__________________________________________________________ __________ __________ __________ __________ __________ S P E C T R O P O P __________ __________ __________ __________________________________________________________ Volume #0180 November 7, 1998 __________________________________________________________ Boss RadioSubject: My New Radio Show & Japanese Boy Sent: 11/06/98 11:34 am Received: 11/07/98 2:24 am From: David B Ponak, dpXXXXXXXXhlink.net To: Spectropop List, spectrXXXXXXXXities.com 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. David --------------------[ 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, spectrXXXXXXXXities.com 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, spectrXXXXXXXXities.com 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. Babs --------------------[ archived by Spectropop ]-------------------- Subject: Rebel Discoveries Sent: 11/06/98 3:55 am Received: 11/06/98 4:15 am From: Doc Rock, docrXXXXXXXX.com To: Spectropop List, spectrXXXXXXXXities.com Babs, 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 (docrXXXXXXXX.com), 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! Doc --------------------[ 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, biXXXXXXXXore.net To: Spectropop List, spectrXXXXXXXXities.com >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 song. >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, le_pageXXXXXXXXities.com To: Spectropop List, spectrXXXXXXXXities.com 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. -- le_pageXXXXXXXXities.com RodeoDrive/5030 --------------------[ archived by Spectropop ]-------------------- End
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