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SPECTROPOP - Spectacular! Retro! Pop!
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There are 25 messages in this issue.
Topics in this digest:
1. Season's Greetings to all
From: Gary Spector
2. Re: Ivanhoe
From: Clark Besch
3. Re: Sonny Bono
From: Rick Hough
4. Re: Augie Rios
From: Michael Godin
5. Sandy Salisbury interview on KXLU last Saturday
From: Mark
6. Caravelles
From: Michael Edwards
7. Re: Gold Star/Sonny Bono/Spector
From: Mark Wirtz
8. Saint Etienne; Sandpipers
From: Michael Edwards
9. Tuff City
From: Phil X Milstein
10. "Sick Manny´s Gym"/ Augie's " Ol' Fatso".
From: Julio Niño
11. “He’s Raining In My Sunshine”
From: Michael Edwards
12. Brill Building Larry
From: Mike Rashkow
13. Re: There's A Moon Out Tonight
From: Gary Myers
14. Capris; Five Satins; Spector-produced Cher
From: Country Paul
15. Re: Harold Battiste/Sonny
From: Richard Hattersley
16. Re: Worst/Best recording / Kenny Young / Jimi Hendrix
From: John DeAngelis
17. Re: Terry Melcher Spector soundalike
From: Martin
18. Monkee in the morning; old teen
From: Country Paul
19. Re: TV commercials
From: Don Syzmansky
20. Re: Who's ads
From: Phil X Milstein
21. Re: Ivanhoe
From: Gary Myers
22. John Townley to musica
From: Clark Besch
23. Bob Lind @ musica
From: Robert
24. new group for Colgems artists
From: Larry Lapka
25. Re: returning the favor
From: Phil X Milstein
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Message: 1
Date: Wed, 8 Dec 2004 03:00:52 -0700
From: Gary Spector
Subject: Season's Greetings to all
Hello and Season's Greetings to all.
It has been a privilege (and still is) to read some of the
comments about many of the legends of music, not just Rock & Roll.
I continue to learn so much about what really goes on in this field.
I really have to admit that I am, of course, always interested in
the bits and pieces of what is said here about my father's work
and what it was like working for or with him. I know so very little
of what it was like in the studio despite my interest in his work
while growing up. I have very fond memories of watching him on two
occasions at Gold Star back in the 70's while my two brothers slept
on the couch.
I am so glad for chat groups such as this since I have not had any
contact with my father in many years, despite my attempts. Keep on
chatting and keeping the art alive and not just on the turntable
but in the hearts.
Happy Holidays,
>From Gary P. Spector
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Message: 2
Date: Wed, 08 Dec 2004 16:35:52 -0000
From: Clark Besch
Subject: Re: Ivanhoe
Gary Myers wrote:
> Clark, it looks like you posted everything about #506 except
> the artist. Who was it?
Sorry guys! The 45 was by Long Time Comin'. Ever heard of em?
The performance is less than stellar. They were amateurs and
not tight at all, which in the case of "More & More" makes it
a tough listen.
Clark
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Message: 3
Date: Wed, 08 Dec 2004 11:28:46 -0000
From: Rick Hough
Subject: Re: Sonny Bono
During my research for "Cher: The Vinyl Definitive" (Goldmine,
1981) Sonny mentioned how touched he was that "anyone even
remembers the music I made." He had no idea that he had any fans,
or that his production work was taken seriously by musicologists.
(Sadly, a planned in-depth treatment of his work never came to
pass at the time for a number of reasons.)
Mark writes:
> Far from being mere Spector mirrors, Sonny's production concepts
> were in fact quite different from Spector's.
Very true - from the ground up. By late '64 Spector was moving
conceptually towards Soul Lite with "Lovin' Feeling" (the last
Spector production Sonny worked on) and Sonny soon produced his
own homage: Sonny & Cher's aural masterpiece "Just You". It flopped,
as did Sonny's Spector/Girl Group knock-off, Cherilyn's "Dream Baby".
He didn't revisit the Spector format until much later with "It's The
Little Things". Sonny's grasp of the rock idiom was evident in 1965,
but Phil Spector didn't catch up until the end of the decade.
The music scene was shifting dramatically by mid-'64. Sonny's
solid R&B credentials were as worthless and passe as Spector's
Baroque bubblegum and he knew it. Sonny & Cher played the Top 40
game for the Russian roulette it really was, and delivered the
trendier folk-rock and good-tyme sounds that were charting. (Their
first Atco album "Look At Us" (1965) was a stylistically diverse
compilation of pre-"I Got You Babe" tracks and Spectorian - but
not Spector-like - covers. The Sonny & Cher sound would be defined
a year later by the album "The Wondrous World of...". Sonny's vision
was more about Beyond Spector than Just Like Phil.)
By 1965, Cher was concurrently recording and charting as a solo
on Imperial. Her first album, the rightly-praised (by Richard
Hattersley) "All I Really Want To Do", is a folk-rock gem which
caught the wave perfectly. (The LP incidentally featured a new
remix of "Dream Baby" which stripped the original of its by then
old-fashioned sound.) Cher's solo persona was The Moody Child of
Pop, and Sonny pulled out all the stops with his most inventive
productions culminating in the extraordinary "You Better Sit Down
Kids" in 1968. The surprise 1966 smash - and now classic - "Bang
Bang" had taught Sonny well that out-of-the-ordinary was the way
to go with Cher. "Bang Bang" was tacked onto Cher's second - and
slightly more "adult" - Imperial LP "The Sonny Side of Cher"; and
on her third album "Cher (includes "Sunny and "Alfie")" (1966)
Sonny's productions hit their stride magnificently. Cher's fourth
Imperial Lp "With Love" may have bombed but the arrangements and
production single it out as an enchanting masterpiece.
But during 1965 thru 1968 Sonny had a secret weapon when it came
to recording. Studio-wise, all the ususal suspects were on hand:
Gold Star, The Wrecking Crew, Stan Ross and the well-learned
craft of the master. Due credit must go to arranger/conductor/pianist
Harold Battiste for much of the sheer originality of the Sonny Bono
productions during this time. Whereas Jack Nitzsche's approach was
fairly straight ahead, New Orleans jazzman Battiste brought a quirky
funk to Sonny & Cher/Cher's recordings which stamped most of them as
one-of-a-kinds. While some producers of the day dabbled with a
harpsichord for grooviness, the Bono/Battiste world-music approach
to selling singles saw everything from fiddles to accordions to
bizarre tempo changes thrown into the mix. Nobody ever accused Sonny
of churning out formula records, for good reason.
Phil Spector taught Sonny Bono how to make records which sound good -
a fact Sonny always acknowledged. With the education he went on to
develop and create, if not an individual "sound", then a substantial
legacy of unique recordings which deserve celebration.
Sheesh, this just started out as a line or two of thanks to Richard,
Mark, Claire and Brent...
Rick Hough
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Message: 4
Date: Wed, 08 Dec 2004 09:14:35 -0800
From: Michael Godin
Subject: Re: Augie Rios
Brian on Augie Rios:
> Tom - I'm anxiously awaiting the posting of the flipside,
> "Ol' Fatso". Haven't heard it in years, but I still torture
> my siblings by singing it every year.
Clark Besch:
> I was surprised to see the talk of "Ol Fatso". I used to play
> it on my radio show just because it was different than usual
> airplay songs of the season. Had no idea anyone else knew of it!
I remember as a kid being in an S. S. Kresgie five and dime store
(think F.W. Woolworth) and hearing Donde Esta Santa Claus by
Augie Rios and vividly recall seeing it play on the turntable,
that blue Metro label spinning around at 45 rpm. I bought it
and have played both sides for years ever since. One of my
Christmas favourites. If you have a chance, please listen to my
8th annual Christmas Special live December 19th 6 to 10 p.m.
Pacific or archived later on http://www.TreasureIslandOldies.com
Merry Christmas.
Michael Godin
Treasure Island Oldies
The Home of Lost Treasures
http://www.TreasureIslandOldies.com
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Message: 5
Date: Wed, 08 Dec 2004 11:59:45 -0500
From: Mark
Subject: Sandy Salisbury interview on KXLU last Saturday
Did anyone in the LA area happen to tape the interview
Sandy did this past Saturday the 4th on KXLU? If so,
I'd like to have a copy of it. Let me know... thanks!
Mark
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Message: 6
Date: Wed, 08 Dec 2004 19:44:56 -0000
From: Michael Edwards
Subject: Caravelles
Richard Havers wrote:
> On its release in America "You Don't Have To Be A Baby to Cry"
> swept up to No. 3, which resulted in Lois and Andrea achieving
> a top ten album, as well as touring America with the Beatles,
> Bobby Rydell and The Coasters in '64.
And the song also achieved some notoriety for starting the British
Invasion. After it entered the US Hot-100 in late '63, there was
a British act on the Hot-100 for the next 30 years or so. It all
came to an end a couple of years ago when Billboard pointed out
that there were no British artists on the Hot-100, ending a span
that started in 1963 with the Caravelle's "You Don't Have To Be
A Baby To Cry". Way to go girls! Good record too.
Mike Edwards
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Message: 7
Date: Wed, 8 Dec 2004 07:42:42 -0800 (PST)
From: Mark Wirtz
Subject: Re: Gold Star/Sonny Bono/Spector
Thank you, Phil, for responding with such generous explanations
and specifics. What an extraordinary fountain Gold Star was,
where so many profound creations were brought forth and baptised
by so many passionate and talented pioneers. (To me, only Detroit
Motown and Atlantic/Stax can tell a similar story).
When I stated in my prior posting that I felt that Bono was more
performer focused than Spector, I was not referring to prominence
in terms of placement and overall balance, but simply in terms of
objective and theatrical/dramatic context.
Quite frankly, I can identify with both Bono and Spector, as I
myself have conspicuously used both the "ensemble" approach, in
which the "play" was the "thing" in some cases, and the "featured
Star" concept in others, the latter in which everything was designed
to enhance, not distract from, the front-liner's personality and
rendered "message."
In that sense, I would be the first to admit that in many of my
earlier works, the performers were mere (though respected) puppets
in the play. Nevertheless, sonically, I drew and defined them quite
clearly. (No example demonstrates this point better than my own
"Balloon" album, in which I intentionally under-lit myself close
to the point of obscurity, because I wanted the music to be the
"Star", not me, who I thought I was a shit vocalist. I learned,
in retrospect, that I had made a big mistake in judgement and
observation of priorities).
Perhaps the best comparison to the above described difference in
focus and priorities, would be the difference between a big budget
action/special effects movie, in which even a celebrity actor is
virtually peripheral, regardless of how many close-ups he's got,
and a character-driven movie in which the starring actor and the
dramatic premise is King.
I completely share your observation about Sonny's tracks often
sounding independently mixed and compressed and separated from
the vocal performances that appear almost "pasted" on. That
even annoyed me back when those records first came out, although
it was subliminal since I didn't have a clue yet about sound or
engineering (I was still a school kid). I do believe, however,
that this exaggeration (gone too far perhaps) was part of Bono's
intention to highlight and emphasise the lead vocalist. (There
are some fake Spector stereo mixes that suffer from a similar
placement incongruity).
In quintessence, it might perhaps be appropriate to point out
that Sonny DID succeed in his priority ambition. Even if not
exactly fair to the Ronettes, or Crystals, or ..., Cher DID
become an enduring "Star" in her own right, whereas Spector's
"puppets" (but for the Righteous Bros. and ultimately Tina
Turner) didn't fare quite so well.
Regarding your question as to who engineered "Sha-La-Lee", it
was Geoff Emerick. Recorded at Abbey Road in the wake of another
Spector homage, "Make Time Stand Still". It was the last (and
least authentic, yet most spirited) in a series of Spector
emulations that I produced. My most successful attempts were
"Lying Awake", "Even The Bravest Cry" and "Richest Man Alive"
(the latter ruined by the repellent vocals), all recorded pre-
Abbey Road at Levy's 3-track studio with Mike Ross-Trevor at
the board.
While Spector's influence remained forever apparent in my work,
I gave up on trying to surpass him - with one exception: my final
UK production before I left the UK for the US shores: Roger James'
"Something Wonderful" - the most outrageously over-the-top bubble
gum record ever put on tape. It symbolised my "farewell" like
giving the "finger".
Thank you again for responding, Phil, filling in more blanks in
my reservoir of Spector knowledge.
> My one regret, I never got to visit Gold Star before it was
> demolished..... my other regret, that it was demolished!
True to the adage "Never meet your idols", GS's humble layout
was fascinating on a tech level, but disappointing to a fan.
Same applies to the original Detroit Motown studio (I never
could accept Motown's LA studio, the Poppy Studio incarnation,
as authentic). One expected to find spacious, glamorous, tech
parlours, but in reality, both studios were small, ordinary
and close to primitive. They were not churches that inspired
greatness, but only the prayers therein did.
Prior to visiting Motown during the late 60's (together with
an EMI colleague), I had heard all these rumours about strings
of tambourines hanging from the ceiling, as well as a maze of
magical chambers and booths. Hardly. Empty and not in action,
the place felt like a bar after closing time. And if anything
spirited the place, it was not a bouquet of sonics resonating,
but a bunch of ghosts haunting. Come to think of it, you can
catch a glimpse of what I'm talking about in the "Standing In
The Shadow Of Motown" DVD which I recommend highly (together
with a box of Kleenex or a razor blade at the ready).
Gold Star, on the other hand, was hardly depressing, just simple
and modest.
In conclusion of this subject -- anybody who hasn't want to visit
a studio that offers glamour and exceeds any of your romantic
fantasies and preconceptions? Visit Abbey Road # 2 (sound-stage).
Now THERE's a shrine! And I can confirm that every single instrument,
microphone, screen, monitor, or whatever you find, is in exactly
the same spot and position it was in in the 60's. Even the decor
has not been touched (except for cleaning). It has become a museum
in which people work...
Warm best,
Mark W.
http://www.markwirtz.com
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Message: 8
Date: Wed, 08 Dec 2004 20:19:07 -0000
From: Michael Edwards
Subject: Saint Etienne; Sandpipers
Dave Monroe writes:
> Just listening to the Saint Etienne (and if there's one contemporary
> act the esteemed members o' this list might want to be up on, it's
> St. E) selected installment of Family Recording's The Trip series,
> featuring, among 46 tracks over 2 CDs/a few fewer over 3 LPs, The
> Sandpipers doing The Jackson 5's "Never Can Say Goodbye" ...
> http://www.familyrecordings.com/releases09.htm
Thanks for letting us know about this CD, Dave. I found a copy here
in the US on amazon.com for around $20 and it's on its way. You're
right about St Etienne in that they're probably the best known
contemporary act that should resonate with Spectropoppers. They used
to do an annual gig in New York City at the Bowery Ballroom on
Delancy, which is pretty close to where the New York Spectropop party
was held. St Etienne's act was so good I had to lie down when I got
home. And I hang the T-shirt I purchased at the gig next to my
"Palisades Park" album sleeve – that's how high I rate them. What a
joy to see a band doing out and out pop tunes with such enthusiasm.
And isn't Sarah Cracknell just gorgeous? She writes some of their
stuff too.
Dave also mentions the Sandpipers' "Never Can say Goodbye", which is
indeed a gem and gets a solid mention in the "Lounge" (Steve Knopper,
Gary Graff Gale) edition of the Musichound book series. Love the way
the Sandpipers repeat that "don't wanna let you go" line about three
times at the end of their version. Can't wait to hear the other tunes
that St. Etienne picked out for us on the "Trip" CD.
Mike Edwards
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Message: 9
Date: Wed, 08 Dec 2004 17:48:31 -0800
From: Phil X Milstein
Subject: Tuff City
While I was napping, Aaron Fuchs's Tuff City family of labels has been
busy issuing a HUGE stack of amazing-looking vault packages. I checked
in there today for the first time in months, and if I hadn't been
wearing glasses my eyes would've certainly popped out of my head.
Consisting largely of rare 45s for independent labels, the catalogue
includes Ike Turner, Willie Tee, The Marvels, Huey Smith, James Booker,
Johnny Otis, a (genuine) live at Myrtle Beach '65 session from Maurice
Williams & The Zodiacs, Eskew Reeder's Eskewrettes, The Treniers' and
other sessions from Hoss Allen's brief-lived Hermitage label, Andre
Williams post-Fortune sides, Sax Kari ("Fumigate Funky Broadway"), and
on and on it goes. Very N.O.-centric, true, but there ain't nothin' in
the world wrong with that, plus it's just the tip of the iceberg they've
got available to ding up your credit card right now. See for yourself at
http://www.tuffcity.com .
An unpaid noncelebrity endorser,
--Phil M.
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Message: 10
Date: Wed, 08 Dec 2004 21:54:19 -0000
From: Julio Niño
Subject: "Sick Manny´s Gym"/ Augie's " Ol' Fatso".
Hola Everybody.
I've been listening to "Sick Manny´s Gym" by Leo DeLyon and
The Muscleman and it's fun. I love the female backing voices.
It reminded me of "See Your Muscles" by the very pneumatic
Richy Wayne, a Joe Meek production that always makes me laugh.
Changing the subject, I want to thank Tom Diehl for playing
Augie Rios' "Ol' Fatso" to musica. Talking about Augie, I was
surprised when I read in a webpage mentioned by Country Paul
that Augie was from Spain. His accent doesn't sound Spanish at
all, so unless he left Spain being a baby I think it could be a
mistake.
Tomorrow I have to work again, after a five day super-weekend,
I'm suffering a panic attack .
Chao.
Julio Niño.
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Message: 11
Date: Wed, 08 Dec 2004 21:18:23 -0000
From: Michael Edwards
Subject: “He’s Raining In My Sunshine”
One of the very best recordings by Jay & The Americans is "He's
Raining In My Sunshine", which came out as a 45 and as an album
track on their "Try Some Of This" LP. J&TA were really peaking
in the mid-60s with such top quality hits as "Sunday And Me",
"Crying", Living Above Your Head" and "He's Raining In My Sunshine".
The last title was a big favorite with U.K. pirate DJ, Kenny Everett
who was never afraid to be adventurous.
"..Sunshine" was written by S'pop member, Ron Dante along with his
partner, Gene Allan. I hadn't realized that Ron and a version out
too – on Mercury in 1968, apparently. Laura Pinto does a great job
on Ron's behalf here on the site and I wondered if she knew whether
or not Ron's version is available anywhere. An mp3 to musica would
definitely be appreciated. As good as J&TA's version is, I'm very
curious to hear Ron's version. Great song, Ron.
Thanks,
Mike Edwards
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Message: 12
Date: Wed, 8 Dec 2004 20:03:55 EST
From: Mike Rashkow
Subject: Brill Building Larry
O.K., I've been waiting and waiting for someone to bring up this
unique Broadway legend.
Larry from the Brill Building. We all know him--he'd be there on
the sidewalk, in front of the Brill all day all the time, giving
people the Bronx Cheer and being a general cut-up and annoyance.
Insults to all--without discrimination. A really strange guy.
I think he made his living by running packages from the Brill to
other places, but I'm not sure.
All hands on board with what they know of and remember of Brill
Building Larry.
Kingsley must have come up with something about Larry--yes?
di la,
Rashkovsky
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Message: 13
Date: Wed, 8 Dec 2004 21:22:22 -0800
From: Gary Myers
Subject: Re: There's A Moon Out Tonight
Previously:
> ... I noticed that the bass part (instrument, not voice) is
> virtually never hitting anything close to a correct note for
> the entire song!
Tom Taber:
> In that case, can any of you real musician types tell me why,
> in spite of it all, to my untrained ears the record sounds so
> over-all damned perfect?
For one thing, because you're probably not hearing the bass.
I can't even pick out any distinct bass notes on the tape copy
I have. I guess I'd need a clean copy of the record, played over
a good system to even hear it.
Even when it's more audible, the bass part is typically the least
likely to be distinguised by the untrained ear.
gem
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Message: 14
Date: Thu, 9 Dec 2004 00:47:29 -0500
From: Country Paul
Subject: Capris; Five Satins; Spector-produced Cher
John Fox, re: There's A Moon Out Tonight
> Just wondering of any S'Poppers who were in on recording sessions
> in New York in the late 1950s (or at least in the know) have any
> perspective on this one: I was just listening, on a good sound
> system, to the The Capris' "There's A Moon Out Tonight", and I
> noticed that the bass part (instrument, not voice) is virtually
> never hitting anything close to a correct note for the entire
> song!
Indeed, he plays the same four notes up, then down, occasionally
landing within the chord, but never the right note at the right
time. If this had been a union session, the bass player probably
was the contractor - legend used to have it that the worst players
became contractors, as the only way they could work was by contracting themselves for the session! You probably know the legend of this
recording; I edited this capsule from
http://www.artistdirect.com/nad/music/artist/bio/0,,411796,00.html#bio :
"The group originally formed in 1957 in...Queens, NY, when all were
teenagers. The original lead was Nick Santa Maria (aka Santo), Mike
Mincelli (first tenor), Steve Reina (second tenor), Vinnie Narcardo
(baritone), and John Apostol (bass)....By 1958, the group...attracted
the attention of some independent record producers, and were soon in
the studio cutting an original ballad called "There's a Moon Out Tonight"
...picked up for release by Planet, a small New York City label.
Unfortunately for the Capris though, Planet was not able to effectively
promote the record and it became an almost instant obscurity. Original
Planet pressings of "There's a Moon out Tonight" can now fetch up to
1,000 dollars in collectors circles, when one of these rare platters
surfaces....
"Soon thereafter, the group members all went their separate ways,
and one would think that's where the story would end....As luck
would have it, the Capris' record found its way in to the hands
of Jerry Greene. At the time, Greene worked for Times Square Records,
a legendary New York City "oldies" store that supplied DJ Alan
Fredericks with material for his Night Train radio show. Fredericks
played the record and now kids were looking to buy it. Greene was
initially able to get a few hundred of the remaining copies of the
record from Planet. With the demand exceeding the dwindling number
of available copies, Greene finally purchased the masters from Planet
[for $50, if memory serves --Paul], started his own label, and reissued
"There's a Moon out Tonight" as Lost Nite 101. But the demand kept
growing and so Greene turned to Hy Weiss, who released the disc again,
now on his Old Town label.
"By early 1961, the record had made the national charts and stayed there for
over three months. With a national hit on their hands, the Capris
reunited...."
...and a version of the group with original lead Nick Santo is still
together (http://www.therocknrollroadshow.com/pagethecapris.cfm).
Maybe someone should e-mail him and ask him!
Gary Myers:
> the bass player on In The Still Of The Night is mostly lost
> throughout the song.
One may assume that there were just bad bass players on the sessions,
as these were probably low-budget "inspired amateur" events (e.g.,
The Five Satins' song was cut in a church basement in New Haven, CT)
and there was no money and/or time to recut or get another bass man.
Or maybe the original version just had "that feeling" despite the
bass player. I join Tom Taber in the "that feeling" department re:
the Capris; in my opinion, everything but the bass player is perfect,
so the heck with him! And there's so much "off" in "In The Still of
the Night" (unequal miking of the background group, for example,
sounding more like four Satins) that it really doesn't matter; I just
put aside the technical quibbles and get carried away by the sound.
Brent Cash, thanks for the Kenny Young "Earth Love Fund"/"Gentlemen
Without Weapons" reply. Adding it to my list of cool-sounding stuff
to check out.
Claire Francis:
> I also agree that in most of Spector's records, he in fact was
> the "Star" because he was such a brilliant producer...
Indeed; to my ears, the proof is in both the artistry and the sales
success. But even pre-Wall of Sound - Teddy Bears, Spectors 3, Paris
Sisters - his production made what was already going on so much greater
than the sum of its parts. I also have to agree with Phil Chapman:
despite the greatness and/or density of Spector's production, the
vocals always rang through. By the way, my favorite confluence of
Spector/S&C is Cher's magnificent "A Woman's Story" c. 1976 - it's
incredible how a record that slow and throbbing can also cook so well
(granted, it's a deep simmer, but it's rock that rolls....).
Country Paul
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Message: 15
Date: Thu, 09 Dec 2004 09:37:23 +0000
From: Richard Hattersley
Subject: Re: Harold Battiste/Sonny
Phil C:
> For me, the genius behind Sonny's productions was jazzer
> Harold Battiste.
Yes I agree, The arrangements are excellent. "You Better Sit Down
Kids" stands out IMO as a great example.
Richard
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Message: 16
Date: Thu, 09 Dec 2004 21:17:08 -0000
From: John DeAngelis
Subject: Re: Worst/Best recording / Kenny Young / Jimi Hendrix
Artie Wayne wrote:...
> you can't pick up girls in a three-wheel car!
Sounds like a song title to me!
John DeAngelis
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Message: 17
Date: Thu, 9 Dec 2004 18:33:26 -0000
From: Martin
Subject: Re: Terry Melcher Spector soundalike
Kingsley Abbott wrote
> I would commend a track called '(Maybe) I'm In Love' on the
> Freeway album that TM produced in London in 1979....this
> particular track is all Terry's work including lead vocal,
> and is a very full Spector inspired production on a pretty
> good song.
Thanks Kingsley,
Not one I know but sounds like I should! Thanks for the tip.
While mentioning Terry do any S'poppers remember him around the
songwriters dens and studios of New York in the early 60s? He has
said that he spent up to a year watching and learning his craft
at Aldon and other publishing houses. I don't suppose the name
Terry Melcher meant much then but the son of America's sweetheart
Doris Day might have raised an eyebrow even amongst New York's
cool cats.
Martin
PS Hard for me to think about more than one thing at a time so whilst
working on the Terry Melcher feature Jack Nitzsche's Record Of The Week
might have to wait a fortnight.
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Message: 18
Date: Thu, 9 Dec 2004 23:45:51 -0500
From: Country Paul
Subject: Monkee in the morning; old teen
Micky Dolenz will be the new morning DJ at WCBS-FM, New York's
"oldies station" (that cut out the 50s this past year).
Also, you probably have heard that Dick Clark, 75-year-old
teenager, had a mild stroke.
Country Paul
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Message: 19
Date: Wed, 08 Dec 2004 14:11:08 +0000
From: Don Syzmansky
Subject: Re: TV commercials
I've been noticing Who songs all over TV in recent years, from Hummer
ads (Happy Jack) to the Jerry Bruckheimer shows ("Who Are You" and
"Won't Be Fooled Again") and another (can't remember what) that used
phrases from "Tommy."
I too was shocked at the Coltrane ad. Several years ago, the Weather
Channel was playing Miles Davis over the scrolling local weather
segments.
I also like the VH-1 "Save the Music" ads, with the kid playing Monk on
clarinet.
don
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Message: 20
Date: Thu, 09 Dec 2004 04:04:29 -0000
From: Phil X Milstein
Subject: Re: Who's ads
Dave Monroe wrote:
> The Whotles, anyone? And then there's Roger Daltrey
> shilling for some late night broadcast home shopping
> operation or another. Actual quote: "I'd call that a
> bargain.
I just heard a really tame version of "Let My Love Open The Door" in the
background of an ad for either a discount department store or a plug-in
air freshener (I didn't quite catch which). Perhaps Townsend "opened the
door" to the commercialization of his catalogue all at once.
--Phil M.
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Message: 21
Date: Wed, 8 Dec 2004 21:27:32 -0800
From: Gary Myers
Subject: Re: Ivanhoe
Upon a closer look at the previously posted Ivanhoe listings, I noticed that
"Long Black Hair" was written by Norman Welch, whom I've known for
about 18 years and worked with many times. He's been going by the name
Norman A. Norman for many years, and he did not know about this record.
He said the song was originally "Girl With The Long Red Hair", recorded
by Nick Noble. Norman was a later member of '80s novelty band Big
Daddy on Rhino.
gem
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Message: 22
Date: Fri, 10 Dec 2004 06:01:41 -0000
From: Clark Besch
Subject: John Townley to musica
Thanks to everyone for helping me again with those Welsh and harmonica
songs/artists! I have quite a few to go with now! I will send all who
responded a list of what I came up with and with your help when I get
it done. Thanks again!
Now, with the playing of the great Arkade song "Sentimental Lisa" to
musica, I thought I'd see if I could squeeze a song onto musica by our
newest Spectropop addition, John Townley of The Magicians. Obviously
a good buddy of (That) Alan Gordon, I have not heard much of John's
music outside The Magicians. Karl Baker tells me he had a "Family Of
The Apostolic" LP in 1969, as well as two singles. Have heard none of
these, but DO have the third and last 45 by John Townley & The Apostolic
Family, titled "Just Another Day" on Vanguard 35122 (which I'd date at
early 1970). It's really a great song and perfect for the 1970 era. In fact,
he could have even fit in with Austin Roberts and The Arkade! Wouldn't
that have been quite a S'pop story!
Anyway, this 45 (mono here due to space on musica) came with a
promo insert by Vanguard Records that reads:
"This past year has shown a rising movement in pop music toward the
'new religion' of today's youth from the Beatles and Simon & Garfunkel
to Stevie Wonder. We have the honor or recording a new artist that both
typifies and transfigures this new trend. John Townley's writing and
performance on 'Just Another Day' is a musical landmark that will not
soon be forgotten by any young person who hears it. The Aquarian Age
is here and John Townley is here with it, and with us all."
A little wordy, but is quite a nice piece! Enjoy -- and John, let's hear from
you again about your career!
Clark
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Message: 23
Date: Fri, 10 Dec 2004 07:36:48 -0000
From: Robert
Subject: Bob Lind @ musica
Now playing: Bob Lind's "Goodbye Neon Lies" (World Pacific 77879), the
1968 A-side of his last 45 before moving to New Mexico for three years.
He returned in 1971 with the solid "Since There Were Circles" LP (Capitol).
Rob
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Message: 24
Date: Fri, 10 Dec 2004 05:27:01 -0800 (PST)
From: Larry Lapka
Subject: new group for Colgems artists
I need some help from Spectropoppers. I have started a new Yahoo
group dedicated to the Colgems record label, at
http://launch.groups.yahoo.com/group/colgems . I would like to post a
file with biographical data on the various artists that recorded for the
short-lived label that was most famous for being The Monkees' home.
I don't need anything on the Pre-Fab Four, but there are several other
artists that I have run into dead-ends on, as far as data is concerned.
I am looking for biographical data on the following performers who
recorded for Colgems from 1966-1971:
* Hung Jury
* Fountain of Youth
* Paula Wayne (I believe she was a Broadway actress of some renown in
the 1960s, but I don't know if the Colgems singer and this actress are
one and the same person)
* P.K. Limited (I believe one member of this group was part of the
Big Daddy project)
* Alex Keenan
* New Establishment
Other who recorded for the label were actors Peter Kastner, Sajid Khan,
Sally Field; all around music men Quincy Jones and Hoyt Axton; Michael
Murphy's The Lewis & Clarke Expedition; "Birds and the Bees" singer
Jewel Akens; and comic Rich Little.
Of course, Colgems released a wealth of soundtracks during its short run,
including those for Oliver, Casino Royale, Guess Who's Coming To Dinner
and Lawrence Of Arabia. I would love to get versions of the music off of
these soundtracks, and I am also looking to fill in holes in my Colgems
collection by collecting files on the above-named artists.
I also believe that the first promo 12-inch 45 was released on this label, a
tie-in between its Casino Royale soundtrack and Dusty Springfield, but I
don't know if this record was legit or not.
To Spectropop's music biz people, did any of you have any dealings with
the above artists, or any dealings with Colgems Records? I would love to hear
about it, and maybe post some of these responses on the site.
Any help would be appreciated, through e-mail, of course.
Thanks.
Larry Lapka
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Message: 25
Date: Fri, 10 Dec 2004 10:03:36 -0800
From: Phil X Milstein
Subject: Re: returning the favor
Michael Edwards wrote:
> ... It all came to an end a couple of years ago when Billboard
> pointed out that there were no British artists on the Hot-100,
> ending a span that started in 1963 with the Caravelle's "You Don't
> Have To Be A Baby To Cry". Way to go girls! Good record too.
Y'all are welcome to claim Madonna as your own, if you'd like.
--Phil M.
-------------------[ archived by Spectropop ]-------------------
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