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Spectropop V#0180

  • From: The Spectropop Group
  • Date: 11/07/98

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       Volume #0180                        November 7, 1998   
                            Boss Radio                        
    Subject:     My New Radio Show & Japanese Boy
    Sent:        11/06/98 11:34 am
    Received:    11/07/98 2:24 am
    From:        David B Ponak,
    To:          Spectropop List,
    Hi Folks,
    For those Spectropoppers in Southern California, I'm going to be 
    starting a new radio show this weekend on 90.7 FM KPFK. The show 
    is called "The Liquid Room" and will run from 3-6 AM on Friday 
    Night/Sat. Morning. The music will be a mixture of modern music 
    from around the world with a 60's pop/lounge retro bent, 60's soft
    rock, lounge, soundtrack, even a little techno and hip hop. I've 
    been promised that in December I'll be moved to an earlier slot. 
    If you're up, check it out!
    fyi, "Me Japanese Boy" was originally recorded by Bobby 
    Goldsboro. It can be found on Rhino's new Bacharach Box or the BG 
    EMI Legendary Masters series CD. Also check out the cover version 
    by Japan's Pizzicato Five on their "5X5" EP on US Matador.
    --------------------[ archived by Spectropop ]--------------------
    Subject:     On Broadway?
    Sent:        11/06/98 3:45 pm
    Received:    11/07/98 2:24 am
    From:        Frank Youngwerth, FXXXXXXXXcom
    To:          Spectropop List,
    Years ago I read that Phil Spector plays the guitar break on the 
    Drifters' "On Broadway," but the credits for the track on the 
    Atlantic R&B box don't list him as being on the session. Anybody 
    know what the deal is here?
    --------------------[ archived by Spectropop ]--------------------
    Subject:     Bob B. Soxx & The Blue Jeans
    Sent:        11/06/98 3:14 am
    Received:    11/06/98 4:15 am
    From:        Barbara Alston, BARBXXXXXXXXcom
    To:          Spectropop List,
    Hi Claudia,
    Yes, your detection was correct -- Darlene Love sang with Bob B. 
    Soxx & The Blue Jeans just as she sang with everyone else when Phil
    recorded in California. What can I say? I can't remember the 
    individuals in the group at the time. I'll have to get that 
    information from Dee Dee. She remembers all! I know it was one guy
    and a couple of girls. That's all I can remember. In the studio, 
    however, Darlene sang with and for everybody! Met her recently in 
    New York at her trial against Phil Spector and she is a very nice 
    person, by the way.
    --------------------[ archived by Spectropop ]--------------------
    Subject:     Rebel Discoveries
    Sent:        11/06/98 3:55 am
    Received:    11/06/98 4:15 am
    From:        Doc Rock,
    To:          Spectropop List,
    Thanks for your thoughts on "He's A Rebel!" There is a huge 
    controversy about that among some collectors. When I was writing 
    my book about Liberty Records in the early '90s, I interviewed 
    several people about "Rebel," including one of the Blossoms and 
    the writer, Gene Pitney. If only I could have gotten a hold of you
    for an interview!
    Later, I wrote an article on it for Discoveries Magazine.
    The article is available from me (, or perhaps 
    Will would be kind enough to include it on his GG page and provide
    us with a link? It is probably too long for Spectropop!
    --------------------[ archived by Spectropop ]--------------------
    Subject:     Re:Bad Stereo Mixes
    Sent:        11/06/98 1:24 am
    Received:    11/07/98 2:24 am
    From:        Billy G. Spradlin,
    To:          Spectropop List,
    >I've said it before and I'll say it again: songs that were mixed
    >to be on a 45 RPM single rarely benefit from being mixed or
    >remixed in stereo. And sometimes youy hear things that weren't
    >meant to be heard, things that were mixed down in the track to add
    >depth and body.
    One new remix that reminds me of that is Dusty Springfield's "I 
    Only Want to Be With You" which is on a Targon Two-Fer (I Only 
    Want To Be with You/Dusty) that was released earlier this year. It
    sounds fantastic, until you listen closely to it and hear little 
    things like the background vocals being out of tune! I've read 
    that Dusty made the orchestra and background singers (The 
    Breakaways, I believe) do take after take of this song til she got
    it right (A tradition with her) so Im sure their voices were pretty
    ragged out by the final take.
    Sometimes CDs and remixes can "pull" too much sound off the master
    tape. I have heard coughs, hard breathing, lead singers "P-Pop" the
    microphone, musicians moving papers on a music stand, and even Mama 
    Cass licking her lips during the intro of a song (probably after 
    eating a ham sandwich...just kidding!)
    "Hot Fun in The Summer Time" by Sly & The Family Stone on CBS's 
    "Rock Chronicles" that was remixed by Bob Irwin. There's some weird
    out-of-tune piano "plunking" (sorry can't think of a better word) on
    the left channel during the chorus that was buried in the mono mix.
    It didn't ruin the song for me, it just made me wonder why that was 
    recorded in the first place and not turned down on the remix.
    Another bad stereo remix is The Hollies "Look Through Any Window" 
    which has never been mixed in stereo the way the mono mix was. The
    30th Anniversary 3-CD set has a remix where the reverb has been 
    removed from Tony Hicks lead guitar and the background vocals 
    ("highways..biways..") have been buried. A lousy remix of a great 
    >A classic example is "Satisfaction." On the stereo mix, the vibes
    >dominate the left channel. Vibes? On Satisfaction? They were never
    >ment to be heard, and hearing them ruins forever the concept I had
    >of this song as a power chord rock anthem.
    I prefer the mono mix too, but its kind of fun to turn the balance
    control and listen to the acoustic guiar and vibes alone with 
    Mick's voice. The stereo mix of "Get off My Cloud" is lousy too. 
    Theres a strange guitar line thats not in the mono mix thats 
    cranked way "Up" in the stereo mix and ruins that song for me.
    The entire 60's Stones catalog needs to be remastered, but with 
    greedy Alan Klein and ABKCO controlling the rights to it, we will 
    have to settle for poor sounding CD's until he passes away or some
    music fan who wants him to release the Cameo/Parkway library on CD 
    shoots him. (Just kidding)
    I like playing around with the stereo mix of the Beach Boys "Dont 
    Worry Baby". Just turn the balance control and listen to Brian's 
    sweet voice on the left channel and the groups amazing harmonies 
    on the right. I kinda wish more classic early Beach Boys songs 
    were mixed in stereo like that! :)
    Billy G. Spradlin
    --------------------[ archived by Spectropop ]--------------------
    Subject:     The black and white of it
    Sent:        11/06/98 4:27 am
    Received:    11/06/98 8:09 am
    From:        Jamie LePage,
    To:          Spectropop List,
    Barbara Alston wrote:
    >...can you imagine being Black in the 60's singing about being a 
    >"Rebel?" I don't think so! Black women certainly don't call 
    >their men "Rebels." God only knows what we might really call 
    >them, but Rebel surely ain't one of 'em. Know what I mean? :-)
    >So, the song never really touched us...
    WOW!!! That is an amazing observation. Thanks for that. I am 
    sure I am not alone in finding your comments to be delightful. 
    Every time I read one of your posts, I have to re-examine the 
    records from a different perspective. Simply fantastic, Barbara.
    I never thought He's a Rebel was written from or for a black 
    perspective. It always seemed to me to be James Dean or Leader of 
    the Pack kind of imagery. Particularly since the original version 
    was recorded by Vikki "it must be him or I shall die" Carr. In 
    addition, the lyric makes a statement that non-comformity is not 
    necessarily an evil thing, reflecting the Anglo-American tendency 
    to deify the rebellious.
    Many believe contemporary record makers produced black music for a
    white audience. Red Bird, Philles, Motown...these labels seemed to 
    target a white audience at least as much as a black one. Entire 
    books have been written on this subject, and whether this practice
    glorified or simply exploited the black music experience.
    Either way, the truth is songs like He's a Rebel, Spanish Harlem 
    and even Uptown cross racial and ethnic barriers, taking on 
    universal appeal. To me, Uptown and Five O'Clock World are two 
    peas in a pod. The "Rebel Without a Cause" image of James Dean has
    become a pop icon. He's a Rebel may not reflect the black 
    experience, but it is a timeless theme that has retained 
    across-the-board appeal for nearly 40 years.
    I went to a concert in the early 80's featuring Ronnie, Darlene 
    and Martha Reeves. There were no black Americans in the audience. 
    Ironically, it seems that most black Americans themselves do not 
    recognize the contribution the black GG artists such as Shirelles 
    and Crystals made to the history of popular music. Or, if they do,
    I sure don't hear it reflected much in the current Urban/R&B music 
    being made. Give me Baby Love any day.
    --------------------[ archived by Spectropop ]--------------------

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