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Spectropop V#0141

  • From: The Spectropop Group
  • Date: 09/07/98

  • ________________________________________________________
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    _______       S  P  E  C  T  R  O  P  O  P       _______
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       Volume #0141                     September 8, 1998   
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             Exemplifying the Best in Popular Music         
    
    
    
    
    
    Subject:     Brenda Lee
    Sent:        09/07/98 8:07 am
    Received:    09/07/98 9:12 am
    From:        james fisher, JHFAXXXX@XXX.net
    
    
    Claudia..Yeh for Brenda--what a little miss dynamite she was!! I 
    always loved her ballads (the up-tempo numbers not so much) She 
    can't be beat on ..sorry, wanna be wanted, All alone, depend, break 
    it. etc. The country thing she does is not too good but hey, a 
    girl's gotta eat. I recently saw a pretty good fan page for her, let
    me know if you want it. Ditto the wonderful Connie. Used to sing 
    along with v.a.c.a.t.i.o.n 'till my dad threatened to make me eat 
    the 45. I think those girls should have medals struck for them! (I
    mean have you tried to hum along with Pearl Jam?) Jim.
    
    
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    Subject:     Connie F on Growin' Up Too Fast
    Sent:        09/07/98 9:56 am
    Received:    09/07/98 8:09 pm
    From:        Jack Madani, Jack_MadXXXX@XXX12.nj.us
    
    
    >connie francis tune on the girl group anthology
    >"growin up too fast" written by barry/greenwich 
    >"dont ever leave me" and sounds exactly how the 
    >raindrops would have done it. and another cut 
    >"my best friend barbara" 
    
    Thanks, Jon, for your opinion on the Connie Francis Polydor disc. 
    I started to get interested in picking up a CF compilation, in 
    fact, *because* of those two numbers you refer to on the Growin Up
    Too Fast anthology. "My Best Friend Barbara" gets under my skin and
    won't leave me alone. I wonder how much of her output sounds like 
    that.
    
    
    ------------------------------------------------------------------------
    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.
    -------------------------------------------------------------------------
    
    
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    Subject:     Frank Youngwerth
    Sent:        09/07/98 10:03 am
    Received:    09/07/98 4:16 pm
    From:        Jimmy Cresitelli, JimmyXXXX@XXXom
    
    
    Saw your inclusion of "Jimmy Boy..." a personal favorite of mine!
    
    Best to you,
    Jimmy Boy
    
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    Subject:     philles bootlegs
    Sent:        09/07/98 4:12 am
    Received:    09/07/98 9:12 am
    From:        john rausch, jXXXX@XXXnet
    
    
    >>here is a scan of a philles label bootleg on colored vinyl
    >>just a click away!
    
    
    >
    >Hey John, thanks for the jpeg. I had never seen anything like this
    >before. How bizarre! Anders and Poncia didn't write Paradise,
    >neither is it co-published by Hill and Range! Very strange indeed.
    >
    >What's on the B-side?
    
    
    ...hi jamie
    glad the bootleg jpeg piqued your interest.
    the bside is walking in the rain  in (((STEREO)))
    jonr
    
    
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    Subject:     Re: Dionne, Burt and Hal
    Sent:        09/07/98 3:34 am
    Received:    09/07/98 9:12 am
    From:        Jamie LePage, le_page_XXXX@XXXties.com
    
    
    Ron Bierma, ELRONXXXX@XXXom wrote:
    
    >In a message dated 9/5/98 8:25:50 PM, you wrote:
    >
    ><<Dionne was incensed, because she had them tied to an
    >exclusive contract where she essentially had first refusal rights 
    >on virtually anything they wrote.>>
    >
    >This is a highly unusual arrangement for a black, female artist to 
    >have with a writer, isn't it? Does anyone know how this came about?
    
    Purely speculation, but it seems to me like Dionne must have 
    renegotiated her contract(s) sometime around 1966 or 1967. She 
    very possibly had a production deal with Bacharach and David in 
    the early days, which would mean getting artist royalties from her
    producers, so my guess is that when her contract came up she 
    renegotiated a deal directly with Scepter which gave her a higher 
    royalty, but part of the new deal kept Bacharach and David in the 
    loop. If this is anywhere near what happened, maybe her attorney 
    got her a few provisions like first refusal rights on new 
    Bacharach/David songs. Just a guess.
    
    As much as I adore Dionne Warwick's mid-60's recordings, I don't 
    really care much for her as an artist. Her voice works on those 
    early records, but Sandie Shaw, Jackie DeShannon and Dusty 
    Springfield made great covers of Bacharach/David material that 
    arguably could be said to have out Bacharached Dionne's originals. 
    Later, That's What Friends Are For and the Psychic Friends things 
    really put me off.
    
    A fairly well known British songwriting duo who proudly wave 
    their Bacharach flag told me they had the opportunity to present 
    a couple of songs to Dionne a few years back. They concentrated on 
    doing their very best Bacharach, updated for a contemporary style, 
    and when they were through they had two songs which they pitched. 
    Both rejected - Dionne reportedly said they sounded too much like 
    Burt! Ouch!
    
    Anyone else have Dionne on vinyl and think there is something very
    wrong with Scepter pressings? It seems the discs were cut at very 
    low level, because surface noise on Dionne records is particularly 
    noticeable. I've got the Bacharach Music Group promo box set that 
    was put together recently, but what is the Dionne CD set most 
    recommended by Spectropop listers? 
    --
    LePageWeb
    RodeoDrive/5030
    
    
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    Subject:     VERDELLE TRANSLATION
    Sent:        09/07/98 3:22 am
    Received:    09/07/98 9:12 am
    From:        Jimmy Cresitelli, JimmyXXXX@XXXom
    
    
    Hi!
    "Il ragazzo della Via Gluck" translates from the Italian (
    literally) as: "The boy of Gluck Street"
    This can be further transliterated as:
    "The boy from Gluck Street"
    
    Must be a street in an Italian City; almost all their streets and 
    avenues are labeled "via" something.
    Buona festa tutti!
    Ciao,
    Jimmy Boy
    
    
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    Subject:     Re: Hold Me
    Sent:        09/07/98 5:32 pm
    Received:    09/07/98 8:09 pm
    From:        Marty Rudnick, mrudnXXXX@XXXro.com
    
    
    james wrote:
    
    "Hold Me" P.J.Proby, from 1964. It's a real rocker! 
    Anyone else remember this guy?"
    
    Marty sez:
    
    Yes, indeed!  And have you heard The Rubinoos cover of "Hold Me" on
    "Back To The Drawing Board"?  A very fine version indeed.
    
    /Marty
    
    Don't forget to order the  two latest Rubinoos projects
    "paleophonic" and "Vox Pop" --  from http://www.notlame.com
    
    A splendid time is guaranteed for all...
    
    
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    Subject:     Fwd: 60's French Pop
    Sent:        09/07/98 6:00 am
    Received:    09/07/98 4:16 pm
    From:        Jack Madani, Jack_MadXXXX@XXX12.nj.us
    
    
    The following post is forwarded here with the author's permission:
    
    From: Stewart Mason <flamiXXXX@XXXcom>
    Subject: France Gall, 60s French pop
    
    
    A style of pop we don't discuss very often around here is French 
    pop from the 1960s. Pierre Gurdjos recently sent me a Philips 
    (France) reissue of France Gall's 1966 album BABY POP which I've 
    been listening to obsessively for the last couple of weeks. The 
    best songs from this album -- three of which were written by the 
    creepy but exceptionally talented Serge Gainsbourg ("Baby Pop," 
    "Attends Ou Va-T'En" and the oft-covered "Nous ne Sommes pas des 
    Anges") -- are as inventive and exciting as anything the Beatles 
    or Brian Wilson were doing the same year, and they sound as fresh 
    today as "And Your Bird Can Sing" or "Caroline No."  
    Non-Gainsbourg tracks like "Cet Air La" and "Le Temps de la 
    Rentree" are nearly as exceptional.
    
    The overall style is jazz-meets-Merseybeat: there's complex string
    and horn charts, but they're combined with what were for the time 
    some pretty in-your-face rhythm tracks. Over all this, France (who
    was 19 at the time) sings with skill, spunk, humor and sensitivity 
    -- I honestly think she's one of the best vocalists of the decade.
    
    France Gall is still releasing albums today (and she's still one 
    of the most heartbreakingly gorgeous women in the world), but it's
    nice that Philips is finally reissuing classic albums like this. 
    Those interested in the Bacharach/David side of 60s pop would do 
    well to seek these reissues out.
    
    Stewart
    
    ------------------------------------------------------------------------
    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.
    -------------------------------------------------------------------------
    
    
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