_____________________________________________________________ ____________ ___________ ____________ ___________ ____________ S P E C T R O P O P ___________ ____________ ___________ _____________________________________________________________ Volume #0167 October 16, 1998 _____________________________________________________________ Hearing the world's greatest artists is an everyday pleasureSubject: Cinderellas Sent: 10/15/98 3:06 am Received: 10/15/98 8:05 am From: Jyrki T Ilva, iXXXX@XXXlsinki.fi To: Spectropop List, spectroXXXX@XXXties.com William Stos wrote: > I have some questions about the Cinderellas. I have their double > sided flop Baby baby (I Still Love You)b/w Please Don't Wake Me, > but what else is out there. I know groups recorded using that name > during the sixties, but is anything else out there that good? I have heard other more mid-sixties Cinderellas recordings. I don't know if it's the same group, but at least "More Than Yesterday" (Tamara 763), "Fairy Tales" and "Mr. Happy Lovejoy" (both sides of Mercury 72394) are all very enjoyable records. In fact, "Mr. Happy Lovejoy" is so good that it's one of the most-played girl group songs in my personal collection, even though I only have it on a tape that I got from a collector friend. -- Jyrki Ilva --- Helsinki, Finland, Europe * --- iXXXX@XXXlsinki.fi * --- http://www.helsinki.fi/~ilva/ * --------------------[ archived by Spectropop ]-------------------- Subject: COMPRESSION from JIMMY Sent: 10/15/98 12:45 pm Received: 10/16/98 12:56 am From: Jimmy Cresitelli, JimmyXXXX@XXXom To: Spectropop List, spectroXXXX@XXXties.com I'm not technically-organized or even -oriented, but I find the talk about compression fascination. I too experienced hearing songs "differently" on different stations, turntables, etc. I was so used to hearing my Philles 45 RPM records played on an old turntable, that now I realize that there was a speed factor involved that tended to jump those records a bit faster... just enough to make a difference. And I don't mean that my player was going too fast. It's an almost-imperceptible difference, but there just the same. Darlene's voice on those leads all sounded " higher-pitched" and better than on what I hear on CD today. When I hear "perfect" renditions of Philles cuts on CD, they tend to seem "slower." --------------------[ archived by Spectropop ]-------------------- Subject: Lesley's singers/compression Sent: 10/15/98 9:59 pm Received: 10/16/98 12:56 am From: Mark Landwehr, mslXXXX@XXXbs.com To: Spectropop List, SpectroXXXX@XXXties.com > One of my favorite things about Lesley's great hits is her > excellent pick of background singers...mostly girls. Interesting > that Ellie Greenwich sang backup on most of her albums. Does > anyone else know which singers, by name, she used ...especially on > "Look of Love" which still gives me chills after thirty plus years. > According to Ellie Greenwich in Alan Betrock's book, Claudia, the singers on "Look of Love" and "Maybe I Know" were Ellie, Jean Thomas, and Miki Harris (pg. 117). > In a superficial way, "compression" is just a fancy way of saying > "controlled volume," or at least controlling the _dynamic range_ - > the relative loudness and softness of the recording. > Compression/limiting also gave DJ's a "new sound"...very hyped & high energy, without having to put on a "Ricky Radio" voice style (aka "puke voice")...I remember listening to jocks at CKLW, WCFL, WLS and others in the 60's and thought they had to have the biggest you-know-whats in the world, when, actually, it was all "mike-play" and what the station had hooked up in its audio chain. It was always easy to know if levels were too hot - When you stopped talking, the compression would begin to suck in the surrounding extraneous "air" in the studio and it sounded in your cans (headphones) like the world was about to implode. Conservative engineers would never let things get that far out-of-hand, but others would tinker with the levels (especially on AM) and sometimes get a little crazy. FM had to be very careful about compression/limiting, as you could easily find yourself cruising out of bandwidth (a definite no-no). I have a "Dynamic Range Enhancer" (compressor/limiter/expander) hooked in-line w/my stereo system. It was a commercial model made by dBx back in the 70's, and I don't think I could listen to my stereo without it, although many records (inc. Spector's) don't need any help in that regard. Mark Landwehr (Philles Phanatic) http://www.toltbbs.com/~msland/Spector/ --------------------[ archived by Spectropop ]-------------------- Subject: Re: other kinds of compression Sent: 10/15/98 3:22 am Received: 10/15/98 8:05 am From: Brad Elliott, surfXXXX@XXXnline.net To: Spectropop List, spectroXXXX@XXXties.com Doc Rock (docroXXXX@XXXcom) wrote: > I asked my > engineer at the radio station why he thought records sounded > better than (or anyway different from) 45s. He said that music > takes a lot of data to record on a CD. And, in order to fit all > the music on a CD that we want (like 72 minutes), a lot of > overtones and undertones, supposedly inaudible, are eliminated on > a CD. But eliminating them makes the music seem hollow, cold. > > So there is another reason why CD music never sounds as good (or > anyway the same) as a 45. Our old friend. Compression! But this > time it is a different kind of compression. Let me quote from an > article in Consumer Reports 1994 Buying Guide. They are discussing > Digital compact cassette decks (DDC), a new component which can > play both conventional and digital cassettes, and record digitally, > like a CD. "For recording on digital tape, DCC relies on a > data-compression process that leaves out parts of a musical > program that are masked by other sounds. In essence, it records > only what you're apt to hear and ignores inaudible sonic > information." This compression in also used on CDs, according to > my engineer. I welcome comments and corrections. I don't think this is right. To the best of my knowledge, no compression is employed in placing music on CDs -- sampling, yes, but not compression. One of the most common knocks against both the DCC and Minidisc formats is that they use compression, thereby actually losing some piece of the music (their proponents contend the lost parts were inaudible, but that hasn't been my experience) . But I thought CDs were supposed to pick up everything, without any loss of "overtones and undertones." Is my impression wrong? Can somebody with some greater technical knowledge clear this up? Thanks! Brad --------------------[ archived by Spectropop ]-------------------- Subject: Re: Chiffons & Lesley Gore Sent: 10/15/98 6:23 pm Received: 10/16/98 12:56 am From: Billy G. Spradlin, bilXXXX@XXXre.net To: Spectropop List, spectroXXXX@XXXties.com >William Stos wrote: >>the Chiffons' "What Am I >>Gonna Do With You," blows Lesley right out of the water! >I've never heard the Chiffons' version, William, but I will >mention that there are two very different mixes of Lesley's >version of that song. The one on the 2-disc set is a poor mix, >really burying the beauty of the production and throwing Lesley's >voice way too far out front. OTOH, there's a remixed version on a >single-disc Mercury anthology, which is unbelievably outstanding. Does anyone know if the Chiffons version available anywhere on CD? I would love to hear it. I was very disappointed of the mix on the Lesley Gore 2-CD set too. Its a great song, great production, but the poor (original?) mix of it makes Lesley sound like she is singing in a bathroom! Its one of the worst sounding reverbs I have ever heard on a record, and the backing track sounds dull and lifeless. I love the remixed version on "Golden Hits" too. Most of the tracks on that CD were remixed from the 3-4 track tapes in 1987 by Dennis Drake (Whatever happened to him? He did a lot of re-issue work for PolyGram in the 80's). Its one of my favorite examples of a ADD remix surpassing the original recording. (Usually, its the other way around!) Billy G. Billy G. Spradlin 29 Rim Road Kilgore, Texas 75662 Homepage: http://www.tyler.net/wildbill Email: bilXXXX@XXXre.net or bgspradXXXX@XXXlink.net ICQ #: 15036049 --------------------[ archived by Spectropop ]-------------------- Subject: Thank You Spectropop! Sent: 10/15/98 12:41 pm Received: 10/16/98 12:56 am From: Jimmy Cresitelli, JimmyXXXX@XXXom To: Spectropop List, spectroXXXX@XXXties.com Thank you for allowing me to list Barbara Alston's URL. She said thank you very much, and God bless to everyone for caring. You can click on the Crystals' pics, and "underneath" are MORE pics: underneath the 6 girls / Spector shot is a shot of Dee Dee today, with two new Crystals... beneath that is a current shot of La La Brooks, who was recently profiled in a New York newspaper. Beneath the shot of the 4 Crystals in concert is a shot of Frances Collins today, now known as Fatima, who runs a dance studio in Miami Beach. Nice to know what the ladies are up to, and how they look currently! I once saw Dee Dee, La La , Mary, and Barbara in concert at a Richard Nader rock "revival" back in I think 1972. I thought at the time that Dee Dee was Darlene Love Thanks again!!!!!!!!!!! --------------------[ archived by Spectropop ]-------------------- Subject: [SPML] Shameless Question Sent: 10/15/98 3:35 am Received: 10/15/98 8:05 am From: Greg Liebzeit, gliebzXXXX@XXX.com To: Spectropop List, spectroXXXX@XXXties.com Friends, I've very much enjoyed the girl group discussions on this list and have acquired a few CDs with gg songs, specially one that Claudia recommended. My question to the list: would you post a list of possibly 6 or more CDs that are readily available ( and ones to look-out for) that would get me started on a representative collection of girl groups? Please include sources on the web if available. Thanks! Regards, Greg L --------------------[ archived by Spectropop ]-------------------- Subject: Jay again Sent: 10/16/98 1:55 am Received: 10/16/98 1:58 am From: Jamie LePage, le_page_XXXX@XXXties.com To: Spectropop List, spectroXXXX@XXXties.com I wrote: >I guess Howard Kirshenbaum is a less likely name for an aspiring >rock and roll star than is Jay Black. Howard Kirshenbaum was his >real name, wasn't it? Or am I confusing Howie Kane and Jay Black or >what? Alan Warner replied: >The second Jay, Jay Black (real name: David Platt)... File this one under inaccurate research. I got Howie Kane & Howard Kirshenbaum as the real name of Jay Black from an oldies radio daily news sheet. I thought it was suspicious. So does anyone know who Howie Kane is? -- le_page_XXXX@XXXties.com RodeoDrive/5030 --------------------[ archived by Spectropop ]-------------------- Subject: Always You (Nichols/Asher) Sent: 10/16/98 1:56 am Received: 10/16/98 1:58 am From: Jamie LePage, le_page_XXXX@XXXties.com To: Spectropop List, spectroXXXX@XXXties.com >The American Breed - "Bend Me, Shape Me" >the only reason I bought this LP is because the group has also >recorded Roger Nichols/Tony Asher's "Always You" (what album is >that song from? I only have it on a mixtape)... The song is included on the American Breed album "Lonely Side of the City" (Acta 38008). There is another version of this song by the Sundowners. Both are very good. To the best of my knowledge, Nichols never officially released his own recording of this song. It's a good one, though and both versions are worth seeking out. -- le_page_XXXX@XXXties.com RodeoDrive/5030 --------------------[ archived by Spectropop ]-------------------- End
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