Spectropop Home

[Prev by Date] [Next by Date] [Index] [Search]

Spectropop - Digest Number 1248


               SPECTROPOP - Spectacular! Retro! Pop!

There are 10 messages in this issue.

Topics in this digest:

      1. Re: Mixing, "Run To Him"
           From: Bob Celli 
      2. Re: Chuck's finest moments
           From: Steve Harvey 
      3. Re: Bobby Pedrick
           From: James Botticelli 
      4. Re: Mixing, "Run To Him"
           From: John Sellards 
      5. Re: Chuck's finest moments
           From: C. Ponti 
      6. RE: Gene Radice
           From: Mike Rashkow 
      7. Re: Gene Hughes
           From: Anthony James 
      8. Re: Mixing, "Run To Him"
           From: John Sellards 
      9. Re: Picardy / Ron Dante welcome / Gary Chester
           From: Phil Milstein 
     10. Re:Chrisine Quaite (Stateside label)
           From: Scott Swanson 

Message: 1 Date: Mon, 12 Jan 2004 23:55:36 -0000 From: Bob Celli Subject: Re: Mixing, "Run To Him" John Sellards wrote: > Actually, I was responding to somebody else who had made the point > about the stereo mixes being done later by engineers - that practice > is pretty well known, probably as a direct result of the story of the > Beatles being around for the mixing of the mono Sgt. Pepper and not > the stereo being told again and again. But it still amazes me how > much more emotionally involving mono mixes usually are even for tunes > you wouldn't expect a mix difference...like "Run To Him" by Bobby > Vee, where the Johnny Mann singers seem to build and build throughout > the record to a great climax at the end that is greatly diminished in > the stereo mix. John, I don't see the huge difference you do on "Run To Him". The song was recorded on three track so there wasn't a whole lot of manipulating to be done there. What I hear on the stereo mix is the vocal centered, the string section, tom toms, piano and xylophone on one channel and the Johnny Mann Singers and the guitars on the other channel. The perspective is changed quite a bit from the mono mix but I still feel the big build up to the ending. Bobby Vee told me that if it wasn't for Eddie Brackett, the engineer at United Studios, that none of his stuff would have been in stereo early on. It was Eddie that was most excited about stereo. Snuff Garrett, Bobby's producer, could care less as long as it sounded good on a transistor radio the kids were listening to. There's an interesting story that goes with "Run To Him". Snuff was in New York to pick up demos at Aldon Music. They told him there would be a stack of demos with Bobby Vee's name on them. When he arrived, there were two stack of demos, one for Vee and one for the Everly Brothers. Since no one was around,Snuff took both stacks and Run to Him was , of course, in the Everly Brothers pile. Several years ago I was at Bobby's home and he let me rummage through several boxes of acetates. I came across one for "Run To Him", Take 11A. I played it and was amazed that the entire first verse was done just like the Everlys would have done it, only with Bobby singing a high harmony part throughout the entire verse. It sounded great but they obviously made the right choice with the version that was released. Bob Celli -------------------[ archived by Spectropop ]-------------------
Message: 2 Date: Mon, 12 Jan 2004 20:12:10 -0800 (PST) From: Steve Harvey Subject: Re: Chuck's finest moments Paul Bryant wrote: > My choice is You Never Can Tell, where the precision of > a novelist combines with an irresistible swing -- such > great great lines. Jo-el Sonnier, the Cajun accordianist, did the best version I've heard. Something about Cajuns playing Chuck Berry appeals to me. Emmy Lou Harris did a good version too. -------------------[ archived by Spectropop ]-------------------
Message: 3 Date: Mon, 12 Jan 2004 21:28:53 -0500 From: James Botticelli Subject: Re: Bobby Pedrick Orion wrote: > Robert John is one of my favorite artists. It is hard to imagine he can get > his voice so high up there. I haven't seen anything out by him in quite awhile > which leaves me with "Sad Eyes". "If You Don't Want My Love" is an evergreen of sorts on the Beach. And his take on "Ooh Baby Baby" rivals Smokey's I daresay. -------------------[ archived by Spectropop ]-------------------
Message: 4 Date: Tue, 13 Jan 2004 03:02:19 -0000 From: John Sellards Subject: Re: Mixing, "Run To Him" > I don't see the huge difference you do on "Run To Him". The song > was recorded on three track so there wasn't a whole lot of > manipulating to be done there. What I hear on the stereo mix is the I dashed off my response without reading my original posting where I said "greatly diminished", which does tend to imply a pretty drastic difference. It seemed like a pretty big change to me once I heard the mono version. I'm 32, so many of these songs I've heard only in the stereo versions all my life! John Sellards -------------------[ archived by Spectropop ]-------------------
Message: 5 Date: Tue, 13 Jan 2004 03:11:57 -0000 From: C. Ponti Subject: Re: Chuck's finest moments Paul Bryant wrote: > My choice is You Never Can Tell, where the precision of > a novelist combines with an irresistible swing -- such > great great lines. Ok, PB, listen up and listen hard! Just a tip about the amazing Johnnie Johnson, who played piano with Chuck. Johnnie co-wrote many of the songs and Chuck employed and transposed many of JJ.'s piano riffs into guitar licks. Many people feel Johnnie Johnson is the true father of Rock 'n Roll, among them Keith Richards. This is not to diminish Chuck's brilliant lyrics, which you cite, BUT... Johnnie is the man. He plays the piano on "C'est La Vie", one of Rock's finest moments. C Ponti -------------------[ archived by Spectropop ]-------------------
Message: 6 Date: Mon, 12 Jan 2004 21:57:25 EST From: Mike Rashkow Subject: RE: Gene Radice Hello Group, Once again I am humbled by my ignorance, poor memory and quick lip. Yesterday I posted an item saying I thought Gene Radice produced a thing called "What Is Soul" by Ben E. King. WRONG. Wrong again. and obligated to flagellate myself before the knights of the turntable. That's flagellate -- don't get funny with me. See, it was gnawing at my psyche so I went to the attic and pulled out Atco 6454. Right artist, right title -- wrong producer. The producer was Bob Gallo. Gallo and Ben E. wrote the song. Now, even though I had the producer wrong, this record is a pretty funky piece of R&B -- has a lot going for it -- and I know nothing about Bob Gallo. Something in the back of my head says he had his own studio on 42nd St., near 6th Ave. Anyone know something about Bob Gallo besides (to paraphrase Hoyt Axton) "helping him drink his wine"? Anyone else know this record? Anyone care? Anyone out there? Anyone? Any? One? Rashkovsky ( not feeling very di la-ish right now) -------------------[ archived by Spectropop ]-------------------
Message: 7 Date: Mon, 12 Jan 2004 22:06:31 -0500 (Eastern Standard Time) From: Anthony James Subject: Re: Gene Hughes Austin Roberts wrote: > I'm singing at a show for Gene Hughes in Nashville in Feb. > so I'll find out more and let you know. He's a great guy > and what a voice. Austin, Thank you for taking the time to e-mail me about Gene Hughes. I never had the chance to work with him, but from what I have been told about him he is a great guy. Anthony James -------------------[ archived by Spectropop ]-------------------
Message: 8 Date: Tue, 13 Jan 2004 02:40:17 -0000 From: John Sellards Subject: Re: Mixing, "Run To Him" > I don't see the huge difference you do on "Run To Him". The song > was recorded on three track so there wasn't a whole lot of > manipulating to be done there. No, you're right, it's not a huge difference but they seem to be much closer to me in mono -- perhaps it's in having less reverb as well. The differences are subtle, and as you say there's certainly a difference in presence, so to me it's the small differences that really highlight the Johnny Mann singers on the single. I didn't mean to make it sound like it was drastic, because it's not, but it's enough that I have a clear preference. John Sellards -------------------[ archived by Spectropop ]-------------------
Message: 9 Date: Mon, 12 Jan 2004 22:23:33 -0500 From: Phil Milstein Subject: Re: Picardy / Ron Dante welcome / Gary Chester Clark Besch wrote: > Now going on Musica by request: "5:30 Plane" by Picardy. > So good to know that people out there love "Montage" and > "How Sweet it is"! This 45 is very hard to come by, as I've > seen only my copy in all the years looking for it. Released > early summer 1968, shoulda fit in well with Mamas & Papas > crowd. ... A delightful track, Clark, and thanks for posting it. But I remain in the dark vis a vis the inquiry I posted about a week or so ago: I wrote: > A brief thread here in the past week or two referred to "How Sweet It > Is," by Picardy (or The Picardy Singers). I'm a bit confused about the > history of this record. A friend of mine included it on a CD-R he made > for me from the soundtrack album for a 1968 movie of the same title > (although with an "!" added at the end of the latter), but listed the > composer as Pat Williams (with whom I'm otherwise unfamiliar). Other > titles discussed here in the same breath as HSII (i.e., "Montage") do > not appear on the CD dub (which, knowing my friend's dubbing tendencies, > might be abridged from the full LP). > The title song is a piece of joy itself -- the very essence of "sunshine > pop," if I understand the term correctly -- and I would love it if > someone could straighten me out on what's what and who's who with this song/album/movie. Jimmy Crescitelli wrote: > Welcome aboard... just want to let you know that "Sugar Sugar" > was THE record in my Brooklyn neighborhood for many, many, > many months... it was the first song I ever danced to... > I was 13 years old for most of that year..... ! I was 12, and, as a big-time fan of the Archie comic books, was really into it as well. One of the more amusing sidelights to the "Sugar Sugar" phenomenon was its treatment on "Music Scene," a weekly TV series which attempted to combine performances or films by interesting stars with a consideration of that week's Billboard Pop chart. The show was hosted by the extremely unfunny Canadian comedian David Steinberg (whose tagline was "Booga booga," which I assure you had us all rolling in the aisles). For the show's first season Steinberg was joined by a self-consciously recruited (as opposed to organic) comedy troupe, only one of whom, Lily Tomlin, ever went on to any notable success. The troupe was such a bust that they were not invited back for the second season, although Steinberg, who may have been harboring incriminating photos of the producer, was. Back to "Sugar Sugar." "Music Scene"'s commitment to Billboard dictated that they would play that week's #1 Pop song in each episode, accompanied by some sort of visual for it. But "Sugar Sugar"'s four-week (I believe it was) run at the top seemed to cause a dilemma behind the scenes at "Music Scene." They were going for a slightly older demographic than the "Sugar, Sugar" crowd, and the fiat of having to feature this gooey monster week after week caused the on-screen talent to noticeably rustle. After the studio-fed animated clip that accompanied week 1, successive segments were produced by the "Music Scene" staff, and got stranger and more overtly derisive with each passing week. (Mind you, this was well before the song's acceptance by soul and other "credible" artists.) I think the last week in the run featured a gospel chorus wailing "You are my candy girl" and "pour your sweetness over me" at half tempo. Billy G. Spradlin wrote: > Right before I read this message, I came upon a web site devoted to > Gary Chester. (http://www.angelfire.com/music5/garychester/bio.html) > On the site it says he played drums on Gene Pitney's "It Hurts To Be > In Love." Thanks for the link, Billy. Loved the bit about breaking glass! I once interviewed a NYC-based recording engineer named Gary Chester, after which I began coming across all sorts of references to the same name as having tubbed on many of my favorite NYC-based sessions, causing me to wonder if they weren't one and the same cat. The bio you provided finally confirmed that they're not, although for all I know the drummer could still be the engineer's dad. --Phil M. -------------------[ archived by Spectropop ]-------------------
Message: 10 Date: Mon, 12 Jan 2004 20:11:49 -0800 From: Scott Swanson Subject: Re:Chrisine Quaite (Stateside label) Howard writes: > I have the full Stateside label listing (in the > loft) if anyone requires info let me know... There are a few websites with partial Stateside discographies, although they are missing most B-sides: http://www.georgwa.demon.co.uk/stateside_records_listing1.htm http://www.geocities.com/SunsetStrip/Venue/6784/statesid.html http://www.btinternet.com/~davemct/singles/stateside/stateside01.html By the way, if anyone out there happens to know the contents of "SS 427" and "SS 436", please let me know because they're the only Stateside 45s from 1965 that I don't have!! Regards, Scott -------------------[ archived by Spectropop ]-------------------
SPECTROPOP - Spectacular! Retro! Pop! End

Click here to go to The Spectropop Group
Spectropop text contents copyright 2002 Spectropop unless stated otherwise. All rights in and to the contents of these documents, including each element embodied therein, is subject to copyright protection under international copyright law. Any use, reuse, reproduction and/or adaptation without written permission of the owners is a violation of copyright law and is strictly prohibited. All rights reserved.