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Spectropop - Digest Number 1713

               SPECTROPOP - Spectacular! Retro! Pop!

There are 15 messages in this issue.

Topics in this digest:

      1. Chiffons stereo - Fine points
           From: Various 
      2. Re: Caravan
           From: John Sellards 
      3. Re: S'pop in New York
           From: James Botticelli 
      4. Re: Columbia - closed shop
           From: George Schowerer 
      5. Re: Freddy Weller & Indian Reservation
           From: Joe Nelson 
      6. Re: touring Raiders
           From: John Berg 
      7. Brian Wilson's Halloween performance in Phoenix
           From: John Briggs 
      8. SMiLE on the radio
           From: Kurt Benbenek 
      9. Re: Keith Allison
           From: John Fox 
     10. Re: Dance with Claire Francis at Arthur's
           From: Claire Francis 
     11. Re: Touring Raiders
           From: Billy G Spradlin 
     12. Re: Kenny Young
           From: Barry Margolis 
     13. Re: Vee overdubs
           From: Bob Celli 
     14. Re: Felix Pappalardi
           From: Various 
     15. Re: Columbia -- closed shop
           From: Mark 

Message: 1 Date: Tue, 2 Nov 2004 12:16:20 -0000 From: Various Subject: Chiffons stereo - Fine points George Schowerer wrote: > I was the engineer on Chiffons "He's So Fine," which was produced > by Hank Medress and The Tokens at Allegro Studios, 1650 Broadway. > The tracks done at Allegro are in monaural only as we didn't have > a stereo machine at that time, only two mono Ampex units, and a > Gates Dualux console (modified). Donny H. > I'm ignorant when it comes to the technical end of these things, > but I was wondering how the "true stereo" version of "He's So Fine" > came about which has been popping up in some compilations in the > last few years? __________________________________________________________________ Billy G Spradlin: > That's interesting, "He's So Fine" appears in remixed true stereo > on Varese Sarabande's "Dick Bartley Presents Collectors Essentials - > The All-Time Greatest Girl Groups" CD. It sounds to me like the > engineer (Dave Daugherty - "New Stereo Assembly") did a synch-up > of mono tapes to create it. Dr. Dave synched the mono master up to the stereo backing track tape. I've got a copy of the stereo backing track tape somewhere, it most definitely was NOT cut mono to mono unless someone had a 3rd machine running at the same time recording everything to 2- track...BTW a better sounding stereo sync has since been released, the original one didn't sound that great and Dave admitted it to me. I've yet to hear the new remix but I'm told it blows the old one away. --Tom Diehl __________________________________________________________________ To my ears, The Chiffons/Angels' backing track is true stereo. For the rhythm, one channel has upright bass & clave(!) and the other has drums, guitar and celeste. On top of that there is a stereo backing-vocal layer, presumably done on a two-to-two overdub? On the Angels version, I think I can hear a slight leakthrough of the Chiffons' lead vocal, which leaves me wondering. Whatever, it's a fine record. Take a look at the "He's So Fine" story at The original discussion was prompted by a mention of Goffin-King's "One Fine Day", perhaps that's what George was referring to? I agree with Al the great that George and others can't possibly be expected to remember exactly what took place on every session they worked. I didn't get into studio recording until '69, and I get asked about things I did in the 70s, of which I have absolutely no recollection... and that's only thirty years ago:-) In fact, I'm sure I recorded one of the Angelettes tracks. Today I'm editing an 'electro-clash' club track to be radio-friendly (some things never change) that has only one chord and a one-line lyric. I doubt if I'll remember my own name by the time I've finished. Phil "I was there somewhere" Chapman __________________________________________________________________ Oddly enough that you mentioned a stereo "He's So Fine". Somewhere I have a "stereo" sounding version and all I remember is that for some reason, Pat's alto was very prominent in the background. Is that the version??? On another Chiffons CD that I have, the cuts from the "Sweet Talking Guy" LP are in stereo. The nicest sounding track was "Up On the Bridge"!!!!!! Tony __________________________________________________________________ The Angels LP version uses the Chiffons stereo backing track on "He's So Fine." A Chiffon can even be heard on backup. Doc ___________________________________________________________________ If I remember correctly, when recording the Angels' "My Boyfriend's Back" LP, they asked for the Chiffons' backing track of "He's So Fine" and got it, putting the Angels vocals over it for their LP. I think that is how they synched up the stereo Chiffons--using the backing track from the Angels recording. Sound like a story anyone else heard? Clark -------------------[ archived by Spectropop ]-------------------
___________________________________________________________________ Message: 2 Date: Tue, 02 Nov 2004 13:32:20 -0000 From: John Sellards Subject: Re: Caravan Gary Myers : > I've heard two different melodies for the bridge of Caravan > (same chords, however). I believe Billy Eckstine sang a melody > different from the common instrumental one. You're absolutely right; it is indeed different. Eckstine was fond of writing little changes into the songs he cut, especially tags. Eckstine is, I think, one of the great overlooked influences of American popular music...He was an obvious influence on Elvis, and had many top jazz players under his direction at times. John Sellards -------------------[ archived by Spectropop ]-------------------
Message: 3 Date: Mon, 1 Nov 2004 17:18:51 -0500 From: James Botticelli Subject: Re: S'pop in New York Mikey wrote: > Guys, if we have the get together in Manhattan, I would like to > have my band "Mr Action and The Boss Guitars" play. We are a guitar > instrumental band and play instro versions of 60s Pop classics. If this thing happens, can those responsible make sure it gets posted to this list? Thanks in advance. -------------------[ archived by Spectropop ]-------------------
Message: 4 Date: Mon, 1 Nov 2004 14:46:09 -0800 (PST) From: George Schowerer Subject: Re: Columbia - closed shop Frank Murphy: > I always understood that Columbia artists had to use > Columbia studios and could only work with Columbia > producers. Is this correct? You are correct, they had to use Columbia studios. Not until I left Columbia in 67/68, did they even allow their engineers to work someone else's studio or console...even though many artists desperately wanted to. I recall a very funny episode where a ranking union member was in charge of the Ampexes at Columbia's 7th. Ave studios..... neither the mixing engineer nor the producer were allowed to do the "punch-in" by hitting the record button. This clod who was the ranking senior member, didn't have a musical bone in his body, was on a Steisand redo and not only got the wrong timing, he erased the horns and strings tracks on a vocal that almost ended that nonsense. It was so ridiculus that a non-music entity had that power in the studio. Even Roy Halley, the engineer, was musically trained, yet could not establish himself to do the punch-in. Classical producers were not allowed to touch the recorders on remix...even though they had a better idea of location than some of the union staff. Go figure who gave away those priorities, and why. Regards, George Schowerer -------------------[ archived by Spectropop ]-------------------
Message: 5 Date: Sun, 31 Oct 2004 16:02:51 -0500 From: Joe Nelson Subject: Re: Freddy Weller & Indian Reservation Austin Roberts wrote: > I don't think Freddy sang lead on that, but I'll ask him. It's definitely him: in particular the way he inflects "so proud to live" couldn't be anyone else. I wasn't even aware he was in the group until someone pointed out to me he was the singer on that. Joe Nelson -------------------[ archived by Spectropop ]-------------------
Message: 6 Date: Sun, 31 Oct 2004 19:17:35 EST From: John Berg Subject: Re: touring Raiders I just read the liner notes accompanying the various Sundazed CD reissues of the '60s Paul Revere & The Raiders albums, which all come with bonus tracks, for the (nearly) complete story of who went through the band over the years. I will ask Neal Skok about a chronological listing of the "who's who" from '61 onwards. One thing is for sure -- the '75 Raiders were not the '61 (nor '65, '67, etc.) Raiders. Funnily enough, once Revere stopped having "hits" and hit the regional "country fairs and oldies festivals" circuit he was able to keep a more stable set of musos than any time when they were on the charts and in the teen magazines. In fact he's had a pretty stable band for much of the past two decades, and they still put on a great show -- emphasis on the latter word. Meanwhile "Fang" hangs out in Vegas doing music with his wife, Drake plays rhythm and blues in Oakland, Smitty has gone to the great drum stool in the sky, Harpo plays for kids here in Seattle, Lindsay stays busy working some of the same circuits as Revere -- and the world keeps on a-turning. Which leads to a question: does anybody out there in Spectropopland have any live tapes of the Raiders circa '65-'67, which Neal and I still feel was their heyday? We would love to hear from you! John Berg -------------------[ archived by Spectropop ]-------------------
Message: 7 Date: Mon, 01 Nov 2004 18:25:35 -0000 From: John Briggs Subject: Brian Wilson's Halloween performance in Phoenix The show started in an "Unplugged" mode as on the Beach Boys Party album. Bongos and acoustic guitars. Gradually the songs became electrified. After an hour of great music, the show stopped for the intermission. "Smile" was wonderful. Such a difficult piece to perform! Only at the end of Vegetables did Brian slip up. And it was barely noticeable. I really liked the work of the reedman. The bass harmonica, baritone sax ... two of my all time favorite instruments. Great stuff! For the encores Brian strapped on an electric bass. I've posted a photo of Brian and his bass to the photos section. I also saw a burned out Jerry Lee Lewis attempt a performance last Friday evening. Very sad. Brian was in much better shape, if you can believe it. At least I had a nice visit with Jerry's bass player, B.B. Cunningham of the Hombres/"Let It Out" fame. -------------------[ archived by Spectropop ]-------------------
Message: 8 Date: Mon, 01 Nov 2004 17:30:29 -0000 From: Kurt Benbenek Subject: SMiLE on the radio According to their latest program mailer, radio station KCRW 89.9 in the Los Angeles area will broadcast Brian Wilson's "SMiLE" from Carnegie Hall on Nov. 25, 2-4 pm and Friday Nov 26, 6 - 8 pm (PST) I assume these "SMiLE" specials will be broadcast on KCRW's website and most likely will be carried on the entire NPR network - Kurt Benbenek (SMiLE-ing in 2 days at Disney Hall) -------------------[ archived by Spectropop ]-------------------
Message: 9 Date: Mon, 1 Nov 2004 16:13:08 EST From: John Fox Subject: Re: Keith Allison Gary Myers wrote: > I recall the piano player (jazz-standard oriented black woman), who was > doing a single in another room, talking about Allison coming in to her > gig and doing a poor job of singing some song with her. That makes some sense. Keith Allison got his start in show business simply because he looked like Paul McCartney. So Dick Clark placed him strategically in the audience of various artists' performances on "Where The Action Is", and the camera would close in on Keith every once in a while. Eventually Clark let him sing on the show (I remember him doing Donovan's "Colours" and some other non-rocking things). Next thing you know, he's one of the "New Raiders" when Paul and Mark replaced Smitty, Fang and Harpo with Freddy, Keith and Joe, Jr., the drummer. John Fox -------------------[ archived by Spectropop ]-------------------
Message: 10 Date: Mon, 1 Nov 2004 18:47:52 EST From: Claire Francis Subject: Re: Dance with Claire Francis at Arthur's Thanks, Frank. You are right, I just wish I could remember if it was on West 53rd or West 56th Street. It was a great place. I remember one night while I was there dancing, there was a couple dancing who had lights all over their clothing that would blink on and off constantly. Everyone had a "look" -- it was a great place. Is there anyone else out there who used to dance at that disco? Love and light, Claire Francis -------------------[ archived by Spectropop ]-------------------
Message: 11 Date: Tue, 02 Nov 2004 04:30:22 -0000 From: Billy G Spradlin Subject: Re: Touring Raiders Didn't the classic '64-'67 lineup reform several years ago (sans Paul) for a one-off reunion show in Portland? It's been Paul Revere and another group of Raiders for decades now. Several go back with him to when he reformed the group in the mid-'70s after Lindsey left. The man is a true showman, and puts on a fun oldies show. Expect the Raiders' biggest hits and lots of '60s covers. The last time I saw them, about four years ago at a Shreveport casino, they did a lenghty Beatles medley. Billy hhtp:// -------------------[ archived by Spectropop ]-------------------
Message: 12 Date: Tue, 2 Nov 2004 05:51:06 -0600 From: Barry Margolis Subject: Re: Kenny Young Barry Margolis wrote: > Here's the Kenny Young items I've got: > DEATH OF A CLOWN (Date 2-1573) Phil Milstein asked: > Was this a cover of the Dave Davies song? Yes, it was. -------------------[ archived by Spectropop ]-------------------
Message: 13 Date: Tue, 02 Nov 2004 12:30:40 -0000 From: Bob Celli Subject: Re: Vee overdubs Clark Besch wrote: > I found it interesting and disappointing when I listened to the > Bobby Vee legendary masters CD for the first time. It was great > to hear all those Vee songs in great sound quality and even though > it seems a slight problem, I was surprised to hear on one of my > fave Vee songs, "Look At Me Girl", that the song was sounding > perfect until the end fade when the vocal overdubs were GONE! I had the same reaction when I heard "Look At Me Girl". What happened was the final overdubs were done on the mono mix. When I asked Ron Furmanek what happened he said that the stereo mix that appeared on the CD was the only one in the vault. The same situation existed on another Vee single, "Hickory Dick And Doc". The track was recorded "live" at RCA Studio B in Nashvile. That stereo track apparently was mixed and finalized in Nashville, but when Snuff Garrett got back to LA he had Bobby do more overdubbing, again, on the mono mix for the single. So the stereo mix ends up very different from the single release. Bob -------------------[ archived by Spectropop ]-------------------
Message: 14 Date: Tue, 02 Nov 2004 01:24:22 -0000 From: Various Subject: Re: Felix Pappalardi Claire Francis asked: > The last time I saw Felix Pappalardi was in 1965 just before I left for > London. Can someone fill me in on what happened to him? -------- John DeAngelis: As you most likely already know, Felix attained success as a producer for the group Cream. Unfortunately he was later shot and killed by his wife. -------- C. Ponti: I hate to be the bearer of the news that he was shot by his partner or wife, (not sure), I believe her name is Gail. He was one of the finest musicians The Village nourished, and a great person and dear friend. -------- Steve Harvey: Sadly, Felix was murdered by wife. He had played bass with Mountain, and worked with Cream on some of their classics. -------------------[ archived by Spectropop ]-------------------
Message: 15 Date: Tue, 2 Nov 2004 09:51:24 -0500 From: Mark Subject: Re: Columbia -- closed shop George Schowerer wrote: > You are correct, they had to use Columbia studios. Not until I left > Columbia in 67/68 did they even allow their engineers to work > someone else's studio or console ... Of course The Byrds recorded an unreleased (at the time) version of "Eight Miles High" at RCA in 1967. -Mark -------------------[ archived by Spectropop ]-------------------
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