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Jamie LePage (1953-2002)
http://www.spectropop.com/Jamie.htm
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There are 4 messages in this issue.
Topics in this digest:
1. Re: Brian Hyland
From: Artie Wayne
2. Re: Then He Kissed Me - official!
From: Phil Chapman
3. Chiffons, LO1KD
From: Bob Rashkow
4. how can they do that?
From: David A. Young
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Message: 1
Date: Mon, 18 Nov 2002 17:58:36 -0800 (PST)
From: Artie Wayne
Subject: Re: Brian Hyland
James Botticelli:
> It doesn't say where it was cut, but what it does say is that
> arrangements were by Leon Russell and Al Capps, production by
> Snuff Garrett, and engineers were Dave Hassinger and Henry
> Lewy.
James......Most of that info makes sense....but I swear " 3000"
was cut in NY!!! Brian...Where are you ?? Come clear this up!!
regards,
Artie [I played on the date] Wayne
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Message: 2
Date: Tue, 19 Nov 2002 09:03:28 -0000
From: Phil Chapman
Subject: Re: Then He Kissed Me - official!
Paul Underwood:
> I always thought the intro of "Then He Kissed Me"
> had one of the most amazing sounds I'd ever heard.
> ....do you think the strings could have been tuned
> down, or would that have been too complicated with
> a 12 string?
I agree, I've never heard anything quite like it. I'm
not a guitarist, but it's in E, and I think that's good
for a few open strings. Carol said she had modified
pickups and played it hard.
> And would it have been Carol Kaye on "Rudolph"
> which almost sounds like a different instrument?
This is a different guitar played softer. Carol thought it
sounded more like Barney Kessel or Tommy Tedesco, or even
Don Peake. But, of those three, only Tom Tedesco gets a
credit on the sleeve notes. Perhaps the answer might show
in Russ Wapensky's book.
Stuffed Animal:
> Does anyone like the Sonny Bono arrangement of "Then He Kissed
> Me" that he cut with Cher for their first album?.....
> It just sounds more . . . romantic.
I have a soft spot for S&C, their arrangements were, in many
ways, more elaborate and rhythmically adventurous than Nitzsche's.
But the blend wasn't as controlled as Spector, often making their
tracks sound messy. To this day I still cringe at some of Sonny's
Dylan-esque vocals, which to me seem incongruous in the midst of
this finely woven tapestry of sound. Still, he wrote some great
songs, and their records are a lasting slice of pop(-folk) history
that I can always listen to, flaws and all.
Phil
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Message: 3
Date: Mon, 18 Nov 2002 20:35:12 -0500
From: Bob Rashkow
Subject: Chiffons, LO1KD
Sweet Talkin' Guy IS a great record, though I could hardly
call it joyous, but I think I know what Lindsay means, it
being so uptempo and "out there." The only complaint I have
about this last chart gasp from the gals is that it should
have been a No.1!
Artie Wayne--did you write/co-write "Leader of the Laundromat"
by the Detergents? Maybe THAT'S the record I have with your
credit on it. If so you are a G E N I U S!!!
Recently bought a VG+ copy of Brian Hyland's groovy little
"Joker Went Wild" follow-up, "Run, Run, Look & See". Isn't
his voice just the greatest!! Howard Kaylan too--especially
the early folksy Turtles recordings. "I'm not a piece of clay/
You mold to your mood each day" Sloan and Barri isn't it??
Am I mistaken? Love it so.
I wanted to let you all know that Friday night the 15th I was
a star for 2 1/2 minutes! Local bar, Harrigan's, in Chicago,
was having karaoke & I took the plunge for the very first time.
The list was pretty extensive, at least more so than I thought,
and I really wanted to do Left Banke or Walker Brothers but it
didn't seem like that kind of a crowd. (I.e., I chickened out
of that one!) :-( But, I compromised and chose LO1KD which,
according to the play book, was Cannibal's version--"Everybody
get out on the floor, it's East LA 1965", I announced as the
record was being programmed. Imagine my surprise when CHRIS
KENNER's ORIGINAL came on! Luckily, I was able to segue right
into the tempo and--SUCCESS!!! What fun, what fun. Maybe
"Walk Away, Renee" next time!
Bobster
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Message: 4
Date: Tue, 19 Nov 2002 03:28:16 -0000
From: David A. Young
Subject: how can they do that?
A couple of weeks ago, I heard a song called "Run Back to You" by The
Prissteens on the radio. Loving what I heard, I bought the source CD,
"Scandal, Controversy & Romance" from 1998. "Run Back to You" had
impressed me as a strong girl group homage, so I was more delighted
than surprised to see that the disc was co-produced by Richard
Gottehrer (with Jeffrey Lesser). Better still, there was a second fabu
neo-girl group number, "Beat You Up". (There's also a cover of F-G-G's
"Sorrow")
But then track ten came on and my pleasure turned to dismay. While
authorship of "Someday" is credited to the group, its melody is 100%
that of Rachel and the Revolvers' "Number One", written by Brian
Wilson and Gary Usher. Start to finish. I'm not talking about a
section or a heavy influence. I'm talking litigation-level thievery.
How is this possible? Did they just hope that no one would notice?
I've seen records and CDs before where no writer credit at all was
given, and that's bad enough, but an apparently deliberate
misrepresentation like this floors me!
David
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