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Spectropop V#0109

  • From: The Spectropop Group
  • Date: 06/28/98

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            Volume #0109                           July 1, 1998
          =======================================================
                    It's what's happening to Scene '67!
    
    
    
    
    Subject:     Re: Sound of Summer
    Sent:        06/28/98 6:04 pm
    Received:    06/28/98 10:36 pm
    From:        Marc Wielage, XXXX@XXXtrax.com
    To:          Spectropop List, spectroXXXX@XXXties.com
    
    Jack Madani <Jack_MadXXXX@XXX12.nj.us> commented on the Spectropop List:
    
    >The third number of theirs that I like best, and which in fact is
    >my personal favorite, is The One You Can't Have. Sessions
    >recordings for both He's A Doll and T1YCH have appeared on the Sea
    >of Tunes releases of Beach Boys material (the obvious connection
    >being that Brian Wilson produced the tracks and that two-thirds of
    >the Honeys (the two-thirds who couldn't sing, coincidentally) were
    >Brian's wife and sister-in-law). The sessions are fascinating to
    >listen to, showing how simple the individual parts are, but once
    >they fit together they create a magnificent aural assault on Mount
    >Spector.
    ------------------------<snip>------------------------
    
    
    I recently listened to the piece-by-piece sessions of "The One You
    Can't Have" on those Sea of Tunes discs, and I was floored by a 
    number of things:
    
    Number one, this is the best-sounding stuff on these tracks I've 
    ever heard. It's like about 30 years of dust and dirt got cleaned 
    off these late-1963 tapes!
    
    Number two, I was very surprised just how much work went into even
    a "simple" song like this somewhat-obscure Honeys session. Lots and
    lots of layers on layers of vocals and instruments going on there, 
    far more subtleties than you might first think for a late-1963 
    session.
    
    And finally, I notice in the more-or-less final mix of the song, 
    it's provided in 2-track stereo (vocals on one side / instruments 
    on the other). With a little work, it might be possible to create 
    a reasonable-sounding stereo mix out of it, one that would sound 
    considerably better than the monos on the BRILL BUILDING boxed set
    or the Rhino BEST OF THE GIRL GROUPS VOL. 2 CD. I haven't checked 
    it against the Capitol HONEYS disc yet, but I'd be surprised if 
    that one was stereo.
    
    Has anybody ever found out who actually sang lead on this song? 
    Are you sure it wasn't Marilyn Wilson? Both Wilson sisters have 
    said in the past that their mother sings great.
    
    >There's a kind of "buzz," it's hard to describe it any 
    >other way, but when they all hit the word "one," the vocals 
    >create a kind of buzz. It really scratches my deepdown
    >itch.
    ------------------------<snip>------------------------
    
    And we all know how painful _that_ can be.  <*yeesh*>
    
    
    --MFW
    
    -=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
    -= Marc Wielage      |   "The computerized authority     =-
    -= MusicTrax, Ltd.   |       on rock, pop, & soul."      =-
    -= Chatsworth, CA    |         XXXX@XXXtrax.com         =-
    -=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
    
    
    --------------------[ archived by Spectropop ]--------------------
    
    
    Subject:     Veronica vs. Phil or Phil and Ronnie
    Sent:        06/28/98 7:39 pm
    Received:    06/28/98 10:36 pm
    From:        R Teyes, RTeXXXX@XXXom
    To:          Spectropop List, spectroXXXX@XXXties.com
    
    
    I went to the courthouse on June 23 and Ronnie was not looking 
    well. She turned around only once and grinned at me, I blew a kiss
    to her. Phil was so small I only saw where he was sitting when he 
    was called to the stand. Again, he dressed in dark colors. He 
    needs to do something with that hair. I didn't see Estelle this 
    time. Nedra looked lovely.
    
    Phil said that he never abused or threatened Ronnie and that she 
    had started to drink and use pills. He also said she was allowed 
    to come and go as she pleased. He said he was hurt and angry when 
    she filed for divorce in 72. He also said Ronnie had agreed to 
    give up royalty rights as part of their divorce settlement. Ronnie
    was shaking her head during this time; her husband was stoic and 
    unmoved. Again, Ronnie wore that ubiquitious hat she insists on 
    wearing - I think it makes her look fatter and she has gained a 
    couple of pounds, a far cry from the thin Veronica we are all used
    to. It was a pleasure watching her again, this time however, not 
    performing per se.
    
    I have noted that if I just get to the courthouse early enough and
    avoid the rush of people waiting to see the stars downstairs, I am 
    able to get a good seat. By the way, a photographer was carrying 
    the lp " Presenting the fab..." and Ronnie signed it for her.
    
    Robert the Ronette Hound
    
    
    --------------------[ archived by Spectropop ]--------------------
    
    
    Subject:     Usher Credits on Brave Belt lps
    Sent:        06/29/98 12:20 am
    Received:    06/29/98 7:12 am
    From:        David Marsteller, davebXXXX@XXXflin.org
    To:          Spectropop List, spectroXXXX@XXXties.com
    
    I've got both Brave Belt lps, and there are no Usher songwriting 
    credits. That brought another Bachman-related album to mind, so I 
    checked the Barry Allen lp that Randy Bachman produced in 1971, 
    but that didn't have any Usher credits either. Oh well...
    Dave
    
    /************************************************************************/
    /**   "It used to be a pleasure, a comfort and a treasure"             **/
    /**                                             Diesel Park West       **/
    /**      David Marsteller davebXXXX@XXXflin.org                       **/
    /************************************************************************/
    
    
    --------------------[ archived by Spectropop ]--------------------
    
    
    Subject:     The Hondells and Usher/Bachman
    Sent:        06/28/98 6:40 pm
    Received:    06/28/98 10:36 pm
    From:        Brad Elliott, surfXXXX@XXXnline.net
    To:          Spectropop List, spectroXXXX@XXXties.com
    
    Jamie LePage (le_page_XXXX@XXXties.com) wrote:
    
    > Finally, I just have to mention the Hondells "My Buddy Seat" 
    > (Usher/Wilson). To me, this is one of the finest surf/hot rod 
    > songs ever. Start to finish, it has it all, much like Bruce & 
    > Terry's version of Summer Means Fun. In fact, the BGs sound a 
    > heckuva lot like Bruce & Terry.
    
    You've got good ears, Page, m' man. The vocal credits for that 
    track are truly stellar: Chuck Girard on lead vocals, Brian on the
    high falsetto (mixed down to avoid trouble with Murry and Capitol),
    and a backing vocal assemblage of Gary Usher, Dick Burns, Joe Kelly, 
    Bruce Johnston and Terry Melcher!
    
    Javed Jafri (javedjaXXXX@XXXt.ca) wrote:
    
    > After the Guess Who and his solo album but before BTO, Randy 
    > Bachman also recorded an album with a group called Brave Belt. I 
    > used to have the album. It came out around 1972. It's possible 
    > that one of these tracks was on that album but I don't think So. I
    > think I would have noticed and remembered the Usher credit. It was 
    > a pleasant sounding record without the trademark gruff-sounding 
    > BTO vocals.
    
    Actually, Brave Belt cut two albums before they evolved into 
    Bachman-Turner Overdrive -- Brave Belt (Reprise RS 6447, 1971) and
    Brave Belt II (Reprise MS 2047, 1972). None of the three 
    Usher-Bachman songs are on either album; I already checked. Sure 
    would love to know the story behind those songs, though. Usher and
    Bachman just don't seem like a logical match-up.
    Surf's up!
    Brad
    
    
    --------------------[ archived by Spectropop ]--------------------
    
    Subject:     Robin Ward
    Sent:        06/29/98 3:01 am
    Received:    06/29/98 11:22 am
    From:        Jack Madani, Jack_MadXXXX@XXX12.nj.us
    To:          Spectropop List, spectroXXXX@XXXties.com
    
    On page 27 of the June 19th issue of Goldmine (#467) there is an 
    ad for Music By Mail Inc. (www.musicbyemail.com)
    
    And this is listed in the ad:
    
    Robin Ward:  All The Hits And More (MISS 002) Price: $18.95
    25 Tracks:
    Teach Me Tonight
    Today I Feel In Love
    My Foolish Heart
    Dream Boy
    Johnny Come and Get Me
    I Will Love You
    Wonderful Summer
    Moon River
    I Could Have Danced All Night
    Why Don't You Believe Me
    Winter's Here
    For All We Know
    Where The Blue of the Night (Meets the Gold of the Day)
    Bobby
    In His Car
    Young Lovers After Midnight (with Dale Ward)
    Crying For Laura (with Dale Ward)
    Born Too Late (with Wink Martindale)
    Hey Girl, Hey boy (with Wink Martindale)
    Letter From Sherry (with Dale Ward)
    I've Got A Girlfriend (with Dale Ward)
    Lonely Marry Ann (with Dale Ward)
    Oh Julie (with Dale Ward)
    I'll Never Love Again (with Dale Ward)
    One Last Kiss Cherie (with Dale Ward)
    
    There's even a picture of the album cover, which has a picture of 
    Robin from the [barenaked] shoulders up, with close-cut pageboy 
    haircut with spitcurls, and sparkly dangly diamond earrings. Very 
    Klasssy, and Tasty too, with the moist glistening lipstick.
    
    I know the first thirteen numbers from the Wonderful Summer CD, 
    but what about those duets?
    
    Anyone?
    
    jack
    
    
    ------------------------------------------------------------------------
    Jack Madani - Princeton Day School, The Great Road,
       Princeton, NJ  08540   Jack_MadXXXX@XXX12.nj.us
    "It is when the gods hate a man with uncommon abhorrence that they
     drive him into the profession of a schoolmaster." --Seneca, 64 A.D.
    -------------------------------------------------------------------------
    
    
    --------------------[ archived by Spectropop ]--------------------
    
    
    Subject:     Ronettes, re-recordings and a reality check
    Sent:        07/01/98 1:03 pm
    Received:    07/01/98 1:16 am
    From:        Jamie LePage, le_page_XXXX@XXXties.com
    To:          Spectropop List, spectroXXXX@XXXties.com
    
    Re: Phil and the Ronettes., Robert wrote:
    
    >Veronica is asking for what's hers and the Ronettes..if 
    >YOU read this Phil, and I know you do read up on stuff about you, 
    >please behave as a gentleman.
    
    I can't believe we have a regular update on the Ronnie/Phil suit! 
    Keep up the good work, Robert.
    
    Then Re: re-recordings Billy G. Spradlin wrote:
    
    >There is a local small town oldies station in my area that...will 
    >now and then play the cheap K-Tel re-make versions of classic 
    >groups! I have thought about calling the guy up and tell him to 
    >play the "real" versions...
    
    Scott Bauman said:
    >
    >...the version of "The Letter" on one of these albums CLEARLY was 
    >a re-recording. The voice was most certainly Alex Chilton, but it 
    >sounded like the Alex Chilton from his "High Priest" album days and 
    >not the gruff blue-eyed soul days of the Box Tops. 
    
    Javed Jafri added:
    
    >I happened to be in a record store yesterday and saw a cheapo 
    >compilation of oldies which boasted something like "as performed 
    >by the original artists" and in very small print at the bottom it 
    >also had a disclaimer about the songs being re-recordings.
    
    I'm not trying to pass judgement on the Ronnie/Phil suit or whether 
    re-recordings are ethical, but these threads did make me start 
    thinking...
    
    Artists often are exploited at the beginning of their careers. 
    Problems are most likely to arise in instances where artists achieve 
    great success at the beginning of their careers under unfavorable 
    terms, free themselves from the contracts then fade into obscurity.
    This happened to Phil Spector (as an artist) who didn't receive 
    much from Dore for his #1 single To Know Him Is To Love Him. 
    Spector learned his lesson early on and moved on to woodshed at 
    Liberty, Atlantic and with Leiber/Stoller. He later created his 
    own successful record company. Other artists do not always have 
    such foresight.
    
    Clearly serious fans do not favor re-recordings. The Stars & 
    Stripes and NASCAR Beach Boys things are outrageous. I have a Mike
    Curb Paris Sisters "Greatest Hits" album that is horrible compared 
    to the Spector originals. On the other hand, I know the people at 
    Prestige Records (UK, not the US Prestige), a label specializing 
    in re-recordings, including the small print disclaimers. Prestige 
    (apparently) compensate their artists fairly. Sometimes the self-
    covers work fairly well, others not so well. The Troggs CD and the 
    Foundations CD they made aren't noteworthy. They're now doing a 
    Tony McCauley album; self-covers of records Tony sang lead on. 
    The guy that runs the label, by the way, is a music man. He cares 
    about music. He runs a "re-recordings" label. How do you figure?
    
    Ronnie tried to cover one or two of her Spector titles with poor 
    results. In fact, she only achieved success After The Wall with Eddie 
    Money on a record that wouldn't exist without Philles and Mr. Spector. 
    Is Ronnie a victim, or is she a benefactor? Darlene Love too continued 
    to make a living out of singing her Spector hits, even in that Ellie 
    Greenwich musical. She sang lead on Dick Dale and Al Casey hits too, 
    but does she sue them? I really don't know, but I can attest to 
    learning of her first from Phil Spector records. The "fame" thing 
    itself is a valuable asset; I'm not sure how I feel about artists 
    who enjoy the benefits of their fame, then seek revenge against the 
    very persons responsible for it.
    
    Not many would hold a gun to an artist's head. The artists re-record 
    their hits, get a fair royalty and a decent advance. Are they 
    compromising?
     
    Should artists that got ripped off re-record their hits for better 
    money and forget about the old deal (original hits), or should they 
    sue the people who actually gave them the success? Both? Tough call.
    
    One last thing on this topic, it seems the Swinging Blue Jeans hit
    version of Hippy Hippy Shake is now fairly obscure. The latest SBJ 
    Abbey Road CD has a lifeless re-recording of what was their most
    successful record. Anyone know anything about this?
    --
    le_page_XXXX@XXXties.com
    RodeoDrive/5030 
    
    
    --------------------[ archived by Spectropop ]--------------------
    
    
    Subject:     My Buddy Seat
    Sent:        06/30/98 7:03 pm
    Received:    07/01/98 12:16 am
    From:        Jack Madani, Jack_MadXXXX@XXX12.nj.us
    To:          Spectropop List, spectroXXXX@XXXties.com
    
    >Finally, I just have to mention the Hondells "My Buddy Seat" 
    >(Usher/Wilson). To me, this is one of the finest surf/hot rod 
    >songs ever. Start to finish, it has it all, much like Bruce & 
    >Terry's version of Summer Means Fun.
    
    My Buddy Seat is an amazing tune. The lead melody makes leaps that
    just don't make sense at times, and yet it always manages to land 
    on its feet. Brian Wilson songwriting at its most inspired, and 
    the ULTIMATE in musical confidence. I have an import Star-Club cd 
    "The Hondells:  The Complete Motorcycle Collection," but the 
    recording of My Buddy Seat is pretty obviously taken from vinyl. 
    On the plus side, the disc has a total 36 tunes, and the last 
    several tracks--from 1966--suddenly veer into Lovin' Spoonful/PF 
    Sloan Folk/early Grass Roots territory. Obviously trying to keep 
    up with the changing times. That's a nice sound, by the way, very 
    pleasant.
    
    I recently saw a Curb CD greatest hits package for the Hondells, 
    but it has like only a dozen cuts on it so I passed on it. OTOH, 
    it may possibly have My Buddy Seat taken from the master tapes.
    
    jack "and make this bike compleeeeeeeeet" madani
    
    ------------------------------------------------------------------------
    Jack Madani - Princeton Day School, The Great Road,
       Princeton, NJ  08540   Jack_MadXXXX@XXX12.nj.us
    "It is when the gods hate a man with uncommon abhorrence that they
     drive him into the profession of a schoolmaster." --Seneca, 64 A.D.
    -------------------------------------------------------------------------
    
    --------------------[ archived by Spectropop ]--------------------
    
    Subject:     What Color Is Love
    Sent:        06/30/98 7:22 am
    Received:    07/01/98 12:16 am
    From:        David Feldman, feldXXXX@XXXderables.com
    To:          Spectropop List, spectroXXXX@XXXties.com
    
    John Mahoney says:
    
    > Ah ha! In that case I have additional info. I noticed in my record
    > price guide that the LP "What Color Is Love" was recorded by one 
    > Dee Dee Sharpe Gamble on the Philadelphia International label (PZ-
    > 34437) and released in 1977. She also recorded two other 
    > Philadelphia Int'l recordings, but it is not clear if the "Gamble"
    > surname is credited, They were: "Happy 'Bout The Whole Thing" 
    > (PZ-38839) in 1976 and "Dee Dee" (JZ-36370) in 1980.
    
    This list is the greatest. I'm pretty sure that "What Color is 
    Love" is it. Anybody heard it?
    
    Speaking of Philadelphia (smooth transition, hey?), anyone else a 
    Thom Bell fanatic? I think just about everyone is familiar with 
    his wonderful singles for Philadelphia International, but I'd like
    to mention two of his albums that I think are worth seeking out. 
    One is Johnny Mathis's "I'm Coming Home," where Thom Bell and 
    Johnny Mathis wrestle in a Texas Death Match and somehow there is 
    still no winner. As usual, the Thom Bell-Linda Creed compositions 
    are wonderful (what a fine lyricist she was) -- "A Baby's Born" 
    almost makes me revise my position on abortion, it is written, 
    performed, and produced with such passion. "I'm Coming Home" was a
    minor hit for JM, but the centerpiece is "Life Is a Song Worth 
    Lilving," a song that is unjustifiably overproduced, I guess, but 
    still blows me away with its ambition and hubris.
    
    But for me, TB's masterpiece is Ronnie Dyson's "One Man Band." The
    first side is nonstop brilliance. Any song on the first side could 
    have (and should have) been a hit single. It contains the 
    freewheeling first recording of "I Just Don't Want to Be Lonely," 
    "One Man Band," and other treasures. It's a shame that Dyson 
    encountered personal problems. He was a true prodigy, like Michael
    Jackson. But I compare him more to the young Dionne Warwick, 
    possessed with an emotional depth that made him seem decades older
    . Bell was smart enough to not gimmick up this album too much -- 
    his purpose was to complement Dyson's beautiful voice.
    
    DF
    Dave Feldman
    
    CD of the Month:  "Imagination" (Brian Wilson)
    Word of the Week:  tenderloin
    Movie of the Month:  Bulworth
    Best Time Killer of the 90's:  Filling out the UPDATED gender survey at
      "http://www.imponderables.com"
    
    
    --------------------[ archived by Spectropop ]--------------------
    
    
    Subject:     Tammys' accent
    Sent:        06/30/98 7:53 am
    Received:    07/01/98 12:16 am
    From:        Jack Madani, Jack_MadXXXX@XXX12.nj.us
    To:          Spectropop List, spectroXXXX@XXXties.com
    
    Do you want to hear a textbook example of the Western Pennsylvania
    , greater-Pittsburgh-area accent? Listen to the Tammys sing "
    whahhht's sew (sing "so" as if there were an umlaut on the o) 
    sweet a-bot sweet sixteen...."
    
    jack " fluffya accent, cake and a haigie and a day-nut" madani
    
    ------------------------------------------------------------------------
    Jack Madani - Princeton Day School, The Great Road,
       Princeton, NJ  08540   Jack_MadXXXX@XXX12.nj.us
    "It is when the gods hate a man with uncommon abhorrence that they
     drive him into the profession of a schoolmaster." --Seneca, 64 A.D.
    -------------------------------------------------------------------------
    
    --------------------[ archived by Spectropop ]--------------------
    END
    
    
    

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