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Spectropop - Digest Number 1041

               SPECTROPOP - Spectacular! Retro! Pop!

There are 25 messages in this issue.

Topics in this digest:

      1. Jack Nitzsche Update
           From: Martin Roberts 
      2. Fading Yellow, The London Phogg
           From: Art Longmire 
      3. Re: This Could Be The Night
           From: Roger Smith 
      4. Youm Youm
           From: Phil Milstein 
      5. Re: Fading Yellow CDs
           From: Rat Pfink 
      6. It's What's Happening Murry the K
           From: Charles Sheen 
      7. Bassett Hand; A Handful; Harry Charles; Majority;
Carol Kay; more
           From: Country Paul 
      8. Re: The Majority / Majority One
           From: frank 2 
      9. Re: Night Time Girl
           From: Stewart Mason 
     10. Fantasia: gotta get away
           From: Harvey Williams

     11. Beat-O-Mania, The Buggs, B. Brock And The Sultans
           From: Andres 
     12. Night Time Girl
           From: Dan Hughes 
     13. Re: This Could Be the Night
           From: Richard Hattersley 
     14. Randy's Rain
           From: Honeydhont 
     15. Another classification clarification
           From: Wayne 
     16. Julius LaRosa
           From: Dan Hughes 
     17. Re: Another classification clarification
           From: Art Longmire 
     18. Thanks...
           From: Country Paul 
     19. Harrison/Beatles/recording
           From: Alan Gordon 
     20. Jack Nitzsche - Help wanted!
           From: Martin Roberts 
     21. Re: Julius LaRosa - OT
           From: Bill Reed 
     22. Re: Another classification clarification
           From: Phil Milstein
     23. Art For Our Sake
           From: Steve Harvey 
     24. Re: Julius LaRosa
           From: John Berg 
     25. Re: Harrison/Beatles/recording
           From: John Berg 

Message: 1 Date: Tue, 30 Sep 2003 06:16:43 +0100 From: Martin Roberts Subject: Jack Nitzsche Update A lot has been happening on the site this week, so without much introduction or further ado: Record of the Week: Joel Hill - "Secret Love" - Monogram. Next week: The Moments - "Homework" - Era or The Cinders - "Cinnamon Cinder" - W.Bros Al Hazan & Jack Nitzsche's Record of the Week is Charlotte O'Hara (Bonnie) - "What About You" - Ava The Jack I Knew page has reminiscences' from Dan Bourgoise, Carol Connors (a splendid interview from 'Country' Paul Payton) and Alan Gordon. The Radio page has Drum Demo 4+. A obituary has been added from Jack's hometown weekly and Newaygo County's Newspaper, the "TimesIndicator", The excellent sleeve notes by Andy Childs (former Zig Zag editor) to the UK release of St. Giles Cripplegate are linked from the rear label scan. Plus a super review of Jack's time with the band Crazy Horse written by Shake! editor, Chris P. James and 'Six of the Best; Nitzsche & Crazy Horse' tracks. That's all folks, Martin -------------------[ archived by Spectropop ]-------------------
Message: 2 Date: Wed, 01 Oct 2003 20:12:19 -0000 From: Art Longmire Subject: Fading Yellow, The London Phogg Thanks to Terry Rutledge for posting the Fading Yellow sites with track listings - I see that Volume 3 has one of my all- time favorite tunes, "The Times To Come" by the London Phogg. I've had the 45 for many years but I need it on CD! Now if I could only get "27 Hours in the Day" by the Royal Groove and "Anabel" by the Seagulls...then I'd really be happy! Art -------------------[ archived by Spectropop ]-------------------
Message: 3 Date: Wed, 01 Oct 2003 17:15:01 -0400 From: Roger Smith Subject: Re: This Could Be The Night Harry Nilsson wrote "This Could Be the Night" as sort of a tribute to Brian Wilson. Susan Lang: I've never heard this before, and I'm a fan of both. A wonderful thing, if it's true - how do we know this, Roger? I apologize that I can't cite a specific reference, but it comes from things Harry said in interviews. BTW, Brian Wilson attended the recording sessions for MFQ's version of the song. "We went into the studio and cut a song called 'This Could Be the Night,' a Harry Nilsson tune, and it had the whole Spector "wall of sound". Part of the sound was to have lots of guitars, lots of drums, lots of bass - not just one of everything. So anyway, we recorded this song, and Brian Wilson came down when it was finished. He'd sit in the control booth wearing pyjamas, robe, and slippers, listening to the song over and over and over again. We didn't talk much, but we loved having him there, cuz we loved the Beach Boys." (Henry Diltz - -- Roger -------------------[ archived by Spectropop ]-------------------
Message: 4 Date: Thu, 02 Oct 2003 00:20:40 -0400 From: Phil Milstein Subject: Youm Youm Now playing at musica, "Youm" by "Bassett Hand". Enjoy, --Phil M. -------------------[ archived by Spectropop ]-------------------
Message: 5 Date: Wed, 01 Oct 2003 18:48:13 -0400 From: Rat Pfink Subject: Re: Fading Yellow CDs Martin Jensen wrote: Can a track list for these cd's be obtained somewhere and where can you order them? You can find track lists for all of the Fading Yellow comps (and many other '60s comps) here: -------------------[ archived by Spectropop ]-------------------
Message: 6 Date: Thu, 02 Oct 2003 04:28:04 -0000 From: Charles Sheen Subject: It's What's Happening Murry the K Hey everyone I was wondering if anyone knows where I can get a copy of the "It's what's happening" show,and or the other show Murray the K did for tv,on his web site if you click on one of the little pictures they have 5 second clips of the artist, and I gotta say IT IS HAPPENING. The best one(s) are the drifters, martha reeves and the vandellas, and otis redding(I mean all he's doing is snapping his fingers but it's cool). rock on charles sheen -------------------[ archived by Spectropop ]-------------------
Message: 7 Date: Thu, 02 Oct 2003 01:25:15 -0400 From: Country Paul Subject: Bassett Hand; A Handful; Harry Charles; Majority; Carol Kay; more Bassett Hand again - I found two 45's in my collection on Josie: Josie 45-927 (1965) "An F.G.G. Production," both wr. Feldman-Goldstein-Gottehrer In Detroit Youm Josie 45-934 (1965) "A Feldman-Goldstein-Gottehrer Production" The Happy Organ Shake (wr. Wood-Cortez) The Hunt (wr. Fedman-Goldstein-Gottehrer) "The Happy Organ Shake" is Dave "Baby" Cortez's "The Happy Organ" with brass grafted onto the shouted "Shake!" and the beat of Sam Cooke's record of the same name. It almost works. "The Hunt" sounds like one take of a piano blues and drums, designed to fill the space on the B-side. Incidentally, a Google search for "Bassett Hand" yields a mention in S'pop archive #347, and someone with a copy for sale described "Youm" as "Sloppy, amateurish Beach Boys imitation, produced ALL WRONG". There are also references to him as an arranger, but nothing more about him. Next to "Mr. Hand" I found: A Handful, KHI 45-1201 (December '67), both arr/cond Don Randi Does Anybody Know (wr. Don Crawford, A Lee Hazelwood Production by Lee Hazelwood) Dying Daffodil Incident (wr. M. London, G. Beam, A Lee Hazelwood Production by S. J. Hokom) A-side is impressive for the deep cathedral-style reverb on the background vocals; the song is OK, wortha listen if you find it but not an earthshaker. B-side is just too twee to these ears. I couldn't find anything on this group in Google. Anyone know anything? Harry Charles, Rowax 802 (1963) (addr. on label: Globus Music, 1650 Broadway, NYC) both wr. Richard LaForest, A Rich Production My Laura Challenge of Love "My Laura" is beautiful, a favorite since it was new; the flip is totally forgettable. I remember it getting airplay in NYC. WLS, Chicago listed it as #39 the week of August 2, 1963 KROY, Sacramento shows it as #24 on August 17, down from #12 the week before (check gust/056263.html for a really fun hit list including Theola Kilgore, Jaynetts, Avons, Raindrops, and some other really strange entries). A Google search for "Harry Charles"/"My Laura" led to the above; "Richard LaForest" led to a Ph.D. A search for "Rowax" shows another release on the label (803) by Stu Allen, "Jordan Blooper"/"Bloopers Morse Code"; the A side is a break-in record a la Dickie Goodman. It also leads to a 2-volume list of 4000 independent labels called The R&B Indies, So - anyone know about Harry Charles? The Majority was being discussed. I have one US 45: London 45-LON-9779 (1966?), no prod./arr. listed Pretty Little Girl (wr. Carter-Lewis) I Don't Wanna Be Hurt Anymore (wr. Whitaker) A side is very inventive; highly recommended. Is this the same group that became "Majority One"? And does the above info help anyone? Norman: What can anyone tell me about Carol Kay who backed Tommy Dee on Three Stars? Nothing from me, except that Tommy Dee was missing from the B-side, "I'll Never Change," which is a sparsely produced but achingly sincere ballad. The group was "Carol Kay and the TeenAires," by the way. But wait.... >From the Rockin' Records discussion group comes this: ---- From: "Tapio Vaisanen" Date: Tue Apr 1, 2003 8:02 pm Subject: Carol Kay Michel Proost wrote on 1 Jan, 1999: I read in one of the latest issue of DISCOVERIES Mag an interesting article on the West-Coast bassist-session woman Carol KAYE. I was wondering if she was the Carol KAY on the Recorded In Hollywood label, #424, "Boogie In School" (mid-fifties). > Since Carol Kaye have a web site (& a E-mail address), I ask her & she quickly & kindly replied : > >No, that's NOT ME at all, some bad artist with the same name, for >some reason. My CDs "First Lady On Bass", "Better Days" (w/Joe Pass), >and "California Creamin" are listed on my website, I never sang (nor >had to sing). ...I was recently corresponding with Carol Kamenis, who had several Crest releases as Carol Kay (#1057, #1061, #1062 & #1067) and one 45 on Keno which was then leased to Teen Town. I wrote to her: "I've been wondering if you were also the same Carol who had one record on "Recorded In Hollywood" label in 1954. Carol Kay & Red Callender Orch.: You Can't Do Boogie In School/Good Man Is Hard To Find (#424). That was probably another Carol but I thought that I ask now when I have a chance." She replied to me: I am in shock !!! What are the chances that anyone would even know or remember ..... Yes indeed, I am the same Carol who recorded "Good man is hard to find" and "Can't Do The Boogie in school...(written by Liby Wolf) with Red Callander Orch. (#424). --- Short takes: Stu Phillips: I made a copy of your east coast itinerary, and will try to get to meet you at one of your stops. (Being a freelancer, advance scheduling is problematic!) Where can one find a track list for the Fading Yellow CD series, please? Mick Patrick: Some of you will enjoy the following essay by Spector biographer Rob Finnis on the new "Phil's Spectre" CD. To read more, visit: Thank you, Mick; track list, too. I've got about half of 'em, but this might require a purchase anyway. Egads - I'm actually caught up! Country Paul -------------------[ archived by Spectropop ]-------------------
Message: 8 Date: Thu, 02 Oct 2003 07:56:02 +0200 From: frank 2 Subject: Re: The Majority / Majority One Stephane: In France (and many other European countries), Majority One records were released on Pink Elephant (same label as Shocking Blue, Aeroplane...) If I remember well, Pink Elephant was a part of the Decca Group. Frank -------------------[ archived by Spectropop ]-------------------
Message: 9 Date: Thu, 02 Oct 2003 02:02:22 -0700 (PDT) From: Stewart Mason Subject: Re: Night Time Girl Bob Rashkow asks: MFQ's "Don't You Wonder" is a nice tune I used to have a DJ copy of. Am looking for a copy of "Night Time Girl". Is it the same song as recorded by the Down Children? And is either of these the same song that Twice As Much do such a magical version of on the soundtrack to TONIGHT LET'S ALL MAKE LOVE IN LONDON? Simply wonderful song. Stewart -------------------[ archived by Spectropop ]-------------------
Message: 10 Date: Thu, 02 Oct 2003 12:23:34 +0100 From: Harvey Williams Subject: Fantasia: gotta get away Fantasia - Gotta Get Away Now in Musica. Hope you enjoy it. -------------------[ archived by Spectropop ]-------------------
Message: 11 Date: Thu, 02 Oct 2003 11:55:16 -0000 From: Andres Subject: Beat-O-Mania, The Buggs, B. Brock And The Sultans Glenn Sadin once wrote: RE the Buggs' album, it's one of the best of the ersatz American "Beetle" albums. Most likely the band is from the NYC area. I've just recently bought 3 vinyl discs - Beat-O-Mania, The Buggs 'Beatle Beat' and B. Brock And The Sultans 'Do The Beetle'. Apart from enjoying the music (it's really great!) there were some strange and interesting things that arrested my attention: Beat-O-Mania Very catchy pic on the sleeve with screaming girls, one of them even unintentionally showing her underwear. On one of the girls' dress there's a knitted word 'Beatles'! The same pic was used on French EP We Love the Beatles. The note says Recorded live in England, although it was recorded neither live nor in England. The year of release as indicated on the rear cover is 1962 (!). The quality of the recording itself is rather poor, maybe it was made in a haste, just to make money before the Beatle craze has gone? The Buggs - 'Beatle Beat' Again 'Recorded in England' note, though the Buggs are sure from America and hardly ever visited England. No song credits anywhere. Some songs are renamed to give a hint for some Liverpool or English origin, like, for instance, Liverpool Drag (in fact no mentioning of Liverpool in the song at all, just a simple love song.) B. Brock And The Sultans - 'Do The Beetle' Really great stuff, especially instrumentals Fast Beetle and Little Brown Beetle, plus a couple of very good Beatles covers. No song credits again. I've transferred all 3 discs on one CDR (plus one bonus - 02 songs by Tina Ferra, including 'R Is For Ringo') and made an artwork using the original sleeve pics. If you want to trade, you're welcome. Regards, Andres -------------------[ archived by Spectropop ]-------------------
Message: 12 Date: Thu, 02 Oct 2003 07:28:53 -0500 From: Dan Hughes Subject: Night Time Girl The Bobster asks, Am looking for a copy of "Night Time Girl". Is the same song as recorded by the Down Children? Yes. Written by Kooper-Levine if memory serves. ---Dan -------------------[ archived by Spectropop ]-------------------
Message: 13 Date: Thu, 02 Oct 2003 14:12:05 +0000 From: Richard Hattersley Subject: Re: This Could Be the Night Bill Reed: >In my haste, I forgot to add that there are at least two recorded >homages to the MFQ version of the Nilsson/Spector "Night": > >1. Brian Wilson on "For the Love of Harry: Everybody Sings Harry >Nilsson" Music Masters 65127-2, 1994. > >2. Tatsuro Yamashita on his 1978 album, Go Ahead. Yamashita was the >compiler and annotater of an official Japanese boxed Spector set that >at the last minute fell through the cracks, though rumor persists >that a few copies of the multi-CD affair did make its way through the >production process before it was quashed for unknown reasons. This Could be the night is my favourite Spector recording. I also payed homage to it on a track I did called "Coming Soon (Going So fast)". Although the song is an original, I totally confess to lifting the production and fell from the MFQ track. Check it out at Speaking of Brian Wilsons version of the song, I read somewhere that he attended the session, any body else remember reading this? I can not remember the source. Richard -------------------[ archived by Spectropop ]-------------------
Message: 14 Date: Thu, 02 Oct 2003 16:30:27 +0200 From: Honeydhont Subject: Randy's Rain Hi, Does anybody out there knows who recorded the first version of Randy Newman's "I Think It's Going To Rain Today"? Many sources say Eric Burdon, but Judy Collins definitely beat him on her album In My Life at the end of '66. Surprisingly, I bumped into an earlier? version by some crooner Julius LaRosa on his album You're Gonna Hear From Me on MGM. Can anyone confirm this, or am I overlooking someone else? Honeydhont. -------------------[ archived by Spectropop ]-------------------
Message: 15 Date: Thu, 02 Oct 2003 16:19:04 -0000 From: Wayne Subject: Another classification clarification Another close category is framed in the term 'Chamber Pop" which must have its roots in Spector yet is also applicable to the sunshine/harmony pop artistes aforementioned. Is this just another ultimately useless tag?. Thanks in advance.--- Wayne. -------------------[ archived by Spectropop ]-------------------
Message: 16 Date: Thu, 02 Oct 2003 13:04:15 -0500 From: Dan Hughes Subject: Julius LaRosa In speaking of "I Think It's Going To Rain Today", Honeydhont refers to: earlier? version by some crooner Julius LaRosa..." I am shocked that a learned Spectropopper calls Julius LaRosa "some crooner." LaRosa was the singer on the Arthur Godfrey show whom Godfrey fired, live and on the air, for "lacking humility." Quite a huge story in its day, when Godfrey was perhaps the nation's best-loved air personality on both radio and television. Seems like yesterday! ---Dan the old-time radio fan -------------------[ archived by Spectropop ]-------------------
Message: 17 Date: Thu, 02 Oct 2003 18:51:45 -0000 From: Art Longmire Subject: Re: Another classification clarification Wayne wrote: Another close category is framed in the term 'Chamber Pop" which must have its roots in Spector yet is also applicable to the sunshine/harmony pop artistes aforementioned. Is this just another ultimately useless tag?. Thanks in advance.--- I recall the term "chamber pop" being used in reference to The Left Banke's style...I've got two interviews with them in magazines dating to 1966 and '67 where I think the term was used. It just hit me that yet another category that may overlap with the ones being discussed is "goodtime music" which was applied to groups like the Lovin' Spoonful and the Sopwith Camel. One thing I notice is that during the 60s I never heard terms like "sunshine pop" being used! A lot of these categories were devised long after the era, in relatively recent times when this type of music seemed to become fashionable again. One person on the board mentioned that it has only been relatively recently that this type of music has gotten mainstream attention and respect. That sure is true - I'll never forget the time I was listening to the local "hard-rock" AOR station back in the 80s and these two disc jockeys were playing, for a joke, the song "Listen People" by Herman's Hermits. They were just laughing their heads off and trashing it, and I remember thinking that the song they were making fun of was better than the entire playlist of their idiotic hair-metal "hard-rock" station. All right...I'll get off of my soapbox now! Art -------------------[ archived by Spectropop ]-------------------
Message: 18 Date: Thu, 02 Oct 2003 16:15:46 -0400 From: Country Paul Subject: Thanks... ...Artie Wayne, for following up on my Bobby Darin "Lost Love" query. It's such a beautiful song.... ...Terry and Bryan, for the Fading Yellow info links. Now I've got to check the bank account! Talked with Carol Connors the day before yesterday. No news, but she said to say hello to her Spectropop friends. Message delivered. Country Paul -------------------[ archived by Spectropop ]-------------------
Message: 19 Date: Thu, 02 Oct 2003 15:24:20 -0700 From: Alan Gordon Subject: Harrison/Beatles/recording Steve Harvey wrote: As far as the George story I was told it was remixed over here in the US when George visited in 1968, not England. He heard the tapes before they were pressed and decided to remix his tunes. Never heard of the cuts surfacing or anyone who had them. Could be bunk. I think you're right - sounds like the usual Beatles rumour stuff. The idea that George would remix his cuts over here, sounds kinda silly to me. As anyone who has worked as a producer, or engineer, or musician knows... Every studio sounds different. It doesn't matter that most studios in America all have the Yamaha NS-10Ms for close-reference. For more reasons than just acoustics, those speakers sound different in every studio. For instance, I have read complaints by George Martin and Paul McCartney about play-back and basic recording issues using Trident studios - which was a facility that the Fab Four used when EMI hadn't installed their basement-occupying 8-track recorder into a proper studio yet. So... playing a tape that you already mixed in a familiar studio, could sound very different in another studio. And, it seems to me, completely unlikely that Capitol would have the multi-track session tapes for George to remix in the first place... there would be no reason since they were recorded in England, and Capitol wouldn't need them for reference, pressing or anything else. I haven't heard them in years, but I think that the "White Album" stereo and mono versions are very different mixes. I know there has been talk over the years about releasing them. It's hard to imagine these days, that the prominent mixes for Sgt Pepper were the mono ones... the stereo ones were done as an afterthought in an afternoon. Also, the Capitol American albums were/are being considered for issue since Capitol added reverb to a lot of the tracks, and a lot of Americans remember and prefer them that way. xoxoxo, ~albabe -------------------[ archived by Spectropop ]-------------------
Message: 20 Date: Thu, 02 Oct 2003 22:40:56 +0100 From: Martin Roberts Subject: Jack Nitzsche - Help wanted! Not the usual (but still required) request for reviews, stories or info - rather I'd like help of a more technical and grammatical nature. The ideas I have for outstrip my ability to deliver as quickly as I'd wish. Ideally the successful applicant(s) would have a finely-tuned grasp of the English language (as it is written) and/or an understanding of HTML that would enable them to look at the Nitzsche pages, 'view source', smile kindly and note that by adding this or that code the pages could be read by even the most ancient of browsers. Naturally a love of great pop music would also be an asset! What can I offer in return for this expertise? Very little! However if more folk were involved with 'Jack Nitzsche at Spectropop', more could be accomplished and the increased sense of self-worth would be sure to be its own reward! Martin -------------------[ archived by Spectropop ]-------------------
Message: 21 Date: Thu, 02 Oct 2003 23:17:21 -0000 From: Bill Reed Subject: Re: Julius LaRosa - OT Dan Hughes wrote: In speaking of "I Think It's Going To Rain Today", Honeydhont refers to: earlier? version by some crooner Julius LaRosa..." I am shocked that a learned Spectropopper calls Julius LaRosa "some crooner." How quickly we forget! I was going to post pretty much the same thing but thought it might sound too "harumph-y" and "I fought the war for your kind." NOW I feel empowered to do so. LaRosa is still around, and there is a healthy contingent of fans (myself included) and critics who consider him just about the best male jazz-pop singer around. Caught him on the Jerry Lewis telethon this year and he "killed." Like the previous poster noted, when Arthur Godfrey fired Julius LaRosa on air "live" for his lack of so-called humility, it was major news. Maybe the top show biz story of the year---or close. Neighbors ran into the streets shouting the news, and the seemingly avuncular, awshucks Godfrey went---at warp Jerry Lee Lewis speed--- from being the most powerful personality in radio-TV to dead media meat almost overnight. The meglomaniacal character, Lonesome Rhodes, brilliantly portrayed in the film "A Face in the Crowd" by Andy Griffith was based on Godfrey. LaRosa, meanwhile, went on to carve a nice recording career for himself. No spectropop that I can recall, however. Bill Reed -------------------[ archived by Spectropop ]-------------------
Message: 22 Date: Thu, 02 Oct 2003 19:36:01 -0400 From: Phil Milstein Subject: Re: Another classification clarification Art Longmire wrote: One thing I notice is that during the 60s I never heard terms like "sunshine pop" being used! A lot of these categories were devised long after the era, in relatively recent times when this type of music seemed to become fashionable again. Well said, and it reminds me to ask if anyone can tell me just what in the hell "freakbeat" means. --Phil M. -------------------[ archived by Spectropop ]-------------------
Message: 23 Date: Thu, 02 Oct 2003 16:36:20 -0700 (PDT) From: Steve Harvey Subject: Art For Our Sake Art's story reminds of me of the time I lent some Spoonful LPs to another student at school. This was the age of Alice Cooper and other "badass acts". The Spoons were to "gentle" for his liking. Yet these tunes (for the most part) still hold up over the years. Some bands like Kiss or Madonna have great publicity, but that same publicity rarely focuses on the actual music (which why they are supposedly famous). -------------------[ archived by Spectropop ]-------------------
Message: 24 Date: Thu, 02 Oct 2003 20:00:56 EDT From: John Berg Subject: Re: Julius LaRosa I too was slighty stunned to read "some crooner" applied to Julius LaRosa. He was among the stars for my parents when I was growing up (born in 1948, so I'm a relatively early "Baby boomer"). I watched all their TV shows and listened to all their radio faves -- while also very early on getting intoxicated by Elvis (from the first time seeing him on Steve Allen and Ed Sullivan) and every other early rocker that stormed the culture. I think our "boomer" generation was exposed in the home daily to two distinctly different types of music. I really didn't have much choice when it came to watching Lawrence Welk, listening to big band "crooners", etc. -- meanwhile I had to keep my "rebel" music pretty well concealed. By contrast, my kids (22, 19 and 15) like much of the same music I like, and I listen to all their current faves (well, maybe not the rap stuff, but fortunately they are much more into '60s groups!) I can go to the clubs where my son's band plays and not seem too out of place. At times I almost worry about this -- what do my kids have to rebel against if we all like rock? John Berg -------------------[ archived by Spectropop ]-------------------
Message: 25 Date: Thu, 02 Oct 2003 20:08:27 EDT From: John Berg Subject: Re: Harrison/Beatles/recording In contrast to what you may think, the fact is that back in the 1960s labels in other countries did often receive copies of the multi-tracks, and created their own mixes. This is certainly the case with the first couple Captain Beefheart & The Magic Band albums. The German first-editions are today highly collectible amongst Beefheart fans because they featured much cleaner mixes. In particular, the "Strictly Personal" album is desired because it doesn't bury the sound in the "whoosh" phasing that Bob Krasnow emphasized on the original US mix. Later European editions reverted to an "internationalized" mix but the early overseas pressings are definately collectible because of this range of different mixes. Maybe somebody who used to work for Capital could tell us whether copies of the multi-tracks were sent over here for use in creating the US versions of Beatles albums? JB End

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