_______________________________________________________ _______ _______ _______ _______ _______ S P E C T R O P O P _______ _______ _______ _______________________________________________________ Volume #0132 August 22, 1998 _______________________________________________________ LONG PLAYING UNBREAKABLESubject: DL+AF= CLASSIC Sent: 08/21/98 6:36 am Received: 08/22/98 3:13 am From: Mark Landwehr, mslXXXX@XXXbs.com To: Spectropop List, spectroXXXX@XXXties.com >I think that Darlene / Aretha clip you refer to is when Aretha's >doing "It's In His Kiss--" a jazzy, up-tempo version. The Blossoms >are backing her up (Fanita almost falling off her platform AGAIN), >and darlene is waving her arm at Aretha, laughing, egging her on >like you say... >great video! > That's the one, Jim!!! Everybody was so much into it in that video...If you all (no, I'm not from the south, but I lived in Atlanta 6 years) have never seen it, you're missing a true classic featuring two of the great female singers of our time together on one stage, in one camera shot... Moving ahead a few years, does anyone know where I could find a copy of "My Guy's Mad At Me" by Tracy Ullman (the old Madness tune)??? Don't think it was ever issued in the U.S. Hey, Robert...What's going on in the Spector trial?? Mark (Philles Phanatic - http://www,toltbbs.com/~msland/Spector/ ) Subject: Fading away Sent: 08/21/98 7:47 am Received: 08/22/98 3:13 am From: Charles G. Hill, cXXXX@XXX.com To: Spectropop List, spectroXXXX@XXXties.com >While fades are not necessarily better than cold endings, I do not >appreciate the widespread opinion that a fade is a cop out when an >arranger can't think of an ending. How many really good cold endings are there? "She Loves You", certainly; "The Cheater", maybe; "Oh, Pretty Woman", if I hadn't heard it so many times before. You want someone who can't come up with an ending, don't look for an arranger - look for a comic. >[T]here's an art to doing a good fade. Spector was a master at it. >Bob Gaudio knew how potent a good fade could be. Brian too used >the repeat and fade technique to great effect. Listen to the very >end of "She Knows Me..." The coke bottle percussion re-enters at >the very, very end. Cool! Motown, Stax... thank rock and roll for >all those great fades. And if you want the best evidence to >support the virtue of the fade, Exhibit A - Hal Blaine drum fills! Yea, verily, and with material as dissimilarly-arranged as "Be My Baby" and "Poor Side of Town". Besides, a properly-done fade got you out of the half-hour and all perked up for Action Central News, not an inconsiderable virtue in itself, if you ask me....cgh =================================================================== Charles G. Hill | cXXXX@XXX.com | http://pages.prodigy.com/cghill/ "Now is the Windows of our discontent." - Richard 3.0 =================================================================== Subject: Re: Spectropop V#0131 Sent: 08/21/98 4:02 am Received: 08/22/98 3:12 am From: Doc Rock, docroXXXX@XXXcom To: Spectropop List, spectroXXXX@XXXties.com >I tend to believe that the fade is an art form which came from the >rise of the 45 rpm record, and, regrettably, it seems to have lost >its popularity in direct relation to the demise of the 45. > While I can't think of any titles right now, I often listen to 30s- '40s Big Band music, and fade outs on those 78s were not unheard of. Most early rock and roll was, I tend to think, originally done live, then put on a record. So early rock and roll tended to have hard endings on records, like the live performance did. Later, when rock and roll songs were written for recording sessions and not done live prior to the session, I feel fade outs developed. Just a theory. Any thoughts? Finally, I have often tried to determine the FIRST rock and roll record that faded, especially the first big hit/trend setter. Any nominees? Doc Subject: Spector's Ike and Tina sides Sent: 08/22/98 2:53 am Received: 08/22/98 3:13 am From: WILLIAM STOS, wsXXXX@XXXt.com To: Spectropop List, spectroXXXX@XXXties.com I've had the Spector Back To Mono Box set for a few years already, but I hadn't taken a good listen to the songs Phil produced as credited to Ike and Tina, although really just Tina is present, in a while. I've never been a big fan of "River Deep Mountain High," like other people in this group, so I thought the other songs by Tina would be more of the same, but I was pleasently surprised. "I'll never Need More Than This," "A Love Like Yours," and "Save The Last Dance For Me," are superb Spector productions. Does anyone know what other later Spector productions are out there? Not the A&M or Apple stuff, but from his own label or other during the mid-sixties. Will Subject: Darlene Love in WSJ Sent: 08/21/98 11:59 pm Received: 08/22/98 9:58 am From: David Marsteller, davebXXXX@XXXflin.org To: Spectropop List, spectroXXXX@XXXties.com Hi all! Just wanted to spread the word that there is an article/interview with Darlene Love in today's (8/21/98) Wall Street Journal. It is on the front page of the Weekend Journal Section and is called "She's A Rebel, but She Still Isn't a Big Star: Darlene Love's Quest". Dave /************************************************************************/ /** "It used to be a pleasure, a comfort and a treasure" **/ /** Diesel Park West **/ /** David Marsteller davebXXXX@XXXflin.org **/ /************************************************************************/ Subject: Re: BOUNCE spectroXXXX@XXXties.com Sent: 08/22/98 1:09 am Received: 08/22/98 3:16 am From: Spectropop List, spectroXXXX@XXXties.com To: Spectropop List, spectroXXXX@XXXties.com ========== Start of forwarded message ============== Subject: Article on Darlene Love The Wall Street Journal (US edition), Aug 21, '98 in the Weekend Journal section (page 1) has an excellent article on Darlene Love. It's not so complimentary of Phil, but it does end on a positive note...Darlene is once again playing Danny Glover's wife in Leathal Weapon IV. END
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