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Volume #0131 August 21, 1998
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Hitsville, U.S.A.
Subject: Aretha and Darlene on Video
Sent: 08/18/98 10:39 am
Received: 08/19/98 1:18 am
From: Jimmy, JimmyXXXX@XXXom
To: Spectropop List, spectroXXXX@XXXties.com
Hi Mark (Philles Phanatic)...
I think that Darlene / Aretha clip you refer to is when Aretha's
doing "It's In His Kiss--" a jazzy, up-tempo version. The Blossoms
are backing her up (Fanita almost falling off her platform AGAIN),
and darlene is waving her arm at Aretha, laughing, egging her on
like you say...
great video!
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Subject: Aretha vs. Darlene
Sent: 08/15/98 2:47 pm
Received: 08/15/98 4:29 pm
From: David B Ponak, dpoXXXX@XXXlink.net
To: Spectropop List, spectroXXXX@XXXties.com
I'm not going to take sides on this debate, exactly, but it's
undeniable that as great as Darlene's accomplishments were, Aretha
made a greater contribution as a whole to pop music history. Not
only as a vocalist, but as a great piano player and songwriter. "
Dr. Feelgood," "Think,"Since You've Been Gone,"Spirit In The Dark,
" were co-written by her. "Rock Steady" and "Day Dreaming" were
written by her alone.
Both women unarguably great vocalists, but Aretha has been so much
more.
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Subject: Re: Supremes vs. Marvelettes
Sent: 08/16/98 1:54 am
Received: 08/17/98 6:32 am
From: WILLIAM STOS, wsXXXX@XXXt.com
To: Spectropop List, spectroXXXX@XXXties.com
>> From: WILLIAM STOS, wsXXXX@XXXt.com
> Diana
>>has an okay voice, but I get tired of listening to her after a
>>while. It's also a shame Mary didn't win when it was her versus
>>Diana for lead on "Where Did Our Love Go." She lost by 2-1 when
>>the producers (HDH) had to choose. But, what I find the most
>>disappointing is that the Marvelettes, who were first offered the
>>song, didn't recorded it! Those gals could have been the Supremes
>>I'm sure, and none of them have her ego out of check!
>>
>I agree completely that the Marvelettes were the better group,
>although live, I think the Supremes were superior (when they
>weren't busy singing Broadway songs). The post-Diana Supremes were
>terrific, too. Love "Up the Ladder to the Roof," "Nathan Jones,"
>"Everybody's Got the Right to Love," etc.
>Dave Feldman
I liked the post-Diana Supremes a lot better. Diana did, and does
have a very good voice, but the first time I heard her sing "I
Want A Guy," I had to stop the tape! It was hurting my ears. The
Marvelettes recorded that song too around the same time with Wanda
Young on lead, and although their version isn't the nearly the best
song they recorded, it did sound better then the Supremes whiny
nasal version. I've never seen either act live, but from what I've
heard and seen on tapes the Marvelettes were a more lively act,
while the Supremes swayed back and forth. And although the
Supremes may have sung better live, you must admit most of their
songs weren't exactly difficult, especially in the harmony
department. Most of the hits Mary and Flo, and later Cindy sang on
didn't have any harmony at all! Just one larger backing voices
singing baby baby's, whoo's, etc. I tend to prefer loud and
raucous to soft and refined though. Both groups deserve the credit
they received, although the Marvelettes in my opinion should have
been given a little more.
Will
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Subject: Repeat and Fade
Sent: 08/20/98 1:57 am
Received: 08/15/98 4:29 pm
From: le_page_XXXX@XXXties.com
To: Spectropop List, spectroXXXX@XXXties.com
Recently there has been some discussion on one of the other
newsgroups about record fade outs being kind of the easy way out.
I tend to believe that the fade is an art form which came from the
rise of the 45 rpm record, and, regrettably, it seems to have lost
its popularity in direct relation to the demise of the 45.
While fades are not necessarily better than cold endings, I do not
appreciate the widespread opinion that a fade is a cop out when an
arranger can't think of an ending. A fade presents "endless"
possibilities. When a record repeats and fades, it allows area for
improvisation, particularly for lead vocals, and when a repeat and
fade ending is purposely built in to a record, it allows the
possibility of spontaneous creativity on an otherwise structured
arrangement. Especially when a record features studio musicians,
one often hears the best bits at the very end when the cats start
to loosen up, thinking the fade will be out by then.
I particularly like a fade that appears to be a repeat of one or
two of the principal hooks of a song, but upon closer examination
is actually a brand new section that merely repeats a record's
earlier motif (Good Day Sunshine, God Only Knows, etc.). Plus,
there's an art to doing a good fade. Spector was a master at it.
Bob Gaudio knew how potent a good fade could be. Brian too used
the repeat and fade technique to great effect. Listen to the very
end of "She Knows Me..." The coke bottle percussion re-enters at
the very, very end. Cool! Motown, Stax... thank rock and roll for
all those great fades. And if you want the best evidence to
support the virtue of the fade, Exhibit A - Hal Blaine drum fills!
--
le_page_XXXX@XXXties.com
RodeoDrive/5030
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