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Volume #0350 November 26, 1999
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A Long Playing Dynagroove Recording
Subject: Announcement
Received: 11/26/99 1:59 am
From: Carol Kaye, caroxxxxxhlink.net
To: Spectropop List, spectxxxxxities.com
After the beautiful time of backing Brian Wilson at his
wonderful Lifetime Achievement Awards event, I have to
share this with you all, so non-plussed about all this:
Just rec'd the following in the mail, you could have
bowled me over with a feather, must be dreaming:
"It is with heartfelt pleasure that "Women In Music"
invites you to be honored at their Fourth Annual
Touchstone Awards Benefit Luncheon in New York City. In
recognition of your outstanding dedication, exemplary
career achievments and admirable personal and professional
qualitites, it is our honor to further distinguish ou as a
woman who has made a difference. etc.etc."
When I first started working at 9 years old, it was fun to
earn money to help my mom (she had me late in life, and
both musician-parents split up then) and then later on
when I took some months of lessons, started playing gigs
and teaching at 14...that was another biggie - music was a
positive force in my life and could take care of my
responsibilities with music.
The choice between continuing playing fine jazz or going
into studio work in 1958 was another biggie, kids came
first....wise choice.
And then when I tho't I'd never get over the injuries of
1976, a 2nd surgery to put me on the road of feeling great
again, so at almost 65, am back playing jazz....this is
such an honor, you can't believe.
I have so much to be grateful for.
Happy Thanksgiving everyone.
Carol Kaye http://www.carolkaye.com/
PS. BTW, my new book (27th tutor item) is now out: "Jazz
Improv For Bass" and in the words of one purchaser "wow...
had everything I needed here", being well-received....
another grateful thing. Hope you ALL have a HAPPY
THANKSGIVING!!
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Subject: Paul Williams?????
Received: 11/26/99 1:59 am
From: Ian Chapman, iaxxxxx.net
To: Spectropop List, spectxxxxxities.com
Hi everybody,
Can anyone help me solve a mystery that has been bugging
me for several years? In '74 over here in the UK, Lynsey
De Paul had a hit with a very Spectoresque retro
girl-group song called "Ooh I Do". At the time, I recall
turning on the radio halfway through a very
similar-sounding song by a male singer. Not so Spectorish,
but the tune was very similar indeed. The deejay then made
a comparison with the Lynsey De Paul track and even said
it almost constituted a rip-off, although he didn't know
which song came first. I've never been able to find out
what that other song was, although I seem to recall Paul
Williams' name being mentioned. I know there are some PW
afficionados on the list......anybody got any clues, or is
this mystery going to follow me to the grave?!!
Ian
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Subject: Rare Phil Spector albums
Received: 11/26/99 1:59 am
From: GORDON HOSIE, hosixxxxxin.net
To: Spectropop List, spectxxxxxities.com
Could somebody tell me where I can get the rarer Phil
Spector albums shown on this site?
http://www.geocities.com/Tokyo/7666/framesetspector1.html
I'm referring to "Phil Spector Masterpiece" Vols 1 to 3. I
want these pretty badly. Somebody out there must know where
I can get them. If you do, let me know.
Gordon Hosie
hosixxxxxin.net
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Subject: Re: Stea Phillips, A&R, United/Western
Received: 11/26/99 1:59 am
From: WASE RADIO,xxxxxt.org
To: Spectropop List, spectxxxxxities.com
Billy G. Spradlin:
Stea Phillips studios was located in the Hotel Victoria in
NYC. The early Four Seasons stuff like Sherry and Big Girls
Don't Cry sounds like it was only recorded on three tracks.
For example "Sherry" has the back track on the left channel,
lead vocal in the center, and background vocals on the
right. I don't think they recorded all of their major hits
at Stea Phillips. I read somewhere they recorded "Rag Doll"
at an unknown demo studio. Their later hits like "C'Mon
Marianne" were cut on four tracks. In 1968, they did a
very interesting cover version of the Shirelles' "Will You
Still Love Me Tomorrow?"-and the production is so elaborate
that it sounds like it was cut on eight tracks. Yes A&R was
a great studio-used by Dionne Warwick-but also was used by
Lesley Gore, Peter,Paul and Mary,but also used by Billy
Joel, and even the Muppets (!). Unfortunatedly that studio
closed down around 1985. I thought that the United/Western
studios was changed to Ocean Way in the early 1980s. But
Cello? That's a new name.
Thanks
Michael G. Marvin
WASE radio
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Subject: Phil Spector
Received: 11/26/99 1:59 am
From: Spxxxxxm.com
To: Spectropop List, spectxxxxxities.com
To: Jamiee.
I wish I could help you out with info on him as a producer,
but I have only seen him in Gold Star Studios 3 times
and had a great time watching him. As a person, he was
very generous to his close friends and as a Father he
tried to provide. He is doing a lot better now. I did not
care much for the book by Mark Ribowsky "He's a Rebel", in
fact his own Mother (Bertha) hated it and the Author. The
author even had 2 spelling for Louis (the other Twin). For
a decent book on what he was like in the Studio, check out
Ronnie Spectors book "Be My Baby". Not all the family
stuff is completly true since I know where the info came
from. If you want info on him as a person, let me know.
just ask the questions and I will answer what I can.
SPECTRE
spxxxxxm.com
--------------------[ archived by Spectropop ]--------------------
Subject: Brill and Phil Spector 101
Received: 11/26/99 1:59 am
From: WASE RADIO,xxxxxt.org
To: Spectropop List, spectxxxxxities.com
To Jaimee:
The Brill Building was an eleven story edifice in midtown
Manhattan. During the early 1960s the building rang with
the incessant sound of voices and pianos. Songwriters such
as Barry Mann and Cynthia Weil, Carole King and Gerry
Goffin, Neil Sedaka and Howie Greenfield, Jeff Barry and
Ellie Greenwich composed such classics as "Will You Still
Love Me Tomorrow?" for the Shirelles, "Breakin' Up Is Hard
To Do", a number one hit for Neil Sedaka, and "You've Lost
That Lovin' Feeling", the Righteous Bros chart topper from
1965. The songs were the most tuneful rock and roll songs,
making free use of simple fifth chords, maybe with a small
subtle jazz tinge. Most of the songs that emerged from the
Brill Building were recorded in studios within a ten block
radius of all those songwriting cubicles.
The ones that Phil Spector co-wrote and produced were
recorded at Mirasound studios in New York. He later did
most of his major run of hits at Gold Star Studios in Los
Angeles. Phil was a New Yorker by birth, but moved to Los
Angeles as a child after his father's suicide. His
father's gravestone inspired Phil's first hit song "To
Know Him Is To Love Him" recorded by his group The Teddy
Bears at Gold Star in the late spring of 1958. The song
topped the charts around Christmas that same year. Later
he returned to New York and worked with Jerry Lieber and
Mike Stoller. Phil co-wrote "Spanish Harlem" with Jerry
Leiber that was recorded by Ben E. King at Bell Sound.
While at Bell Sound he produced "Corrina Corrina" for Ray
Peterson. He later produced Curtis Lee's "Pretty Little
Angel Eyes" and the Crystals' first two hits on Philles,
"There's No Other Like My Baby" and "Uptown" at Mirasound
also in New York. After forming Philles, he moved to Los
Angeles and back to Gold Star. He produced the Crystals
"He's a Rebel", all of the Ronettes hits, most of the
Righteous Bros. stuff there. According to the Spector box
set, "Unchained Melody" was recorded at Radio Recorders in
Hollywood.
"River Deep Mountain High" by Ike and Tina Turner, a near
chart topper in England was recorded at Gold Star. When
the song didn't hit very well in America, he semi-retired.
He came back in 1969 with "Black Pearl" by Sonny Charles
and the Checkmates, recorded at A&M studios. His later
work with John Lennon and George Harrison were done at
EMI's Abbey Road studios, John's home studio at
Tittenhurst both in England, and Record Plant studios in
New York.
His last well known project was the Ramones' "End Of The
Century" recorded at Gold Star, A&M, and several other L.A
. studios-released in 1979.
Michael G. Marvin
WASE radio
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Subject: Re: Reparata and the Delrons
Received: 11/26/99 1:59 am
From: Stos, William, xxxxx.tyenet.com
To: Spectropop List, spectxxxxxities.com
>Mick said Reparata was a really nice lady to talk to, very
>friendly and helpful. More's the pity the compilation never
>came to anything, she must have been very disappointed.
Not to mention the rest of us. Is it difficult to obtain
the master tapes of an artists' complete career for
reissue? I mean, with Reparata and the Delrons floating
around on several different labels, would all labels ever
allow their cuts to be put on one master collection? Is
there any hositility between labels? For example, is UA
wanted to put their Crystals tracks on a comp with some
Spector tracks, Phil and company would never let it happen.
Is this the exception or the rule? Ian, you've done
comps, what is it like?
I also heard Michael Ochs charges an arm and a leg for
photos for these types of things. Does he have a deal with
labels, or is it $300 per photo same as always?
Will
--------------------[ archived by Spectropop ]--------------------
Subject: Re: things are changin
Received: 11/26/99 1:59 am
From: Brad Elliott, suxxxxxonline.net
To: Spectropop List, spectxxxxxities.com
Hi, everybody! Sorry I've been away for so long.
Unfortunately, family situations sometimes have to take
priority to online life.
Anyway, I'm trying to get caught up, reading the last
dozen or so Spectropop digests in one fell swoop. The
continuing discussion about "Don't Hurt My Little Sister"/
"Things Are Changing" has been interesting. Thanks, Carol,
for providing your perspective on the track!
I have to take issue with Mark Landwehr, who took issue
with Bob Hanes:
> But, Brian did write
> DHMLS for the Ronettes. This has been accepted as fact for
> many years, and was even mentioned in the 1991 Fitzpatrick/
> Fogerty book "Collecting Phil Spector." Whether Ronnie
> remembers this or not is another story...
Mark, the evidence seems to support that Brian actually
wrote DHMLS for Darlene. I think it's just been assumed
over the years that if Brian wrote a song for a Spector
group, it had to have been for the Ronettes, as he was
always so vocal about how much he loved "Be My Baby." But
there is an early 1965 interview with Brian in which he
stated, "And I just did a session with Darlene Love. I
wrote the song for her, too." In 1981, BB collector Steve
Harvey had the opportunity to ask Brian about his work
with Spector. I quote Steve from a letter he wrote me: "I
asked Brian about his recording session with Spector.
Brian replied that they recorded a version of his 'Don't
Hurt My Little Sister' using Darlene Love."
I hope that clears that point up.
Surf's up!
Brad
--------------------[ archived by Spectropop ]--------------------
Subject: Tunes...
Received: 11/26/99 1:59 am
From: Carol Kaye, caroxxxxxhlink.net
To: Spectropop List, spectxxxxxities.com
>From Ian:
>"My One & Only Jimmy Boy"? Titles are "I Don't Believe In
>You"/"Baby Don't Cry", and it is listed as Colpix 744.
Sorry, might be on these, but don't they don't ring a bell -
can't remember most of the stuff I did.
Carol Kaye
http://www.carolkaye.com/
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