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Spectropop V#0169

  • From: The Spectropop Group
  • Date: 10/17/98

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       Volume #0169                       October 19, 1998   
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             featuring radio and recording favorites         
    
    
    
    
    
    
    
    Subject:     Hello everyone!
    Sent:        10/17/98 8:20 am
    Received:    10/17/98 10:31 am
    From:        Barbara Alston, BARBTXXXX@XXXom
    To:          Spectropop List, spectroXXXX@XXXties.com
    
    Hello everyone!
    
    Thank you all for a very warm welcome and I hope to be able to 
    contribute to this wonderful group. And a special thanks to Tom and 
    Dave.
    
    Barbara Alston
    
    
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    Subject:     B.C. (before "Candida")
    Sent:        10/17/98 2:52 pm
    Received:    10/17/98 8:07 pm
    From:        Frank Youngwerth, FMXXXX@XXXom
    To:          Spectropop List, spectroXXXX@XXXties.com
    
    
    <<"an early Dawn recording" (before Tony Orlando came along)>>
    
    Don't know about the Debonaires, but the girls who became Dawn 
    reportedly sing backup on an early Funkadelic single.
    
    
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    Subject:     pre-dawn
    Sent:        10/17/98 10:55 pm
    Received:    10/18/98 7:15 am
    From:        Jamie LePage, le_page_XXXX@XXXties.com
    To:          Spectropop List, spectroXXXX@XXXties.com
    
    As good a time as any to point to Tony Orlando's "Bless You" as one 
    of the great early Goffin/King Brill Building records.
    --
    le_page_XXXX@XXXties.com
    RodeoDrive/5030
    
    
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    Subject:     GG addenda
    Sent:        10/17/98 6:09 am
    Received:    10/17/98 8:07 pm
    From:        Jack Madani, Jack_MadXXXX@XXX12.nj.us
    To:          Spectropop List, spectroXXXX@XXXties.com
    
    Doc Rock's list referred to this title:
    "You Can Be Wrong About Boys"
    
    I assume he's referring to Here Come The Girls Vol.4, which I 
    heartily recommend and which includes Julie Grant's totally 
    outstanding Tony Hatch-produced "Lonely Without You."
    
    Now here's the confusing part:
    
    "You Can Be Wrong About Boys" was originally vol. 4 of the Here 
    Come The Girls series, an import (here in the US) from British 
    label Sequel. However, it was also issued stateside as "Here Come 
    The Girls Vol.1" and it was given the catalog number Sequel 1012-2.
    I bought it at a Borders and it was how I got hooked into the 
    HCTG series. I guess its strength was the reason that it was 
    issued first in the US; however, I guess it didn't sell that well,
    because no others in the series were reissued with a new numbering.
    So You Can Be Wrong About Boys is volume 4 of the Here Come the 
    Girls Series, but it also might be volume 1, even though there's 
    another volume 1. Oi. It's too complicated.
    
    Two more recommendations, both on RPM records from the UK:
    
    Dream Babes vol.1: Am I Dreaming? (RPM 137)
    24 cuts, described thus no the back of the disc: "Presenting two 
    dozen long-forgotten classics from the sixties, the Golden Age of 
    the British Girl sound. Folk, Rock, Soul Stompers, string-driven 
    Ballads, teen-dream Pop, and even Northern Soul, the UK Girl sound
    effectively soundtracked the sixties: you'll find them all on this 
    CD, which was specially researched, compiled and sleevenoted for 
    RPM by St. Etienne's self-confessed Brit Girl fanatic Bob Stanley.
    ..."
    jack sez: it's pretty damn good.
    
    Julie Grant: Count On Me! Complete Pye Sessions (RPM 133)
    Personal faves, in addition to Lonely Without You, are Hello Love,
    a groovy cover of Up On the Roof, Watch What You Do With My Baby, 
    and a cover of Baby Baby ("I still love you....").
    
    By the way, RPM has a terrific web site (www.rpmrecords.co.uk/), 
    with great pix. They got a couple of Timi Yuro, Doc, including one
    she did for some kind of teen bra company. Quel hoot!
    
    ------------------------------------------------------------------------
    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:     Not very gg-ish
    Sent:        10/17/98 3:04 pm
    Received:    10/17/98 8:07 pm
    From:        Frank Youngwerth, FMXXXX@XXXom
    To:          Spectropop List, spectroXXXX@XXXties.com
    
    <>
    
    It's a great compilation, but very little of it sounds at all like
    girl groups. It leans more towards Southern soul; the sisters 
    (mostly solo) sing more often like women than girls.
    
    
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    Subject:     starter set (training bra)
    Sent:        10/18/98 4:48 am
    Received:    10/18/98 7:15 am
    From:        Greg Liebzeit, gliebzXXXX@XXX.com
    To:          Spectro Pop, spectroXXXX@XXXties.com
    
    
    Jack wrote:
    
    
    >... in fact I wonder if we on the list might want to use the 
    >opportunity to put together a sort of primer, a list of albums 
    >for various categories of spectacular retro pop, that would get 
    >added to the Spectropop web site.
    
    
    Thanks for the quick response to my girl group query and the great
    idea that you presented to the list! I'm really going to try to 
    locate a couple of the anthologies that you mentioned... 
    specifically "Growing Up Too Fast..." and "Best of the 
    Crystals".
    
    Thanks!
    
    Greg L
    
    
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    Subject:     dream boy
    Sent:        10/18/98 1:43 am
    Received:    10/18/98 7:15 am
    From:        john rausch, jXXXX@XXXnet
    To:          Spectropop List, spectroXXXX@XXXties.com
    
    hi jack
    I have the volume one dream boy cd you were asking about. The 
    tracks include:
    
    too late to be lovers-cathy brasher
    hey little star-ann margret
    ridin on a rainbow-susan wayne
    football seasons over-shelley fabares
    please dont talk to the lifeguard-andrea carroll
    all over again-jill jackson
    dream boy-roberta wynn
    sh...listen-cathy brasher
    when love goes wrong-dean cannon
    lonely footsteps-ruth ann and the footsteps
    listen to the beat-carol conners
    im a lookin for blue eyes-cyd and cheri
    all winter long-linda laurie
    i cant go out tonight-jackie and gayle
    just think of me-crystallettes
    a kiss to remember you by-susan rafey
    cha cha charming-ellie gaye(ellie greenwich)
    seven days in september-ginger and the snaps(honeys)
    im sorry i went-cannon sisters
    too late to be lovers-courtney rain
    
    all in all a very good disc, if you would like a tape let me know 
    via my email and we can work something out. I have been interested
    in the "back to the girl zone" for awhile now but have no idea what
    the line up is.
    
    also another cd set to recommend is the "marcie blaine meets tracey 
    dey" collection ...also on the marginal label.
    
    what a great group we have here guys and girls!
    
    also a warm welcome to barbara alston.
    jonr
    Presenting the Fabulous 
    RonettXXXX@XXX://www.geocities.com/SunsetStrip/Studio/2469/
    
    
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    Subject:     Three Barbs Plus
    Sent:        10/17/98 5:53 am
    Received:    10/17/98 10:31 am
    From:        CLAUDIA CUNNINGHAM, TPXXXX@XXX.net
    To:          Spectropop List, spectroXXXX@XXXties.com
    
    I was wondering if anyone knows what has become of the Three Barbs:
    Philadelphian Barbara Mason ("Yes, I'm Ready", "Sad, Sad Girl");
    Detroit's Barbara Lewis ("Baby, I'm Yours", "Make Me Your Baby", 
    "Hello Stranger", "Make Me Belong to You") and Barbara George ("I 
    Know").
    
    AND speaking of solo girl performers I wonder what's up with Ketty
    Lester ("Love Letters"); Brooklyn-born Linda Sampson a/k/a Linda 
    Scott ("A Thousand Stars", "Don't Bet Money Honey"); comic Slappy 
    White's missus, LaVerne Baker ("Tweedly Dee").
    
    As a last remark, does anyone remember the girl group known as The
    Pixies Three who had a tune out in 1963 called "Birthday Party"? If
    so, what's up with them? Claudia
    
    
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    Subject:     Schermie and Richie
    Sent:        10/17/98 10:55 pm
    Received:    10/18/98 7:15 am
    From:        Jamie LePage, le_page_XXXX@XXXties.com
    To:          Spectropop List, spectroXXXX@XXXties.com
    
    Rich Briere wrote:
    
    Does anyone know what became of the members of Three Dog
    Night's "band"? I'd really like to know about Joe Schermie, the 
    bass player. I was listening to some pre-Jeremia music recently 
    and these guys really cooked. 
    
    Hi Rich,
    
    I don't know any specifics, but Joe Schermie was a name often 
    heard in LA around the late 70's, early 80's. Rumor was that 
    Joe was pretty much snowed under around that time, and his 
    reputation as a respected bass player too was legendary. I 
    also wonder what eventually happened to him.
    
    Three Dog Night certainly qualify as a chapter of the 60's LA 
    music scene. The tail end of the story, no doubt, but still an 
    important part. The first I knew of any of these guys was the 
    Danny Hutton 45 Roses and Rainbows; a fairly large hit in the Los 
    Angeles area. Next was Funny How Love Can Be, with a bizarre 
    arrangement by Gene Page. I later found out the original version 
    was a ballad by Ivy League (who also penned My World Fell Down). 
    Much, much later I learned of the Laurel Canyon/Brian Wilson/
    Redwood connection, but on its own Funny How Love Can Be was 
    simply a very, very interesting 45.
    
    I confess the recordings of Three Dog Night fall just outside my 
    list of favorites, but two things make their recordings quite 
    interesting. Firstly, Three Dog Night always recorded top notch 
    material. That in itself makes their body of work worthwhile. 
    There was the little known Lennon/McCartney tune "It's For You." 
    There was "One." There Was Randy Newman. Laura Nyro. Great, great 
    songwriting.
    
    In addition, gotta give credit to Richie Podolor and his
    engineer buddy Bill Cooper at American Recording. Anyone know if 
    American has always been up near Mullholland just off Topanga 
    Canyon? If so, is this the same room as the 60's Podolor 
    productions? Anyone know what these two were up to before Podolor 
    did Three Dog Night (Music-wise, that is!)? I think Richie and 
    Bill played on earlier LA pop sessions. Anyone? Richie and 
    Bill were "outside-the-mainstream" LA hitmakers. That's a very 
    cool study in itself. Would love to learn more.
    
    Finally, I am pretty sure most of us know the Celebrate 2 CD
    set. If not, it is a perfect overview of their work, and includes
    the much talked-about Time To Get Alone track on it. There's been
    talk here on how CDs often don't sound as good as the records...
    well, this is an example of excellent handling of the archival
    research and mastering. The tracks sound very true, thankfully mono 
    single mixes are used rather than the stereo LP versions, and 
    overall, the remastering is very well done and a good example 
    of how to reissue recordings. My only complaint is the artwork. 
    But then, at least it is consistent. Three Dog Night album covers 
    were never all that good to begin with.
    --
    le_page_XXXX@XXXties.com
    RodeoDrive/5030
    
    
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    Subject:     Compression
    Sent:        10/17/98 10:18 am
    Received:    10/17/98 10:31 am
    From:        john rausch, jXXXX@XXXnet
    To:          Spectropop List, spectroXXXX@XXXties.com
    
    I don't think this is right. To the best of my knowledge, no
    compression is employed in placing music on CDs -- sampling, yes,
    but not compression. One of the most common knocks against both
    the DCC and Minidisc formats is that they use compression, thereby
    actually losing some piece of the music (their proponents contend
    the lost parts were inaudible, but that hasn't been my experience).
    But I thought CDs were supposed to pick up everything, without
    any loss of "overtones and undertones." Is my impression wrong?
    Can somebody with some greater technical knowledge clear this up?
    
    ...The beauty found in the songs that you remember that is 
    missing, in CDs that DO digitally duplicate original (master 
    recordings), is lost because of lack of compression. Compression 
    is used to boost low level signals up to near peak levels. This 
    same technique is currently used on television commercials. 
    You've noticed LOUD commercials on TV? They're not really louder; 
    that's governed by the FCC. THEY'RE compressed! Low level signals 
    are raised to the "needle", and so on. Kinda cool, huh? 
    Unfortunately (or not) many CDs aren't made from the released 
    versions. They're made from the ORIGINAL MASTERS, not the released 
    [mixes].
    ...from a newcomer
    co: jonr
    
    
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