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There are 8 messages in this issue #27.
Topics in this digest:
1. Papa Loves Mambo
From: paul urbahns
2. Re: mambo
From: Tobias
3. Re: Vancouver Vinyl
From: Michael Godin
4. BOUNCE: Non-member submission
From: Spectropop: Archive | Bulletin Board
5. Chuck and Bones
From: Doc Rock
6. Re: Ritchie Valens
From: Carol Kaye
7. Bass stuff for Carol
From: "Robb Lowe"
8. The Dano, Valens, Nitzsche, Turner and shark bait
From: Carol Kaye
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Message: 1
Date: Sat, 26 Aug 2000 14:33:45 EDT
From: paul urbahns
Subject: Papa Loves Mambo
Hanes socks is currently using the song on commericals
nationwide. Sounds like the original Perry Como version
but I don't have it for comparison. Naturally this new
found exposure in big budget commericals is not going to
translate to airplay on stupid oldies stations.
Paul Urbahns
---------------[ archived by the Spectropop Group ]--------------
Message: 2
Date: Sat, 26 Aug 2000 10:39:13 -0700
From: Tobias
Subject: Re: mambo
>I'd rather go out to
>hear a great band, a real band, and dance the Mambo.
As Homer Simpson says, "There isn't a woman in the world
who can resist the mambo!"
---------------[ archived by the Spectropop Group ]--------------
Message: 3
Date: Sat, 26 Aug 2000 08:39:12 -0700
From: Michael Godin
Subject: Re: Vancouver Vinyl
At 08:28 AM 26/08/2000 -0000, "Ian Chapman" wrote:
>I'll be visiting Vancouver late October and wondered if
>anybody knows of any stores that sell good old 60s 45s in
>the area?
>
>Ian
Hi, there are a couple of oldies record stores in town
that I know of. D&G Record Collectors on East Hastings
Street. Another is Neptoon Records on Fraser Street. Both
are in Vancouver. Also, the Vancouver Record Collectors
Assocation will be having a huge meet and sale on Sunday
September 10, from 10 or 11 to 5 at the Ukranian Centre
Hall on Ash Street. Tickets are just $2.00 I think. It's a
good way to guage the vinyl that's out there in collections
and a fun way to spend a day.
Hope this helps.
Michael Godin
Treasure Island Oldies Show
www.TreasureIslandOldies.com
---------------[ archived by the Spectropop Group ]--------------
Message: 4
Date: Sun, 27 Aug 2000 04:05:54 -0000
From: Spectropop: Archive | Bulletin Board
Subject: BOUNCE: Non-member submission
Re: Barry Mann & Carole King early solo recordings
Posted by Fred on Wed, 23 Aug 2000
http://www.escribe.com/music/spectropop/bb/index.html?bID=48
========= Start of forwarded message =========
Hi
I've been informed of the availability of the
following CDs "Barry Mann : inside the Brill
Building" (german BrillTone label) and "Carole
King: Brill Building legends" (label unknown). They
both focus on Mann & King's early solo
recordings/demos and I'd be interested in listening
&/or purchasing them;
Now the question is "how"? I couldn't find any
online CD stores selling them!
Could anybody help? even further information about
the CDs contents would be appreciated...
Thanks!
Fred
======== End of forwarded message =========
---------------[ archived by the Spectropop Group ]--------------
Message: 5
Date: Sat, 26 Aug 2000 12:16:08 -0400
From: Doc Rock
Subject: Chuck and Bones
Here is an excerpt from my book, "Liberty Records." Bones
was telling me about engineers, including Chuck Britz.
Doc
In 1961, an engineer named Bill Putnum moved to L.A. from
Chicago and started United Recording. Bones remembers how
this "put a pretty heavy assault on the engineering people
in L.A. I had managed to stay put at Radio Recorders when
the new Capitol and new RCA studios were established and
people came hiring around L.A. But in 1961, I went to work
for Bill and Tony Perry at United. They subsequently bought
Western and that became the famous United Western Studios.
"Chuck Britz was an engineer who was one of the owners of
Western Recorders, which was a little dumpy place at 6000
Sunset. United was a shiny new place at 6500 Sunset a half
block away. Chuck remained at Western when it was bought
and merged with United. Western was like Gold Star was, a
great sounding, funky kind of studio. Bill Putnum was a
smart man who knew what you had to do to stay ahead and
attract artists. If you can't build it, you buy it. When
Bill told me he was going to buy it, I told him, 'Oh, that
dump?' But he refurbished it, and Western studio #3 became
the hot studio in town.
"Another engineer was Wally Heider who owned Wally Heider
Recording. He came out of the big band era in Sheridan,
Oregon. He was a lawyer who had a portable recording
outfit and he would go out on weekends. His wife wouldn't
see him from Friday morning when he left for his office,
to Monday night. He would fly to New Jersey or wherever
Woody Herman or Les Brown or someone was playing and he
would tape them. I was making lots of big band records in
the studio, and we would trade tapes all the time. He
worked as a mixer at United, but he went off and started
his little studio doing voice recordings and mix downs
until finally he had four studios there. He died a couple
of years ago, but was a great guy, a legendary figure. He
was smart, he gave away free sessions to get people in
there. He duplicated studio 3 at Western, and Heider 3
became the hot studio, literally a better room. I did all
my work there from '68 on.
"During my time at Radio Recorders, I used to run into
Herbie Alpert and Lou Adler all the time. They were
hanging around Bumps Blackwell and Keen Records at the
time, and they ended up producing some records in that
period." Later, Herb and Lou told Bones that he was
recommended to them as an engineer for their records by
Radio Records management, but that Lou had avoided working
with him because he was a jazz engineer. But his non-jazz
credits as engineer in fact included the pre-Liberty
Imperial LP by Ricky Nelson, Rick in 21.
---------------[ archived by the Spectropop Group ]--------------
Message: 6
Date: Sat, 26 Aug 2000 10:39:13 -0700
From: Carol Kaye
Subject: Re: Ritchie Valens
>as a brash Elvis wannabe and a Mexican stereotype (for
>lack of a better term, no offense intended) rather than
>the down-to-earth local-boy-makes-good we know from the
>film "La Bamba". Which is more closer to the truth: "La
>Bamba" or Buddy? Any thoughts Ms. Kaye?
Jeffrey, I loved the Buddy Holly film personally, but
forget how Ritchie was portrayed...somehow it didn't seem
out of character at the time I think, but I'd have to
watch it again. Ritchie was a down-home person, very very
sweet. I have no idea how he was on-stage...knowing and
working for him, I'd say, like all other entertainers, he
probably just came to life on-stage and was probably a
different person, I don't know. Sorry, that's all I can
remember. Call me Carol please, thanks.
Best,
Carol
http://www.carolkaye.com/
---------------[ archived by the Spectropop Group ]--------------
Message: 7
Date: Sat, 26 Aug 2000 04:22:30 -0400
From: "Robb Lowe"
Subject: Bass stuff for Carol
I have a question for Carol that others might enjoy..
I know you play with a pick, and these days - thats
considered taboo for a bassist. One of the main
people point out as being a pick player that rocked
was Berry Oakley of the Allman Bros. Band. Any
thoughts on him, or any other of the "name"
bassists of the era?
It also might interest some of you that when asked
what he thought the greatest musical milestone of
the 20th century was, Quincy Jones cited the Fender
Bass as it.
Robb
---------------[ archived by the Spectropop Group ]--------------
Message: 8
Date: Sat, 26 Aug 2000 11:44:15 -0700
From: Carol Kaye
Subject: The Dano, Valens, Nitzsche, Turner and shark bait
from Jake:
> 'Mirwood' output (or to be more specific, did you play the
> bass on 'Oh My Darlin' and/or 'Darkest Days' by Jackie
> Lee?).
No, I don't think so, don't remember seeing that company
in my log and the name Jackie Lee doesn't ring a bell.
> Also, while we're still close to the subject of the
> Danelectro Six-String Bass, any idea who played 'Dano' on
> Jack Nitszche's 'The Lonely Surfer'?
I'm pretty sure that I did that one on Dano...was doing
practically all of Jack's dates and it's about that time
that I was it for the Dano (outside of Bill Pitman, but
Bill was more or less the Dano player on the sweet pop
dates, Dean Martin, those kinds of dates, he played guitar
on the rock dates mainly).
Jack was interesting to work for, I liked him and Gracia
very much...he and Gracia were good together as a couple
but then Jack got really busy. They both joined my
then-husband and myself on our boat for some shark-fishing
(about 1961-62 or maybe even '63)), and that was very
adventurous....there were so many blue-sharks swimming
around our 28 footer, and getting bigger by the minute (we
caught 3 8-foot sharks with 10-pound test line, they
weighed some 100s of pounds...we had to play them until we
wore them out and then netted them).
We had chummed the water quite a bit with our earlier
catches of Benita (a fatty fish) and for the heck-of-it
when we started seeing little baby sharks, and then the
whole school of sharks encrouched around our boat swimming
lazily around us (we were only about 2-3 miles off of Zuma
Beach but there was no-one there, so felt it was OK to do
that chumming).
One biggie shark came sidling up to the boat, you could
reach over and touch him, he was curious and Jack took a
gaff and gaffed him in the head. The shark jumped up in
the air, which broke the gaff (Jack was left holding the
handle) and swam away with the gaff in his head....Jack
was pretty worried about that one. But we were all so busy
trying to keep from entangling our lines from the sharks we
had hooked into that we didn't have time to worry about
that.
Gracia hooked onto what looked like a whale, it was as
long as our boat, and going underneath our boat and
bumping it on the bottom. I had to call out to HB Barnum's
sister, Billie, great studio singer btw (she tours with
Neil Diamond, was Nat King Cole's backup singer long ago)
who was laying on top of the deck, sunning to get down in
the hold - told her to get down from the deck -- she
couldn't believe we were in a large school of sharks but
looked down and quickly got in the hold....was dangerous.
So my husband then cut Gracia's line as it was too
dangerous being hooked up to a shark that large. After
about 2 hours, we tired of it all, and went back to the
Paradise Cove pier where it was big news about the sharks
we caught.
We all divvied up the shark meat, it was good white meat,
but I could never bring myself about to cook it at all.
Finally threw it out. I ran into Jack about 15 years ago
in an elevator in Century City, good to see him, he looked
pretty much the same, spoke about how he missed those days
recording with us, me too I told him, and he mentioned
that episode, how much fun it was, etc. We wished each
other well. I'm sure that's me on the Dano on that one you
ask about, he was hiring me on Dano quite a bit then too.
Glenn wrote:
> Was that really Ritchie playing those scorching lead
> guitar parts? Speaking of the Dano, have you tried the
> reissue Danelectro baritone basses? How do they compare
> sonically to the originals in your opinion?
No, that's got to be an overdub of Rene Hall playing that
solo......am sure it's Rene, he was a hot lead guitar
player (as well as a fine Dano player and even on Elec.
bass too, excellent musician as well as a fine arranger,
he wrote and arranged a lot of music for earlier black
movies too). Ritchie could play, but not that well. It's
like most of the guitar solos on Brian Wilson's recordings,
all done by studio musicians.
To tell you the truth, I wouldn't give a plugged nickel
for any Dano, older or newer. They're not real good
instruments. I'm sure they'll do well as people out there
like that trashy sound. But to make the instrument
playable to record with in the studios, I had to change
the pickups (for good hotter sounds), the bridges and the
strings, etc. to make it a real instrument to play on and
then it was OK, but not great. I'm sure Bill Pitman,
others did the same things....they're cheaply made, not
real instruments imo.
I'm sure they're probably the same or nearly the same as
the original Danos. Fun to play around with, sure, and you
should have seen and heard Ike Turner play his...that
amazed me when I first saw him do that in the studio, was
just awed. But seeing me (on that first record date) being
so interested in the way he played, he came over to me,
sort of flirty, and I quickly picked up my guitar and
played some heavy bebop lines and he backed away fast like
my playing shot him down or something....it was pretty
funny haha-wise....and he was the best to work for after
that - very respectful.
Tina was over to one side, I don't think she saw that.
I'll never forget that time...we worked for hours and
hours (I was still married at that time, and my husband
did NOT like me working in the studios with men at all -
he had no cause for concern, I'm a very faithful person
but that was just him), and I called home to tell my
husband I'd be late getting home, instead of 12 midnite,
probably 2-3 AM, and he hung up on me.
OK.....I knew I was in trouble. We all worked until about
3AM or later and we all got paid in cash, stacks of $5
dollar bills that Ike had brought to the date in a big
black valise bag. It was a BUNCH of $5 bills I took home,
opened our bedroom door, turned on the light, and threw
them all on the bed at my then-husband. He was so busy
counting the money, he forgot why he was angry at me!
hahahaha. It worked.
I later divorced him after one more kid, Gwyn, after whom
I named my publishing co. (which I started on my kitchen
table). The publishing company was a big success with not
only my bass books (1969-through now) but with the fine
Joe Pass books, tapes etc., as well as other items by fine
studio musicians and Charles Dowd's Funky Primer for drums
also -- it was a lot of work, believe me.
Carol Kaye
http://www.carolkaye.com
---------------[ archived by the Spectropop Group ]--------------
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