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Spectropop V#0170

  • From: The Spectropop Group
  • Date: 10/19/98

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       Volume #0170                       October 20, 1998   
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                      No age limit on Sunday                 
    
    
    
    
    
    
    Subject:     To Barbara Alston
    Sent:        10/19/98 7:20 am
    Received:    10/19/98 11:58 pm
    From:        R Teyes, RTeXXXX@XXXom
    To:          Spectropop List, spectroXXXX@XXXties.com
    
    To Barbara Alston:
    
    A very warm welcome to you.
    
    I write on occasion only and when I have something important to 
    share. I cover Phil and Ronnie's court thing here in NYC..when it's
    going on.
    
    Robert the Ronettes Hound
    rteXXXX@XXXm
    
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    Subject:     60's Wizards
    Sent:        10/19/98 5:09 pm
    Received:    10/19/98 11:58 pm
    From:        Barbara Alston, BARBTXXXX@XXXom
    To:          Spectropop List, spectroXXXX@XXXties.com
    
    Hi all!
    
    I can't believe what I'm hearing here. You guys are the "60's 
    Wizards". I'm learning quite a bit of useful information here and 
    appreciate this opportunity to be involved. Wonderful knowledge 
    and insights! I feel very much like a novice of my own time :-)
    
    Babs
    
    
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    Subject:     Philles 105
    Sent:        10/19/98 10:55 pm
    Received:    10/19/98 11:58 pm
    From:        Jamie LePage, le_page_XXXX@XXXties.com
    To:          Spectropop List, spectroXXXX@XXXties.com
    
    A topic for Ms. Alston:
    
    Philles 105, He Hit Me (and it Felt Like a Kiss) b/w No One 
    Ever Tells You, is perhaps my very favorite Crystals 45. Both 
    sides have a darkness that is so intriguing. I suppose a lot 
    has to do with the lyrics, which speak of infidelity and 
    domestic violence on the A; lost innocence on the B.
    
    At this time Phil hadn't fully constructed the wall. The 
    instrumentation was still sparse, albeit with his heavy handed 
    echo. The setting was far more intimate than later Philles 
    singles, more akin in atmosphere (not style) to Phil's Paris 
    Sister sides than to his later stuff. I've always loved the 
    bass line on He Hit Me, and the strings on No One Ever Tells 
    You defy description; perfect against the vocal and heartbeat 
    drum/bass pattern.
    
    The sessions sound like they were done in New York, and it is 
    interesting to note that both sides were co-written by Gerry 
    Goffin and Carole King. What were they going through when they 
    penned these two songs? (rhetoric question)
    
    I have a hunch this record may be *your* least favorite. What I 
    mean by that is, both sides are great, your vocals are the best 
    (you sing lead on both sides, right?), but as we all know the 
    record never stood a chance at radio. Everyone involved must have 
    been bitterly disappointed. It was such a fantastic record. It 
    was literally years ahead of its time with its social message and 
    Phil's innovative production approach.
    
    Can you tell us anything about this recording; was there a Carole 
    King demo, or did the group learn it off lead sheets? Did Carole 
    rehearse with you for this record? At the Brill Building, maybe? 
    Or Bell? What did you feel when you first heard the lyrics? Can 
    you tell us anything about the rehearsals, the sessions, the studio,
    the backlash...
    
    Although this record was never a radio hit, He Hit Me has attained 
    legendary status in the story of the Crystals, Philles and the Wall 
    of Sound. As to the B-side "No One Ever Tells You," it just happens 
    to be my very favorite Crystals track. I can't express how much 
    pleasure your records have brought over the years.
    
    Philles 105 will *always* be a smash hit at my house.
    --
    Jamie "staring at the original logo orange and black label 
    Philles 45 but listening to the Crystals on CD" LePage
    le_page_XXXX@XXXties.com
    RodeoDrive/5030
    
    
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    Subject:     echo (echo echo echo echo....)
    Sent:        10/19/98 6:19 am
    Received:    10/19/98 11:58 pm
    From:        Jack Madani, Jack_MadXXXX@XXX12.nj.us
    To:          Spectropop List, spectroXXXX@XXXties.com
    
    Is it true that 3 Dog Night recorded the vocals for Liar in a 
    bathroom?
    
    And is it true that Simon & Garfunkel used an elevator shaft as an
    echo chamber for Bridge Over Troubled Water?
    
    Pushing the envelope of Spectropop with these two recording 
    artists, but the whole issue of echo in recordings seems 
    altogether appropriate for discussion here (here here here here 
    here.....)
    
    
    ------------------------------------------------------------------------
    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.
    -------------------------------------------------------------------------
    
    
    --------------------[ archived by Spectropop ]--------------------
    
    
    Subject:     Re:  You Can Be Wrong About Boys
    Sent:        10/19/98 10:05 am
    Received:    10/19/98 11:58 pm
    From:        Jeffrey Thames, KingoGrXXXX@XXXom
    To:          Spectropop List, spectroXXXX@XXXties.com
    
    In a message dated 10/18/98 4:50:32 PM Central Daylight Time,
    spectroXXXX@XXXties.com writes:
    
    > "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.
    
    I, too, found this disc at Borders (for 6 bucks in their cutouts!!), 
    and while I haven't found any of the other HCTG volumes yet, I did 
    get hooked on some of the other titles in Sequel's 
    retro-what-have-you line. I highly recommend *The Loungecore 
    Project* for fans of sixties' TV drama music or anyone who wants a
    synth-heavy rendition of "Superfly".
    
    Cheers,
    
    Jeff
    
    
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    Subject:     Danny Hutton
    Sent:        10/19/98 12:48 pm
    Received:    10/19/98 11:58 pm
    From:        David Feldman, feldXXXX@XXXderables.com
    To:          Spectropop List, spectroXXXX@XXXties.com
    
    M. LePage said:
    
    > 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.
    
    As a native Angeleno, "Roses and Rainbows" and "Funny How Love Can
    Be" were big deals to me, and I bought both singles quickly. The 
    two songs could hardly be more different.
    
    I've always had a soft spot for wildly overproduced songs. In 
    their own way, they can provide the innocence and charm of doowop 
    or folk, because the joy and adventurousness of the producer are 
    disingenuous, in their own way, as the vocals of a Tracie Dey or 
    Barbara Mason. "Funny How Love Can Be" is in my pantheon of 
    overproduced songs. Along with this I'll add two other singles: 
    Bobby Vee's "I'm Into Lookin' for Someone To Love Me," cowritten 
    by Tony Wine and a Sagerless Carole Bayer (anyone know who 
    produced this?) and "Life Is a Song Worth Living," in which Johnny
    Mathis wrestles Thom Bell in a Texas Death Match.
    Dave Feldman
    
    Candy of the Week:  Atomic Fireballs
    CD of the Week: The Nuggets Set
    Missing in Action: David's shirts in the Real World
    Best Time Killer of the 90's:  Filling out the UPDATED gender survey at
      "http://www.imponderables.com"
    
    ----
    
    
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    Subject:     Re: Three Dog Night
    Sent:        10/19/98 10:02 am
    Received:    10/19/98 11:58 pm
    From:        Paul MacArthur, Rtf_XXXX@XXXedu
    To:          Spectropop List, spectroXXXX@XXXties.com
    
    
    >Three Dog Night certainly qualify as a chapter of the 60's LA
    >music scene.
    
    I cannot recommend highly enough Jimmy Greenspoon's "Tell All" 
    book; ONE IS THE LONELIEST NUMBER. Greenspoon, of course, was 
    their keyboardist, and apparently, principal arranger.
    
    It is a GREAT story about the band, how they got started, how they
    got hot, how they blew it all up their noses, and how they got back 
    together for reunions in the 80s.
    
    Sounds like a Behind the Music story on VH-1.
    
    Actually, sounds like EVERY Behind the Music story on VH-1.
    
    - Paul
    
    ----------
    Album of the Week: ENLDESS MILES: A TRIBUTE TO MILES DAVIS
    Song of the Week: Hole "Celebrity Skin"
    Quote of the Week: "Ain't nothin' like a fight at Wal-Mart."
    R.I.P: Carl Dean Wilson  (1946 - 1998)
    ----------
    
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    Subject:     Three Dog Night
    Sent:        10/19/98 8:39 am
    Received:    10/19/98 11:58 pm
    From:        Rich Briere, rfbriXXXX@XXXra.net
    To:          Spectropop List, spectroXXXX@XXXties.com
    
    Thanks for all the TDN info Jamie, it's appreciated. If anyone can
    add anything regarding Joe Schermie, please jump in.
    
    One more question in this regard if I might? I just picked up the 
    new Chris Hillman CD and noticed the names of Richie Podolor and 
    Bill Cooper as production guys on that recording. As noted below 
    they were the "TDN" production staff as well. Do any of you know 
    more about them? Are they players themselves, etc.
    
    >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. 
    
    I'd certainly agree that the "Celebrate" CD is a worthwhile 
    addition to any collection. Again, my thanks to Jamie for this 
    in-depth info and to all of you for a wonderful list.
    Bass-ically Yours,
    Rich Briere 
    
    
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    Subject:     A question
    Sent:        10/19/98 1:12 pm
    Received:    10/19/98 11:58 pm
    From:        Alicia Martuge, ZablXXXX@XXX.net
    To:          Spectropop List, spectroXXXX@XXXties.com
    
    About 4 years ago I found 200 singles on a Brooklyn street. Most 
    were in terrible condition but one stands out. It is a Motown 
    singles called "LaLaLaLaLa/This Is True"VIP25036. It was released 
    bi the LaSalles in 1966. "LaLa" is a cover of a Stevie Wonder song,
    while "This Is True" sounds like the RockyFellers. But on a hunch I 
    played "This Is True" at the wrong speed-33rpm actually-and found 
    it sounded bluesy and more natural. In other words, an improvement!
    Does anyone know what became of this group or if this single 
    charted? It's terrific and better than "Kiss Me Baby" by the 4 Tops.
    
    My favorite!
    
    Alicia Martuge
    
    
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