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Spectropop V#0149

  • From: The Spectropop Group
  • Date: 09/19/98

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       Volume #0149                       September 19, 1998   
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    Explanatory notes for the interested and informed Listener
    
    
    
    
    
    Subject:     Maybe everybody else already figured this out, but...
    Sent:        09/18/98 1:41 pm
    Received:    09/19/98 1:10 am
    From:        Frank Youngwerth, FMXXXX@XXXom
    To:          Spectropop List, spectroXXXX@XXXties.com
    
    
    <>
    
    I saw him play a club gig recently, and when I asked him about the
    subject, he insisted that he played on Beatles records. This led me
    to do some web research, and my conclusion is that somebody at Atco
    probably hired him to sweeten (toughen?) several of those pre-EMI 
    tracks the Beatles cut in Germany with Tony Sheridan and Bert 
    Kaempfert.
    
    
    --------------------[ archived by Spectropop ]--------------------
    
    
    Subject:     Re: Curt B/Ballroom CD
    Sent:        09/19/98 3:44 am
    Received:    09/19/98 1:10 am
    From:        Jamie LePage, le_page_XXXX@XXXties.com
    To:          Spectropop List, spectroXXXX@XXXties.com
    
    Dan Murphy, daniXXXX@XXXa.com wrote:
    
    >	Does anyone have information about the following CDs?
    >3.	A Creation/Rev-Ola UK release of Ballroom/Sandy Salisbury tracks
    
    Hi Dan,
    
    The Ballroom CD will be issued on September 28 in UK (CREV058CD). 
    22 tracks in all, comprised of what was to be the Ballroom album 
    and 11 bonus tracks of outtakes and demos from pre-Ballroom to 
    post-Millennium. Familiar titles include Spinning Spinning 
    Spinning, Musty Dusty, Another Time, Keeper of the Games, the 
    Island, Milk & Honey.
    
    Ballroom was Boettcher's first attempt at becoming an artist in 
    his own right. After the Association work, reportedly Steve Clarke,
    Gary Usher and Brian Wilson persuaded him to do his own 
    recordings. Most of the Ballroom stuff was recorded around the 
    time Boettcher was working with Tommy Roe.
    
    Coincidentally, I spoke with Joe Foster about this release just a 
    few days ago. Joe is doing the research. He told me that two 
    Ballroom tracks are missing and despite best efforts could not be 
    found. These are the original version of 5 a.m. (the same track 
    that ended up on Millennium but in an earlier mix) and a song 
    called "Lead Me To Love" which Joe described as a Bacharach-like 
    pop number featuring lead vocal by Michelle. He was raving about 
    both of these tracks and lamenting their absence from the release.
    
    Talking with Joe about this historic Boettcher release reminded me
    of the passion our archivists all seem to have in common. People 
    such as Brad Elliott, Alec Palao, Andrew Sandoval, Mark Lewisohn, 
    Elliot Kendall, Russ Wapensky, Dom Priore, Joe Foster... We owe 
    great thanks to their commitment to researching and accurately 
    documenting the history of these recordings for posterity. They 
    are the professionals, but they are first and foremost fans of the
    music just like the rest of us. Without them and labels like 
    Sundazed, Varese, Rhino, Rev-Ola, RPM and Repertoire, our 
    treasured recordings would be in the hands of corporate 
    unit-shifters who don't have a clue (and the bootleggers). Kudos 
    to our pop historians! You guys are the greatest!!!!!
    --
    le_page_XXXX@XXXties.com
    RodeoDrive/5030
    
    P.S. A toast to Freda Payne, who turns 53 today! 
    
    
    --------------------[ archived by Spectropop ]--------------------
    
    
    Subject:     Phil & Ronnie
    Sent:        09/18/98 1:28 am
    Received:    09/18/98 8:25 am
    From:        R Teyes, RTeXXXX@XXXom
    To:          Spectropop List, spectroXXXX@XXXties.com
    
    To All My Philles Pals:
    
    Phil is trying to work out a deal with Ronnie (actually their 
    lawyers) out of court as per my resources...he wants to avoid 
    court as the Crystals are the next on the list to sue for money...
    Darlene Love will NOT testify on his behalf as per the New Yorker 
    Mag...seems Love won the suit and Phil wants to use her as a 
    witness re: the He's A Rebel" voiceover instead of the Crystals; 
    hence, his argument is that the backup Ronettes didn't always sing
    background...may be true, but then legally Phil should have 
    eliminated their name from the Philles labels they didn't sing on...
    we all know Cher, Sonny, Nino et al did backup on a lot of Phil's
    stuff but their names are NOT on the labels as such so legally 
    speaking, (I'm not a lawyer) they cannot sue for payment.
    
    Re the Herb Alpert material:
    I have most of Herb's collection on A&M. This is a must for all 
    Philles fans as most of Spector's musicians, arrangers, engineers,
    etc. played in these LPs. Most of Alpert's material was recorded at
    Gold Star also...before they built their own studio (A&M). It is 
    important for us to also know that Lani Hall, Alpert's wife, was 
    friends with Ronnie Spector and Lani visited Phil's mansion to 
    see Ronnie in the late 60s and early 70s. Tho' Phil may have kept 
    Ronnie a virtual prisoner, there were special people he allowed in
    his mansion; besides Mrs. Beatrice Bennett, Ronnie's mom...I can 
    get Alpert's LPs for any fan interested, but these are used...write
    me.
    
    To John Rausch from Ohio (The Fabulous Ronettes Webmaster)
    I would take these 5 lps: Presenting the Ronettes, 02 of Phil's 
    Rare Masters LPs on the International label, my personal Chopin LP
    and Lucecita Benitez' Genesis LP.
    
    Robert the Ronettes Hound (rteXXXX@XXXom)
    
    --------------------[ archived by Spectropop ]--------------------
    
    
    Subject:     Re: Chico and the Egyptians
    Sent:        09/18/98 10:36 pm
    Received:    09/19/98 1:10 am
    From:        Doc Rock, docroXXXX@XXXcom
    To:          Spectropop List, spectroXXXX@XXXties.com
    
    Another great version of "Chico's Girl" was on Philips 40147 by 
    Susan Barrett!
    
    And I'm pleased that the Shumba did not disappoint. Had this been 
    a #1 national hit (as it was locally), who knows what influence it
    would have had on the Top 40 GG sound!
    
    Doc
    
    
    --------------------[ archived by Spectropop ]--------------------
    
    
    Subject:     Re: the dreaded NR stamp
    Sent:        09/18/98 10:36 pm
    Received:    09/19/98 1:10 am
    From:        Doc Rock, docroXXXX@XXXcom
    To:          Spectropop List, spectroXXXX@XXXties.com
    
    > What does an 
    >"NR" stamped on a record label mean?
    
    I always believed it meant "No Return." Distributors got records 
    from companies (like Liberty) in large quantities. If the song was
    not a big hit, the distributor was potentially stuck with dud 
    records. But the companies would take back the extras and credit 
    the distributor.
    
    On the other hand, companies, or even distributors could sell dud 
    records to dime stores for the cut-out bins. Those were stamped NR
    because they were not eligible for return. If they were not stamped, 
    they could be returned as duds over and over again!
    
    Instead of NR, more often the records were "cut out," a little 
    hole was drilled or made with a hot metal rod to mark them 
    ineligible for return.
    
    When I was interviewing Dick St. John for Liberty Records, the 
    book, he told me about a Dick and Deedee record, a follow up to 
    "The Mountain's High."
    
    "We heard from disk jockeys stories of underground warehouses 
    around the country with bootleg records. In fact, years later 
    someone told us about a record we [Dick and Deedee] had that came 
    out right after 'The Mountain's High' but before 'Tell Me.' It was
    called 'Goodbye to Love' It was a complete disaster, it didn't sell
    three copies. It had a duck call on it, and it was pretty awful! We
    tried to make it like 'The Mountain's High' to have another hit, 
    but it didn't happen. But, in anticipation of its happening, 
    Liberty pressed many copies and shipped them out.
    
    "Well, the bootleggers got a hold of this new record and, thinking
    it was going to be a big hit like 'The Mountain's High,' pressed up
    their copies! [When it was not a hit], all the returns came back to
    Liberty! They said that it was the first time that they had ever 
    gotten more of a record back than they had ever pressed up! They 
    couldn't figure it out, where had they all come from? That just 
    showed you that there was a big bootleg operation going on in 
    addition to what was being reported legally."
    
    Back to Doc Rock. I have a copy of "Little Old Lady (From Pasadena)" 
    which looks like a 1964 bootleg, because the Liberty logo is 
    imperfect.
    Doc
    
    
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    Subject:     Another story about cut out/NR Records
    Sent:        09/18/98 10:36 pm
    Received:    09/19/98 1:10 am
    From:        Doc Rock, docroXXXX@XXXcom
    To:          Spectropop List, spectroXXXX@XXXties.com
    
    Another story about cut out/NR Records:
    
    When a record company gets a surplus of old 45's or LPs that it 
    cannot sell, either because they never were hits or they had 
    outlived their popularity, they would "cut" those records out of 
    the catalog and sell them at two or three for a dollar retail per 
    LP or five or ten cents per 45. The term "cut out" can also refer 
    to the holes that are cut out of the record label or the record 
    jacket, either with a drill or a hot metal rod. Or the end of an 
    LP cover might be clipped. This way, no one can mistake them for 
    current product and try to make unauthorized sales. Ken Revercomb 
    recalls cut-outs. "I was in charge of getting rid of all the old 
    surplus Liberty product. Non-hits. As a matter of fact, I made a 
    career of selling cut-outs. All through the glory years at Liberty/
    Imperial, I gave I don't know how many gold record awards out. 
    But I never got one until I got rid of 11 million records and they
    gave me a platinum one for sales in excess of 11 million!" Getting 
    rid of 11 million records without making noise, especially 
    non-hits, is not easy. If it gets around that there are so many 
    dud records coming out, it hurts the company's goodwill. So Ken 
    Revercomb would devise schemes to get rid of records through 
    non-music outlets. "I went to used car lot in Tucson. Why Tucson? 
    If I failed, I didn't want anyone to know about it. And if I were 
    successful, I also didn't want anyone to know about it!" Ken made 
    a deal with Harry's Used Cars. For $100, Ken would put $1,000 
    worth of non-hit cut-outs in each car. After all, there wasn't one
    car on the lot Harry wouldn't discount $100. "You gamble the ad and
    I'll gamble the records. We advertised $1,000 worth of music with 
    each car purchase for Harry's blow-out sale over Labor Day." The 
    $1,000 was actually $80 at cut-out prices, so Ken would make $20 
    each car. Was it a success? "Three days later we had emptied his 
    lot. It was like a Hitchcock movie, there was nothing but a few 
    candy wrappers and light bulbs in the place. I said, 'Geeze, Harry,
    we did it! We gotta get more cars!' Harry said, 'The hell with 
    you! I been trying to get outta here for four years.' So I went 
    to Wichita, etc. I mean I got rid of a ton of records like that! 
    It was that kind of thing that I did." As it turned out, there was
    one thing that was a lot better than cut-outs that Ken tried like 
    the Dickens to sell, but try as he might, he never could manage 
    to succeed. "I probably worked harder on Willie Nelson than on any
    other act that we had. I had him for five years and couldn't give 
    him away. Do you believe that?"
    
    
    --------------------[ archived by Spectropop ]--------------------
    
    
    Subject:     trumpet scare
    Sent:        09/18/98 1:27 pm
    Received:    09/19/98 1:10 am
    From:        Frank Youngwerth, FMXXXX@XXXom
    To:          Spectropop List, spectroXXXX@XXXties.com
    
    <>
    
    Wow, what a provocative notion! I wonder if she really meant (or 
    perhaps really stated?) Herb didn't play on his *sessions*. 
    Implying that he could well have always overdubbed his parts 
    afterwards.
    
    
    --------------------[ archived by Spectropop ]--------------------
    
    
    Subject:     Girl Groups etc
    Sent:        09/18/98 9:13 am
    Received:    09/19/98 1:10 am
    From:        Stos, William, wsXXXX@XXXtyenet.com
    To:          Spectropop List, spectroXXXX@XXXties.com
    
    >Got a copy of a great record that I can't stop listening to. 
    >Absolutely knocks me out. Chico's Girl by "the Girls" issued on 
    >Capitol. 
    
    Have you ever heard of a vinyl comp called Girls In the Garage? I 
    don't have it, but apparently it has that track plus stuff like 
    the Whyte Boots' "Nightmare," and others. My pal Sheila Bergel 
    hasn't stopped raving about it.
    
    >The other side that I really can't stop playing over and over, 
    >thanks to Doc and Will Stos, is Tammys' Egyptian Shumba. Will 
    >wrote "Egyptian Shumba still hasn't died down." Not around here 
    >either, brother! This is one of the wildest GG records, maybe THE 
    >wildest GG record I ever heard!
    
    Actually, Doc deserves all the credit for that one. If it wasn't 
    for him I wouldn't have even known it existed. What else did the 
    Tammys record? Also, another song with similar screams, albeit 
    more soulful, is an aptly named cut from the Chiffons fourth album,
    My Secret Love, called "Soul." It's more slow in tempo, but it 
    can pack a punch!
    
    Here's a question to other Girl Group-a-holics. Did the Angels 
    ever record anything similar to their song, "Jamaica Joe"? That 
    song is so cool! I love the part where they go "hey, hey, hey, 
    umph!"
    
    One last thing. I was watching the Girl Groups: Story Of A Sound 
    video a couple of nights ago, I just bought it, and I was knocked 
    dead by the Shangri-las' performance of "Give Him A Great Big Kiss."
    Mary Weiss drove me wild! I know a lot of you on this list think 
    Ronnie Spector is the biggest thing since sliced bread, and 
    granted she has that sort of playin' hard to get look that can 
    make you drool, but Mary's facial expressions when she sings are 
    incredible! I heard that fans used to rush the stage whenever they
    played, and now I can see why! Too bad I wasn't 30 years older, or
    she wasn't 30 years younger! (Whistle) Whoo!
    
    Will (the Shangri-las soon-to-be stalker) just kidding! : )
    
    
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    End
    

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