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Volume #0002 10/31/97
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Subject: D. Love, Sharon Marie
Sent: 10/30/97 5:48 AM
Received: 10/30/97 8:08 AM
From: Mike Bartolowits, mbartolowXXX@XXXXXX.com
To: Spectropop, spectroXXX@XXXXXXies.com
I was listening to Darlene's Maybe I Know this morning on my way in
(thanks to Paul) thinkin', man, Darlene really put's a lot into her
music.
I always loved Leslie Gore's song, but I think Darlene even does a better
job with it.
Someone from the bb list sent me a tape with Sharon Marie's Thinkin'
Bout You Baby (a diff. cover of the bb's Darlin'). Can anyone tell
me who Sharon Marie is and a little about her background and music?
Thanks
Mike
(Paul, your tape is comin' next week!)
-------[ archived by Spectropop ]-------
Subject: Hello, list.
Sent: 10/30/97 1:43 AM
Received: 10/30/97 8:08 AM
From: Kit Carson, XXX@XXXXXXday.com
To: Spectropop, spectroXXX@XXXXXXies.com
Whoever recommended me to this list: thanks. Looks like it's going to be a
big time.
Best,
Kit Carson
GOLD TODAY
Keeping Oldies stations sounding FRESH everyday!
----------[ archived by Spectropop ]----------
Subject: I Said Now Hey Ev'ree Bad Deeee
Sent: 10/30/97 2:39 AM
Received: 10/30/97 8:08 AM
From: Richard Globman, rglobXXX@XXXXXXeocomm.net
To: Spectropop List, spectroXXX@XXXXXXies.com
Jack "I don't know my a** from second base" Madani SED:
>Ya know, this list used to be a helluva lot more civil in the old days.
************************************
Yeah, so's your mother.
DICKY "take THAT, buddy" G
----------[ archived by Spectropop ]----------
Subject: Influence Speculation
Sent: 10/30/97 3:13 AM
Received: 10/30/97 8:08 AM
From: David Marsteller, davebXXX@XXXXXXlin.org
To: Spectropop List, spectroXXX@XXXXXXies.com
I've been pondering Jack's post on the influences on Brian Wilson, Leiber
and Stoller, and Phil Spector. I don't have any inside information, so
I'll have to speculate. ;)
First, a distinction could be drawn between appreciation and emulation. I
like Duke Ellington, but that doesn't mean I'm going to try to write like
him.
Jazz as we're defining it covers a lot of styles, from more structured
'big band' music (which I think was Brian's influence) to looser r&b
combos.
I think Leiber and Stoller do have a jazz influence in their work, it's
just a different kind of influence. Brian Wilson picked up more on the
harmonic content of jazz (which is what Jack picked noticed), while
Leiber and Stoller show more influence lyrically and rhythmically.
I can't really see any jazz influence on Spector, per se, except
perhaps in his use of big band size forces to create his wall of sound.
One additional thing to consider is what performers the various writers
were writing for. At the start of Spector's career, he was writing for
the Teddy Bears. From hearing a couple of their recordings, I suspect
they were pretty limited in what they were able to carry off. Leiber and
Stoller started writing for blues and r&b artists. I doubt that these
artists would have been interested in straying too far from a traditional
blues base. I suspect Brian Wilson had an advantage in that his band
basically was a family unit that he could rehearse to his heart's content.
I'll be interested in seeing what y'all think, maybe even in this same
digest issue.
Dave
/************************************************************************/
/** "Reach out and grab a fistful of now" **/
/** Thornetta Davis **/
/** David Marsteller davebXXX@XXXXXXlin.org **/
/************************************************************************/
----------[ archived by Spectropop ]----------
Subject: Phil Spector Christmas LP
Sent: 10/30/97 2:39 AM
Received: 10/30/97 8:08 AM
From: Richard Globman, rglobXXX@XXXXXXeocomm.net
To: Spectropop List, spectroXXX@XXXXXXies.com
Just the other night, I friend requested that I make her some tapes of
good Christmas music. I taped The Beach Boys, Temptations (Give Love
at Christmas), and, of course the Spector LP.
While I was taping...and unfortunately I only had the Spector stuff on
vinyl with all the mandatory hisses and pops...I looked at it and the
date was....1987. Now obviously what I have is a re-issue.
This is such a wonderful album that I would love to get it on CD.
I have not been able to find it.
Does anyone know if it's available?
DICKYG (sleigh riding with the top down)
----------[ archived by Spectropop ]----------
Subject: Re: Carole King's City
Sent: 10/30/97 12:55 PM
Received: 10/31/97 1:17 AM
From: David Bash, bashXXX@XXXXXXt.com
To: Spectropop, spectroXXX@XXXXXXies.com
> From: David Marsteller, davebXXX@XXXXXXlin.org
> A few months ago, I *finally* sprung for a bootleg copy of The City's
> "Now That Everything's Been Said" lp. Does anybody have the inside scoop
> on why that album has yet to be reissued? Does Carole King hate it so
> much that she won't allow it, or is it something more mundane like the
> masters can't be found? I don't think it's nearly that bad that Carole
> won't let it be reissued; well there are a couple of songs that aren't
> that great, but can any album with 'I Wasn't Born To Follow' be all that
> bad?
> Later
> Dave
Hi Dave,
I'm not sure why "Now That Everything's Been Said" hasn't been reissued
in the states, but I have seen a Japanese CD reissue of it floating
around. I wish I remembered what label it was on, but I'll bet Jamie
could shed some light on that.
--
Pop Rules!!!!!
Take Care,
David
----------[ archived by Spectropop ]----------
Subject: Re: where's the influence?
Sent: 10/31/97 2:10 AM
Received: 10/31/97 2:30 AM
From: Jamie LePage, le_page_XXX@XXXXXXies.com
To: Spectropop, spectroXXX@XXXXXXies.com
Jack Madani, Jack_MadXXX@XXXXXX2.nj.us wrote:
>...one listens to the *songs* (Leiber/Stoller and Spector)
>are writing, and I don't hear (the jazz influence) at all.
>Why the monstrously large dichotomy? Brian Wilson has a
>similar love for jazz music (Gerswhin, Four Freshmen,
>Hi-Lo-type stuff), and in his music you definitely *can*
>hear the influence...
I think this is a pretty easy one. Brian had his immediate family as a
soundboard, which meant practically nothing. Murry as a mentor was a
deterrent if anything (ever hear the Help Me Rhonda vocal sessions?). *In
spite of* Mike Love and Murry, Brian created some great records in those
early days. The NY cats on the other hand, were striving to make
hits-by-formula and feeding off each other's creativity. Leaving
Leiber/Stoller aside, the Brill writers had Al Nivens and Don
Kirschner to spur them on, not to mention the in-house competition they
all had at the time. Sophisticated, competetive professional songwriters
vying for the next cover. A very healthy atmosphere for top level
tunecrafting.
>But L&S were, as far as I know, writing
>Hound-Dog-style I-IV-V chord progressions right up until the end of the
>sixties, and Spector likewise (when he actually *wrote* music, that is,
>instead of just grafting his name onto the songwriter credits, but that's
>grist for another post).
Do you really believe Spector made little contribution to the songs he
co-wrote with Brill writers? Colonel Tom might have done that with Elvis,
but I definitely hear Phil's input in the Mother Bertha songs he is
credited with.
LePageWeb
----------[ archived by Spectropop ]----------
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