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SPECTROPOP - Spectacular! Retro! Pop!
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There are 18 messages in this issue.
Topics in this digest:
1. Re: A Touch Of Velvet, A Sting of Banjo
From: Mark Frumento
2. Flips turned hits
From: Gary Myers
3. Re: Phil Spector reverb
From: Mikey
4. Re: Phil Spector reverb
From: George S.
5. Re: Phil Spector Reverb.
From: Richard Hattersley
6. Re: A Touch Of Velvet, A Sting Of Cash?
From: Mark Wirtz
7. Re: Phil Spector reverb
From: Joe Nelson
8. Re: A Touch Of Velvet, A Sting Of Cash?
From: Mark Wirtz
9. R.I.P. Tweed Harris
From: David Walker
10. Smile Special on Showtime
From: Mark Frumento
11. Valuer in New England?
From: Al Kooper
12. Dave Godin
From: Norm D.
13. Re: A Touch Of Velvet, A Sting Of Cash?
From: Frank Jastfelder
14. Merseybeats USA
From: Don Szmansky
15. Re: Phil Spector Reverb.
From: Joe Nelson
16. Re: A Touch Of Velvet, A Sting of Banjo
From: Mark Wirtz
17. New Kenny Lynch´s compilation.
From: Julio Niño
18. Re: Phil Spector reverb
From: Mike Rashkow
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Message: 1
Date: Wed, 20 Oct 2004 02:35:40 -0000
From: Mark Frumento
Subject: Re: A Touch Of Velvet, A Sting of Banjo
Mark Wirtz wrote:
> I have been credited as a producer on a number of
> older 45's which I had nothing to do with.
True but you also insist that you didn't produce some things
you clearly did produce. :>) Like Grant Tracy? I think Mike
Ross-Trevor is really the guy to ask because he seems to
remember all the sessions. He was the one who pointed out that
you produced The Mirage's first single.
Phil Chapman's message indirectly reminds me why your early
productions are so wonderful: they are totally off the wall
and enexpected, yet there is a clear organization and arrangement
to them. Also your use of percussion is at least a year ahead
of Brian Wilson's incredible Pet Sounds percussion. Just about
every one of the Russ Loader productions are stunning examples
of this. Probably my favorite is Ray Singer's version of "I'm
The Richest Man Alive".
Lastly, I do believe you were groundbreaking in your use of
banjo on pop records (Norrie Paramor and the Big Ben Banjo Band
eat your heart out!)... 2 years ahead of Brian Wilson for sure.
Speaking of your famous banjo, Tommy Moeller told me that he
ended up with it!
Mark F.
PS Always meant to ask you, did you get the phrase "A Touch of
Velvet" from Jim Reeves? He was big in Germany wasn't he?
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Message: 2
Date: Tue, 19 Oct 2004 21:07:26 -0700
From: Gary Myers
Subject: Flips turned hits
Phil Chapman:
>Just how many flips turned into hits?
For starters:
Tequila (flip of Train To Nowhere)
Earth Angel (Hey Senorita)
While obviously not a hit (except in a couple of places),
our (Portraits) Runaround Girl turned out to be the more
popular side (instead of Over The Rainbow). Actually, we
thought they were both A-sides and were not happy that our
manager (Clancy Grass) put them back-to-back.
gem
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Message: 3
Date: Tue, 19 Oct 2004 21:21:47 -0400
From: Mikey
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 :-)?
Mark W:
> 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.
No, what George means is that the echo chamber was an unused room
in the hotel, where they placed a speaker and a mic to get the echo,
and returned it via cable to the master console. Also, The whole
damn building that the Hotel America was in, at 145 W 47th street,
was demolished and is now a parking lot.
Very typical for Manhattan. I know, I live here. :)
Mikey
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Message: 4
Date: Tue, 19 Oct 2004 18:58:05 -0700 (PDT)
From: George S.
Subject: Re: Phil Spector reverb
Clarification...chamber was a washroom with sink for janitors
type...later, an EMT (stereo), used on the Four Seasons, etc.
Regards,
George S.
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Message: 5
Date: Wed, 20 Oct 2004 08:37:19 +0000
From: Richard Hattersley
Subject: Re: Phil Spector Reverb.
I heard Larry levine on some program once say that it was
up in the roof. Something that along the lines of "Gold Star
had a big reverb chamber in the roof". I'm not sure if that
is correct ot not.
I recall reading a nice story about Buddy Holly's reverb too.
Apparently, Buddy and his friends Tiled the space that Norman
Petty used to make the reverb chamber in Clovis. I thought it
was cool that Buddy created the reverb chamber used on his own
records.
Richard
http://www.wiz.to/richardsnow
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Message: 6
Date: Wed, 20 Oct 2004 08:36:57 -0700 (PDT)
From: Mark Wirtz
Subject: Re: A Touch Of Velvet, A Sting Of Cash?
Mark W:
> Funny, to think that I wrote and arranged the thing as a filler
> ...two hours before the first Mood Mosaic session back in 1965.
Phil C:
> Such is the nature of genius, Mark:-)
Or, perhaps, rather (!), the nature of unspoilt, naive, impulsive
yet passionate drawings by a kid who doesn't know what the hell
he's doing, but loves doing it.
But hey, what nice, public, words from not only a close buddy,
but someone for whom I have the greatest admiration and respect
as a brilliant audio artist!
> 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.
Now THERE are words of wisdom! My own belief is that all
originality is nothing but successfully failed emulation :)
Forgive me, guys, if, as a post script, I shall do something I
rarely ever do - a bit of self-promotion, by way of sharing a
mail with you in response to my forthcoming album "Love Is
Eggshaped", that I received from one of my all time song writer
idols - Bob "Elusive Butterfly" Lind.
In a peculiar way it is in context with the above, as it not
only gratifies me in a way I could only fantasise, but it calms
my dread that, after all these years, and at my age, I may have
lost my touch...
from Bob Lind:
" Hey Mark,
I just heard the "Eggshaped" CD today for the first time.
What an original you are! I find myself inexplicably happy
after listening on the way in to work.
Yer pal,
Bob "
Thank you, Phil C. and Bob!
Grinning from ear to ear (two treasured accolades in
one day? My head's gonna get even bigger! LOLOL),
Cheers,
Mark W.
http://www.markwirtz.com
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Message: 7
Date: Wed, 20 Oct 2004 14:13:28 -0400
From: Joe Nelson
Subject: Re: Phil Spector reverb
Mike Rashkow wrote:
> George, isn't that a long way from Gold Star :-)?
George Schowerer:
> Mike: Don't forget, Mirasound was, at that time, a
> very small, independent studios, without the funds of
> the larger record companies.
Mike's point is that since Spector's studio of choice was
GoldStar in LA an echo chamber in New York City would have
been pretty useless to him. I've got some ideas about exceptions
to the rule, but I'm staying silent, preferring to let George
fill in the blanks and see what he fills them with.
Joe Nelson
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Message: 8
Date: Wed, 20 Oct 2004 08:43:55 -0700 (PDT)
From: Mark Wirtz
Subject: Re: A Touch Of Velvet, A Sting Of Cash?
Barry:
> Didn't you produce your own German version of "Shy Boy"??
Hey Barry,
Any and all of the German language recordings with which I was
associated, was as an arranger/conductor, and on a few things
as performer, for EMI Germany producer Nils Nobach in Cologne.
I didn't produce any of them. I merely showed up at the session,
conducted my chart, sang a couple of vocals here and there, and
got back on the plane to good ol' London - with a bunch of cash :)
Best,
Mark W.
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Message: 9
Date: Wed, 20 Oct 2004 21:56:15 +0930
From: David Walker
Subject: R.I.P. Tweed Harris
Sad to hear of the passing of Tweed Harris.
Certainly a face from the sixties here in Adelaide.
Winston "Tweed" Harris was a well known face in pop music in
Adelaide where he had been in the local band the Clefs. As well
as being a producer for EMI he also did a stint as musical
director with a local Adelaide TV station.
He later joined The Groove who had recorded a local version the
Isley's "Simon Says". A later hit in 1968, "Soothe Me", led to
their success in the National Battle of the Sounds
(Sponsored by local chocolate manufacturer Hoadleys).
The prize for the win was a trip to England. They recorded
with expat David McKay but didn't set the world on fire.
regards
David Walker
Adelaide SA
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Message: 10
Date: Wed, 20 Oct 2004 02:57:26 -0000
From: Mark Frumento
Subject: Smile Special on Showtime
Thanks to my good friend Alan I got to see the Showtime special.
Wondering if anyone else did as I don't remember seeing any
commentary on it (of course, this from the same guy who thought
1967 Brian was singing on the Smile CD).
What a great show! Compelling from the beginning to the end, if
sometimes a bit too brutally honest. What shocked me is that they
avoided some of the potential pitfalls and revisionist theories
that could have spoiled the show. As it is, it's almost too straight
of a reading of events (almost like those PBS documentaries such
was The Civil War etc) until David Anderle and other Brian associates
start pointing out how strange things got. What I found most refreshing
is that they did not hype Smile, they just told the story. In fact,
like I said before, the view point is honest about Brian's role in
the new recording. What I expected was hype, what I got was a pure
celebration. At least in my skeptical opinion.
One criticism I have is the odd inclusion of Rob Reiner and Jeff
Bridges and also the professor of music history, Elvis Costello.
I know celebrity endorsement is necessary but these three folks
seemed out of place to me (as opposed to the credible Jimmy Webb
and of course a brief appearance by Richard Williams). On a positive
note, they didn't feel compelled to interview Sting ("this documentary
is Sting-free" should read the box of the commercial release). :>)
Be curious what others thought.
Mark F.
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Message: 11
Date: Wed, 20 Oct 2004 14:20:47 EDT
From: Al Kooper
Subject: Valuer in New England?
Okay gang.
Anyone know of someone who is a professional record collection
appraiser in the New England area? Need this for insurance.
Probably best to reply offlist.
Thanks in advance.
Al Kooper
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Message: 12
Date: Wed, 20 Oct 2004 09:07:28 -0700 (PDT)
From: Norm D.
Subject: Dave Godin
Here are obituaries from two UK newspapers, "The Independent"
and "The Guardian" (both today). The latter is written by
Richard Williams.
http://news.independent.co.uk/people/obituaries/story.jsp?story=573860
http://www.guardian.co.uk/obituaries/story/0,,1331086,00.html
A great man, a greater loss.
Norm D.
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Message: 13
Date: Wed, 20 Oct 2004 10:10:05 +0200
From: Frank Jastfelder
Subject: Re: A Touch Of Velvet, A Sting Of Cash?
Me:
> 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.
Dieter:
> They did! Issued with various "art"-covers. One of them
> being the Beatclub-logo.
Strange that it didn't chart back then. Beat Club was Germany's
most popular music programme on TV and had ratings in double
digit millions. Must have something to do with our mostly bad
taste in music, I guess.
Frank J.
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Message: 14
Date: Wed, 20 Oct 2004 02:17:27 -0000
From: Don Szmansky
Subject: Merseybeats USA
Hi all,
My name is Don Szmansky, from Louisville, KY. I found this group
during a Google search for "merseybeats usa", a band I played in
almost 40 years ago. I was shocked to actually find entries where
folks knew about the band, other than a few die hard "Q"(NRBQ)
fanatics. I sent a reply to a thread that is a couple years old,
but hopefully someone is still interested.
We were a pre-NRBQ band and our first successful lineup was
Steve Ferguson (lead guitar,vocals), Bob Yates (lead vocal,
percussion) Bob Gates (bass), Chauncey Hobbs (keyboards, vocals)
and Don Szymansky (yes, me, on drums) from 1965-67. Hobbs got
married, got a day job and was replaced by Terry Adams. He
played about 6-8 months when he and Steve Ferguson left to start
NRBQ. I left the group later that year.
The band released 3 singles on a regional level and got a fair
amount of air play. the best was "Stop Look and Listen" written by
Ferguson and arranged by Adams. I think I still have a copy or two
of the 45s buried somewhere among other dusty things.
I also noticed one of our singles in musica. We did three singles
from '65-'67, all written by Steve Ferguson, later a founding member
of NRBQ. I think I still have copies somewhere in a box. Also have
some group pictures and the first drumhead cover with the name in
black and gold sparkles...it was the sixties after all, and a flyer
where we did a show with the Royal Guardsmen (I think, may have been
Sir Douglas Quintet)
Anyway, nice to see interest.
Don
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Message: 15
Date: Wed, 20 Oct 2004 15:10:27 -0400
From: Joe Nelson
Subject: Re: Phil Spector Reverb.
Richard Hattersley:
> I heard Larry levine on some program once say that it was
> up in the roof. Something that along the lines of "Gold Star
> had a big reverb chamber in the roof". I'm not sure if that
> is correct ot not.
I'm not sure about that, but reverb plates were frequently
housed in attics, buried under the studio, etc in order to
isolate them as much as possible from vibrations caused by
studio noise, walking, etc.
Joe Nelson
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Message: 16
Date: Wed, 20 Oct 2004 12:45:56 -0700 (PDT)
From: Mark Wirtz
Subject: Re: A Touch Of Velvet, A Sting of Banjo
At the risk of unduly monopolizing this board, let me
quickly respond to professor Frumento's observations:
Me:
> I have been credited as a producer on a number of
> older 45's which I had nothing to do with.
Mark F:
> True but you also insist that you didn't produce
> some things you clearly did produce. :>) Like Grant Tracy?
Who was Grant Tracy?? I can't remember. Senility raging?
> I think Mike Ross-Trevor is really the guy to ask because
> he seems to remember all the sessions.
Mike has the vitality and memory of an 18 year old, and I trust
him totally. So, if he says so, then it's true.
> Speaking of your famous banjo, Tommy Moeller told me
> that he ended up with it!
WOW!! That is sooo cool! I couldn't be happier.
Awwww... memories..
> PS Always meant to ask you, did you get the phrase
> "A Touch of Velvet" from Jim Reeves?
OK, here is the true deal (honestly): The entire concept of
ATOV was my musical illustration of a sex act, from foreplay
to "it", to the afterglow. The title, therefore was a combination
of metaphors for... well, guess. Therefore, some might argue that
ATOV was a bit of pop-porn.
On that subject, when I first played the thing to Derek Everett
(at the time EMI's independent product acquisition manager, later
CBS's A&R chief for many years), I in fact told him what the record
was about and suggested promoting it as such. Derek was almost on
the floor at the very thought of it, begging me to please not mention
my true intent to anybody in the media, or the thing would never get
played. I kept my promise, until now. So, now you know.
m;)
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Message: 17
Date: Wed, 20 Oct 2004 20:54:44 -0000
From: Julio Niño
Subject: New Kenny Lynch´s compilation.
Hola Everybody.
These days I´m exploring the Kenny Lynch compilation issued
recently by PRM ( at last the postman brought it to me, I´m
seriously considering the possibility of bribing him or even
seducing him to try to improve the delivery). I love Kenny´s
voice, I find it very relaxing.
The collection contains many wonderful tracks, many of them I
haven´t heard before. Some that have especially caught my
attention are:
- The irresistible "My Own Two Feet", which I discovered a year
ago or so in Spop, with the wonderfully hysterical backing voices
by the Breakaways.
-"Moving Away", I wasn´t familiar with kenny´s version, but
I´ve always liked very much the version by Jamaican singer
"Ken Boothe", less flowery and sophisticated but much more
soulful than Kenny´s original.
- "With Somebody", a castanets symphony with a strong
Spectorish flavour.
- The beautiful Goffin-King´s "The World I Used To Know", with
a marvelous strings arrangement. I didn´t know that song. Maybe
somebody could tell me who did the original (I´m convinced Don
could).
- And perhaps my two favorites, the Northern Soulie "I´m Just
Gonna Love You" and specially the version of Boby Goldsboro´s
"It´s Too Late", with some incredible female backing voices, that
remind me of Madeline Bell.
The booklet includes some great pictures and very interesting
notes by Kieron Tyler.
My dinner is ready. Chao.
Julio Niño.
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Message: 18
Date: Wed, 20 Oct 2004 19:06:19 EDT
From: Mike Rashkow
Subject: Re: Phil Spector reverb
Mikey wrote:
> Also, The whole damn building that the Hotel America was in,
> at 145 W 47th street, was demolished and is now a parking lot.
...and Melba Moore lived there circa 1967.
Maybe again later as well.
Rashkovsky
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