_______________________________________________________________ ______________ _____________ ______________ _____________ ______________ S P E C T R O P O P _____________ ______________ _____________ _______________________________________________________________ Volume #0226 February 14, 1999 _______________________________________________________________ This monophonic microgroove recording will not become obsolete Subject: Re: Wonderful Summer Received: 02/13/99 12:00 pm From: XXXXXXXXtrax.com To: Spectropop List, spectroXXXXXXXXties.com Paul Urbahns, PaulurbXXXXXXXXom mentioned on the Spectropop List: >There's differences in the mix between the stereo album version >(commonly on reissues) and the hit 45 version. Hint. Listen to >the surf and when it enters. >--------------------------------------< Paul, would you happen to know where this song is available in mono on CD? As far as I know, "Wonderful Summer" is out on a half-dozen CDs, only in stereo. --MFW -=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=- -= Marc Wielage | "The computerized authority =- -= MusicTrax, LLC | on rock, pop, & soul." =- -= Chatsworth, CA | XXXXXXXXtrax.com =- -=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=- --------------------[ archived by Spectropop ]-------------------- Subject: Diane's backing girls - Jean Thomas, Mikey etc. Received: 02/13/99 12:00 pm From: IAC, iandXXXXXXXXlnet.co.uk To: Spectropop List, spectroXXXXXXXXties.com Jimmy... Are you confusing Jean Thomas with Jean King? It was the latter who was a Blossom, and they operated mainly on the West Coast. Diane mentioned recently that one of the other girls who was with Jean Thomas was a girl called Mikey. This would have been Mikey Harris, who, along with Jean, was quite a prolific session artist on the East Coast. Heard of a version of "Stop. Look & Listen" on Laurie by Les Girls? That was Mikey, Jean Thomas and Ellie Greenwich - Ellie and Jean at one point had considered forming a "real" group (as opposed to a session group), and Les Girls was the rather short-lived result. They called in Mikey to add "bottom" to their sound. Mikey was from Sarasota in Florida, as was Jean. Mikey continued to do sessions with Ellie right into the 70s (Bette Midler, Blondie) along with Hilda Harris, who was related to Mikey, possibly her sister. Diane... The third girl from the Rag Dolls....does the name Susan Lewis ring any bells? Ian Chapman --------------------[ archived by Spectropop ]-------------------- Subject: playin hard to get Received: 02/13/99 12:00 pm From: john rausch, jXXXXXXXXnet To: Spectropop List, spectroXXXXXXXXties.com To Jack Madani: What a great cd it is, I have had it for a few years and agree with you 100% Some of my faves are: you`re so fine-dorothy berry(great spector sound) mr. loveman-yvonne carroll and muscle bustle-donna loren --------------------[ archived by Spectropop ]-------------------- Subject: Playin' Hard To Get comp Received: 02/13/99 12:00 pm From: IAC, iandXXXXXXXXlnet.co.uk To: Spectropop List, spectroXXXXXXXXties.com Hi Jack... That particular set was compiled by Mick Patrick, who used to be the editor of the 80s UK Spector fanzine "Philately", and its sister mag, "That Will Never Happen Again" (which covered similar musical genres to Spectropop). He's also co-compiled many other girl-group sets for various UK labels, including the "Here Come The Girls" series on Sequel. Ian Chapman --------------------[ archived by Spectropop ]-------------------- Subject: Re: Playin' Hard To Get/Anne Kaye Received: 02/13/99 12:00 pm From: WILLIAM STOS, wsXXXXXXXXt.com To: Spectropop List, spectroXXXXXXXXties.com > I've played this disc a zillion times in the past four days but > have only glanced at the booklet. This disc is a total winner. > Anyone else heard of this compilation? I bought that compilation about a year ago, and it's one of my favourites too! The Galens' "Chinese Lanterns," is my personal favourite. The lead singer of that group actually sang lead on those sides because they were trying to get a "paris sisters" sound. Anyone who hasn't heard this song must! The best tracks on the collection for me are the five tracks by the Delicates (not the same as the Angels group). Their stuff is killer. "I've Been Hurt," aches with some of the most soulful singing I've ever heard. The spoken rant in the middle brings chills to me. Read about them on my site at www.geocities.com/SunsetStrip/Frontrow/2301/delicates.html Renee Medina's "He's A Big Deal," is pretty good too. And then, Dorothy Berry's "You're So Fine," is totally Spector influenced. Jimmy Cresitelli's fav on that collection I believe : ) Finally, the Francettes track is pretty strange. It was pulled off a 45, but you can't really tell. It's sounds like a Butterflies track at the start, but then has sort of a Secrets feel to it with cha cha rhythms. Buy it if you can! One other thing. This might be going out of the scope of this group, but has anyone ever heard of R&B artist Anne Kaye "Don't Stop The Wedding?" Killer song related to George Goldner. Did she record much more? --------------------[ archived by Spectropop ]-------------------- Subject: The Gordian Knot Received: 02/13/99 12:01 pm From: Javed Jafri, javedjaXXXXXXXXt.ca To: Spectropop List, spectroXXXXXXXXties.com I have a cassette copy of what I believe to be the only album by The Gordian Knot. I think it came out on Verve records in 1968. Don't know anything about the band except that Jim Weatherly (guitar & vocals) was a member. The record is rather schizoid and I hear shades of everyone from Paul Revere & The Raiders to the Grass Roots. The one influence that stands out, however, is the Association. A track called "We Must Be Doing Something Right" could easily be mistaken for the Association. My favorite song on the album is called "The Year Of The Sun' and it's a minor soft rock classic. That's all I know but hopefully others will chime in. Javed --------------------[ archived by Spectropop ]-------------------- Subject: Re: Gordian Knot Received: 02/13/99 12:00 pm From: David Bash, BashXXXXXXXXom To: Spectropop List, spectroXXXXXXXXties.com > Subject: The Gordian Knot > The other day I was listening to a very cool new indie group, > who will remain nameless for reason that will come to understand. > The group's new album is filled with cool beats, indie vocals > and some really nice samples. Well, after listening to one of > the tracks I was sure that the sample used was an early 8Ts song > called "Box Set Go" by a British band called The High, when I > asked one of the members of the band they assured me that I was > wrong and rather it was by a group called The Gordian Knot...so > my question is...who were the Gordian Knot? Hi Matthew, Wow, I was waiting for someone to mention these guys! The Gordian Knot were a band from Southern California by way of Mississippi, who released one excellent soft pop album on Verve (of all labels!), called "Tones". Most of the songs on the album will remind you of The Association, as the multi-part harmonies are absolutely beautiful. This is one album that I wish was released on CD, and is a perfect candidate for a Japanese label who is into soft pop. One of Gordian Knot's members, Jim Weatherly, had a fairly successful solo career in the '70s, doing more of a songwriter/countryish thing. -- Spectropop Rules!!!!! Take Care, David --------------------[ archived by Spectropop ]-------------------- Subject: re.Gordian Knot/Sagittarius Received: 02/13/99 12:00 pm From: harvey.williXXXXXXXXe.com To: Spectropop List, spectroXXXXXXXXties.com Matthew Kaplan wrote; 'Who were the Gordian Knot?' Checking the sleevenote from their LP, it seems that they were a 5 piece from the south who released at least one LP (and associated 45s) on Verve around 1968. 'The turning point of their career was a party given by Nancy Sinatra. She liked the group so much she asked them to accompany her on a USO trip to Viet Nam.' (it says here). Draw from that what you will. I really like the LP itself; great harmonies, good (all selfcomposed) tunes, dare I say soft rock? I think I dare... So who is the band responsible for sampling them, Matthew? Re. Sagittarius' 2nd LP; I get the impression that Curt's involvement in 'The Blue Marble' was minimal. There's only one Curt-penned tune on the LP, 'From You Unto Us' (also recorded by Eternity's Children..) and Curt's helium vocalising is sadly lacking. Again, someone ought to be reissuing it. In fact, the whole Together Records catalogue needs investigating.... Regards, Harvey Williams. --------------------[ archived by Spectropop ]-------------------- Subject: Re: The Millennium on Revola Received: 02/13/99 12:00 pm From: David Bash, BashXXXXXXXXom To: Spectropop List, spectroXXXXXXXXties.com > Subject: Millennium's "The Begin" > From: Ron Weekes, WeekXXXXXXXX.edu > I've got the Sony issue of this CD, the complete LP with four > bonus tracks. I know Rev-ola has reissued this CD but I think it > has 22 track's instead of Sony's 16 tracks. Can someone tell me > what the additional tracks are? I'm not sure if I want to pay > big bucks for six more tracks. Hi Ron, The six extra tracks are stereo single edits of several of the songs on the album, including "It's You," "To Claudia On Thursday," "There Is Nothing More To Say" (called "There Is No More To Say" on this CD, for some reason), "5 AM," "I Just Want To Be Your Friend," and "Prelude". These are merely the same versions as on the album, sans the music that connects them to the other tracks on the album. It's certainly not worth picking up the Revola reissue just for these versions (had they been in mono, then we'd have been talking!), but it is most definitely worth picking this disc up to get the great liner notes by Dawn Eden, as well as the generous supply of photographs. > I know Gary Usher and Curt Boettcher are discussed from time to > time on this list. This is my preferred order of Usher/Boettcher > collaborations: > Sagittarius: Present Tense > The Ballroom: Preparing for The Millennium > The Millennium: Begin I have to agree with you there, although being #3 on this list is no shame, believe me! -- Spectropop Rules!!!!! Take Care, David --------------------[ archived by Spectropop ]-------------------- Subject: not high enough Received: 02/13/99 12:00 pm From: Doc Rock, docroXXXXXXXXcom To: Spectropop List, spectroXXXXXXXXties.com Unfortunately, not high enough on that particular number; "You Really Know How To Hurt A Guy" features one of the flattest notes ever committed to tape on the last word of the line "the ones that you like are really not your *kind*"! Jim Cassidy Jim, No, that title goes to Dean on the LP cut, "The Gypsie Cried!" Runner-up on the same LP, "Mr. Bass Man!" Doc --------------------[ archived by Spectropop ]-------------------- Subject: To: Jimmy Crescitelli ~ From: Diane Renay Received: 02/13/99 12:01 pm From: Diane renay, CEIInvXXXXXXXXom To: Spectropop List, spectroXXXXXXXXties.com Hi Jimmy: In answer to your question regarding my background singers. ....I don't believe Darlene Love or Fanta James ever sang on any of my background vocals. I did work with Darlene Love though, I think we both performed at the same record hop. Infact, there were several Song Hits Magazines that were popular in the 60's, and Darlene Love and I were on the cover along with a DJ and some other female artist! Sincerely: Diane Renay <[:>) --------------------[ archived by Spectropop ]-------------------- Subject: To: Tom Simon ~ From: Diane Renay Received: 02/13/99 12:00 pm From: Diane renay, CEIInvXXXXXXXXom To: Spectropop List, spectroXXXXXXXXties.com Hi Tom: So glad that you liked my stories!! Sincerely: Diane Renay <[:>) --------------------[ archived by Spectropop ]-------------------- Subject: Speeding! Received: 02/12/99 7:53 am From: WILLIAM STOS, wsXXXXXXXXt.com To: Spectropop List, spectroXXXXXXXXties.com > Yes, a great many oldies were speeded up in the 50s and 60s. Thanks Doc! I thought they might be one in the same. Two examples I can give (being a girl group fanatic and all) would be Andrea Carroll's "The Doolang." On the master it sounds like a normal song, should have been a hit! But on the single version she sounds like she pulled a "chipmunks." Super fast, super high. Also, my favourite recording by the Chiffons "What Am I Gonna Do With You," have a slow master version, but on the single, it was pretty fast. I like both of these. I think the faster one has cool harmonies. Diane, or Barbara, do you recall this happening. I don't think Phil would have done that, but Bob Crewe? Also, question for Carol Kaye. I was listening to some late 60s Marvelettes the other night. Did you play on any of their later stuff. Motown insists it was all recorded in Detroit, but you've told up otherwise. The bass on some of those songs is wild! Will --------------------[ archived by Spectropop ]-------------------- Subject: Various Received: 02/13/99 12:00 pm From: Jamie LePage, le_page_XXXXXXXXties.com To: Spectropop List, spectroXXXXXXXXties.com Re: Dionne Warwick Promises, Promises ------------------------------------- Toby wrote: >Has Bacharach's "Promises, Promises" (the album) been reissued >on CD? Can't find it on any format at all...either way, could >someone please post the tracklisting for the record? As far as I know this is not available in its original format on CD. I won't get into a detailed critique of this LP, but suffice it to say it is not one of my favorites. This comes at the end of the Bacharach/David peak era, and even though the production is good on tracks like Promises, Promises and This Girl's In Love With You, in general the material on this album is MOR and lacks the bite that make her earlier records so potent. Scepter SPS 571 Promises, Promises This Girl's In Love With You Little Green Apples Where Is Love Who Is Gonna Love Me Whoever You Are, I Love You Where Am I Going Wanting Things Lonely In My Heart Yesterday I Heard The Rain Re: Annette ----------- CLAUDIA CUNNINGHAM wrote: >Can someone tell me who produced Annette Funicello's records >when she morphed from adolescent Mousketeer into pop princess of >the early 60s? I have a nagging suspicion that best pal Shelly >Fabares may have had record producer hubby Lou Adler produce the >records for her. Good guess Claudia, but Adler would have been an unlikely choice to work with Annette. The reason? Walt Disney. Disney historically kept most everything in-house, and since Adler worked outside the Disney circle, he wouldn't have been Disney's choice to produce their hot teen property with the budding...er... ...talent. Paul Anka did Annette. There must be a great story here. Obviously Disney's concerns were to keep their teen idol property pristine, but apparently tall Paul had a different agenda. Disney relied to a large extent on the songwriting skills of the Sherman brothers (who wrote Mary Poppins and It's a Small World to give you an example of their style), and production chores were given to Paul Camarata (same team that did the Hayley Mills sides too). I really like Annette's version of "Let's Get Together" which is used during the record hop scene in Disney's "The Parent Trap". If Disney hadn't kept Annette under lock and key, she could have been the coolest girl group era singer ever. Her double-tracked leads are quite charming; I only wish she HAD worked with someone like Adler and recorded steamier Brill Building material. Her later records are really rockin', particularly the tracks from the beach party films. Check her out with the Beach Boys on The Monkey's Uncle. Despite every effort by Disney to keep Annette squeaky clean, underneath all of that Annette rocked! Too bad she didn't have the chance to record groovier material. Re: Speed --------- Doc wrote: >The classic girl record that was speeded up was Robin Ward's >(real name Jackie) "Wonderful Summer." Since she was a >full-grown woman with a daughter (named Robin, btw), to make her >sound like a teen, her voice was speeded up. No complaints here. I love her voice as it sounds on record. I did want to mention Joe Meek though. Joe more often than not dropped tape speed during recording and sped it up on playback. I have a Honeycombs CD with a bonus track of "Hab ich das Recht" (Have I the Right sung in German over the original backing track). Joe's original in English has the voice so sped up it sounds like it's Honey Lantree singing! The German version, apparently recorded at normal speed, sounds like an entirely different vocalist. All the best, Jamie LePage <http://www.geocities.com/RodeoDrive/5030> --------------------[ archived by Spectropop ]-------------------- Subject: Diane Renay - "Can't Help Loving That Man" scam!!! Received: 02/13/99 12:00 pm From: IAC, iandXXXXXXXXlnet.co.uk To: Spectropop List, spectroXXXXXXXXties.com Don't know how many US readers are familiar with UK's Northern Soul....a long-standing club scene based around 60s American soul music with a persistent dance beat, similar to and often including, vintage Motown. Many records played tend to be very obscure - the mentality generally being "the rarer, the better". Although still quite active, the scene was at its peak in the 70s, when many records played in those clubs were reissued, and crossed over to become national hits, e.g. Tami Lynn's "I'm Gonna Run Away From You", the Elgins' "Heaven Must Have Sent You", the Fascinations "Girls Are Out To Get You". A few labels were set up for the sole purpose of re-releasing some of these popular club anthems, labels like Casino Classics, Black Magic, Pye Disco Demand and Grapevine. In the northern clubs, deejays would enhance their reputations by creating "in-demand" sounds - this meant finding little-known US soul records with the right ingredients, and creating a following for them. To add to the demand, they would "cover up" the records - meaning they would try to retain obscurity value by withholding the true label and artist details, and announcing the record as by a totally different and quite unrelated artist - sometimes the titles would change too. Thus, many records would come to be known by the club-goers by these invented titles and artists. Usually, if one of these records proved popular enough to gain a legitimate reissue, then the true details would finally emerge.......but not always. One such "covered up" record was a late Diane Renay release - "Can't Help Loving That Man", the Kern/Hammerstein song done with a bouncy, Motown-styled beat. It was played in the clubs, but "covered up" as by Laura Greene, a black artist whose "Moonlight Music and You" had been very popular (it always helped to use the name of an artist who was already familiar to the clubbers). In 1979, " Laura's" record was picked up for reissue by Grapevine, an RCA-distributed company. It was issued in stereo on Grapevine #135, and backed with "It's A Good Day For A Parade" (can you recall the original label, Diane? The reissue says Virtue - ?). Incredible as it may seem, Grapevine chose to stick with the false name of Laura Greene for the reissue....neither Diane's name, nor any original producer credits are anywhere to be seen on the label. Unfortunately, it never sold enough to make a national hit, otherwise I'm sure Diane would be quite rightly seeking legal recourse to pursue back royalties...in fact, it's a shame that never happened - maybe it would have put an end to such shoddy record company practice. Ian Chapman --------------------[ archived by Spectropop ]-------------------- End
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