junction". Tremolo banjo, eh? - I often wondered what
that was. How does it feel to have a cult following?
Phil C.
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Message: 24
Date: Tue, 19 Oct 2004 07:18:33 -0700 (PDT)
From: Max Weiner
Subject: Help needed with Cyan Shames/NC6/ & Shadows of Knight
Good Morning to all;
I was wondering if you folks could help me. I am setting up a
music room in my new place & I am setting up an area dedicated
to the Chicago Sound of the 60's. What I am looking for are any
pictures or posters of the New Colony 6, the Cryan Shames & the
Shadows of Knight. I already have the Buckinghams. If anybody
out there has any posters or pictures of these three groups that
they would like to sell please let me know off-list, as I haven't
had much luck on E-Bay.
Thanks much in advance, folks!
max w.
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Message: 25
Date: Tue, 19 Oct 2004 17:54:23 -0500
From: Barry in Minneapolis
Subject: Re: A Touch Of Velvet, A Sting Of Cash?
Mark W:
> I have been credited as a producer on a number of older 45's
> which I had nothing to do with.
Didn't you produce your own German version of "Shy Boy"??
Barry in Minneapolis
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