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There are 4 messages in this issue of Spectropop.
Topics in this Digest Number 149:
1. New Spector?
From: Marc Miller
2. Brit girl group "The Other Two"?
From: Scott Swanson
3. from Perry Botkin re: Lester Sill
From: Carol Kaye
4. Red Bird is the word
From: LePageWeb
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Message: 1
Date: Tue, 10 Apr 2001 12:03:54 -0400
From: Marc Miller
Subject: New Spector?
Hi All -
The soundtrack to the film Quadrophenia has just been
remastered/reissued.
As you may know, the LP had all the Who stuff, plus Be My
Baby, Da Doo Ron Ron, He's So Fine, and a few other
tracks that were featured in the film.
I know the Who stuff is from a new master.
Does anyone know about the rest of it?
Marc
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Message: 2
Date: Tue, 10 Apr 2001 12:21:49 -0700
From: Scott Swanson
Subject: Brit girl group "The Other Two"?
Does anyone out there have any info on a British girl
group called The Other Two? They featured Caroline
Attard and Jemima Smith, who later married Andy Bown
(ofThe Herd, Storyteller, etc.) and Duane Eddy,
respectively.
I would especially be interested in obtaining copies of
their recordings.
Thanks,
Scott
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Message: 3
Date: Tue, 10 Apr 2001 13:21:22 -0700
From: Carol Kaye
Subject: from Perry Botkin re: Lester Sill
>re: Lester Sill
In 1972 Barry DeVorzon and I got a phone call from
Lester. (He was running the Columbia Pictures music
publishing company). He said that C.B.S Television was
starting a new "Soap" and was looking for a theme song.
He asked us if it would be alright if he submitted a
short dramatic music cue that we had done for the film
"Bless the Beasts and Children". We said "Sure...why
not". After all it was just a piece of background music
that really meant very little to us.
Well, C.B.S. went for it. The "soap" was "The Young and
the Restless" and It's been running for 29 years, not
only in the U.S., but world wide. In 1974 the song
hitchhiked on the fame of Nadia Comaneci and became
"Nadias Theme". Made it to the top 5. Not bad for an
instrumental record with no drums.
>From the 1950's until his death, Lester was one of the
publishing giants. I'll never forget him.
Perry--via Carol Kaye
(Perry Botkin is a dear friendof mine)
http://www.perrybotkin.com/
http://www.carolkaye.com/
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Message: 4
Date: Fri, 13 Apr 2001 00:15:59 -0000
From: LePageWeb
Subject: Red Bird is the word
Billy wrote:
> > Also, is there a mono version of the
> > unedited "Leader Of the Pack" (with the band playing a
> > few more measures after the crash) available on any CD
> > as well? Tell me more, Tell me more.........
>
> I have the Taragon "The Best of Red Bird/Blue Cat" CD
> which has a stereo remix of "Leader" and it has a longer
> fadeout and tire screech than any other version I have
> heard before.
I've just learned that next month, Varese will release a
new CD compilation of Red-Bird girl groups. Don Charles
wrote the liner notes for it (Don sponsors the ongoing
Rock 'N' Roll Hall of Fame petition). I understand tracks
were remixed from multitrack tapes where available,
although I don't know if these are the same 'Taragon "The
Best of Red Bird/Blue Cat"' remixes. Artists included are
The Dixie Cups, The Shangri-Las, The Ad-Libs, Evie Sands,
The Jellybeans, The Butterflys, The Goodies, Cathy Saint,
Bessie Banks, Roddie Joy and Ellie Greenwich.
Speaking of the Goodies, their Dum Dum Ditty has that odd
sounding, low monotone "yeah yeah yeah" just before the
track breaks into the tag. On one version I have, which I
know is the same recording, probably the same mix/edit
and most likely only different mastering, that part of
the record sounds like the entire track was "dipped" for
the overdubbed "yeahs" then surged back in at the top of
the next measure. A very strange sounding segue even for
the time. Anyone else notice this? Any ideas on the
technique used to achieve this rather abrupt effect?
> Theres also an earlier stereo mix that has appeared on
> many VA oldies LP's that has the line "One day my dad
> said find someone new" strangely edited out. My guess is
> the master tape got damaged over the years and someone
> spliced the line out!
That's always bothered me and I too guess that's what
happened. It ended up on a whole bunch of cut-rate comp
albums in that butchered form. Strange how that happens
>from time to time. Peter and Gordon's I Go To Pieces
suffered similar mutilation. Then there is the case of
Tell Him by the Exciters which for years was only
available with a botched vocal on the 2nd verse (which I
came to like after hearing it so many times! It sounds
like the lyric goes "If you want it...Makes your heart
sing out"). Any other examples like these come to mind?
--
"Phil Chapman" wrote on the subject of 'Back To Mono'
> mchlpiz wrote:
> > I have a cd version of the album River Deep
> > ........... Save The Last Dance For Me has
> > a completely different ending
>
> As for the box-set fading "Save The Last Dance For
> Me" before the original flamboyant orchestral
> finish: .
I never noticed the early fade - goes to show how
seldom I listen to the B2M box. I adore that
grandiose finale with the crashing orchestra
cymbals.
> that *must* have been a 'creative' decision,
> and adds even more weight to the view that Spector
> had little to do with it...
Then who? Surely not Larry Levine! Allen's son, maybe?
Why would anyone cut the ending like that?
> I&TT's stereos are among the few of Phil's 60s
> productions that I think really benefit from stereo,
> the arrangements being so rich.
I agree with this, at least to the extent that you can
hear much more in the stereo than in the mono mixes on
the 45s. But however muddy I&TT's mono mixes may be, the
balance is superior to my ears. In mono the records seem
to have more power as well. Especially on I'll Never Need
More That This.
By the way, mchlpiz wrote about two CDs I had never
heard of before: River Deep Mountain High from Alvorado
Music in Spain with The Checkmates album, and a Teddy
Bears CD entitled To Know Him Is To Love Him. Are these
CDRs? Sound like counterfeits to me. Too bad Morris
isn't around anymore. "Hey Rocky, go see da guy about
the Tina Turner rekkid..."
> Phil as we know never thought too highly of stereo
> versions from his Phillies period to the point of
> saying that the stereo versions had nothing to do
> with what he had originaly created.
Then why were the Christmas record and PSI Ronettes
album released in stereo mixes *instead* of in mono in
the 70s? Remember, Phil controls his own masters, so
this is all rather curious.
> Back To Mono then I guess is what Phil Spector
> intended his music to sound like...
I don't know. You uncovered the I&TT mistake, and we
recently dissected the Fine Fine Boy oddity - I am
becoming less and less convinced.
>I think Back To Mono was/is easily worth its cost.
> Though I still wish Mr.Spector would release
> everything he ever touched upon cd!
I agree, and I think it's a sentiment shared by
nearly all Phil Spector fans.
Jamie
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