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Spectropop - Digest Number 1898

               SPECTROPOP - Spectacular! Retro! Pop!

There are 13 messages in this issue.

Topics in this digest:

      1. Re: Bad Motown Splices
           From: Billy G Spradlin 
      2. Re: Bob Crewe productions & Worst Tape Edits
           From: Billy G Spradlin 
      3. Re: The Cyrcle's "Please Don't Ever Leave Me"
           From: Shawn Nagy 
      4. Re: Lesley Gore
           From: Dave Monroe 
      5. Re: Lesley Gore
           From: Tony Leong 
      6. Re: The Marquee Revue
           From: Clark Besch 
      7. Re: Bad Splices
           From: Billy G Spradlin 
      8. Claire Francis
           From: Artie Wayne 
      9. Re: The Cyrcle's "Please Don't Ever Leave Me"
           From: Dave Monroe 
     10. Re: Lesley Gore / doubled voices
           From: Artie Wayne 
     11. Re: Lesley Gore, "Hey Now"
           From: Jim Allio 
     12. Lesley Gore / The Everly Brothers
           From: Alan Gordon 
     13. Re: The Young Idea
           From: David Walker 

Message: 1 Date: Wed, 06 Apr 2005 10:55:18 -0000 From: Billy G Spradlin Subject: Re: Bad Motown Splices Listening to the vocal tracks (a revelation!) on the Multiplex versions of the Motown "Singing Machine" Karakoe CD's reveals that the Motown engineers did a lot of "Punching In" on many classic hits. There's several edits on Martha Reeves "Quicksand" - most noticable about 40 seconds into the song right after the first "In Love With You". Billy -------------------[ archived by Spectropop ]-------------------
Message: 2 Date: Wed, 06 Apr 2005 11:02:00 -0000 From: Billy G Spradlin Subject: Re: Bob Crewe productions & Worst Tape Edits I posted this over on the "Both Sides Now" message board a few weeks ago, and since we're talking about bad tape edits/mistakes I thought it was appropriate.. The Four Seasons - a lot of little mistakes on thier B-sides and Lp tracks. "Little Angel" - The guitar player on the left channel hits the wrong note at 1:20, oops! "Comin Up In The World" - Frankie's voice goes horse singing the line "It's YOUR Love". Strange they didnt fix this! "Pity" I hear a print-through of an earlier vocal take (that starts late) at 2:15 into the song. "One Clown Cried" - I hear papers shuffling or something rattling at the beginning. "The Puppet Song" - the bass drops out for a few seconds during the last verse at 1:59. "Workin' My Way Back To You" - Theres a high pitch whine during the whole song. I havent bought the more recient Rhino CD reissues but I wonder if Inglot ever filtered this noise out. Other ones... Rascals "Groovin" - listen on CD with headphones and the bass turned up, and you'll hear somebody tapping thier feet along with the music. Hollies B-side "Come On Back" - right at the end you can hear drummer Bobby Elliot put down his sticks, clunk! Mamas & Papas - "Strange Young Girls" - Evidence of a dirty channel switch when they "bounce" the guitar intro left to right at the beginning of the song. Mamas & Papas - Words of Love - listen close at the beginning and you can hear someone licking thier lips. Cher - "Bang Bang", the original Imperial LP stereo version - theres LOTS of buzzzing and noise on this recording that was thankfully cleaned up on CD. Clovers - "Love Potion #9" (stereo CD) theres a very loud rumble (a truck passing by the studio?) during the sax solo break. Why didnt EMI-USA catch this during the remastering? Billy G. Spradlin -------------------[ archived by Spectropop ]-------------------
Message: 3 Date: Wed, 06 Apr 2005 14:13:29 -0000 From: Shawn Nagy Subject: Re: The Cyrcle's "Please Don't Ever Leave Me" Previously: > It was extremely easy to get the Neon Lp for a buck in the 70's cut > out bins--usually mono, as the mono Lps were phasing out in mid 67 > and thus, many mono Lps from the period seem to have gone unsold > and showed up in droves in the cut out bins 5 years later. Sundazed > has since re-released "Neon" and the song lives agin in pristine > sound. Something Sundazed didn't do though is include the mono version of the beautiful "The Visit (She Was Here)" with a vastly different feel to it result of added reverb. The CD released versions are all totally dry & do nothing for me. The first time I heard the mono version it blew me away. This seems to be the only downfall to some Sundazed releases, is that they don't look into different mix versions that could be included as bonus tracks. Same with Pozo Seco Singers "I Can Make It With You" - the hit, mono 45 is a superior mix with much more beat/kick drum to it than the "Lost & Found" Legacy CD release. back to The Cyrkle - are none of the members performing anymore? That's one 60s group I'd enjoy seeing together again! -------------------[ archived by Spectropop ]-------------------
Message: 4 Date: Wed, 6 Apr 2005 10:32:32 -0700 (PDT) From: Dave Monroe Subject: Re: Lesley Gore Anthony Parsons wrote: > ... Listen to "You Didn't Look Round" on that same LP and you'll > find evidence of Lesley not singing the exact same notes on her 2nd > vocal pass. I find it amazing that she was able to sing so many of > her songs with double-tracked vocals so well. Me, I'm curious about her "Hey Now." Quincy Jones producing, right? Anyway, it's a favorite here, but it makes my head hurt trying to follow it. It's like I'm listening to it both now and a spilt second into the future (sort of like how listening to a My Bloody Valentine track makes it sound like the music got smeared somehow). Can anyone comment knowledgeably about the production techniques involved here (no mater how simpl and obvious they might seem to the rest of you)? Or, rather, WILL somebody, please? Thanks! -------------------[ archived by Spectropop ]-------------------
Message: 5 Date: Wed, 06 Apr 2005 07:45:05 -0000 From: Tony Leong Subject: Re: Lesley Gore Anthony Parsons wrote: > ... Listen to "You Didn't Look Round" on that same LP and you'll > find evidence of Lesley not singing the exact same notes on her 2nd > vocal pass. I find it amazing that she was able to sing so many of > her songs with double-tracked vocals so well. Phil M: > I wonder why she was double-tracked so often -- my understanding is > that the technique was usually reserved to mask the inadequacies of > far less talented singers than Miss Gore. You know Phil, I've noticed the same thing with Judy Craig of the Chiffons--and she had a great sounding voice!!!! Tony Leong -------------------[ archived by Spectropop ]-------------------
Message: 6 Date: Wed, 06 Apr 2005 15:13:17 -0000 From: Clark Besch Subject: Re: The Marquee Revue Joe, the Marquee Revue were indeed a popular band in Omaha. They first played "Sandy's Escape", the best teen dance place in town, on April 7, 1968 and continued to play for a few years. I think "What Good Tomorrow" is pretty good and made KOIL's chart, I think. The Butterick 45, I have many copies of and don't think much of it. Not sure about that numbering system, but you're probably right. Pacific Avenue records had a few releases, so maybe the group did their own one-off and decided to list it as the next number, even if not on same label??? Hope this helps. Clark -------------------[ archived by Spectropop ]-------------------
Message: 7 Date: Wed, 06 Apr 2005 10:39:27 -0000 From: Billy G Spradlin Subject: Re: Bad Splices John Fox wrote: > Another similarly poor edit was done to "Timothy" by The Buoys. > This was done to insert alternate lyrics that were supposedly > more "radio friendly". I have the promo 45 with the censored lyric (I can post it in musica if anyones interested). The only line they changed on my copy was "My Stomach was full as it could be" to "Both of Fine as We could be"... which could be taken now as something entirely different! The tape edit is very poor, the speed drops when that line is sang and then speeds back up again. Another thing I noticed about this promo and the original 45 is that they are slower than the versions on CD from Rhino. > That reminds me (all this childhood stuff comes back, thanks to > Spectropop!): Somewhere, sometime in 1965-66, on TV or radio, I saw > or heard the Stones do "Satisfaction". When they got to the line, > "...trying to make some girl", the tape was made unintelligible and > it came out "...trying to mbfgltsgbfpzxtbf...". Are you thinking of the Stones doing "Let's Spend The Night Together" as "Let's Spend Some Time Together" on the Sullivan show instead? I saw a snippet of it and Jagger looked very p--sed off that he had to sing those lyrics. Billy -------------------[ archived by Spectropop ]-------------------
Message: 8 Date: Wed, 6 Apr 2005 13:05:20 -0700 (PDT) From: Artie Wayne Subject: Claire Francis On April 7, Our own Claire Francis, who has shared her "Love and Light" with all of us Spectropoppers, will undergo a serious operation. It's funny, we traveled in parallel musical universes for 40 years and then we meet on Spectropop, when I found out that she produced the Night Riders the cult hit which I co-wrote "It's Only the Dog" [McCracken/ Wayne]. She not only has made contributions to our forum but has supported many hopes, dreams, and aspirations throughout the years...and she has a lot more work left here to do on earth. If everyone takes a moment to think of Claire on the day of her operation I'm sure she will feel it...and heal faster. My prayers and my thoughts are with you my "Psychic Sister". Regards, Artie Wayne -------------------[ archived by Spectropop ]-------------------
Message: 9 Date: Wed, 6 Apr 2005 12:03:17 -0700 (PDT) From: Dave Monroe Subject: Re: The Cyrcle's "Please Don't Ever Leave Me" Stewart Epstein wrote: > I used to love a group called "The Cyrkle."... they had a sweet > little song called "Please Don't Ever Leave Me". Justin McDevitt: > This is a favorite Cyrkle tune of mine. It really captures that > Renaissance pop sound of the mid-60s era. The harmonic blend of > voices on this song is also uplifting. How about "There's a Fire in the Fireplace" from the Red Rubber Ball LP? I can't tell that there was a 45 release of it, but if anyone knows otherwise, an, even better, where I can get one, let me know. Thanks! -------------------[ archived by Spectropop ]-------------------
Message: 10 Date: Wed, 6 Apr 2005 12:22:40 -0700 (PDT) From: Artie Wayne Subject: Re: Lesley Gore / doubled voices Dave...How ya'doin'? When Lesley Gore was having all of her hits, my partner, Kelli Ross, and I ran her publishing companies. We also ran Quincy Jones, her producer's publishing companies. Though I never went to any of her sessions, I did work with when she did a few demos. At the time, when producers wanted to strengthen a vocal, they had a choice of using tape delay [15ips or 71/2 ips which were a bit exaggerated...Elvis' Sun sessions for example] or they could have the artist double their part. Lesley was one of those rare artists who not only could duplicate a performance she could sing a millisecond before or after the vocal she first recorded making it something special. Amazingly, she also doubled the emotion and feelings which was a little harder, but I thought it all worked. I can't imagine her records being done single voice. regards, Artie Wayne -------------------[ archived by Spectropop ]-------------------
Message: 11 Date: Wed, 6 Apr 2005 12:28:55 -0700 (PDT) From: Jim Allio Subject: Re: Lesley Gore, "Hey Now" Mu understanding of the recording of "Hey Now" is that the Sel-Sync (sp?) process was used, in which a singer overdubbed their initial vocal and it was delayed for a nanosecond, adding a bit of fullness and a different kind of texture. At the time, teenage singers were usually overdubbed because many were not the most accomplished vocalists. Lesley Gore was actually quite precocious and adept at doing some pretty intricate, jazz-based vocal work, but in order to place her squarely in the girl group/teen pop genres prevalent at the time she began recording, Quincy Jones doubled her voice, had her doing one-girl duets a la Sedaka and Pitney and added echo liberally at times. It sounds dated and puzzling to us now, but at the time it was tres moderne. "Hey Now" is a great record, I agree. When Gore sings it in "The TAMI Show," she fulfills the promise of the record and adds a fresh adlib to the bridge which starts: "Look a-here, I gotta know dear," following it with a "la la la la oh oh" that kicks it into high gear. Interestingly, if you listen to the recording on headphones very closely, you can hear her humming the adlib beneath her own vocals and the wall of background singers. Low, but still audible if you are listening for it. Jim Allio -------------------[ archived by Spectropop ]-------------------
Message: 12 Date: Wed, 06 Apr 2005 12:32:13 -0700 From: Alan Gordon Subject: Lesley Gore / The Everly Brothers Re: Lesley Gore (My heart throb when I was very young) and double tracking: As for double tracking. From my own studio experience, it's very hard to tell what someone's voice will sound like until it's done. Sometimes strong singers sound better, sometimes they sound very odd. George Martin once said something along the lines that John double tracked great. He sounded better and stronger... but Paul, on the other hand sounded flat and bad. Both of these guys were darn strong singers. I assume it has to do with the actual shape of the "wave" that one's voice has. The more "pure" wave (closer to a sine wave) the less better the voice sounded double tracked. Re: The Everlys: My understanding was that Jimmy Page and maybe another Led-band mate were also on the "Two Yanks In England." I.C.E. reports that all the WB Everly stuff will be released this year in at least 3 (three) "different" versions: 1). The new Collectors Choice single albums with no extras. 2). 2fers from the folks (WB Germany) that already started doing this a few years back - w/ bonuses (shipping April 18, in the U.K. and March 29 in Germany)... and best of all... 3). A new BEAR FAMILY boxed set of every WB song ever recorded!!! And two separate releases: "From Nashville To Hollywood" is a compilation of alternates and stuff... and... "Too Good To Be" True on June 7, on Varese is previously unreleased demos. I assume the Bear Family WB set will have everything... but I could be dreaming. I.C.E also reports that all the mastering will be the same. -------------------[ archived by Spectropop ]-------------------
Message: 13 Date: Thu, 7 Apr 2005 06:48:07 +1000 From: David Walker Subject: Re: The Young Idea Hi Spectroppers, According to Alphabeat (1969) the Young Idea are Douglas Macrae-Brown and Anthony Cox and are both British (with the former being born in Florence Italy). David Walker -------------------[ archived by Spectropop ]-------------------
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