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Spectropop - Digest Number 441

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                    For people whose names make music

There are 15 messages in this issue.

Topics in this digest:

      1. RE COKE SPOTS
           From: Michael Rashkow 
      2. Re: Stereo
           From: Mark Wirtz 
      3. Rick Nelson
           From: Mark Wirtz 
      4. Norman Newell
           From: Mark Wirtz 
           From: mick patrick 
      6. Left Banke ads
           From: Stewart Mason 
      7. Re: free Love
           From: Joseph Panzarella 
      8. Re: Stereo Wirtz
           From: Mark Frumento 
      9. The Mickettes
           From: Jimmy Crescitelli 
     10. White Levi's
           From: Country Paul 
     11. Re: Commercials
           From: Roland 
     12. RICKIE PAGE
           From: mick patrick 
     13. TAMI Show and Commercials
           From: Vlaovic B 
     14. Re: Stereo
           From: richard hattersley 
     15. Re: Rick Nelson
           From: Michael Edwards 


Message: 1
   Date: Sat, 13 Apr 2002 21:14:40 EDT
   From: Michael Rashkow 

beatle bob wrote: 
> Speaking of 60s songs in commercials, I recently purchased 
> a cd that featured about 50 orginal Coca-Cola commercials 
> from the 60's that featured some of the biggest stars of 
> that decade singing songs about Coca-Cola, usually with 
> the lyric content containing the lines "Things go better 
> with Coca-Cola, things go better with Coke." 

Interesting heads up on the Coke jingle CD. 
By any chance does it include "Dusty Roads" by The Fortunes:? 
"Dusty Roads, the sun's so hot, the pack upon my back is not 
as light as it once was when we first started"......etc. 
Credits might be to The Wes Farrell Organization. 

When you get a chance----thanks 

-------------------[ archived by Spectropop ]-------------------
Message: 2 Date: Sun, 14 Apr 2002 00:20:31 EDT From: Mark Wirtz Subject: Re: Stereo Richard Hattersley wrote: > You said you used to record the whole track live across > 2 tracks in true stereo....However I wondered if you > had problems when making the mono singles a good mix... It would be untrue to say that I recorded EVERYTHING or EVERY recording stage in true, locked-in stereo back then. I still kept the kick drum and bass (both together) on one track, for instance. Working 4-track to 4-track, I would then combine all rhythm track signals into one stereo pair, leaving 2 tracks for orchestra. Then I combined all that into a stereo pair on the third 4 track master, leaving 2 tracks for vocals and background vocals. Quite frequently (as did the Beatles) we would add additional parts live during the final (mono) mixdown. Obviously, those additions are missing in stereo mixes because the musicians, or artists that performed during the mono mix down were not present for the stereo mix. That is why on numerous albums (notably the Beatle's "Sgt Pepper"), you can hear musical parts that are on the original priority mono mix, but absent in the stereo mix. It might only be a tambourine, or such, but nevertheless, it's not there in the stereo. In the late 60's, all singles and most pop/rock albums were only released in mono. That's why, while spending hours on mono mixes, stereo mixes were typically rushed and not taken seriously, or not bothered with at all. (I just had a thing about stereo, and in retrospect I am glad I did.) In fact, after having spent a few weeks mixing Sgt Peppers in mono, when George Martin mixed the stereo version (not even in one of the main rooms but a tiny mixing booth on Abbey Road's second floor), the Beatles didn't even bother to show up for the sessions. Regarding the 3-5db center lift when combining true stereo tracks into mono, Geoff had a way of compensation for that lift of the center. Also, when you listen closely to a lot of our true stereo mixes, nothing is ever quite centered, but either a bit to the left or right to minimize the mono center lift. Careful peak limiting will usually even out the rest. By the way, whereas the Grocer Jack stereo version on comp albums is my original stereo mix, "Sam" is NOT, but a later "contrived" stereo mix. Geoff's and my original stereo mix of "Sam" has gotten lost somehow. (It was a hundred times better than the recently released one, and seamless, opposed to the phoney mix, which should NOT be listened to through headphones - it reveals, as if awkwardly chopped up, all the edit points that I smoothly cross-faded in my original stereo mix .) I had a virtually virgin acetate of the genuine stereo mix that could have been used for re-mastering, but that, unfortunately, was stolen from me :( M -------------------[ archived by Spectropop ]-------------------
Message: 3 Date: Sat, 13 Apr 2002 23:18:00 EDT From: Mark Wirtz Subject: Rick Nelson Is there a "Best Of..." Rick Nelson CD out that has "Just A Little Too Much" on it?? M -------------------[ archived by Spectropop ]-------------------
Message: 4 Date: Sat, 13 Apr 2002 23:15:38 EDT From: Mark Wirtz Subject: Norman Newell Ian Chapman writes: > It's produced by Norman Newell, who could often be > a little too far across the MOR line for me. It was "Aunty" Norman who signed me to my first ever recording contract to EMI in 1963, as Mark Rogers and the Marksmen - to the vociferous protest and objection from his assistant, John Burgess (Manfred Mann), who claimed that I had no talent. Not long after, Norman asked me to do my first ever studio arrangement that resulted in me replacing Norman's absconded arranger, John Barry, who had hooked up with James Bond movie scores and a production post at Ember Records (Chad & Jeremy). Yes, Norman was a passionate MOR producer and writer ("More"), but he was one of the old guard of producers who felt talent in the gut and shot from the hip, regardless of what others thought. Another one of the ignored greats - there wasn't a better MOR producer in London! And hey - the guy was darn hip too - the stuff he did with Adam Faith (arr John Barry), for instance, still stands up today so far as I am concerned. It was by looking over Norman's shoulders I learned my first lessons in producing. Here's a toast to Norman!! A genuine music lover and gentleman. Well, ahem, certainly gentile ;) > It's more Wirtz than Spector, and in fact, Mark, it bears > such a strong similarity to some of your productions (I'm > thinking Russ Loader), I have to ask - did you have any > uncredited involvement in this? I was not aware of these recordings but I would be most interested in hearing them. Who arranged them? The Russ Loader recordings, btw took place in 1965, by which time I no longer had any contact with Norman who had left EMI to be independent. We had a reunion when he hired me as arranger conductor for the "Marlene" Marlene Dietrich LP (replacing Marlene Dietrich's prior personal arranger and pianist Burt Bacharach who had deserted her to do a Doris Day movie score as well as "What's New Pussycat"), an EMI UK/GERMANY/FRANCE co-production. Those of you interested, ask me to tell you the story of THIS one sometime - a riot in many ways, especially as Marlene had a cow when she was first introduced to me, screaming that "I vill not vork viz a child!!!" and Norman was in manic depression over his poodle having been run over. The sessions went great though and some timeless magic was created. M:) -------------------[ archived by Spectropop ]-------------------
Message: 5 Date: Sun, 14 Apr 2002 09:08:02 +0100 (BST) From: mick patrick Subject: SQUISH, SQUASH, KILL THAT ROACH! Hi, Anyway, getting back to THE ALLEY CATS for a moment... You've all seen the movie HAIRSPRAY, right? One of the more obscure delights featured on the soundtrack, the Steve Venet- produced "THE ROACH" by GENE & WENDELL with THE SWEETHEARTS (Ray Star 777, #117 Billboard, 1961), was co-written by the Alley Cats' ALONZO WILLIS. Gene & Wendell's backing group, the Sweethearts, comprised CAROLYN WILLIS (later of the Girlfriends and the Honey Cone, of course), Noraniece Allen and sisters Elaine & Charlotte Brown. These are the same Sweethearts who cut some great Motown- ish tracks for Kent in 1965/6, not Oma Heard's group of the same name who waxed for the Hi III label. Carolyn and her three chums also recorded as THE NIGHTINGALES (Ray Star) and THE TWILETTES (Darcey). Got that? Do keep up! Well, to my query. The Willis clan were a musical lot, with brother Freddie and sister Diane also cropping up in various groups. I have a theory that BETTY WILLIS, the big-voiced chick who recorded for Phil Spector's Phi-Dan label and, as lead-singer of RACHEL & THE REVOLVERS, for producer Brian Wilson, is another member of the same family. Can anyone confirm my suspicion? MICK PATRICK Obviously still entranced by his copy of Steve Propes' book L.A. R&B VOCAL GROUPS -------------------[ archived by Spectropop ]-------------------
Message: 6 Date: Sun, 14 Apr 2002 11:39:24 -0400 From: Stewart Mason Subject: Left Banke ads Bob Rashkow writes: > Better yet - the > LEFT BANKE doing a Coke ad??!! Wow man - "Somewhere a > mountain is movin'"!!! TOO deep. Somewhere on a CDR I have a pair of Left Banke commercials, one for Toni home perms and one for, of all things, Hertz Rent-A-Car. I'll send them along to musica if I ever turn it up. Stewart -------------------[ archived by Spectropop ]-------------------
Message: 7 Date: Sun, 14 Apr 2002 11:47:19 -0400 From: Joseph Panzarella Subject: Re: free Love David A Young writes: > I recently discovered that a movie called "All I Wanna Do" > from a coupla years ago, now playing on cable and available > on video, features two Andy Paley-produced songs by > Darlene Love. ...on the subject of Darlene Love, she has a great track on the "Idol Maker" soundtrack LP: A&M SP4840 from 1980 titled "OO-WEE-BABY" written and produced by Jeff Barry...also on the LP are two cuts by Nino Tempo. The soundtrack is a really well produced and recorded piece of work...I've added the Darlene Love track to musica for all you Darlene Love fans. Joe Panzarella -------------------[ archived by Spectropop ]-------------------
Message: 8 Date: Sun, 14 Apr 2002 11:33:33 -0400 From: Mark Frumento Subject: Re: Stereo Wirtz From: "richard hattersley > Also, where can I hear these stereo versions. I only have > original Parlophone singles of your teenage opera work which > were of course mono. And I ve heard 'excerpt' on a few 60's > hit cds but it has still been mono. The two stereo mixes are available on Teenage Opera The Original Soundtrack Recording that was released by RPM a few years ago. The stereo version EFATO is really beautiful. I love the song "Sam" and it's nice to hear it in stereo but as MW points out it is a bit sloppy... even my amateur ears can distinguish faults. The CD is really worth getting. It comprises some other wonderful songs like Cellophane Mary Jane and several nice intstrumental pieces including backing tracks of the hits. Though, as Mark will tell you, it is by no means THE Teenage Opera it's a nice attempt to gather related material from the period and is creativly packaged. I got my copy from Amazon -------------------[ archived by Spectropop ]-------------------
Message: 9 Date: Sun, 14 Apr 2002 16:00:40 EDT From: Jimmy Crescitelli Subject: The Mickettes Thanks Mick! As ever, I can always count on you to enlighten and educate me whenever I need help with all those Various-ettes. Rickie Page's high-end soprano is awesome on "Little Boy," and her backing group is super professional-sounding... wonder who they were? There are a few Blossomian note-turns in there... ; ) -------------------[ archived by Spectropop ]-------------------
Message: 10 Date: Sun, 14 Apr 2002 16:43:49 -0400 From: Country Paul Subject: White Levi's Mike Anderson - the Jefferson Airplane ad I remember was for White Levi's, and had a drone (sitar? guitar?) with Grace intoning "White Levi's" on one note in a most psychedelic distended form. I only sort of remember that one spot, but seem to remember that there were two. Country Paul -------------------[ archived by Spectropop ]-------------------
Message: 11 Date: Sun, 14 Apr 2002 17:00:03 EDT From: Roland Subject: Re: Commercials There are two different Coke Comercials CDs: 'Things Go Better With Coke' (put out by the Philadelphia based Distortion Records) and 'Coca-Cola Commercials' which I believe is an import. Each has a few cuts not on the other. There's also a red wax boot LP that came out some time ago that has 38 commercial & promo spots including the Hondells for Honda & the Chiffons for H.I.S. clothing. A real low budget affair, there's no labels or record title just a paper insert. -------------------[ archived by Spectropop ]-------------------
Message: 12 Date: Sun, 14 Apr 2002 22:49:27 +0100 (BST) From: mick patrick Subject: RICKIE PAGE Hi, Yep, bat-eared Jimmy Crescitelli is quite right, it sure does sound as if RICKIE PAGE got some vocal support from THE BLOSSOMS on THE GEORGETTES' "LITTLE BOY" (Troy 1001). Next to the Rag Dolls, I find this adorable record the nearest thing to a female 4 Seasons. I love it. Incidentally, some copies of the previous release on the label, "WHITE LEVIS, TENNIS SHOES, SURFIN' HAT AND BIG PLAID PENDLETON SHIRT" by THE MAJORETTES, came with a picture sleeve. Rickie and Sheila Page are two of the four girls in the photo. It's the only shot of Rickie I've ever seen. MICK PATRICK -------------------[ archived by Spectropop ]-------------------
Message: 13 Date: Sun, 14 Apr 2002 18:11:13 -0400 From: Vlaovic B Subject: TAMI Show and Commercials Suprised to find the the TAMI show may not be available on video. I have a copy of it, minus the Rolling Stones. For some reason, when it was aired some 12 years ago by Much Music, the RS section was deleted (including Jan and Dean's lyrical reference to them in the opening song). Legal issue? Anyone in Toronto looking for a copy? Go to the St. Lawrence Flea Market on Front Street on Sunday morning, NE corner of the selling space. A gentleman there has VHS copies of RnR movies for sale, some used, some pirated dubs. He always has a copy of TAMI as well as the BIG TNT show for sale. Looking for commercials from the 60s? Try this link: May not be exactly what you're looking for but a whole mess of 60s stuff (and commercials) to keep you occupied for days. -------------------[ archived by Spectropop ]-------------------
Message: 14 Date: Sun, 14 Apr 2002 21:14:57 +0000 From: richard hattersley Subject: Re: Stereo Mark Wirtz explains: > Working 4-track to 4-track, I would then combine all > rhythm track signals into one stereo pair, leaving 2 tracks > for orchestra. Oh I get it. So you recorded music on a 4 track tape and then did a tape to tape reduction mix. Instead of doing it to one track (mono) like the beatles often did, you did it to two tracks, giving you a stereo backing. Thanks for the reply. There is a lot to learn from 60's recording done by people such as yourself. I used to work as a recording engineer a few years back and I think I learned more from Mark Lewhisons Beatle session book more than anything! Along with listening to 60's recordings. People tend to be amazed that such stuff was done on four track. I guess its because they immediately think of their home cassette Porta-Studio or something, not a big reel-to-reel 1" tape job. I think if some of today's artists had to go back and record on that equipment,there would be some headaches! Cheers richard -------------------[ archived by Spectropop ]-------------------
Message: 15 Date: Sun, 14 Apr 2002 20:42:53 -0400 From: Michael Edwards Subject: Re: Rick Nelson Mark Wirtz wrote: > Is there a "Best Of..." Rick Nelson CD out that has > "Just A Little Too Much" on it?? Mark, Rick has 52 items in's catalog. Vol 1 of his Legendary Masters is still available and does contain "Just A Little Too Much". They've got a deal whereby you buy Vol 1 & 2 for $23.96. Vol 2 contains a superb lesser known song, "There's Not A Minute", from the pen of Clint Ballard Jr. Over in the UK, on, you can find a Feb 2002 release from EMI, Greatest Hits, for #8.99. Amazon's UK site has 46 items for Rick. Now for a "thick" moment: I only found out last Thursday, while looking around RPM's website, that you were the man behind "A Touch Of Velvet A Sting Of Brass". Great record! -------------------[ archived by Spectropop ]-------------------

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