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Spectropop V#0018

  • From: The Spectropop Group
  • Date: 11/20/97

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           Volume #0018                                 11/21/97
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                           Color radio - Channel 98
    
    
    
    Subject:     
    Sent:        11/19/97 11:56 PM
    Received:    11/20/97 3:04 AM
    From:        Paul Urbahns, purbaXXX@XXXXXXorg
    To:          Spectropop  List, spectroXXX@XXXXXXies.com
    
    Dave wrote: forgot about this one until after i posted that last message 
    - "say goodbye to hollywood" by billy joel.  near-clone of "be my baby," 
    right from the opening drums to the "whoo-oh-oh-oh-oh"s.
    
    Paul Urbahns adds: I understand Billy Joel wrote the song for Ronnie, in 
    fact I have her Epic single of the record which came out before Joel's.
    
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    Subject:     got me on a technicality
    Sent:        11/20/97 1:12 AM
    Received:    11/20/97 3:04 AM
    From:        Leonard Hyde, bXXX@XXXXXXt
    To:          Spectropop  List, spectroXXX@XXXXXXies.com
    
    >> ...[the stereo remix of "IJWMFTT"] went beyond "remixing" and 
    >> "remastering:"  it is rerecording, something that should never 
    >> be done.
    >
    >okay, i'm none too happy with the remix of this song, for reasons i 
    >mentioned on the BB list, but i don't see where there was any 
    >"rerecording" done.  what exactly are you referring to here?
    
    OK, Dave - I'm not saying that anybody recorded NEW music to add to this 
    song. But:
    
    1. Where did the music that is behind "each time things start to happen 
    again..." et al, come from? Did the original mix have any music there? 
    Was it on the master tapes and Brian killed it during the final mix? Or, 
    did somebody at Capitol create that bed by splicing tape together? 
    
    2. The original version had no echo on Brian's voice. The stereo mix is 
    loaded with echo.
    
    Sorry, but by my standards, adding stuff that WASN'T there constitutes 
    rerecording, as opposed to remixing and remastering.
    
    One of my pet peeves is remasterers adding their own sensibilities to old 
    recordings in the process. I can't count the number of classic rock songs 
    that have, to my ears, been "rerecorded" in this fashion. They don't even 
    sound like the same record any more. One of the best (worst?) examples is 
    "Liar Liar" by the Castaways. The modernized, cleaned up CD version you 
    hear played on the radio today bears little resemblance to the raw, punky 
    sound of the original. You'd have to get the 45 to hear that version.
    
    It IS possible to remaster songs and preserve the original sound. I was 
    listening to a tape I got from a friend for the first time last night. On 
    comes a nice stereo version of Lou Christie's "Lightning Strikes." One of 
    my favorites, and I enjoyed it, while thinking in the back of mind that 
    something was a bit different. Next, I was surprised to hear the 
    "original 45 version," also remastered, but with the tonal balance and 
    mixing ratios preserved. The differences were subtle, but made a 
    tremendous difference in the impact of the song. It sounded like the song 
    I heard on the radio rwhen I was 13 - but it was in stereo.
    
    "Sound Of Love" by the 5 Americans - the remastering guy doesn't like the 
    piercing organ (a 5 Americans trademark) and so buries it way down in the 
    mix on the left channel. What right did he have? If you listen to the 45, 
    that organ is like a stiletto. 
    
    A friend of mine writes liner notes for Sundazed. He has brought the 
    matter up with management in the past. He was told that older people 
    won't buy CDs that sound like garage band records, so they "have" to 
    clean the records up so they won't offend the buyers ears. Hogwash!
    
    At the very least, the "original" version should be included. Sometimes 
    this happens, sometimes it doesn't. I was very glad to hear that Rhino 
    "fixed" the Monkees catalog by including the original 45 versions of 
    their songs. With the Monkees, the damage was done when the original 
    albums came out. Why? Who knows? Other groups that were notorious for 
    this were the Mamas and Papas, and the Rascals. The versions of many of 
    their songs that came out on albums were quite different than the ones on 
    the 45, and thus, on the radio.
    
    Sometimes, and this is rare, album versions that came out later were 
    superior to the 45. The best example I can think of is the Monkees 
    "Valleri." The original 45 was an amatuerish, garage band sounding 
    attempt. It was only a hit in a few places. Then, the album comes out, 
    with the better version (can anybody say "studio musicians?") and the 
    song is released again, becoming one of their best hits.
    
    "Above all else, do no harm...." 
    
    Big L
    "I love radio - I just hate what they're doing with it these days"
      
    
    
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    Subject:     More Spector Tributes (Soundalikes?)
    Sent:        11/19/97 10:38 AM
    Received:    11/20/97 12:57 AM
    From:        David Marsteller, davebXXX@XXXXXXlin.org
    To:          Spectropop List, spectroXXX@XXXXXXies.com
    
    Before we leave the subject of recordings that try to recapture the  
    Spector sound, I thought I'd mention Roy Wood. A number of his  
    Wizzard-era recordings seem to be aiming for a 'wall of sound'.  
    Sometimes, it comes off as a 'wall of mud', but that's beside the point. 
    Or maybe not. ;)
    Dave
    
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    Subject:     Re:  Gary Zekley/The Clique/Rachel & the Revolvers
    Sent:        11/19/97 4:29 AM
    Received:    11/19/97 8:15 AM
    From:        Darian Sahanaja, monsaXXX@XXXXXXink.net
    To:          Spectropop List, spectroXXX@XXXXXXies.com
    
    >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
    
    >...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?
    
    Definitely more grandiose. Both are great for different reasons. The 
    Ronettes version features one of the best, if not downright sexiest 
    performance  Ronnie's ever delivered, but Linda takes the vocal melody to 
    new and interesting heights. I must agree though that if I had to decide 
    which version would make a better single 45, it would have to be the 
    latter. Do any of the Spectropop subscribers own the original Linda Scott 
    45? Being a consultant for the "Touch the Wall Of Sound" series I had a 
    hard time finding a decent pressing of it. Every pressing/mix I've ever 
    heard sounds like there's a veil over it. . a bit muddy. I just wondered 
    if anyone had a pressing that they considered very clear. I can imagine 
    how amazing it would sound off the original master tapes (assuming they 
    still exist).
    -Linda Scott and the Zombies on the same page. . .I've died and gone to 
    heaven.
    		--DARIAN
    
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    Subject:     stereo Spector
    Sent:        11/20/97 4:09 AM
    Received:    11/20/97 11:46 PM
    From:        Doc Rock, docroXXX@XXXXXXom
    To:          Spectropop  List, spectroXXX@XXXXXXies.com
    
    Last week, I would swear that I heard "Da Do Ron Ron" in full stereo on 
    the radio.  Has a CD with that been released?
    
    Doc
    
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