________________________________________________________________________
SPECTROPOP - Spectacular! Retro! Pop!
________________________________________________________________________
There are 13 messages in this issue.
Topics in this digest:
1. Re: Bad Motown Splices
From: Billy G Spradlin
2. Re: Bob Crewe productions & Worst Tape Edits
From: Billy G Spradlin
3. Re: The Cyrcle's "Please Don't Ever Leave Me"
From: Shawn Nagy
4. Re: Lesley Gore
From: Dave Monroe
5. Re: Lesley Gore
From: Tony Leong
6. Re: The Marquee Revue
From: Clark Besch
7. Re: Bad Splices
From: Billy G Spradlin
8. Claire Francis
From: Artie Wayne
9. Re: The Cyrcle's "Please Don't Ever Leave Me"
From: Dave Monroe
10. Re: Lesley Gore / doubled voices
From: Artie Wayne
11. Re: Lesley Gore, "Hey Now"
From: Jim Allio
12. Lesley Gore / The Everly Brothers
From: Alan Gordon
13. Re: The Young Idea
From: David Walker
________________________________________________________________________
________________________________________________________________________
Message: 1
Date: Wed, 06 Apr 2005 10:55:18 -0000
From: Billy G Spradlin
Subject: Re: Bad Motown Splices
Listening to the vocal tracks (a revelation!) on the Multiplex
versions of the Motown "Singing Machine" Karakoe CD's reveals that the
Motown engineers did a lot of "Punching In" on many classic hits.
There's several edits on Martha Reeves "Quicksand" - most noticable
about 40 seconds into the song right after the first "In Love With You".
Billy
http://listen.to/jangleradio
-------------------[ archived by Spectropop ]-------------------
Message: 2
Date: Wed, 06 Apr 2005 11:02:00 -0000
From: Billy G Spradlin
Subject: Re: Bob Crewe productions & Worst Tape Edits
I posted this over on the "Both Sides Now" message board a few weeks
ago, and since we're talking about bad tape edits/mistakes I thought
it was appropriate..
The Four Seasons - a lot of little mistakes on thier B-sides and Lp
tracks.
"Little Angel" - The guitar player on the left channel hits the wrong
note at 1:20, oops!
"Comin Up In The World" - Frankie's voice goes horse singing the line
"It's YOUR Love". Strange they didnt fix this!
"Pity" I hear a print-through of an earlier vocal take (that starts
late) at 2:15 into the song.
"One Clown Cried" - I hear papers shuffling or something rattling at
the beginning.
"The Puppet Song" - the bass drops out for a few seconds during the
last verse at 1:59.
"Workin' My Way Back To You" - Theres a high pitch whine during the
whole song. I havent bought the more recient Rhino CD reissues but I
wonder if Inglot ever filtered this noise out.
Other ones...
Rascals "Groovin" - listen on CD with headphones and the bass turned
up, and you'll hear somebody tapping thier feet along with the music.
Hollies B-side "Come On Back" - right at the end you can hear drummer
Bobby Elliot put down his sticks, clunk!
Mamas & Papas - "Strange Young Girls" - Evidence of a dirty channel
switch when they "bounce" the guitar intro left to right at the
beginning of the song.
Mamas & Papas - Words of Love - listen close at the beginning and you
can hear someone licking thier lips.
Cher - "Bang Bang", the original Imperial LP stereo version - theres
LOTS of buzzzing and noise on this recording that was thankfully
cleaned up on CD.
Clovers - "Love Potion #9" (stereo CD) theres a very loud rumble (a
truck passing by the studio?) during the sax solo break. Why didnt
EMI-USA catch this during the remastering?
Billy G. Spradlin
http://listen.to/jangleradio
-------------------[ archived by Spectropop ]-------------------
Message: 3
Date: Wed, 06 Apr 2005 14:13:29 -0000
From: Shawn Nagy
Subject: Re: The Cyrcle's "Please Don't Ever Leave Me"
Previously:
> It was extremely easy to get the Neon Lp for a buck in the 70's cut
> out bins--usually mono, as the mono Lps were phasing out in mid 67
> and thus, many mono Lps from the period seem to have gone unsold
> and showed up in droves in the cut out bins 5 years later. Sundazed
> has since re-released "Neon" and the song lives agin in pristine
> sound.
Something Sundazed didn't do though is include the mono version of
the beautiful "The Visit (She Was Here)" with a vastly different
feel to it result of added reverb. The CD released versions are all
totally dry & do nothing for me. The first time I heard the mono
version it blew me away. This seems to be the only downfall to some
Sundazed releases, is that they don't look into different mix
versions that could be included as bonus tracks. Same with Pozo Seco
Singers "I Can Make It With You" - the hit, mono 45 is a superior
mix with much more beat/kick drum to it than the "Lost & Found"
Legacy CD release.
back to The Cyrkle - are none of the members performing anymore?
That's one 60s group I'd enjoy seeing together again!
-------------------[ archived by Spectropop ]-------------------
Message: 4
Date: Wed, 6 Apr 2005 10:32:32 -0700 (PDT)
From: Dave Monroe
Subject: Re: Lesley Gore
Anthony Parsons wrote:
> ... Listen to "You Didn't Look Round" on that same LP and you'll
> find evidence of Lesley not singing the exact same notes on her 2nd
> vocal pass. I find it amazing that she was able to sing so many of
> her songs with double-tracked vocals so well.
Me, I'm curious about her "Hey Now." Quincy Jones producing, right?
Anyway, it's a favorite here, but it makes my head hurt trying to
follow it. It's like I'm listening to it both now and a spilt second
into the future (sort of like how listening to a My Bloody Valentine
track makes it sound like the music got smeared somehow). Can anyone
comment knowledgeably about the production techniques involved here
(no mater how simpl and obvious they might seem to the rest of you)?
Or, rather, WILL somebody, please? Thanks!
-------------------[ archived by Spectropop ]-------------------
Message: 5
Date: Wed, 06 Apr 2005 07:45:05 -0000
From: Tony Leong
Subject: Re: Lesley Gore
Anthony Parsons wrote:
> ... Listen to "You Didn't Look Round" on that same LP and you'll
> find evidence of Lesley not singing the exact same notes on her 2nd
> vocal pass. I find it amazing that she was able to sing so many of
> her songs with double-tracked vocals so well.
Phil M:
> I wonder why she was double-tracked so often -- my understanding is
> that the technique was usually reserved to mask the inadequacies of
> far less talented singers than Miss Gore.
You know Phil, I've noticed the same thing with Judy Craig of the
Chiffons--and she had a great sounding voice!!!!
Tony Leong
-------------------[ archived by Spectropop ]-------------------
Message: 6
Date: Wed, 06 Apr 2005 15:13:17 -0000
From: Clark Besch
Subject: Re: The Marquee Revue
Joe, the Marquee Revue were indeed a popular band in Omaha. They
first played "Sandy's Escape", the best teen dance place in town, on
April 7, 1968 and continued to play for a few years. I think "What
Good Tomorrow" is pretty good and made KOIL's chart, I think. The
Butterick 45, I have many copies of and don't think much of it. Not
sure about that numbering system, but you're probably right. Pacific
Avenue records had a few releases, so maybe the group did their own
one-off and decided to list it as the next number, even if not on
same label??? Hope this helps.
Clark
-------------------[ archived by Spectropop ]-------------------
Message: 7
Date: Wed, 06 Apr 2005 10:39:27 -0000
From: Billy G Spradlin
Subject: Re: Bad Splices
John Fox wrote:
> Another similarly poor edit was done to "Timothy" by The Buoys.
> This was done to insert alternate lyrics that were supposedly
> more "radio friendly".
I have the promo 45 with the censored lyric (I can post it in musica
if anyones interested). The only line they changed on my copy was "My
Stomach was full as it could be" to "Both of Fine as We could be"...
which could be taken now as something entirely different! The tape
edit is very poor, the speed drops when that line is sang and then
speeds back up again.
Another thing I noticed about this promo and the original 45 is that
they are slower than the versions on CD from Rhino.
> That reminds me (all this childhood stuff comes back, thanks to
> Spectropop!): Somewhere, sometime in 1965-66, on TV or radio, I saw
> or heard the Stones do "Satisfaction". When they got to the line,
> "...trying to make some girl", the tape was made unintelligible and
> it came out "...trying to mbfgltsgbfpzxtbf...".
Are you thinking of the Stones doing "Let's Spend The Night Together"
as "Let's Spend Some Time Together" on the Sullivan show instead? I
saw a snippet of it and Jagger looked very p--sed off that he had to
sing those lyrics.
Billy
http://listen.to/jangleradio
-------------------[ archived by Spectropop ]-------------------
Message: 8
Date: Wed, 6 Apr 2005 13:05:20 -0700 (PDT)
From: Artie Wayne
Subject: Claire Francis
On April 7, Our own Claire Francis, who has shared her "Love and
Light" with all of us Spectropoppers, will undergo a serious
operation. It's funny, we traveled in parallel musical universes for
40 years and then we meet on Spectropop, when I found out that she
produced the Night Riders the cult hit which I co-wrote "It's Only
the Dog" [McCracken/ Wayne].
She not only has made contributions to our forum but has supported
many hopes, dreams, and aspirations throughout the years...and she
has a lot more work left here to do on earth.
If everyone takes a moment to think of Claire on the day of her
operation I'm sure she will feel it...and heal faster.
My prayers and my thoughts are with you my "Psychic Sister".
Regards, Artie Wayne
-------------------[ archived by Spectropop ]-------------------
Message: 9
Date: Wed, 6 Apr 2005 12:03:17 -0700 (PDT)
From: Dave Monroe
Subject: Re: The Cyrcle's "Please Don't Ever Leave Me"
Stewart Epstein wrote:
> I used to love a group called "The Cyrkle."... they had a sweet
> little song called "Please Don't Ever Leave Me".
Justin McDevitt:
> This is a favorite Cyrkle tune of mine. It really captures that
> Renaissance pop sound of the mid-60s era. The harmonic blend of
> voices on this song is also uplifting.
How about "There's a Fire in the Fireplace" from the Red Rubber Ball
LP? I can't tell that there was a 45 release of it, but if anyone
knows otherwise, an, even better, where I can get one, let me know.
Thanks!
-------------------[ archived by Spectropop ]-------------------
Message: 10
Date: Wed, 6 Apr 2005 12:22:40 -0700 (PDT)
From: Artie Wayne
Subject: Re: Lesley Gore / doubled voices
Dave...How ya'doin'? When Lesley Gore was having all of her hits, my
partner, Kelli Ross, and I ran her publishing companies. We also ran
Quincy Jones, her producer's publishing companies. Though I never went
to any of her sessions, I did work with when she did a few demos.
At the time, when producers wanted to strengthen a vocal, they had a
choice of using tape delay [15ips or 71/2 ips which were a bit
exaggerated...Elvis' Sun sessions for example] or they could have the
artist double their part. Lesley was one of those rare artists who
not only could duplicate a performance she could sing a millisecond
before or after the vocal she first recorded making it something
special.
Amazingly, she also doubled the emotion and feelings which was a
little harder, but I thought it all worked. I can't imagine her
records being done single voice.
regards, Artie Wayne http://artiewayne.com/
-------------------[ archived by Spectropop ]-------------------
Message: 11
Date: Wed, 6 Apr 2005 12:28:55 -0700 (PDT)
From: Jim Allio
Subject: Re: Lesley Gore, "Hey Now"
Mu understanding of the recording of "Hey Now" is that the Sel-Sync
(sp?) process was used, in which a singer overdubbed their initial
vocal and it was delayed for a nanosecond, adding a bit of fullness
and a different kind of texture. At the time, teenage singers were
usually overdubbed because many were not the most accomplished
vocalists. Lesley Gore was actually quite precocious and adept at
doing some pretty intricate, jazz-based vocal work, but in order to
place her squarely in the girl group/teen pop genres prevalent at the
time she began recording, Quincy Jones doubled her voice, had her
doing one-girl duets a la Sedaka and Pitney and added echo liberally
at times. It sounds dated and puzzling to us now, but at the time it
was tres moderne.
"Hey Now" is a great record, I agree. When Gore sings it in "The
TAMI Show," she fulfills the promise of the record and adds a fresh
adlib to the bridge which starts: "Look a-here, I gotta know dear,"
following it with a "la la la la oh oh" that kicks it into high
gear. Interestingly, if you listen to the recording on headphones
very closely, you can hear her humming the adlib beneath her own
vocals and the wall of background singers. Low, but still audible if
you are listening for it.
Jim Allio
-------------------[ archived by Spectropop ]-------------------
Message: 12
Date: Wed, 06 Apr 2005 12:32:13 -0700
From: Alan Gordon
Subject: Lesley Gore / The Everly Brothers
Re: Lesley Gore (My heart throb when I was very young) and double
tracking:
As for double tracking. From my own studio experience, it's very
hard to tell what someone's voice will sound like until it's done.
Sometimes strong singers sound better, sometimes they sound very odd.
George Martin once said something along the lines that John double
tracked great. He sounded better and stronger... but Paul, on the
other hand sounded flat and bad. Both of these guys were darn strong
singers. I assume it has to do with the actual shape of the "wave"
that one's voice has. The more "pure" wave (closer to a sine wave)
the less better the voice sounded double tracked.
Re: The Everlys:
My understanding was that Jimmy Page and maybe another Led-band mate
were also on the "Two Yanks In England."
I.C.E. reports that all the WB Everly stuff will be released this
year in at least 3 (three) "different" versions:
1). The new Collectors Choice single albums with no extras.
2). 2fers from the folks (WB Germany) that already started doing this
a few years back - w/ bonuses (shipping April 18, in the U.K. and
March 29 in Germany)...
and best of all...
3). A new BEAR FAMILY boxed set of every WB song ever recorded!!!
And two separate releases:
"From Nashville To Hollywood" is a compilation of alternates and
stuff... and...
"Too Good To Be" True on June 7, on Varese is previously unreleased
demos.
I assume the Bear Family WB set will have everything... but I could
be dreaming.
I.C.E also reports that all the mastering will be the same.
-------------------[ archived by Spectropop ]-------------------
Message: 13
Date: Thu, 7 Apr 2005 06:48:07 +1000
From: David Walker
Subject: Re: The Young Idea
Hi Spectroppers,
According to Alphabeat (1969) the Young Idea are Douglas Macrae-Brown
and Anthony Cox and are both British (with the former being born in
Florence Italy).
David Walker
-------------------[ archived by Spectropop ]-------------------
SPECTROPOP - Spectacular! Retro! Pop!
End
