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Volume #0234 March 2, 1999
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Red With Purple Flashes
Subject: Creation
Received: 03/02/99 1:30 am
From: james fisher, JHFAXXXXXXXX.net
To: Spectropop List, spectroXXXXXXXXties.com
Hi Spectropoppers,
Does anyone have info on the above group? They have a song on
the soundtrack to the movie "Rushmore". A friend said he thought
they were a UK band from the '60's. Anyone familiar with 'em?
Regards to all,
Jim
BTW. While I'm here....Spectropop is THE music list! Nothing but
interesting stuff day after day. In the 6 months or so that I've
been on it I've yet to see any of that accursed "flaming" which
makes many lists a waste of time. A finer bunch of BB, GG, Burt
and Phil fans you wont find. Long may it rule.
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Subject: The Big Hurt album info
Received: 03/01/99 7:37 am
From: Paul Urbahns, PaulurbXXXXXXXXom
To: Spectropop List, spectroXXXXXXXXties.com
Carol Kaye wrote:
>Not saying he did or didn't do the phasing on that record, just
>that Leo Kulke was not at Gold Star. I don't know who is right
>here - for all I know I could be playing guitar on that date - I
>do have that name in my log for one of the singers I worked for.
As I mentioned on a previous post, I have that rare Toni Fisher
album on Signet. The credits says Recorded at Gold Star and
Mastered at Sound Enterprises, Inc. Only the phasing effect
appears on The Big Hurt, the remainder of the album is very much
in the Julie London style of performance. (not to take anything
away from Miss Fisher). Also Shanklin was not against
multi-tracks because the whole album is in true stereo except
The Big Hurt and in those days it would have been very easy to
make a mono only album. Lots of companies did that. I don't know
what the original B side to The Big Hurt is but its probably on
the album.
I believe a previous post mentions Sound Enterprises had a
studio. Wayne Shanklin might have had something to do with that
company, because the original liners written when the song was a
hit clearly state. "She recorded the song immediately at the
famous Gold Star Recording Studios in Hollywood, California,
(which have produced a large share of today's current hits) and
the finished recording was taken by Shanklin to his studio,
where he locked himself in with the record, and spent the next
30 days dreaming up the gimmick (with the incredible help of the
engineers at Gold Star Recording Studios) the end result being
the Toni Fisher hit record of "The Big Hurt".
I don't know anything about Mr. Shanklin, but he appears to have
been a Phil Spector type without the same success. He wrote the
song, auditioned singers until he selected Miss Toni Fisher, did
the recording at Gold Star, but the mixing and mastering appears
to have been done at Sound Enterprises, Inc. studio and issued
on Signet (If I remember the previous post right). He credits the
phasing effect to the engineers at Gold Star but it indicates he
also did something at his own studio. Is it possible that Leo
Kulke (the engineer at Sound Enterprises), worked with one of the
engineers from Gold Star (Mr. Ross) at Sound Enterprises (or Gold
Star) to come up with the effect? Probably the answer is this
effect was not the sole work of any one person but a combination
of efforts of several. Each remembers part of the story and being
involved in it. The liners seem to indicate the effect was done
at Sound Enterprises during a 30 day period.
Looking at the pictures on the album, I guess would Wayne
Shanklin is dead as he appears to be older than either Miss
Fisher or the orchestra leader Heinie Beau. Shanklin is probably
the only one that knows the whole story. The album states the
phasing effect was going to be used on her next single, even
though it was not used on her album (which is all stereo except
for the Big Hurt).
Songs on the album are:
Side 1:
Speak Of The Devil
Blue, Blue, Blue
Autumn Leaves
Love Affair
Why Can't the Dark Leave Me Alone
Gloomy Sunday
Side 2
The Big Hurt
Take me In Your Arms
Gotta Walk, Can't Sleep
What Did I Do
My Silent Love
Maybe (He'll Think Of Me).
Of the songs 6 were with written or co-written by Shanklin.
Maybe the second single (How Deep Is The Ocean) is getting
memories mixed up since it used the same effect.
Jamie wrote:
>Note to Carol Kaye - maybe your buddy Russ could let us know
>what he's discovered about this record? The studio is always
>listed on those AFM sheets you refer to from time to time, right?
Since this is a mixing problem, I don't think the session sheets
would help at all. That is because all involved indicate the
session was past when the remixing that caused the phasing
effect was created. As I posted the liners say it took place
over a 30 day period. If they had called the musicians back in
and rerecorded the date then the session logs would help.
Am I right Carol?
Paul Urbahns
paulurbXXXXXXXXom
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Subject: Re: Rockin' Jackie DeShannon
Received: 03/01/99 7:33 am
From: Doc Rock, docroXXXXXXXXcom
To: Spectropop List, spectroXXXXXXXXties.com
Matthew Kaplan, TweeXXXXXXXXom wrote:
>I was just listening to the ultra-cool "What The World Needs
>Now-The Definitive Jackie DeShannon" compilation on EMI from
>1994 and it raised the thought that I'm sure somebody can answer.
>Did Jackie record more straight up Wanda Jackson-ish
>rockabilly tracks like her 1958 single "Buddy"?
>
>From my Liberty Records book, 1991 interview :
Bones Howe on Jackie DeShannon: "I was the engineer on Jackie
DeShannon's first Hollywood session. She was gong to be the
female Elvis Presley, and she had these tight jeans on and was
jumping around the studio like everyone thought Elvis did. I
still see her, we are these two middle aged people now (Bones is
58)."
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Subject: Rosie & The Originals Fan Club
Received: 03/01/99 7:33 am
From: Shelby Riggs, vinylmaXXXXXXXXlink.net
To: Spectropop List, spectroXXXXXXXXties.com
Rosie & The Originals Fan Club
Post Office Box 1523
West Covina, CA 91793-1523
--------------------[ archived by Spectropop ]--------------------
Subject: Re: Outstanding 60s
Received: 03/01/99 7:33 am
From: David Bash, BashXXXXXXXXom
To: Spectropop List, spectroXXXXXXXXties.com
> I bought the Left Banke compilation CD with liner notes by
> Andrew Sandoval awhile back, listened to it once and shelved it.
> This last week I listened to it six or eight times while in my
> car and am now highly impressed by this bands output. The same
> thing happened when I bought the Yellow Balloon CD which I now
> think is magnificent.
> Other outstanding albums available on CD from this time frame it
> are the Flowerpot Men and Moby Grape. Aside from Pet Sounds,
> Smile, Van Dyke Parks wonderful '60s music, Harpers Bizarre,
> Millennium/Sagittarius/Ballroom, or the Kinks, can anyone
> recommend other musical treasures of this type from this same
> era?
> Dave Mirich
Hi Dave,
Well, there are many of them and I'll probably forget some here,
but some great late '60s treasures now on CD are (as opposed to
CD-R).... :-)
And Along Comes The Association-The Association
Renaissance-The Association
Insight Out-The Association
Birthday-The Association
This Is Us-Harmony Grass
It's A Happening World-The Tokens
Studio-The Tages
Evolution-The Hollies
Butterfly-The Hollies
Happy Together-The Turtles
Around Grapefruit-Grapefruit
Let's Live For Today/Feelings-The Grassroots (2 Fer on Repertoire)
Tangerine Dream-The Kaleidoscope
The Clique-The Clique
The Pleasure Fair-The Pleasure Fair
The 8th Day-The 8th Day (no, not the soul group)
and then there are great compilations by bands like:
The Montanas
Marmalade
The Rockin' Berries
Tony Rivers and the Castaways
The Arbors
The Cyrkle
The Choir
The Critters
The Ivy League
Pinkerton's Colours/The Flying Machine
and of course, tremendous albums that haven't seen the light of
CD day are...
The Colours-The Colours
The Smoke-The Smoke
Elephant Candy-The Fun and Games
So Good-Don and the Goodtimes
Tones-The Gordian Knot
Eternity's Children-Eternity's Children
Timeless-Eternity's Children
Five Man Electrical Band-Five Man Electrical Band
The Tuneful Trolley-The Tuneful Trolley
Chamaeleon Church-Chamaeleon Church
Basic Magnetism-Teddy and The Pandas
Will You Be Staying After Sunday-The Peppermint Rainbow
I know there are several items I've forgotten, but it's early. :-)
Steve Stanley, take it away!
If anyone has either "The Cyrkle" or "Neon" by The Cyrkle on CD,
and is willing to make a trade, please e-mail me off list at
bashXXXXXXXXom
--
Spectropop Rules!!!!!
Take Care,
David
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Subject: Left Banke (and so forth)
Received: 03/02/99 1:30 am
From: Jack Madani, Jack_MadXXXXXXXX12.nj.us
To: Spectropop List, spectroXXXXXXXXties.com
Dave Mirich writes:
>I bought the Left Banke compilation CD....
>Listened to it six or eight times while in my
>car and am now highly impressed....The same
>thing happened when I bought the Yellow Balloon CD which I now
>think is magnificent.
>
>Other outstanding albums available on CD from this time frame it
>are the Flowerpot Men and Moby Grape. Aside from Pet Sounds,
>Smile, Van Dyke Parks wonderful '60s music, Harpers Bizarre,
>Millennium/Sagittarius/Ballroom, or the Kinks, can anyone
>recommend other musical treasures of this type from this same
>era?
Interesting, Dave, to finally try to put it all together into
some sort of list. So what do we have to begin with, based on
your own suggestions:
Left Banke "There's Gonna Be A Storm: Complete Recordings 1966-1969"
Yellow Balloon "Yellow Balloon"
Beach Boys "Pet Sounds"
Beach Boys "Smile"
Van Dyke Parks (which ones exactly?)
Harpers Bizarre (the WB Archives comp?)
Millennium "Begin"
Sagittarius "Present Tense"
Ballroom "Before The Millennium (did I get the title right?)"
Kinks (which ones exactly?)
Flowerpot Men (presumably a comp, but which one?)
Moby Grape (which one exactly?)
Then let's add to this:
Zombies "Odyssey & Oracle"
and also:
VA "The Melody Goes On: Soft Rock Vols.1-3" Roger Nichols & The
Small Circle Of Friends "The Drifter" The first item is on the M
&M label from Japan, and is tough but not impossible to find.
The Roger Nichols item may be easier to find than the holy grail,
but it's a close call.
I'd also add, as a sort of sorbet to help cleanse your pallet
after OD'ing on the whipped cream and baroque other delights of
some of the above items: Antonio Carlos Jobim "Wave" (1967, A&M
CD 0812, with a gorgeous understated album cover) There's plenty
of Jobim available in one repackaged comp or another, but I'd go
with Wave because it's an original lp lineup, it comes from that
year '67, and because it just has something magically calm about
it. Similarly, I'd suggest that such a list of pallet-cleansers
should include: Beach Boys "Friends" (just make sure you stop
the player before "Transcendental Meditation")
Other names that might belong, but about which I don't know
enough to make a specific recommendation:
The Cyrkle
The Critters
Actually, looking back over all the names here, I begin to
wonder if Pet Sounds belongs. Not to say it isn't great (duh!),
but rather does it fit in with the hard-to-express otherliness
of the rest of the titles?
--------------------------------------------------------------------
Jack Madani - Princeton Day School, The Great Road,
Princeton, NJ 08540 Jack_MadXXXXXXXX12.nj.us
"You knew the job was dangerous when you took it, Fred."
--Henry Cabot Henhouse III
--------------------------------------------------------------------
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Subject: More like The Left Banke...
Received: 03/01/99 7:33 am
From: Robert Charles-Dunne, XXXXXXXXlt.com
To: Spectropop List, spectroXXXXXXXXties.com
Dave Mirich wrote:
"Aside from Pet Sounds, Smile, Van Dyke Parks wonderful '60s
music, Harpers Bizarre, Millennium/Sagittarius/Ballroom, or the
Kinks, can anyone recommend other musical treasures of this type
from this same era?"
Michael Brown from The Left Banke had a much harder sound in
Stories ["Brother Louie"], which most people know about. However,
his real defining post-Left Banke moment came - in my humble
opinion - with The Beckies, a truly obscure Sire release from
the early '70s. Pure pop so sugary sweet it'll give you diabetes
and rot your teeth. Lots of energy and drive, however.
Other recommendations from this hopeless pop vinyl addict:
Anything by The Walker Brothers - sappy and maudlin at their
worst, but heartachingly despairing when they were on the money.
Those coming to the Walkers this late in the game may be
initially put off by the grandiosity of the production, and the
more lame tracks [no shortage of them], but the vision they
pursued was so completely out of synch with the psychedelic
times, they astonish. First single, "Love Her," was recorded by
Jack Nitzsche, who didn't care much for working with the Walkers
from the press quotes I've read. Those who admire the Walkers'
output may also wish to trace Scott Walker's solo work, which
has been cutting-edge for 30 years. He's the missing link
between Jack Jones and Nine Inch Nails... [And those who think
that nobody made this kind of record after the Walkers split are
advised to seek out 12" singles from the early 80s by White &
Torch, a woefully-obscure UK duo that came eerily close to the
Walkers, particularly on "Let's Forget," a massive sounding,
killer song.]
Amen Corner - A seven piece Welsh band fronted by Andy
Fairweather-Lowe. Some great studio stuff, but the live releases
were astonishing too. Lots of power and energy, but never lost
the pop element.
PP Arnold - No offense to Merrilee Rush, but have a listen to
PP's "Angel Of The Morning" for the REAL deal, or her take on
"The First Cut Is The Deepest." This woman could really sing.
[She's been back in the studio in recent years with one of the
Ocean Colour Scene lads, but I haven't yet heard the results.]
Badfinger - Criminally under-rated pop masterpieces,
particularly the "Straight Up" album, and "Maybe Tomorrow" from
when they were still The Iveys.
The Easybeats - Australia's answer to the Beatles stimulated
'Easy Fever.' Everybody remembers "Friday On My Mind" but they
produced a cornucopia of other pop classics. Strong vocals,
great songs, fabulous playing, and some big orchestral stuff.
Check out "Gonna Have A Good Time Tonight" for Stevie Marriott
on background vocals. [And while we're Down Under, let's not
forget the earliest Bee Gees material: "New York Mining Disaster,"
"Massachusetts," "I Started A Joke," "First of May," et al.
And the first Rick Springfield album in North America: "Speak To
The Sky."]
Buffalo Springfield - If you like the lush, big-strings sound,
cleave toward "Expecting To Fly" and "Broken Arrow." Jack
Nitzsche again.
Marmalade - Scottish band known mostly for "Reflections Of My
Life" but they did lots of great songs. Junior Campbell wrote
some fabulous stuff.
The Herd - Featuring Peter Frampton back when he was 'The Face
of 68,' these guys did a killer tune called "From The Underworld"
and much more. Also had a member named Andy Bown who did a
couple of great solo albums.
Chad & Jeremy - "Of Cabbages & Kings" was a fairly psyched up
pop masterpiece for the time, and remains a rewarding listen.
Grapefruit - Anglo pop band who dipped into psyche territory
occasionally. Hard to find, but might be in your local vinyl
bins.
Golden Earring - Yeah, the "Radar Love" guys. Most people don't
realize this band was already a decade old when that song hit the
charts. "Smoking Cigarettes" and "Born A Second Time" are
classics for the ages, if you can find them, and an eponymously
titled album on Polydor from about '70/71 contains tear-jerking
pop material.
Spooky Tooth - First album, "It's All About A Roundabout" has a
monster version of "Tobacco Road," which is worth the price of
admission alone. Great psyched up arrangements, soulful vocals
and all-encompassing organ.
Love - These guys should require NO introduction, but remain
sadly underrated. "Forever Changes" is generally acknowledged as
one of the top ten albums of all time. Yeah, it's certainly weird
[with lyrics like "the snot has caked against my pants, it has
turned into crystal"], but it was a Summer Of Love creation, eh?
Too much acid. Most people are so fixated on Arthur Lee, they
forget some of the best Love songs were written by the late
Bryan Maclean [who died this past Christmas]: "Softly To Me,"
"Old Man" and "Alone Again [Or]."
The McCoys - The "Hang On Sloopy Guys" jumped on the acid
bandwagon with "Human Ball" and "Infinite McCoys" which sound
quite of quaint in retrospect.
Bubble Puppy - "A Gathering Of Promises" was pretty raunchy
stuff, including their sole hit "Hot Smoke & Sassafras," but it
also had some softer passages that are worth a listen 30 years
later. Hard to find and damn expensive.
Emitt Rhodes - A trio of solo albums, recorded and performed
entirely by Emitt. Wonderful stuff...
Raspberries - "Go All The Way" was just the tip of the pure pop
iceberg. I know it's not quite '60s, but a pleasure nonetheless.
If The Beatles could come from Liverpool, is there some reason
their US counterpart couldn't come from Cleveland?
The Soft Boys - "Underwater Moonlight" - It's an early 80s
release, as I recall, but the content is so slavishly 60s in
style and execution you'd be hard pressed to tell the difference.
5 Man Electrical Band - "Coming Of Age" is an early 70s album
that has a massive pop/orch arc. Hard to find, perhaps, but
worth the effort.
Anthony Moore from Slapp Happy - aka A. More - [attempted pun,
no doubt] had a phenomenal solo album called "Flying Doesn't
Help." On the obscure Quango label in the UK, it was reissued by
the almost-equally obscure Canadian El Mocambo label in the early
80s. Full disclosure: I ran that label. The single best record
I've ever had a hand in, and the worst selling. Made Top Ten
year-end press review lists coast to coast in Canada but got NO
airplay because it was just way too adventurous for its time. "
Judy Get Down," "Caught Being In Love" and "Lucia" are such
stone cold homages to the Spector technique one can't help but
get goosebumps. Impossibly hard to find, but look for a white
jacket with multicoloured dead birds on sticks and you've got a
sleeper gem.
Others worthy of quick mention:
Mick Greenwood - "Living Game"
Paul Slade - "Life Of A Man"
Graham Gouldman - "Graham Gouldman Thing"
Tony Hazzard - "Loudwater House"
I can't wait to read the suggestions that other Spectro-members
make to Dave Mirich. Thanks for the time, and all the great stuff
I get to read from other members.
Robert Charles-Dunne
Toronto
--------------------[ archived by Spectropop ]--------------------
Subject: Spectropop Opened my Eyes, er, Ears
Received: 03/01/99 7:33 am
From: Doc Rock, docroXXXXXXXXcom
To: Spectropop List, spectroXXXXXXXXties.com
Spectropop has done something very interesting for me.
All my life, there have been 4 kinds of records for me. I define
them by my reaction when they come on the radio.
One. Records that I stop what I am doing, turn up the volume,
and listen, even for the Zillionth time.
Two. Records I like, even play for myself. I buy 'em or tape em.
Three. Fillers. Stuff I'd never play, but don't mind hearing.
I'd probably punch the radio buttons on the car radio to see if
something better was on another station, but come back to if
there weren't. I don't mind playing them on the air one bit.
Four. Records that I have never listened to all the way through.
I change the station when they come on, and I listen to a
commercial before I come back the that station. Records I'd
never play for myself, nor even play on my radio shows.
These fours I never understood. In the '60s, I half thought that
stations played them as part of an evil plot, or for payola, or
because they were indulging themselves and ignoring what their
(younger? smarter? more astute?) listeners wanted to hear. Not
that they are bad songs, badly performed. They are just Fours.
But reading Spectropop, I have discovered that there were people
out there in radio land who actually considered my Fours as their
own personal Ones!
Very interesting! Infinite Diversity Through Infinite
Combinations, as Gene Roddenberry used to say.
And more power to you!
--------------------[ archived by Spectropop ]--------------------
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