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Volume #0109 July 1, 1998
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It's what's happening to Scene '67!
Subject: Re: Sound of Summer
Sent: 06/28/98 6:04 pm
Received: 06/28/98 10:36 pm
From: Marc Wielage, XXXX@XXXtrax.com
To: Spectropop List, spectroXXXX@XXXties.com
Jack Madani <Jack_MadXXXX@XXX12.nj.us> commented on the Spectropop List:
>The third number of theirs that I like best, and which in fact is
>my personal favorite, is The One You Can't Have. Sessions
>recordings for both He's A Doll and T1YCH have appeared on the Sea
>of Tunes releases of Beach Boys material (the obvious connection
>being that Brian Wilson produced the tracks and that two-thirds of
>the Honeys (the two-thirds who couldn't sing, coincidentally) were
>Brian's wife and sister-in-law). The sessions are fascinating to
>listen to, showing how simple the individual parts are, but once
>they fit together they create a magnificent aural assault on Mount
>Spector.
------------------------<snip>------------------------
I recently listened to the piece-by-piece sessions of "The One You
Can't Have" on those Sea of Tunes discs, and I was floored by a
number of things:
Number one, this is the best-sounding stuff on these tracks I've
ever heard. It's like about 30 years of dust and dirt got cleaned
off these late-1963 tapes!
Number two, I was very surprised just how much work went into even
a "simple" song like this somewhat-obscure Honeys session. Lots and
lots of layers on layers of vocals and instruments going on there,
far more subtleties than you might first think for a late-1963
session.
And finally, I notice in the more-or-less final mix of the song,
it's provided in 2-track stereo (vocals on one side / instruments
on the other). With a little work, it might be possible to create
a reasonable-sounding stereo mix out of it, one that would sound
considerably better than the monos on the BRILL BUILDING boxed set
or the Rhino BEST OF THE GIRL GROUPS VOL. 2 CD. I haven't checked
it against the Capitol HONEYS disc yet, but I'd be surprised if
that one was stereo.
Has anybody ever found out who actually sang lead on this song?
Are you sure it wasn't Marilyn Wilson? Both Wilson sisters have
said in the past that their mother sings great.
>There's a kind of "buzz," it's hard to describe it any
>other way, but when they all hit the word "one," the vocals
>create a kind of buzz. It really scratches my deepdown
>itch.
------------------------<snip>------------------------
And we all know how painful _that_ can be. <*yeesh*>
--MFW
-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
-= Marc Wielage | "The computerized authority =-
-= MusicTrax, Ltd. | on rock, pop, & soul." =-
-= Chatsworth, CA | XXXX@XXXtrax.com =-
-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
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Subject: Veronica vs. Phil or Phil and Ronnie
Sent: 06/28/98 7:39 pm
Received: 06/28/98 10:36 pm
From: R Teyes, RTeXXXX@XXXom
To: Spectropop List, spectroXXXX@XXXties.com
I went to the courthouse on June 23 and Ronnie was not looking
well. She turned around only once and grinned at me, I blew a kiss
to her. Phil was so small I only saw where he was sitting when he
was called to the stand. Again, he dressed in dark colors. He
needs to do something with that hair. I didn't see Estelle this
time. Nedra looked lovely.
Phil said that he never abused or threatened Ronnie and that she
had started to drink and use pills. He also said she was allowed
to come and go as she pleased. He said he was hurt and angry when
she filed for divorce in 72. He also said Ronnie had agreed to
give up royalty rights as part of their divorce settlement. Ronnie
was shaking her head during this time; her husband was stoic and
unmoved. Again, Ronnie wore that ubiquitious hat she insists on
wearing - I think it makes her look fatter and she has gained a
couple of pounds, a far cry from the thin Veronica we are all used
to. It was a pleasure watching her again, this time however, not
performing per se.
I have noted that if I just get to the courthouse early enough and
avoid the rush of people waiting to see the stars downstairs, I am
able to get a good seat. By the way, a photographer was carrying
the lp " Presenting the fab..." and Ronnie signed it for her.
Robert the Ronette Hound
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Subject: Usher Credits on Brave Belt lps
Sent: 06/29/98 12:20 am
Received: 06/29/98 7:12 am
From: David Marsteller, davebXXXX@XXXflin.org
To: Spectropop List, spectroXXXX@XXXties.com
I've got both Brave Belt lps, and there are no Usher songwriting
credits. That brought another Bachman-related album to mind, so I
checked the Barry Allen lp that Randy Bachman produced in 1971,
but that didn't have any Usher credits either. Oh well...
Dave
/************************************************************************/
/** "It used to be a pleasure, a comfort and a treasure" **/
/** Diesel Park West **/
/** David Marsteller davebXXXX@XXXflin.org **/
/************************************************************************/
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Subject: The Hondells and Usher/Bachman
Sent: 06/28/98 6:40 pm
Received: 06/28/98 10:36 pm
From: Brad Elliott, surfXXXX@XXXnline.net
To: Spectropop List, spectroXXXX@XXXties.com
Jamie LePage (le_page_XXXX@XXXties.com) wrote:
> Finally, I just have to mention the Hondells "My Buddy Seat"
> (Usher/Wilson). To me, this is one of the finest surf/hot rod
> songs ever. Start to finish, it has it all, much like Bruce &
> Terry's version of Summer Means Fun. In fact, the BGs sound a
> heckuva lot like Bruce & Terry.
You've got good ears, Page, m' man. The vocal credits for that
track are truly stellar: Chuck Girard on lead vocals, Brian on the
high falsetto (mixed down to avoid trouble with Murry and Capitol),
and a backing vocal assemblage of Gary Usher, Dick Burns, Joe Kelly,
Bruce Johnston and Terry Melcher!
Javed Jafri (javedjaXXXX@XXXt.ca) wrote:
> After the Guess Who and his solo album but before BTO, Randy
> Bachman also recorded an album with a group called Brave Belt. I
> used to have the album. It came out around 1972. It's possible
> that one of these tracks was on that album but I don't think So. I
> think I would have noticed and remembered the Usher credit. It was
> a pleasant sounding record without the trademark gruff-sounding
> BTO vocals.
Actually, Brave Belt cut two albums before they evolved into
Bachman-Turner Overdrive -- Brave Belt (Reprise RS 6447, 1971) and
Brave Belt II (Reprise MS 2047, 1972). None of the three
Usher-Bachman songs are on either album; I already checked. Sure
would love to know the story behind those songs, though. Usher and
Bachman just don't seem like a logical match-up.
Surf's up!
Brad
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Subject: Robin Ward
Sent: 06/29/98 3:01 am
Received: 06/29/98 11:22 am
From: Jack Madani, Jack_MadXXXX@XXX12.nj.us
To: Spectropop List, spectroXXXX@XXXties.com
On page 27 of the June 19th issue of Goldmine (#467) there is an
ad for Music By Mail Inc. (www.musicbyemail.com)
And this is listed in the ad:
Robin Ward: All The Hits And More (MISS 002) Price: $18.95
25 Tracks:
Teach Me Tonight
Today I Feel In Love
My Foolish Heart
Dream Boy
Johnny Come and Get Me
I Will Love You
Wonderful Summer
Moon River
I Could Have Danced All Night
Why Don't You Believe Me
Winter's Here
For All We Know
Where The Blue of the Night (Meets the Gold of the Day)
Bobby
In His Car
Young Lovers After Midnight (with Dale Ward)
Crying For Laura (with Dale Ward)
Born Too Late (with Wink Martindale)
Hey Girl, Hey boy (with Wink Martindale)
Letter From Sherry (with Dale Ward)
I've Got A Girlfriend (with Dale Ward)
Lonely Marry Ann (with Dale Ward)
Oh Julie (with Dale Ward)
I'll Never Love Again (with Dale Ward)
One Last Kiss Cherie (with Dale Ward)
There's even a picture of the album cover, which has a picture of
Robin from the [barenaked] shoulders up, with close-cut pageboy
haircut with spitcurls, and sparkly dangly diamond earrings. Very
Klasssy, and Tasty too, with the moist glistening lipstick.
I know the first thirteen numbers from the Wonderful Summer CD,
but what about those duets?
Anyone?
jack
------------------------------------------------------------------------
Jack Madani - Princeton Day School, The Great Road,
Princeton, NJ 08540 Jack_MadXXXX@XXX12.nj.us
"It is when the gods hate a man with uncommon abhorrence that they
drive him into the profession of a schoolmaster." --Seneca, 64 A.D.
-------------------------------------------------------------------------
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Subject: Ronettes, re-recordings and a reality check
Sent: 07/01/98 1:03 pm
Received: 07/01/98 1:16 am
From: Jamie LePage, le_page_XXXX@XXXties.com
To: Spectropop List, spectroXXXX@XXXties.com
Re: Phil and the Ronettes., Robert wrote:
>Veronica is asking for what's hers and the Ronettes..if
>YOU read this Phil, and I know you do read up on stuff about you,
>please behave as a gentleman.
I can't believe we have a regular update on the Ronnie/Phil suit!
Keep up the good work, Robert.
Then Re: re-recordings Billy G. Spradlin wrote:
>There is a local small town oldies station in my area that...will
>now and then play the cheap K-Tel re-make versions of classic
>groups! I have thought about calling the guy up and tell him to
>play the "real" versions...
Scott Bauman said:
>
>...the version of "The Letter" on one of these albums CLEARLY was
>a re-recording. The voice was most certainly Alex Chilton, but it
>sounded like the Alex Chilton from his "High Priest" album days and
>not the gruff blue-eyed soul days of the Box Tops.
Javed Jafri added:
>I happened to be in a record store yesterday and saw a cheapo
>compilation of oldies which boasted something like "as performed
>by the original artists" and in very small print at the bottom it
>also had a disclaimer about the songs being re-recordings.
I'm not trying to pass judgement on the Ronnie/Phil suit or whether
re-recordings are ethical, but these threads did make me start
thinking...
Artists often are exploited at the beginning of their careers.
Problems are most likely to arise in instances where artists achieve
great success at the beginning of their careers under unfavorable
terms, free themselves from the contracts then fade into obscurity.
This happened to Phil Spector (as an artist) who didn't receive
much from Dore for his #1 single To Know Him Is To Love Him.
Spector learned his lesson early on and moved on to woodshed at
Liberty, Atlantic and with Leiber/Stoller. He later created his
own successful record company. Other artists do not always have
such foresight.
Clearly serious fans do not favor re-recordings. The Stars &
Stripes and NASCAR Beach Boys things are outrageous. I have a Mike
Curb Paris Sisters "Greatest Hits" album that is horrible compared
to the Spector originals. On the other hand, I know the people at
Prestige Records (UK, not the US Prestige), a label specializing
in re-recordings, including the small print disclaimers. Prestige
(apparently) compensate their artists fairly. Sometimes the self-
covers work fairly well, others not so well. The Troggs CD and the
Foundations CD they made aren't noteworthy. They're now doing a
Tony McCauley album; self-covers of records Tony sang lead on.
The guy that runs the label, by the way, is a music man. He cares
about music. He runs a "re-recordings" label. How do you figure?
Ronnie tried to cover one or two of her Spector titles with poor
results. In fact, she only achieved success After The Wall with Eddie
Money on a record that wouldn't exist without Philles and Mr. Spector.
Is Ronnie a victim, or is she a benefactor? Darlene Love too continued
to make a living out of singing her Spector hits, even in that Ellie
Greenwich musical. She sang lead on Dick Dale and Al Casey hits too,
but does she sue them? I really don't know, but I can attest to
learning of her first from Phil Spector records. The "fame" thing
itself is a valuable asset; I'm not sure how I feel about artists
who enjoy the benefits of their fame, then seek revenge against the
very persons responsible for it.
Not many would hold a gun to an artist's head. The artists re-record
their hits, get a fair royalty and a decent advance. Are they
compromising?
Should artists that got ripped off re-record their hits for better
money and forget about the old deal (original hits), or should they
sue the people who actually gave them the success? Both? Tough call.
One last thing on this topic, it seems the Swinging Blue Jeans hit
version of Hippy Hippy Shake is now fairly obscure. The latest SBJ
Abbey Road CD has a lifeless re-recording of what was their most
successful record. Anyone know anything about this?
--
le_page_XXXX@XXXties.com
RodeoDrive/5030
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Subject: My Buddy Seat
Sent: 06/30/98 7:03 pm
Received: 07/01/98 12:16 am
From: Jack Madani, Jack_MadXXXX@XXX12.nj.us
To: Spectropop List, spectroXXXX@XXXties.com
>Finally, I just have to mention the Hondells "My Buddy Seat"
>(Usher/Wilson). To me, this is one of the finest surf/hot rod
>songs ever. Start to finish, it has it all, much like Bruce &
>Terry's version of Summer Means Fun.
My Buddy Seat is an amazing tune. The lead melody makes leaps that
just don't make sense at times, and yet it always manages to land
on its feet. Brian Wilson songwriting at its most inspired, and
the ULTIMATE in musical confidence. I have an import Star-Club cd
"The Hondells: The Complete Motorcycle Collection," but the
recording of My Buddy Seat is pretty obviously taken from vinyl.
On the plus side, the disc has a total 36 tunes, and the last
several tracks--from 1966--suddenly veer into Lovin' Spoonful/PF
Sloan Folk/early Grass Roots territory. Obviously trying to keep
up with the changing times. That's a nice sound, by the way, very
pleasant.
I recently saw a Curb CD greatest hits package for the Hondells,
but it has like only a dozen cuts on it so I passed on it. OTOH,
it may possibly have My Buddy Seat taken from the master tapes.
jack "and make this bike compleeeeeeeeet" madani
------------------------------------------------------------------------
Jack Madani - Princeton Day School, The Great Road,
Princeton, NJ 08540 Jack_MadXXXX@XXX12.nj.us
"It is when the gods hate a man with uncommon abhorrence that they
drive him into the profession of a schoolmaster." --Seneca, 64 A.D.
-------------------------------------------------------------------------
--------------------[ archived by Spectropop ]--------------------
Subject: What Color Is Love
Sent: 06/30/98 7:22 am
Received: 07/01/98 12:16 am
From: David Feldman, feldXXXX@XXXderables.com
To: Spectropop List, spectroXXXX@XXXties.com
John Mahoney says:
> Ah ha! In that case I have additional info. I noticed in my record
> price guide that the LP "What Color Is Love" was recorded by one
> Dee Dee Sharpe Gamble on the Philadelphia International label (PZ-
> 34437) and released in 1977. She also recorded two other
> Philadelphia Int'l recordings, but it is not clear if the "Gamble"
> surname is credited, They were: "Happy 'Bout The Whole Thing"
> (PZ-38839) in 1976 and "Dee Dee" (JZ-36370) in 1980.
This list is the greatest. I'm pretty sure that "What Color is
Love" is it. Anybody heard it?
Speaking of Philadelphia (smooth transition, hey?), anyone else a
Thom Bell fanatic? I think just about everyone is familiar with
his wonderful singles for Philadelphia International, but I'd like
to mention two of his albums that I think are worth seeking out.
One is Johnny Mathis's "I'm Coming Home," where Thom Bell and
Johnny Mathis wrestle in a Texas Death Match and somehow there is
still no winner. As usual, the Thom Bell-Linda Creed compositions
are wonderful (what a fine lyricist she was) -- "A Baby's Born"
almost makes me revise my position on abortion, it is written,
performed, and produced with such passion. "I'm Coming Home" was a
minor hit for JM, but the centerpiece is "Life Is a Song Worth
Lilving," a song that is unjustifiably overproduced, I guess, but
still blows me away with its ambition and hubris.
But for me, TB's masterpiece is Ronnie Dyson's "One Man Band." The
first side is nonstop brilliance. Any song on the first side could
have (and should have) been a hit single. It contains the
freewheeling first recording of "I Just Don't Want to Be Lonely,"
"One Man Band," and other treasures. It's a shame that Dyson
encountered personal problems. He was a true prodigy, like Michael
Jackson. But I compare him more to the young Dionne Warwick,
possessed with an emotional depth that made him seem decades older
. Bell was smart enough to not gimmick up this album too much --
his purpose was to complement Dyson's beautiful voice.
DF
Dave Feldman
CD of the Month: "Imagination" (Brian Wilson)
Word of the Week: tenderloin
Movie of the Month: Bulworth
Best Time Killer of the 90's: Filling out the UPDATED gender survey at
"http://www.imponderables.com"
--------------------[ archived by Spectropop ]--------------------
Subject: Tammys' accent
Sent: 06/30/98 7:53 am
Received: 07/01/98 12:16 am
From: Jack Madani, Jack_MadXXXX@XXX12.nj.us
To: Spectropop List, spectroXXXX@XXXties.com
Do you want to hear a textbook example of the Western Pennsylvania
, greater-Pittsburgh-area accent? Listen to the Tammys sing "
whahhht's sew (sing "so" as if there were an umlaut on the o)
sweet a-bot sweet sixteen...."
jack " fluffya accent, cake and a haigie and a day-nut" madani
------------------------------------------------------------------------
Jack Madani - Princeton Day School, The Great Road,
Princeton, NJ 08540 Jack_MadXXXX@XXX12.nj.us
"It is when the gods hate a man with uncommon abhorrence that they
drive him into the profession of a schoolmaster." --Seneca, 64 A.D.
-------------------------------------------------------------------------
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