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Spectropop - Digest Number 652

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                        Jamie LePage (1953-2002)

There are 8 messages in this issue.

Topics in this digest:

      1. Carole King . . . No, not that one!
           From: Mick Patrick 
      2. Re: AMERICA AND THE BRITISH INVASION....  a more serious view...
           From: Richard Tearle 
      3. "Gloomy" Sunday
           From: Phil Milstein 
      4. Re: Carole King . . . No, not that one!
           From: Phil Milstein 
      5. Re: Music and emotion
           From: Richard Tearle 
      6. Re: AMERICA AND THE BRITISH INVASION....  a more serious view...
           From: Steve Harvey 
      7. Thank the Bunster!
           From: Steve Harvey 
      8. RE: West Coast Motown
           From: Phil Chapman 


Message: 1
   Date: Thu, 31 Oct 2002 23:39:56 -0000
   From: Mick Patrick 
Subject: Carole King . . . No, not that one!

There I was listening to a track from a brand new CD comp when my ears
pricked up. A haunting girly vocal, summery harmonies, backwards tapes -
psych/pop, you hipsters call it, I believe. A glance at the composer credits
revealed the name Carole King. I examined the CD booklet further and
discovered that the lead-singer was also Carole King. Surely some mistake, I
thought. I'm quite familiar with her 60s song catalogue and didn't recognize
the title "Moving In A Circle". I also like to think that I can recognize
her lovely voice. Well, I was wrong. The song was written and performed by
Carole King . . . but NOT that one!

Yes folks, the pop world down under had their very own CK, lead singer with
the Executives, Australia's answer to the Mamas & the Papas and the 5th
Dimension. And very nice she and her group were too. The CD in question is
"Peculiar Hole In The Sky" (CDWIKD 215), the fourth instalment of the Big
Beat label's ongoing series of antipodean pop compilations. 

Click here to read more about it and see a full track list: Anyone who enjoyed 
the "Ripples" series will find much of interest in this release.


-------------------[ archived by Spectropop ]-------------------
Message: 2 Date: Thu, 31 Oct 2002 23:40:30 -0000 From: Richard Tearle Subject: Re: AMERICA AND THE BRITISH INVASION.... a more serious view... I wonder if I may add something here..speaking from the UK, I am certain that the British Invasion did much for black artists on this side of the pond. Tamla Motown was certainly bought to our attention as much by the Beatles and the Stones and many many others as it was by the Supremes. The British Blues Boom gave us names that we had either never heard of or considered to be legends - Broonzy, Lednelly, Sonny Boy etc etc. But that was over here.Perhaps what Louise is saying is true in the States: frankly I wouldn't know. But knowing that many bluesmen came over here and couldn't understand why they had adulation here and nothing in their own country rings true. Also, one of my favourite artists, Bonnie Raitt, has often championed the cause of (mainly) blues artists who have been denied royalties; again, this lends a little credence (no pun intended) to what Louise has said. Louise: I am not doubting a word you say, but, like, Neil, I really would like some more information and examples if you can supply them. Cheers Richard -------------------[ archived by Spectropop ]-------------------
Message: 3 Date: Thu, 31 Oct 2002 18:41:13 +0000 From: Phil Milstein Subject: "Gloomy" Sunday Sort of in honor of Halloween, now up on musica is the most misguided interpretation of the legendary "suicide song" Gloomy Sunday you're ever likely to hear. Miss Toni Fisher, of The Big Hurt fame, turns in a shimmering performance of the song, best known (outside its native Hungary, at least) from Billie Holiday's more appropriate wrist-slitting rendition. When you hear Toni's take, you'll know pretty quickly in just what way it is "wrong." I'm afraid I can't provide discographical details, other than that it from her Signet LP. Enjoy, ghouls. --Phil Milstein P.S. For more on the Miss Toni Fisher LP, see Paul Urbahns' informative report in S'pop archive V#0234: -------------------[ archived by Spectropop ]-------------------
Message: 4 Date: Thu, 31 Oct 2002 18:47:35 +0000 From: Phil Milstein Subject: Re: Carole King . . . No, not that one! Mick Patrick wrote: > Yes folks, the pop world down under had their very own CK, > lead singer with the Executives, Australia's answer to the > Mamas & the Papas and the 5th ... The Land Down Under appears in some ways to have been an alternate pop universe, at the same time both attached to and detached from the wider Western pop world. In the late '60s they too had a Velvet Underground, a band which has since claimed (and no one's disputing it) that they were unaware of the existence of the U.S. band of the same name. How they came up with their's, however, I don't know. --Phil M. -------------------[ archived by Spectropop ]-------------------
Message: 5 Date: Thu, 31 Oct 2002 23:53:57 -0000 From: Richard Tearle Subject: Re: Music and emotion Peter Lerner wrote: > So what I would like to explore is what music does to our emotions, > and how it achieves this effect. Peter, At the risk of hogging the message board tonight, I'd like to give you my opinions on this. There are so many factors, some stand alone, some combine to elicit an emotion. Musically, the first thing that hits you is whether the key is major or minor - and you don't have to be a musician to know which is which. Most national anthems I know are all in major keys and are designed (or written) to stir a patriotic pride, even without the lyrics. Most sad songs are written in minor keys. Having said that, the most moving song I know is Danny Boy - which is in a major key! Blakes Jerusalem makes me go cold because of the swell in the introduction. Mars from the Planets brings to mind a marching army - so imagination has much to do with as well. Lyrics are more important in sad songs (I think) as there are so many songs where you can actually echo Killing me Softly - the singer is singing your there again, your own personal memories play a part. If you add all these things together, your emotiuons afre directed by one thing or another to a particular part of you that maybe even you have forgotten. Where did you first here a song and under what circumstances? (see my earlier post about Everybody knows!!) Anyway, I have enough to say for myself tonight - hope that's the sort of answer you were looking for... Cheers Richard -------------------[ archived by Spectropop ]-------------------
Message: 6 Date: Thu, 31 Oct 2002 16:04:17 -0800 (PST) From: Steve Harvey Subject: Re: AMERICA AND THE BRITISH INVASION.... a more serious view... Regarding the idea that the British Invasion was some conspiracy to keep black music off the air: The first record label to release a Beatles album wasn't Capitol Records, but Veejay, a black-owned label out of Chicago. A lot of the R&B based Brit rockers renewed interest in their black mentors, Howlin' Wolf, Muddy Waters, John Lee Hooker, etc. The Stones made sure they booked Howlin' Wolf on Shindig when they went on. Eric Burdon certainly paid tribute to his black idols as well. Motown got a boost as well when groups like the Beatles started covering their tunes. It was also during this era that a lot of blues artists found their main income coming from white audiences as well. As Muddy Waters once said, "The only black faces I see at my gigs are mine and the band's". -------------------[ archived by Spectropop ]-------------------
Message: 7 Date: Thu, 31 Oct 2002 16:18:45 -0800 (PST) From: Steve Harvey Subject: Thank the Bunster! Mike, Glad you liked the DC5 stories. Bun E. Carlos told me those years back. When the Trick signed with Epic, Bun met up with one of the employees who had worked with the 5 in the 60s. Being a big fan of the band, Bun got this guy to set up a meeting with Dave himself. During the meeting Bun asked Dave why none of the DC5 stuff had come out on CD (this was back in the 80s) since the DC5 had a big hit in France with their greatest hits not long before that (25 Thumping Hits, I think). Dave said he was just too busy to mix the stuff for CDs at the time (his musical, Time, was raking in the bucks at the time). A few years later Hollywood Records did release that double CD best of. Imagine being too busy making money to put out your old records! -------------------[ archived by Spectropop ]-------------------
Message: 8 Date: Fri, 01 Nov 2002 00:53:51 -0000 From: Phil Chapman Subject: RE: West Coast Motown Stu Phillips: > Been reading a lot of posts about Motown Records. Here's a > little incident that happened when Motown decided to record > on the West Coast in the early '70s....... > ......Gordy thought that he was pushing the envelope to the > utmost, when in reality the level was reading right on zero. Neat story Stu - took me back to an incident in the 70s when I was working with the late Tommy Boyce. He'd not been in the UK very long, and in the early days thought I was bit too 'reserved'. By the late 70s we'd enjoyed some hits with a 50s/60s-influenced band called "Darts". We were now on the second album, cutting a version of "The Boy From New York City", and Tommy was getting a bit bored with "the same old sound..." (not his exact words). I'd already developed a reasonably 'loud' sound, but this was no longer enough for Tommy, who kept pushing for extremes. As the session wore on, I thought I'd "teach him a lesson.." and, while he was in the studio running through some arrangement changes, I stepped up the gain on all the mic channels by 10db, and also turned the monitoring to full tilt for good measure. When he came in for a playback, and after he had scraped himself off the wall, he eventually exclaimed "Phil, that's fabulous!" - my little trick had backfired, and from then on, meter readings were irrelevant; everything had to be recorded that way. Phil technical note: The board (an in-house Helios, as used by the Stones, Jimi Hendrix etc) had merely squared-off the signal, simulating a variant of tape saturation. -------------------[ archived by Spectropop ]-------------------

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