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Volume #0308 August 20, 1999
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featuring radio and recording favorites
ADMIN NOTE: Some list members received an earlier version
of 308. This is the corrected edition. Apologies for any
incovenience.
Subject: Country-Girl Group Linkages
Received: 08/20/99 7:16 am
From: M. Helfinger/D. Grant, mhexxxxxrlog.com
To: Spectropop List, spectxxxxxities.com
Don't worry, Doc - it's not necessarily off-the-wall to
suggest connections between some current female New
Country artists and the Girl Group Sound.
Even during the early 60s and late 50s, C&W and Girl
Groups weren't mutually exclusive sets. It seems to me
that there were a number of recordings by female vocalists
of that time - Connie Francis and Skeeter Davis come to
mind first - that straddled the two genres. For good
measure, I could throw in a local Toronto artist of the
early 60s era, Pat Hervey.
The idea of connections between C&W and Girl Groups
intrigues me because two of my favorite forms of music are
Girl Groups and Western Swing. That might seem like a
pretty bizarre mix of musical tastes, but the common
thread in my mind is that both are extremely joyous forms
of music. Coming to think of it, there were a few examples
of Western Swing incorporating female vocal harmony. I
think, in particular, of the Tiffany Transcriptions
recorded by Bob Wills and His Texas Playboys in 1946-47
(available in a 10-volume Rhino CD set). A few of the
tracks featured vocals by the McKinney Sisters (Dean and
Evelyn), and some of these could even be described as
anticipating the perky, upbeat spirit of the Girl Group
Sound (my turn now to ask for the indulgence of the List
members - forgive me if I'm going way off on a tangent...)
Finally, Doc, if you're grasping for Country/GG
connections, you can't overlook an example very close to
both our hearts, Debby (Swisher) Horn of the Pixies Three,
who became a C&W singer based in Oklahoma City during the
1970s and 1980s. Her country influences filtered through
onto the Pixies' 1995 reunion CD and into their current
repertoire on the oldies' circuit.
Michael Helfinger
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Subject: James Bond
Received: 08/19/99 11:44 am
From: Carol Kaye, caroxxxxxhlink.net
To: Spectropop List, spectxxxxxities.com
> Haha, you never saw Jim chasing East
> German agents at Gold Star, did you? :-)
>
> Tobias
Jimmy was a very fine jazz bass player (upright), suave
guy too....and we used to call him affectionately as "007".
Jerry Riopelle, will do....saw Earl tonight, he's OK,
playing good, and he loved the Henry Mancini Institute
students (all post-grad award-winning seasoned pros, great
guys, can really play and were honored and in awe of Earl,
he loved being with them too)....the pro-students, all
serious, played their tails off at RIX in Santa Monica,
jazz club where Earl holds sway every Tuesday night. Saw
Ray Johnson in there tonight, first time in about 25 years,
looks great, older of course, still recording some and
playing great keyboards.
Didn't know you used Earl that much, will say hi to him
next Tuesday, and to Hal also, Russ Wapensky says Hal is
"fine", doing well, had gone down to Phoenix to record this
week. Yes, we've lost quite a few.....
best,
Carol
I'm sure Earl, everyone will love to hear about you!
--------------------[ archived by Spectropop ]--------------------
Subject: Re: Curt Boettcher and Moses Lake
Received: 08/19/99 11:44 am
From: Jamie LePage, le_pagxxxxxities.com
To: Spectropop List, spectxxxxxities.com
Re: Curt Boettcher and Moses Lake
Ron Weekes, Wexxxxxs.edu wrote
>On a disc entitled "Sagittarius/Rarities & Curt Boettcher/
>Productions" I have there are two tracks by Moses Lake.
An interesting album. Worth seeking out. Oobleck by Moses
Lake is a slightly psychedelic guitar-based track with a
childlike lyric, credited on the sleeve as written by M.
Balzotti and Dr. Seuss!
>If I didn't know better I would assume the
>disc was created somewhere in Latin America.
A better guess would be Japan. I think the track selection
is taken directly from an article in Vanda 19. In fact, the
article even has the exact same typos!
Highlights of the CD: The single versions of "My World
Fell Down" and "Hotel Indiscreet" by Sagittarius with the
alternate mixes and insert pieces, "Mr. Man of the World"
by the Bootiques (note the typo on your CD-this group is
misspelled Bootigues!), and both sides of the Ballroom
single. The Something Young tracks are pretty good too. Low
point: the Jonathan Moore single. Embarrasing.
Question for Jerry and Bob, did you ever happen to make
Curt Boettcher's aquaintance? He worked on the early
Association records and some Tommy Roe stuff around the
same time. He is particularly noted for his fine vocal
arrangements, and he often co-produced with Keith Olsen. If
you have any recollections of Curt, we'd love to read about
them.
Jamie
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Subject: Re: Sagittarius rarities album
Received: 08/20/99 7:16 am
From: David Atlee Phillips, wuxxxxxet.se
To: Spectropop List, spectxxxxxities.com
Ron Weekes, Wexxxxxs.edu wrote:
>On a disc entitled "Sagittarius/Rarities & Curt Boettcher/
>Productions" I have there are two tracks by Moses Lake.
Could you please post the full tracklisting? Thanks..
T.
--------------------[ archived by Spectropop ]--------------------
Subject: Re: Spectropop V#0307
Received: 08/19/99 11:44 am
From: Shelby Riggsxxxxxmci.net
To: Spectropop List, spectxxxxxities.com
The preliminary results are in for "Favorite" Female
Singer. The results are posted on:
http://members.xoom.com/vinylmania99/results2.html
We have taken the top 25 vote-getters, and are putting
them on a ballot sheet. That URL is:
http://members.xoom.com/vinylmania99/vote.html
Everyone
can vote one time per month. Voting ends on 9-30-99. In
October we will be running an ongoing ballot for Favorite
Male & Female in 10 different categories. We will put this
in on 10-1-99. Thanks for your votes. If you have an
all-time favorite singer in a special category, please
send that name to: vinylxxxxxmci.net We will place
all names in the ballot boxes(Max. 20) for each category.
Performers such as Bobby Darin, Elvis, etc. can be placed in
more than one category. The results on the new polls will
be available on Jan-1-2000.
Shelby Riggs
--------------------[ archived by Spectropop ]--------------------
Subject: My bio?
Received: 08/20/99 7:16 am
From: Carol Kaye, caroxxxxxhlink.net
To: Spectropop List, spectxxxxxities.com
>Carol, when you get time, could you please tell us how
>you began playing guitar and bass? What were your first
>contacts with the stringed instruments and why did you
>persist in this interest that was such a man's domain? Who
>taught you? Did your parents discourage you? How did
>finally break into the business? Was it hard initially to
>be accepted, a women as a session player?
>Thanks in advance. Dave Mirich
Dave, and everyone, there is a lot about me and my
biography on my website (FAQ page too): http://
www.carolkaye.com/ and I think the FAQ page especially
addresses these questions. But...briefly:
I studied guitar with Howard Roberts' teacher for 3-4
months in 1949 at the age of 14, and he hired me to help
him teach and that same year began as a professional
musician, playing in Goodman-like "jazz" combos, dances,
weddings, etc. in Long Beach Calif., sat in with
television bands, on the road with Henry Busse's (very
good band btw, excellent musicians) band for 1-1/2 years
in 1955), divorced the bass player (remember I was a fine
guitarist by now), and just played good jazz in the hot LA
jazz clubs, and rose up in the ranks to play with people
like Jack Sheldon, Teddy Edwards, Billy Higgins, etc. and
accidently got into studio work when producer Bumps
Blackwell asked me (for Sam Cooke) end of 1957 (I didn't
want to do studio work but was paying for kids and support
of my mother, needed the money etc.) even tho' I was a very
well-respected almost-celeb jazz guitarist back in the late
50s.
6 yrs. into studio work as a popularly-called studio
guitarist (about 4th call with most record companies and
starting to work film calls too), late 1963, an elec.
bassist didn't show up for a date at Capitol and I've been
playing elec. bass on hits ever since (playing what I tho't
the bass should sound like, making up my own parts - and
liking not having to carry in all the guitars: elec. and
acousitic 6-string boxes, elec. and acoustic 12-string,
the Dano, the banjo, the mandolin, etc.).
There were MANY MANY MANY MANY FINE women jazz musicians
since 1920s, 30s,40s, 50s in JAZZ (a fact now lost on the
younger generations of people), there was literally NO
PROBLEM back then.....women jazz musicians were highly
esteemed, respected and admired (and MEN loved to play
with them too), there was NOT the discrimination back then
so obvious like it is now....sure some women had trouble,
the ones who couldn't play, but there were tons who COULD
play - it was NOT a rarity (not just women's bands either,
I never played in a "woman's" band, never tho't of myself
as a "woman" guitarist nor "woman" bassist....it's not a
"man bassist" is it?).
I felt that I had to "lower myself" to play that danged
new music called "rock and roll" but like most other
musicians, I was a jazz musician who got interested in
helping to create the background music for a hit record,
got to be rather easy, and our business was born in the
early 60s. There is hardly a rocker on any of the rock
records, mainly jazz musicians and ex-big-band fine
musicians recorded all those hits, film scores, and TV
film shows.
"Why did I persist?" Because......it was the ONLY THING I
was GOOD AT. Plus being born poor, being a stutterer, ugly
(buck teeth), and growing up without hardly anything, and
raised in a housing project, knowing what it was like to
starve, I didn't want MY kids to grow up like that....was
there a choice?
Evidently people today have little idea of how it is to be
that poor, that's kind of a weird question to me.
Did my parents discourage me? Hahahahahhahhahahahahaha....
...did I get beaten everyday (like the rest of the kids in
the 40s?), "you're stupid" etc. sure, everyday!!! Ask Bill
Cosby, he had that too, most successful people DID........
.. I've worked since I was 9 yrs. old...and it didn't hurt
me a bit.
I liked being capable of putting food on the table for my
Mom, no, she wasn't the "encouraging kind at all" - she
was rather jealous of me, of my playing and totally
critical "all the time", sort of despised me, but she was
loyal, that's love enough for me.
She helped me some with my kids early on, and finally on
her last day of life, she finally expressed some caring...
.....it just makes you strong when you don't have a parent
"doting on you" all the time. And you learn parents have
problems too....and learn hey, that's life.
My Dad was a SOB who I told my mother to "get rid of" when
I as 9 yrs. old, he had a lifetime of drugs and was abusing
her and me more and more. So we barely had enough to eat,
but my kids did't have to battle that - I raised them
successfully ALONE...and find that most single parents do
just fine with their kids.
Music gave me confidence and something beautiful in my life.
>How did finally break into the business? Was it hard
>initially to be accepted, a women as a session player?
Because I was damned good! Hell, I was better than the men,
no it wasn't hard at all - if they wanted a hit record
of creative fine playing, they called me.....in fact, one
trumpet player when asked "was Carol 'harrassed', started
laughing hysterically and said "she harrassed the men",
true.
Carol Kaye http://www.carolkaye.com/
--------------------[ archived by Spectropop ]--------------------
Subject: Re: Spectropop V#0307
Received: 08/19/99 11:44 am
From: DJ JimmyB, DJJimxxxxxcom
To: Spectropop List, spectxxxxxities.com
In a message dated 8/17/99 7:25:21 PM, you wrote:
>The best introduction to April March I know of is last
>year's LESSONS OF APRIL MARCH (Ideal), which compiles
>several tracks from her many EPs, singles and albums. Many
>of her releases are in the 60s French pop style
Yes Stewart--thanks for the embellishment. And the CD I'm
pumping up here is called "Chrominange Decoder", her
latest which, in addition to the 6t's influenced sounds
features several re-mixes of the same songs. I played
Mignonette on my show this morning between a Herb Alpert
and the Tijuanabe's (Brass Impact) version of "Mas Que
Nada" and Patty Duke's "Half-Hearted Kisses". It fit like
the proverbial glove. Just ask OJ ;-)...Jimmy Botticelli
--------------------[ archived by Spectropop ]--------------------
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