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SPECTROPOP - Spectacular! Retro! Pop!
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There are 15 messages in this issue.
Topics in this digest:
1. Chiffons stereo - Fine points
From: Various
2. Re: Caravan
From: John Sellards
3. Re: S'pop in New York
From: James Botticelli
4. Re: Columbia - closed shop
From: George Schowerer
5. Re: Freddy Weller & Indian Reservation
From: Joe Nelson
6. Re: touring Raiders
From: John Berg
7. Brian Wilson's Halloween performance in Phoenix
From: John Briggs
8. SMiLE on the radio
From: Kurt Benbenek
9. Re: Keith Allison
From: John Fox
10. Re: Dance with Claire Francis at Arthur's
From: Claire Francis
11. Re: Touring Raiders
From: Billy G Spradlin
12. Re: Kenny Young
From: Barry Margolis
13. Re: Vee overdubs
From: Bob Celli
14. Re: Felix Pappalardi
From: Various
15. Re: Columbia -- closed shop
From: Mark
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Message: 1
Date: Tue, 2 Nov 2004 12:16:20 -0000
From: Various
Subject: Chiffons stereo - Fine points
George Schowerer wrote:
> I was the engineer on Chiffons "He's So Fine," which was produced
> by Hank Medress and The Tokens at Allegro Studios, 1650 Broadway.
> The tracks done at Allegro are in monaural only as we didn't have
> a stereo machine at that time, only two mono Ampex units, and a
> Gates Dualux console (modified).
Donny H.
> I'm ignorant when it comes to the technical end of these things,
> but I was wondering how the "true stereo" version of "He's So Fine"
> came about which has been popping up in some compilations in the
> last few years?
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Billy G Spradlin:
> That's interesting, "He's So Fine" appears in remixed true stereo
> on Varese Sarabande's "Dick Bartley Presents Collectors Essentials -
> The All-Time Greatest Girl Groups" CD. It sounds to me like the
> engineer (Dave Daugherty - "New Stereo Assembly") did a synch-up
> of mono tapes to create it.
Dr. Dave synched the mono master up to the stereo backing track
tape. I've got a copy of the stereo backing track tape somewhere,
it most definitely was NOT cut mono to mono unless someone had a
3rd machine running at the same time recording everything to 2-
track...BTW a better sounding stereo sync has since been released,
the original one didn't sound that great and Dave admitted it to
me. I've yet to hear the new remix but I'm told it blows the old
one away.
--Tom Diehl
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To my ears, The Chiffons/Angels' backing track is true stereo. For
the rhythm, one channel has upright bass & clave(!) and the other
has drums, guitar and celeste. On top of that there is a stereo
backing-vocal layer, presumably done on a two-to-two overdub? On
the Angels version, I think I can hear a slight leakthrough of the
Chiffons' lead vocal, which leaves me wondering. Whatever, it's a
fine record. Take a look at the "He's So Fine" story at http://www.bobshannon.com/stories/stories.html
The original discussion was prompted by a mention of Goffin-King's
"One Fine Day", perhaps that's what George was referring to?
I agree with Al the great that George and others can't possibly be
expected to remember exactly what took place on every session they
worked. I didn't get into studio recording until '69, and I get
asked about things I did in the 70s, of which I have absolutely no
recollection... and that's only thirty years ago:-) In fact, I'm
sure I recorded one of the Angelettes tracks.
Today I'm editing an 'electro-clash' club track to be radio-friendly
(some things never change) that has only one chord and a one-line
lyric. I doubt if I'll remember my own name by the time I've finished.
Phil "I was there somewhere" Chapman
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Oddly enough that you mentioned a stereo "He's So Fine". Somewhere
I have a "stereo" sounding version and all I remember is that for
some reason, Pat's alto was very prominent in the background. Is
that the version??? On another Chiffons CD that I have, the cuts
from the "Sweet Talking Guy" LP are in stereo. The nicest sounding
track was "Up On the Bridge"!!!!!!
Tony
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The Angels LP version uses the Chiffons stereo backing track on
"He's So Fine." A Chiffon can even be heard on backup.
Doc
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If I remember correctly, when recording the Angels' "My Boyfriend's
Back" LP, they asked for the Chiffons' backing track of "He's So
Fine" and got it, putting the Angels vocals over it for their LP. I
think that is how they synched up the stereo Chiffons--using the
backing track from the Angels recording. Sound like a story anyone
else heard?
Clark
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Message: 2
Date: Tue, 02 Nov 2004 13:32:20 -0000
From: John Sellards
Subject: Re: Caravan
Gary Myers :
> I've heard two different melodies for the bridge of Caravan
> (same chords, however). I believe Billy Eckstine sang a melody
> different from the common instrumental one.
You're absolutely right; it is indeed different. Eckstine was fond
of writing little changes into the songs he cut, especially tags.
Eckstine is, I think, one of the great overlooked influences of
American popular music...He was an obvious influence on Elvis,
and had many top jazz players under his direction at times.
John Sellards
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Message: 3
Date: Mon, 1 Nov 2004 17:18:51 -0500
From: James Botticelli
Subject: Re: S'pop in New York
Mikey wrote:
> Guys, if we have the get together in Manhattan, I would like to
> have my band "Mr Action and The Boss Guitars" play. We are a guitar
> instrumental band and play instro versions of 60s Pop classics.
If this thing happens, can those responsible make sure it gets posted
to this list? Thanks in advance.
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Message: 4
Date: Mon, 1 Nov 2004 14:46:09 -0800 (PST)
From: George Schowerer
Subject: Re: Columbia - closed shop
Frank Murphy:
> I always understood that Columbia artists had to use
> Columbia studios and could only work with Columbia
> producers. Is this correct?
You are correct, they had to use Columbia studios. Not until
I left Columbia in 67/68, did they even allow their engineers to
work someone else's studio or console...even though many artists
desperately wanted to. I recall a very funny episode where a
ranking union member was in charge of the Ampexes at Columbia's
7th. Ave studios..... neither the mixing engineer nor the producer
were allowed to do the "punch-in" by hitting the record button.
This clod who was the ranking senior member, didn't have a musical
bone in his body, was on a Steisand redo and not only got the wrong
timing, he erased the horns and strings tracks on a vocal that
almost ended that nonsense. It was so ridiculus that a non-music
entity had that power in the studio. Even Roy Halley, the engineer,
was musically trained, yet could not establish himself to do the
punch-in. Classical producers were not allowed to touch the recorders
on remix...even though they had a better idea of location than some
of the union staff. Go figure who gave away those priorities, and why.
Regards,
George Schowerer
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Message: 5
Date: Sun, 31 Oct 2004 16:02:51 -0500
From: Joe Nelson
Subject: Re: Freddy Weller & Indian Reservation
Austin Roberts wrote:
> I don't think Freddy sang lead on that, but I'll ask him.
It's definitely him: in particular the way he inflects "so proud to live"
couldn't be anyone else. I wasn't even aware he was in the group
until someone pointed out to me he was the singer on that.
Joe Nelson
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Message: 6
Date: Sun, 31 Oct 2004 19:17:35 EST
From: John Berg
Subject: Re: touring Raiders
I just read the liner notes accompanying the various Sundazed CD reissues
of the '60s Paul Revere & The Raiders albums, which all come with bonus
tracks, for the (nearly) complete story of who went through the band over
the years. I will ask Neal Skok about a chronological listing of the "who's
who" from '61 onwards. One thing is for sure -- the '75 Raiders were not
the '61 (nor '65, '67, etc.) Raiders. Funnily enough, once Revere stopped
having "hits" and hit the regional "country fairs and oldies festivals" circuit
he was able to keep a more stable set of musos than any time when they
were on the charts and in the teen magazines. In fact he's had a pretty
stable band for much of the past two decades, and they still put on a
great show -- emphasis on the latter word. Meanwhile "Fang" hangs out
in Vegas doing music with his wife, Drake plays rhythm and blues in
Oakland, Smitty has gone to the great drum stool in the sky, Harpo plays
for kids here in Seattle, Lindsay stays busy working some of the same
circuits as Revere -- and the world keeps on a-turning. Which leads to
a question: does anybody out there in Spectropopland have any live
tapes of the Raiders circa '65-'67, which Neal and I still feel was their
heyday? We would love to hear from you!
John Berg
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Message: 7
Date: Mon, 01 Nov 2004 18:25:35 -0000
From: John Briggs
Subject: Brian Wilson's Halloween performance in Phoenix
The show started in an "Unplugged" mode as on the Beach Boys Party
album. Bongos and acoustic guitars. Gradually the songs became
electrified. After an hour of great music, the show stopped for the
intermission.
"Smile" was wonderful. Such a difficult piece to perform! Only at the end
of Vegetables did Brian slip up. And it was barely noticeable.
I really liked the work of the reedman. The bass harmonica, baritone
sax ... two of my all time favorite instruments. Great stuff!
For the encores Brian strapped on an electric bass. I've posted a photo
of Brian and his bass to the photos section.
I also saw a burned out Jerry Lee Lewis attempt a performance last
Friday evening. Very sad. Brian was in much better shape, if you can
believe it. At least I had a nice visit with Jerry's bass player, B.B.
Cunningham of the Hombres/"Let It Out" fame.
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Message: 8
Date: Mon, 01 Nov 2004 17:30:29 -0000
From: Kurt Benbenek
Subject: SMiLE on the radio
According to their latest program mailer, radio station KCRW 89.9 in the
Los Angeles area will broadcast Brian Wilson's "SMiLE" from Carnegie
Hall on Nov. 25, 2-4 pm and Friday Nov 26, 6 - 8 pm (PST)
I assume these "SMiLE" specials will be broadcast on KCRW's website
http://www.kcrw.com/ and most likely will be carried on the entire NPR
network
- Kurt Benbenek
(SMiLE-ing in 2 days at Disney Hall)
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Message: 9
Date: Mon, 1 Nov 2004 16:13:08 EST
From: John Fox
Subject: Re: Keith Allison
Gary Myers wrote:
> I recall the piano player (jazz-standard oriented black woman), who was
> doing a single in another room, talking about Allison coming in to her
> gig and doing a poor job of singing some song with her.
That makes some sense. Keith Allison got his start in show business
simply because he looked like Paul McCartney. So Dick Clark placed him
strategically in the audience of various artists' performances on "Where
The Action Is", and the camera would close in on Keith every once in
a while. Eventually Clark let him sing on the show (I remember him doing
Donovan's "Colours" and some other non-rocking things). Next thing you
know, he's one of the "New Raiders" when Paul and Mark replaced Smitty,
Fang and Harpo with Freddy, Keith and Joe, Jr., the drummer.
John Fox
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Message: 10
Date: Mon, 1 Nov 2004 18:47:52 EST
From: Claire Francis
Subject: Re: Dance with Claire Francis at Arthur's
Thanks, Frank.
You are right, I just wish I could remember if it was on West 53rd or West
56th Street. It was a great place. I remember one night while I was there
dancing, there was a couple dancing who had lights all over their clothing
that would blink on and off constantly. Everyone had a "look" -- it was a
great place. Is there anyone else out there who used to dance at that disco?
Love and light,
Claire Francis
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Message: 11
Date: Tue, 02 Nov 2004 04:30:22 -0000
From: Billy G Spradlin
Subject: Re: Touring Raiders
Didn't the classic '64-'67 lineup reform several years ago (sans Paul)
for a one-off reunion show in Portland?
It's been Paul Revere and another group of Raiders for decades now.
Several go back with him to when he reformed the group in the mid-'70s
after Lindsey left. The man is a true showman, and puts on a fun oldies
show. Expect the Raiders' biggest hits and lots of '60s covers. The last
time I saw them, about four years ago at a Shreveport casino, they did
a lenghty Beatles medley.
Billy
hhtp://listen.to/jangleradio
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Message: 12
Date: Tue, 2 Nov 2004 05:51:06 -0600
From: Barry Margolis
Subject: Re: Kenny Young
Barry Margolis wrote:
> Here's the Kenny Young items I've got:
> DEATH OF A CLOWN (Date 2-1573)
Phil Milstein asked:
> Was this a cover of the Dave Davies song?
Yes, it was.
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Message: 13
Date: Tue, 02 Nov 2004 12:30:40 -0000
From: Bob Celli
Subject: Re: Vee overdubs
Clark Besch wrote:
> I found it interesting and disappointing when I listened to the
> Bobby Vee legendary masters CD for the first time. It was great
> to hear all those Vee songs in great sound quality and even though
> it seems a slight problem, I was surprised to hear on one of my
> fave Vee songs, "Look At Me Girl", that the song was sounding
> perfect until the end fade when the vocal overdubs were GONE!
I had the same reaction when I heard "Look At Me Girl". What happened
was the final overdubs were done on the mono mix. When I asked Ron
Furmanek what happened he said that the stereo mix that appeared on
the CD was the only one in the vault. The same situation existed on another
Vee single, "Hickory Dick And Doc". The track was recorded "live" at RCA
Studio B in Nashvile. That stereo track apparently was mixed and finalized
in Nashville, but when Snuff Garrett got back to LA he had Bobby do more
overdubbing, again, on the mono mix for the single. So the stereo mix
ends up very different from the single release.
Bob
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Message: 14
Date: Tue, 02 Nov 2004 01:24:22 -0000
From: Various
Subject: Re: Felix Pappalardi
Claire Francis asked:
> The last time I saw Felix Pappalardi was in 1965 just before I left for
> London. Can someone fill me in on what happened to him?
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John DeAngelis:
As you most likely already know, Felix attained success as a producer
for the group Cream. Unfortunately he was later shot and killed by his
wife.
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C. Ponti:
I hate to be the bearer of the news that he was shot by his partner or
wife, (not sure), I believe her name is Gail. He was one of the finest
musicians The Village nourished, and a great person and dear friend.
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Steve Harvey:
Sadly, Felix was murdered by wife. He had played bass with Mountain,
and worked with Cream on some of their classics.
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Message: 15
Date: Tue, 2 Nov 2004 09:51:24 -0500
From: Mark
Subject: Re: Columbia -- closed shop
George Schowerer wrote:
> You are correct, they had to use Columbia studios. Not until I left
> Columbia in 67/68 did they even allow their engineers to work
> someone else's studio or console ...
Of course The Byrds recorded an unreleased (at the time) version of
"Eight Miles High" at RCA in 1967.
-Mark
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