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Volume #0246 March 23, 1999
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Decca Originals
Subject: The Girls' Scene
Received: 03/23/99 12:27 am
From: Ian Chapman, iandXXXXXXXXlnet.co.uk
To: Spectropop List, spectroXXXXXXXXties.com
Hi Will:
>Ian, this record sounds fantastic! How can I get a copy?
>Do you sell them directly, or can I order it from my local
>record store? What is the sound quality like on these
>recordings? Liner notes?
I don't sell them directly, Will, but it should be easy to
order. It's put out by Polygram, under the Deram label, and
the number is 844 897-2. Exactly when it's available seems
to depend on which country - seems it's already out in
Japan, whilst I've been told it won't be in the UK shops
for "a few weeks" yet. All the tracks are from the master
tapes, except the Blue Orchids, which couldn't be located,
so they've done a very good dub from my own (near mint!!)
copy of the record. I tried to make the liner booklet as
informative as I could, but I guess it's left for others
to comment on that!!
Hi Jamie:
Thanks for the enthusiastic words. First, Pamela Blue......
>OK, Ian, you say in the liner notes that this was her
> only release. What does the B side sound like???
The flip, "Hey There Stranger" has that "home-made" Meek
sound, with a very tinny electric organ to the fore. The
song itself is okay-ish. Pamela's voice sounds different,
a little deeper - maybe he speeded her up for "My Friend
Bobby". I'd highly recommend the 29-track RPM CD "Let's Go -
Joe Meek's Girls!".....it has most of his girlie tracks
on, including TEN unissued.
>Marianne Faithfull's take on Ronnie's "Is This What I Get
>For Loving You" is pathetic. The agony, longing, anguish
>built into the lyric and so effectively communicated in
>the Ronettes version is completely absent here. Marianne
>sounds as cold as a Frigidaire on this.
Well, Jamie, there's no bigger fan of the Ronettes'
version than myself, but I do think Marianne offers an
interesting take on the song, with her aloof, rather
fragile reading of the lyrics pitched against Oldham's
increasingly manic production. It appeals to me in the
same way as, say, Francoise Hardy's Spectorish tracks.
Maybe it just sounds different to Brit ears!
>Bobbie Miller's cover of Raindrops' "What a Guy" is pretty
>strange too. Bill Wyman produced - hey, don't give up your
>day gig, Bill. I appreciate his ambition and resentment at
>the lack of support from the Oldham/Jagger/Richards camp,
>but this too is pretty dismal, particularly since he had a
>better model to start with in the Raindrops version. Great
>to have this on the comp, though, as it does contribute to
>the overall UK Decca GG picture and gives us an indication
>as to Wyman's abilities as a producer.
Yes, they were non-existent!! I totally agree with you
here, Jamie, the Bobbie Miller track is naff. Polygram no
longer had the rights to three tracks that I'd wanted to
include (Twinkle on Sloan/Barri's "What Am I Doing Here
With You?", Eleanor Toner - "Will You Love Me Tomorrow"
and "Happy New Year" by Beverley) and they wouldn't
license. So Bobbie Miller's item was a last-minute
addition, and the only track with which I was unfamilar. I
took it on a recommendation (never again!) that it was a
"good Stones connection". Had I heard it myself it wouldn't
have been there! There are so many better tracks that could
have been used.
>I particularly like the Wine/Bayer song "Nobody's Home To
>Go Home To" by Billie Davis. Ian, you don't mention the
>original recording of this song. Surely it must be a US
>artist. Do tell!
I'd like to know too, Jamie!! Can anyone else shed any
light on this?
>Lulu's "Try To Understand" (Sawyer/Burton) too is
>brilliant. Is this too a cover? If so, who originally
>recorded it in US?
Cindy Malone on Capitol (the "Weird Beard" gal). Hers
isn't as "produced" as the Lulu version, though, and
sounds a bit tame in comparison.
>One complaint about the CD (don't hate me, Ian!) is that
>there are not always producer/arranger credits.
Jamie, I'm at a loss as to why Polygram left the credits
off, especially as they actually asked me to supply the
necessary info for each track, which I did for most.
>One quick question: the liner notes seem to have a typo.
>About Louise Cordet......Care to tell us what you intended
>to say there?
There were actually two errors (which weren't in the notes
I submitted, I assure you!) The Louise Cordet bit
originally read: "(Gerry wrote "Don't Let The Sun Catch
You Crying" for her). Her fab treatment of Mary Wells'
"Two Lovers" - her final single - was an irresistible
helping of British Beat smothered in lashings of
"shush-mush"!" Also, the line in the Billie Davis paragraph
originally read: "- never demonstrated better than in the
pop-flick "Top Gear" where she sang "What'cha Gonna Do" in
her long mod "granny" dress, and jet-black bob." You might
also have noticed that John Reed, who wrote the
intoductory "blurb", incorrectly referred to Dana
Gillespie's as being the opening track.
BTW, Jamie, Louise's version of "Don't Let The Sun" is
taken at a much quicker pace than the Gerry version. It's
nice, but even Louise herself said at the time that she
thought his version was "much better"!
Well, here's hoping Polygram do a Volume Two!!
Ian
--------------------[ archived by Spectropop ]--------------------
Subject: The Girls' Scene/Marianne Faithfull
Received: 03/23/99 12:27 am
From: Kieron Tyler, kierXXXXXXXX.org.uk
To: Spectropop List, spectroXXXXXXXXties.com
Jamie LePage was mentioning the Girls Scene CD which
indeed sounds amazing.
And he said -
>There are some clunkers on here...Marianne Faithfull's
>take on Ronnie's "Is This What I Get For Loving You" is
>pathetic. The agony, longing, anguish built into the lyric
>and so effectively communicated in the Ronettes version is
>completely absent here. Marianne sounds as cold as a
>Frigidaire on this...."
Funnily enough - this is probably my fave Marianne 60s
single (after 'Hier Ou Demain'). It's her first 60s vocal
in a lower, slightly gruff style more reminiscent of her
70s releases, than the earlier quavery style. I think its
one of Oldham's most stylish productions in his kitchen
sink UK Spector way, and I reckon it's better than Billy
Nicholls version. Granted, it's different to the original,
but that's probably what makes it stand out to me, its a
really English sound....
And to Ian Chapman - the CD sounds essential, I'll get it
forthwith. The Vernon Girls 'Only You Can Do It' is a
brilliant single.
Yours,
Kieron Tyler
--------------------[ archived by Spectropop ]--------------------
Subject: Blue Orchids
Received: 03/23/99 12:27 am
From: WILLIAM STOS, wsXXXXXXXXt.com
To: Spectropop List, spectroXXXXXXXXties.com
> btw, The (Blue) Orchids - Oo Chang A Lang is absolutely
> great! Will Stos: this one is for you! The CD closes with
> the Exceptions' Soldier Boy (not a Shirelles cover). This
> too is classic GG. Priceless. This track is essential GG.
> The flute is so weird!
I just found out the Exceptions were really the Blue
Orchids in disguise! Pretty cool. Why hasn't there been a
Blue Orchids compilation? They didn't record a heck of a
lot, but all their material is top notch!
BTW, thank you Spectropopers for the info on the Teardrops!
I'll pass it along.
--------------------[ archived by Spectropop ]--------------------
Subject: More Brian
Received: 03/23/99 12:27 am
From: Carol Kaye, carolkXXXXXXXXlink.net
To: Spectropop List, spectroXXXXXXXXties.com
I am sure it was only that one rushed time about meeting
Manson, he didn't look any different than any other hippie
of that period. But...I never saw Brian with anyone but
someone in our business before and hurredly, I tho't "now
why does he, Carl, and Terry Melcher, have a stranger
around them". He was evidently the one who was hanging
around Manson.
I was introduced (with my bass in my hand on the way to
the Mel Torme date at Capitol Records) to the guy as a "
good new songwriter", that's all, just a quick thing. But
I remembered that.
About 2-3 weeks later the killings took place. We studio
musicians were deathly afraid after that.
Percussionist Gary Coleman told everyone that he and a few
others actually worked for Manson along with Dennis Wilson
(about the time I bumped into the creep) cutting some
things. Years later, some morbid DJ in Denver offered to
play me those cuts on a bootleg he had, -- hell no I don't
want anything to do with some sick idiot-criminal.
That one incident changed our lives forever... studio
musicians quickly pulled their home addresses out of the
Union Directory (not actually open to the public, but
could be gotten by the public if they were persistent).
Secrecy about our families, home phone and address data,
was then sought quickly. That was too close.
Now, I've noticed that Brian denies knowing Manson then,
and he's probably distancing himself from that incident,
don't blame him. Time to move on from all the negativity.
I abhor people who are fascinated with these types of
sicko killers, wonder about their sanity for sure.
I told one well-known film news agency when they wanted to
pursue as to "why", some things about the entertainment biz
and Manson "you know, that's exactly WHY some people love
to kill....they get attention from you news people....
treated really nice too, called "sir" on the TV.....they
LOVE that attention, so kiiling is not a problem for them
to get the attention you LOVE to give them". They stopped
then, saw the logic in that.
Carol Kaye http://www.carolkaye.com/
PS. You see why Brian will say anything to someone who's
bothering him to get rid of him, most "stars" do that....
so many crazies out there.
--------------------[ archived by Spectropop ]--------------------
Subject: Terry Melcher
Received: 03/23/99 12:27 am
From: Carol Kaye, carolkXXXXXXXXlink.net
To: Spectropop List, spectroXXXXXXXXties.com
I meant it was ONLY Terry Melcher that I saw that *knew*
Manson. Carl and Brian were just there in the hallway with
them. Terry was the one hanging around him.
Didn't know about Dennis until later when Gary Coleman
(percussionist, his daughter was one of Prince's backup
singers, keyboardist Debbie, nice girl, very talented,
I've known that family for years, I helped Gary get his
first recording sessions, excellent percussionist) told me
he had worked for Dennis on the creep's tunes. Carol Kaye
http://www.carolkaye.com/
PS. Now you see why Phil Spector always carries his gun
too. Am sure he's had some creeps from time to time act
weird around him in public too....it's a very scary
business, always has been since 1969.
--------------------[ archived by Spectropop ]--------------------
Subject: RCA Model 9-JY Phonograph
Received: 03/23/99 12:27 am
From: Jamie LePage, le_page_XXXXXXXXties.com
To: Spectropop List, spectroXXXXXXXXties.com
I was cruising around the WWW and found this pic at an
antique radio dealer's site. This apparently was an
early model that plugged into a radio or amp using the
newly-christened RCA plug. It reportedly only played 45
rpm discs with the big hole. It's a cool pic. That'w why
I bothered posting about it.
Thanks again to KK for introducing a very interesting 45
rpm thread and to all for subsequent comments.
http://www.accessone.com/~philn/art/rca11t.jpg
RCA Model 9-JY Phonograph
Jamie
--------------------[ archived by Spectropop ]--------------------
Subject: Reply to James
Received: 03/23/99 12:27 am
From: Frank Youngwerth, FMXXXXXXXXom
To: Spectropop List, spectroXXXXXXXXties.com
>It makes me wonder what then Frank, what you might think
>was near the best?
"Good Vibrations" may be unbeatable as a technical
achievement. But I think a great single should reach out
and grab your heartstrings, not just dazzle your mind and
senses.
While I was growing up, I heard "Good Vibrations" more
often via Todd Rundgren's note-for-note cover (which made
the Top 40), as well as a Sunkist orange soda commercial.
I guess those versions affected the way I hear the Beach
Boys'.
I think Aretha Franklin's "I Never Loved a Man (The Way I
Love You)" might be the best single ever. And "Don't Worry
Baby" the best by the Beach Boys. Brian Wilson would
probably pick "Be My Baby."
Choosing between the above three is apples and oranges to
me. But of he or she who deems "G. V." superior, I wonder:
do you listen with your heart?
Frank
--------------------[ archived by Spectropop ]--------------------
Subject: Boots Randolph
Received: 03/23/99 12:27 am
From: Paul Urbahns, PaulurbXXXXXXXXom
To: Spectropop List, spectroXXXXXXXXties.com
>Why is ANYONE honoring Kenny G ? Is there another one more
>deserving?
I vote for Boots Randolph, the original Mr Sax Man of Rock
and Roll that has been overlooked by rock fans because he
lived and works in Nashville. Reemeber all those great sax
breaks on Connie Francis (vacation, Gonna Be WarmThis
Winter, etc), Brenda Lee, Elvis Presley, Johnny Tillitson
(Poetry In Motion, great sax /vocal duet) and many others,
even the indian snake horn on the beginning of Ahab The
Arab was Boots Ranolph playing it on a soprano sax!
Paul Urbahns
paulurbXXXXXXXXom
"more sax more often"
--------------------[ archived by Spectropop ]--------------------
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