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Spectropop V#0401

  • From: The Spectropop Group
  • Date: 04/02/00

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       Volume #0401                           April 3, 2000   
         soulful yearning that every teenager understands
    Subject:     BOUNCE: Non-member submission
    Received:    04/02/00 10:39 pm
    From:        Spectropop: Archive | Bulletin Board
    To:          Spectropop!
    ========= Start of forwarded message =========
    [Main Spectropop Bulletin Board | Post Followup | FAQ ]
    A Giant Stands 5 Ft. 7 In.
    Posted by Alan Ackerman
    on Sat, 01 Apr 2000 12:15:07 
    In Time magazine, February 19, 1965, there was a short 
    article about Phil Spector on the heels of his 
    then-current big hit "You Lost That Lovin' Feelin'." The 
    following is the text of that article: 
    A Giant Stands 5 Ft. 7 In. 
    You never close your eyes anymore when I kiss your lips. 
    There's no tenderness like before in your fingertips... 
    You've lost that lovin' feelin'. 
    "Kids don't think like that," admits Phil Spector. "But 
    when they hear those lyrics with our sound, they respond, 
    baby, they respond." And how. For the past three weeks 
    they have made Spector's You've Lost That Lovin' Feelin' 
    the top-selling record in the U.S. Since founding Philles 
    Records in 1962, Spector--as songwriter, arranger, 
    producer and distributor--has turned out 24 catchy, 
    tear-drenched rock 'n' roll songs that have sold a 
    fantastic total of 20 million copies, making Phil a 
    millionaire at 24. 
    In the fickle pop market, most other record makers operate
    on a scatter-platter basis, indiscriminately grinding out 
    some 100 new records each week on a 
    hit-and-nearly-always-miss basis. Spector, by contrast, 
    has shown an uncanny knack for catching adolescent ears 
    with nearly every record he produces. Almost all of them 
    celebrate post-pubescent passsion: Be My Baby, Then He 
    Kissed Me, Wait Till My Bobby Gets Home. Spector has 
    already made bigtime teen-market recording stars of a 
    succession of singers and vocal groups such as the 
    Ronettes, Bobb. B. Soxx and the Blue Jeans, Darlene Love, 
    the Crystals. 
    Karate, in Case. Spector Sound, as it's called in the 
    industry, is marked by a throbbing, sledgehammer beat, 
    intensified by multiplying the usual number of rhythm 
    instruments and boosting the volume. Spectral 
    orchestration, undulating with shimmering climaxes, is far
    more polished, varied and broadly rooted than the general 
    run of rock 'n' roll. In Lovin' Feelin', Spector used two 
    basses, three electric guitars, three pianos, a 
    harpsichord, twelve violins, a ten-voice chorus and four 
    brawny percussionists. His vocalists, a pair of 23-
    year-old white Californians who call themselves the 
    Righteous Brothers, imitate the Negro gospel wail, a sound
    that Spector prizes as the "soulful yearning that every 
    teenager understands." 
    Spector, who is 5 ft. 7 in. and weights 131 lbs., 
    personifies the bizarre, make believe world that he 
    dominates. "I've always wanted to stay in the background,"
    he insists, primping his scraggly, Prince Valiant locks. 
    But his attire could hardly be called a camouflage. 
    Standard costume: stiletto-pointed boots with three-inch 
    Cuban heels, tight pants, cloth cap, Davy Crockett 
    pullover. He ignores the rude hoots that greet his 
    progress down the street, confides that "in case of real 
    trouble I could literally kill a guy. I've studied karate 
    for years." 
    Teen Pan Alley. Born in The Bronx and raised in Los 
    Angeles, Spector (his real name) played jazz guitar in 
    nightclubs during his high school years. At 17, inspired 
    by the inscription on his father's tombstone, he wrote his
    first song, To Know Him Is To Love Him. It sold 1,200,000 
    copies and has become an alltime teen classic. Phil marked
    time for two years working as a court stenotypist. Then, at
    19, he moved to Manhattan and tried to crash "Teen Pan 
    Alley" only to discover that "95% of the music business is
    heavily infiltrated by morons. If they hadn't been so 
    greedy and vicious, I wouldn't have tried to control them." 
    Fortunately, as Phil puts it, "I function well in a 
    world of hostility." 
    This month Phil Spector moved from a Manhattan penthouse 
    to a rambling 21-room mansion in Beverly Hills, Calif., to
    be near his recording studio and Mother Bertha Productions,
    a subsidiary corporation that publishes sheet music. His 
    mother Bertha is a bookkeeper there. The move was delayed 
    by Phil's reluctance to leave his $600-a-month Manhattan 
    psychoanalyst. Now, however, he figures that he can "keep 
    my equilibrium" by calling the analyst long-distance 
    anytime he needs instant therapy. 
    Nonacceptance. His maladjustment seems to stem from a 
    feeling of nonacceptance by the adult world. "I'm 
    affecting millions of people's lives in some way," he 
    complains, "but I'm not supposed to be human. We're the 
    only ones communicating with the teenagers. They are so 
    prone to anxiety and destruction, and they can't 
    intellectualize their wounds. Breaking up with a boy 
    friend is just as realistic to them as it is to a 30-
    year-old. Our music helps them to understand. If we're not
    what's happening today, then what is? Maybe I'm living in 
    an America that doesn't exist?" 
    It exists, all right. To make doubly sure, Entrepreneur 
    Spector has co-founded a new company to make TV 
    documentary films. The first production, starring Spector,
    will be called A Giant Stands 5 Ft. 7 In. 
    --------------------[ archived by Spectropop ]--------------------
    Subject:     Brill Building
    Received:    04/02/00 8:19 pm
    From:        J. H. Ket
    To:          Spectropop!
    I remember some Spectropop subscribers were asking for 
    cd's with Brill Building Pop. I just got a 2cd set with 57 
    tracks (31 prev. unreleased demos) sung by Carol. I don't 
    remember this one is ever mentioned in the Spectropop list. 
    The right girl, Carole King, Complete recordings 1958-
    1966, Brill Tone Records 1995 ckw 222. Germany. The claim of
    mastertape quality on the cd's is true.
    Hans Ket
    --------------------[ archived by Spectropop ]--------------------
    Subject:     Duane Eddy and Phil Spector
    Received:    04/02/00 8:19 pm
    From:        Frank Lipsius 
    To:          Spectropop!
    In researching the next Duane Eddy CD we're putting out on
    Jamie Records (Especially for You, his second LP from Jamie, 
    originally done in 1959), I became aware of Phil 
    Spector's being present at Duane Eddy sessions. Does 
    anyone know exactly which sessions they were? There was 
    apparently tension between Phil and Lee Hazlewood. Is 
    there further information about that and how many sessions
    Phil actually attended? Thanks.
    --------------------[ archived by Spectropop ]--------------------
    Subject:     Favie gurlies
    Received:    04/02/00 8:19 pm
    From:        Kingsley
    To:          Spectropop!
    Well, all I can say is that my goose bumps concur with 
    everyone else's so far. Yep, they're all my fave moment 
    too! BUT, and a big but, along with Mary, Ronnie, LaLa, 
    Rep et al, special mention should go to Judy Craig of The 
    Chiffons who was right up there with the best. The 
    Chiffons were foxy looking, sweet, sassy and sexy all at 
    once. But Judy's voice does a lot for me. Check out 
    "Sailor Boy", especially when she comes back in after the 
    break.... And as a one-off great record, try The 
    Inspirations "What Am I Gonna Do With You (Hey Baby)" on 
    Black Pearl. Great song, great version.
    Look out very soon for Mick Patrick's Dynavoice 
    compilation, and Volumes 5 & 6 of my own Ripples comps 
    (Beach Bash & Folk Rock). There will be a Volume 7, another
    full on summer one, after which I think that we'll call it 
    a day. 
    Kingsley Abbott
    --------------------[ archived by Spectropop ]--------------------
    Subject:     Favorite Girl Group Moment Received
    Received:    04/02/00 8:18 pm
    From:        Gary Spector
    To:          Spectropop!
    Hello all.
    I wanted to mention my favorite song but it looks like 
    Paul Urbahns already did.
    The song "I Can Hear Music" has been my favorite since I 
    first heard it back in the early 80's. I was looking 
    around a hall closet when I was young and came across a 
    one-sided 45 (B-side was blank and unthreaded) and noticed
    that it was made of a very different material then regular 
    45's. It had only a blank white label on the A side. I had
    to find out what was on this record so I brought it to my 
    room and placed it on my "patch-work" record player and 
    that was when I heard "I Can Hear Music" for the first 
    I had no clue as to who was singing on it but I guessed it
    was either the Crystals or the Ronettes, and I knew then 
    and there that I had found my favorite song. Boy did I try
    to sing along with it many times. (I just listened to "I 
    Can Hear Music" again and I can easily tell it was sung by
    the Ronettes but when I was younger I was not sure.)
    I asked my father about it and he explained that it was 
    never released in the U.S. and that he gave the song to 
    the Beach Boys. I told him how much I liked it and that he
    made a mistake by not releasing it.
    I finally heard a Beach Boys' version on the radio and 
    went to a record store to find out about it. That had a 
    lady sing the lead but the original will always be the 
    best. I was fortunate to find someone through the internet
    that sold me an LP that was sold in Europe called "Phil 
    Spector's Wall of Sound Volume 4" with the Ronettes 
    singing it.
    "I Can Hear Music, Sweet Sweet Music".
    Gary P. Spector
    A lifetime Spector fan.
    --------------------[ archived by Spectropop ]--------------------
    Subject:     Favorite Girl Group Moment
    Received:    04/02/00 8:19 pm
    From:        David Feldman
    To:          Spectropop!
    "When he holds me tight
     Everything's right
     Crazy as it seems"
    It's not the lyrics that make this my favorite, but the 
    beautiful melody and the passionate singing. The very 
    beginning of the spoken intro of "He's Sure the Boy I Love" 
    hooked me irrrevocably. But this chord progression 
    creates a physiological response. Every time I hear this 
    phrase on record, or live (I've heard Darlene Love sing it
    many times), I get goose bumps on my arms. Every time, just
    like folks who sneeze when they look up at the sun. No 
    other song does it.
    I have a friend who cries every time she hears the Charlie
    Chaplin song, "Smile." I was in a restaurant with her once 
    when a Muzak instrumental was playing so softly that I 
    didn't even notice it. Tears started falling down her 
    cheeks and I asked her why she was upset, and she said: 
    "Can't you hear what's playing?" 
    Dave Feldman
    --------------------[ archived by Spectropop ]--------------------
    Subject:     Jimmy Botticelli and the Hairdooz
    Received:    04/02/00 8:19 pm
    From:        Jimmy Cresitelli
    To:          Spectropop!
    I'm 44, and can easily recall the early 60s in my Brooklyn
    neighborhood, when girlz used to do each other's hair. They
    would all gather together Saturdays on Florence Burke's 
    front stoop and tease, rat, comb, spray, and (it seemed 
    sometimes) de-louse until the sun set. Gabbing, wearing 
    pedal pushers and dirty white sneakers or open-toed 
    walkers, they reminded me of the groups of chimpanzees who
    sit around all day grooming one another in those Jane 
    Goodall documentaries. As well, there always seemed to be 
    a pink plastic transistor radio in the vicinity, forever 
    getting knocked over when accidentally kicked by a stray 
    cha-cha heel. All day it played the Top 40, interspersed 
    with great commercials: "The alone phone baby is the phone
    for you..." "Dippity Do..." "Brylcreem... a little dab'll 
    do ya..." And the hair creations: pretty tame on my block 
    compared to the Italian girls who ruled a few avenues away
    (my neighborhood was mostly Irish), but they were big dooz 
    nonetheless. Gloria Jones always had a bow stuck on 
    somewhere in front... Eileen Iacono (the lone Italian girl) 
    refused to take off her blue speckled harlequin 
    eyeglasses, thereby ruining the effect of whatever she was
    able to achieve on top of her head; she looked like a 
    walking, talking yearbook photo... and Frannie Canty had 
    what looked like a giant, frizzy chrysanthemum up there...
    Ahhh, yes... I remember those dooz well. And why? Who 
    knows... it's a question I continue to ask myself. : ) 
    --------------------[ archived by Spectropop ]--------------------
    Subject:     Re: Favorite girl group moment
    Received:    04/02/00 8:19 pm
    From:        Ron Buono
    To:          Spectropop!
    For me it has to be The Shangri-La's "Leader of the Pack".
    From the first spoken line: "Is that Jimmy's ring you're 
    wearin'?.......Uh huh", to Mary Weiss' wailing, whiny 
    vocals, not to mention the (arguably) greatest sound 
    effects on vinyl, this one is an all-time anthem for me! A
    close runner-up has to be the "bum, bah, bum, BAH" drum 
    break in "Be My Baby" (after Ronnie's "whoa, oh, oh, oh's"). 
    One of Spector's defining moments! It still gets to me.
    I have to turn it way up on the radio whenever I hear it. 
    If you havn't seen the British "Shivaree" TV Show, 
    featuring The Ronettes' choreography at that point in the 
    song (bouffants and slit-skirts intact), you havn't lived! 
    --------------------[ archived by Spectropop ]--------------------
    Subject:     Favorite GG moments and Girlpop Live365
    Received:    04/02/00 8:19 pm
    From:        Jamie LePage
    To:          Spectropop!
    In 399 I wrote:
    >The Raindrops' "The Kind of Boy You Can't Forget" when the
    >record stops dead in its tracks only to re-enter for the 
    >fade with that super compressed drum/percussion track.
    In 400 BJ Spradlin wrote:
    >One of my all-time favorite moments is on the Raindrops 
    >"The Kind of Boy You Cant Forget" when that great 
    >Over-Compressed drum break that jumps out of the mix 
    >around 1:47 
    Billy, not only do you concur with what possibly might be 
    my very favorite moment on record, period, you concur for 
    precisely the same reason. On top of that, the playlist on
    the girlpop radio show on Live365 could have been taken 
    from my personal list of favorite girl group records ever.
    Talk about going to different schools together! Amazing!
    As for the rest of youse guys' fave gg moments, the only 
    ones I can't agree with are the ones I haven't heard yet! 
    Great, great moments in pop and I just gotta say it is 
    delightfully surprising to read that many others are so 
    passionate about parts of records that I too personally 
    treasure. Great topic, and thanks to Jimmy C for starting 
    Here's another big one for me...At the end of the bridge 
    in Ronettes' Paradise, when the band stops and Ronnie 
    repeats the line "Die for him". Her voice slightly dips 
    just below the note on "him" when the drums lead back into
    the tag. So much tension and power, with great release once
    the chorus comes flooding back in. A great personal fave. 
    --------------------[ archived by Spectropop ]--------------------
    Subject:     Girl Group Moments
    Received:    04/02/00 8:19 pm
    From:        Jimmy Cresitelli
    To:          Spectropop!
    Thanks, everyone, for all your cool responses to my query 
    re your favorite girl-group moments... and, naturally 
    enough, I've thought of a few others of mine: Mary (or 
    Betty?) huskily breathing "Oh boy, oh boy..." on "What Is 
    Love..." the closing bars of Dorothy Berry's storming 
    "You're So Fine..." the Secrets trading party dresses for 
    tight slit skirts on "Oh, Donnie..." the Orchids closing 
    out "Ooh Chang-A-Lang" with some of the best harmony ever 
    put onto wax... and the closing bars of "He Don't Love Me"
    by Shelley Fabares, with that rubbery guitar twanging away... 
    ahhhh yes. Sing out, girls! 
    --------------------[ archived by Spectropop ]--------------------
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