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Spectropop V#0161

  • From: The Spectropop Group
  • Date: 10/06/98

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    _______      S  P  E  C  T  R  O  P  O  P       _______
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       Volume #0161                      October 7, 1998   
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    the kind of gutsy production that makes a No. 1 single!
    
    
    
    
    
    
    
    Subject:     The Hook
    Sent:        10/06/98 3:10 pm
    Received:    10/06/98 11:59 pm
    From:        Marc Wielage, XXXX@XXXtrax.com
    
    
    Jack Madani <Jack_MadXXXX@XXX12.nj.us> said on the Spectropop List:
    
    >Seems like ANYthing can end up being a hook, can be something in
    >the instrumentation or in the lyrics or in the backing vocals, but
    >I did get to wondering, just how often is the hook a premeditated
    >thing? Is it always, or mostly, or half the time, or what?
    >----------------snip----------------<
    
    Reminds me of a radio interview I once heard with ELO's Jeff Lynne.
    He said it took him a couple of albums to finally figure out 
    what the "pop formula" was for a successful hit, and that the key 
    was coming up with a hook in the melody and rhythm. He claimed it 
    got boring after awhile, and ultimately became too much effort to 
    sustain the formula in the 1980s. But Lynne did divulge that he 
    often came up with a hook first and then write a song around it; 
    that happened on "Sweet Talkin' Woman," once of their biggest hits.
    
    The trick to me is that the idea of successful musical hooks 
    changed and evolved differently in different eras. A tricky melody
    or chord change or whatever might work well in one decade, but not 
    in another. On the other hand, a great song could conceivably be a
    hit in any era; Burt Bacharach once said he felt that "Raindrops 
    Keep Falling on My Head" could have been a hit in the 1930s, the 
    1940s, or the 1950s; but it didn't occur to him to write it until 
    1969.
    
    --MFW
    
    -=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
    -= Marc Wielage      |   "The computerized authority     =-
    -= MusicTrax, LLC    |       on rock, pop, & soul."      =-
    -= Chatsworth, CA    |         XXXX@XXXtrax.com         =-
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    Subject:     It
    Sent:        10/06/98 10:46 am
    Received:    10/06/98 11:59 pm
    From:        john rausch, jXXXX@XXXnet
    
    
    well Jack...
    when I think of {(HOOKS)}
    ...To my ear ...I think ...:
    the organ on 96 Tears
    The bass on Sugar,Sugar..."thanks Jeff Barry"
    and of course...Ronnie`s ...Whoah Oh Oh Whoas...!
    and howbout the drums in all the tommy roe`s mid 60s hits...like... 
    hooray for hazel,sweetpea,dizzy, ...and of course ..."for me" ...
    the drumbeat on "be my baby" has got to be the best hook of all 
    time!
    
    
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    Subject:     (((STRangeloves)))
    Sent:        10/06/98 10:10 am
    Received:    10/06/98 11:59 pm
    From:        john rausch, jXXXX@XXXnet
    
    
    >Did it actually come out on Red Bird? It's good in a
    >Strangeloves type way....
    
    ... Kieron,
    the strangeloves are one of my "guilty pleasurers"...aside from 
    the wall of sound and ggs etc... the sonic boom of the 
    strangeloves 45s on bang records are cool ,very much a tip "o" the
    hat to phil`s "wall'...with less theatrics...but very much "in your
    face" singles!
    
    
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    Subject:     DL and "originals"
    Sent:        10/06/98 3:00 am
    Received:    10/06/98 7:39 am
    From:        Mark Landwehr, mslXXXX@XXXbs.com
    
    
    >>Just heard that Darlene Love has been nominated for induction into
    >>the RnR Hall of Fame...WELL, IT'S ABOUT TIME!!!!!
    >
    >Mark,
    >
    >Darlene mentioned this at her NYC Barnes & Noble appearance, with
    >obvious pride and no bitterness.
    >Dave Feldman
    >
    Not surprised, Dave...Darlene is a classy lady.
    
    
    >For John Rausch: Fave Spector cover? I always liked the Beach Boys
    >doing "I Can Hear Music..." But that's not really a "Spector"
    >original, is it?
    >
    Phil didn't produce it, but he was one of the writers...The 
    Ronettes did the original, so I would call it a "Spector original"
    in a sense...It's all semantics, I guess (to paraphrase a high 
    Executive, "What do you mean by 'original'?) :-)
    
    Mark (Philles PhanatiXXXX@XXX://www.toltbbs.com/~msland/Spector
    
    
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    Subject:     Re: Dusty, Free Design and Red Bird
    Sent:        10/06/98 1:01 am
    Received:    10/06/98 1:45 am
    From:        Jamie LePage, le_page_XXXX@XXXties.com
    
    
    James Cassidy wrote:
    
    
    >Who else but Dusty could do such an outstanding job in such a wide
    >variety of musical genres -- from Spector rock ("Stay Awhile") to 
    >Burt B. sophistication ("Look of Love") to Euro/cabaret pop ("You 
    >Don't Have to Say You Love Me") to Memphis soul ("Son of a 
    >Preacher Man") to Philly soul ("Brand New Me," "Silly, Silly Fool")
    >to Randy Newman to the Pet Shop Boys?
    
    Dusty's records are great, and as I said before, sometimes her 
    versions of Bacharach/David are better than the originals. Then 
    you mentioned Brand New Me and Randy Newman. Well, absolutely! Stay 
    Awhile is indeed a great track!
    
    Jack wrote:
    
    >Just wanted to mention that I've ordered the Free Design comp disc
    >without having had a chance to hear it. I'll report when I get it.
    
    By all means, please do. Free Design are great personal faves. Just 
    adore the jazz approach to the harmonies. The lyrics are sometimes a 
    bit iffy, but what the heck. With harmonies and arrangements like 
    these, who can complain? Our man Bash knows of what he speaks.
    
    David Marsteller wrote:
    
    >I have a 4 CD set that Charly put out a number of years ago. 
    >It's got 90-something tracks...
    
    Yes! I have this as well, and in 1991, I listened to this every 
    night all night during the entire winter. Now, every time I 
    listen to it, I think of that year. Talk about your time warps! 
    Anyway, this collection is essential; the original version of Go Now
    and the rare Shangri-Las tracks like Dressed In Black are fantastic.
    
    --
    LePageWeb
    http://www.geocities.com/RodeoDrive/5030
    
    
    
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    Subject:     Re: spector covers
    Sent:        10/05/98 10:26 pm
    Received:    10/06/98 7:39 am
    From:        Jack Madani, Jack_MadXXXX@XXX12.nj.us
    
    
    Perhaps one of the only spector "covers" to surpass phil's own 
    version might be Jeff Barry and the Dixie Cups' Chapel of Love. 
    Only, I'm not totally sure of the chronology of the competing 
    versions, i.e., which is the "original" and which is the "cover."
    
    Jamie LeP. referred to some of the barf-o-rama Spector covers 
    coughed out by Brian Wilson and the Beach Boys in the mid to late 
    seventies. I agree they're pretty tough going, although I always 
    liked the [admittedly rough!!] vibe that Brian managed to generate
    on the choruses of You've Lost That Loving Feeling.
    
    However, go back to 1965 and the Beach Boys' Today! album, and 
    notice that fine little remake of Then He Kissed Me, now sung from
    the male pov and rechristened Then I Kissed Her. It may not surpass
    the original, but it's got the required oomph and authenticity to 
    at least raise it to something *like* equal footing with Phil's 
    original. Plus, Brian manages to get nearly the same effect as 
    Phil does, only with remarkably better sound quality.
    
    Two other small comments:
    
    1. On the Endless Harmony documentary about the Beach Boys, 
    there's a short clip of maybe twenty seconds of modernday Brian 
    Wilson sitting at a drum kit and banging out the drum riff to Be 
    My Baby. It was like actually peering into Brian's mind, to hear 
    what Brian Wilson apparently heard every day for several years....
    
    2. In the liner notes to Marshall Crenshaw's latest release, a 
    compilation of battery-powered demos and other unreleased 4-track 
    rarities, MC describes how he cut You're My Favorite Waste Of Time.
    He explains that the opening bass drum boom boom boom's were 
    *meant* to sound like the drum fill from The Best Part of Breaking 
    Up.
    
    jack
    
    ------------------------------------------------------------------------
    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:     Waronker's "hot" recordings
    Sent:        10/06/98 11:24 pm
    Received:    10/06/98 11:59 pm
    From:        Doc Rock, docroXXXX@XXXcom
    
    
    An excerpt that may be of interest from my book, "Liberty Records."  
    
    Si is Si Waronker, the founder of Liberty, who is now 86 years old.
    
    Back to Eddie's first hit, "Sittin' On The Balcony," one advantage
    it had over John D. Loudermilk's original was the much greater gain
    (volume) that the Liberty record had. Eddie's record was "hot!" 
    Besides working with talented youth like Eddie Cochran, and 
    knowing hit material when he heard it, Si was an innovator in the 
    studio. A lot of credit for making "hot" recordings has gone to 
    producers like Phil Spector with his Wall of Sound girl-group 
    records on Philles Records, and Frank Guida with his noisy Gary 
    U.S. Bonds waxings on LeGrand Records. Certainly compared to pop 
    and band recordings of the pre-rock days, these producers were 
    doing something new. But it was not something new at Liberty. Si 
    was recording "hot," way beyond what the experts and the engineers
    thought was acceptable, in the mid-'50s.
    
    "I had a habit of recording at a high level. I always figured that
    if we could get more volume on the record itself, the customers 
    could put the record on and it would sound better at a lower level.
    It was an idea I was playing with. I put the recordings to the 
    limitations of all the volume I could get on the master and hoped 
    that it worked. I was the one that started that. It was a way to 
    get the hiss and the scratches out, make the music loud."
    
    Si may have been an expert at economizing, such as when he 
    recorded Julie London and Patience and Prudence with a small combo
    instead of a full orchestra, but he also knew when it was 
    worthwhile to spend a little extra. "I tried to press on better 
    material. It used to cost me a penny a record more to use a little
    more vinyl on the 45's. By using a little more, we were able to get
    a little more volume, too. That helped. Most of the Liberty records
    you heard were louder than other labels; maybe not as good, but 
    loud. God, I'd put on as much as the record would take, as much as
    the [cutting] needle would take before it chattered off the disk!"
    
    
    
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    Subject:     Spector covers
    Sent:        10/06/98 9:47 am
    Received:    10/06/98 11:59 pm
    From:        Frank Youngwerth, FMXXXX@XXXom
    
    
    I have a great CD from Japan called Touch the Wall of Sound v.3 (
    thanks, Ron) which has 2 very good Spector covers: Linda Scott's "
    You Baby" and Keely Smith (Louis Prima's ex-) doing a breathtaking
    "No One Ever Tells You". The latter is "arranged and conducted by" 
    Jack Nitzsche.
    
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    Subject:     Re: Red Bird and I Can Hear Music
    Sent:        10/06/98 7:40 am
    Received:    10/06/98 7:57 am
    From:        Stos, William, wsXXXX@XXXtyenet.com
    
    
    The Red Bird two cd set from Charly records, (it came out sometime
    after the 4 cd set one), is definately high quality! It has songs 
    from Leiber/Stoller's Tiger and Daisy labels, like Cathy Saint's 
    amazing "Big Bad World," as well as the essential Red Bird/Blue 
    Cat, and obscurities. I laugh every time I hear Shadow Morton 
    singing a demo of "Dressed In Black." Give me the Shangri-las or 
    the Nu-Luvs any day! It also has an echo-heavy version of Ellie 
    Greenwich's "You Don't Know," that's differnt from the on the best
    of the Girl Groups Vol 2.
    
    The first time I heard the Ronettes' "I Can Hear Music," was on a 
    tape fellow Spectropoper John Rausch sent me. I think it would be 
    hard pressed to find a better version. When Ronnie starts off with
    "This is the way..." in her beautiful vibrato I just melt! I played
    it on my show two weeks ago and got some positive feedback. 
    Surprisingly I didn't like it the first time I heard it, but it's 
    really grown on me.
    
    
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    Subject:     Spector Covers/Rhondels
    Sent:        10/06/98 8:18 pm
    Received:    10/06/98 11:59 pm
    From:        Richard Globman, rglobXXXX@XXXmm.net
    
    
    John SED:
    
    >Just got a new batch of Spector cover versions 45s, some I have 
    >heard and some not, and while playing them I was completely blown 
    >away by a version of the Ronettes "Do I Love You" done by Bill 
    >Deal and the Rhondells. 
    
    As a former member of The Rhondels, I must comment that, in fact,
    "Do I Love You" ain't all that good. The arrangement was done by
    Bill Deal and "Fat" Ammon Tharp, the founding fathers of the group.
    
    We had enjoyed success by covering Maurice Williams & The Zodiacs'
    "May I", The Tams' "I've Been Hurt" and also The Tams' "What Kind
    Of Fool (Do You Think I Am)". Compared to those three, "Do I Love
    You" just didn't cut it.
    
    Regarding successful covers, let's start with "I Can Hear Music" by
    the Beach Boys.
    
    DICKYG
    
    
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