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Spectropop V#0015

  • From: The Spectropop Group
  • Date: 11/16/97

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            Volume #0015                                11/16/97
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                      "People what you think of that?
                 That's where I'm at, that's where I'm at"
          ========================================================
    
    
    
    Subject:     Can't Get Enough....
    Sent:        11/16/97 1:43 AM
    Received:    11/16/97 8:24 AM
    From:        Leonard Hyde, bXXX@XXXXXXt
    To:          Spectropop  List, spectroXXX@XXXXXXies.com
    
    >CAN T GET ENOUGH OF YOUR LOVE - the Group
    
    >Is this the same song Question Mark and the Mysterians recorded.
    
    Their song was "Can't Get Enough Of You, Baby," a speeded up version of 
    "96
    Tears."
    
    
    Big L                 
      
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    Subject:     The Zombies / On The Radio
    Sent:        11/16/97 12:20 PM
    Received:    11/16/97 1:08 PM
    From:        David Bash, BashXXX@XXXXXXm
    To:          Spectropop  List, spectroXXX@XXXXXXies.com
    
    Hi Everyone,
    
    I got some really cool stuff in the last couple of days that I wanted to 
    share with you:
    
    1. A sampler from the forthcoming Zombies box set, courtesy of  the 
    compiler and producer, our own Alec Palao (thanks Alec!).  There are 12 
    songs on this sampler, and if these twelve are any indication of what's 
    to come, man are we in for a treat!  The mono versions of "She's Not 
    There" and "Tell Her No", et al... are crystal clear, and the re-masters 
    of the stuff from "Odyssey and Oracle" are breathtakingly detailed!  For 
    me, the most intriguing stuff on the sampler were the previously 
    unreleased songs.  One of these, a Chris White bedroom demo called "One 
    Day I'll Say Goodbye", actually serves as an early version of...well, 
    I'll keep you in suspense!!!!  There are also some cool interviews on the 
    sampler, in which the Zombies sound really enthused about what they did, 
    which is quite refreshing!
    
    2. The latest Varese Sarabande releases, called "On The Radio", Volumes 1 
    and 2.  These are wonderful collections of original single edits of songs 
    that we hear on today's oldies radio in a different form, usually an 
    extended album version.
    
     Some of these single edits are available on CD for the first time.  Many 
    are  in stereo for the first time ever, or are in their mono form if they 
    don't exist in stereo or were deemed better in their mono versions.
    
     Among the highlights on Volume 1 are:
    
     The stereo single hit of "No Sugar Tonight" by The Guess Who.  Original 
    stereo single mix of "Hang On Sloopy" by The McCoys.  Original stereo 
    single mix of "The Little Black Egg" by The Nightcrawlers.  Mono single 
    version of "Magic Carpet Ride" by Steppenwolf, which is WAY different 
    from the version on their albums.  You NEVER hear this on oldies radio!  
    The best sounding stereo single mix of "Crimson And Clover" by Tommy 
    James and The Shondells that I've ever heard!
    
    Among the highlights on Volume 2 are:
    
    Mono single of "Friday On My Mind", by the Easybeats  For the first time 
    anywhere, the stereo mix of "Just Like Romeo And Juliet" by The 
    Reflections!  Stereo single mix of "Walking My Cat Named Dog" by Norma 
    Tanega.  For those of you who never heard this song, picture a more 
    homespun Dusty Springfield.  Original single mix of "Sweet Home Alabama". 
     Who'da thunk it!!  Stereo single mix of "Susan" by The Buckinghams, 
    without all that crap in the middle!
    
    I think a lot of people on this list would love both of these discs, 
    especially you radio enthusiasts!
    
    --
    Spectropop Rules!!!!!
    Take Care,
    David
    
    
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    Subject:     diggin' the Q
    Sent:        11/15/97 7:11 AM
    Received:    11/15/97 6:00 PM
    From:        Jack Madani, Jack_MadXXX@XXXXXX2.nj.us
    To:          Spectropop  List, spectroXXX@XXXXXXies.com
    
    Spectropop List,spectroXXX@XXXXXXies.com,Internet writes:
    >Al  Anderson 
    >was a member of this band and he later went on to form NRBQ
    
    Well now, I wouldn't exactly say he "formed" NRBQ.  He was in the band 
    for a zillion years until he recently left to go to Nashville and become 
    a fulltime songwriter (shades of a recent thread here on the 'Poop), but 
    he didn't form that terrific great band.  But then this is getting too 
    far afield, so I'll stop.
    ------------------------------------------------------------------------
    Jack Madani - Princeton Day School, The Great Road,
       Princeton, NJ  08540   Jack_MadXXX@XXXXXX2.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.
    -------------------------------------------------------------------------
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    Subject:     Gary Zekley/The Clique/Rachel & the Revolvers
    Sent:        11/15/97 10:52 PM
    Received:    11/16/97 12:56 AM
    From:        Jeffrey Glenn, Jeff_GlXXX@XXXXXX.nba.trw.com
    To:          Spectropop  List, spectroXXX@XXXXXXies.com
    
    Jamie,
    
    I can supply you with a DAT of the Clique LP if you want; e-mail me 
    privately.
    
    And Rachel & the Revolvers "The Revo-lution" has been legitimately 
    reissued at least once; I have it on a 1984 Kent UK girl group 
    compilation LP called WHERE THE GIRLS ARE!  Great comp with lots of 
    Spector influenced tracks; if you want that too I can throw it on the 
    same tape.
    
    Jeffrey Glenn
    
    n.p.: "You Baby" by Linda Scott (from TOUCH THE WALL OF SOUND VOL. 3) - 
    Would it be blasphemous to propose that this version is better (and more 
    Spector-like) than the Spector-produced Ronettes original?
    
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    Subject:     He's Sure the Boy I Love
    Sent:        11/15/97 2:58 PM
    Received:    11/15/97 6:00 PM
    From:        Paul Urbahns, purbaXXX@XXXXXXorg
    To:          Spectropop  List, spectroXXX@XXXXXXies.com
    
    > The WB release of Phil Spector's Greatest Hits has a very 
    > strange version of Darlene Love's He's Sure the Boy I Love. It 
    > seems to be the original vocal with a second lead vocal on top 
    > featuring some wo-wo's and ya-ya's in the intro that were not 
    > on the Philles 45. To my knowledge that was the only release 
    > of that version. Anyone know anything about this?
    > 
    > LePageWeb...
    
    Paul URbahns says:
    I think  Phil did that stereo mix to sell the album to people who already 
    have everything on it. That's the original version that apparently was 
    recorded with a Ronettes type opening vocal. Phil apparently changed his 
    mind and left that part out of the mono mix. But when they did the stereo 
    one for that album, the engineer did not turn the volume on the lead 
    voice track off and left the original intro. I like the stereo but the 
    opening is a little strange.
    
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    Subject:     Re:  Darian and Domenic - Back To Stereo
    Sent:        11/15/97 3:00 PM
    Received:    11/15/97 6:00 PM
    From:        Darian Sahanaja , monsaXXX@XXXXXXink.net
    To:          Spectropop List, spectroXXX@XXXXXXies.com
    
    > More importantly, where can I check it out? When did you 
    > and Domenic do this? I know of the Gazette, but the only 
    > issue I have is Look Listen Smile Vibrate.
    
    Dumb Angel Gazette Vol. 3 is a "Potpourri" issue that came out about 
    jeez, I'd say 5-6 years ago covering the entire range of surf-hot 
    rod-Wilsonian concepts (kind've ahead of it's time with the whole hot rod 
    "Big Daddy" Roth culture revival). Yeah and it did feature an amazing 
    Zekley article packed with great pictures, an interview with Gary 
    himself, and a discography along with your typical Domenic shenanigans. . 
    .pretty cool. Vol. 3 was obviously not the big seller Vol.2 was so I 
    don't think he ever went into a second pressing with it. You might want 
    to write to him, I'm sure he's got a few still sittin' around. He's at 
    2690 Great Highway #203, San Francisco, CA 94116.
    
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    Subject:     Re: Things You Don't Miss
    Sent:        11/16/97 2:41 PM
    Received:    11/16/97 2:42 PM
    To:          Spectropop List, spectroXXX@XXXXXXies.com
    From:        Jamie LePage, le_page_XXX@XXXXXXies.com
    
    carol knudson wrote:
    >Dave Marsteller said:
    >> I know we all tend to feel nostalgic about the 'glory days' 
    >> of songwriting, but are there any features of songs from 
    >> that period that  you don't miss? I can think of one. I call 
    >> it the backhanded compliment song...where the basic point 
    >> is 'you're not good looking (or rich etc) but you're great 
    >> for me'.
    >
    >I've gotta disagree with you on this one Dave- I find those  
    >'backhanded compliments' very endearing at times...in "He's 
    >Sure The Boy I Love" "When he holds me tight, everything's right...".  
     
    >They're saying you don't HAVE to be the pressed and painted 
    >model of a  person that the media is always forcing down our 
    >throats- you CAN be a  *normal* human being and still be 
    >pretty special.
    
    I think it's important to keep in mind Brill-era songs were being written 
    for a specific target audience - the teenage audience. Before the rock 
    and roll era, post-WW2 teenagers didn't have much disposable income; 
    songs of the previous decades often dealt with more adult subject matter. 
    But late 50's, early 60's saw a gradual demographic shift in the market 
    for recorded music. 
    
    Another important factor was the successful marketing of black R&B 
    artists to both the white and black teenage markets. Suddenly black 
    issues (such as poverty and unemployment) were part of the musical 
    background of the relatively affluent white teenage audience.
    
    So I look at the "backhanded compliment" song as either extolling the joy 
    of discovering that a real boyfriend (or girlfriend) is far more 
    satisfying that the ideal poster-boy/girl the singer had been fantasizing 
    about, or; perpetuating the myth that living in poverty is not so bad as 
    long as the singer enjoys a strong sexual bond with his/her lover.
    
    Along similar lines are songs like Uptown and Five O'clock World. Songs 
    about working under the boss's thumb all day long, looking forward to 
    return to that little girl who waits to treat him like a king. What a 
    sentiment! Endearing only begins to describe the feelings these lyrics 
    evoke.
    
    Slightly different subject, but I have always been particularly fond of 
    lyrics which portray "rich girl-poor boy" (or rich boy-poor girl) 
    scenarios.
    
    Dawn (Go Away)
    Rag Doll
    Patches
    Poor Side Of Town
    Down In The Boondocks
    
    Never mentioned in such songs is how the unlikely couple first became 
    involved with each other, nor the passion of early clandestine meetings 
    which led to "I love her, she loves me, but I don't fit in her society." 
    I find that fascinating. 
    >
    >CAROL (who had Jimmy Soul's "If You Want To Be Happy" played at her
    >        wedding...Really!! I thought it very sweet and appropriate)
    
    Any woman who would have Jimmy Soul's "If You Want To Be Happy" played at 
    her wedding would have to be:
    
    1. Very attractive 
    2. Extremely self-confident
    3. Completely liberated 
    4. With a wonderful sense of humor
    5. And great taste in music
    
    Your husband's lucky. My wife insisted on Lesley Gore's "You Don't Own 
    Me" at our wedding! (Just kidding!!!)
    
    LePageWeb
    
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    Subject:     Brian Wilson productions
    Sent:        11/16/97 1:47 PM
    Received:    11/16/97 7:46 PM
    From:        Marc Wielage, XXX@XXXXXXrax.com
    To:          Spectropop List, spectroXXX@XXXXXXies.com
    CC:          Jamie LePage, le_page_XXX@XXXXXXies.com
    
    Jamie LePage, <le_page_XXX@XXXXXXies.com> wrote:
    
    >I think the Honeys recordings are a mix of good and not-so-good 
    >attempts, with not a single hit to justify the misses.
    ------------------------<snip>------------------------
    
    I'd disagree, in that their dynamite 1964 track "The One You Can't Have 
    (Is the One That You Want the Most)" is definitely in the "shoulda been a 
    hit" category.
    
    Very Spectorish, lots of great sax and bell arrangements (particularly in 
    the fade) -- further evidence of Brian's progress in coming up with his 
    own Wall of Sound effects.  If you'd heard this one, I bet you'd like it. 
     One of my favorite non-hit Brian Wilson productions.  Another is Glen 
    Campbell's "Guess I'm Dumb," which is yet another "shoulda been a hit" 
    from a year later.  Terrific song.
    
    
    --MFW
    
    -=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
     =   Marc Wielage      |   XXX@XXXXXXet.com                    =
     =   MusicTrax, Ltd.   |   CompuServe's CENETWORK: 76702,1025  =
     =   Chatsworth, CA    |                          AOL: mtrax6  =
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    Subject:     The Great Spector Imitators
    Sent:        11/16/97 2:58 PM
    Received:    11/16/97 7:44 PM
    From:        Marc Wielage, XXX@XXXXXXrax.com
    To:          Spectropop List, spectroXXX@XXXXXXies.com
    
    Back over on the rec.music.rock-pop-r+b.1960s newsgroup, we had a 
    discussion awhile back on who did the best imitiation-Spector productions 
    over the years.  Even though many of them apparently infuriated Spector 
    himself over the years, I found a lot of them very interesting and 
    usually entertaining.
    
    Below are a few of the album tracks and hits (or near-hits) that came up 
    on that list:
    
    The Beach Boys - "Then I Kissed Her" (Capitol)
    The Beach Boys - "I Can Hear Music" (Capitol 2432)
    Bonnie & The Treasures - "Home of the Brave" (Phi-Dan 5005)
    The Four Pennies (The Chiffons) - "When the Boy's Happy (The Girl's Happy,
    Too)" (Rust 5070)
    The Girlfriends - "My One and Only, Jimmy Boy" (Colpix 712)
    Andy Kim - "So Good Together" (Steed 720)
    Eddie Money - "Take Me Home Tonight" (Columbia 6231)
    The Alan Parsons Project - "Don't Answer Me" (Arista 9160)
    The Righteous Brothers - "(You're My) Soul and Inspiration" (Verve 10383)
    Dusty Springfield - "Stay Awhile" (Philips 40180)
    Nino Tempo & April Stevens - "All Strung Out" (White Whale 236)
    The Walker Brothers - "The Sun Ain't Gonna Shine (Anymore)" (Smash 2032)
    
    Some of these songs recreate the Wall of Sound so faithfully, I suspect 
    many casual fans are convinced Spector *did* actually produce them.  (In 
    fact, there's some vague evidence that Phil might have had a hand in 
    "Home of the Brave," among others.)
    
    A few of these were done as an homage, to pay respect to Phil's amazing 
    craftsmanship; I think Brian Wilson's productions, the Andy Kim song, 
    Eddie Money's production (with Ronnie Spector singing backup), and 
    certainly Alan Parsons' "Don't Answer Me" fall into those categories.  
    (As an aside, I often pull out the latter song for die hard 1960s fans 
    who insist there was no good music out in the 1980s.)
    
    Others were deliberate attempts to counterfeit the Spector sound, like 
    "Soul and Inspiration" (produced by Bill Medley shortly after he and 
    singer Bobby Hatfield split from Spector's Philles label for Verve in 
    early 1966). I think The Walker Brothers' hit falls into that category, 
    as do the songs from Dusty Springfield and Nino Temple.
    
    Anybody have any other suggestions?
    
    
    --MFW
    
    -=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
     =   Marc Wielage      |   XXX@XXXXXXet.com                    =
     =   MusicTrax, Ltd.   |   CompuServe's CENETWORK: 76702,1025  =
     =   Chatsworth, CA    |                          AOL: mtrax6  =
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