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Volume #0223 February 7, 1999
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Order Yours Today
Subject: April Young
Received: 02/06/99 10:27 pm
From: WILLIAM STOS, wsXXXXXXXXt.com
Question. I have two songs by April Young. "To Be Loved By You,"
and "Gonna Make Him My Baby." I love 'em both, but I found a
little discrepancy in the two songs. The voice in Gonna Make Him
My baby sounds quite a bit deeper on two recordings (each
recording has a different intro by the way) I have. Meanwhile,
one another recording credited to April Young I've just
uncovered the voice matches the first song perfectly. Are some
recording slowed down/speeded up to make vocals sound different,
or did another person record Gonna Make Him My Baby?
Doc, I think I found the newest version on one of the tapes you
sent me a while back.
Will
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Subject: David Gates
Received: 02/06/99 8:51 am
From: Steve Stanley, sstanXXXXXXXXi.com
Ian Chapman wrote:
>On the subject of Del-Fi, can I put in a good word for a David
>Gates track that was on that label, "You Had It Coming". I think
>it's one of the great "unknowns" of the early 60s, and would love
>to see it put out on some kind of compilation sometime. (Maybe it
>already has?)
Steve Stanley writes:
Unfortunately, that track hasn't emerged yet on CD. We are in
the process of compiling a teen idol comp that will include rare
tracks by Gates, Bobby Cortola and Johnny Crawford amongst others.
"No One Really Loves a Clown," which was the b-side of "You
Had it Coming" is available on our Johnny Crawford Best of.
It's not David's version, but it's great. The CD also includes
two other Gates-penned tunes as well as two from the Mann/Weil
team.
Our new Del-Fi Beach Party features Gates' "Okie Surfer."
Certainly no "Lost in Wonderland," but interesting nevertheless.
-Steve
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Subject: To: Ian Chapman ~ From: Diane Renay
Received: 02/06/99 10:27 pm
From: Diane renay, CEIInvXXXXXXXXom
Hi Ian:
Thanks for letting me know about this new compilation of
girl-group songs that will be coming out. I'm happy to hear that
your friend chose to use one of my songs that I liked very much,
but didn't think too many people have ever heard, "The Company
You Keep." I would like to know when it comes out on the market
and how I can get a copy. I will try and answer your questions
as best I can................
My real name is Renee Diane Kushner. I was born in South
Philadelphia and we moved to a suburb when I was 9 years old.
It's a long story how I finally got together with Bob Crewe, so
I will just say that I was first under contract to Atco Records
and for my second single they called in Bob Crewe to write and
produce my next session on the companies label. That is how I
first met Bob Crewe and the rest is history, ha, ha! Jeanie
Thomas use to sing background along with two other girls on some
of my recordings. I became friends with these girls and sometimes
would hang out with them when I was in New York. However, I can
only remember the first name of one of the other girls, I think
her name was Mikey and that's all I can remember.
Well, I hope this helps your friend out bit. Thanks for your
interest.
Sincerely: Diane Renay <[:>)
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Subject: To: Jamie LePage ~ From: Diane Renay
Received: 02/06/99 10:27 pm
From: Diane renay, CEIInvXXXXXXXXom
Hi Jamie:
Sorry it took me so long to get back and answer some of your
questions. Well, here goes..........Bob Crewe would write songs
for me as well as other writers that he had under contract as
his staff writers. I would be called into Bob's office and
listen to various songs and try them out. If I liked the songs
and sang them well, then I would sometimes rehearse them right
there in Bob's office. He had a couple of rooms with pianos in
them and that's where I would rehearse with either one of the
songwriters playing for me, or sometimes I would rehearse with
Charlie Collelo, an arranger Bob used a lot. There were times that
I would receive a dub to take home and work with also.
I was always present when any tracks were laid down for my
sessions. Sometimes I would record right after all the musicians
were finished laying down their tracks. But there were times that
we would come back to the studio on a different day and record my
vocals.
I often attended the 4 Season's sessions and sometimes would
assist Bob Crewe by doing hand claps and foot stomping on a
particular loose wooden block in the floor of the recording
studio that we all recorded in. We had lots of laughs and lots
of great fun!!!!
Bob Crewe and Bob Gaudio (who was one of the 4 Season's) would
collaborate on writing songs for the 4 Season's as well as for
me and some of Bob's other artists that were under contract to
him. As with all my recordings, including "Growing Up Too Fast,"
Bob was always the producer. He told the arranger what he wanted
to hear in so far as what kind of rhythm, instruments, etc. He
told the background vocalists what he wanted them to sing,
sometimes he would sing himself on some of the background vocals,
but not that often.
Sandy Linzer and Denny Randell were under contract to write for
Bob Crewe. I honestly don't know if they were involved with the
arrangements of their songs.
I hope I answered your questions to your satisfaction. It was a
long time ago! Thanks for your interest.
Sincerely: Diane Renay <[:>)
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Subject: To Diane Renay re: "Watch Out Sally"
Received: 02/07/99 9:51 am
From: Glenn L, sirkXXXXXXXXlink.net
Diane Renay,
First off, I am HUGE fan -- and it's great to see you have so
many fans here. I have a lot of favorites among your recordings,
but the one I've played the most is "Watch Out Sally". Your
performance is amazing throughout, but I especially love the
spoken parts toward the end. I believe the words are "Drive baby
drive, move it baby, go, go go!" but I've never been 100% certain.
I was wondering who's idea this last bit was and whether it
was planned at the beginning or if inspiration struck at the
last minute.
Glenn L
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Subject: Eternity's Children
From: Jamie LePage, le_page_XXXXXXXXties.com
Received: 02/07/99 9:51 am
The listmember currently known as Agnes Skinner wrote:
>...never heard of [Eternity's Children] - care to share
>the essential info?
I was hoping someone else would post on this because I too know
very little about them. I can't tell you a thing about the
members except they were four - three guys and a girl.
I guess I became interested in Eternity's Children because they
were signed to Gary Paxton's Crocked Foxx Productions, for
which Keith Olsen and Curt Boettcher made records. Gary Paxton
apparently first met Curt through Tommy Roe around the time of
Roe's "It's Now Winter's Day". I'm sort of a fan of the Olsen/
Curt B work from this period. That's how I discovered Eternity's
Children.
The first Eternity's Children single "Rumors" was on A&M and had a
David Gates-penned B-side "Wait & See". No Curt B credit on this
single, but it is obviously his work. The trademark harmony
arrangements give it away. After a false start at A&M, Crocked
Foxx moved the group to the Tower label. Curt B (with Keith
Olsen) did the first s/t Eternity's Children's album on Tower,
although again Curt B's name is nowhere to be found on the
sleeve. Ironically, though, the singles from this LP are
credited "Produced by Curt Boettcher and Keith Olsen for Crocked
Foxx Productions"! The lead track on the album "Mrs. Bluebird"
was a minor hit in US peaking at about 70 on Billboard Hot 100
charts (it is everything and more than you could hope for in a
"other Mamas & Papas" style).
Curt B apparently wasn't involved with their second album
"Timeless", as he and Keith Olsen were thinking more about their
Together Records project (the label that released the second
Sagittarius' LP "Blue Marble"). Nevertheless, Timeless is quite
good as well, and Curt B's absence notwithstanding, it's worth
seeking out. Unfortunately, Timeless was only released in Canada.
It is difficult to find.
In the liner notes to the recent Ballroom CD (you must have this
Toby!), Curt B, talking about his seminal group the GoldeBriars,
is quoted: "We were the beginning of the sound that became the
Mamas & Papas. Our biggest fans were John Phillips, Cass Elliot
and Zally [Yanovsky]. Every time we were playing in the same
town, they used to come and watch us, and any time we came to
watch them - [Cass & Zal] were in the Mugwumps at the time -
they would always ask us to come up and sing with them.
Interestingly enough, when they put together the Mamas & Papas,
they had the same kind of harmonies we had."
That's quite a statement. But if you compare Mamas & Papas album
tracks (not the singles) to GoldeBriars, Ballroom, Sagittarius and
Millennium, it's fairly evident that Curt B's vocal arrangements
were more consistent than the Mamas & Papas. I sort of believe
what he says about "the beginning of the sound that became the
Mamas & Papas."
>The Cyrkle - what about them?
OK. I'm outta here. But yeah, I thought it worth reposting your
question. Love their records. I wish the CDs had the single
mixes in mono like the new Association CDs do.
The Cyrkle - 01 . Ad agency. 2. Brian Epstein. That's all I know.
Anyone?
--
Soft Rock rules!!!!! (shreds too)
All the best,
Jamie LePage
LePageWeb
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